DAE FIRST YEAR ARCHITECTURE TTECTECHNOLOGY A TEXT BOOK OF INTRODUCTION TO ARCHITECTURE ARCH-112 Authors Chief writer: AR. ABDUL JABBAR M. ARCH (PU), B.ARCH (UET), MPCATP, MIAP Senior Instructor Architecture G.C.T. Railway Road, Lahore Writer: AR. MEHWISH ISHTIAQ B.ARCH (UET), MPCATP, MIAP Instructor Architecture G.C.T. Railway Road, Lahore Reviewed by: Published by: (ACADEMICS WING) TEVTA PUNJAB 96 H GULBERG LAHORE NATIONAL BOOK FOUNDATION ISLAMABAD
Text Book of ARCH-112 Introduction to Architecture DAE 1st Year Architecture Technology II | Page PREFACE We are thankful to Almighty ALLAH who gave us an opportunity to write the book, named ‘Introduction to Architecture’ as Textbook of Diploma of Associate Engineer (DAE) 1st Year Architecture Technology, intending to cover the new syllabus. Throughout the book, emphasis has been given over general and specific objectives of course, easy approach to transfer knowledge to understand architecture as a creative profession, development of architecture and design process as a creative activity. This book also includes objective type, short and long questions at the end of each chapter. This book covers topics including understanding of architecture, creativity, fundamentals and design process of architecture. This book aims at providing a strong foundation to understand architecture as a creative activity, fundamentals of architecture, different stages of architectural design process, components of built environment and relationship between architecture and society. The concepts will be further strengthened through class assignments and field survey of buildings, specific areas and built environment. It is hoped that this book will help to give students a good foundation in understanding architecture. We would like to express our sincere thanks to Mr. Ali Salman Siddique Chairperson TEVTA, Mr. Akhtar Abbas Bharwana Chief Operating Officer TEVTA, Engr. Abdul Wasay General Manager Academics, Engr. Syed Muhammad Waqar ud- Din (Curriculum) / Deputy Director (Technical) Curriculum Section Academics Wing, who took keen interest and inspired us for the completion of this task. We made every effort to make the book valuable both for students and teachers; however we shall gratefully welcome to receive any suggestion for the further improvement of the book. AUTHORS
Text Book of ARCH-112 Introduction to Architecture DAE 1st Year Architecture Technology III | Page TABLE OF CONTENTS PREFACE………………………………………………………………....II AIMS & OBJECTIVES…………………………………………………..V COURSE CONTENTS…………………………………………………...V INSTRUCTIONAL OBJECTIVES……………………………………VII CHAPTERS 1. INTRODUCTION TO ARCHITECTURE 1 1.1 Meaning/ Definitions of Architecture 2 1.2 Characteristics of Architecture 3 1.3 Architecture as a Science 8 1.4 Architecture as an Art 10 1.5 Architecture as a Social Science 15 1.6 Different forces shaping up architecture 17 2. INTRODUCTION TO CREATIVITY 23 2.1 Creativity 24 2.2 Characteristics of Creative People 27 2.3 Is Creativity an Innate or Learned Behavior 31 3. INTRODUCTION TO FUNDAMENTALS 38 3.1 Elements of Architecture 39 3.2 Principles of Architecture 55 4. INTRODUCTION TO ARCHITECTURAL DESIGN 78 4.1 Different stages of Architectural Design process 79
Text Book of ARCH-112 Introduction to Architecture DAE 1st Year Architecture Technology IV | Page 5. CONTEXT AND ARCHITECTURE 102 5.1 Components of Built Environment 103 5.2 Architecture as the most significant feature 109 5.3 How Context influence architecture 112 6. ARCHITECTURE AND SOCIETY 122 6.1 Relationship between Architecture & Society 123 6.2 Importance of Architecture in a Society 126 6.3 Architecture as an Index of a Society 128 REFERENCES 133
Text Book of ARCH-112 Introduction to Architecture DAE 1st Year Architecture Technology V | Page ARCH-112 INTRODUCTION TO ARCHITECTURE Total Contact Hours: 128 T P C Theory: 32 1 3 2 Practical: 96 AIMS & OBJECTIVES: 1 To enable the students to understand architecture as a creative profession . 2 To make students understand the development of architecture. 3 To make students familiar with the design process as a creative activity. COURSE CONTENTS 1. INTRODUCTION TO ARCHITECTURE 06 Hours 1.1 Meaning/ Definitions of Architecture 1.2 Characteristics of Architecture 1.3 Architecture as a Science 1.4 Architecture as an Art 1.5 Architecture as a Social Science 1.6 Different forces shaping up architecture 2. INTRODUCTION TO CREATIVITY 04 Hours 2.1 What is Creativity? 2.2 Characteristics of Creative People 2.3 Is Creativity an Innate or Learned Behavior
Text Book of ARCH-112 Introduction to Architecture DAE 1st Year Architecture Technology VI | Page 3. INTRODUCTION TO FUNDAMENTALS 08 Hours 3.1 Elements of Architecture 3.2 Principles of Architecture 4. INTRODUCTION TO ARCHITECTURAL DESIGN 05 Hours 4.1 Different stages of Architectural Design process 5. CONTEXT AND ARCHITECTURE 04 Hours 5.1 Components of Built Environment 5.2 Architecture as the most significant feature 5.3 How Context influence architecture 6. ARCHITECTURE AND SOCIETY 05 Hours 6.1 Relationship between Architecture & Society 6.2 Importance of Architecture in a Society 6.3 Architecture as an Index of a Society
Text Book of ARCH-112 Introduction to Architecture DAE 1st Year Architecture Technology VII | Page ARCH-112 INTRODUCTION TO ARCHITECTURE INSTRUCTIONAL OBJECTIVES 1. UNDERSTAND INTRODUCTION TO ARCHITECTURE 1.1. Define Architecture 1.2. Describe the Characteristics of architecture 1.3. Describe Architecture as a science 1.4. Describe Architecture as an Art 1.5. Describe Architecture as a social science 1.6. Explain different forces shaping up Architecture 2. UNDERSTAND INTRODUCTION TO CREATIVITY 2.1. Define Creativity 2.2. Explain Characteristics of Creative people 2.3. Explain Creativity as an Innate or Learned Behavior 3. UNDERSTAND INTRODUCTION TO FUNDAMENTALS 3.1. Describe Elements of Architecture 3.2. Describe Principles of Architecture 4. UNDERSTAND INTRODUCTION TO ARCHITECTURAL DESIGN 4.1. Explain Different stages of Architectural Design process 5. UNDERSTAND CONTEXT AND ARCHITECTURE 5.1. Describe Components of Built Environment 5.2. Explain Architecture as the most significant feature 5.3. Explain: How Context influence architecture? 6. UNDERSTAND ARCHITECTURE AND SOCIETY 6.1. Describe Relationship between Architecture & Society 6.2. Describe Importance of Architecture in a Society 6.3. Explain Architecture as an Index of a Society
Text Book of ARCH-112 Introduction to Architecture DAE 1st Year Architecture Technology 1 | P a g e CHAPTER # 01 INTRODUCTION TO ARCHITECTURE G e n e r a l O b j e c t i v e : Understand Basic Concepts of Architecture S p e c i f i c O b j e c t i v e s : After studying this chapter students should be able to 1. Define Architecture 2. Describe the Characteristics of architecture 3. Describe Architecture as a science 4. Describe Architecture as an Art 5. Describe Architecture as a social science 6. Explain different forces shaping up Architecture
Text Book of ARCH-112 Introduction to Architecture DAE 1st Year Architecture Technology 2 | P a g e 1.1 MEANING / DEFINITION OF ARCHITECTURE Architecture could be basically defined as ‘the art and science of designing and constructing buildings’. A wider definition would include within its scope the design of the total built environment, from the macro level of town planning, urban design, and landscape architecture to the micro level of creating furniture. As a word, ‘architecture’ can carry several other meanings, such as: 1. A style or method of building characteristic of a people, place or time. 2. The profession of designing buildings and other habitable environments by architects. 3. The conscious act of forming things resulting in a unifying or coherent structure. In its most simple form, architecture is the design and organization of spaces, and in its most common form, it is the design of buildings, their interiors and surrounding spaces. The architect acts a designer, who can work in a wide range of scales, from a scale as large as the planning of a city, up to a scale as small as the design of a chair. Etymology of the Word ‘Architecture’ Etymologically (in terms of the root of the word), the word ‘architecture’ comes from the Greek arkhitekton, which is a combination of the word arkhi, meaning “chief” or “master”, and tekton, meaning “mason” or “builder”. In line with the etymology, architecture used to denote both the process and the product of designing and constructing buildings; and the architect used to be known as the “master mason” or “master builder” in the past. Architecture is the mother of arts of sculpture, painting and allied decorative crafts. It is the symbol of power and glory. It is a record of continuous evolution and adapted to meet the changing needs of nations in their religious, political and domestic development.
Text Book of ARCH-112 Introduction to Architecture DAE 1st Year Architecture Technology 3 | P a g e Meaning of the architecture is well understood with the study of built environment. How environment, culture, religion, social values and norms influence to create built environment. However, there are some basic elements which can be helpful to understand the exact meaning of the architecture. A glance along the perspective of past ages reveals architecture as a lithe history of social conditions, progress and religion and of events which is the landmark in the history of mankind. It has supplied shrines for religion, homes for the living and monuments for the dead. Intellectuals identify and co-relate the monuments with the history and culture of the people and the land which make them meaningful and relevant in the present context. 1.2 CHARACTERISTICS OF ARCHITECTURE It is difficult to define what the characteristics of good architecture are. The Roman architect Vitruvius defined three characteristics of good architecture in his treatise De Architectura more than 2,000 years ago. These principles are: Durability (Firmitas) – It should stand up robustly and remain in good condition Utility (Utilitas) – It should be useful and function well for the people using it Beauty (Venustas) – It should delight people and raise their spirits A R C H I T E C T S c i e n c e F i r m n e s s H u m a n i t i e s B e a u t y V F u n c t i o n U t i l i t a A r t Art Science Humanities ARCHITECTUR E Function Utilitas Beauty Venustas Firmness Firmitas
Text Book of ARCH-112 Introduction to Architecture DAE 1st Year Architecture Technology 4 | P a g e According to Vitruvius, the architect should strive to fulfill each of these three attributes as well as possible. Battista Alberti, who elaborates on the ideas of Vitruvius saw beauty primarily as a matter of proportion, although ornament also played a part. For Alberti, the rules of proportion were those that governed the idealized human figure, the Golden mean. The most important aspect of beauty was therefore an inherent part of an object, rather than something applied superficially; and was based on universal, recognizable truths. The profession of architecture is in between the arts, the science and the humanities. Therefore, the architect should equip him/herself with the knowledge of many branches of study, such as aesthetics, building technology, sociology etc., to be able to produce architectural works that meet the needs of people properly. Characteristics of any building always relate with the period in which it has been constructed. To understand the philosophy behind the design, we have to study the other factors also which are affecting the architecture e.g. social values, economical values, cultural values and even religious values and also the building styles which are identified hugeness, spacious, darkness, monumental scale etc. We have to study user requirements, needs, and aspirations also. Some of the time, legal constraints play an important role to define the character of a building. Character of any building is defined by the use of elements to derive the form, relationship of form with the function and the technology available at that time. Function covers the user’s requirements, needs and aspirations. Legal constraints play an important role to define the character of the built environment. Historical traditions provide the basis in the development of the built environment. Climate, sun, wind, temperature and precipitation define the context of any building.
Text Book of ARCH-112 Introduction to Architecture DAE 1st Year Architecture Technology 5 | P a g e The Parthenon, Athens, Greece, "the supreme example among architectural sites." (Fletcher). 1.2.1 GENERAL CHARACTERISTICS General characteristics of any building include area specifies rules that either building is fitted with the environment or not, these are: Love for nature True monumental scale and human scale Monumental gateway as main entrance is more dominant part of the buildings. Geometric patterns & surface decoration Material used The character of any building is also defined by the usage of the building. Buildings designed for religious activities Buildings designed for residential purposes Buildings designed for commercial purposes The architecture of different parts of Asia developed along different lines from that of Europe, Buddhist, Hindu, Mughal and Sikh architecture each have different characteristics. Buddhist architecture, in particular, showed great regional diversity. In many Asian countries a pantheistic religion led to
Text Book of ARCH-112 Introduction to Architecture DAE 1st Year Architecture Technology 6 | P a g e architectural forms that were designed specifically to enhance the natural landscape. 1.2.2 CHARACTERISTICS OF BRITISH PERIOD BUILDINGS Huge and Massive Massiveness is one of the characteristics of colonial period. The buildings give the feeling of massiveness because of thicker walls and more heights. Huge and Impressive The building heights and beautiful brickwork give the feeling of impressiveness. Dark Long central corridors along the both sides of the rooms without any break create the effects of darkness. Spacious Although the architecture of British periods is massiveness and dark but it has also the characteristics of spaciousness. There are bigger rooms having more heights to strengthen the effect of spaciousness. Symmetry Symmetry is the most common characteristics of British period in plans and elevation of buildings. It gives the balanced feeling. 1.2.3 CHARACTERISTICS OF MID-CENTURY MODERN BUILDINGS Lack of ornamentation Decorative moldings and elaborate trim are eliminated or greatly simplified, giving way to a clean aesthetic where materials meet in simple, well-executed joints.
Text Book of ARCH-112 Introduction to Architecture DAE 1st Year Architecture Technology 7 | P a g e Emphasis on rectangular forms and horizontal and vertical lines: Shapes of houses are based boxes, or linked boxes. Materials are often used in well-defined planes and vertical forms juxtaposed against horizontal elements for dramatic effect. Low, horizontal massing, flat roofs, emphasis on horizontal planes and broad roof overhangs: Modern homes tend to be on generous sites, and thus many, but not all, have to have meandering one-story plans. Use of modern materials and systems: Steel columns are used in exposed applications, concrete block is used as a finished material, concrete floors are stained and exposed, long-span steel trusses permit open column-free spaces, and radiant heating systems enhance human comfort. Use of traditional materials in new ways: Materials such as wood, brick and stone are used in simplified ways reflecting a modern aesthetic. Traditional clapboard siding are replaced with simple vertical board cladding used in large, smooth planes. Brick and stonework are simple, unornamented, and used in rectilinear masses and planes. Emphasis on honesty of materials: Wood is often stained rather than painted to express its natural character. In many cases exterior wood is also stained so that the texture and character of the wood can be expressed. Relationship between interior spaces and sites: Use of large expanses of glass in effect brings the building’s site into the building, taking advantage of dramatic views and natural landscaping.
Text Book of ARCH-112 Introduction to Architecture DAE 1st Year Architecture Technology 8 | P a g e Emphasis on open, flowing interior spaces: Living spaces are no longer defined by walls, doors and hallways. Living, dining and kitchen spaces tend to flow together as part of one contiguous interior space, reflecting a more casual and relaxed way of life. Generous use of glass and natural light: Windows are no longer portholes to the outside, but large expanses of floor to ceiling glass providing dramatic views and introducing natural light deep into the interior of homes. Use of sun and shading to enhance human comfort: The best modern homes are efficient. They are oriented to take advantage of nature’s forces to provide passive solar heating in the winter, while long overhangs and recessed openings provide shading to keep homes cool in the summer. 1.3 ARCHITECTURE AS A SCIENCE It is always find it a bit concerning when the process of architecture is likened to making art. Art can be created based on nothing more than an emotion, from an ephemeral moment in time, and without repercussions to the physical world. It’s free from the dependencies of shelter, protection, and sometimes, even gravity. Art doesn’t have to make your life better. To function well and properly serve individuals, communities, cultures, and the environment, the design process of architecture involves wide-ranging dependencies and a finished piece of architecture has serious implications on both the natural and built environments. Because of this, we have always thought the process of architecture should be more akin to science. The closeness of this relationship is less surprising when we consider that the Royal Institute of British Architects only reclassified Architecture as a science in 1958, before which the subject was predominantly taught in art schools. More recent figures such as Antoni Gaudi and Le Corbusier have further highlighted the intersections between Art and Architecture; few of us could
Text Book of ARCH-112 Introduction to Architecture DAE 1st Year Architecture Technology 9 | P a g e confidently separate the artistic from the architectural elements of Gaudi’s highly-decorated Sagrada Familia, or Le Corbusier’s Notre Dame du Haut. With designing buildings, an architect must understand the laws of gravity and physics, and even the compositions and chemistry of materials altogether; these components will affect the integrity of their architectural plans. A very important part of modern architecture is that it is not merely a visual art form. Complete architecture takes into account the entire human senses as well as the environment around the structure, and management of power, water and other utilities. There is also a common concept among architects that the art cannot exist in a vacuum and that it must have context, surroundings and contrasts to be complete. Architecture is dynamic, not static. It is physical. Therefore construction of building is science, not an art, it involves calculations and method. It is the practice of design buildings and other physical structures. It is often considered a form of art and science due to the massive amount of technical knowledge required to implement a design that has been created from nothing. Architects have many factors to consider when constructing a building such as mass, texture, materials, light/shadow, cost, construction and technology. All of these factors are manipulated in order to create an end design that appears both functional and aesthetically pleasing. The scientific method is used by architects to research and develop concepts on Countless levels required to create buildings. These levels include understanding the surrounding context from environmental, historic, stylistic and infrastructure perspectives; and determining program areas required by users such as interior products, structure, mechanical, electrical, plumbing, fire protection, technological and security systems. This distinguishes Architecture from engineering design, which is usually driven primarily by the creative application of mathematical and scientific principles. There is no one-size-fits approach in architecture, each building project should respond to its very unique context: site, climate, social, budget and materials.
Text Book of ARCH-112 Introduction to Architecture DAE 1st Year Architecture Technology 10 | P a g e 1.3.1 ARCHITECTURE AS A SCIENCE; PAST AND PRESENT The history of architecture is also extremely interesting, as human technology and scientific and mathematical understanding increases, so did our ability to build wonderful buildings. Architecture was born out of a combination of needs, such as shelter, security and worship and means, mainly the local building materials and physical ability. Early architecture was mainly vernacular architecture, a special type of architecture which is based around local needs and means. As it evolved the classic civilizations were born and great time and effort put into crafting areas of religious or political significance and even back in these times architecture was more than just a visual product. The roman Colloseum was designed so that all of the thousands of crowd members could see and hear the action at the centre and the way it amplifies sound. If we look at the past, Architects such as Mies van der Rohe, Philip Johnson and Marcel Breuer worked to create beauty based on the inherent qualities of building materials and modern construction techniques, trading traditional historic forms for simplified geometric forms, celebrating the new means and methods made possible by the Industrial Revolution, including steel-frame construction, which gave birth to high-rise superstructures. Today architecture is everywhere, almost any public building is professionally designed and many compete for recognition inside their respective cities. There is massive emphasis on certain elements such as energy efficiency, environmental blending and the use of environment friendly construction materials. Design is also becoming increasingly advanced with superstructures like the Burj Al Arab 7 star hotel. 1.4 ARCHITECTURE AS AN ART Architectural works are often perceived as cultural and political symbols and as works of art. Historical civilizations are often identified with their surviving architectural achievements.
Text Book of ARCH-112 Introduction to Architecture DAE 1st Year Architecture Technology 11 | P a g e Dan Rice famously claimed that ‘there are three forms of visual art: painting is art to look at, sculpture is art you walk around, and architecture is art you can walk through’. Plan for the restoration of Vitré Castle, 1870, by L Darcy, ink and watercolor, Fancie, 19th century. (Art Museum) In the past, architects were always seen as the ultimate artists, visualizing imaginary buildings and places deep within the recesses of their imagination and teasing them out in paint or pencil. Only then could they begin the laborious process of drawing how the building could be assembled and brought to reality through an elaborate collaboration with craftsmen and allied artists. They drew upon their visual experiences, knowledge of human nature, and understanding of physics to bring to fruition wondrous places: places that impacted not only the way we lived our daily lives but the very development of our culture and ultimately our civilization.
Text Book of ARCH-112 Introduction to Architecture DAE 1st Year Architecture Technology 12 | P a g e Becoming an architect was a lifelong process of studying both our built and natural environments through drawing and painting. This is how past generations came to know the world by seeing though their hands. Through drawing antiquities they saw the past, and from drawing landscapes they understood the beauty of the natural world. Renowned art critic John Ruskin once said, “To draw the leaf is to know the forest,” for without drawing there was no understanding. Creating our built environment wasn’t simply theoretical; by drawing our environment we came to understand our world through an empirical process through observation and experience. Drawing for the architect was another language. Thousands of hours of sketching allowed one access to the deepest complexities of the mind, where ideas would flow through the hand to paper instantaneously, without pondering interpretation from imagination to fruition without impediment. While artists work from the real to the abstract, architects must work from the abstract to the real. While art may legitimize itself as an object or an event, architecture dissolves into a blur of buildings. Architecture, beneath all its limitations of engineering, safety, function, climate and economy, arouse us with designs in space and light achieved in the abstract. Therefore, architecture is the art that we cannot avoid. We can avoid and not see other arts one way or another, such as painting or sculpture, but architecture, like it or not, affects us and shapes our behaviors all time, as we live in and around it. We have the feeling of awe when we are walking in the hypostyle hall of Karnak temple in Egypt, or under the dome of Suleymaniye Mosque in İstanbul, or when we see Frank Lloyd Wright’s Falling Water House with all its beauty within the environment that surrounds it. Or more commonly, we are affected by the color of the room we are in.
Text Book of ARCH-112 Introduction to Architecture DAE 1st Year Architecture Technology 13 | P a g e Hypostyle hall of Karnak temple, Egypt Suleymaniye mosque by Mimar Sinan, İstanbul
Text Book of ARCH-112 Introduction to Architecture DAE 1st Year Architecture Technology 14 | P a g e Falling Water House, Pennsylvania, USA by Frank Lloyd Wright A room painted green
Text Book of ARCH-112 Introduction to Architecture DAE 1st Year Architecture Technology 15 | P a g e Conclusion It is concluded that “Architecture is both an art and a science. It’s a multifaceted gemstone as it is not just art, or just science, it is more than that. Being an art, it provides us an outlet for creative expression and allows the society to view, create and shape their environment and living space differently, in a unique way. Being a science, architecture also covers our functional needs, providing us living space and environment that is practical and comfortable. This is a discipline which draws on psychology, sociology, economics, politics and so many more areas. The balanced integration of artistic sensibility and scientific methodology as it applies to designing buildings and their environments is essential to creating great architecture. 1.5 ARCHITECTURE AS A SOCIAL SCIENCE One of the questions that arise again and again when we talk about the spacesociety relationship is society’s independence from and dependence on space. This question has indelibly marked the dialogue between sociology and architecture. Architecture is described as a social art and also an artful science because it is everywhere. Each and every building: home, school, office, hospital and supermarket are designed for their particular purpose. It is of vital importance that these buildings, and in turn the environments they form and the neighborhoods and cities they are a part of, are designed to be the best possible buildings for their specific context, use and the people who use them. Architecture first evolved out of the dynamics between needs (shelter, security, worship, etc.) and means (available building materials and attendant skills). As human cultures developed and knowledge began to be formalized through oral traditions and practices, architecture became a craft. Architecture is not only a technical or functional response to a series of empirical needs of the members of a society, but the construction of a human space in essence. The original purpose of architecture is the construction of socialized space for use by man. It is the practice of space of culture and rules within nature, where society itself takes visible form. Something as external as
Text Book of ARCH-112 Introduction to Architecture DAE 1st Year Architecture Technology 16 | P a g e a building could really have much of an effect on our inner mood. We’d rather see ourselves as able to generate our psychological states independently of the color, shape and texture of the walls. Early human settlements were mostly rural. Due to a surplus in production the economy began to expand resulting in urbanization thus creating urban areas which grew and evolved very rapidly in some cases, such as that of Çatal Höyük in Anatolia and Mohenjo Daro in the Indian Subcontinent. In many ancient civilizations, like the Egyptians' and Mesopotamians', architecture and urbanism reflected the constant engagement with the divine and the supernatural, while in other ancient cultures such as Persia architecture and urban planning was used to exemplify the power of the state. The soul of architecture is to design a structure that will be suited for humans to live in, work in, play in, etc. It is also to give comfort to its users, to make them feel comfortable, make them feel uplifted; make them feel that someone cared about their well-being enough to design something that they would enjoy. A good Architect does more than just design buildings, he or she understands how people's surroundings make them feel, and creates an environment that will meet their needs and desires (on time and under budget). However, as a discipline and a professional activity, architecture and the work of architects have consolidated a role in history with their own specific rules and social functions, which both inform approaches and shape conditions for knowledge and practice. Architecture has the ability to materially affect outcomes: it can affect the way we relate to each other, increase business productivity, support communities and neighborhoods, improve health, and even decrease crime.
Text Book of ARCH-112 Introduction to Architecture DAE 1st Year Architecture Technology 17 | P a g e 1.6 DIFFERENT FORCES SHAPING UP ARCHITECTURE As the etymology indicates, the architect has to act as the “master builder” and see the building both as an object of design and as a process of building. Therefore, he/she has to have a full command of the form, function, and structure of the building, and also other factors such as the site characteristics, materials, lighting, heating and acoustic conditions, color and texture of buildings. To shapeup architecture different forces affects in different ways. In today’s society designers either respond to the community with their work or they shape it, dictating the environment. Main forces that shapeup architecture are given below: 1. Geographic and climatic aspect 2. Religious aspect 3. Cultural and social aspect 4. Economic aspect 5. Technological Aspect i. GEOGRAPHIC AND CLIMATIC ASPECT The geography of a place is an essential factor in architecture. It is where architects can base their design elements. Some of the things that should be thought of when it comes to geography are the topography or the location of the place someone wish to construct a building on. To design any building it is important to know the load bearing capacity of earth. For this different tests are performed like soil test etc. Climate is all about the weather conditions of a place. With this, architects have the choice of making designs that are tough if the weather conditions of the location are harsh. On the other hand, a different design is made if the location is sunnier than usual. Architects try to make their designs as precise as possible. Some buildings are beautifully constructed inside and out. Architecture takes place at a site or a context. The site of an architectural project affects and determines very important characteristics about the project,
Text Book of ARCH-112 Introduction to Architecture DAE 1st Year Architecture Technology 18 | P a g e such as its layout, orientation, approach, views, relationship with the environment, and materials (as they would differentiate according to the climate). ii. RELIGIOUS ASPECT Some clients don’t have special requirements pertaining to religion. However, some have and would ask architects to cater to those requirements. Aside from that, there are locations where religion is a big deal to the community. In this situation, considerations are specified. Architect must study the religion of that area where building is going to be constructed. Also the typology of building also matters like religious buildings should be designed according to the religion, like mosques should be designed according to the Islamic rules and values and church should be designed according to Christianity. iii. CULTURAL AND SOCIAL ASPECT Like with religion, culture is another determining factor in designing a building. In this aspect the building is designed according to the culture of that specific area. Culture includes the living style, eating habits and relation with others. For example, if the client is of Chinese descent; the owners may want to build according to Feng Shui beliefs. Architects need to bend their design aesthetic and talk to their clients on how they can make the building follow those requirements. Besides these, architecture can also carry a symbolic function. It can have a symbolic content to be conveyed to its users or viewers. This symbolic content could be perceived easily in religious and governmental buildings. A courthouse for example could be made to be intimidating consciously, or a religious building could be built to create the feeling of awe. Moreover, architectural works could act as icons of cities, such as Eiffel Tower in Paris or Chrysler building in New York. iv. ECONOMIC ASPECT Economic aspect is very important to construct any building. Construction should be economical along with fulfilling all the functional and aesthetic
Text Book of ARCH-112 Introduction to Architecture DAE 1st Year Architecture Technology 19 | P a g e requirements in that specific area. Generally it thought that the cost of project can be reduced by using local materials and techniques. The evolution of techniques is conditioned by two forces. One is economic— the search for a maximum of stability and durability in building with a minimum of materials and labor. The other is expressive—the desire to produce meaningful form. Techniques evolve rapidly when economic requirements suggest new expressive forms or when the conception of new forms demands new procedures. But they remain static when architects avoid the risk of pioneering with untried and possibly unsuccessful methods and depend instead on proved procedures or when the need for the observance of tradition, for the communication of ideas, or for elegance and display is best fulfilled by familiar forms. v. TECHNOLOGICAL ASPECT Technology has paved the way for many buildings and establishments to be fully-functional. Having a building automation system is one obvious sign that technology helped in making structures systematized and functioning to their full capacity. Additionally, technology makes it easier for everyone coming in the building or the ones using it to access areas or feel comfortable. Architect able to create comfortable environments for people, architecture takes care of the lighting, heating and acoustic conditions of the building, as well as the color of spaces and the texture of the materials. It considers how light affects and travels within the building, how the building is heated or ventilated, how it reacts to sounds (acoustics), what colors it should have, and the textural sensations evoked by the materials used in it.
Text Book of ARCH-112 Introduction to Architecture DAE 1st Year Architecture Technology 20 | P a g e PART-I Sample Long Questions: Q # 1 What are the general characteristics of good architecture? Explain in detail Q # 2 What do you think that architecture is a science? Explain Q # 3 What do you think that architecture is an art? Explain Q #4 Explain briefly ‘Architecture as a Social Science’. Q #5 Write a detailed note on different factors shaping up architecture. Sample Short Questions: 1. Define Architecture. 2. Define three characteristics of architecture. 3. Write general characteristics of a good building. 4. What are the general characteristics of British period buildings? 5. What are the general characteristics of Mid-Century modern buildings? 6. Define architecture as a science. 7. Define architecture as an art. 8. Write the names of different factors shaping up architecture. PART-II Sample MCQs: 1. Architecture is the design and organization of…………… a) Space b) Volume c) Structure d) all of these 2. Etymologically the word ‘architecture’ comes from the……………
Text Book of ARCH-112 Introduction to Architecture DAE 1st Year Architecture Technology 21 | P a g e a) Roman arkhitekton b) Greek arkhitekton c) British word d) none of these 3. For ……………… the rules of proportion were those that governed the idealized human figure, the Golden mean. a) Vitruvius b) Alberti c) Frank Lloyd Wright d) all of these 4. The Roman architect Vitruvius defined how many characteristics of good architecture in his treatise De Architectura ? a) 4 b) 2 c) 3 d) 1 5. …………..is the most common characteristics of British period in plans and elevation of buildings. a) Symmetry b) Variety c) Harmony d) none of these 6. Lack of ornamentation is the characteristic of? a) British period buildings b) Mid-century modern buildings c) Islamic Buildings d) None of these 7. Huge and massiveness is the characteristics of? a) British period buildings b) Mid-century modern buildings c) Islamic Buildings d) none of these 8. Use of traditional materials in new ways is the characteristic of? a) Mid-century modern buildings b) British period buildings c) Indo-Islamic architecture d) none of these 9. …………. covers the user’s requirements, needs and aspirations. a) Function b) Aesthetics c) Sociology d) none of these 10. Being an…………….. architecture provides us an outlet for creative expression and shape our environment and living space differently, in a unique way.
Text Book of ARCH-112 Introduction to Architecture DAE 1st Year Architecture Technology 22 | P a g e a) Science b) art c) social science d) all of these 11 Some of the things that should be thought of when it comes to geography are the…………………… a) Topography b) location of the place c) load bearing capacity of earth d) all of these 12. The evolution of techniques is conditioned by two forces i-e…………….. a) Dynamic and impressive b) economic and expressive c) stability and durability d) none of these 13. The ………….. of the building matters like religious buildings should be designed according to the specific religion it is going to be designed for. a) Aesthetics b) topography c) typology d) none of these 14. Being a ………….. architecture covers our functional needs, providing us living space and environment that is practical and comfortable. a) Art b) science c) social science d) all of these 15. Historical civilizations are often identified with their surviving…………….. a) Architectural achievements b) materials c) technology d) none of these Answer Key 1. ( a ) 2. ( b ) 3. ( b ) 4. ( c ) 5. ( a ) 6. ( b ) 7. ( a ) 8. ( a ) 9. ( a ) 10. ( b ) 11. ( d ) 12. ( b ) 13. ( c ) 14. ( b ) 15. ( a )
Text Book of ARCH-112 Introduction to Architecture DAE 1st Year Architecture Technology 23 | P a g e CHAPTER # 2 INTRODUCTION TO CREATIVITY G e n e r a l O b j e c t i v e : Understand Basic Concepts of Creativity S p e c i f i c o b j e c t i v e s : After studying this chapter students should be able to 1. State Creativity 2. Describe Characteristics of Creativity 3. Explain Creativity as an Innate or Learned Behavior
Text Book of ARCH-112 Introduction to Architecture DAE 1st Year Architecture Technology 24 | P a g e 2.1 CREATIVITY 2.1.1 DEFINITION: Creativity is the ability to generate innovative ideas and manifest them from thought into reality. The process involves original thinking and then producing. The process of creation was historically reserved for deities creating "from nothing" in Creationism and other creation myths. Over time, the term creativity came to include human innovation, especially in art and science and led to the emergence of the creative class. Creativity comes from the Latin term creō "to create, make". The ways in which societies have perceived the concept of creativity have changed throughout history, as has the term itself. Originally in the Christian period: "creatio" came to designate God's act of Ex nihilo, "creation from nothing." "Creatio" thus had a different meaning than "facere" ("to make") and did not apply to human functions. The ancient view that art is not a domain of creativity persisted in this period. 2.1.2 HISTORY OF THE TERM AND THE CONCEPT The ancient Greek concept of art with the exception of poetry, involved not freedom of action but subjection to rules. In Rome, this Greek concept was partly shaken, and visual artists were viewed as sharing, with poets, imagination and inspiration. Although neither the Greeks nor the Romans had a word that directly corresponded to the word "creativity," their art, architecture, music, inventions and discoveries provide numerous examples of what today would be described as creative works. At the time, the concept of "genius" probably came closest to describing the creative talents that brought forth such works.
Text Book of ARCH-112 Introduction to Architecture DAE 1st Year Architecture Technology 25 | P a g e By the 18th century and the Age of Enlightenment, the concept of creativity was appearing more often in art theory, and was linked with the concept of imagination. The Western view of creativity can be contrasted with the Eastern view. For Hindus, Confucianists, Taoists and Buddhists, creation was at most a kind of discovery or mimicry, and the idea of creation "from nothing" had no place in these philosophies and religions. 2.1.3 CREATIVE PROCESS In the late 19th and early 20th centuries, leading mathematicians and scientists began to reflect on and publicly discuss their creative processes, and these insights were built on in early accounts of the creative process by pioneering theorists . In parallel with these developments, other investigators have taken a more pragmatic approach, teaching practical creativity techniques. Three of the best-known are: "brainstorming" Genrikh Altshuller's Theory of Inventive Problem Solving (TRIZ, 1950s to present), and Edward de Bono's "lateral thinking" (1960s to present). 2.1.4 CREATIVE THOUGHT Creative thought is a mental process involving creative problem solving and the discovery of new ideas or concepts, or new associations of the existing ideas or concepts, fueled by the process of either conscious or unconscious insight. From a scientific point of view, the products of creative thought (sometimes referred to as divergent thought) are usually considered to have both originality and appropriateness.
Text Book of ARCH-112 Introduction to Architecture DAE 1st Year Architecture Technology 26 | P a g e Although intuitively a simple phenomenon, it is in fact quite complex. It has been studied from the perspectives of behavioral psychology, social psychology, psychometrics, cognitive science, artificial intelligence, philosophy, aesthetics, history, economics, design research, business, and management, among others. The studies have covered everyday creativity, exceptional creativity and even artificial creativity. Unlike many phenomena in science, there is no single, authoritative perspective or definition of creativity. And unlike many phenomena in psychology, there is no standardized measurement technique. Creativity has been attributed variously to divine intervention, cognitive processes, the social environment, personality traits, and chance ("accident", "serendipity"). It has been associated with genius, mental illness, humor and REM sleep. Some say it is a trait we are born with; others say it can be taught with the application of simple techniques. Creativity has also been viewed as a beneficence of a muse or muses. Although popularly associated with art and literature, it is also an essential part of innovation and invention and is important in professions such as business, economics, architecture, industrial design, graphic design, advertising, game design, mathematics, music, science and engineering, and teaching. Despite, or perhaps because of, the ambiguity and multi-dimensional nature of creativity, entire industries have been spawned from the pursuit of creative ideas and the development of creativity techniques. Leonardo da Vinci is well known for his creative works.
Text Book of ARCH-112 Introduction to Architecture DAE 1st Year Architecture Technology 27 | P a g e Creativity has been associated with right or forehead brain activity or even specifically with lateral thinking. Some students of creativity have emphasized an element of chance in the creative process. Linus Pauling, asked at a public lecture how one creates scientific theories, replied that one must endeavor to come up with many ideas, then discard the useless ones. Another adequate definition of creativity, according to Otto Rank, is that it is an "assumptions-breaking process." Creative ideas are often generated when one discards preconceived assumptions and attempts a new approach or method that might seem to others unthinkable. In the context of an organization, therefore, the term innovation is often used to refer to the entire process by which an organization generates creative new ideas and converts them into novel, useful and viable commercial products, services, and business practices, while the term creativity is reserved to apply specifically to the generation of novel ideas by individuals or groups, as a necessary step within the innovation process. Although the two words are novel, they go hand in hand. In order to be innovative, employees have to be creative to stay competitive. 2.2 CHARACTERISTICS OF CREATIVE PEOPLE The study of the mental representations and processes underlying creative thought belongs to the domains of psychology and cognitive science. Psychology Cognitive Scince 2. 2.1 A PSYCHODYNAMIC APPROACH TO UNDERSTAND CREATIVITY: It was proposed by Sigmund Freud, who suggested that creativity arises as a result of frustrated desires for fame, fortune, and love, with the energy that
Text Book of ARCH-112 Introduction to Architecture DAE 1st Year Architecture Technology 28 | P a g e was previously tied up in frustration and emotional tension in the neurosis being sublimated into creative activity. Freud later retracted this view. A. Creativity and Affect Some theories suggest that creativity may be particularly susceptible to affective influence. B. Creativity and Positive Affect Relations: According to Isen, positive affect has three primary effects on cognitive activity: 1. Positive affect makes additional cognitive material available for processing, increasing the number of cognitive elements available for association; 2. Positive affect leads to defocused attention and a more complex cognitive context, increasing the breadth of those elements that are treated as relevant to the problem; 3. Positive affect increases cognitive flexibility, increasing the probability that diverse cognitive elements will in fact become associated. Together, these processes lead positive affect to have a positive influence on creativity. Fredrickson in her Broaden and Build Model suggests that positive emotions such as joy and love broaden a person's available repertoire of cognitions and actions, thus enhancing creativity. According to these researchers, positive emotions increase the number of cognitive elements available for association (attention scope) and the number of elements that are relevant to the problem (cognitive scope). C. Creativity and Negative Affect Relations: On the other hand, some theorists have suggested that negative affect leads to greater creativity. A cornerstone of this perspective is empirical evidence of a
Text Book of ARCH-112 Introduction to Architecture DAE 1st Year Architecture Technology 29 | P a g e relationship between affective illness and creativity. In a study of 1,005 prominent 20th century individuals from over 45 different professions, the University of Kentucky's Arnold Ludwig found a slight but significant correlation between depression and level of creative achievement. In addition, several systematic studies of highly creative individuals and their relatives have uncovered a higher incidence of affective disorders (primarily bipolar disorder and depression) than that found in the general population. D. Creativity and Affect at Work: Three patterns may exist between affect and creativity at work: positive (or negative) mood, or change in mood, predictably precedes creativity; creativity predictably precedes mood; and whether affect and creativity occur simultaneously. It was found that not only might affect precede creativity, but creative outcomes might provoke affect as well. At its simplest level, the experience of creativity is itself a work event, and like other events in the organizational context, it could evoke emotion. Qualitative research and anecdotal accounts of creative achievement in the arts and sciences suggest that creative insight is often followed by feelings of elation. For example, Albert Einstein called his 1907 general theory of relativity "the happiest thought of my life." Empirical evidence on this matter is still very tentative. In contrast to the possible incubation effects of affective state on subsequent creativity, the affective consequences of creativity are likely to be more direct and immediate. In general, affective events provoke immediate and relativelyfleeting emotional reactions. Thus, if creative performance at work is an affective event for the individual doing the creative work, such an effect would likely be evident only in same-day data. Another longitudinal research found several insights regarding the relations between creativity and emotion at work. First, a positive relationship between positive affect and creativity, and no evidence of a negative relationship. The more positive a person's affect on a given day, the more creative thinking they
Text Book of ARCH-112 Introduction to Architecture DAE 1st Year Architecture Technology 30 | P a g e evidenced that day and the next day even controlling for that next day's mood. There was even some evidence of an effect two days later. In addition, the researchers found no evidence that people were more creative when they experienced both positive and negative affect on the same day. The weight of evidence supports a purely linear form of the affect-creativity relationship, at least over the range of affect and creativity covered in our study: the more positive a person's affect, the higher their creativity in a work setting. Finally, they found four patterns of affect and creativity affect can operate as an antecedent to creativity; as a direct consequence of creativity; as an indirect consequence of creativity; and affect can occur simultaneously with creative activity. Thus, it appears that people's feelings and creative cognitions are interwoven in several distinct ways within the complex fabric of their daily work lives. A summary of the various creativity techniques that have been proposed. These include approaches that have been developed by both academia and industry: 1. Establishing purpose and intention 2. Building basic skills 3. Encouraging acquisitions of domain-specific knowledge 4. Stimulating and rewarding curiosity and exploration 5. Building motivation, especially internal motivation 6. Encouraging confidence and a willingness to take risks 7. Focusing on mastery and self-competition 8. Promoting supportable beliefs about creativity 9. Providing opportunities for choice and discovery 10. Developing self-management (metacognitive skills) 11. Teaching techniques and strategies for facilitating creative performance
Text Book of ARCH-112 Introduction to Architecture DAE 1st Year Architecture Technology 31 | P a g e 2.3 IS CREATIVITY AN INNATE OR LEARNED BEHAVIOR? The Western view of creativity can be contrasted with the Eastern view. For Hindus, Confucianists, Taoists and Buddhists, creation was at most a kind of discovery or mimicry, and the idea of creation "from nothing" had no place in these philosophies and religions. Creative thought is a mental process involving creative problem solving and the discovery of new ideas or concepts, or new associations of the existing ideas or concepts, fueled by the process of either conscious or unconscious insight. From a scientific point of view, the products of creative thought (sometimes referred to as divergent thought) are usually considered to have both originality and appropriateness. Although intuitively a simple phenomenon, it is in fact quite complex. It has been studied from the perspectives of behavioral psychology, social psychology, psychometrics, cognitive science, artificial intelligence, philosophy, aesthetics, history, economics, design research, business, and management, among others. The studies have covered everyday creativity, exceptional creativity and even artificial creativity. Unlike many phenomena in science, there is no single, authoritative perspective or definition of creativity. And unlike many phenomena in psychology, there is no standardized measurement technique. Creativity has been attributed variously to divine intervention, cognitive processes, the social environment, personality traits, and chance ("accident", "serendipity"). It has been associated with genius, mental illness, humor and REM sleep. Some say it is a trait we are born with; others say it can be taught with the application of simple techniques. Creativity has also been viewed as a beneficence of a muse or muses.
Text Book of ARCH-112 Introduction to Architecture DAE 1st Year Architecture Technology 32 | P a g e 2. 3. 1 CREATIVITY AND INTELLIGENCE: Cerebral Cortex Frontal lobe Temporal lobe Parietal lobe Occipital lobe The frontal lobe (shown in blue) is thought to play an important role in creativity. There has been debate in the psychological literature about whether intelligence and creativity are part of the same process (the conjoint hypothesis) or represent distinct mental processes (the disjoint hypothesis). Evidence from attempts to look at correlations between intelligence and creativity from the 1950s onwards, by authors such as Barron, Guilford or Wallach and Kogan, regularly suggested that correlations between these concepts were low enough to justify treating them as distinct concepts. Some researchers believe that creativity is the outcome of the same cognitive processes as intelligence, and is only judged as creativity in terms of its consequences, i.e. when the outcome of cognitive processes happens to produce something novel, a view which Perkins has termed the "nothing special" hypothesis.
Text Book of ARCH-112 Introduction to Architecture DAE 1st Year Architecture Technology 33 | P a g e The neurobiology of creativity has been addressed in the article "Creative Innovation: Possible Brain Mechanisms." The authors write that "creative innovation might require activation and communication between regions of the brain that ordinarily are not strongly connected." Highly creative people who excel at creative innovation tend to differ from others in three ways: They have a high level of specialized knowledge, They are capable of divergent thinking mediated by the frontal lobe. And they are able to modulate neurotransmitters such as norepinephrine in their frontal lobe. Thus, the frontal lobe appears to be the part of the cortex that is most important for creativity. This article also explored the links between creativity and sleep, mood and addiction disorders, and depression. In 2005, Alice Flaherty presented a three-factor model of the creative drive. Drawing from evidence in brain imaging, drug studies and lesion analysis, she described the creative drive as resulting from an interaction of the frontal lobes, the temporal lobes, and dopamine from the limbic system. The frontal lobes can be seen as responsible for idea generation, and the temporal lobes for idea editing and evaluation. Abnormalities in the frontal lobe (such as depression or anxiety) generally decrease creativity, while abnormalities in the temporal lobe often increase creativity. High activity in the temporal lobe typically inhibits activity in the frontal lobe, and vice versa. High dopamine levels increase general arousal and goal directed behaviors and reduce latent inhibition, and all three effects increase the drive to generate ideas. 2. 3. 2 CREATIVITY IN ART AND LITERATURE: Henry Moore's Reclining Figure
Text Book of ARCH-112 Introduction to Architecture DAE 1st Year Architecture Technology 34 | P a g e Most people associate creativity with the fields of art and literature. In these fields, originality is considered to be a sufficient condition for creativity, unlike other fields where both originality and appropriateness are necessary. Within the different modes of artistic expression, one can postulate a continuum extending from "interpretation" to "innovation". Established artistic movements and genres pull practitioners to the "interpretation" end of the scale, whereas original thinkers strive towards the "innovation" pole. Note that we conventionally expect some "creative" people (dancers, actors, orchestral members, etc.) to perform (interpret) while allowing others (writers, painters, composers, etc.) more freedom to express the new and the different. Contrast alternative theories, for example: artistic inspiration, which provides the transmission of visions from divine sources such as the Muses; a taste of the Divine. Compare with invention. artistic evolution, which stresses obeying established ("classical") rules and imitating or appropriating to produce subtly different but unshockingly understandable work. Compare with crafts. artistic conversation, as in Surrealism, which stresses the depth of communication when the creative product is the language. In the art practice and theory of Davor Dzalto, human creativity is taken as a basic feature of both the personal existence of human being and art production. For this thinker, creativity is a basic cultural and anthropological category, since it enables human manifestation in the world as a "real presence" in contrast to the progressive "virtualization" of the world. Although the benefits of creativity to society as a whole have been noted. social attitudes about this topic remain divided. The wealth of literature regarding the development of creativity and the profusion of creativity techniques indicate wide acceptance, at least among academics, that creativity is desirable. There is, however, a dark side to creativity, in that it represents a "quest for a radical autonomy apart from the constraints of social responsibility". In other
Text Book of ARCH-112 Introduction to Architecture DAE 1st Year Architecture Technology 35 | P a g e words, by encouraging creativity we are encouraging a departure from society's existing norms and values. Expectation of conformity runs contrary to the spirit of creativity. Sir Ken Robinson argues that the current education system is "educating people out of their creativity". Nevertheless, employers are increasingly valuing creative skills. A report by the Business Council of Australia, for example, has called for a higher level of creativity in graduates. The ability to "think outside the box" is highly sought after. However, the above-mentioned paradox may well imply that firms pay lip service to thinking outside the box while maintaining traditional, hierarchical organization structures in which individual creativity is not rewarded.
Text Book of ARCH-112 Introduction to Architecture DAE 1st Year Architecture Technology 36 | P a g e PART-I Sample Long Questions: 1. Explain Creativity in details. 2. Describe characteristics of creative persons. 3. Is creativity an innate or learned behavior, explain. Sample Short Questions: 1. Define Creativity. 2. Write three reasons which make a person creative. 3. Who is called a creative person ? 4. What is a unique idea in creativity ? 5. What is a creative process ? 6. What are the factors creativity depend on ? 7. Is Creativity an innate behavior ? 8. What is a creativity process ? 9. What do you mean by “a creative thought” ? 10. How Creativity develop in art and architecture ? PART-II Sample MCQ’s : Encircle the correct answers: 1. An creative person in society is called _____________________ . a) Operator b) Creator c) Thinker d) None 2. Creative people have _____________________ . a) Weakness b) Energy c) Capacity d) a & b both 3. Is Creativity an innate or learned behavior ? a) Learned b) Innate c) Both d) None 4. Creativity depends on ____________________ . a) Innate behavior b) Learned behavior c) Hereditary d) All 5. Creative thought is a ____________________ process. a) Mental b) Physical c) Both d) None 6. Creativity is the ability to generate _______________ ideas.
Text Book of ARCH-112 Introduction to Architecture DAE 1st Year Architecture Technology 37 | P a g e a) Innovative b) Modern c) Classic d) None 7. Western view of creativity can be contrasted with the ________ view. a) Eastern b) Southern c) Both d) None 8. Creative thought belongs to the domain of _________________ . a) Innate & Cognitive Science b) Psychology & Cognitive Science c) Competitions d) Organization 9. The ability to think _____________ the box is highly sought. a) Outside b) inside c) Both d) None 10. Employers are increasingly valuing ________________ a) Physical skills b) Creative skills c) Computer skills e) None Answer Key: 1) b 2) b 3) b 4) d 5) a 6) a 7) a 8) b 9) a 10) b
Text Book of ARCH-112 Introduction to Architecture DAE 1st Year Architecture Technology 38 | P a g e CHAPTER # 03 INTRODUCTION TO FUNDAMENTALS G e n e r a l O b j e c t i v e : Understand Basic Concept of Fundamentals of Architecture S p e c i f i c o b j e c t i v e s : After studying this chapter students should be able to 1. Describe the integral elements used in the creation of a design process. 2. Describe Principles of Architecture.
Text Book of ARCH-112 Introduction to Architecture DAE 1st Year Architecture Technology 39 | P a g e 3.1 ELEMENTS OF ARCHITECTURE: The elements of design in architecture are the basic components used as part of any composition. They are the objects to be arranged, the constituent parts used to create the composition itself. In most situations the elements of design build upon one another, the former element helping to create the latter. Each element is first considered as a conceptual element, then as a visual element in the vocabulary of architectural design. The primary elements of form in the order of their growth are: from the point to a one dimensional line, from the line to a two dimensional plane, and from the plane to a three-dimensional volume. The integral elements used in the creation of a design are given below: 1. Point 2. Line 3. Plane 4. Volume 5. Form 6. Color 3.1.1 POINT Point marks a position in space. Conceptually it has no length, width or depth. It is static, centralized and directionless. To mark a position in space or on the ground plane, a point must be projected vertically into a linear form. Other point-generated forms that share these same visual attributes are the:
Text Book of ARCH-112 Introduction to Architecture DAE 1st Year Architecture Technology 40 | P a g e Circle
Text Book of ARCH-112 Introduction to Architecture DAE 1st Year Architecture Technology 41 | P a g e Cylinder Baptistery at Pisa, Italy
Text Book of ARCH-112 Introduction to Architecture DAE 1st Year Architecture Technology 42 | P a g e Sphere 3.1.2 LINE Lines are one of the most powerful design elements. Lines are everywhere around us, especially in buildings and architecture. A point extended becomes a line. Conceptually a line has length, but no width and depth. Its properties are: A line describes the path of a point in motion. Capable of visually expressing direction, movement, and growth. Join, link, support, surround, or intersect other visual elements Describe the edges of and give shape to planes Articulate the surface of planes Only has one dimension, but it should has thickness to become visible
Text Book of ARCH-112 Introduction to Architecture DAE 1st Year Architecture Technology 43 | P a g e The character of a line, whether taut or limp, bold or tentative, graceful or ragged, is determined by our perception of its length –width ratio, its contour, its degree of continuity. Types of Line The orientation of a line affects its role in a visual construction. i. Vertical Line– Represents dignity, formality, stability, and strength, a vertical line can express a state of equilibrium with the force of gravity, symbolize the human condition, or mark an apposition in space. Vertical linear elements, such as columns, obelisks, and towers, have been used throughout history to commemorate significant events and establish particular points in space. The Empire State Building, New York