A R C H I T E C T U R A L L E G I B I L I T Y 
AN EXAMINATION OF THE CONCEPT AND ITS ROLE IN 
RESOLVING URBAN POLLUTION 
• i 
- J 
p COC58S)(gO 
A Dissertation Presented 
To 
The Faculty of Architecture 
University o f Moratuwa 
Sri Lanka 
For 
The M.Sc. Architecture Examination 
M.T. Kapila Priyantha 
July 1999 
71722 
v / 7 :) 
72 " m " 
7 2 • o \ 
T V \ 
A C K N O W L E D G E M E N T S 
I am grateful to Archt. Vidura Sri Nammuni and Archt. Samitha Manawadu, senior 
lecturers, Dept. of Architecture, University of Moratuwa for the expert advice and 
correct guidance rendered to me throughout the preparation of this dissertation. 
I am also grateful to Archt. Madura Prematilake, and Dr. L.S.R. Perera, senior lecturers, 
Dept. of Architecture, University of Moratuwa for their invaluable guidance. 
I am deeply indebted to Surangi for her guidance and unreserved help given to me for the 
completion of this task without whose help this could never have been a reality. 
I also offer my heartfelt thanks to colleagues Kamini, Ruvini, Upul, Menaka, Jayalath, 
Anil and Geethani for their invaluable assistance. 
I am also grateful to Anurada and Rathnamal for assisting me in numerous ways to make 
this a success. 
Last but not least I express my deep gratitude to my Mother, Sisters and Nelum for their 
continuous assistance and guidance. 
C O N T E N T S 
Acknowledgements j 
Contents H 
List of Figures 
INTRODUCTION 0 1 
0.1 Background to the study 
0.2.Need for the Study 
0.3.Intention of the Study 
0.4. Scope and Limitations 
0.5.Method of Study 
CHAPTER ONE; ENVIRONMENTAL POLLUTION <H 
1.0. Introduction 
1.1. Biological and Chemical Pollution q^. 
1.2. Urban and Rural Pollution q$ 
1.2.1. Rural Pollution 0 5 
1.2.2. Urban Pollution 
1.3. Visual Pollution 0 6 
1.4. Architectural Pollution 0 6 
1.4.1. The concept of Architectural Pollution °& 
CHAPTER TWO: ARCHITECTURAL LEGIBILITY 0 9 
2.1. Concept of Legibility 0 9 
2.1.1. Definition o f Legibility ° ^ 
2.1.2. Legibility of Function and Context , 2 -
2.2. The Psychological Implications of Legibility / 4 
2.2.1. The Image ;4, 
2.2.2. The Role of Image in Legibility J5 
2.2.3. Legible Built Environment 
CHAPTER THREE: ROLE OF LEGIBILITY IN RESOLVING URBAN POLLUTION 
IN SRI LANKAN CONTEXT 
3.1. Resolving Pollution in the Visual Environment r6 
3.2. Principles and their Contribution in Resolving Pollution \ 9 
3.2.1. Composition 
3.2.1.1. Aesthetic Aspects 23 
1. Principle of Unity ^4. 
2. Principle o f Proportion
 2 7 
3. Principle of Contrast ^ 9 
3.2.1.2. Functional Aspects 
1. Relation to the Physical Context 
2. Relation to Circulation Pattern 
3. Relation to its Expression 
3.2.2. Order and Hierarchy 
3.2.3. Meaning 
3.2.4. Identification 
3.2.4.1. Identification of Urban Environment 
3.2.4.2. Identification o f Urban Buildings 
3.3. Case Studies 
3.3.1. City o f Kandy 
3.3.2. City of Colombo 
CONCLUSION 
BIBLIOGRAPHY 
IN 
LIST OF FIGURES 
Fig. 1. In modern world confusion is made worse when important public buildings and 
publicly irrelevant private buildings end up looking alike. 
Fig.2. The rapidly increasing pollution of the built environment makes it difficult for 
people to identify themselves with the surrounding environment 
Fig.3. Visual quality of the mental image. 
Fig.4. -do-
Fig. 5. Destruction of the image. 
Fig.6. Perception of images 
Fig. 7. -do-
Fig. 8. Arial v iew o f Piazza San Pietro, Rome. Object building of the urban context, the 
most important building o f the city. 
Fig.9. In the modern world confusion is made worse when Object buildings come up 
without any meaning or public relevance. 
Fig. 10. Streetscapes are composed of enclosed planes and spaces. 
Fig. 11. Streetscape is the envelope space 
Fig. 12. Unity achieved in streetscape. 
Fig. 13. 1,2,3 and 4 illustrate the destruction of Unity by completing Dualities 
Fig. 14. Achieving Unity by avoiding Duality. 
Fig. 15 A. Correct proportion of building enhances the visual sensation. 
Fig . l5B. -do-
Fig. 16. False proportion generate ugliness. 
Fig. 17. Contrast of form 
Fig. 18. Contrast of form gives special character to city form. 
Fig. 19. Colour and texture can be used to avoid monotony of the streetscape 
Fig. 20. Built scale determined by the size and height of the building. 
Fig.21. Incorrect use of built scale violates the street rhythm. 
Fig.22. Building line is important to maintain continuous facade. 
Fig.23. Height and breadth of buildings maintain horizontal and vertical rhythms 
Fig.24. Incorrect use of height and breadth of buildings. 
Fig.25. Violation of corner treatment 
Fig. 26. Dominant element acts as punctuating points creating legibility 
Fig. 2 7 a . Modern technology representing the corner. 
Fig. 2 7 b . Pollution of the corner in the modern context 
Fig.28. Doors windows and columns should harmonise with surrounding buildings 
Fig.29. Building approaches 
Fig.30. Building entrances. 
Fig.31. Path space relationship 
Fig.32. Activity expresses contemporary religious architecture 
Fig. 33. Context expression - Sydney Opera House 
Fig.34. Form and shape explains the activity inside. Colloseum - R o m e 
Fig.35. Built form expresses spiritual and sacred value. Ronchamp Chapel -France 
Fig. 36. Piazza San Marco -Venice . A world famous public space. 
Fig. 37a. Built fabric - Kandy City. 
Fig. 37b. Map o f Kandy Town. 
Fig.38. Conformity with the Principle of Unity. 
Fig.39. Wrong connection between buildings. 
Fig.40. -do-
Fig.41. -do-
Fig.42. -do-
Fig.43. -do-
Fig.44. -do-
Fig.45. -do-
Fig. 46. -do-
Fig.47. Queens Hotel Kandy - Rich contrasting v iew of the splayed corner at the street 
create vital appearance to the cityscape. 
Fig.48. Temple of the Sacred Tooth Relic. 
Fig.49. Good example for context and functional expression due to its form. 
Fig. 50. -do-
Fig.51. City of Colombo - Built Fabric. 
Fig.52. Ceremonial Axis of Janadhipathi Mawatha. 
Fig. 53. The Arial view of Colombo Fort. 
Fig.54. Colombo Fort - Built Fabric. 
1. Sir Baron Jayatilake Mawatha 3. Chatham Street 
2. Janadhipathi Mawatha 4. York Street 
Fig.55. Representing the Principle of Unity. 
Fig.56. Continuity creates a Directional view. 
Fig. 57. Continuity is weakened by the new development 
Fig.58. Continuity achieved by the modern development 
Fig. 59. The Landmark gives a serial view 
Fig.60. Principle of proportion achieved on the western side of York Street. 
Fig.61. Absence of verticality and horizontality of the Grindleys Bank Violate the 
principle o f Unity. 
Fig.62. Rich detailing of facade enhance the visual variety of the streetscape. 
Fig.63. Modern multi-storey buildings make rhythmic continuity of the street. 
Fig.64. N e w buildings violate continuity of sky line. 
Fig.65. Detailing of columns and window arches and the colour enhance the visual 
variety of the street. 
Fig.66. Vertical rhythm provide variety to the street 
Fig. 67. Monotonous facades violating the principle o f Contrast - Chatham Street. 
Fig.68. Maintain the Continuity of the skyline in York Street. 
Fig.69. The arcade - Grindleys Bank The ideal solution of pedestrian walkways in 
Urban Context. 
Fig.70. Violation of continuity in new construction - Janadhipathi Mawatha. 
Fig.71. Haphazard development destroys the entire street character 
Fig.72. Maintaining similar floor to floor height. 
Fig. 73. The horizontal rhythm is destroyed by Grindleys Bank and Hemas building. 
Fig.74. Corner building act as Punctuation Point of the streetscape. 
Fig. 75. Surface articulation of building in York Street is violated by Grindleys Bank. 
Fig.76. Surface articulation is properly enhanced in York Street. 
Fig.77. Rich detailing and texture make contrast to the streetscape - Janadhipathi 
Mawatha. 
Fig.78. Variation of unplanned detailing create confusion to the streetscape. 
Fig. 79. Modem application in Janadhipathi Mawatha 
Fig.80. The continuous arcade of buildings create a liveable enclosure, a 'street' 
within- York Street. 
Fig.81. Clock tower act as a landmark. 
Fig. 82. The view of Janadhipathi Mawatha. 
Fig. 83. Great example for context and functional expression. 
Fig. 84. Streetscape express the commercial character by the Shopping arcade 
Fig.85. Functional expression in Janadhipathi Mw. 
Fig. 86. -do-
Fig. 87. -do-
Fig. 88. The Legibility graph