SIZE AND PROPORTION

Scale and proportion are one of the most important elements that govern the composition of the design. Although used in relation to another, these terms have different meanings and roles in the design process. Proportion refers to the proper and harmonious relationship of one part to another or the whole, while scale refers to the size of an object compared to a reference standard or to the size of something else (like a human being). (Ching F.) They come together to form a

PROPORTION:

Proportions refer to the visual relationship between various elements or structures to one another or the whole. It explains the perception of spaces based on scale and complimented by bodily senses. An architect uses systems of proportions to design the form and details of a building. These details, such as the height, width, and other spatial elements, are designed according to the design intent and other standards that govern the construction of the building. This subjective nature of designing has given way to the systems of proportion which are: 1. Golden section –The golden ratio (and Fibonacci series) is used as a tool to determine the size and volume of elements within a structure. According to this theory, two quantities are said to be in the golden section (φ) if the ratio of the sum of the quantities to the larger quantity is equal to the ratio of the larger quantity to the smaller one. In this system, each part remains like all the other parts, as well as to the whole. 2. Lines – This theory states the general alignment and placement of elements in a structure by bringing order and harmony to it.

Structures designed by architects such as Louis I. Kahn, Charles Correa, etc have strong lines that dictate the size and proportion of their openings, distance between them, etc. According to Le Corbusier, regulating lines guarantee fine proportions and add a rational sense of coherence to the buildings. In this way, the order, function, and the 0volume of the space are drawn into one architectural totality. (Ching F.) This can be observed in IUCCA which has strong horizontal and vertical lines that join to form regulating lines that give direction, rhythm and add a sense of place to the spaces within.

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FIGURE 38: GOLDEN RATIO (IMAGE SOURCEFAST COMPANY)

FIGURE 39: THE KEN METHOD FOR PROPORTION (IMAGE SOURCE- ARCHI MONARCH) 3. Classical orders – According to ancient times, the elements of the structure were determined by understanding the column used in the structure. These columns ranged from Ionic, Doric and Corinthians which originated in Greece, to which the Romans added Tuscany and Corinthian style of columns. 4. Renaissance theories – The architects of the

Renaissance period believed that mathematics could be used to create proportional spaces. They used mathematical formulas created by

Pythagoras to establish the dimensions of a room, façade, and the spaces with respect to the plan of the structure. 5. Ken- It was used as a unit of measurement between two or more columns in Japanese architecture but was soon standardized in residential architecture. It helped the architects determine the proportions that would increase the aesthetic value of the structure, space, and material.

This system was further developed to form a module that affected the spatial system of Japanese architecture- Tatami. The shorter side of Tatami represented one ken and the length of Tatami equalled to two kens. This system of proportions was appointed to apportion dimensions to the internal spaces of a structure.

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6. Modular – While working with proportions and human dimensions, Le Corbusier devised a system that uses the dimensions of the human body according to the

Fibonacci series. He developed two series of dimensions according to: a. Average human height (Red series): 4-6-10-1627-43-70-113-183 cm b. Average height after lifting one arm (Blue series): 13-20-33-53-86-140-226 cm

Le Corbusier has used this system in the design of Unite d‘Habitation Residential Block in Marseilles, France. The human proportions helped him make the structures more relatable by its users. 7. Anthropometry – It is said that spaces are an extension of the human body and therefore should be designed according to the functional needs of its users. The built environment is a result of the movement and dimensions of the users that would inhabit that space.

The movement of the users can be static (sitting in a chair, leaning against a wall, etc) or dynamic (walking between spaces, up the stairs, etc). Each movement has varied spatial requirements and arrangement of elements which enhances the usability and quality of the spaces. The sizes and proportions of furniture and standard elements such as staircases, doors, windows, etc have been developed according to the various movements and activities of its users. Therefore, while designing spaces, human proportions and their relationship with the built environment plays an important role in the creation of spaces.

The distance between two or more structures, their heights, number of voids, visual axis, etc has a huge impact on the perception of the space by the users. A narrow passageway with a high density of people would seem intimidating when the height of the structures is not in proportion to the length of the structure. Therefore, the systems of proportion should be employed carefully to create rational yet harmonious spaces.

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SCALE:

It is used to understand the size of an object or a structure in relation to another standard dimension. We perceive our surroundings in relation to our visual scale and the human proportions.

• Visual Scale – We always perceive visual information of our surroundings in relation to a known object as it helps us to relate to the structures around us. The distance between the user and the structure affects the perception of the spaces around us because the objects away from us appear smaller than the objects near us. This phenomenon inspired

Alois Regel to developed three main scales based on the experience of spaces:

Middle: This scale takes the user on a journey through various spaces by making them understand their surroundings one space at a time. Complex and curvilinear spaces become less effective as they go beyond human proportions. On the other hand, understanding of contrasting proportions, colours, textures, etc. get heightened.

Small/ Near: At this scale, one can experience the space by understanding the texture, material, dimensions, etc. This allows the user to build a mental map of the space, thus making it easier for them to move around and experience the space. Curvilinear geometry can best be understood from this space.

FIGURE 41: THE VIEW OF THE ENTIRE CORE WHILE STANDING AT A DISTANCE (IMAGE SOURCE- AUTHOR) FIGURE 40: SPACE SEEN WHEN THE USER IS STANDING INSIDE THE STRUCTURE (IMAGE SOURCE- AUTHOR)

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Far: As the distance between the structure and the user increases, the users’ ability to understand the form and the scale of the structure increases. The scale and proportion of the materials, textures and other details fade out but the contrast in colours, heights and other tactile and visual elements gets highlighted. (Studio, 2017)

FIGURE 42: THE VIEW OF THE ENTIRE STRUCTURE WHENT THE USER STANDS AWAY FROM THE STRUCTURE (IMAGE SOURCE- AUTHOR)

It is believed that symmetrical spaces are often perceived as grand whereas asymmetrical spaces are less monumental. But the height of the structure has a more profound effect on the visual scale in comparison to the symmetry as the height of the space can make a person feel intimidated or grounded. A case in point would be Salk Institute by Louis I. Kahn which has symmetrically arranged structures that make the users feel connected to each other instead of feeling ancillary to the structure. On the other hand, asymmetrical structures like Sydney Opera House are monumental and grand and can make the person feel subservient to it.

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• Human Scale –To understand the size and volume of space, we compare the space with human proportions. When the proportions of elements in a structure are increased manifold in comparison to human proportions, the structure is perceived as monumental or grand. Heritage structures like

Buland Darwaza in Fatehpur Sikri, La Sagrada

Familia in Spain, Asiatic Library, etc contain elements that are more amplified than the standard measurements. This makes the person feel intimidated and small in front of the structure. Whereas structures like

Sabarmati Ashram in Ahmedabad, British

Embassy in New Delhi, etc have elements that help the user relate to its dimensions and thus comprehend the size of the structure.

The relationship between scale and proportions helps the user relate to spaces by understanding them in comparison to the spaces surrounding them. By moving between structures with various scales and proportions, the user is taken on a journey through architecture. A play of colors, textures, levels, heights, etc. heightens the users’ senses and therefore enhances the experience of the structure.

FIGURE 43: SOURCE- SOCIETY OF ARCHITECTURAL HISTORIANS