L.B/3)on/52/o3 
THE CONCEPT OF 'NON CREATOR' OR 'NIRMATHRU' 
THE USE OF ARCHITECTURAL LANGUAGE THROUGH ITS STYLISTIC 
VARIATIONS IN THE ENHANCEMENT (ARTICULATION) OF THE 
'SPIRIT OF 
THE DISSERTATION PRESENTED TO THE FACULTY OF ARCHITECTURE 
OF THE UNIVERSITY OF MORATUWA, SRI LANKA, 
FOR THE FINAL YEAR EXAMINATION IN M. Sc (ARCHITECTURE) 
7 O ~ 
P. MIHIRI A. DE SILVA 
University of Moratuwa 
DEPARTMENT OF ARCHITECTURE, 
UNIVERSITY OF MORATUWA, 
SRI LANKA 
2002, MARCH 
78161 
7 3 1 6 1 
MM Thesis 
78161 
ACKNOWLEDGEMENT 
To bring this study in a successful termination, many extended their support and 
corporation in numerous ways. Hence I would like to express my gratitude to those 
who helped in presenting this dissertation. 
Prof. Nimal De Silva, Head of the Department, Faculty of Architecture for the 
kindness and guidance extended in presenting the study. 
Dr. S Manawadu, Archt. G. Weeraingha, and Archt. D. Fernando, year masters, M.Sc. 
year two, Dept. of Architecture, for the assistance given throughout the study. 
Archt. Ravin Guneratne, lecturer, Department of Architecture, my tutor for his 
invaluable and unlimited patience, kindness, guidance and also criticism offered 
throughout the study. 
Dr. R. Emmanuel, Senior lecturer, Department of Architecture, our dissertation 
coordinator, for making us aware in writing of dissertation 
Archt. Varuna De Silva, Archt. Wasana Wijesinghe and Archt. Thamal Udamulla for 
the kind advices extended at the early stages of the study. 
Mr. R. Samarajeewa, senior lecturer, English Unit, University of Moratuwa, for the 
assistance given for completing the work accurately. 
Indika, for being strength behind me encouraging throughout the study by discussing 
and criticising, and for help extended in the preparation of photographs. 
To my friends, Taraka, Anishka, Kithmini, Kanchana, Hasamali, Rathnamalala, 
Anuradha for being helpful in numerous ways. 
Finally special thanks to my brother; Sandun, sister; Sawanie and my parents for all 
the support and understanding extended during this particular study and in my whole 
journey of life. 
THE CONCEPT OF 'NO CREATOR' OR 'NIRMATHRU' 
THE USE OF ARCHITECTURAL LANGUAGE THROUGH ITS STYLISTIC VARIATIONS 
IN THE ENHANCEMENT (ARTICULATION) OF THE 'SPIRIT OF PLACE' 
Page No 
ACKNOWLEDGEMENT i 
LIST OF ILLUSTRATIONS v 
PREFACE viii 
INTRODUCTION 
Background to the Study 01 
Intention of the Study 01 
Importance of the Study 02 
Scope and Limitations 03 
Methodology 04 
CHAPTER ONE - THE PLACE 
1.1 The Concept of Place 05 
1.2 Constituents of the Place 05 
1.2.1 Conceptions 07 
1.2.2 Activity 07 
1.2.3 Physical Setting 08 
1.3 Types of Places 08 
1.3.1 On Place 09 
1.3.2 Side Place 10 
1.3.3 Between Place 10 
1.3.4 In Place 11 
1.3.5 Under Place 11 
1.3.6 Around Place 11 
1.4 Need of Place Making 12 
1.5 Making of Significant Places 13 
CHAPTER TWO - LANGUAGE OF ARCHITECTURE 
2.1 Concept of Language of Architecture 15 
2.1.1 Concept of Language 15 
2.1.2 Art as a Language 16 
2.1.3 Architecture as an Art 16 
2.1.4 Architectural Language 17 
2.2 Constituents of the Architectural Language .18 
2.3 Design Vocabulary 20 
2.4 Grammar of Design 24 
2.4.1 Principle of Unity 24 
2.4.2 Principle of Punctuation 26 
2.4.3 Principle of Infection 27 
2.4.4 Principle of Accentuation 28 
2.4.5 Principle of Composition 29 
2.4.6 Principle of Proportion 31 
2.4.7 Principle of Contrast 31 
2.5 Language of Architecture as a Communicating Media 32 
2.5.1 Form 33 
2.5.2 Space 33 
CHAPTER THREE - THE POTENTIAL OF VARYING THE LANGUAGE OF 
ARCHITECTURE 
3.1 Potential of'Non Creator' on Architectural Language 35 
3.1.1 Concept of 'Non Creator' 35 
3.1.2 Potential of'Non Creator' on Architectural Language .37 
3.2 Contemporary Potential on Architectural Language 37 
3.2.1 Creation and Articulation of an Individual Style 38 
3.2.2 Articulation of'Place' 38 
3.3 Western Approach on the Use of Architectural Language 42 
3.3.1 Approach of Archt. Glenn Murutt 42 
3.3.2 Approach of Archt. Lius Barragan 44 
3.4 Eastern Approach on the use of Architectural Language 46 
3.4.1 Approach of Archt. Hassan Fathy 47 
3.4.2 Approach of Archt. Tadao Ando 48 
CHAPTER FOUR - CASE STUDIES 
4.1 Criteria of the Selection and the Analysis of the Case Studies...51 
4.2 Case Study One - Archt. Geoffery Bawa 53 
4.2.1 Triton Hotel - Ahungalla 53 
(a) Type of Place 53 
(b) Form 54 
(c) Spatial Progression 56 
4.2.2 Kandalama Hotel - Dambulla 58 
(a) Type of Place 58 
(b) Form 59 
(c) Spatial Progression .61 
4.2.3 Light House Hotel - Galle 63 
(a) Type of Place 63 
(b) Form 64 
(c) Spatial Progression 66 
4.2.4 Concluding Remarks 68 
4 3 Case Study Two - Archt Valentine Gunesekara.... 68 
4.3.1. Martin De Porse Chapel - Horana 68 
(a) Type of Place 68 
(b) Form 69 
(c) Spatial Progression 70 
4.3.2 Jesus Christ CNirmala") Chapel - Bambalapitiya 71 
(a) Type of Place 71 
(b) form 72 
(c) Spatial Progression 72 
4.3.3 Concluding Remarks 73 
CONCLUSION 75 
BIBLIOGRAPHY 77 
LIST OF ILLUSTRATIONS 
Page No 
LIST OF FIGURES 
Chapter one 
1.1 Types of places • 09 
Chapter Two 
2.1 Point 21 
2.2 Planes 22 
2.3 Base plane - elevated possibilities 23 
24 Symmetry 25 
2.5 Hierarchy 25 
2.6 Datum 25 
2.7 Rhythm 26 
2.8 Transformation 26 
2.9 Punctuation 27 
2.10 Approach 28 
2.11 Entering . . 29 
2.12 Space within a space 29 
2.13 Interlocking spaces 30 
2.14 Adjacent spaces 30 
2.15 Intermediate space 30 
2.16 Golden proportion 31 
2.17 Contrast 31 
Chapter Four 
4.1 Ground floor Plan - Triton Hotel 53 
4.2 Section through the main lobby - Tri ton Hotel 54 
4.3 Plan in Massing 54 
4.4 Spatial progression 56 
4.5 Detailing waterfront spaces 57 
4.6 Section -Kandalama Hotel 58 
4.7 Entrance level plan - Kandalama Hotel 59 
4.8 plan - massing - Kandalama Hotel 60 
4.9 Section - Light House Hotel 63 
4.10 Varandah level Plan - Light House Hotel 64 
4.11 Sketch plan - Light House 65 
4.12 Hotel Plan - Martin De Porse Church 69 
4.13 Section - Martin De Porse Church 70 
4.14 Front elevation - Martin De Porse Church 70 
i . 0 ^ 
LIST OF PLATES 
Chapter one 
1.1 On Place 10 
1.2 Side place 11 
Chapter Two 
2.) Tangalle Bay Hotel 28 
Chapter Three 
3.1 Deyr - el - Bahry, Temple of Hasepso 37 
3.2Subodhi 39 
3.3 In place 39 
3.4 Sigiriya 40 
3.5 Between place 41 
3.6 Between place 41 
3.7 Mihintale 41 
3.8 Around place 41 
3.9 Archt Glenn Murcutt's project 43 
3.10 Archt. Glenn Murcutt's project 43 
3.11 Archt. Glenn Murcutt's project 44 
3.12 Archt. Luis Barragan's project 44 
3.13 Archt. Luis Barragan's project 45 
3.14 Archt. Luis Barragan's project 45 
3.15 Archt. Luis Barragan's project 45 
3.16 Archt Hassan Fathy's Project 45 
3.17 Archt Hassan Fathy's Project 47 
3.18 Archt Hassan Fathy s Project 47 
3.19 Archt Hassan Fathy; s Proj ect 47 
3.20 Archt Hassan Fathy s Projec 47 
3.21 Archt Hassan Fathy's Project 48 
3.22 Archt Hassan Fathy's Project 48 
3.23 Archt Hassan Fathy's Project 48 
3.24 Church on the water 50 
3.25 Church on the water 50 
3.26 Naoshima Contemporary Arts Museum 50 
3.27 Naoshima Contemporary Arts Museum 50 
Chapter Four 
4.1 Ariel View Triton Hotel 54 
4.2 Front lobby & pool - Triton Hotel 54 
4.3 Pool bar - Triton Hotel 55 
4.4 Visual of sea from ground level - Triton Hotel 55 
4.5 Visual of sea from upper level - Triton Hotei 55 
4.6 Spatial progression - Triton Hotel 56 
4.7 Spatial progression - Triton Hotel 56 
4.8 Spatial progression - Triton Hotel 56 
4.9 Spatial progression - Triton Hotel 56 
4.10 Terraced plat forms - Kandalama Hotel 60 
4.1) Grid and hanging wild plants hanging - Kandalama Hotel 60 
4.12 Dominating the built environment - Kandalama Hotel 61 
vi 
4.13 Entrance lobby - Kandalama Hotel 
4.14 Lead to main lobby - Kandalama Hotel 
4.15 Spatial progression - Kandalama Hotel 
4.16 Spatial progression - Kandalama Hotel 
4.17 Spatial progression - Kandalama Hotel 
4.18 Spatial progression - Kandalama Hotel 
4.19 Spatial progression - Light House Hotel 
4.20 Spatial progression - Light House Hotel 
4.21 Spatial progression - Light House Hotel 
4.22 Tranquil court yard - Light House Hotel 
4.23 Connecting tissue - Light House Hotel 
4.24 Connection tissue - Light House Hotel 
4.25 Pool to see the ocean - Light House Hotel 
4.26 Before climbing - Martin De Porse Church 
4.27 Climbing to hill - Martin De Porse Church 
4.28 Interior- Martin De Porse Church 
4.29 Jesuit chape 
4.30 Jesuit chapel 
4.31 Before entering - Jesuit chapel 
4.32 Interior - Jesuit chapel 
4.33 Interior - Jesuit chapel 
PREFACE 
"In reality, the individual I 
never creates anything; if man 
creates, it is as universal man, 
anonymous. and as 
manifestation of the principle, 
In ages of truer wisdom artist, 
scholars and thinkers did not 
dream of attaching their names 
to the works which took form 
through them" 
Hurbert Benoit in " Supreme wisdom "' as quoted in " The world Zen" by Nancy 
Wilson Ross, p.284, Collins Clear - Type Press: London & Glasgow. 1962.