Avantika Verma

Indian Institute of
Technology,
Roorkeee

PRINCIPLES
OF
ARCHITECTURE

PORTFOLIO
All about the

Space

Space is an intangible element of the

design of architecture. Architectural

designs are created by carving space out

of space, creating space out of space, and

designing spaces by dividing this space

using various tools, such as geometry,

Architectural form occurs at the juncture

colors, and shapes. It is defined in terms of

between mass and space. In executing and

forms, shapes, size, color, smell, time,

reading design drawings, we should be

location. and the atmosphere.

concerned with both the form of the mass

Architecture is a combination of space and

containing a volume of space as well as the

form. Space includes the volume of a

form of the spatial volume itself. The symbiotic

structure and its elements that we move

relationships of the forms of mass and space

through and experience.

in architecture can be examined and formed

Space can be defined in terms of positive

to exist at several scales. At each level, we

and negative space.To comprehend the

should not be concerned about the form but

structure of a visual field, we organize its

also its impact on the surrounding space.

elements into positive space perceived as

Certain buildings are the landmark of the

figures and negative portion serving as a

place. A building can aid in designing streets

background for the figure. We should

and squares. At the scale of a building, we

therefore understand that figures and their

tend to read the configuration of walls as the

background together form an inseparable

positive elements of a plan. The white space in

reality- a unity of opposites- just as the

between should not be simply seen as the

elements of form and space together form

background of the wall. Even at the scale of a

the reality of architecture.

room articles of furnishing can either stand as

a form within a field of space or serve to

define the form of a spatial field.

Properties of

Form
Shape
Shape is defined as a two-dimensional space confined by lines(or edges) which has some

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

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

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

Shapes having irregularities can be termed as organic.

Texture And Color

The combination of color and texture provides a distinct experience and a certain visual appeal to

the overall design. They help define a space while regulating our feelings and responses. We can

use these elements to create contrast and depth, express emotion, and create rich tangible

experiences that incite our minds.

All about the

Form

What is form?

Form refers to the shape or

configuration of a building. Form and its

opposite, space, constitute primary

elements of architecture. The reciprocal

relationship is essential, given the

intention of architecture to provide

internal sheltered space for human

occupation.

Significance of form
Form in architecture not just plays a very FORM FOLLOWS FUNCTION

crucial role. It is not just simply the ‘Form follows function’ is a principle that

shape or configuration of a building but proposes a building’s purpose should be the

it comprises many elements be it a point, starting point for its design rather than its

line, plane, or volume. aesthetics. As an axiom, it is associated with

modernist architects in the early-20th century,

A number of aspects must be considered and can be termed 'functionalism'. The phrase

in order to analyze or design an (which was actually 'form ever follows

architectural form, including shape, function'), was first coined by the American

mass/size, scale, proportion, rhythm, architect Louis Sullivan who helped develop the

articulation, texture, color, and light. first steel skyscrapers in late-19th century

Chicago. The principle suggested that, rather

than buildings being designed in accordance

with past precedents or stylistic trends, the

purpose of the building would determine its

form. The axiom became a touchstone for

modernist architects such as Frank Lloyd Wright

(who was an apprentice of Sullivan), who held

that ‘form and function are one’, and rendered

decorative elements as ‘ornamental’ and

‘superfluous’.
Mass/Size
Mass combines with shape to define form. Mass refers to the size or physical bulk of a building, and

can be understood as the actual size, or size relative to context. This is where scale comes into play

in our perception of mass.

Scale and Proportion

Scale refers to the size of something compared to a reference or to the size of something else,

whereas proportion refers to the proper relation of one part to another or to the whole. Proportion

provides guidelines for laying out useful spaces. Proportion can make a building appear

welcoming, threatening, or impressive.

The golden ratio in art and architecture: It is a proportioning system that determines the

relationship of smaller parts to the whole. It has been believed to produce some of the most

aesthetically pleasing shapes in nature, and as such has been used in many works of classical

architecture.
Light
Form is recognized differently according to the light conditions of the space. Le Corbusier has

emphasized the significant relationship between light and form in his famous statement,

"Architecture is the masterly, correct, and magnificent play of masses brought together in light. Our

eyes are made to see forms in light; light and shade reveal these forms."

Articulation
Articulation refers to the way in which building surfaces come together to define a form. Forms could

be articulated by playing with their corners and surface planes. Windows, doors, stairs, etc. could be

used as elements to create surface articulation. Corners can be articulated by opening or

chamfering the edges.

Ordering principles of

Design

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

positive elements and negative space, or a sequence of light changing with shades. These

elements could be masses, embellishments, windows, etc. Rhythm increases the compositional

unity of the overall design. It creates a consistent order and presents the design as a whole.

Hierarchy
Hierarchy is the organization of different elements of a space in terms of their relative

importance. It describes the components of a structure based on how noticeable they are. One

element Is emphasized over another by adjusting its visual weight. Hierarchy provides a pattern of

movement ad flow to the overall design. It aids comprehension, reinforces the message, and

guides the viewer. Hierarchy helps to differentiate the space into primary, secondary and

supporting elements.
Datum
Datum refers to a line, plane, or a volume that, by its continuity and consistency, serves to gather,

measure, and organize a pattern of forms and spaces.

A datum is a form that ties together or anchors all other elements of the design. It must have

sufficient size, closure, and regularity organized jointly within the given field. It can be a line, like a

road with houses arranged along its length, a flat plane, or even a 3D space. Many buildings share a

plane that acts as a precise datum, which is the ground on which they are built.

Transformation
It states that an architectural concept, structure, or organization can be modified through a

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

uniqueness or concept.

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

Sometimes shapes get transformed by getting bigger or smaller, and they might also twist, extend,

or morph into another form.

Balance
Balance refers to the distribution of negative and positive elements in a space so that no one area

overpowers the other. Just like physical balance is related to physical weight balance in design is

related to the visual weight of elements. Balance aims to provide an aesthetically pleasing whole

and control the flow in design. The unique parts add to their sum but don’t try to become the sum.

Architectural balance is most commonly achieved through symmetry. It was the norm for classical

architecture. We can achieve an asymmetrical architectural balance also. This type of balance is

dynamic, and the elements share a complicated relationship between them. Radial balance occurs

when elements radiate from a common center. Everything radiates from a common center,

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

Emphasis
Emphasis is created when attention is focused on certain aspect of a design. Emphasis aids viewers

in understanding visually which area has more influence than other areas within a design. Emphasis

can be achieved by isolation, changing the placement and constrast.

Contrast
In design, contrast is the difference between two or more elements in a composition. Contrast of

various kinds can be used to emphasize a center of interest. Contrast can be created by altering

the size, color, visual weight or, shape.

Symmetry
It is the balanced distribution of equivalent form and space on opposite sides of a dividing line or

axis or center. Bilateral symmetry generates an axial spatial structure. It is the most common type of

symmetry and is found in different eras of different cultures, and they are halves of a composition of

form is mirrors each other. It can be observed in structural planning and also in features of surfaces

or facades. Radial symmetry means a center and a repeated or continuous surrounding setting.

Various functional structures apply radial symmetry, such as stadiums, theatres, etc. The radial

compositions highlight the primary area of a design or place. For example, if you see under the

center of a vault, the ribs will look perfectly straight as they are radial from the center.
Unity and Harmony
Unity in design happens when space's components work together so that the resulting appearance

is balanced and harmonious. It isn't easy to achieve unity without harmony. Harmony is achieved by

repeating a distinct design element, such as color, shape, texture, etc. Harmony is what generates a

sense of unity.

There are different ways to achieve Harmony And Unity, such as:

Repetition – element is repeated many times over a particular space.

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

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

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

One may confuse unity and harmony with being the same thing. However, they make a difference in

the way we experience a space. Harmony is the feeling that your overall design principles fit

together well.

Unity is when elements in spaces are blended to make a complete, harmonious, and balanced

combination. Harmony and unity go hand in hand.

The hierarchy of needs

The basic concerns of humans is probably best described by ‘the hierarchy of needs’ of Maslow. This

theory is often depicted as a pyramid consisting of 5 levels: the 4 lower levels are grouped together

as deficiency needs associated with physiological needs, while the top level is termed growth needs

associated with psychological needs.

According to Maslow, if you try to

meet the needs of one level in the

hierarchy without first meeting the

prior group's needs, your place in the

ranking will be unstable. Lower levels

in the order serve as the basis for

higher levels. If your foundation

shakes, you get dragged back down

to a lower level to uphold your

foundation before moving back up

the hierarchy. If not, you're led to

thoughts and feelings of stress and

anxiety.

Maslow’s hierarchy can be

interpreted to design, for which the

order from low to high would be

functionality, reliability, usability,

proficiency, and creativity. A design

must be able to function before

anything else. Once the design has

met functional needs, it can move

up to the next level: reliability. The

usability of a design defines the

efficiency by which users can

perform the tasks offered by design.

Once all of the lower-level needs

have been met, your design can

move on to creative needs. With

these met, your design can now

communicate with users in

innovative ways.
Gestalt theory of Perception
According to the Gestalt Theory, as learning is linked with the perception and memory processes,

knowledge includes all the life experiences needed to create new content for perception and

memory systems.

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

Similar objects can be defined by shape, size, color, direction, and

other attributes.⁣

Common RegionObjects that are placed in a closed region are

perceived as being grouped together.⁣

Proximity: Objects that are close together form groups by

visually uniting.

Closure: Our minds tend to close gaps to fill in missing

spaces to complete an unfinished shape.⁣

Continuity: Objects placed in a line or a curve are perceived to

be more related than objects not in a line or curve.⁣⁣

Symmetry: Objects that are symmetrical are perceived as

being part of the same group. ⁣

Case study

SANSKRITI KENDRA

ARCHITECT : Upal Ghosh

INTRODUCTION

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

the performing arts, and social work. Although diverse on the surface, these activities are

different facets of a single vibrant culture rooted in Indian soil but universal in its outlook.

Sanskriti Kendra is, thus, a manifestation of Sanskriti's philosophy of looking at apparently

different facets as parts of a larger organic whole.

It is a cultural centre where artists and sculptors, writers and musicians, and village craftsmen,

practise their arts in tranquil surroundings that engage the mind with the imagery of the idyllic

pastoral countryside with its manmade interventions.

Sanskriti Pratishthan, is an Indian not-for-profit cultural organization that helps cultivate an

environment for preservation and promotion of India's artistic and cultural resources.

The buildings are semi-rustic in appearance, with ample space between them for strolling or

catching a breath of fresh air- but not so far apart as to engender a sense of isolation.

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

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

Sanskriti Pratishthan, is an Indian not-for-profit cultural organization that helps cultivate an

environment for preservation and promotion of India's artistic and cultural resources.
Activities performed

POTTERY PAINTING ACTIVITY

CHILDREN WORKSHOPS CRAFTSPERSON WORKING

LIBRARY / RESEARCH CENTRE EXHIBITION

CONCEPT

A living and artistic complex, the Kendra is meant to provide temporary living and working space

to both traditional and modern artists and craftspersons and encourage interaction between

them. Thus, the complex includes an open-air auditorium, conference hall, studio apartments,

and two museums. For artisans, a separate cluster of huts with individual cooking facilities

provided. The spaces are scattered like a village dwelling. Over two thousand trees are planted

across the plot, with a banyan tree at the entrance.

BUILT VS OPEN

There is a balance amid the closed and open to sky zones. One walks out to lend oneself in a

verandah, leading to a courtyard and then under a tree, and beyond onto a terrace covered by a

bamboo pergola, and then perhaps back onto a balcony and so on. The boundaries between

these zones are not so defined but comfortable. Subtle modulations of light, of the quality of

ambient air, express each change on our senses.

CIRCULATION AND MOVEMENT

The movement patterns and circulation is evident. There are service roads that run on the

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

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

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

Workspaces, studios, and very personal spaces are apart from the public areas to avoid any

disturbance allowing artists to work in a very natural and relaxed atmosphere.

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

along the service road.

LANDSCAPING

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

activity that would disturb the fundamental nature of the land was undertaken.Landscape

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

Geometric forms, pavements, paths, and fences scatter the lawns, vans, Nahar, and parks. Trees

have been planted to dominate the complex. The rainwater drainage canal that runs down the

center and existing clumps become the significant structuring layout elements. The rainwater

channel has been changed into a linear water body-The Nahar.

Landscaping elements

BARAKHAMBA
ARCHED GATEWAY

BANYAN COURTYARD BAITHAK

LOTUS POND AMPHITHEATER

DISTRIBUTION OF THE ACTIVITIES

BAITHAK

The baithak is the standard room of the Kendra, which provides housing amenities such as the

dining room, conference room, library, and office. A two-storeyed building is internally united

visually and physically by a double-height closed court with steps. These steps can be used as

seating during conversations.

FLOW OF SPACES
The building has entrances at different levels. Excluding the office and the library, all other

spaces flow into each other, giving the interior a very expansive sense. The office has been

strategically located at a higher level overlooking the entire complex providing a hierarchy to

space.

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

vertically.
MATERIAL APPLICATION

The architect took cues from vernacular architecture but wanted the buildings to be efficient

and long-lasting. He chose cement that was made to look like mud bricks. This generates a

design that can be replicated effortlessly.

EXHIBITION AREAS

The Kendra includes two museums – the Sanskriti Museum of India terra-cotta and the Sanskriti

Museum of everyday art. These, the most public of all the spaces, required particular attention

for clarity of movements. The layout of spaces is such that a visitor moves from one exhibit to

the next without repeating any. A series of modular units have been organized around

landscaped courtyards.

GOOD PLAY WITH TRANSITION OF SPACES:

The module which is square in plan, has been used in many forms – sometimes as just a stage,

a room without a roof, a room with ceiling but no walls, and sometimes surrounded with

regular doors and windows. The top is always pyramidal as it suits the square plan and blends

well with the scale and setting. A majority of terracotta belonged to open and semi-open

environments. From the regular earthen pot that contains drinking water to giant figures of the

Aiyyanar cult's deities, terracotta art occupies a prime position in Indian life and culture.

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

that, despite its widespread usage, antiquity, artistic merit, and cultural significance,

terracotta objects have not been systematically collected.

MUSEUM OF EVERYDAY ART
The Sanskriti Museum of Everyday Art is a rich storehouse of objects of everyday life of traditional

India that show some sign of superiority in craftsmanship, conception, or design. The museum of

everyday art is housed in a building sunk partly below ground, and its roof is effectively used as

an outdoor exhibition terraces for the terra-cotta museum.

ANALYSIS
The building displays a perfect example of an environment suitable for a cultural context—a

building designed in the landscape, with the built form complementing the natural landform.

Spaces are well articulated. The movement pattern provides a unique experience to the

visitors as he walks from open to the sky to semi-covered courts and finally into a covered

space. The presence of visitors enhances the festive atmosphere and encourages the

craftsmen to display the result.

Case study

Letterbox House

Location: Blairgowrie, Victoria, Australia

Architect: McBride Charles Ryan, Prahran, Australia

LOCATION

Charles Street is located in a holiday suburb on the Mornington Peninsula. Amid the simple

beach, the houses are arranged in a rectangular grid.

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

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

simultaneously. The structural engineer played a critical part in the 'programmed' wall's

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

An excellent and elaborate timber wall-verandah is placed against the simple construction. This

develops a play of the extraordinary and the common within the space. The building has a

passive ventilation strategy designed to exploit the sea breezes for comfort and cooling.
 This building improves the

experience of the

pedestrian. The building is

both recessive and

expressive in the public

domain. It does not

dominate the area but is an

engaging look suggestive of

both the coastal and

region's notable topography.

There is a clear hierarchy in this house. Contrasting to the timber wall that stretches from the

letterbox to become the westerly verandah, the house's remainder appears a simple modernist

expression like many of the region's homes. On moving closer, the raked timber wall seems to have

generated from out of the small letterbox. Yet, from other perspectives, the house appears to have

been carved away. The two techniques provide a balance to the overall design.
The wall outside is a covered deck, cliff, upside-down boat, verandah, and, inside, a repository of

the bric-a-brac collected on beach holidays – a medium for invoking family memories. It is an in-

between zone, which invokes a feeling of belongingness.

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

– Renzo Piano