Humanizing Spaces- Part 1

Humanizing Spaces

An inquiry into expression of human scale and proportion in works of Leo Pereira

Guide: Bhanupratap Sharma, Manuel M de las Heras, Pratik Zaveri

Divyarajsinh Rana

Humanizing Spaces: An inquiry into expression of human scale and proportion in works of Leo Pereira Presented to the Institute of Design, Environment and Architecture, Indus University In partial fulfillment of the Requirement for the degree of Bachelors of Architecture By: Divyarajsinh Yashvantsinh Rana Thesis guides: Bhanupratap Sharma Pratik Zaveri Manuel M de las Heras August 2018

Rancharda, Thaltej, Ahmedabad, Gujarat 382115

Approval of successful completion of B. Arch Thesis The following Bachelor of Architecture Thesis is hereby approved as credible work on the approved subject carried out and presented in a manner sufficiently satisfactorily to warrant its acceptance as a prerequisite to the Bachelor in Architecture for which it has been submitted. It is also to be understood that by this approval, the undersigned does not necessarily endorse and approve any statement made, opinion expressed or conclusion drawn therein, but approves the study only for the purpose for which it has been submitted and satisfies him to the requirement laid down by the thesis committee in July 2018.

Thesis Title: Humanizing Spaces: An inquiry into expression of human scale and proportion in works of Leo Pereira

Name and Signature of Student: Divyarajsinh Rana

Name and Signature of Thesis Guides: Bhanupratap Sharma

Pratik Zaveri

Manuel M de las Heras

Name and Signature of External Evaluator: Smit Vyas

Name and Signature of HOD: Bhanupratap Sharma

Rancharda, Thaltej, Ahmedabad, Gujarat 382115

Acknowledgement

The completion of this thesis could not have been possible without the participation and assistance of the following people: Firstly, and most importantly I would like to thank my guides- Bhanupratap Sharma, Manuel M de las Heras, Pratik Zaveri for their time, involvement and patience. For understanding my ideas and giving their inputs and insights which were very helpful while developing an understanding of the topic.

A very special thanks to Sir Leo Pereira for indulging in the discussions of the thesis and for also giving me permission to access his drawings and projects.

I would like to thank Smit Vyas, Parth Shah and Vishwanath Kashikar for giving me critics at different phases of my thesis.

To my family for their support, patience and encouragement, especially my mom for tolerating my messy room and for being their during all ups and downs through my five years of journey and my dad for bearing my expenses.

I would like to thank Cept Archives for providing me with drawings and images of the case studies and Devubhai Dholakia, Avanidhar Shah for providing permission and assistance during the site visits.

To Ishita Jain for clearing my doubts, motivating me and helping me with refining my write-up and Mangesh Belsare, Parag Rawool, Anjali Kadam for giving fruitful discussions on the topic.

Thanks to Khusbu Shah, Shailee Mody, Shivani Pandya, Girisha Gajjar for all the moral support and Ruchesha Thaker for being a helping hand throughout the thesis.

I am very much thankful to my friend Neel Mewada for accompanying me during the site visits and being a group work partner.

Last but not the least my group Punit Panchal, Jhanvi Thakar, Twisha Patel, Manaswi Shah, Poojan Shah, Priyanshi Shah, Mohammadhani Momin, Parth Champaneri for walking along throughout the five years long memorable journey and the whole batch of 2013.

Abstract

In architecture, scales and proportions are the inherent factors affecting a built form. Scale is a relative size between two elements or spaces and proportion is a dimensional relationship between the part to part or part to whole in a built form.

One when perceives any space it is a tendency of a human being to relate the elements and space to one’s own stature. This defines a human scale in space.

Thus while designing, the architect is concerned about human anthropometric dimensions and human comfortability in the space. This comfort can be physical as well as psychological achieved by manipulating the human scale in the space.

Every architect has his/her own definition of human scale and own take on the use of human proportions in architecture. It is observed that Leo Pereira’s practice is informed by the philosophy of “Human” scale. He was influenced by the thought of ecology and conservation; about using “less” while pursuing his studies. As a result of it instead of monumentality and large spaces, he breaks down everything to a human scale. His philosophy and process followed in his architectural practice together contribute in giving a “Humane” identity to his architecture. The study is an investigation into an expression of human scale and proportions in the works of Leo Pereira to identify architect’s philosophy and manifestation of human scale and proportion in architecture and to trace spatial and experiential qualities generated due to the same.

There are eight different factors which can be modulated to affect the scale value of the space, namely: 1) Sequence: flow of space, 2) Perspective: cone of vision of a person, 3) Contrast: the variation in design, 4) Order: the proportions used, 5) Shape: the shape of space, 6) Manipulation: creating visual illusions, 7) Light, colour and texture: the finishes and light intensity, 8) Occupancy: number of occupants in the space. Five case studies are selected incorporating two typologies of the project: Residential and Institutional and are analyzed considering the above-mentioned factors. The study is carried forward by redefining the design decisions taken by the architect to understand its relevance and to analyze the observations made.

The inferences of the study show that Leo Pereira manipulates his architecture in a way that it emphasizes human dominance over space and follows the idea of creating a meaningful human place. His expression of proportion is visual rather being two dimensional and for him, human scale is related to the human activities and human comfort of the space achieved through the balanced integration of physical and human proportions. His emphasis on sill and lintels along with warm colours and intimate space with diffused natural light helps in reducing the effective volume of the space along with giving a human scale to space. Thus forms designed by him are ground proximate giving his architecture - an impression of restfulness, a state of complete static balance and repose.

Content Part 1. Introduction 1.1 Aim and objectives

1-3 2

1.2 Research questions

2

1.3 Methodology

2

1.4 Scope and limitations

2

1.5 Chapterization

3

Part 2. Architect Leo Pereira

4-8

2.1 About Leo Pereira

4

2.2 Influences

5

2.3 Philosophy and practice

Part 3. Scale and Proportion 3.1 Scale 3.2 Proportion 3.3 Relation between scale and proportion

6-8

9-23 9-13 14-17 18

3.4 Scale and proportion in architecture

19-20

3.5 Human proportions in Indian context

21-23

Part 4. Case Studies

24-127

4.1 Criteria for selection of case studies

24-25

4.2 Case study 1 - Sihor farm house

26-47

4.3 Case study 2 - Balmandir at Sihor

48-67

4.4 Case study 3 - Avanidhar Shah farm house

68-87

4.5 Case study 4 - Prayer hall at Loyola 4.6 Case study 5 - Swadia house

Part 5. Conclusion

Bibliography

Image credits and Illustration credits

88-105 106-127

128-129

Part 1. Introduction

“Architecture is the learned game, correct and magnificent, of forms assembled in light.”

– Le Corbusier “As an architect you design for the present with an awareness of past for a future which is essentially unknown.”

– Norman Foster Architecture is a learned game; it is a field of giving and taking knowledge. To design for the present it is necessary to learn what has already been done in past to create a better future. But the question which arises is how can this learning be transferred from one to another? It is through analyzing architecture.

The practice which is followed by most of the architecture school is to analyze. Analyzing gives the better understanding of what all important design decisions are taken by an architect and how he or she has met with the challenges of design. This study would help in understanding the approach of an architect and the learnings will help to develop one’s own design.

One of the ways to talk about architecture is to talk about the experience of the built spaces of an individual.

This experience is generated by various factors like solids and voids, scale and proportion, style, textures, colours, light, sound, etc. some of this is described thoroughly in books like “Experiencing architecture”, by Steen Eiler Rasmussen, “Architecture and you”, by William Wayne Caudill FAIA, William Merriweather Pena FAIA, Paul Kennon AIA. Scale and proportion is the factor which is considered the most right from the first year of architectural studies and is always considered while talking about any built form. It is very essential to provide a right setting physically and psychologically, for human well being. There are various experiential parameters attached to the scale and proportion. Every architect has his own way to approach it.

This dissertation study is an inquiry into an expression of scale and proportions in the architecture of Leo Pereira. Owing to his understanding of human scale and proportions being one of the main principles of his architecture and working with him has led me to analyze his work. This study focuses on how Leo Pereira achieves the human scale environment and what are the experiences that provoke in the spaces designed by him.

Introduction

1

1.1 Aim and objectives Aim of the study is to investigate human scale and proportions in the architecture of Leo Pereira. Objective of the study is to: 1. Identify architect’s philosophy and manifestation of human scale and proportion in architecture.

2. To trace the spatial and experiential qualities generated using ‘human scale’ in selected case studies.

1.2 Research Questions: What is an expression of human scale and proportions in the architecture of Leo Pereira?

1. What is an approach towards human scale and proportions followed by Leo Pereira?

2. What are the ways to achieve human scale in designing spaces?

3. Do the manifestation and approach towards human scale and proportion remains same in Leo Pereira’s residential and institutional projects?

4. How human scale and proportions act as a generator of spatial and experiential qualities in designs of Leo Pereira?

1.3 Methodology The analysis is carried out mainly through plans and sections, isometric drawings, diagrams, photographs and physical models to understand the aspect of human scale and proportions and its manifestation in Leo Pereira’s architecture. The study is done by: 1. Analyzing case studies through the factors which are modulated to affect the scale value of the space in a project, namely: (1)Sequence, (2)Order, (3)Manipulation, (4)Shape, (5)Light, (6)Perspective, (7)Contrast, (8)Occupancy. This is to thoroughly understand the making of human scale spaces and spatial as well as experiential qualities generated due to the same.

2. Inquiring and redefining the design decisions based on these parameters to analyze the observations made and to draw inferences.

Note: The parameters taken for study are interdependent on each other.

1.4 Scope and limitations 1. Leo Pereira has done various types of projects but this dissertation will be focusing on the residential and institutional projects of Leo Pereira for the purpose of clarity on two important typologies of projects.

2. The study is using Indian human body proportions for the analysis and will be focusing on the projects in Ahmedabad and Bhavnagar regions of Gujarat.

3. The study is merely based on a perception of the author himself. Efforts have been made to build up this perception as a skill set by studying the ideas of scale and proportion and how a body behaves in differently scaled spaces by interacting with the works of Leo Pereira.

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Humanizing Spaces

1.5 Chapterization Architect Leo Pereira 2.1 About an architect - This topic focuses on the background of an architect.

2.2 Influences - This topic talks about the inspirations of an architect and its effect on his ideology.

2.3 Philosophy and practice - This topic talks about the philosophy of an architect and its manifestation in his architecture, it also covers the overall design process followed by an architect.

Scale and proportion 3.1 Scale - This topic focuses on a definition of scale, its types and its application in architecture.

3.2 Proportion - This topic focuses on a definition of proportion, its types and the types of proportioning system and its application in architecture.

3.3 Relation between scale and proportion - This topic talks about the how scale and proportion are related and interdependent on each other.

3.4 Scale and proportions in architecture - This topic covers various buildings from the history of architecture and basic analysis showing the expression of scale and proportion in the design by different architects.

3.5 Human proportions in Indian Context - This topic covers the average proportions and dimensions of combined(Male & Female) Indian human body.

Case studies - This chapter is covering the analysis of the selected case studies.

4.1 Criteria for selection of case studies 4.2 Sihor farm house, Bhavnagar 4.3 Balmandir at Sihor, Bhavnagar 4.4 Avanidhar Shah farm house, Ahmedabad 4.5 Prayer hall at Loyola, Ahmedabad 4.6 Swadia House, Ahmedabad Conclusion - This chapter is covering the outcomes of this dissertation study. It concludes the inquiry of scale and proportion in the architecture of Leo Pereira.

Introduction

3

Part 2. Architect Leo Pereira 2.1 About Leo Pereira Originally from Goa, born in 1943 and brought up in Ahmedabad, Leo Pereira completed his architectural study from M.S. University Baroda in 1966. He then went to Royal Academy of Art, Copenhagen, Denmark for completing his post-graduation study in LowCost Housing. After completing his post-graduate study in 1972 he started his career with Hasmukh C Patel in Ahmedabad and worked for about two years with him and then went on to start his own private

Fig. 2.1.1: Industrial project designed by Leo Pereira in Alang, Bhavnagar

practice.

Since then he has been working on several residential, institutional and industrial projects. Most of his projects are in and around Ahmedabad and Bhavnagar in Gujarat; he has also designed several projects in Rajasthan and Delhi. Private residences with a modest approach form a major part of his design practice. Many of these projects have been part of several dissertation studies and publications.

He is also a part of architectural education; serving as visiting faculty and studio critic at various architectural schools in and around Ahmedabad.1

Fig. 2.1.2: Leo Pereira’s own house in Ahmedabad

1. Crafted space: the architecture of Leo Pereira. Mohile Parikh Centre for the Visual Arts (Mumbai), 1997.

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2.2 Influences While Leo Pereira was studying, the architectural education was all about monumentality, large spaces by architects like Le Corbusier, Louis Kahn; but he didn’t feel comfortable accepting it. He was interested in the exact opposite of what was taught, for him a building should come down to human scale thus he was influenced by the works of Frank Lloyd Wright. He says that by emphasizing horizontality like Wright did the building can be brought down to

Fig. 2.2.1: Image showing horizontality in Robie House by Frank Lolyd Wright

human scale avoiding an unnecessary feudal attitude of monumentality.

His architecture was influenced by travelling, he observes the places he visits; especially the scale used in huts and villages and tries to achieve it in his work. Most of his aesthetics are derived from such sources. That’s the reason he always says to himself that “No matter what I do, it’s been done before”. He was also influenced by architecture in Scandinavian countries. For him, architecture over there is all about being in the background that one does not notice it

Fig. 2.2.2: Image showing scale of Bhunga, an example influencing Leo Pereira’s architecture

for the first or second time but the third time it gets noticed suddenly. This became a spirit of his works of being in the background.2

Fig. 2.2.3: Image of Copenhagen, Denmark from where Leo Pereira discovered of being in background

2. Crafted space: the architecture of Leo Pereira. Mohile Parikh Centre for the Visual Arts (Mumbai), 1997.

Architect Leo Pereira

5

2.3 Philosophy and practice Leo Pereira’s practice is informed by the philosophy of “human” scale. His spirit of being in the background is supported by his philosophy. Most of his projects are low-key residential projects.

His architectural style is modest with emphasis on proportion, scale, and quality workmanship. He says that “Each and everyone has his own sense of proportions and scale. I have my own and it shows in my work. Some may like it and others may not and it should be like that”. While designing, he always prefers total involvement of the clients because for him residence is very personalized space.

Design Process: It is observed that Leo Pereira

Fig. 2.3.1: Sketch showing importance of specific dimension in designing by Leo Pereira

begins his design from zero by asking questions like: What is space? And then he sketches his first conceptual idea to scale on a piece of A4 tracing which can be a plan or a section or even combination of both. He works with plan and sections simultaneously and develops the design as the change in a plan will affect a section or vice versa. After finalizing the conceptualized idea he transforms it into the drawings using his preset group of dimensions developed from a module of a brick, he has a specific set of dimensions for working in plan and specific set for working in sections.

Fig. 2.3.2: Sketch showing importance of human figure in designing by Leo Pereira 6

Humanizing Spaces

After the first set of drawings, the overall design gets refined by continuous discussions with clients. He also allows people working in his office to have their own inputs in his design. He believes that the thought of another person can help in bringing that little difference in overall design idea.

He analyzes that idea and checks whether it has that potential to be a part of the design idea. If there is any practical error in that idea he actually makes people do things to understand the error.

For example, if one has kept the height of a working table at 900mm, there is a blackboard in his office where he tells the person to draw a line at height of 900mm from finish floor and then make him understand the relevance or error of that measurement. He also sometimes crosschecks his own design dimensions using it. This practice helps him relate to the human scale and the comfortability of the design. Thus after the overall first layout is

Fig. 2.3.3: Sketch showing importance of human figure in designing

by Leo Pereira

finalized by the client he then starts making the final set of drawings with all necessary details of structures and elements, which also gets refined at various stages of construction.

Thus even his philosophy of human scale and his architectural practice with all such small systems of making things work, relates to each other and in a way support to generate the overall architectural style of Leo Pereira.

Architect Leo Pereira

7

Set of dimension derived from module of standard brick size used in designing by Leo Pereira MM 115 230 345 460 575 690 805 920 1035 1150 1265 1380 1495 1610 1725 1840 1955 2070 2135 2300

FEET 0.38 0.75 1.13 1.5 1.88 2.25 2.63 3 3.38 3.75 4.13 4.5 4.88 5.25 5.63 6 6.38 6.75 7.13 7.5

MM 2415 2530 2645 2760 2875 2990 3105 3220 3335 3450 3565 3680 3795 3910 4025 4140 4255 4370 4485 4600

MM

FEET 7.88 8.25 8.63 9 9.38 9.75 10.13 10.5 10.88 11.25 11.63 12 12.38 12.75 13.13 13.5 13.88 14.25 14.63 15

MM 1890 1980 2070 2160 2250 2340 2430 2520 2610 2700 2790 2880 2970 3060 3150 3240 3330 3420 3510 3600

360 115

230

180 90 90

230

360

460

180

230

720

900

920

115

115 230

460

115

230

230 460

460

920 1150

Fig. 2.3.4: Diagram showing set of dimensions used by Leo Pereira

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Humanizing Spaces

FEET 6.3 6.6 6.9 7.2 7.5 7.8 8.1 8.4 8.7 9 9.3 9.6 9.9 10.2 10.5 10.8 11.1 11.4 11.7 12

Specific set of dimensions used in sections by Leo Pereira derived from brick module

460

Specific set of dimensions used in plans by Leo Pereira derived from brick module

FEET 0.3 0.6 0.9 1.2 1.5 1.8 2.1 2.4 2.7 3 3.3 3.6 3.9 4.2 4.5 4.8 5.1 5.4 5.7 6

90 180 270 360 450 540 630 720 810 900 990 1080 1170 1260 1350 1440 1530 1620 1710 1800

Part 3. Scale and proportion 3.1 Scale Scale is using one thing to determine a measurement of something with relation to that one thing. That one thing gives a fixed proportion. For example, while measuring any space we use a reference of any element like a window or door and then we can estimate the space saying it is this many times we repeat that window to get a height of overall space.

Such elements which are used as a measuring device are called scale giving elements. Thus scale is a relative phenomenon. It is a comparison of one set of proportions and dimensions with another set of proportions and dimensions. For example, we say that it was a very large scale disaster, here the scale is used to compare the impact of disaster with other disasters which has happened in history and then using that data it is compared.

In architecture we say that “Building is out of scale” here this statement is very incomplete as one doesn’t know that in what relation is it out of scale, is it out of scale with respect to surroundings, is it out of scale with respect to human body or is it out of scale with respect to its elements. Thus it is necessary to give that relative term to it, so this statement if refined can be like “Building is out of scale in this surrounding”. It is all about how one perceives it and with what one compares it, the smaller the object it is compared with the bigger the scale would be and the bigger the object it is compared with the smaller the scale would be. Thus it is impossible to guess a scale of an object in isolation.

Scale and proportion

9

Every architect has his/her own take on scale; it is that relative term which changes from architect to architect. Some define scale in relation to the human body; some defines with relation to surroundings, some with the building elements and some with a preconceived image of certain objects. For Ralf Weber and Silke Vasskoeter, scale is defined as “the perceived or apparent size of a building”, for Phillipe Boudon scale is a “relationship between the conceived

Relation to surroundings

architectural space and perceived architectural space”, for Bruno Zevi as mentioned in “Architecture as Space” scale is “dimensions with respect to man’s visual apprehension, dimension with respect to man’s physical size”. As an architect, we make “to scale” drawings and models here the scale is a relation of perception of drawings and model to the perception of an environment to be built. As mentioned in book

Relation to human body

“Architecture and You” by William Wayne Caudill FAIA, William Merriweather Pena FAIA, Paul Kennon AIA; there are various terms with relation to scale like human scale, inhuman scale, intimate scale, esthetic scale, small scale, large scale, grand scale, super scale, structural scale, pedestrian scale, automobile scale, residential scale, urban scale, elegant scale and out of scale which are used while talking about certain type of relation.

Relation to elements

Scale has three different types: 1.Physical Scale: It is a measurable scale. For example, “Is the window 4’ by 4’?” or “It is a very small door to get a bed inside” here in both the case scale is measurable.

Relation to preconceived image

2.Associative Scale: It is difficult to measure. It works with “It seems” in a statement. It is measurable to sense; eyes and memory do the measuring. For example, if there is a miniature version of any building it seems like an imitation of the original. Thus this scale is determined by precedent.

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Humanizing Spaces

Fig. 3.1.1: Diagrams showing scale as a relative phenomenon

3.Effectual Scale: It concern with the illusion of

345 230 460 230

115

size. For example, if the house is small - outside inside look bigger which is smaller as per dimensions.

Thus effectual scale is psychological.3 There are two main factors which govern a scale

230

230 230

230 230

115 230

180 90 90 90 90

is borrowed inside through large openings to make

230

value in any building: a.Physical:

Building

Physical

size

is

determined

by

Max. body breadth

convenience in erection, its function, manufacturing

Max. body depth

Buttock leg length

process or nature of the material it is made from.

Shoulder

This unit and its multiple give a scale to the built

the built form. Based on this factor and relation there are three different scales which can be achieved:

Sitting height

Human height, size, and position give the scale to

Human height

b.Human: Human becomes a measuring instrument.

Vertical reach height sitting

form.

figure in any space feels normal it is normal scale, if a human figure feels large it is small scale and if a human figure feels small it is a large scale. This perception changes from person to person.4

Large

Popliteal height

Small, Normal and Large in the spaces. If a human

Human Fig. 3.1.2: Diagrams showing factors governing scale value

Normal

Small

Fig. 3.1.3: Diagrams showing human scale and change in it with the change in height of human figure

3. William Wayne Caudill FAIA, William Merriweather Pena FAIA, Paul Kennon AIA. Architecture and You - How to experience and enjoy buildings. Whitney Library of Design (New York), 1978.

4. Gurdev Singh, Guide- Kulbhushan B Jain. Unpublished thesis: Scaling and proportioning aspect. 1975.

Scale and proportion

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There are factors using which a certain scale can be achieved in architecture. It changes the perception of scale in space. These factors are mentioned below: 1. Sequence: One experiences building in a prolonged sequence of impressions. Each impression is superimposed on last one in an uninterrupted series.

Sequence

This series of impressions can be controlled in a sequence to mould the perception of a spectator within the limitation of other factors of design. One can achieve the required kind of scale by moulding perception of a visitor into a proper sequence or by breaking the sequence.

Sequence can be achieved in three different ways: a. Sequence of spaces – from open to close, from open to open, from close to open.

Perspective

b. Sequence of change in scale within a space. c. Sequence of visual impressions while approaching an object.

2. Perspective: We see everything around in perspective with the man himself in the centre of it.

The realization of the things in focus, the generating points of perspective and the situation of the man himself give size, distance and scale to the objects

Contrast

around. One feels the scale to be normal when the whole space is perceived in one clear view without any shift in focus. But if focus needs to be shifted it gives an impression of large scale.

3. Contrast: Contrast between different objects or spaces makes one realize the change in scale effectively. It helps to perceive the difference in spaces at first sight. Contrast can be achieved in terms of size, light value, texture, colour, etc.

4. Order: Order regulates the series of experiences in sequence for estimating the scale of a space.

Visual or physical order controls the experiences of a spectator to mould the perception of scale of the space. This order is achieved by use of a unit, a

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Humanizing Spaces

Order Fig. 3.1.4: Diagrams showing factors affecting perception of scale of a space

module, a proportioning system or regulating lines to formulate the impression of scale about certain space or a sequence of spaces.

5. Shape: It is difficult to estimate the size of an object. The scale is perceived larger if the shape of an object or space has fewer reference points for a viewer to estimate scale. Thus the spaces which are shaped to provide more reference points or lines

Shape

helps to bring down the scale of a space, perceptually.

6. Manipulation: When something is made to look different than what it is, it becomes manipulation. It is achieved by creating visual illusions in architecture.5 7. Light, colour and texture: Light serves a number of

Manipulation

important practical, sensorial and symbolic purposes.

The light illuminates the shapes and shapes have an emotional power. Dark spaces evoke the feeling of intimacy in the space. Colour is used symbolically to influence mood and to assert or diminish the presence of particular architectural elements. Our perception and appreciation of the three-dimensional forms of sculpture and architecture are conditioned by the textural weave or interplay of surface and spaces. A

Light

weave of texture certain come forward, other recede; some reflect light while others absorb it and so on.

Thus all three factors affect the visual perception of a space affecting the scale value of it.6 8. Occupancy: The number of people occupying the space at a time also affects the scale value of the space. If space is monumental and if there is one person standing in it he/she will feel the scale as monumental, but as soon as space is occupied by the

Occupancy Fig. 3.1.5: Diagrams showing factors affecting perception of scale of a space

group of people in a cone of vision of a person he/she will start feeling it normal rather than monumental.7

5. Gurdev Singh, Guide- Kulbhushan B Jain. Unpublished thesis: Scaling and proportioning aspect. 1975.

6. Patel Ayub, Guide- Jaimini Mehta. Unpublished thesis: Study of scale in architecture. 1983.

7. William Wayne Caudill FAIA, William Merriweather Pena FAIA, Paul Kennon AIA. Architecture and You - How to experience and enjoy buildings. Whitney Library of Design (New York), 1978.

Scale and proportion

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3.2 Proportion It is an ordered relationship between two comparable entities. It is the means by which quality of unity, balance, emphasis, contrast, harmony and rhythm

2:3

3:4

2:5

4:5

1:1

5:6

is achieved in the built form. As mentioned in “Architecture as space” by Bruno Zevi “proportion is the relation of the parts to one another and to the whole of the building, But no matter how it is defined, proportion is the means by which a building is divided to achieve the quality of unity, balance, emphasis, contrast, as well as harmony and rhythm”. Thus proportioning system helps the spectator to judge the size and scale of the built form. There are primarily two types of proportion in architecture:

5:8

1:2

7:10

13:23

Mathematical Fig. 3.2.1: Diagrams showing certain proportions used most in day to day life

1.Mathematical: This type of proportion works in plans, elevations and sections. It works with dimensions and ratios derived from it.

2.Visual: This type of proportion is in perspective; it is how visually the things look in proportion or a perceived proportion seems correct to the eye. For example, a 3’10” X 4’ window will look a square, mathematically it is a rectangle but visually it appears as a square. Such relationships fall into this type.8 Visual Fig. 3.2.2: Image showing a window in Avanidhar Shah farmhouse which is 630X690mm in dimensions but visually appears a square.

8. Gurdev Singh, Guide- Kulbhushan B Jain. Unpublished thesis: Scaling and proportioning aspect. 1975.

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Humanizing Spaces

To achieve a certain proportion in a building it is necessary to have a certain proportioning system followed, certain rules or certain ratios which are in relation to one another. Proportioning system helps in achieving a part to whole or whole to part relationships in built forms. These proportioning systems are as follow: 1.Geometric progression: It is a sequence of numbers where each term after the first is found by multiplying the previous one by a fixed, non-zero number called the common ratio.9

1

3

9

Geometric progression

1, 3, 9, 27, 81...... Common ratio: 3 2, 8, 32, 128, 512...... Common ratio: 4 2.Arithmetic Progression: It is a sequence of numbers such that the difference between the

1

3

5

7

9

Arithmetic progression

consecutive terms is constant.10 1, 3, 5, 7, 9...... Common difference: 2 2, 6, 10, 14, 18...... Common difference: 4 3.Harmonic Progression: It is a sequence of real

1

2

3

5

8

Fibonacci series Fig. 3.2.3: Diagram showing proportioning systems

numbers formed by taking the reciprocals of an arithmetic progression. Equivalently, it is a sequence of real numbers such that any term in the sequence is the harmonic mean of its two neighbours.11 1/1, 1/3, 1/5, 1/7, 1/9......

4.Fibonacci series: It is a sequence of numbers in which each number (Fibonacci number) is the sum of the two preceding numbers.12 1, 2, 3, 5, 8......

9. “Geometric Progressions.” Brilliant Math & Science Wiki, brilliant.org/wiki/geometric-progressions/.

10. “Arithmetic Progressions.” Brilliant Math & Science Wiki, brilliant.org/wiki/arithmetic-progressions/.

11. “Harmonic Progression.” Brilliant Math & Science Wiki, brilliant.org/wiki/harmonic-progression/.

12. “Fibonacci Sequence.” Brilliant Math & Science Wiki, brilliant.org/wiki/fibonacci-series/.

Scale and proportion

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Other two important proportioning systems which are used in architecture are: 1.Golden proportion: It is a fixed ratio of 1:1.618 or 5:8. This ratio can be seen all around us in nature and is considered the most pleasing ratio for a human to perceive. In architecture also this ratio is being used right from architecture of Stonehenge (20th -16th Century B.C.E.), by Greeks in temples (5th Century B.C.E.), in Egyptian pyramids and even today by architects. Fibonacci series is used to put it down on paper. The important aspect about this series is that higher it goes, closer it gets to the golden ratio, i.e. 2/3 is far from it, 3/5 is closer to golden ratio while 5/8 is almost there. Gyorgy Doczi in his book “The power of limits,1944” mentions that “The power of golden section to create harmony arises from its unique capacity to unite different parts of a whole so that each preserves its own identity and yet blends into the greater pattern of a single whole”.

Fig. 3.2.4: Diagram showing golden proportion in nature and architecture

2.Human proportion: In this, the ratios are derived using a human body as a proportion giving element.

It is the ratio of dimensions of different parts of the human body. Harmony in the building is achieved using these derived ratios. Marcus Vitruvius Pollio was the first to make a diagram of human body proportion he suggested that height of a well proportioned human body is equal to the length of his outstretched arms. The human body and outstretched arms create a square that encloses the human body, while the hands and feet touch a circle with the navel as a centre. After this Da Vinci describes human proportion in his book called “Luca Pacioli’s book, Divina proportione”. This theory was refined by Durer in his”Four books on human proportion” here the dimension of the face is changed with respect to that of Vitruvius and Da Vinci.

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Humanizing Spaces

Fig. 3.2.5: Diagram showing human proportion in architecture

Even Le Corbusier has derived his own human proportion called “The Modular”. He divided the human height from navel with the help of golden section to get a series of measurements. He found that man’s height with the upraised arm was double the navel height, i.e. 226cm. But he took Frenchman as a reference for deriving the measurements which he realized to be small so after that, he took an average height of Englishman of 6feet (183cm) and made two final series of figures from very small to

Vitruvius

very largest. Thus Modular man became the essence of harmony in Le Corbusier’s projects.

Even when there were no numbers to derive a certain ratio, architects have used a basic standard unit for deriving a certain relation. Like the rule of a foot, palm where foot, palm acts as a measuring device or rule of thumb where the thumb is taken equal to one inch, it was further divided into subunit - like a foot is divided by eye into 2, 3, 4, 6, or 12 parts. Even

Da Vinci

there were standard specifications for bricks, timber, the distance between beams and rafters in a house, windows and doors which were used in designing.

Thus it is fairly necessary to work with standard units, as timber which the carpenter prepares has to fit the brickwork done by a mason or vice versa for a building to get actually built.

The proportion differs from material to material. A concrete building should proportionally look like a

Albrecht Durer

concrete building while a stone building should look like a stone building if a concrete building looks like a stone then it doesn’t follow a proportion which that material offers.13

Le Corbusier Fig. 3.2.6: Diagram showing human proportion used by different architects 13. William Wayne Caudill FAIA, William Merriweather Pena FAIA, Paul Kennon AIA. Architecture and You - How to experience and enjoy buildings. Whitney Library of Design (New York), 1978.

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3.3 Relation between scale and proportion Scale is the relative size of individual elements compared to each other and to a reference measurement. So the actual size of one object is known which is compared to get a size of another object. It is commonly compared to our human body.

While proportion is the dimensional relationship of one part to another or to the whole, described in terms of a ratio. There is no right or wrong when it comes to the application of proportion but while talking about scale there is right or wrong in comparison to something. Scale has an additional meaning which concerns the proportional relationships between man and building, but the proportions are within the building itself and their effect on man. Thus a certain proportional relationship can affect the scale of the building.

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Humanizing Spaces

3.4 Scale and proportions in architecture Understanding the idea of scale and proportion, the question arises what are its implications in architecture? There are different ways and approach that different architects have used to create harmony in a design as discussed earlier. Some of the approaches in some design are discussed below: 1.Santa Maria Novella: According to the Renaissance artist and architect Leon Battista Alberti, harmony of proportions should be achieved in such a manner

Fig. 3.4.1: Diagram showing proportions in elevation of Santa Maria Novella, Florence (1456-70) by Alberti

that, “nothing could be added, diminished, or altered except for the worse.” Leon Battista Alberti created a system of architecture based on the ratios 2:1 and 3:1. Although this system certainly had harmony due to the many repeated ratios, it lacked additive properties.14 2.St.

Peter

Basilica:

Donato

Bramante

was

influenced by Brunelleschi and Alberti, Bramante developed a new church design based on a central plan. Bramante based his design on the Roman Pantheon (a pagan temple!). A central plan in the shape of a Greek cross and topped by a dome.

Bramante’s new design reflected Renaissance architecture’s emphasis on geometry and “ideal forms” derived from the proportions of the human

Fig. 3.4.2: Diagram showing proportions in plan of St. Peter by Bramante (1506)

body.15 3.San Carlo alle Quattro Fontane: Also called San Carlino, an influential Baroque church in Rome that was designed by Francesco Borromini as part of a small monastery for a community of Spanish monks.

Borromini based his designs on geometric units.

By abnegating the classical principle of planning in terms of modules, i.e. in terms of the multiplication and division of basic arithmetical unit(usually the diameter of the column). Spaces of Borromini are not static units but flexible entities that may take part

Fig. 3.4.3: Diagram showing proportions in plan of San Carlo alle Quattro Fontane by Borromini (1638–46)

14. “Module11 - Module 11 A Unified Theory of Proportions 1 Three Canons of Architecture and Design The History of Proportion in Architecture and Design Has.” Course Hero, www.coursehero.com/file/8591848/Module11/.

15. “Bramante.” Art 109 Renaissance to Modern, 1 Jan. 2012, art109textbook.wordpress.com/new-online-textbook-2-2/chapter-4-the-high-renaissance-in-rome/bramante/.

16. Norberg-Schulz, Christian. Baroque architecture. Faber & Faber (Electa,London etc), 1979.

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in the more comprehensive spatial interaction. This flexibility is expressed by means of the movement of the bounding surface. Rather than dividing space according to relations such as “before-behind”, Borromini’s undulating wall makes the space, expand and contrast, creating changing “outside-inside” relationships.16 4.Schroder House: Designed by Gerrit Rietveld, the two coloured plan drawings rotated at 45-degree

Fig. 3.4.4: Diagram showing proportions in elevation of Schroder House by Gerrit Rietveld (1924)

angles, each represent rooms that qualify a particular set of dimensions. At the lower level, the various intensities of blue signify all the rooms whose length and width are at a golden ratio (1:1.618.) At the top tier, the various shades of red represent all the

Fig. 3.4.5: Diagram showing proportions in plans of Schroder House by Gerrit Rietveld (1924)

rooms whose dimensions are perfect squares (width = length.) There is a use of golden ratio in elevation also to create a harmony in façade. Judging from this diagram, it is very clear how heavily the architect, Gerrit Rietveld, relied on the geometrical aesthetic principles to facilitate his design.17 5.Villa Stein: Designed by Le Corbusier. Colin Rowe interprets Le Corbusier’s facades as “the primary

Fig. 3.4.6: Diagram showing proportions in elevation of Villa Steinde-Monzie by Le Corbusier (1926)

demonstrations of the mathematical discipline;” at Garches, for example, Le Corbusier “carefully indicates his relationships by an apparatus of regulating lines and figures and by placing on the drawings of his elevations the ratio of the golden section, A:B=B:(A+B).”18 6.Farnsworth House: Designed by Mies Van der Rohe the idea of space making was that the space between the series of support columns is the width of a golden section rectangle. The use of golden section rectangle was also working in plan as a repetition of rectangle. Overhang of the roof, left and right, as well as the smaller pane of glass, is roughly equivalent to the width of one of the smaller squares in the golden section rectangle construction diagram.19

Fig. 3.4.7: Diagram showing proportions in plans and elevations of Farnsworth House by Ludwig Mies van der Rohe (1945-51)

17. “Analyzing The Rietveld Schroder House Through Original Diagrams.” Architectural Aesthetics, yunfrankzhang.com/blog/2017/7/2/analyzing-the-rietveld-schroder-housethrough-original-diagrams.

18. “DOE Lecture: Building Parts - Walls.” Gloria Anzaldúa: “Borderlands/La Frontera”, ccat.sas.upenn.edu/george/elevation.html.

19. Elam, Kimberly. Geometry of design : studies in proportion and composition. Princeton Architectural Press (New York), 2001

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Humanizing Spaces

3.5 Human proportions in Indian context While talking about human scale and human proportions in an Indian context it is necessary to know the Indian anthropometric dimensions to relate the spaces with the human stature. Some of the average combined(male and female)

human

dimensions in different stature position are shown below:20

20. Chakrabarti, Deb Kumar. Indian anthropometric dimensions : for ergonomic design practice. Ahmedabad: National Istitute of Design, 1997.

Scale and proportion

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20. Chakrabarti, Deb Kumar. Indian anthropometric dimensions : for ergonomic design practice. Ahmedabad: National Istitute of Design, 1997.

Scale and proportion

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Humanizing Spaces

Part 4. Case Studies 4.1 Criteria for selection of case studies Case study selected is based on criteria of a typology of the project, i.e. residential and institutional for understanding of scale and proportion in it. Another criteria is the location of project, i.e. Bhavnagar and Ahmedabad to understanding if there are any changes in design decisions with the change in location of the project.

• Sihor farm house, Bhavnagar • Balmandir at Sihor, Bhavnagar • Avanidhar Shah farm house, Ahmedabad • Prayer hall at Loyola, Ahmedabad • Swadia house, Ahmedabad

Case Study

25

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Humanizing Spaces

4.2 Case study 1 - Sihor farm house, Bhavnagar

Location: Sihor, Bhavnagar Project year: 2004 Built up area: 338 m2 The farm house is the place for relaxation on weekends and holidays for owner Devubhai Dholakia. It started with the requirement of having a view of farm on all four sides from first floor, making it a family floor of the house and having a sloping roof. Leo Pereira designed a very balanced combination of flat and sloping roof in the house with a wooden deck running on three sides of the house fullfilling the client’s basic requirements.

Sihor farm house

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Fig. 4.2.1: Plans of Sihor farm house

16

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1. Sleeping Space- Level +450 2. Common Space- Level +450 3. Toilet Space- Level +440 4. Washbasin Space + Corridor- Level +450 5. Sleeping Space- Level Âą0.00 6. Storage Space 7. Cooking Space- Level +2850 8. Swing Space- Level +2850 9. Family Space + Dining Space- Level +2850 10. Toilet Space- Level +2840 11. Washbasin Space + Corridor- Level +2850 12. Sleeping Space- Level +2850 13. Living Space- Level +2400 14. Meditation Space- Level +2400 15. Arrival Space- Level +2000 16. Terrace Cabin Space- Level +5700

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Fig. 4.2.2: Sections of Sihor farm house Sihor farm house

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South-East Elevation

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Fig. 4.2.3: Elevations of Sihor farm house 30

Humanizing Spaces

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1. Sleeping Space 2. Common Space 3. Toilet Space 4. Washbasin Space + Corridor 5. Sleeping Space 6. Storage Space 7. Cooking Space 8. Swing Space 9. Family Space + Dining Space 10. Toilet Space 11. Washbasin Space + Corridor 12. Sleeping Space 13. Living Space 14. Meditation Space 15. Arrival Space

6

Fig. 4.2.4: Exploded isometric view of Sihor farm house Sihor farm house

31

Fig. 4.2.5: Image of verandah space showing scales, material, colour, texture in Sihor farm house 32

Humanizing Spaces

Fig. 4.2.6: Images showing views of Sihor farm house Sihor farm house

33

Fig. 4.2.7: Diagram showing the change in levels of plinth and slab to generate a sequence.

Sequence: As one starts moving inside the farm

experience of the house, as shown in figure 4.2.7.

house the interpretation of one view to the next

Thus here the viewer is shown the human scale of

starts joining in an uninterrupted series. The first

the building in a controlled revelation.

sequence that takes place is between scale of open spaces, i.e. scale of farm to scale of entrance porch

The function space offers is emphasized by varying

platform. As shown in figure 4.2.8, water body plays a

size and scales of the spaces. The connection

major role it acts as a physical barrier between these

between the spaces is through narrow transition

different scales of open space. Narrow ramp acts as

space. The semi-open dining space on the first floor

a connector between these two spaces, which helps

is the space where most of the spaces of the house

in bringing down the scale from that of a farm to that

open up. Even the vertical connection of the floors

of an entrance porch where a small group of people

happens in the same space making it the most social

can fit. Thus ramp acts as a scaling element in the

space of the house. Thus as shown in figure 4.2.7,

farm house. From the porch, one enters a partially

the scale of the space is also increased compared to

enclosed open corridor which takes one to the living

other spaces of the house. But this space also offers

space of the farm house, as shown in figure 4.2.8. This

relation to the human body which is discussed in the

passage, as well as the one which connects bedroom

further topic.

to semi-open dining space, makes one aware of the true dimensions of our human body. There is a slow and gradual change of scales amongst the spaces which creates a continuous and uninterrupted

34

Humanizing Spaces

Fig. 4.2.8: Diagram showing the exploded isometric view, the red colour denotes the entry in the house Sihor farm house

35

Perspective: In the farm house when one starts perceiving internal spaces, the ceiling, floor and side surfaces disturb the visual line in every space except the semi-open dining space, providing the experience of intimacy inside the space, as shown in fig. 4.2.10.

The semi-open space being higher in scale compared to other spaces, the scale is brought down with the help of exposed RCC slab which is perceived as a horizontal band in the space, as shown in fig. 4.2.9 & 4.2.11. Thus when the viewer wants to shift focus vertically it gets led by this horizontal band. This

Fig. 4.2.9: Image showing the exposed RCC band giving reference line and breaking the scale of the space

band continues throughout the outer surface of the house as well as the lintel bands, this emphasizes horizontality in the house.

Another detail which the architect made use of was providing a groove where the walls and slab meets. Painting the groove with same grey colour as exposed RCC slab, the architect creates an illusion of lack of corners and edges where the wall meets the ceiling. This makes one perceive the slab as floating and awares one about the horizontality of the space,

Fig. 4.2.10: Image showing the living space as well as bedroom which is perceived in one clear view.

bringing down the scale to that of a human providing distinctive character to the built form.

Fig. 4.2.11: Diagrams showing the cone of vision of a person and how spaces fit in that vision in sections 36

Humanizing Spaces

Fig. 4.2.12: Diagrams showing the cone of vision of a person and how spaces fit in that vision in plan

Fig. 4.2.13: Diagram showing the slab bands and lintel bands emphasizing horizontality in the farm house.

Sihor farm house

37

Legend Actual Axis Shifted Axis

Fig. 4.2.14: Plan showing intentional shift of axis inspite of having tendency of strong axis

Contrast: At a scale of the house, one is very

the two spaces which offers a time factor to it. As

sensitive and reactive to every small part of it. Thus

shown in fig 4.2.14, in spite of having a tendency of a

architect offered a small contrast between the scale

strong axis with a perfectly symmetrical composition

of bedroom space and the scale of semi-open dining

the axis is intentionally changed, which breaks

space, in the spatial sequence of the house. This

down the scale to the human for a person to feel

contrast is handled by the transition space between

comfortable in the space.

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Humanizing Spaces

Light, colour and texture: The external wall surfaces are covered with dana plaster and golden beige colour. Using this texture and colour on the external walls, when looked at from a distance gives a darker tone to the wall surface reducing the scale of the built form. The internal walls are finished plastered and are lime painted, while the slabs are kept exposed RCC and floors are finished in three different finishes: (1) Wood with dark natural polish, (2) IPS, (3) Rough Kota stone, as shown in fig. 4.2.16.

As we can see from the images in fig 4.2.16, the floors and slabs are much darker in colour and keeping the walls lighter contributes in reflecting less amount of light inside the space. Even the wall to opening ratio is either 1/6 or 1/7 in the most of the spaces of the house, as shown in the light study done in fig. 4.2.17 & 4.2.18. One can clearly see that semi-public spaces are lit and less dark then the private spaces of the house, thus the house shows a characteristic use of smaller openings, meant for specific intensities in space. Keeping the spaces darker help in hiding

Fig. 4.2.15: Colour, textures and materials used in the house

the sharp details inside a space and evokes a deeper feeling of intimacy in the space.

Fig. 4.2.16: Images showing colour, textures and materials used in the house Sihor farm house

39

21st March - 9am, 1pm, 5pm

21st June - 9am, 1pm, 5pm

21st September - 9am, 1pm, 5pm

21st December - 9am, 1pm, 5pm

Ground Floor Bedroom - 1: Wall to opening ratio - 1/6

21st March - 9am, 1pm, 5pm

21st June - 9am, 1pm, 5pm

21st September - 9am, 1pm, 5pm

21st December - 9am, 1pm, 5pm

Ground Floor Bedroom - 2: Wall to opening ratio - 1/7

21st March - 9am, 1pm, 5pm

21st June - 9am, 1pm, 5pm

21st September - 9am, 1pm, 5pm

21st December - 9am, 1pm, 5pm

Ground Floor Storage room

21st March - 9am, 1pm, 5pm

21st June - 9am, 1pm, 5pm

21st September - 9am, 1pm, 5pm

21st December - 9am, 1pm, 5pm

Ground Floor Semi-open common space Fig. 4.2.17: Images showing light quality of different spaces at four different months and three different timings 40

Humanizing Spaces

21st March - 9am, 1pm, 5pm

21st June - 9am, 1pm, 5pm

21st September - 9am, 1pm, 5pm

21st December - 9am, 1pm, 5pm

First Floor Bedroom: Wall to opening ratio - 1/6

21st March - 9am, 1pm, 5pm

21st June - 9am, 1pm, 5pm

21st September - 9am, 1pm, 5pm

21st December - 9am, 1pm, 5pm

First Floor Kitchen: Wall to opening ratio - 1/4

21st March - 9am, 1pm, 5pm

21st June - 9am, 1pm, 5pm

21st September - 9am, 1pm, 5pm

21st December - 9am, 1pm, 5pm

First Floor Meditation room: Wall to opening ratio - 1/7

21st March - 9am, 1pm, 5pm

21st June - 9am, 1pm, 5pm

21st September - 9am, 1pm, 5pm

21st December - 9am, 1pm, 5pm

First Floor Semi-open common space Fig. 4.2.18: Images showing light quality of different spaces at four different months and three different timings Sihor farm house

41

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to exaggerate established order in the house nor to impress the beholder, but only to comfort human being in the space (to humanize the spaces).

one to sit down and lean against it. It is clearly seen that the architect’s intention of integrating human activities and human dimensions in shaping spaces is not

low to achieve a relaxing environment within for pleasant conversations to happen. Other ordering elements like slabs and plinths rather being only formal, invites

1650mm from the finished floor with a slab height of either 2250mm or 2700mm based on the function that space offers. Thus the scales of the spaces are kept

of the house, this dimension directly relates to the human body for a person to take support while standing or climbing the stairs. The lintels are at a level of

human is in standing position architect has provided window sills at height of 900mm from the finished floor, the same dimensional relationship is seen in railings

general. From the diagrams in 4.2.19, one can see the positioning of windows done based on convenient human stature position in the space. In general, when

dimensions but also with the human dimensions. Visually the spaces are providing the perfect rhythm of spaces in relation to human activities and human life in

and its repetition but also with relation to human stature dimensions. The scaling and cognition of individual spaces are thus not merely dependent on physical

Order: The order is helping to regulate a series of experiences in sequence for judgment of scale. Here architect is defining spaces based on a module of brick

Fig. 4.2.19: Diagrams showing the volume of individual space showing all four elevations of the space in the first row, plan of the space in second row and isometric (volume) on the third row. All the elevations and plans are having an average Indian human body to show the space in relation with the body dimensions, isometric of the space shows the dimensions with respect to brick module

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Sihor farm house 43

Occupancy: Occupancy is derived as a scaling constant for individual spaces depending upon number of people using it at a time.

Scaling Constant = No. of user X Average volume of a user Volume of a space There are several relations that are seen in the farm house itself like the living space for 4 person on ground floor has same scaling constant for 6 person on first floor.

This relation clearly states that scales in the house are designed keeping in mind the number of occupants in the space as the same volume of a space which is designed for only 2 person cannot work if 6 person occupies it and the perception of scale would become smaller than human giving the uncomfortable feeling in the space.

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Fig. 4.2.20: Diagrams showing occupancy constant in individual spaces 44

Humanizing Spaces

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Inquiry

Original

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Sequence: As per the observation the ramp and water body acts as a major scaling element in the farm house, here the situation is altered removing those two elements replacing it by stairs. Another situation is altered by changing the width of the transition space connecting entrance porch to the living room.

Inferences: The ramp provides the time factor for change in scale of the space which is missing if it is just stairs. The entrance to the farm house becomes very loose, not creating an impression of change in scale on spectators mind. In another case, the narrow transition space when is broadened the intention of the space for movement loses and will raise a confusion for a person about the function it serves. Even the original transition space design reminds one of their body dimensions giving an idea of human scale which goes missing if space becomes wider.

Original

Original

Varied

Varied

Perspective: As per the observation the exposed RCC slab provides a horizontal reference in the space.

This band continues to provide horizontality in the farm house bringing down the scale to human. Here the situation is altered by removing the horizontal band.

Inferences: The horizontal band is where the eye stops in the space while perceiving it, this provides a reference line to estimate the scale and to relate oneself to space. When the band is removed as shown in the second image there is no horizontal reference in the space thus making the space perceived as larger than human scale making oneself difficult to relate to the space dimensions. The second set of the diagram shows that the horizontality of the house is lost if the horizontal bands in slabs and lintels are removed thus changing the perception of the house to be more than a human scale as the visual connection to the ground due to horizontality is lost.

Sihor farm house

45

Original

Varied

Contrast: There is a contrast acting in terms of scale between the semi-open dining space and bedroom space, the situation is altered by removing this contrast between the spaces.

Inferences: The contrast here provides a sense of interest in the spaces and helps one to make a relative judgement of the scale of spaces. If this contrast is removed the relative judgement of scale between spaces is reduced thus making the experience very monotonous.

Original

Varied

Light, colour and texture: The spaces in the house remain dark throughout the day with the help of controlled wall to opening ratio and the colours used, here the situation is altered by changing wall to opening ratio and colours.

Inferences: The controlled opening sizes and darker ceiling and floors keep the spaces dark evoking the feeling of intimacy inside the space. When the openings are made bigger with a brighter colour of the ceiling, space gets a glare also borrowing from outside to inside losing the intimacy that original situation offers.

Original

Varied

Original

Varied

Order: The spaces designed have a visually balanced proportion with respect to the function space holds, here the situation is altered by either changing the height or width of the space.

Inferences: It is clearly seen that the width to height ratio has a relation to each other. When the height of the space is increased keeping the width same the space serving the function of a bedroom is perceived as a living room or family room of the house taking away the low scale offered by the original design. If the width is changed keeping the height of the space as it is, the intimacy of the bedroom is lost and visually space looks out of proportion. Thus creating a feeling of chaos in the space.

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Humanizing Spaces

Sihor farm house

47

48

Humanizing Spaces

4.3 Case study 2 - Balmandir at Sihor, Bhavnagar

Location: Sihor, Bhavnagar Project year: 1998 Built up area: 196m2 Balmandir was proposed and funded by Devubhai Dholakia to Sihor nagarpalika for childrens (3 to 5 years in age) to get their intial studies for free. It is a place where childrens gets nourished and takes their first step towards education. Keeping this in mind Leo Pereira has designed it with respect to scales of a child, in a way making the institute a perfect place of playfull learning.

Balmandir at Sihor

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Terrace Plan 1. Entrance Space- Level +450 2. Office Space- Level +450 3. Storage Space- Level +450 4. Corridor- Level +450 5. Teaching Space- Level ±0.00 6. Teaching Space- Level ±0.00 7. Teaching Space- Level ±0.00 8. Cooking Space- Level +450 9. Storage Space- Level +450 10. Drinking Water Space- Level +450 11. Common Toilet Space- Level +450 12. Staff Toilet Space- Level +450 13. Utility Space- Level +450 14. Watchman’s Living Space- Level +450

200CM 0

Fig. 4.3.1: Plans of Balmandir at Sihor 50

Humanizing Spaces

m

0c

m

0c

40

80

400CM

800CM 1600CM

10

7

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Section AA

2

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Section BB

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Section CC

11

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Section DD

14

Section EE

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Section FF

7 200CM 0

400CM

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Section GG

800CM 1600CM

Fig. 4.3.2: Sections of Balmandir at Sihor Balmandir at Sihor

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4

6

Section HH

2

1

Section II

Fig. 4.3.2: Sections of Balmandir at Sihor

South-East Elevation

South-West Elevation

North-West Elevation

North-East Elevation 200CM

Fig. 4.3.3: Elevations of Balmandir at Sihor 52

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0

400CM

800CM 1600CM

11 12 13 14

9

10

7

8

6 5 4

2

3 1

1. Entrance Space 2. Office Space 3. Storage Space 4. Corridor 5. Teaching Space 6. Teaching Space 7. Teaching Space 8. Cooking Space 9. Storage Space 10. Drinking Water Space 11. Common Toilet Space 12. Staff Toilet Space 13. Utility Space 14. Watchman’s Living Space

Fig. 4.3.4: Exploded isometric view of Balmandir at Sihor Balmandir at Sihor

53

Fig. 4.3.5: Image of corridor space showing scales, light quality, material, colour, texture in Balmandir at Sihor 54

Humanizing Spaces

Fig. 4.3.6: Images showing views of Balmandir at Sihor Balmandir at Sihor

55

Fig. 4.3.7: Diagram showing the sectional qaulities, i.e. change in levels of plinth and slab to generate a sequence

Sequence: The architect has designed a prolonged

is kept low to evoke intimacy, especially for the

sequence of scaled spaces for users of the institute.

children to make them comfortable in the institute.

The way the architect has moulded the sequential

Other spaces in the institute like office, classrooms,

experience for an adult and a child right from the

and kitchen are kept higher in scale comparatively.

entrance to the classroom is very discrete. As shown

Architect has arranged the spectator’s impressions

in figure 4.3.8, when one enters the institute there

in a planned sequence of small-scale corridor to a

is a comparatively large scale open drop off area

large scale space holding an activity within. As shown

designed in front. As the parents and children, both

in fig. 4.3.7, there is a slow and continuous change in

will be part of this space on an everyday basis the

scales of the spaces except for the classroom which

scale is kept larger.

has different sectional quality discussed in further topics.

It is clearly seen that entrance to the institute is kept very indirect there is no direct view inside the institute from this drop off area. From the drop off area one step on an open defined concrete platform. This platform defines the change in scale of open space and acts as a scaling element between the entrance porch and drop off area of the institute. Entrance porch continues becoming the corridor connecting all the spaces of the institute. The height of the corridor

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Fig. 4.3.8: Diagram showing the exploded isometric view, the red colour denotes the entry in the institute and corridor connecting the spaces Balmandir at Sihor

57

Fig. 4.3.9: Diagram showing the cone of vision of a person and how spaces fit in that vision in plan

Fig. 4.3.10: Diagrams showing the cone of vision of a person and how spaces fit in that vision in sections

Perspective: From the diagrams in 4.3.9 and 4.3.10, it is clear that spaces in the institute are designed in such a way that they can be perceived in one clear view without any shifts in focus giving the feeling of being in human scale. The corridor is the most intimate space of the institute in terms of physical dimensions. As discussed earlier the scale of a classroom is kept higher comparatively but here architect has designed a specific cross-section of the space to bring the scale down to human (also in this case to that of a child). As

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Humanizing Spaces

one enters the classroom the first sloping plane helps in gradually increasing the scale. But as soon as one shifts the focus vertically to perceive the volume it gets disturbed by the beams running in the space at height of 2700 mm. These beams hold the fans in the space but also provide an imaginary horizontal plane to the space bringing the scale down to human.

The second half sloping plane of the classroom is designed in a way to bring down the scale to that of a child. Thus the architect has achieved an in-between human scale (child and adult) to make the space comfortable for both ages of the user group.

Light, colour and texture: The internal walls are finished plastered and are lime painted, while the slabs are kept exposed RCC and floors are finished in three different finishes: (1) IPS, (2) Rough Kota stone, (3) Mirror polished Kota stone.

As we can see from the images in 4.3.12, the floors and slabs are much darker in colour and keeping the

Fig. 4.3.11: Colour, textures and materials used in the Balmandir

walls lighter contributes in reflecting a considerable amount of light inside the space. The sunlight from clearstory windows designed in the classroom wash the exposed RCC surface absorbing the unnecessary glare providing sufficient amount of light for an activity of reading to happen in the space. Even the wall to opening ratio is 1/5 in the major spaces of the institute. As shown in the light study done in fig.

4.3.13 and 4.3.14 on the next page, one can clearly see that spaces remain considerably dark, which hides the sharp details inside a space thus reducing the overall perception of a scale in the space.

Fig. 4.3.12: Images showing colour, textures and materials used in the institute Balmandir at Sihor

59

21st March - 9am, 1pm, 5pm

21st June - 9am, 1pm, 5pm

21st September - 9am, 1pm, 5pm

21st December - 9am, 1pm, 5pm

Corridor

21st March - 9am, 1pm, 5pm

21st June - 9am, 1pm, 5pm

21st September - 9am, 1pm, 5pm

21st December - 9am, 1pm, 5pm

Classroom: Wall to opening ratio - 1/5

21st March - 9am, 1pm, 5pm

21st June - 9am, 1pm, 5pm

21st September - 9am, 1pm, 5pm

21st December - 9am, 1pm, 5pm

Office room: Wall to opening ratio - 1/9

21st March - 9am, 1pm, 5pm

21st June - 9am, 1pm, 5pm

21st September - 9am, 1pm, 5pm

21st December - 9am, 1pm, 5pm

Service (Drinking Water) Fig. 4.3.13: Images showing light quality of different spaces at four different months and three diffrent timings 60

Humanizing Spaces

21st March - 9am, 1pm, 5pm

21st June - 9am, 1pm, 5pm

21st September - 9am, 1pm, 5pm

21st December - 9am, 1pm, 5pm

Kitchen: Wall to opening ratio - 1/4

21st March - 9am, 1pm, 5pm

21st June - 9am, 1pm, 5pm

21st September - 9am, 1pm, 5pm

21st December - 9am, 1pm, 5pm

Kitchen storage

21st March - 9am, 1pm, 5pm

21st June - 9am, 1pm, 5pm

21st September - 9am, 1pm, 5pm

21st December - 9am, 1pm, 5pm

Storage room

21st March - 9am, 1pm, 5pm

21st June - 9am, 1pm, 5pm

21st September - 9am, 1pm, 5pm

21st December - 9am, 1pm, 5pm

Security room: Wall to opening ratio - 1/7 Fig. 4.3.14: Images showing light quality of different spaces at four different months and three diffrent timings Balmandir at Sihor

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200CM

400CM 800CM

2.8x

1.3x

a = 9cm (Brick height with mortar) b = 11.5cm (Brick width)

70.1y

2.8x

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x = 101.6cm (Average 5year old Indian child height) y = 30.5cm (Average 5year old Indian child width)

2.1x

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b

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6.4y 10.2y

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23a

15a

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23a

Fig. 4.3.15: Diagrams showing the volume of individual space showing all four elevations of the space in the first row, plan of the space in second row and isometric (volume) on the third row. All the elevations and plans are having an average Indian human and child body to show the space in relation with the body dimensions, isometric of the space shows the dimensions with respect to brick module

0

100CM

2.1x

b 53

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b

62

Order: There is a strong relationship seen in fig.

been removed from the designed RCC block. When

4.3.15, between proportions of human body and child

passing through the corridor one will notice that it

body to the proportions of spaces in the institute. The

happens at an exact eye level of an adult as well as

architect has carefully and sensitively manipulated

at an eye level of a child. This is done to not to block

ordered relationships in the institute. Walls of the

the inside–outside relationship.

classroom spaces are thick which gets revealed at the openings giving a quality of mass to the space to

Plinths in the institute are also crafted in such a way

have a reducing effect on the proportion of the space.

that it allows making a use of it other than serving as

The patterns generated here are not only in terms

a level definer. If we see in the classroom the plinth

of physical order but its relation to activities carried

connects the classroom space to the corridor but also

out in the space. The proportions of openings in the

allows a child to sit on it. In this way by integrating

classrooms are done with a base of child dimensions

the activities architect is achieving a functional

as an ordering principle. Openings are designed and

rhythm in spaces to serve the purpose of teaching.

positioned in such a way that it becomes a door to

To innate the sense of comfort to the child, various

enter and escape the classroom space for a child.

proportions are finalized based on proportions of a child, making child scale as a true building scale. This

Another detail that can be seen is the use of RCC

helps in making a building indigenous expressing the

blocks to create jali in the corridor. The size of the

function it serves.

block and the design is such that it reduces the scale of the space by acting as a breakup element in the space. When one looks at this jali in detail one will find that some in-between slashes have

Balmandir at Sihor

63

Occupancy: Occupancy is derived as a scaling constant for individual spaces depending upon number of people using it at a time.

Scaling Constant = No. of user X Average volume of a user Volume of a space There are several different constants that are seen in the institute. There is no particular relation in the constants derived but are individually correct with respect to function the space is serving.

1/34

1/22

2X

2X

1/68

10 X

2X

Legend Storage Space Security Living Space Office Space Cooking Space Water tank Learning Space Services Corridor

Fig. 4.3.16: Diagrams showing occupancy constant in individual spaces 64

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2X

1/54

Inquiry

Original

Original

Varied

Varied

Sequence: As per the observation apart from the gradual change in the scale of the spaces the indirect entrance to the institute helps to humanize the spaces. Here the situation is altered by making the entry direct and larger changes in the scale of the spaces.

Inferences: Making the direct entry to the institute defines the strong straight axis raising the scale value of the space perceptually, which remains controlled in the original condition. The larger changes in the scale of the spaces make the experience unpleasantly confused as the expectation of size gets contradicted from one space to another. Thus losing the comfortability factor offered by the original design along with losing the human scale spaces.

Original

Varied

Varied

Perspective: As per the design by an architect the sectional quality of the classroom and beams holding the fans provide a horizontal reference, to bring down the scale to human. The corridor is the most intimate space of the institute. The situation is altered first by removing the beam from the space and second by changing the scale of a corridor and the altering the sectional quality of the classroom.

Inferences: As the beam provides the horizontal reference to the space the perception of the scale of space becomes till beam bottom. When the beam is removed one can clearly see the slab bottom on top and vision is not disturbed by any in-between elements making the perception of the scale of the space to be till slab bottom thus losing the human body relation of the space. The scale becomes, even more, larger (even monumental) when the sectional sloping slab is altered by flat slabs, thus losing the human scale offered by originally designed section. Changing the scale of the corridor also led to losing the intimacy and comfortability provided by the original corridor design, because of the loose relation between body and space.

Balmandir at Sihor

65

Original

Varied

Light, colour and texture: The controlled opening sizes and the use of darker shades in floors and slabs keep the classroom considerably dark. The situation is altered by changing the opening sizes and using brighter shades in floors and slabs.

Inferences: The darker classroom in the original contributes in evoking the intimacy in the space making it comfortable for both the age groups of user. When the situation is altered the classroom space invites unnecessary glare for an activity like reading to take place also highlighting the corners and sharp details of the classroom thus making the scale of the space to be perceived larger.

Original

Varied

Original

Varied

Original

Varied

Order: An ordered relationship is seen between the elements of the spaces and the human body (also child body) dimensions and the activities. Also, the use of RCC block as an element to break down the scale of the space to relate to the human scale is visible. Here the situation is altered by changing the proportions of elements in the spaces.

Inferences: As soon as the proportions of the elements in the spaces are changed it loses the human scale it is offering. When the size of the RCC block is changed the number of breakups in the space reduces which affects the overall scale value of the space. The plinth also is crafted in such a way that it supports the activity in the space like it becomes an inbuilt seat if such gesture is removed, the functional order space is providing reduces, taking away the indigenous character of the building.

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Balmandir at Sihor

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