P E R C E P T I O N S O F A R C H I T E C T U R E : A C R I T I C A L E X A M I N A T I O N O F T H E O P T I O N S F O R T H E D E S I G N E R A Dissertation Submitted to the University of Moratuwa As a Partial Fulfillment of the Requirements for the Degree of Master of Science in Architecture ©@>oga K .B . SENARATNE Department of Architecture University of Moratuwa July 1999 71762 ABSTRACT Architecture today has many perceptions especially from the designer's point of view, each of it which is unique in its own design conceptions and manifestations. These perceptions, strictly adhered to by many architects, sometimes fail in various situations as the perceptions held by the designer is not entirely compatible for the particular design situation giving rise to loss of faith in architecture by the society as they fear that architecture is not capable of dealing with the direct issues in question. Therefore, this study intends to reveal such options/perceptions, their design process, its applications and manifestations in products, in order to explore and gain an understanding of their potentials and weaknesses, which in turn allows designers to be more flexible in applying the most suitable design perception for the most appropriate situation. The study revealed that many of these perceptions held by architects revealed as non-designer perceptions which fail naturally when applied for design purposes. Therefore, the study attempts to classify these major perceptions available in its operating depth and level of performance, enabling designers to transcend their personal biases to operate at the most appropriate level demanded, thus bringing out the best possible solution to a design problem. However, in doing so, the perceptions are looked at from a designer's point of view and will also be examined in terms of their 'product making process'. ii ACKNOWLEDGEMENTS I acknowledge with deepest gratitude Archt. Vidura Sri Nammuni, my tutor, for the valuable comments and guidance that enlightened me at various stages of the course of this study, that made this limitless area of study, somewhat comprehensible. I also wish to extend my gratitude to my dear friends Shayan for helping enormously with the formatting and Prasanna who made the photographs possible, with the help of Ruwan, and also Nirmala and Hemal for the inconveniences I caused them continuously. I have no words to express my gratitude to my dear parents and especially my dear brother for bearing with me, my temperaments, optimistically. iii CONTENTS. Page ABSTRACT ii CHAPTER TWO; THE EVOLUTION OF THE CONCEPT OF ARCHITECTURE. 1.2.2.i. Function 1.2.2.ii. Context 1.2.3. Ecological Responsibilities 1.2.4. Technological responsibilities 08 10 13 15 2.4.1. Western Concepts of Architecture 2.5. Eastern Culture 2.1. Primitive Architecture 2.2. Vernacular Architecture 2.3. Grand architecture 2.4. Western Culture 2.5.1. Eastern Concepts of Architecture 18 19 20 21 22 23 24 CHAPTER THREE; THE DIFFERENT PERCEPTIONS. 3.1. The Non Designer Perceptions 3.1.1. Architecture as a reaction to qualitative needs 3.1.2. Architecture as well Planned Building 3.1.3. Architecture as Well Engineered Building 3.1.4. Architecture as Buildings that heightens Emotions 3.1.5. Architecture as Elegant Building 28 28 29 29 30 31 iv ACKNOWLEDGEMENTS iii LIST OF FIGURES vi LIST OF PLATES vii INTRODUCTION l.Need of the Study 01 2.importance if the Study 01 3.Intention of the Study. 01 4.scope and Limitations 01 5.Methodology 02 CHAPTER ONE; ARCHITECTURE AND MAN. 1.1. What is Architecture? 04 1.2. Responsibilities of Architecture 05 1.2.1. Social Responsibilities 06 1.2.2. Physical Responsibilities 07 3.1.6. Architecture as Animated Building 31 3.1.7. Architecture as a sum of Commodity, Firmness and Delight. 31 > 3.2. The designer Perceptions. 32 3.2.1. Architecture as a Result of Orchestration of Spatial Progression 32 3.2.1. i. Clarification 32 3.2.1. i. a. Architecture as a result of Articulation of Space 34 3.2.1. ii. The Design Process. 35 3.2.1. iii. The Advocates 36 3.2.1. iv. Examples 36 3.2.1. v. Examination 41 3.2.2. Architecture as the sum of Form and Shape 42 3.2.2. i. Clarification 42 3.2.2. ii. The Design Process 43 3.2.2. iii. The Advocates 45 3.2.2. iv. Examples 46 3.2.2. v. Examination 49 3.2.3. Architecture as Meaningful Building 51 3.2.3. i. Clarification 51 3.2.3.L a. Architecture as Expressive Building 52 3.2.3.L b. Architecture as a Sum of Language and Message 53 3.2.3. ii. The Design Process 54 3.2.3. iii.The Advocates 55 3.2.3. iv.Examples 55 3.2.3. v. Examination 58 3.2.4. Architecture as Contemplative building 59 3.2.4. i. Clarification 59 3.2.4. ii. The Design Process 59 3.2.4. iii.The Advocates 60 3.2.4. iv. Examples 61 * 3.2.4. v Examination 64 CONCLUSION 66 REFERENCES 68 4 V LIST OF FIGURES PAGE No. vi 3.1. Well Planned Activities 29 3.2.Human Building, Louiseville - Form in the Making 44 LIST OF PLATES PAGE No. Chapter One 1.1. Stonehenge, England - Sacred Center of Community 6 1.2. Rabat, Morocco - Free Enterprise City Making 7 1.3. Lighthouse - Form Follows Function 8 1.4. Chartres Cathedral - Significance of Religious Buildings 9 1.5. Cathedral of Stececile, France - Required Spatial Quality 9 1.6. Lotus Temple, India - Symbolic Expression 10 1.7. Machu Pichu ,Peru - Cities Shaped by Topography 11 1.8. Street in Amsterdam - Conformity to Built Fabric 11 1.9. Falling Waters U.S.A. - Merging with the Natural Environment..the Tempo 12 l.lO.House in Tuscany, Italy - Conforming to the Natural Rhythm. 12 1.11 .Mortuary Temple of Queen Hutshepsut, Egypt - Perfect Harmony 13 1.12.Kandalama Hotel - Ecology and Building in Perfect Harmony 13 1.13.Lunuganga Gardens - Capturing the Spirit of Place 14 1. H.Subodhi - Accentuating the Spirit 14 1.15.HongKong & Shanghai Bank.HongKong - Technology of Production 15 Chapter Two 2.1 .Primitive Stone Construction - Ggantija 18 2.1 .New Grange, Ireland - Passage Grave 18 2.3.Folk Tradition - Cultural Representation of Common Man 19 2.4.Taj Mahal, India - Grand Tradition - Impressive representation of the Elite' 20 2.5.Sanchi, India - The Spiritual Quest 20 2.7.Center Le Corbusier, Zurich - Busy, Vibrant 22 2.8.0kohause ,Frankfurt - Quest for Technological Perfection 22 2.9.Triton Hotel - Contemplative, Minimal 24 1.10.Lunuganga Gardens - Calm, Spiritual 24 Chapter Three 3.1.Madison Do-Mino - 'Structural' Approach 29 3.2.Airship Hangers, France - Engineering Achievements 29 3.3.High Tech - Extremely Engineered 30 3.4.Harmony With Nature - Sentimental 30 3.5.The Akropolis, Parthenon - Timelessly Elegant 30 3.6.AT&T Building - Animated Meaning 31 3.7.Church of Oulu,Finland - Human Form Animated 31 3.8.Drama Movement 32 3.9.Architecture Space 33 3. lO.Journey of Life 33 3.11 .Lunuganga Gardens - Eccence of Spirit 34 3.12.University of Ruhuna - Higherarchical Arrangement of Mass 36 Vl l 3.13.Universiry of Ruhuna - Entering 36 3. H.University of Ruhuna - The Drama Along the Path 36 3.15.University of Ruhuna - Rhythm 37 3.16.University of Ruhuna - Repetition 37 3.17.University of Ruhuna - Sense of Spatial Expansion 38 3.18.University of Ruhuna - Framing Vistas 38 3.19.University of Ruhuna - Dramatic Play of Light 38 3.20.Universty of Ruhuna - Harmony with Environment 39 3.21 .University of Ruhuna - The Sense of Place at it's Highest 39 3.22.University of Ruhuna - Infinite Journey 39 3.23.Kandalama Hotel - Experiencing the Spirit of Place - The Whole 40 3.24.Tangalle Bay Hotel - The Beginning 40 3.25.Tangalle Bay Hotel - The End 40 3.26.Project for Cenotaph for Sir Isaac Newton - Extreme Abstraction resulting in Pure Geometry 42 3.27.Gugenheim Museum ,U.S.A.- Breakthrough Concepts of Form Making - The Essential 43 3.28.Fransworth House, U.S.A. - Pure Form 44 3.29.German Pavilion, Barcelona - Pureness 45 3.30.German Pavilion, Barcelona - Simple 45 3.31 .Crown Hall .Illinois - Cubic Form 46 3.32.Villa Savoye, France - Merging Cubes and Curves 46 3.33.Villa Savoye, France - Sculptural Attitude 47 3.34.Court Building, Chandigar - Sculpture 47 3.35.Ronchamp Chapel, France - Power of Form 47 3.36.Ronchamp Chapel, France - Spiritual Sensation 48 3.37.Ronchamp Chapel, France - Interpretations 48 3.38.Falling Waters, Pensylvania - Capturing the Essence 49 3.39.Falling Waters, Pensylvania - Enhancing the Surrounding 49 3.40.Sydney Opera House, Australia - Abstract Expression 52 3.41 .Pompedou Center,France - Using Hightech Palette to express Meaning 53 3.42.Piazza D' Italia, Louisiana - Limited Classical Language Creatively Exploited 53 3.43.House VI, Washington - Revealing Reality 55 3.44.House VI, Washington - Abstract Manipulation of Form 55 3.45.House in Santa Monica - Deconstrucive architecture-Expressing True Nature 56 3.46.House in Santa Monica - Nothing is 'Finished' in Reality 56 3.47.Pompedou Centre,France - 'Back Up' Service for Human Activities 3.48. Lloyd's Building - Inside Out 3.49.Triton Hotel, Ahungalla - Dramatic Arrival 3.50.Triton Hotel, Ahungalla - Spiritual Relaxation rather than Physical 3.51.Kandalama Hotel - Spiritual Experience 3.52.Church on Water, Japan - Simplicity...God Without Glorification 3.53.Church on Water, Japan - Magical Feeling of Enlightenment 3.54.Church on Water, Japan - God and You 3.55.Salk Institute, La Jolla - Simplicity 3.56.Salk Institute, La Jolla - Pureness of Form viii 3.57.Salk Institute, La Jolla - Minimalist Environment...Spiritual IX