S T U D Y I N G O F P R E C E D E N T S I N A R C H I T E C T U R A L D E S I G N : A C R I T I C A L A N A L Y S I S O F S E L E C T E D T H E O R I E S A DISSERTATION PRESENTED TO THE FACULTY OF ARCHITECTURE, UNIVERSITY OF MORATUWA, SRI LANKA, FOR THE M.SC. ARCHITECTURE EXAMINATION (RIBA PART 2) •S«d§|© Bate Scales. § @ . » 3 8 t o l l B y C . M . S . M . M a d d u m a B a n d a r a 72 W F a c u l t y o f A r c h i t e c t u r e 72. o \ U n i v e r s i t y o f M o r a t u w a S r i L a n k a J u l y , 1 9 9 8 6 9 3 2 5 "The present age... p re fe rs t h e sign to t h e thing signified, t h e copy to t h e original, fancy to real i ty , t h e appearance to t h e essence... fo r in these days illusion only is sacred, t r u t h profane." -Ludwig Feuerbach This dissertation is here due to the support and encouragement of so many, that a simple thank you is just not enough. So it is with the deepest gratitude and debt that I think of all those who helped me. * Archt. Vidura Sri Nammuni, for your guidance and faith in me throughout the whole process. * Architects. Ranjith Alahakoon, Chris De Saarum, Dr. Dayaratna and V.Basnayake for you patience * Archt. Suchith Mohotti * Jagath Aiya and Ravin Aiya for the fruitful discussions * Srinika Akka for helping me even at such short notice * Nalaka, Ruchira and Sumudu for your designs and the discussions * My batch-mates, Rasika, Menaka, and Shayan , for being so candid about your designs which helped me no end. * Renu , Chithrani and Yasangi for being such great friends, without you guys I couldn't have come so far * Mohan, what can I say. Thank you for being there for me always * CD, glad you are here malli. (Guess why I am so glad) Thanks for messing about with the computer. * Last but not least, Ammi and Appachchi, to whom this is dedicated. I wonder how you put up with me. Thank you for your never ending help and encouragement and your silent blessings. Thank you for having faith in me. Contents INTRODUCTION 6 OBSERVATION 6 NEED FOR THE STUDY 6 TERMINOLOGY 7 INTENTION OF THE STUDY 8 , ^ METHODOLOGY 8 LIMITATIONS OF THE STUDY 9 CHAPTER ONE : DESIGN EDUCATION, THE THEORIES AND DILEMMAS 11 INTRODUCTION 11 1.2 ARCHITECTURE 11 1.2.1 A PRIMORDIAL VIEWPOINT 12 1.2.2 A CONTEMPORARY VIEWPOINT 13 1.3 ARCHITECTURAL EDUCATION 14 1.4 CRISIS IN CONTEMPORARY ARCHITECTURE 16 1.4.1 EXPERIENCE 17 1.4.2 IMITATION 18 1.5 DILEMMAS 21 ^ CHAPTER TWO: THE DESIGN PROCESS AND THE STUDYING OF PRECEDENTS 24 2.1 INTRODUCTION 24 2.2 THE DESIGN PROCESS 24 2.3 ATTITUDES TO DESIGN 26 2.3.1 PROBLEMS AND SOLUTIONS 26 2.3.2 DESIGN "THINKING" 28 2.3.3 THE PERSONAL BIAS 29 2.3.4 DESIGN PHILOSOPHIES 30 2.3.5 GENERATORS OF DESIGN 30 2.3.5.1 USER 31 2.3.5.2 PHYSICAL CONTEXT 32 A 2.3.5.3 FUNCTION / ACTIVITY PATTERN 3 3 2.3.5.4 HIGHER PURPOSE 33 2.4 ATTITUDES TOWARDS DESIGN: A SUMMARY 34 2.5 THE STUDYING OF PRECEDENTS 34 2.5.1 HISTORY AND ITS RELEVANCE TO THE STUDYING OF PRECEDENTS 34 2.5.2 "THEORIES" ON THE STUDYING OF PRECEDENTS 3 6 2.5.2.1 NATURE AS PRECEDENTS 3 6 2.5.2.2 THE 'ALLIED ARTS' AS PRECEDENTS 39 2.5.2.3 ARCHITECTURAL SITUATIONS AS PRECEDENTS 44 3 2 . 5 . 2 . 4 BUILDING TYPES As PRECEDENTS 4 5 2 . 5 . 3 THE STUDYING O F PRECEDENTS A S A GROUP WORK 4 8 C H A P T E R T H R E E : T H E THEORIES ; AN ANALYSIS 50 3.1 INTRODUCTION 5 0 3 . 2 EXAMPLE ONE - NATIONAL ARCHEOLOGICAL MUSEUM. AMMAN. JORDAN. 1 9 9 7 5 2 3 .2 .1 THE SITE 5 2 3 . 2 . 2 ARCHITECTURAL PROBLEM 5 3 3 . 2 . 3 PRECEDENI" STUDIES 5 3 3 . 2 . 4 ANALYSIS 5 8 3 .3 EXAMPLE TWO - CENTRE FOR RESEARCH AND PRACTICE OF MEDITATION AT KOTTE, 1 9 9 7 61 ( M S C . YEAR ONE DESIGN EXERCISE) 61 3 .3 .1 INTRODUCTION 61 3 . 3 . 2 OBJECTIVES O F THE CLIENT ORGANIZATION 6 1 3 . 3 . 3 OBJECTIVES O F THE PROJECT- CLIENT'S BRIEF 61 3 . 3 . 4 PROJECT BY RASIKA GAMLATH 6 2 3 . 3 . 5 PROJECT BY SHAYAN K. KUMARADAS 6 6 3 . 3 . 6 PROJECT BY MENAKA MANGALANATHA 6 9 3 . 3 . 7 PROJECT BY MOHAN WIJAYARATNA 7 3 3 . 3 . 8 ANALYSIS 7 8 3 . 4 EXAMPLE THREE - PROJECT FOR THE CULTURAL ZONE AT A . K . COOMARASWAMY MW. COLOMBO. 7 9 3 .4 .1 INTRODUCTION 7 9 3 . 4 . 2 NATIONAL CENTRE FOR PERFORMING ARTS, CULTURAL COMPLEX, COLOMBO, 1 9 9 7 B Y SRINIKA SENASINGHE ( M . S C . YEAR TWO COMPREHENSIVE DESIGN PROJECT) 8 0 3 . 4 . 3 NATIONAL CULTURAL CENTRE BY RENUKA D E S I L V A - M . S C . YEAR ONE DESIGN EXERCISE 1 9 9 7 8 4 3 . 4 . 4 NATIONAL PERFORMING ARTS CENTRE BY ARCHT. SUCHITH MOHOTTI - THE WINNING ENTRY IN THE ARCHITECTURAL DESIGN COMPETITION 1 9 9 8 8 7 3 . 4 . 5 ANALYSIS 9 1 3 .5 EXAMPLE FOUR - ENVIRONMENTAL AWARENESS CENTRE FOR NEGOMBO AND KURUNAGALA (~B.SC. COMPREHENSIVE DESIGN PROJECT. 1 9 9 7 ) 9 2 3 .5 .1 INTRODUCTION 9 2 3 . 5 . 2 PROJECT BY NALAKA , FOR NEGOMBO 9 4 3 . 5 . 3 PROJECT BY RUCHIRA BOGAHAWATTA 9 8 3 . 5 . 4 PROJECT BY SUMUDU PRIYANJANA SILVA FOR KURUNAGALA 103 3 . 6 ANALYSIS 1 0 4 3 . 7 GENERAL SUGGESTIONS 1 0 6 CONCLUSION 109 BIBLIOGRAPHY 116