Principles of Architecture

Avantika Verma

Indian Institute of Technology, Roorkeee

PRINCIPLES

OF ARCHITECTURE

PORTFOLIO

All about the

Space Space

is

design

an

intangible

of

element

architecture.

of

the

Architectural

designs are created by carving space out of space, creating space out of space, and designing using

spaces

various

by

dividing

tools,

such

this

as

space

geometry,

colors, and shapes. It is defined in terms of forms,

shapes,

size,

color,

smell,

time,

location. and the atmosphere.

Space

structure

includes

and

its

the

elements

volume that

of

we

a

move

through and experience.

negative

space.To

comprehend

the

structure of a visual field, we organize its elements into positive space perceived as figures

and

background

negative for

the

portion

serving

figure.

We

as

a

should

therefore understand that figures and their background reality-

a

together

unity

of

form

an

opposites-

inseparable just

as

the

elements of form and space together form the reality of architecture.

mass

reading

design

occurs

and

with

at

space.

In

drawings, both

the

the

juncture

executing

we

form

and

should of

the

be

mass

containing a volume of space as well as the form of the spatial volume itself. The symbiotic relationships of the forms of mass and space in architecture can be examined and formed

Space can be defined in terms of positive and

form

between

concerned

Architecture is a combination of space and form.

Architectural

to exist at several scales. At each level, we should not be concerned about the form but also

its

impact

Certain

on

buildings

the

are

surrounding

the

landmark

space. of

the

place. A building can aid in designing streets and squares. At the scale of a building, we tend to read the configuration of walls as the positive elements of a plan. The white space in between

should

not

be

simply

seen

as

the

background of the wall. Even at the scale of a room articles of furnishing can either stand as a

form

within

a

field

of

space

define the form of a spatial field.

or

serve

to

Properties of

Form Shape Shape

is

defined

dimensions.

as

a

two-dimensional

space

confined

by

lines(or

edges)

which

has

some

It is the basic outline or surface configuration of a particular form. It is the basic

aspect to identify a form. Shape can be described as either organic or geometric.

Geometric shapes are regular, such as squares, rectangles, circles, cubes, spheres, cones, etc.

Shapes having irregularities can be termed as organic.

Texture And Color The combination of color and texture provides a distinct experience and a certain visual appeal to the overall design. They help define a space while regulating our feelings and responses. We can use

these

elements

to

create

contrast

experiences that incite our minds.

and

depth,

express

emotion,

and

create

rich

tangible

All about the

Form What is form?

Form

refers

to

the

shape

or

configuration of a building. Form and its opposite,

space,

constitute

primary

elements of architecture. The reciprocal relationship intention internal

is

of

essential,

architecture

sheltered

space

given

the

to

provide

for

human

occupation.

Significance of form Form in architecture not just plays a very

FORM FOLLOWS FUNCTION

crucial

‘Form

role.

It

is

not

just

simply

the

follows

function’

is

a

principle

that

shape or configuration of a building but

proposes

it comprises many elements be it a point,

starting

line, plane, or volume.

aesthetics. As an axiom, it is associated with

a

building’s

point

for

purpose

its

design

should rather

be

the

than

its

modernist architects in the early-20th century, A number of aspects must be considered

and can be termed 'functionalism'. The phrase

in

(which

order

to

architectural mass/size,

analyze form,

scale,

or

design

an

including

shape,

proportion,

rhythm,

articulation, texture, color, and light.

was

function'),

actually

was

first

'form

coined

ever

by

the

follows American

architect Louis Sullivan who helped develop the first

steel

Chicago.

skyscrapers

The

than

buildings

with

past

purpose form.

of

The

principle being

suggested

or

building

axiom

late-19th

designed

precedents the

in

in

stylistic would

became

a

century

that,

rather

accordance trends,

the

determine

touchstone

its for

modernist architects such as Frank Lloyd Wright (who was an apprentice of Sullivan), who held that ‘form and function are one’, and rendered decorative ‘superfluous’.

elements

as

‘ornamental’

and

Mass/Size Mass combines with shape to define form. Mass refers to the size or physical bulk of a building, and can be understood as the actual size, or size relative to context. This is where scale comes into play in our perception of mass.

Scale and Proportion Scale refers to the size of something compared to a reference or to the size of something else, whereas proportion refers to the proper relation of one part to another or to the whole. Proportion provides

guidelines

for

laying

out

useful

spaces.

Proportion

can

make

a

building

appear

welcoming, threatening, or impressive.

The

golden

ratio

in

art

and

architecture:

It

is

a

proportioning

system

that

determines

the

relationship of smaller parts to the whole. It has been believed to produce some of the most aesthetically pleasing shapes in nature, and as such has been used in many works of classical architecture.

Light Form is recognized emphasized

the

differently

significant

according

relationship

to

the

light

between

conditions

light

and

of

the

form

in

space. his

Le

Corbusier

famous

has

statement,

"Architecture is the masterly, correct, and magnificent play of masses brought together in light. Our eyes are made to see forms in light; light and shade reveal these forms."

Articulation Articulation refers to the way in which building surfaces come together to define a form. Forms could be articulated by playing with their corners and surface planes. Windows, doors, stairs, etc. could be used

as

elements

to

chamfering the edges.

create

surface

articulation.

Corners

can

be

articulated

by

opening

or

Ordering principles of

Design Rhythm Rhythm is the presentation of multiple units in a deliberate pattern. Rhythm is achieved by altering positive

elements

and

negative

space,

or

a

sequence

of

light

changing

with

shades.

These

elements could be masses, embellishments, windows, etc. Rhythm increases the compositional unity of the overall design. It creates a consistent order and presents the design as a whole.

Hierarchy Hierarchy

is

the

organization

of

different

elements

of

a

space

in

terms

of

their

relative

importance. It describes the components of a structure based on how noticeable they are. One element Is emphasized over another by adjusting its visual weight. Hierarchy provides a pattern of movement ad flow to the overall design. It aids comprehension, reinforces the message, and guides

the

viewer.

supporting elements.

Hierarchy

helps

to

differentiate

the

space

into

primary,

secondary

and

Datum Datum refers to a line, plane, or a volume that, by its continuity and consistency, serves to gather, measure, and organize a pattern of forms and spaces.

A datum is a form that ties together or anchors all other elements of the design. It must have sufficient size, closure, and regularity organized jointly within the given field. It can be a line, like a road with houses arranged along its length, a flat plane, or even a 3D space. Many buildings share a plane that acts as a precise datum, which is the ground on which they are built.

Transformation It

states

that

an

architectural

concept,

structure,

or

organization

can

be

modified

through

a

sequence of changes in response to a particular context or set of conditions without losing its uniqueness or concept.

Repetition of form can also be said to show transformation if it looks a little different each time.

Sometimes shapes get transformed by getting bigger or smaller, and they might also twist, extend, or morph into another form.

Balance Balance refers to the distribution of negative and positive elements in a space so that no one area overpowers the other. Just like physical balance is related to physical weight balance in design is related to the visual weight of elements. Balance aims to provide an aesthetically pleasing whole and control the flow in design. The unique parts add to their sum but don’t try to become the sum.

Architectural balance is most commonly achieved through symmetry. It was the norm for classical architecture. We can achieve an asymmetrical architectural balance also. This type of balance is dynamic, and the elements share a complicated relationship between them. Radial balance occurs when

elements

radiate

from

a

common

center.

Everything

radiates

from

a

common

center,

everything also leads to that center, making it a strong point of attraction.

Emphasis Emphasis is created when attention is focused on certain aspect of a design. Emphasis aids viewers in understanding visually which area has more influence than other areas within a design. Emphasis can be achieved by isolation, changing the placement and constrast.

Contrast In design, contrast is the difference between two or more elements in a composition. Contrast of various kinds can be used to emphasize a center of interest. Contrast can be created by altering the size, color, visual weight or, shape.

Symmetry It is the balanced distribution of equivalent form and space on opposite sides of a dividing line or axis or center. Bilateral symmetry generates an axial spatial structure. It is the most common type of symmetry and is found in different eras of different cultures, and they are halves of a composition of form is mirrors each other. It can be observed in structural planning and also in features of surfaces or facades. Radial symmetry means a center and a repeated or continuous surrounding setting.

Various

functional

structures

apply

radial

symmetry,

such

as

stadiums,

theatres,

etc.

The

radial

compositions highlight the primary area of a design or place. For example, if you see under the center of a vault, the ribs will look perfectly straight as they are radial from the center.

Unity and Harmony Unity in design happens when space's components work together so that the resulting appearance is balanced and harmonious. It isn't easy to achieve unity without harmony. Harmony is achieved by repeating a distinct design element, such as color, shape, texture, etc. Harmony is what generates a sense of unity.

There are different ways to achieve Harmony And Unity, such as: Repetition – element is repeated many times over a particular space.

Continuation – the sense of having a pattern or a line extended.

Similarity – the ability to see that other elements are repeated.

Perspective – a sense of elements being distant from each other.

One may confuse unity and harmony with being the same thing. However, they make a difference in the way we experience a space. Harmony is the feeling that your overall design principles fit together well.

Unity is when elements in spaces are blended to make a complete, harmonious, and balanced combination. Harmony and unity go hand in hand.

The hierarchy of needs The basic concerns of humans is probably best described by ‘the hierarchy of needs’ of Maslow. This theory is often depicted as a pyramid consisting of 5 levels: the 4 lower levels are grouped together as deficiency needs associated with physiological needs, while the top level is termed growth needs associated with psychological needs.

According

to

Maslow,

if

you

try

to

meet the needs of one level in the hierarchy

without

first

meeting

the

prior group's needs, your place in the ranking will be unstable. Lower levels in

the

order

higher

serve

levels.

If

as

the

your

basis

for

foundation

shakes, you get dragged back down to

a

lower

foundation the

level

before

hierarchy.

If

to

uphold

moving

not,

your

back

you're

led

up to

thoughts and feelings of stress and anxiety.

Maslow’s

hierarchy

can

be

interpreted to design, for which the order

from

low

functionality,

to

high

would

reliability,

be

usability,

proficiency, and creativity. A design must

be

able

to

function

before

anything else. Once the design has met

functional

needs,

it

can

move

up to the next level: reliability. The usability

of

efficiency

a

design

by

which

defines

the

users

can

perform the tasks offered by design.

Once have

all

of

been

move

on

these

met,

the met,

to

lower-level your

creative your

communicate innovative ways.

design needs.

design with

needs can With

can

now

users

in

Gestalt theory of Perception According to the Gestalt Theory, as learning is linked with the perception and memory processes, knowledge includes all the life experiences needed to create new content for perception and memory systems.

Similarity: Objects that are similar will be seen together in groups.

Similar objects can be defined by shape, size, color, direction, and other attributes.⁣

Common RegionObjects that are placed in a closed region are perceived as being grouped together.⁣

Proximity:

Objects

that

are

close

together

form

groups

by

visually uniting.

Closure:

Our

minds

tend

to

close

gaps

to

fill

in

missing

spaces to complete an unfinished shape.⁣

Continuity: Objects placed in a line or a curve are perceived to be more related than objects not in a line or curve.⁣⁣

Symmetry:

Objects

that

are

symmetrical

being part of the same group. ⁣

are

perceived

as

Case study

SANSKRITI KENDRA ARCHITECT : Upal Ghosh

INTRODUCTION Sanskriti Kendra is a symbol of Sanskriti's involvement in activities relating to art, craft, literature, the

performing

different

facets

Sanskriti

Kendra

arts, of is,

and

a

social

single

thus,

a

work.

vibrant

Although

culture

manifestation

diverse

rooted

of

in

on

Indian

Sanskriti's

the soil

surface, but

philosophy

these

universal

of

looking

activities in at

its

are

outlook.

apparently

different facets as parts of a larger organic whole.

It is a cultural centre where artists and sculptors, writers and musicians, and village craftsmen, practise their arts in tranquil surroundings that engage the mind with the imagery of the idyllic pastoral countryside with its manmade interventions.

Sanskriti Pratishthan, is an Indian not-for-profit cultural organization that helps cultivate an environment for preservation and promotion of India's artistic and cultural resources.

The buildings are semi-rustic in appearance, with ample space between them for strolling or catching a breath of fresh air- but not so far apart as to engender a sense of isolation.

The grounds, filled with a profusion of trees, present a picture of seemingly organic growth.

Anand Gram, as the complex is called, is just that - a village that makes the visitor happy.

Sanskriti Pratishthan, is an Indian not-for-profit cultural organization that helps cultivate an environment for preservation and promotion of India's artistic and cultural resources.

Activities performed

POTTERY

CHILDREN WORKSHOPS

LIBRARY / RESEARCH CENTRE

PAINTING ACTIVITY

CRAFTSPERSON WORKING

EXHIBITION

CONCEPT A living and artistic complex, the Kendra is meant to provide temporary living and working space to both traditional and modern artists and craftspersons and encourage interaction between them. Thus, the complex includes an open-air auditorium, conference hall, studio apartments, and

two

museums.

For

artisans,

a

separate

cluster

of

huts

with

individual

cooking

facilities

provided. The spaces are scattered like a village dwelling. Over two thousand trees are planted across the plot, with a banyan tree at the entrance.

BUILT VS OPEN There is a balance amid the closed and open to sky zones. One walks out

to lend oneself in a

verandah, leading to a courtyard and then under a tree, and beyond onto a terrace covered by a bamboo pergola, and then perhaps back onto a balcony and so on. The boundaries between these zones are not so defined but comfortable. Subtle modulations of light, of the quality of ambient air, express each change on our senses.

CIRCULATION AND MOVEMENT The

movement

patterns

and

circulation

is

evident.

There

are

service

roads

that

run

on

the

perimeter of the site. This road provides unity to the site and connects it together.

DISTRIBUTION OF SPACES Public spaces like museums and offices come first with entry.

Sitting spaces come next to providing a bit of privacy by planting trees.

Workspaces, studios, and very personal spaces are apart from the public areas to avoid any disturbance allowing artists to work in a very natural and relaxed atmosphere.

Services like washing, laundry are located at the end of the site, away from public movement along the service road.

LANDSCAPING Since it is situated on the Aravalli range's foothills, the emphasis is given to the landscape. No activity

that

would

disturb

the

fundamental

nature

of

the

land

was

undertaken.Landscape

elements: A proper balance of formality and informality, both in plant and challenging landscape.

Geometric forms, pavements, paths, and fences scatter the lawns, vans, Nahar, and parks. Trees have been planted to dominate the complex. The rainwater drainage canal that runs down the center and existing clumps become the significant structuring layout elements. The rainwater channel has been changed into a linear water body-The Nahar.

Landscaping elements

ARCHED GATEWAY

BARAKHAMBA

BANYAN COURTYARD

BAITHAK

LOTUS POND

AMPHITHEATER

DISTRIBUTION OF THE ACTIVITIES BAITHAK The baithak is the standard room of the Kendra, which provides housing amenities such as the dining room, conference room, library, and office. A two-storeyed building is internally united visually and physically by a double-height closed court with steps. These steps can be used as seating during conversations.

FLOW OF SPACES The building has entrances at different levels. Excluding the office and the library, all other spaces flow into each other, giving the interior a very expansive sense. The office has been strategically located at a higher level overlooking the entire complex providing a hierarchy to space.

There is experimentation with levels within the building, maintaining regular flow horizontally and vertically.

MATERIAL APPLICATION The architect took cues from vernacular architecture but wanted the buildings to be efficient and long-lasting. He chose cement that was made to look like mud bricks. This generates a design that can be replicated effortlessly.

EXHIBITION AREAS The Kendra includes two museums – the Sanskriti Museum of India terra-cotta and the Sanskriti Museum of everyday art. These, the most public of all the spaces, required particular attention for clarity of movements. The layout of spaces is such that a visitor moves from one exhibit to the

next

without

repeating

any.

A

series

of

modular

units

have

been

organized

around

landscaped courtyards.

GOOD PLAY WITH TRANSITION OF SPACES: The module which is square in plan, has been used in many forms – sometimes as just a stage, a room without a roof, a room with ceiling but no walls, and sometimes surrounded with regular doors and windows. The top is always pyramidal as it suits the square plan and blends well with the scale and setting. A majority of terracotta belonged to open and semi-open environments. From the regular earthen pot that contains drinking water to giant figures of the Aiyyanar

cult's

deities,

terracotta

art

occupies

a

prime

position

in

Indian

life

and

culture.

Terracotta art enjoys great freedom in imagination and design. Sanskriti found it interesting that,

despite

its

widespread

usage,

antiquity,

artistic

terracotta objects have not been systematically collected.

merit,

and

cultural

significance,

MUSEUM OF EVERYDAY ART The Sanskriti Museum of Everyday Art is a rich storehouse of objects of everyday life of traditional India that show some sign of superiority in craftsmanship, conception, or design. The museum of everyday art is housed in a building sunk partly below ground, and its roof is effectively used as an outdoor exhibition terraces for the terra-cotta museum.

ANALYSIS The building displays a perfect example of an environment suitable for a cultural context—a building designed in the landscape, with the built form complementing the natural landform.

Spaces are well articulated. The movement pattern provides a unique experience to the visitors as he walks from open to the sky to semi-covered courts and finally into a covered space.

The

presence

of

visitors

craftsmen to display the result.

enhances

the

festive

atmosphere

and

encourages

the

Case study

Letterbox House Location: Blairgowrie, Victoria, Australia Architect: McBride Charles Ryan, Prahran, Australia

LOCATION Charles Street is located in a holiday suburb on the Mornington Peninsula. Amid the simple beach, the houses are arranged in a rectangular grid.

There is sufficient space between the structures for play and landscape to dominate.

The plan is designed to allow the multiple members of a large family to occupy the house simultaneously.

The

structural

engineer

played

a

critical

part

in

the

'programmed'

wall's

construction and detail through its basic structure of raked box beams.

An excellent and elaborate timber wall-verandah is placed against the simple construction. This develops a play of the extraordinary and the common within the space. The building has a passive ventilation strategy designed to exploit the sea breezes for comfort and cooling.

This

building

improves

experience pedestrian. both

of The

domain.

in It

the

building

recessive

expressive

the

the does

is

and public not

dominate the area but is an engaging look suggestive of both

the

coastal

and

region's notable topography.

There is a clear hierarchy in this house. Contrasting to the timber wall that stretches from the letterbox to become the westerly verandah, the house's remainder appears a simple modernist expression like many of the region's homes. On moving closer, the raked timber wall seems to have generated from out of the small letterbox. Yet, from other perspectives, the house appears to have been carved away. The two techniques provide a balance to the overall design.

The wall outside is a covered deck, cliff, upside-down boat, verandah, and, inside, a repository of the bric-a-brac collected on beach holidays – a medium for invoking family memories. It is an inbetween zone, which invokes a feeling of belongingness.

“One of the great beauties of architecture is that each time, it is like life starting all over again.”

– Renzo Piano