ARC101 Theory of Architecture

Handled by
GY
G.Yogapriya
i
A.P(O.G)
School of Architecture & Interior Design
Unit 1
DefinitionofArchitecture
Elementsofarchitecture
S
Spacedefiningelements
d fi i l t
Openinginspacedefiningelements
Spatial relationship
Spatialrelationship
Spatialorganization
Primaryforms
Transformationofforms
 DefinitionofArchitecture

1. OriginatedfromtheGreekwordArchitekton
2. Archi ggreattekton builder
3. Architectureistheartandscienceofbuilding
4. Itistheconsciouscreationofutilitarianspaceswiththe
deliberate use of material
deliberateuseofmaterial
5. Architectureshouldbetechnicallyefficientandaesthetically
pleasing.
 ElementsofArchitecture

PRIMARYELEMENTSOFARCHITECTURE

Point zerodimension.Indicatespositioninspace.

1d pointextendedbecomesaline.With
Line
Line propertiesoflength,direction&position.

2dlineextendedbecomesaplanewith
Plane
propertiesoflength,width,shape,surface,
orientation,position.
, p
 ElementsofArchitecture

Volume 3d
Volume 3d

aplaneextended
a plane extended
becomesavolumewith
propertiesandlength,
ti d l th
width,depth,form,
space,surface,
orientation,position.
,p
 ElementsofArchitecture

Plane

1. Shapeistheprimaryidentifying
characteristicsofaplane.
h i i f l
2. Supplementarypropertiesare
Surface color pattern texture
Surface,color,pattern,texture,
affectingvisualweightand
stability.
y
3. Planeservestodefinethelimits
orboundariesofavolume.
 ElementsofArchitecture

Volume

Pointsor Linesoredges
Lines or edges
vertices 2planesmeet
Planesor
surfaces

Formistheprimaryidentifyingcharacteristicsofavolume.
Establishedbyshapes&interrelationshipofplanes.
A l
Avolumecanbesolidspacedisplacedbymassorvoidcontainedbyplanes.
b lid di l d b id t i db l
Elementsofformdefiningspace
Inarchitecturewemanipulatethreegenerictypesofplanes

Munich
Munich
Overheadplane Olympic
stadium
Ceilingplaneor
roof plane
roofplane
Moderninterior
Wallplane
Vitalforenclosureof
architecturespace.Activein
ourfieldofvision
Precastconstruction
Precast construction
Baseplane house

Withgroundplanethebuilding
canmerge,restfirmlyorbe
t fi l b
elevatedaboveit.
Elementsofformdefiningspace
Horizontalplane

Baseplane

Elevatedplane

Depressedplane

Overheadplane
roofplane
ceilingplane
ili l
Elementsofformdefiningspace

VerticalLinear
elements define the
elementsdefinethe
edgesofvolumeof
space
Singleverticalplane
articulatesthespace
whichitfronts

L shapedplane
generates a volume of
generatesavolumeof
spacefromitscenter
outwardasadiagonal.
Elementsofformdefiningspace

parallelplane definethevolume
of space in between that is oriented
ofspaceinbetweenthatisoriented
axiallytowardsopenend.

Ushapedplane definesthe
volumethatisprimarilyoriented
towardstheopenends.
p

Planesclosure verticalplaneonall
Sides establish boundaries of an
Sidesestablishboundariesofan
Introvertedandinfluencethefield
ofspacearoundenclosure.
 Elementsofformdefiningspace
Horizontal plane
Horizontalplane
Baseplane Seemstobefiguredoutwhenthereisaperceptiblechangein
color texture
color,texture.
Withedgedefinition
Withsurfacearticulation egcarpet,lawn,pavingetc.
 Elementsofformdefiningspace
Horizontal plane
Horizontalplane
ElevatedBaseplane
Elevating creates a specific domain
If surface characteristics continues up across the elevated plane , then
the elevated one will appear part of surrounding plane.
If edge conditions is articulated by a change in form ,color , texture ,
then the field will become a distinct plateau ,that is separated from
surroundings.
 Elementsofformdefiningspace
Horizontal plane
Horizontalplane
ElevatedBaseplane spatial&visualcontinuity
Edgeiswelldefined. Spatialcontinuityinterrupted. Visualandspatialcontinuityis
Spatialcontinuity Visualcontinuitymaintained. interrupted.Elevatedplane
maintained.physicalaccessrequiredstairsforphysical isolated from ground level.
isolatedfromgroundlevel.
accommodated access.
 Elementsofformdefiningspace
Horizontal plane
Horizontalplane
Elevatedplane

itcanberesultformsiteconditionsorconstructedto
elevateabuildingfromsurroundingstoenhanceits
g g
imageinlandscape.
Usedtodifferentiatethescaredbuildingsoritdefines
anyimportanttypology.
Elevatedplanecandefineatransitionalspacebetween
exterior and interior
exteriorandinterior.
Asectionfloorplanecanbeelevatedtoestablishazone
of space with in the large space.
ofspacewithinthelargespace.
 Elementsofformdefiningspace
Horizontal plane
Horizontalplane
Elevatedplane

Villa
savoye,
Paris
Paris

Acropolis
Athens CEPT,Canteen
Area.
 Elementsofformdefiningspace
Horizontal plane
Horizontalplane
DepressedBaseplane spatial&visualcontinuity
Verticalsurfaceofdepression
establishesboundaries

Bycontrastingform,geometryororientation

Thespaceis Separates
Remainsan
distinct
i
integralpart
l
 Elementsofformdefiningspace
Horizontal plane
Horizontalplane
Depressedplane
Depressedareasin
topographyofsite stagefor
outdoorarenasand
amphitheater.
Steps Depression benefits sightlines
Depressionbenefitssightlines
down ,senseofhaving,acoustical
introvert quality.
nature

Stepsup
Steps up
extrovert
nature
 Elementsofformdefiningspace
OVERHEAD PLANE
OVERHEADPLANE
it is similar to the trees . It
gives sense of enclosure.
Overhead
O h d plane l ddefine
fi a filed
fil d
of space between itself and
ground plane. ValenciaOperaHouse,Spain
Edges
d off the
h overhead
h d plane
l
define the boundaries of this
field.
Vertical linear elements ,
edges of overhead plane ,
elevated base plan and
depressed base plane aid in
visually establishing the
limits of the defined space SalamancaHouse,NewZealand
and reinforce the volume.
 Elementsofformdefiningspace
OVERHEAD PLANE
OVERHEADPLANE
Offers protection. Determines overall form
It is determined byy the materials & structural

form.
the roof plane can visually express how the
pattern of structural members resolve forces
and transfer loads.
The roof planes can be the major space
defining element of the building and visually
organizes a series of forms and spaces beneath
the canopy.

TensileRoof
Universityofphoenix,Arizona,
Indoorstadium.Retractableroof.
 Elementsofformdefiningspace
DynamicTower,UAE
y ,
Roof PLANE
RoofPLANE
Can be hidden from view by
wall or merge.
Can be single or many
Can extend outward as
overhang
Can be elevated to allow breeze ArenaZaqreb,Croatia
t pass through
to th h
Overall form can be endeavored
with a distinctly planar quality by
opening with vertical or horizontal
edges.
 Elementsofformdefiningspace
ROOF PLANE
ROOFPLANE

GlassHouse,NewCanaan,
Connecticut,designedbyPhilip
Johnson,1949.
 Elementsofformdefiningspace
Ceiling PLANE
CeilingPLANE
Canreflecttheformofthestructuralsystem.
Canbedetachedfromroofplane,suspended,undersideofan
p , p ,

overhead.Canbelowered/raisedtoarticulatespaces.
Canbemanipulatedtodefineandarticulatespaces.
Can be manipulated to define and articulate zone of spaces
Canbemanipulatedtodefineandarticulatezoneofspaces.
Form,color,textureandpatternoftheceilingplanecanbe
manipulatedtoimprovethequalityoflight/sound/directionalquality.

Formcanbemanipulatedtocontrolthequalityoflight,sound/
b i l d l h li f li h d/
withinaspace. RaisedtoletinLight
Lowered
 Elementsofformdefiningspace
Lightwaveceilingplane
g gp
Ceiling PLANE
CeilingPLANE

UAE , Airport.
UAE,Airport. RestaurantRosso,
Restaurant Rosso ,
ISrael
 Elementsofformdefiningspace
Single vertical plane

A vertical plane has frontal qualities. It has two surfaces

or faces which it fronts on and establish two distinct spatial
fields
They can differ in form , color or texture to articulate
different spatial conditions.
The height of the vertical plane relative to our body
height and eye level is the critical factor that effects the
abilityy of the pplane to visuallyy describe spaces.
p
f
Single vertical plane Thisverticalwalldividesthe
campusandforestarea.

Thewall
Th ll
establishes
different
spatialquality
p q y

JNCASR,BUILDING,DESIGNEDBYCHARLESCOREA,BANGALORE
Single vertical plane

Providessenseof
Provideslittleorno
enclosure.Itallows Separates
senseofenclosure.It
visualcontinuityy one space
onespace
d fi
definestheedgesof
th d f
fromanother Fullsenseof
spatialfield
enclosure
 Linear elements
Vertical
V i l linear
li elements
l suchh as columns
l ,
obelisks and towers have been used
throughout history to commemorate
significance events or establish particular
points in space or to organize spaces around
it.
Vertical linear elements can also define a
transparent volume of spaces. ColumnofMarcusAurelius,Rome
marks the corners and edges of spaces.
Linear members that possesses the
necessary material strength can perform
structural functions.
They can express movement across space.
Stand as column supports for entablature.
Columns and beams together
g form a 3d
framework for architectural space. ObelisksinVaticancity
 Linear elements
marks the corners and
edges of spaces.
Linear members that
possesses the necessary
material strength can perform
structural functions.
functions They
HagiaSophia,Istanbul
can express movement across
space.
Stand as column supports
for entablature.
Columns and beams
together form a 3d
framework for architectural
space. Dominohouse,Lecorbusier
Parthenon Greece
Parthenon,Greece
Linear elements

A row off columnl supporting

i an entablature
bl a
colonnade is often used to define the public face or
faade of a building
advantages
a. Being penetrated easily for entry.
b.Offers a degree of shelter from the elements
c.Forms a semi transparent screen the unifies
ColonnadeinST.PetersSquare
individual building form behind it.
d.Columns can define the edges of an exterior
space.
e.Articulate the edges of building mass in space.
f.Trellis or ppergola
g can provide
p a moderate degree
g
of definition and enclosure for outdoor spaces.
g.Allow light and breeze to penetrate.
IIMB CORRIDOR B V Doshi
IIMB,CORRIDOR,B.V.Doshi
 Openings in space defining elements

Openings are required for visual and spatial

continuity.
Openings determine patterns of movement
( door)
Openings allow light to penetrate the space
( window)& illuminate the surface of a room.
They offer views from the room / interior
to exterior.
They establish visual relationship between
rooms and adjacent spaces.
They y provide
p natural ventilation.
Depending on size , number and location
they can weaken the enclosure.
PRIMARY SOLIDS

SPHERE
SPHERE
CYLINDER
CONE
PYRAMID
CUBE
PRIMARY SOLIDS

SPHERE
CUBOID

CUBE
PYRAMID
PYRAMID
CONE
CYLINDER
Sphere

Sphere
Sphere is body that consists of
regular , continuous surface.
Itt has
as noo lines
es , edges or
o
corners
Neither
Ne e horizontal
o o or
o vertical
ve c
emphasis
It is a form which is closed
within itself.
 SPHEREBUILDING,SHANGHAI
Visual effect
Pure convex form externally
Presents
P iimpenetratable
bl ,
uninviting appearance.
It
I di
displays
l visual
i l quality
li off
repulsion .
Has
H no pointsi off interest
i to FLOATINGPAVILIONFORSHANGHAI

focus
Defined
D fi d byb vague outline
li off
circle , whole mass appears as
i
immense dot.
d
 SPHEREBUILDING,SHANGHAI
Emotional effect
Lack of concentration
Restleness
R l
Diffuseness
This
Thi diff
diffuseness also
l
characteristics the external
space surrounding
di the h sphere.
h FLOATINGPAVILIONFORSHANGHAI

Total effect on observer. Is

l k off sense off orientation
lack i i
Inside the sphere
There is a dramatic change
inside.
The bounding surface is
continually concave.
It opens to the observer.
Invites attention.
Attraction
Att ti is i from
f all
ll sides
id
This results in equilibrium of
forces.
forces
Center of this equilibrium is
center of sphere
p .the center is
imaginary.
Emotional effect

It arouses sensations of
C
Concentration
i , repose andd
orientation.

HOUSE IN SWEDEN
HOUSEINSWEDEN
Derivatives of sphere Hemisphere

Cut horizontally in half.

Cut
Cut portion forms an
edge , circular in plan.
The dome and the edge
portion give the visual
character
h
 LuckyCoin'Building ,china
theworld'smostunusualstructure acylindricalcoinshapedbuildingthatiscurrently
beingconstructedonthebanksofthePearlRiver.
 AlDarHeadquarters|MZArchitects
PLACEDIN ARCHITECTURE

thecircularshapeinarchitecture:
TheCirclesymbolizesunity,stability,rationality.Itisalsothesymbolofinfinity,without
beginningorend,perfection,theultimategeometricsymbol.Itrepresentsacompleteness
which encompasses all space and Time
whichencompassesallspaceandTime.
 Hemisphere
A sphere cut horizontally in half.
The cut portion forms an edge , ciruclar in
plan.
The dome and edge portion gives the
visual character.

Visual effect
Diffuse quality in the sphere , but
continuity is terminated at rim.

Emotional effect
A sense of circular movement set up by the
rim.
While sphere leads to disorientation
hemisphere leads to circular movement.
Location: Sanchi, Madhya Pradesh
Founded By: Maurya Emperor Ashoka
Founded In: 3rd century BC
Status: UNESCO World Heritage Site

It is a simple hemispherical brick

structure which has been built over the
structure,
relics of Lord Buddha. Surrounding the
main Sanchi Stupa is a path, used for
circumambulation.
Internally
One concave surface and other flat
Interior is circular in shape.
The attention to the observer will be to the
The
center. Which can be visually identified.
But the experiences a sense of movement is
Associated with the edge.
edge

Invertedhemisphere
Ifthebaseisflatteneditwouldbe
horizontalarenatowardsthewhich
attentionisfocused.
Thiswouldbeideaforviewinga
centrallyactivitysuchassporting
events
events. Roman arena
Romanarena
OPENINGS
Interrupt continuity of the domical
surface.
Decrease the visual impact .
Decrease
Weakens rim.
Separation of internal and external
spaces is
i less.
l AustralianAcademyofSciencebuildingin
Australian Academy of Science building in
Canberra
Center of interior visible form outside
draws observers to the interior.
From the interior , outside catches the
attention.
Hence the attention constantly
Hence
fluctuates between inside and outside
leading to mild visual excitement.
The St.Louis
St. Louis GatewayArchisMissouriisoneofMissouri
Gateway Arch is Missouri is one of Missourissoldest
oldest
publicmemorialsandthetallestmonumentofitskindinthe
UnitedStates.TheGatewayArchis630feettalland630feetwide
at its widest point
atitswidestpoint.
CUBE

Six equal square sides

Angle between any two
adjacent faces being right angle
Cube is static form .
Itt iss very
e y stab
stablee u
unless
ess itt sta
stands
ds
in corners.
The cube remains a highly
recognizable form.
VISUAL EFFECT

The vertical blank square neither

invites nor repulses .visually
visually and
physically impenetrable ,
uninvitingg appearance.
pp
Because the directions are
equally emphasized , the mass as
a whole
h l has
h no directionall quality
l
and neutral.
Visual force is given by edges.
edges
INSIDE CUBE

Space inside d cubeb is

bounded in plane
surface , lines and
corners.
Corners wont project
p j
towards the observer
but recede away from Fallingwaterin
him. Pennsylvania

When it is treated
little bit , it grasps the
attention than others
 Cuboid
Altering the equal sides of the cube,
cuboid is obtained.
obtained
The volume is spread in particular
direction either horizontal or vertical ,
irrespective of the surface.
Each mass has a longer side and
Shorter side.
Surface lines are emphasized than corners.
Horizontality urban street.
( because of the continuity one hesitates
to stop unless opening is created )
Verticality high rise building
( both
b h physical
h l and
d visuall tension makes
k it
dominating visual entity)
 Aptinlasvegas
StreetinDublin
The horizontal internal space stimulates a horizontal movement
, which is greater with increasing horizontality. So space
becomes transformed into a p passage
g , a corridor and an internal
street.
Vertical space stimulates vertical movement when filled with
stair case,
case lift or ramp.
ramp
 Water Cube, also known as the National Aquatics Center
The
h Water Cube'sb ' design was a
Team Masterpiece: the Chinese
partners felt a square
p q was more
symbolic to Chinese culture and
its relationship to the Bird's Nest
stadium while the Sydney based
stadium,
partners came up with the idea
of covering the 'cube' with
b bbl symbolizing
bubbles, b li i water.

It should be noted that

contextually the cube symbolizes
earth whilst the circle
(represented by the stadium)
represents heaven.
 The Zollverein School , Germanyy

Organization of the openings,

windows in three different sizes,
create an unusual interaction
with the surroundings and the
interior.
The building has four floors with
ceilings of varying height as well
as a roof garden. The idea of
stacking open floor plans was
developed in compliance with
the demands made by the
various functions.
TheCubeCondoHotel,DUBAI

It slocatedinDubaiSportsCity,has
Its located in Dubai Sports City has
27floorsand561luxurycondosthat
willsatisfyeventhepickiesttourists.
y p
 Pyramid

Made up of tapering and

inclined surface and
gather together to form an
apex , a corner where the
whole mass culminates.
culminates
Eye wil travel towards the
corner.
h directional
The di i l quality
li isi
stronger than that of a
rectilinear tower.
Pyramidal form shows
the devotional character.
SECTIONOFTHEPYRAMID

Flat topped pyramid ,

reminiscent of Sumerians and
M
Mayan f
forms.
Accumulation of force at the
upper edge ,which encloses the
square plateau above and hold it
in a kind of visual field force.
Any major activity taking place
Any ZIGGURAT
upon it will appear to posses a
heightened importance to those
b l
below andd strongly
t l attract
tt t their
th i
attention.
 Derivativesofpyramid
Fan shape helps of
audi and cinema
th t
theater . One
O endd
helps for natural
screen and
expanded side for
viewers.
Acoustically good
and helps for good
viewing angle.
Pit h d rooff for
Pitched f
dwellings to throw of
rain water
cylinder

Roundedsurface.In fardistanceit
appearsinoutlineasrectilinearand
nearer it appear more like circular
neareritappearmorelikecircular.

Nehru Centre , Mumbai BMWHeadquarters,Munich

Curvatureandcircularmovementcontinuealongsideastrong
verticalmovement.theresultantisspiral.spiralrampandspiral
stairssuitsaspace.

SolomonR.GuggenheimMuseum,NewYork.
Sectionsofcylinder
 Transformationofforms
Dimensional transformation
A form can be transformed by
altering
lt i one or more off its
it dimensions
di i
and still remains its identity as a
member of family forms.
forms
A cube can be transformed into
similar p prismatic forms through g
discrete changes in height , width or
length.
It can be compressed into a planar
form or be stretched out into a linear
form.
form
Subtractivetransformation

Form can be transformed by subtracting a portion of

its volume.
volume Depending on the extent of the subtractive
process , the form can retain its initial identity or be
transformed into a form of another family.
Jakob+Macfarlane:orangecube
Thefivestorey
Th fi orthogonalcubeplaysoff
h l b l ff
thefluidmovementoftheriversane,
exploringtheeffectsofsubtraction and
voidsonthequalityandgenerationof
space.
ADDITIVETRANSFORMATION

A
A f
form can b
be
transformed by the
Addition of elements to its
volume.
The nature of the additive
process & the number and
relative sizes of the
elements being attached
d
determinei whether
h h the
h
identity of the initial form
is altered or retained.
GWATHMEYRESIDENCEANDSTUDIO,NewYork

structures are composed of primary, minimal geometric forms that

appear to be carved from a solid volume rather than constructed as
an additive, planar assemblage. They are manipulated in response to
site, orientation, program and structure.
ADDITIVEFORM TYPES
SPATIAL ORGANIZATION

There are five types of spatial organization:

1.
1 Central Organization
2. Linear Organization
3. Radial Organization
4. Cluster Organization
g
5. GRID Organization
CentralOrganization

It is a stable & concentrated composition

It consists of numerous secondary spaces that are clustered
around d a central,
t l dominant
d i t & bigger
bi space.
It presents secondary spaces that are equal in terms of role,
shape & form, which creates a distribution package that is
geometrically regular to two or more axes.
Those central organizations whose forms are relatively compact
& geometrically regular can be used to ::
Establish "places" in space,
Be term of axial compositions,
finally
fi ll actt as a formobject
f bj t inserted
i t d into
i t a field
fi ld or an exactly
tl
defined spatial volume.
N ti
Nationalassemblybuilding,Bangladesh,LouisKhan.
l bl b ildi B l d h L i Kh
Dominantcentralform
Dominant central form sphere,cylinder,coneetc.
sphere cylinder cone etc
Eg Villacapra,Italy,AndreaPalladio.
Linear Organization
Consists
C i t essentially
ti ll off a series
i off spaces.
These spaces can be interconnected directly, or be linked
through another linear independent and distinct space.
Those spaces that are important, important functionally or
symbolically within this organization, can take place
anywhere in the linear sequence and show their relevance
usingg their size and shape.
p
The organization can solve linear different conditions at
the site.
It can be a straight, segmented or curve line and it can
d l itself
develop it lf horizontally,
h i t ll verticallyti ll or diagonally.
di ll
The linear organization can relate itself with other forms of
its context connecting them, working as a barrier to
separate things and surrounding them to create a space
field.
Baker House M I T Massachusetts Alvar Alto
BakerHouse,M.I.T,Massachusetts,AlvarAlto.
RadialOrganizacin
g

It combines elements of both linear and centralized

organizations. It consists of a dominant central space,
with many radial linear organizations.
Whil a centralized
While t li d organization
i ti i an introverted
is i t t d
scheme that directs to the interior of its central space,
a radial organization is an extrovert scheme that
escapes from its context.
The central space of a radial organization has a regular
form, acts as the hub of the linear arms and maintains
the formal regularity of the whole organization.
Extrovertedinnature.
Relatetoorattachthemselvestospecificfeaturesofasite.
Exposed to sun wind view
Exposedtosun,wind,view.

SecretariatBuilding,UNESCOHeadquarters
,Paris,MarcelBreuer
CLUSTEROrganization
This type of spatial organization is used to connect
spaces using proximity.
proximity

It can accommodate in its composition spaces with

diff
differentt sizes,
i shapes
h and
d functions,
f ti as long
l as they
th
relate themselves by proximity and some visual element.

The connected spaces can be grouped gather around a

large area or a well defined spatial volume.
 interlocktheirvolume
andmergeintoasingle
formhavingvarietyof
faces.
Containsspaceswhich
havecommonproperties
shape,size,texture

HabitatIsrael,Jerusalem,MosheSafdie
GRIDORGANIZATION

It consists of forms and spaces whose position in space

and d their
h i interrelationships
i l i hi are regulated l d byb a type off
plot or a threedimensional field.
It can be created by establishing a regular scheme of
points that define the intersections between two groups
of parallel lines.
Its capacity on organization is the result of its regularity
Its
and continuity that includes the same elements that
distributes.
TheGunmaMuseumofFineArtsisanArtMuesum
g y
designedbyArataIsozakiJAPAN.
Regular and irregular forms

Regular forms refer to those whose parts are related to one

another in a consistent and orderly manner. They are
generally stable in nature and symmetrical about one or
more axes.

The sphere , cylinder m cone , cube and pyramid are

examples of regular form.

Forms can retain their regularity even when transformed

dimensionally or by the addition or subtracted of elements.

From our experiences with similar forms, we can

construct
co s uc a mental
e model
ode of
o thee original
o g whole
w o e even
eve when
w e a
fragment is missing or another par is added.
GLASS HOUSE , Connecticut , Philip Johnson
GLASSHOUSE,Connecticut,PhilipJohnson
RegiumWaterfrontprojectbyZahaHadid
UNIT2
Principles of
Design
1. Proportion
2. Balance
3. Scale
4 Axis
4. A i
5. Rhythm
5 y
6. Hierarchy
7. Symmetry
 Proportion
1. The relationship between different things or
parts with respect to comparative size, number,
oor degree
deg ee

2.. a p
part considered
co s de ed w
with respect
espec too thee whole
w oe

3. The interrelationship
p of all pparts of an
arrangement.
 Structural Proportion
p
Structuralmembersaredesigned
to transmit the load thru vertical
totransmittheloadthruvertical
supportsinturntothefoundation.

Thecolumnsizedependsonthe
spanandthebeamdepthdepend
onthecolumnsizeandthespan.

M
Morethespan,beamdepthwill
th b d th ill
increase.otherwisethestructure
will collapse
willcollapse.
 Manufactured Proportion
p
Manyarchitectural
Casement
elements not only depends
elementsnotonlydepends window
onstructuralproportionor
function. It depends on the
function.Itdependsonthe
manufacturingprocess.As
theyareproducedasabulk
product.
Modularkitchen

Claybrick
 Proportioning
p g system
y
Morethantechnicalaspectandspace,these
proportioning system plays a major role in creating a
proportioningsystemplaysamajorroleincreatinga
senseoforder&pleasingappearance
THEORIES OF PROPORTION

1. GOLDEN SECTION
2 CLASSICAL ORDERS
2.
3. KEN
4. MODULOR
5. ANTHROPOMETRY
6. SCALE
7. RENAISSANCE THEORIES
 Golden section

Rectangleone:Ratio1:1
Rectangle one: Ratio 1:1
Rectangletwo:Ratio2:1
Rectangle Three: Ratio 1 618:1
RectangleThree:Ratio1.618:1
Thethirdrectangleisthemostappealing.Becausetheratioofitslengthtoitswidthisthe
GoldenRatio!Forcenturies,designersofartandarchitecturehaverecognizedthe
significanceoftheGoldenRatiointheirwork.
Proportioning
p g system
y
 TheHumanBody

The human body is based on Phi and 5

The human body illustrates the Golden Section. We'll use the same building blocks again:

Th Proportions
The P ti in
i the
th Body
B d
The white line is the body's height.
The blue line, a golden section of the white line, defines the
distance from the head to the finger tips
The yellow line, a golden section of the blue line, defines the
di t
distance from
f the
th head
h d tto th
the navell and
d the
th elbows.
lb
The green line, a golden section of the yellow line, defines the
distance from the head to the pectorals and inside top of the
arms, the width of the shoulders, the length of the forearm
and the shin bone.
The magenta line,
line a golden section of the green line,
line defines
the distance from the head to the base of the skull and the
width of the abdomen. The sectioned portions of the magenta
line determine the position of the nose and the hairline.
Although not shown, the golden section of the magenta line
(also the short section of the g
( green line)) defines the width of
the head and half the width of the chest and the hips.
TheFibonacciNumbers
and
The Golden Section
TheGoldenSection
 TheFibonacciNumbers
1. HeintroducedinTheBookofCalculating
2. Seriesbeginswith0and1
y g
3. Nextnumberisfoundbyaddingthelast
twonumberstogether
4. Numberobtainedisthenextnumberin
theseries
5. Patternisrepeatedoverandover

0,1,1,2,3,5,8,13,21,34,55,89,144,233,377,610,987,
 1
1
2

3 1 5000000000000000
1.5000000000000000
5 1.6666666666666700
8 1.6000000000000000
13 1.6250000000000000
21 1 6153846153846200
1.6153846153846200
34 1.6190476190476200
55
89
1.6176470588235300
1.6181818181818200
Theratioingoldenratio
144 1 6179775280898900
1.6179775280898900
233 1.6180555555555600
377 1.6180257510729600
610 1.6180371352785100
987 1 6180327868852500
1.6180327868852500
1,597 1.6180344478216800
2,584 1.6180338134001300
4,181 1.6180340557275500
6 765
6,765 1 6180339631667100
1.6180339631667100
10,946 1.6180339985218000
17,711 1.6180339850173600
28,657 1.6180339901756000
46 368
46,368 1 6180339882053200
1.6180339882053200
75,025 1.6180339889579000
Drawinggoldenrectangle
GoldenSpiralmanipulative
 TheFibonacciNumbersin
Nature
~Fibonaccispiralfoundinbothsnailandseashells
p
 TheFibonacciNumbersin
NatureContinued
~PineconesclearlyshowtheFibonaccispiral
 TheFibonacciNumbersin
NatureContinued

Liliesandirises=3petals
Buttercups and wild roses = 5 petals

Black-eyed Susans = 21 petals

Corn marigolds = 13 petals
 TheFibonacciNumbersin
NatureContinued
~Fibonaccispiralscanbemadethroughtheuseofvisualcomputerprograms
~Eachsequenceoflayersisacertainlinearcombinationofpreviousones
 TheFibonacciNumbersin
N t
NatureContinued
C ti d
~ Fibonacci spiral can be found in cauliflower
 TheFibonacciNumbersin
NatureContinued
~TheFibonaccinumberscanbefoundinpineapplesandbananas
h ib i b b f di i l db
~Bananashave3or5flatsides
~PineapplescaleshaveFibonaccispiralsinsetsof8,13,21
Pineapple scales have Fibonacci spirals in sets of 8, 13, 21
 TheFibonacciNumbersin
NatureContinued
~~TheFibonaccinumberscanbefoundinthehumanhandandfingers
The Fibonacci numbers can be found in the human hand and fingers
5fingers
The ratio of your forearm to hand is Phi
 TheGoldenSectionin
ArchitectureContinued
~GoldensectioncanbefoundinthedesignofNotreDameinParis
~Goldensectioncontinuestobeusedtodayinmodernarchitecture

Secretariat building
United Nations Headquarters
 RENAISSANCE THEORIES
ThearchitectureofAndreaPalladiohasinfluencedcountless
generationsofarchitects,beginningmostnotablywithInigo
JonesinEngland.

ExpoundingonthetheoriesofPythagoras,Platoclaimedthat
theharmonyoftheworldwascontainedinsevennumbers,
{1,2,3,4,8,9,27},whichwerederivedfrommusicalconsonances
andcouldbebrokendownintotwosets,{1,2,4,8}and
{1,3,9,27}

These
Thesenumbersandtheirratiosbecamethebasisforthe
numbers and their ratios became the basis for the
proportionsusedbyPalladio.

Inallthevillacapra ,villarotundaPalladiousedthese
proportioninroomsizeorinbuildingdimensionwhichismore
b ld d h h
harmoniousasmusicalnote.

Theoverallratiosofthelengthsandwidthsoftherooms,
g ,
16:24:36,thenbecomes4:6:9,with6asthegeometricmean
between4and9andfurtherconnectingtherooms.
Ideal shape for room
CLASSICAL ORDER PROPORTION

Greekandroman
G k d
columnsrepresentsthe
perfectproportionto
f t ti t
expressbeautyand
harmony.
Thebasicunitof
dimensionwasthe
diameterofthecolumn.
theotherparts
dimensionarederived
fromthis.
ANTHROPOMETRY
Themeasurementofthehumanindividual
Th t f th h i di id l
forthepurposesofunderstandinghuman
physicalvariation.

Anthropometryplaysanimportantrolein
industrialdesign,clothingdesign,
ergonomics and architecture where
ergonomicsandarchitecturewhere
statisticaldataaboutthedistributionof
bodydimensionsinthepopulationareused
tooptimizeproducts.

Changesinlifestyles,nutritionandethnic
compositionofpopulationsleadtochanges
inthedistributionofbodydimensionsand
requireregularupdatingofanthropometric
datacollections.
 Ken

Japanese unit of measurement is shaku

and ken , like feet and inches.
Sizeofthefloormatdependsontheproportionoftwopersons
sitting or one person sleeping
sittingoronepersonsleeping.
Eg 6mats=9ftx12ft
Axis

Istheimaginarylinethatorganizes
f
formsandorganizationinarchitecture.
d i i i hi
Itislineestablishedbytwopointsin
spaceaboutwhichformsandspacecan
b hi h f d
bearrangedinaregularorirregular
manner.
Itispowerful,dominatingregulating
d i
devices.
Itimpliessymmetryanddemands
b l
balance.
1 Axis
1. Axisisalinearconditionit
is a linear condition it
haslength,direction.it
induces movement and
inducesmovementand
promotesviewalongitspath.
2 Canbeterminatedatboth
2. Can be terminated at both
endsbymeansofformsor
space.
space
3. Itcanbereinforcedby
defining edges along its
definingedgesalongits
length.
 Pointsinsspaceestablishedbyvertical
,linearelementsorcentralized
buildingforms.
Verticalplanessuchassymmetrical
building faade or fronts , preceded by
buildingfaadeorfronts,precededby
courtsorsimilaropenspaces.
Welldefinedspaces,generally
centralized or regular in form
centralizedorregularinform.
Gatewaysthatopenoutwardtoaview
andbeyond.

GatewayArch,
Memorialin
St.Louis,
Missouri
SYMMETRY
1 Symmetry
1. Symmetryisthebalanceddistributionand
is the balanced distribution and
arrangementofequivalentformsandspaceson
opposite sides of a dividing line or plane or
oppositesidesofadividinglineorplaneor
aboutacenteroraxis.
2 Symmetryistheoneofmodesoforderliness.
2. Symmetry is the one of modes of orderliness
3. Symmetryarousesvisualstability.
4 Asymmetricalobjectisbetterorganizedand
4. A symmetrical object is better organized and
retainedinmemory.
5 Anaxiscanexistwithoutsymmetrybut
5. An axis can exist with out symmetry but
symmetricalconditioncannotexistwithoutaxis
and center about which it is structured
andcenteraboutwhichitisstructured.
Twotypes

Bilateralsymmetry
Inbilateralsymmetry,thehalvesofacompositionmirroreach
other.
Radialsymmetry
Referstothebalancedarrangementofsimilarradiating
elementssuchthatthecompositioncanbedividedintosimilarhalvesbypassinga
planeatanyanglearoundacenterpointalongacenteraxis.
1. Acompositionscanbesymmetrical.
2. Asymmetricalconditioncanoccurinonly
aportionofthebuildingandorganizean
irregularpatternofformsandspaceabout
itself.
f

ZahaHadidsEdificiCampus,Barcelona
 Symmetrical Asymmetrical

SantiagoCalatrava
Santiago Calatrava Roman Catholic Cathedral
RomanCatholicCathedral
LyonSatolasTGVStation
Lyon,France

Symmetryevokesstability&balanceevokesdynamism
 Balance
Stability of an arrangement
Arrangement appears secure and stable
Balance must be both visual and actual
visual balance refers to the way an arrangement
appears to the eyeeye.
 Balance
Symmetrical and Asymmetrical balance
are two types commonly used.
 SYMMTERICAL EQUILIBRIUM
SYMMTERICALEQUILIBRIUM
P P

X X

2P
1/2P

X/2 2X

BALANCED EQUILIBRIUM
BALANCEDEQUILIBRIUM
UNIT 3
UNIT
 UNIT--3_CIRCULATION
UNIT 3_CIRCULATION--PART
PART--1

Circulation- Movement through Space.

Approach- The Distant View
Entrance- From Outside to Inside
C fi
Configuration
ti offS
Space- The
Th Sequences
S of
f Space
S
Path-Space Relationships- Edges, Nodes, &Terminations
of the path
Form of the Circulation Space- Corridors, Halls,
Galleries,
Galler es, Sta
Stairways
rways & Rooms.
 Approach-- The Distant View
Approach

First p
phase of
f Circulation system,
y , during
g
which we are prepared to see, Experience
& use the spaces within.
M k your path
Make th more legible
l ibl ini visual
is l ways.s
May vary in duration- compressed space to
lengthy & circuitous
c rcu tous routes.
Nature of approach contrasts in its
termination to an interior.
Portals & Gateways - Orient us to path &
welcomes Entry
 Types of Approach

3. Spiral
1. Frontal
1 2. Oblique
q
z Curved path
Axial Path z Path re-
directed 1 or z Entrance may
Approach
pp is or may not be
clear. more times.
ti s
visible until
Entire front z Approached at
an extreme the point of
facade or arrival.
i l
entrance angle.
z Emphasizes
within it is z Enhances
the 3D form
made clear. effect
ff t of f
as the bldg is
perspective .
approached.
Frontal:
Villa Barbaro, Andrea Palladio
Qian men, China.
OBLIQUE
GLASS HOUSE, PHILIP JOHNSON
Spiral: Falling water ,Pennysylvania
,Pennysylvania by F.L.Wright
 Entrance- Exterior to Interior

2. Projected 3. Recessed
1. Flush
z Transitional z Also provides
Maintains
space, announces shelter but
continuity
function
function, uses a portion
along
l with
ith
provides head- of interior
the wall.
shelter. space.
Entrance Pylons, Temple of Horus at Edfu
Taj Mahal
 Flushed entrance

John F Kennedy memorial

Flushed entrance - John F
Kennedy memorial , Philip Venturihouse
Johnson Pennsylvania,USA
Merchants National Bank, Louis Sullivan ,U.S.A
R
Recessed
d Entrance:
E t
 PROJECTED

RECESSED

Millownersassociationbuilding NationalGalleryofArt,Washington.I.
Ahemedabad,lecorbusier M.Pei
 Configuration of space-
space- Sequence of spaces
1. Linear
Straight path,
path primary 4. Grid
organizing element. Curvilinear z 2 sets of parallel
or segmented, have branches or paths that intersect
form a loop. at regular intervals
2.
2 R di l
Radial & create
t square or
Linear path extending from or rectangular fields.
terminating at a central 5. Network
common p point.
z Paths that connect
3. Spiral established paths.
Single, continuous path
originates from a central point, 6. Composite
revolves around it & becomes z Building employs
increasingly distant from it. combination of all
the above.
1 Li
1.Linear Path
P th
2 Radial path-Chickamauga
2. path Chickamauga Dam Southern U
U.S.
S
3 Spiral path - Great Salt Lake.
3. Lake
4.GridPath:CityofChandigarh
5.Network : Paris
6. Composite path-
Erbila
 Path space relationships, Edges,
Nodes & Termination of path

1. Pass by Spaces:
I t
Integrity
it off each
h space maintained.
i t i d
Configuration of path is flexible.
Mediating spaces used to link path with spaces.
2. Pass Through Spaces:
May pass through Axially, Obliquely or along its edge.
Cutting through the space creates patterns of rest &
movement within it.
3. Terminate in a Space:
Location of the space establishes the path
path.
Used for functionally or symbolically important
spaces.
1. Pass by Spaces:
2. Pass Through Spaces:
3. Terminate in
a Space:
 Form of circulation Space-
Corridors, Halls, Galleries, Stairways & rooms.
Spaces of movement-
occupies a significant
amount of volume of a
b ildi
building.
Form & scale of
circulation space should
accommodate
d t movementt
of people as they
promenade, pause, rest, or
take in a view along a path.
path
Form of circulation space
p
varies according to:
z Its boundaries.
z Its f
form
m relates to the
form of the spaces it
links.
z Its q
qualities of
f scale,,
proportion, light & view
are articulated.
z Entrances open
p into it
z It handles changes in level
with stairs & ramps.
 Various types:
1. Closed:
Public galleria or private corridor that relates to the
spaces it links through entrances in wall plane.
2. Open on one Side:
Balcony or gallery provides visual & spatial continuity
with the spaces it links.
links
3. Open on both Sides:
Colonnaded passageways becomes a physical extension of
the space it passes through.
z Width & Height should be proportionate- shows the
difference in p
public promenade,
p private
p hall & service
corridor

z Narrow spaces
p can be enlarged
g byy merging
g g with spaces
p it
passes through.

z In large
g space,
p path
p can be random. They
y can be
determined by activities & arrangements of furnishings
within the space.
Closed on both sides
Closed on both sides
Closed on both sides
Open on one side Closed on both sides
Open on both sides
Grand Staircase,
Grand St Paris
aircase, P opera house
aris opera house
 Stairways
y

Provide vertical movement b/w levels of building or

outdoor space.
Means of vertical transport.
p
Traversing up-privacy, aloofness or detachment
Going down-secure, protected or stable ground.
Landings-Rest,
d change
h in direction,
d access &
outlook form stairway.
Pitch & location of landings determine movement
of the user.
PARTS OF A STAIR
 Stairways
y

1
1. Straight-run Stair

2. L-Shaped Stair

3. U-Shaped Stair

4. Circular Stair

5. Spiral Stair
1. Straight-run Stair
1. Straight-run Stair
2. L-Shaped Stair
3. U-Shaped Stair
4. Circular Stair
5. Spiral Stair
Double Helix Stairs
 Circulation Diagram for Residence & Restaurant

Derived from the Bubble Diagram.

Related - Design process.
Variation Usage of Space by different
Variation-Usage
Categories of Space.
U it 4
Unit4
 PRINCIPLES OF COMPOSITION

Unity
Dominance
Harmony
Vitality
E h i
Emphasis
Fluidity
 Unity
Principle of unity is concerned with VISUAL COMPOSITION in
design.
Visual composition produced by relationship between visual
elements.
U creates a feeling
Unity f l off wholeness.
hl Unity
U is usually
ll
achieved when the parts complement each other in a way
where they have something in common
common. Unity can be
achieved by use of the same color, or different tints of it, or

using a similar graphic style for illustrations.

Unitycreates afeeling ofwholeness.Unityisusuallyachievedwhenthepartscomplement eachotherinawaywheretheyhave somethingincommon. Unitycanbeachievedbyuseofthesamecolor,ordifferenttintsofit,orusingasimilar graphicstyle forillustrations.
 Aspectsofunityare

Dominanceorselfunity
Harmony
Harmony
Vitality
Balance

Elementsofcompositiontobeconsidered:
1.Texture
2.Colorhueandtone
3.Direction
4.Proportion
5.Solidandvoid
6.Formorshape
FallingWater
house
Useofmaterials
and form are
andformare
dramaticbut
harmonious. Operahouse
rhythmicrepetitionof
h h i ii f
petalsshowunity

Solid void a
dominance
ChapelatNotreDamn
DuHaut,Paris
 SelfUnity
Sphere or egg has self unity. Fish and birds
have simplicity of forms. this gives an effect
of self unity. Simple buildings produce such
an effect.
The detailed requirements of function and
stability
t bilit in
i buildings
b ildi results
lt in
i a numberb off
visual elements. ResidentialApartments,
Roofs , walls, windows and doors provide Canada
colors, tones , texture , direction , solid and
void.
As the number of visual elements increases
the competition increases.
So the need is felt for visual dominant to
avoid dualities or competition of equal
interest. Spherebuilding
 Harmony
Fittingtogetherallpartstoformaconnectedwhole.
Inarchitecture,harmonycanbedescribedasthepleasing
interactionorappropriateorderlycombinationofthe
elementsinacomposition.

Harmonycanbeof
Color tone
Color,tone
Direction
Proportion,form
Repetitionofformsorshapescanbeusedtoproduce
rhythmandharmony
Texture
Examples

Harmony
y TajMahal
j
Harmonyby:
oComposition
o geometry
oDirection Harmonybyrepetition
o texture DucalPalace
P i
oProportion
 Harmony
y

HarmonyinGreektempleby:
Balanceinherentinbilateral
symmetricalplan
Unityachievedbytensionbetween
verticalcolumnandhorizontal
entablature
Dominance

Theelementgiventhemostvisual
weight,theelementofprimary
emphasis.Thedominantelementwill
advance into the foreground in a
advanceintotheforegroundina
composition.
One of the aspect of dominance is
Oneoftheaspectofdominanceis
emphasisandvitality.
Vitality

Itisprovidedmainlybycontrast.
It is provided mainly by contrast.
Contrastcanbeofcolor,tone,texture,direction,
proportion,solid,void.
Buttoomanycontrastingelementsortoomuchof
contrast
Will i
Willimpairharmonyandtendtoproduceamultiplicity
i h dt dt d lti li it
ofequalinterests.
This tends to reduce dominance and weakens unity
Thistendstoreducedominanceandweakensunity.
 Vitality

CONTRASTofcolor,tone
texture, direction
texture,direction
proportion
solidandvoid
solid and void
Vitalityshouldnotbesoughtattheexpense
of harmony
ofharmony
 VITALITY

the
thefacadeofthebuilding
facade of the building
consistsoftwoelementthat
makeitcontrasttothecity
withorganicapproach.

PedregalShoppingCentre ,inMexico

Radialinnature,thebuilding
Radial in nature the building
respondstothedelicate
surroundingenvironment.
HuskiApartments,U.S.A
 EMPHASIS
Stress,AccentorProminence
A f ibl
Aforcibleorimpressiveexpression
i i i
Aninsistentorvigorouswayofattributingimportance
or enforcing attention
orenforcingattention
Horizontalorverticaldominancebythecompositionof
forms.
Bysurfacearticulation,Linearpatternofwindows
Verticalprojectingcolumns,Finsonthesurface,bands,
Roofprojections
Texturesetc
 Toyoito
Thefacadeofcrisscrossed
concrete braces reinterprets
concretebracesreinterprets
thesilhouettesoftheelm
treesliningthestreet.

SerpentineGallery
Pavilion(2002)inLondon.

NEWARTSBUILDING,England
 Fluidity

Fluidityinarchitecturecanbe
y
achievedinthecompositionaswell
as spaces
asspaces.
Asanimpressionofflow,of
movementthatissmoothand
graceful
PavilioncalledLeonardo
GlassCubeinGermany

Differentlevelsshowsfluidity

Concretebracinggoes GeometryFluidityHouse

withthepavement
UN Studio for Dubai Museum
UNStudioforDubaiMuseum

BenvanBerkelarchitect
UNIT5
 Design process and Analysis of building

Designprocess integrationofaestheticsandfunction
Understanding of formative ideas
Understandingofformativeideas
Organizationconcepts
Spatialcharacteristics

Massingandcirculationindesignanalysisofthefollowing
buildings:
g
Fallingwaterhouse
GuggenheimmuseumbyF.l.wright

Villasavaoye
ChapelofNotredamnduhautbyLecorbusier
Integrationofaestheticsandfunction
 ANALYSISOFABUILDING
Wecananalyzethearchitectureofabuildinginmanydifferent
ways.Letusnamethreemaincategories:
y g

Formalanalysisformalanalysisisthemost
importantbecauseitcanshowusathinlinethat
important because it can show us a thin line that
dividesarchitecturefromconstruction(or,the
constructionindustry),anditcanalsoshowus
architecture as an art Analysis can be done by means
architectureasanart.Analysiscanbedonebymeans
ofdiagramrelationshipofplanelevationandsection
partandwhole

Functionalanalysis
Structuralanalysis
y
ANALYSISCANBEDONEBYMEANSOF
DIAGRAM

RELATIONSHIPOFPLANELEVATIONAND
RELATIONSHIP OF PLAN ELEVATION AND
SECTION

PARTANDWHOLE
1. Technical information
- site plan
- plans,
plans sections,
sections elevations
- interior and exterior perspectives

2. Personal interpretation
- schematic diagrams of plans / sections /
elevations that explain:

relation with the site proportions

geometries that govern the project relation between mass
relations between volumes and void (volume and
main and secondary axis surface)
main and secondary volumes grids
vertical and horizontal circulations structure
light layers
composition of facades access
materials and relation between materials Relation between spaces
relation between various components of the in section
program Scale
Symmetry
Balance
axis
 NOTRE DAMN DUE HAUT CHAPEL

Notredamnduehautchapelisoneof
lecorbusiersmostoriginal,least
controversial and widely admired
controversialandwidelyadmired
building.

Thebuildingistherelieffromthe
The building is the relief from the
severityandlogicandtheinternational
style,thoughifconfirmswiththe
systemofproportionaldimensions(
modulor)

Thebuildingdemonstratedthatthe
mostrationalofarchitectscoulddesign,
abuildingthatisessentiallypersonal
andpoetic,aworkofsculpturein
concretewhichspringsfromfaithnor
t hi h i f f ith
reason.
 InthewordsofthearchitectIsoughttocreateaplaceofsilence,
of prayer , peace and inner joy. An experimental form probably
ofprayer,peaceandinnerjoy.Anexperimentalformprobably
Inspiredbythelandscape.

Onecanreadintheformsthedualfunctionhewantedtogivethe
One can read in the forms the dual function he wanted to give the
building
asmallchapelforprayer/meditation.
placeofworship vastcrowdofpilgrims

Theideaofdeepgrottoforthesmallchapel
The idea of deep grotto for the small chapel byeffectsofsoft,
by effects of soft ,
roundmassesthatsurroundtheobserverandgivereassurance.

Thoughthefirminnowaycorrespondtothatofatraditional
Though the firm in no way correspond to that of a traditional
romanchurch,ithadthesamesacredatmosphere,bulkyvolumes
,thickwalls,deepsplaysandsemidarkness.Thusitexhibits
implicitbondwiththepast.
Bibliography
FrancisD.K.Ching,Architecture Form,Spaceand
Order,VanNostrandReinholdCompany,1979

V.S.Pramar,DesignFundamentalsinArchitecture,
V.S.Pramar, Design Fundamentals in Architecture,
SomaiyaPublications,NewDelhi,1973