UNIT-I

INTRODUCTION AND ELEMENTS OF ARCHITECTURE

DEFINITION ARCHITECTURE
"Architecture" can mean
 A general term to describe buildings and other physical structures.
 The art and science of designing and erecting buildings and other physical structures.
 The style and method of design and construction of buildings and other physical structures.
 The practice of the architect, where architecture means the offering or rendering of professional
services in connection with the design and construction of buildings, or built environments.
 The design activity of the architect, from the macro-level (urban design, landscape architecture) to the
micro-level (construction details and furniture).
In relation to buildings, architecture has to do with the planning, designing and constructing form,
space and ambience that reflect functional, technical, social, environmental and aesthetic considerations. It
requires the creative manipulation and coordination of material, technology, light and shadow.
Architecture also encompasses the pragmatic aspects of realizing buildings and structures, including
scheduling, cost estimating and construction administration. As documentation produced by architects,
typically drawings, plans and technical specifications, architecture defines
the structure and/or behaviour of a building or any other kind of system that is to be or has been
constructed.
The word architecture can have many meanings. Depending on the context, architecture can refer to
1. Any man-made building or structure.
2. A man-made building or structure that is important, large, or highly creative.
3. A carefully designed object, such as a chair, a spoon, or a tea kettle .
4. A design for a city, town, park, or landscape.
5. The art or science of designing and building buildings, structures, objects, and outdoor spaces.
6. A building style or method.
7. A plan for organizing space.
Further architecture can defined as follows
1. The profession of designing buildings, open areas,communities,artificial constructions and
environments, usually with some regard to aesthetic effect.Architecture often includes design or
selection of furnishingsand decorations, supervision of construction work, and examination,
restoration, or remodeling of existing building.
2. The character or style of building: the architecture of Paris; Romanesque architecture.
3. The action or process of building; construction.
4. The result or product of architectural work, as a building.
5. Buildings collectively.

DEFINITION OF ARCHITECTURAL DESIGN

 Architectural design is the process by which an object later to be constructed is to be conceived as an
idea. The idea may conceived both mentally and representational.

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  The mental conception implies identification of the purpose of the object, analysis of functional
value, and visualization of an optimal solution.
 The representational conception means reproducing the image of the object in the form of
sketches and drawings.
 The above two process are to be exercised continuously to get a true synthesis of the mental and
the sensory.
 The object so created on the above process in architectural design is an architectural space to fulfil
both aesthetic and functional requirements.
 We call the object so obtained in the above architectural design process satisfying both aesthetic
and function of buildings.

CIVIL ENGINEER
 Manage and direct staff members and the construction, operations, or maintenance activities at
project site.
 Provide technical advice regarding design, construction, or program modifications and structural
repairs to industrial and managerial personnel.
 Inspect project sites to monitor progress and ensure conformance to design specifications and
safety or sanitation standards.
 Estimate quantities and cost of materials, equipment, or labor to determine project feasibility. Test
soils or materials to determine the adequacy and strength of foundations, concrete, asphalt, or
steel.
 Compute load and grade requirements, water flow rates, or material stress factors to determine
design specifications.
 Plan and design transportation or hydraulic systems and structures, following construction and
government standards, using design software and drawing tools.
 Analyze survey reports, maps, drawings, blueprints, aerial photography, and other topographical
or geologic data to plan projects.
 Prepare or present public reports on topics such as bid proposals, deeds, environmental impact
statements, or property and right-of-way descriptions.
 Direct or participate in surveying to lay out installations or establish reference points, grades, or
elevations to guide construction.

DIFFERENCE BETWEEN CIVIL ENGINEERING AND ARCHITECTURE

1. Architecture is more into the creativity of designs. Civil engineering focus on innovation to realize
that design.
2. Architecture involves the design of structures with the focus on aesthetics and functionality. Civil
engineering will not normally care about those things; Civil Engineers will rather deliberate and
plan the methodology to construct the design.
3. Architecture initiates the project through architects’ drafts. Civil engineering involves studying
drafts and examining the practicality of the design; civil engineers ensure that the design can
withstand normal and extreme loading conditions.
4. Architects will need engineers help to make their designs work. Civil engineers will be guided by
the architects on outlines and dimensions.

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INTEGRATION OF AESTHETIC AND FUNCTION
 Aesthetic and function in fact dealt by the elements of design for designing an object in different
aspects.
 In order to understand their relationship the chart below will explain in detail.

ACTIVITY
 The starting point of any architectural design based on the above chart is the activity which the
design intended to satisfy. The nature activity will determine kind space required.

FORM AND PROPORTION

 The minimum space required need to be modified by the element of form and proportion to
transform them into architectural spaces.
 The architectural spaces must be enclosed by a mass and mass is influenced by form and
proportion and structural considerations.
 A variety of spaces need variety of masses to enclose and these masses have to be arranged into
massing called a composition.
 This composition must satisfy the circulation pattern, requirements and confirm to elements of
design to achieve aesthetic pattern.
 The masses pattern must follow the principles of design and harmonize with sitting and
orientation.
 The sitting and orientation is influenced by climate.
 On the other hand the structural system must suit the pattern of massing, but the structure is
influenced by material and climate.

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  From the above relationship we have novel inter-action between aesthetic and function.
 On the following the structure has both aesthetic and functional value.
i) Structure is encloses architectural spaces hence it is a functional element.
ii) But structure is mass and therefore subject to aesthetic considerations.
iii) The columns, beams and slab have dimensions, therefore they must have proportion.
iv) The spacing of the column and beams follow a pattern and rhythm.
v) The skin of the structure and opening form contrast in volume, texture and colour.
 Massing may determine structure, but, conversely, structure may determine massing. It is because
of this relationship there exist a two way relationship between structure and massing.
 If structure is allowed to determine the massing this will have impact on spaces because earlier we
said that the activity that decide the spaces.
 The activity define only minimum spaces, not architectural spaces, so it is perfect to derive
architectural spaces from other sources as long as these do not conflict with minimum spaces.
 As structural concept became the source of architectural spaces, so massing concept became a
source if it fulfils the conditions of activity.
 Proceeding on these lines the existing site condition may became the source of massing and
spaces.
 Therefore there exists a two way relationship among major design elements Spaces, Massing and
between Massing and structure and Massing and Site which clearly indicate that both aesthetic
and functional elements integrate together.

MASSING – SITE RELATIONSHIP

 If the given volume of mass is small and the site is large we distribute the volume in horizontal
pattern and if it is other way the volume distribution may be vertical.
 But vertical distribution may not be possible due to lack of strong material for construction or
poor condition of the soil.
 Assuming all conditions suitable for vertical distribution, the plan prepared for horizontal pattern
may have to be reviewed.
 The change so made may have consequences structural system, form, proportion, pattern,
circulation and ultimately in the spatial arrangement.
 In short, a change originated in an element such as site may have an impact on every aspects of
design.
 Similarly far reaching impact may be from climate, orientation etc.
 Now we see that what initially appeared a two-way relationship, are in fact a comprehensive
network of forces tend to modification will lead modification of all other elements. We call this
relationship as dynamic.
 All design elements of architecture stand in dynamic relationship to each other, and now it is clear
that aesthetic and function cannot be separated in practice.

CONCLUSION
 None of the aesthetic and functional elements can be decided in isolation.
 Each element contains not only aesthetic and functional potentialities, but has direct impact on all
other elements.
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  Each element must be considered in relation to the total design, and conversely, the total design
must be thought of in relation to its elements.
 In concrete terms every aesthetic element must be subjected to functional criteria and every
functional element must confirm to aesthetic requirements.
For example
 The selection of a particular space must not be made purely on aesthetic grounds, the form must
be structurally logical.
 It must at the same time satisfy all requirements of climate, site, orientation, circulation and
materials.
 The proportion given to a column and beam must confirm to both aesthetic and functional
requirements.
 The selection of material should be durable and must satisfy aesthetic requirements.
 The structural system must show aesthetic qualities.
 The spacing of frames must not only be functionally efficient but also aesthetically satisfying.
 From the above example it is clear that every object of design must subject to double criteria
namely aesthetic and functional. When each part is subjected to that the whole i.e. the building
will reveal dynamic, unity and over-all harmony.

RATIO OF AESTHETIC TO FUNCTION

 Any architectural design must fulfil both aesthetic and functional requirements.
 A building therefore integrates space and structure aesthetically and functionally.
 In what proportion do aesthetics and function influence the building?
 An analysis of the task reveals that the proportion is not constant and varies from one building to
other building and may be illustrated as follows.

-n -2 -1 0 +1 +2 +n

Sculpture Architecture Technology

KEY
Functional component
Aesthetic component
In the diagram each square represents a class of building i.e. a typical class of architectural tasks
in which the ratio of aesthetic to function is constant. The square in the centre represents a class in which
two factors are equal, as move to the right; each building becomes more technical and less aesthetic,
while to the left each class becomes more aesthetic and functional. The extreme square on either side
represent the class in which one of factors is completely absent and hence they no longer to the sphere of
architecture.

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PRIMARY ELEMENTS OF DESIGN
The primary elements of design in the
order of their growth are point, line, plane and
volume.

As the prime generator of form, the

Point indicates the position in space and
have only one dimension.

A point extended becomes a

Line with properties of:
 Length
 Direction
 position

A line extended becomes a

Plane with properties of:
 legenth and width
 shape
 surface
 orientation
 position

A plane extended becomes a

Volume with properties of:
 Legenth, width and depth
 Form and space
 Surface
 Orientation
 position

POINT

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A point marks a position in space and has no length, width or depth. Therefore static, centralized, and
directionless.
However a point can serve to mark:
 The two ends of a line.
 The intersection of two lines.
 The meeting of lines at the corners of a plane or volume.

A point has neither shape nor form

but it makes its presence felt when
placed in a visual field. At the centre
of an environment a point is stable
and at rest, organizing surrounding
elements about itself and dominating
its field.
When the point is moved off-centre
its field becomes aggressive and
begin create visual tension between the point and its field.

POINT ELEMENTS
A point has no dimension. To create a visual impact in
space or on the ground, a point must be projected vertically into a
linear form, as a column or tower.

POINT GENERATED FORMS

CIRCLE THEATRE EPIDAUROS

CYLINDER CHURCH AT PAISA, ITALY.

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 SPHERE CENOTAPH FOR ISAAC NEWTON

TWO POINTS
Two points describe a line that connects
them. The points give this line finite length,
the line can also be considered a segment of
an infinitely longer path.

Two points create an axis perpendicular

to the line they describe and also
symmetrical to the line. This axis line
may dominant because of infinite in
length.

The described line and perpendicular axis are

visually dominant than the infinite number of
lines that pass through the each point.

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LINE

A point extension becomes a line. Line

has length but no width or depth. A
point by nature is static but a line in
describing the path of a point in motion
is capable of expressing direction,
movement and growth.

A line is a critical element in the

formation any visual composition.

A line can serve to joint,

link, support, surround
or intersect other visual
elements.

A line can describe the edges of all

objects and give shape to planes.

Lines can articulate the surfaces of

planes

Lines have only one dimension, and have

some degree of thickness to become visible.
The line is seen because its length dominates
its width. The character of line weather limp,
bold or ragged is determined by our
perception of its length-width ratio, its contour and its degree of continuity.
Simple repetition of elements if
continued then that can be regarded as line.
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 Orientation of a line affects visual
composition. While a vertical line express
equilibrium with force of gravity, symbolize the
human condition or mark position in space. While
a horizontal express stability, the ground plane,
the horizon or body at rest.

Vertical falling or horizontal line rising is

known as oblique line. In either case the oblique line
is active in its unbalanced state.

LINEAR ELEMENTS

Hagia Sophia

Vertical linear elements can define a transparent volume of space in example shown above. The four
minarets outline a spatial field which the dome of Hagia Sophia rises in beauty.

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 Crown Hall, School of Architecture and Urban
Design, Chicago, Mies van der Rohe

In the two examples it seen

Lines articulate the edges and surfaces of
planes and volume. These lines are expressed by
joints within or between building materials, frames of
windows and doors, structural grid of columns and
beams. How these linear elements affect the texture
of a surface will depend on their visual weight,
spacing and direction.

Seagram Building, New York,

Mies van der Rohe.

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FROM LINE TO PLANE

Two parallel lines have the ability to describe a plane. A transparent spatial membrane can be
stretched between them to acknowledge their visual relationship. The closer these lines are to closer each
other the stronger will be the sense of plane they convey.

The diagrams illustrate the transformation of row

of round columns, initially supporting a portion of wall,
then evolving into square pillars which are part of the
integral part of the wall plane and becoming pilasters.

LINEAR ELEMENTS DEFINING PLANES

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PLAN

ELEVATION
Stoa of Attalus, Athens.

A row of columns supporting an entablature – a colonnade – is often used to define the public face
or facade of a building A colonnaded facade can be penetrated easily for entry, offers a degree of shelter
and forms a semi transparent screen that unifies individual building forms behind it. .
PLANE

A line extended in a direction other than

its intrinsic direction becomes plane. The plane
has length and width but no depth.

Shape is the primary identifying characteristics

of a plane.

The supplementary properties of a plane – its surface

colour, pattern and texture – affect the visual weight
and stability.

In an architectural composition a plane serves to define the boundaries

of a volume. Plane is the key element in any architectural composition
because the formation of three dimensional volume of mass or space is
by using planes.
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In architectural design we manipulate three basic types of plane:
 Overhead plane – The overhead plane is the roof plane that shelter the interior space of a
building the climatic elements.
 Wall plane – Wall plane is active in our normal field of vision because of its vertical orientation
and vital to the shaping and enclosure of architectural space.
 Base plane – The base plane can be either the ground plane on which the foundation of the
building rest or the floor plane which forms the lower enclosing surface of a room.

PLANEAR ELEMENTS

S. Maria Novella, Florence.

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 Exterior wall planes isolate a portion of space to create controlled interior environment. This
composition provides both privacy and protection from climatic elements for interior spaces of the
building. The openings in the building re-establish the connection with the exterior environment. The
walls mould the interior spaces and give shape to the exterior space and describe the form, massing and
image of the building.

Country house, Mies van der Rohe

In the example shown above freestanding brick walls with ‘L’ shaped and ‘T’ shaped wall planes
create an interlocking series of spaces.

Kaufmann House, Frank Lloyd Wright

Reinforced concrete slabs express the horizontality of the floor and roof planes as they cantilever
outward from a central vertical core.

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VOLUME

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 In architecture volume can be seen as a space contained by wall, floor and ceiling or quality of
space displaced by mass of a building.

VOLUMETRIC ELEMENTS

Buddhist Chaitya Hall at Karli, Maharashtra, India.

This sanctuary is a volume of space carved out of the mass of solid rock.

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