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Theory of design- Principles designs of architecture

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Theory of design- Principles designs of architecture with examples

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Theory of design- Principles designs of architecture

  1. 1. PRINCIPLES OF DESIGN AR 2002 SUBMITTED BY: ANUSHA THELA (B140416AR) NISHITHA SREE (B140557AR) R SRAVANI (B140981AR) FATHIMA BEGUM (B13 V MANOJ (B130969AR) T VIJAY KUMAR (B130094AR)
  2. 2. ‘ORDERING PRINCIPLES’ ARE VISUAL METHODS THAT ALLOW THE FORM AND SPACE OF A BUILDING TO CO- EXIST IN ORDER TO MAKE A DESIGN COMPLETE
  3. 3. AXIS SYMMETRY RHYTHM DATUM HIERARCHY
  4. 4.  Axis is the most basic and most common organizing principle.  Simply stated, axis is an imaginary line that is used to organize a group of elements in a design.  In diagrams, axis is represented as a dashed line.  An axis can be established by defining edges along its length. These edges can be simply lines on the ground plan, or vertical planes that define a linear space.  ALIGNMENT Axis is mainly used to align elements. When elements are arranged around an axis, the design feels ordered.
  5. 5. PLAN
  6. 6. VIEW
  7. 7. Symmetry is when elements are arranged in the same way on both sides of an axis. Perfect symmetry is when elements are mirrored over the axis and exactly the same on both sides. BALANCE Symmetry adds balance to a design. When elements are the same on both sides of an axis, the design feels harmonious. ASSYMMETRY Designs are asymmetrical if the arrangement of elements are different on both sides of an axis.
  8. 8. "Four Towers", the eponymous towers are ornate minarets attached and supported by four grand arches. At each corner stands an elegantly shaped minaret of 56 meters (approximately 184 feet) high, with a double balcony. Each minaret of Charminar is crowned by a rounded dome with delicate petal-like designs at the base. LOCATION: HYDERABAD
  9. 9. PLANPLAN
  10. 10.  In design, rhythm is the regular, harmonious recurrence of a specific element, often a single specific entity coming from the categories of line, shape, form, color, light, shadow, and sound.
  11. 11.  Repetition in forms (regular rhythm)  Repetition in structure (structure rhythm)  Repetition in lights (reflective rhythm)  Repetition in functions (spatial rhythm)  Repetition in movement (flowing rhythm)  Repetition in process (iterative rhythm)  Repetition in growth (progressive rhythm)
  12. 12. STONE TOWERS BY ZAHA HADID ARCHITECTS IN CAIRO Client: Rooya Group Architect: Zaha Hadid Architects Structural Engineer: Adams Kara Taylor Gross Building Area: 525,000 m2 Site Area: 170,000 m2
  13. 13. Ancient Egyptian stonework incorporates a vast array of patterns and textures that, when illuminated by the intense sunlight of the region, creates animated displays of light and shadow. The effect is powerful, direct and inspiring.
  14. 14. The facades on the North and South elevations of each building within Stone Towers adopts a rich vocabulary of alternating protrusions, recesses and voids to enhance the deep reveal shadow lines that accentuate the curvatures of each building within the development and animate the project throughout the day.
  15. 15.  Definition  a line, plane, or volume that by its continuity and regularity serves to gather, measure, and organize a pattern of forms and spaces. or  A datum is a form which ties together or anchor all the elements of the design.  Can be a line, like a road with houses arranged in along its length, a flat pane or even a 3d space  Most of building shares a plane which act as a clear datum-it’s the ground on which they are built
  16. 16.  Musical notes
  17. 17.  the Salk Institute in la jolla California.  Designed by architect Louis Kahn  this is a building used for research facilities and office space.  can see there is a balance of the buildings on either side of the axis of the waterway cutting through the courtyard.
  18. 18. THIS BUILDING FOLLWS ALL THE PRINCIPLE OF DESING IN A PROPER AND WELL DESIGNED MANNER.
  19. 19.  In design, rhythm is made by form repetitions. As long as the basic element is repeated with an ordered sequence, a pleasant pattern will be created and would be identified as a rhythm. The phenomena of such a visual attraction will generate a pleasant environment for living, working, and recreation. Such a pleasant creation in product could be valid to justify good quality of design.
  20. 20. Hierarchy is when an element appears more important in comparison to other elements in a design. Size An element will appear more hierarchical if it is larger than other elements in a design. We naturally look first at the largest element in a design. Shape An element can also appear more hierarchical if it is different than other elements in a design. We naturally look first at the irregular shape in a design Placement Last but not least, we can place elements in more hierarchical positions. Within a circle, the centre is the most hierarchical. The end of an axis is naturally more hierarchical than points along the line.
  21. 21.  A hierarchy is an arrangement of items (objects, names, values, categories, etc.) in which the items are represented as being above, below, or at the same level as one another as desired or depending on the priority of design and its importance in the set.
  22. 22.  CRAB Studio, BOND University.  Queensland, Australia.  By Peter Cook's architecture firm.
  23. 23. • Studios, offices, labs and resource rooms are arranged on either side of a corridor that rises gradually along the length of the building, corresponding to the sloping hilltop site.
  24. 24. • Studio is also designed the colourfully, irregularly shaped furniture used throughout the studio spaces, which can be configured in different arrangements depending on the tasks being performed. • Based on their experiences of teaching in some of the world's leading architectural institutions, Cook and Robotham proposed a series of informal working environments throughout the faculty, as well as dedicated teaching spaces.
  25. 25. • These included the cave-like sheltered meeting rooms, which are described as "scoops". • Curved concrete walls are used here. • Studios and meet up halls are secluded from other aspects with a pathway .
  26. 26. • The quiet meeting spaces are nestled against the base of smooth concrete walls. • They open onto the central pathway on one side, but also connect to the open studio spaces.
  27. 27. • Together the orientation of the building’s openings, with the sunhoods and column system of the facades succeed in mitigating a majority of the Sun's potentially excessive effects. • It is designed to minimise undesirable solar gain within the building's thermal envelope.
  28. 28. • It ia an ambient building, where the individual can really identify with the nature of his or her activity – thus the studio pads, scoops, decks and corners – though based on a clear hierarchy and system – have significant shifts of direction or variations of size. • These elements particularise – we hope, in a subtle and enjoyable way.
  29. 29. GROUND FLOOR PLAN
  30. 30. FIRST FLOOR PLAN SECOND FLOOR PLAN
  31. 31. Architects: Le Corbusier Location: Chandigarh, India Architect: Le Corbusier References: MIMOA Project Year: 1962 Architects: Le Corbusier Location: Chandigarh, India LEGISLATIVE ASSEMBLY BUILDING, CHANDIGARH
  32. 32. The building is composed of six eight- story block divided by expansion joints and measures over 800 feet long, bookended by two sculptural ramps providing vertical circulation throughout the facilities levels. On top of the building lies an accessible roof supported by the pilotis. Providing usable space on the roof of a structure complies with Le Corbusier's fifth ideal of architecture by giving occupants vertical means of connecting to nature and compensating for the habitat removed by the building. The cafeteria rests at top the terrace, where one can have a spectacular view of the city. Similarly, the roof garden and its promenade set against the surrounding landscape, which constantly changes as the observer's angle of vision changes.

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