Unit 1 Architecture - Its Elements

Handled by
Ar. Swathi, M.Arch (EESA). IGBC AP

UNIT – 1
ARCHITECTURE – ITS
ELEMENTS
INTRODUCTION TO
ARCHITECTURE
DEFINITION OF ARCHITECTURE
1. Originated from the Greek word Architekton

2. Archi – great tekton – builder
3. Architecture is the art and science of building
4. It is the conscious creation of utilitarian spaces with the
deliberate use of material
5. Architecture should be technically efficient and
aesthetically pleasing.
Introduction to Architecture Unit - 1

ARCHITECTURE
• ARCHITECHTURE IS A SOCIAL ART THAT TOUCHES

ALL HUMANS AT ALL LEVELS OF THEIR EXISTENCE
EVERY WHERE & EVERYTIME.
Architecture can
• – Provide setting for activities

• – Signify power, status, privacy
• – Express and support cosmological beliefs
• – Communicate information
• – Help establish individual or group identity
• – Encode value systems
• – Separate domains
Interplay of factors
• Socio cultural
• Climate
• Materials
• Technology
• Economy
ARCHITECTS SHOULD WORK
WITH….
 LANDSCAPE ARCHITECT
 INTERIOR DESIGNERS
 STRUCTURAL ENGINEERS
 URBAN PLANERS(CITIES)
 REGIONAL PLANERS
 ELECTRICAL ENGINEERS
 MECHANICAL ENGINEERS
 SOUND ENGINEERS
 GEO-TECHNICAL ENGINEERS
 TRANSPORTATION PLANERS
 ENVIRONMENTAL PLANERS
 URBAN DESIGNERS
Multi faceted nature of architects
• Housing
• Landscaping
• Conservation
• Project management/ construction management
• Interior design
• Urban planning
• Urban designing
• Building management
• Product design
SCHEDULE OF SERVICES
• Concept design
• Preliminary design and drawings
• Drawings for client's/ statutory approvals
• Working drawings and tender documents
• Appointment of contractors
• Construction
• Completion
• Professional fee
ARCHITECTURE AS AN ORGANIC ENTITY AND
ITS COMPONENTS
FUNCTIONAL COMPONENT
CLIMATE
SITING
ORIENTATION
CIRCULATION
STRUCTURAL MATERIALS
STRUCTURE
FORM , FUNCTION, AND MATERIALIZATION
What we have learned about form, function, and

materialization.
1.1.1. Form: Seeking geometrical order and expression of
formal qualities
1.1.2. Function: Seeking adequate performance and expression
of spaces
1.1.3. Materialization: Seeking adequate performance and
expression of
material elements
1.1.1. FORM: SEEKING GEOMETRICAL ORDER AND EXPRESSION OF FORMAL
QUALITIES
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1.1.1. FORM: SEEKING GEOMETRICAL ORDER AND EXPRESSION OF FORMAL
QUALITIES
1.1.2. FUNCTION: SEEKING ADEQUATE PERFORMANCE AND EXPRESSION OF
SPACES
MATERIALIZATION: SEEKING ADEQUATE PERFORMANCE AND
EXPRESSION OF MATERIAL ELEMENTS
The materialization of the is the

creation of the physical shell around the building spaces.
This materialization is concerned with the relationships

between:
19
MATERIALIZATION: SEEKING ADEQUATE PERFORMANCE AND
EXPRESSION OF MATERIAL ELEMENTS
20
22
ARCHITECTURE AS A
BUILDING ENTITY AND ITS
ELEMENTS – Their definition,
evolution, attributes and spatial roles
ELEMENTS OF SPACE MAKING
The different elements that compose the basic
identifiable parts of the man-made or, built
environment are broadly classified as roof,
wall, door, window, column, stair and floor.
Good architecture is balanced composition of

these elements.
Floor : Definition
The floor is a horizontal plane, providing a Solid datum, a resting
plane of all objects in the space.
The sanskrit word for floor is bhutal, where bhu refers to earth or
ground and tal refers to the bottom or base surface.
Anup Talao,
Fatehpur Sikri
Floor : Anatomy (Structure/Framework)
Typology with respect to form
Un-modulated : Flat, level floors with no change or

modulation form as a single datum for all objects on it
relating to the ground in the same manner.
Modulated : These floors on different forms, heaving

sloped or rough, with a variation of levels within itself,
define subspaces and each relates differently.
Floor : Anatomy
Typology with respect to material treatment
Natural : Floors with vegetation cover, soil, natural stone,
sand, water, snow etc. denote natural ground with nature.
Such treatments are used to create extensions to the vista
provided by the constructed floor space.
Man made : Articulation, expression and design
interventions to enhance the performance of floor through
demarcation of extent, treatment against weathering, aiding
circulation etc. This constitute constructed floors which could
use dressed stone, timber, ceramic, glass, concrete etc. as
the surface finish.
Floor : Evolution
A horizontal surface provides the most secure and stable surface
for human habitation. It is due to this reason that most of human
development happened in the planes.
Demarcation of domain(area) was another aspect. Further
definition came through the creation of level as plinth from the
ground plane. Mythology in most cultures, refers to a time when
world completely covered with water-flat or sphere. The land
emerges from ocean.
Maras, Peru Golden temple, Amritsar

Floor : Evolution
Greek temples where wave patterns in the flooring and marble

veins are use to create ripples.
Egyptian temples have the lower parts of walls painted with

aquatic plants and the floors are embellished with zigzag line
patterns denoting water.
In some Indian temples too, at the external junctions of walls and

floor, bands of decoration are found showing rippling waters,
aquatic plants.
A replication of the connotation the floor had to an element
emerging from sea.
Floor : Attributes (characteristic/quality)
Horizontality : As a treated surface created to provide a
comfortable datum, the floor forms the base plane for any
composition upon it. As flatness and horizontality are inherent
attributes of the floor, they become an omnipresent reference
throughout the level, stretching the entire extent of the space.
Minor undulations in the ground are taken care of by adjusting the
level of the plinth ground plane to make it absolutely horizontal.
Floor distinctly emphasizing

the horizontality,
The Zen garden, China
Floor : Attributes
Support and stability : The horizontal ground plane, offering the
perfect foil to gravity, induces into any object a state of repose – a
state of equilibrium, where the object is at total rest. It emphasizes
our conception of the ground as something firm and immovable.
Acropolis of Athens,
Greece
Floor : Spatial roles
Floor for Definition of space : A perceptible change in the flooring strongly
define and demarcates a difference in the zone. Flooring materials are
perceived differently through their colour, textural rendering, finishes
grain structure, base material etc. This property helps articulate and
define the boundaries of space by merely expressing their extent in a
graphical manner on a two-dimensional footprint. Apart from floor finish
even accessories such as rugs, dhurries, carpets etc. when placed on level
floor, become an extension of it and help in delineating that much space for
a different function through a change in texture.
Mughal Garden
Floor : Spatialroles
Due to its flatness it automatically provides a reference to all the
elements that come above it or below it. Within itself it again provides a
visual reference plane for the various components of a composition. This
aspect of common reference makes it the datum, the unifying base factor
in organization of space. This aspect is often explored through the
plinth element upon which objects/buildings sit. Plinth ties up the
independent structures through horizontal planes.
Hoysaleshvara
Temple, Halebid
Panch Mahal,
Fatehpur Sikri
Flooring as movement guide : The floor being datum upon which all
movement, of both persons and goods, takes place, it can be
effectively used to emphasize movement patterns. This can be achieved
by the creation of guiding lines through articulations in shapes,
levels, or surface differentiation by explorations in different
materials, colours or even textures. Floor patterns are often used to
punctuate pauses, emphasize movement directions or plainly to
generate ‘place’ through continuous texture.
Plan, Mughal gardens,

Taj Mahal, Agra
Floor : Spatial role
Floor to express threshold : Floor as platform or plinth, upon the
ground surface, defines space. As lead up to the next spatial
sequence, It signifies a threshold and offers a transition from
ambiguous surrounding to contained volumes.
Franceworth house,
Illinois
Series of stones
Floor for communication : As a horizontal base plane, floors are

walked over. The basic functional needs demand constant visual
reference to this plane underfoot. This provides the floor with a high
potential for superimposing motifs, signs and symbols as they
surely and effectively get registered.
Rangoli done by women in India, patterns and motifs inlaid in

the floor are commonly exercised forms of floor renderings.
Floor : Application
Sangath, Ahmedabad.
It is Ar. Doshi’s studio. The exterior landscape slowly merges with the
vaults creating harmonious earth form. The flooring plays a vital role in
giving directionality. Patterns and textures are used extensively to
demarcate movement flow. Placement, position and typology of the
vegetation adds to the attribute of floors in creating harmonious continuity.
Floor modulation to create space

Floor : Application
Royal complex of Fatehpur Sikri :
The Mughal emperor Akbar conceived and built this royal complex. It was
built upon a hill but the top was flattened out to create this
horizontally spread out citadel. Spaces were demarcated through level
differences and plane punctured walls.
Modulations such as depressions and plinths help in creating sub
identities within the spaces.
Floor as communicator
& as space definer
Floor : Application
Fallingwaters, Pennsylvania :
Ar. F.L.W. designed the falling waters at Pennsylvania. Terraces
working as extended balcony planes emphasize strong
horizontality here. The sitting of the structure is upon the bedrock.
The usage of the same rocks for the flooring inside increases the
feeling of connectivity to the surroundings. The openings on all the
sides allow the floors to spread out and intersperse with the greenery
around.
Floor : Application
Fallingwaters, Pennsylvania :
At the central hearth an original piece of rock pierces through the
flooring emphasizing itself. A stairway as plain horizontal levels descends
into the calm and flat plunge pool as if the surface of the water were
another floor to descend into. Other terraces and modulations create a
hierarchy of semi-covered and open space.
Floor enhancing
natural richness
of water & stone
Sense of unity by relationship of planes

Floor : Application
Houses at Jaisalmer
Climatically, Jaisalmer is a hot and dry region. The houses here are,
thus, articulated to suit such a climate. The dwelling units themselves
occupy a small footprint and are mostly used as storage and for spending
afternoon hours. Most of the activities during these times are carried
out collectively outside the house on the plinth. The raised floor
plinth plays a vital role of defining the extent of a cluster or a house in
different ways. Threshold here is defined by a raised level and decoration
of the entrance by rangoli. Courtyard and its modulations with the
dwellings generate a hierarchy within the same cluster.
Terraces, courts
for functions
Floor : Design considerations
◼ Floor must convey notion of support, stability.
◼ Interface between datum plane, the plinth and the surrounding
ground can dictate the relationship of superstructure with ground.
◼ Floor receives visual attention as one has to walk on it. Hence, it
can be overlaid with visual clues for impact and
communication.
◼ Being element connecting the super structure to the ground, the
floor becomes a platform for the perception of all that is
conceived above and around it. It should thus provide a base and
foreground to all the other elements.
◼ Floors can effectively double up as surfaces to sit on or conduct
activities.
◼ As floor is one of the few architectural elements that surely
involves perception through touch, texture, material and
gradient can be creatively exploited to enhance the experience
and perception of space.
Column : Definition
A column is essentially a slender, vertical supporting element,
loaded from the top and transferring the load axially to the base.
It is freestanding except for the structure above it and the anchorage at
the base.
The sanskrit equivalent for the word column is ‘Stambh’.
Column : Anatomy
Typology variations
Obelisk : A freestanding non-structural column marking the focus of
space, radiating aura around it.
Column : freestanding linear vertical thick shaft as structural element
Pier : freestanding vertical structural element with length more than four
times the width
Pilaster : Vertical structural element attached to wall yet protruding out as
stiffener and recognizable linear form.
Columns made by base, shaft (fluting), bracket, capital, entablature.
Column : Evolution
During the ages when the earth was considered as a flat plate
floating on a sea of water with the sky as another solid plane, the
mountains, due to their inaccessible heights and formability were
supposed to be the points on earth on which the sky rested. The
column, initially reflected the qualities of its direct references in
nature representing the same features-trees, mountains etc.
In many rock cut architecture, where emphasis was upon ‘void
making’ the column took embellishment, decoration and inscription
(historical records) – a visual element more than anything else.
Column : Evolution
Built up architecture took on significant structural responsibilities, the
notion of ‘support’ becomes primary, through plastic treatment and
decoration still continued. From early timber columns in mud house
to the decorated stone ones used later for permanence and
monumentality.
Egyptian columns were large and circular. The Greeks formulated
‘orders’ for columns. Industrial revolution brought out new materials,
technology and there by new building types.
Column : Evolution
European orders :
Column : Attributes
Centrality : A column, due to negligible girth as compared to its

height marks a locus, a position in space. It being omnidirectional,
therefore takes on the properties of a point, seemingly not occupying
space but radiating aura all around it. It assumes the central
position.
Verticality : In principal, a point executed upwards. The column
assumes verticality and guides vision upwards from the horizontal
plane (ground), lending it an upward thrust and imparting dynamism
to the space.
Centrality
Verticality
Column : Attributes by Repetition
Directionality : As with point generating a line, columns placed
linearly guide direction. A single column is omnidirectional.
However, a linear repetition of the column begins imparting
directions.
Rhythm : Linear repetitions of columns with changing distances
gives rise to a rhythm, a sense of continuity and consistency
determined by their spacing and frequency of occurrence.
One Two
Column Columns
Multiple Coluns
Column : Spatial role
Column as focus of space : A freestanding column, as a point in

space commands centrality and as a graphical element adds vitality
to the composition, the column, as an obelisks, act as the focus in
spatial ensembles, ordering the various parts with reference to it.
Column for definition of volume : Three or more columns that are not
placed along the same line enclose space by acting as the vertices
of an invisible polygon holding it together.
Subdivision of space : In a composite arrangement, columns not
only subdivide the main volume into many smaller ones but at the
same time also help in the proper definition of subvolumes.
Column as movement guide : A series of columns when placed

along a line creates and imaginary plane binding them.
Column as a modulator of façade : Columns, when exposed as an
elevational element, even as fins, sun-brackets etc., scale, compose
and modulate the façade due to their rhythm, verticality as well as
sculptural quality.
Column : Applications
Diwan e khas, Fatehpur Sikri :

The complex was built to commemorate the birth of Akbar’s son and
heir, jehangir. A special audience hall located in the royal precincts
of Sikri epitomizes the symbolic qualities of the column.
At centre of a square hall of modest proportions, a single
freestanding column mushrooms outward through brackets and
supports the seat of the emperor at the upper level, which is linked
by bridges.
Column : Applications
Pol house, Ahmedabad.

Pols, typical of mediaeval urban centres in Gujarat. Columns here
play a vital role in defining the central space in addition to becoming
the visible structural element. Its role varies from being a supporting
element to that of space definer, façade rhythm modulator and also
as defining the volume within. The carved work on the column
further enhances, beautifies and lends unique character to the
structure.
Column:Johnson Wax building, Wisconsin
Ar. F.L.W. designed Johnson Wax building. The mashroom columns

here were defined as dendiform-tree shaped and divided into four
segments base, stem, calyx and petal. Base of the column was
defined as crow’s foot. Core is made up of a hollow steel section.
The calyx takes the load of a hollow pad called petal. Due to floating
nature of the roof above, these columns successfully provided the
necessary structural support at the same time affording a free flow
of undivided democratic workspace.
Column : Aplication
St. Peter’s square, Vatican

Master builder Bernini designed the piazza colonnade of St. Peter’s
Basilica. It is a vast oval piazza circumvented by Doric colonnades,
branching out in two hemi-cycles. A central obelisk dominates the
space around the oval open space. Relatively low colonnade around
it permits wide visibility, giving an impression of a forest of verticals.
Repetition of columns generates a rhythm through frequency and
consistency.
Column : Design consideration
A column consist of three energy zones : the capital, the shaft and
the base.
capital expressed as an enlarged arm of girth at top, conveying
a sense of holding roof
The girth of trunk should feel reassuring, corresponding to the
visual weight it supports or can be used vice-versa to generate a
tension in space
Base functions as a firm anchor that supports as well as
absorbs the entire load.
Freestanding column commands volume all around it.
Rhythm is the most potent attribute of the column, achieved through
repetition.
Non planar placement of column defines volume, which can subtly
sub-scale larger spaces.
Wall : Definition
The wall is vertical plane, which defines an enclosure.

one of its prime purposes through time, even before the column, is
that of taking structural load of the roof.
The sanskrit equivalent for the wall is ‘bhitti’ which originates from
the term ‘bhit’ meaning to separate.
Thus the prime obligation of the wall is to support, defend, barricade
and separate spaces.
Wall : Anatomy
Shapes and inherent potentials :

Straight, Curved and leaning
Wall : Evolution
Developments and variations in wall structures can be traced
through history with regard to their structural significance,
construction material and opening sizes. In prehistoric cave
dwellings, the living spaces were scooped out of living rock
inherently providing the vertical surfaces. With civilization and
technological development, masonry structures evolved to resolve
corners. This is when rectilinear load bearing masonry walls carrying
roof loads came into being.
Wall also served as a good protective element against external
forces of climate and barbaric attacks. Thick wall with bastions and
ramparts around the settlement became the norm in middle ages
where defense was main criteria.
The thick walls, provided opportunity for carving out small portions in
them which were then used for storage or seating. But due to
structural requirements opening sizes were restricted. Walls became
too heavy. To overcome these problems, reinforcement in the form
of timber post was introduced, which helped to reduce wall thickness
and facilitate larger openings.
Wall : Evolution
Introduction of arches in the Roman era allowed for larger punctures
in the wall plane. Gothic and Renaissance periods saw it reach its
peak with planes as arcade having more voids than solid.
Finally with the development of frame structure, in steel or reinforced
cement concrete, walls were completely relieved of all limitation of
structure. Becoming thin and transparent, as they had in many ways
also lost their protective expectations, the walls remained merely as
partitions or curtains providing physical enclosure.
Once strong massive walls have come of age to become fragile, thin
curtains, in steel and glass. Its behavior now resembles that of a
fabric, flowing and enclosing freely without any restrictions of form of
function to generate sculptural qualities in the builtform.
Wall : Attributes
Verticality :
Wall is essentially an extrusion of a line in the Z axis to generate
a vertical plane. Thus its primary definition is more through its
modulation in the vertical dimension than horizontal.
Planarity :
The height and length of the wall, defining the planarity, with
respect to its position in space endow it with varied
characteristics. The thickness of the wall does not matter as
much in terms of sensory perception and is more of a defence or
structural requirement. This aspect of planarity provides the
opportunity form surface articulation to be the common rendering
upon the wall.
Wall : Spatial roles
Wall for demarcating territory :
The wall as a vertical plane defines and delineates the extent of the
horizontal surface. Private and public nature, accessibility and
political rights, sacred and profane – determined by hierarchies of
sanctity, protected and exposed are suggested by treatment,
degrees of enclosure and quality of light, scale, etc.
Wall for enclosing volume :
The inherent verticality of the wall makes it command volume and
the attribute of planarity helps contain this in.
Wall for subdivision of space :
Based on different kinds of activity patterns, uses and requirements,
large spaces need to be subdivided into smaller pockets, performing
specific roles. Just as the wall along with the roof, defines notion of
‘indoors’ or ‘outdoors’
Wall : Spatial role
Wall as a display or storage element :

Though walls convey the idea of planes, their construction technique
and material used require them to possess some thickness. In
masonry walls, plasticized earth or rock-cut architecture, especially,
the wall begins to assume mass due to various other requirements
of load-bearing combined with structural capacities of material,
defense etc. This depth affords provisions of small niches, alcoves
and shelves within the wall, which could be used for various kinds of
storage, as well as display.
Wall as protective barrier :
As plane possessing height, a wall entraps space when it closes in
on itself. This, combined with the property of being a physical barrier
bestows upon it the responsibility of protection.
Wall : Spatial role
Wall as a movement guide :

Being a physical barrier, walls do not allow penetration through
them. Combined with their planarity through stretched planes, they
guide movement along their length. Also due to other aspects of the
wall, such as visual composition and graphics, degree of opacity,
texture, scale and proximity with other elements, the wall generates
physical patterns of movement.
Wall : Spatial role
Wall as form giver and façade modulator :

The wall plane as the external envelope of interior space.
Perpendicular to the line of sight becomes the single most
conspicuous element forming the façade of any structure. The
profile, proportion, placement, articulation, degree and kind of
openings and material of the wall plane impart character to the
building and define the external edge.
Wall as communicator and encoder of messages :

As a vertical plane, most evident in the cone of vision, wall as
barriers become the most potent communication elements capable
of encoding messages. Visual messages through a set of motifs,
symbols and decorations articulated on wall surfaces instill meaning,
more notional than physical. The transparency or opacity, the
directness or indirectness, the solidity or delicacy, the impairing or
inviting scales of the walls are also other forms of communication.
Wall : Application
City Palace, Udaipur :

The City Place, Udaipur, dates from the period after 1567. The wall
here, possessing great height, dwarfs the human scale and
functions as a protective barrier and makes up the imposing façade
of the builtform when seen over the expanse of the lake. The smaller
bastions and articulations help in proportioning and scaling the
mass.
With the sheer verticality, it becomes the most potent
communication element capable of encoding messages while
guiding movement along it to the entry. Internally, the walls delineate
territories creating varied zones and different ambience.
Wall : Bhunga, Kutchchh
Bhungas-the typical traditional dwellings of Kutchchh, a hot and dry
desert region, are characterized by thick circular adobe wall
encloosures with small openings and a conical thatched roof.
Decorations and ornamentation on the wall with clay and mirror
murals give distinct identity to each unit within the homogenous
clusters. With minimum openings it encloses a volume in itself and
functions as a protective barrier against climatic forces. The walls
are also creatively used to accommodate built-in niches and
extended plinths for storage.
Wall : Application
The vietnam memorial, built by Ar. Maya Ying Lin. It is a memorial to
mark the martyrdom of American soldiers in the vietnam war. It is
inpired by Minimalist design attitude. Essentially an L-shaped wall
structure wedging into the ground and designed as a landscape
element.
Lin’s scheme is a vast earth-mound wedging inwards as a triangular
plane, sectioned by granite wall in the shape of long sloping
pyramid. Two walls establish the axes of power, as one of the walls
suggests the connection with the Washington Memorial, connoting
its involvement in its existence. The shiny granite provides surface
on which to inscribe the list or names of martyrs in the war.
Wall : Application
Barcelona pavilion :
Ar. Mies Van der Rohe designed it. Plan suggests usage of wall as
the primary component in design. The wall functions as freestanding
screen walls, forming buffers of spaces within the unit by thus
enclosing spaces and subspaces
Wall, due to its height, guides the movement along its length. At the
sculpture pool, the walls around it create a focus along the enclosed
vertical axis and guide vision towards the pool and the wall behind
frames a mural respectively of natural and textural renderings.
Wall : Design considerations
◼ Wall, by virtue of being vertical planes become barriers.
◼ Wall lower than knee height doubles up as seat and functions more
as a notional rather than physical barrier.
◼ Wall lower than the eye level, presents itself as a physical barrier but
visually allows for spatial contiguity.
◼ A wall taller than the eye level becomes a visual and physical barrier
giving a true sense of enclosure.
◼ Wall in interior must have sorter and warmer overlay, that invites
one to touch, while external planes of wall could recreate a hard and
rough appearance to repel any encroachments or intrusions
◼ Although a surface and a planer component, walls should be treated
as a volume rather than a plane. Wall offers opportunities to fold,
bend and cave spaces within.
◼ Though the wall creates sense of enclosure, it can also suggest
spatial extension through the void near base or ceiling junctions
◼ Wall upto 2.1 meters are optimum for display.
◼ Clues through relative assembly of wall planes have the most
profound effect in orientation and guiding movement.
Door : Definition
A door is essentially a puncture through a plane allowing for

passage through it. The term originates from Japanese word ‘turii’,
meaning gateway leading to heaven. The Sanskrit synonym of door
is ‘dwara’ originating from word ‘dwi’-two.
Door : Anatomy
Typological Variations :
Gateway : Freestanding structure framing a notional entry passage.
Door with shutter :
Opaque shutter embedded into wall as movable plane to open or
shut the passage
Drawbridge :
An opaque vertical plane with dual function when lowered opens the
access point by becoming a floor (bridge).
G D D S
A R O H
T A O U
E W R T
W B T
A R E
Y I R
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Door : Evolution
Primitive man, in a hostile world with savage beasts, pugnacious
tribes and inclement weather took refuge in caves. The advantage
offered by a single opening providing access into the cave reduced
his vulnerability in terms of being able to block it with thorny plants
and barricades. The resolution of two basic requirements-first of
providing access and the second of retaining security, are the
determinants of the evolution of the door. Removable barriers
evolved into the solid door shutter, tied to a frame. Hinge and
hardware for smooth operation developed. Doors acquired greater
importance during Dark and middle ages, essentially as a defense
strategy.
Door : Evolution
With development of civilization, door assumed a role of security
more than that of defense. Use of the external façade of the door as
an object of decoration became common. Glazed door appear in
seventeenth century. Industrialization brought with it mechanized
and automated doors with notional security in twentieth century.
Door ways to elaborated to mark entry point and visual composition.
By frame By Shutter By Form

Door : Attributes
Penetrability :
As a puncture in the barrier plane, the fundamental aspect of the
door is to provide a passage and access through the barrier plane.
Differentiation :
The door refers to two realms-the indoors and the outdoors. It
becomes the point where the differentiation is felt most acutely since
it is the transition where one is brought into direct contact with both
the realms. Difference between two spaces is maintained totally by
the door plane when closed and notionally when open through the
threshold.
Door : Spatial roles
Door as point of access :

As a definite point highlighting the penetrability within the wall, the
door manifests a puncture within a plane, allowing physical
permeation perpendicular to the wall plane. This act simultaneously
involves the two realms.
Doors as threshold :
Being access points to one realm from the other, doors establish the
sense of transition of moving from one to another realm-from public
to private, in to out, sacred to profane, etc.
Door as guide to movement :

As the only nodes in volume allowing penetration of the wall plane in
a direction perpendicular to the walls, the locations of doors in
rooms determines the direction and scheme of circulation within it.
Door as image maker :

The main door, especially, denoting the entry into a built form from
the outside has, through time, been accorded the highest priority
both by vernacular and master builders. It manifests as the most
noticeable element on the façade offering great potential in creating
first impressions and conveying a projected image of the aspirations
of the inhabitant.
Door as modulator of façade :

Just as any void scooped out of a solid mass automatically relates to
the mass, the door too becomes an integral element of façade
aesthetics. It helps to modulate form and compose façade through
its vertical nature. As a mandatory point of access, often it becomes
the key reference in the making of façade and composition.
ELEMENTS OF
ARCHITECTURE
PRIMARY ELEMENTS
- Point and Point Elements
- Line and Linear Elements
- Plane and Planer Elements
- Volume and Volumetric Elements
86
- Primary Elements
- Form
- Form & Space
- Organization
- Circulation
- Proportion & Scale
- Principles
87
PRIMARY ELEMENTS
Point indicates a position
A point extended becomes a
Line with properties of:

- length
- direction
- position
A line extended becomes a
Plane with properties of:

- length and width - shape
- surface -
orientation
- position
A plane extended becomes a
Volume with properties of:

- length, width and depth
- form and space - surface
- orientation - position 88
POINT
A point marks a position in space. Conceptually, it
has no length, width or depth, and is therefore
static, centralized, directionless.
As the prime element in the vocabulary of form, a

point can serve to mark:
- the two ends of a line
- the intersection of two lines
- the meeting of lines at the corner of a plane or
volume
- the center of a field
Although a point theoretically has neither shape nor

form, it begins to make its presence felt when placed
within a visual field. At the center of its environment,
a point is stable and at rest, organizing surrounding
elements about itself and dominating its field.
When the point is moved off-center, however, its field

becomes more aggressive and begins to compete for
visual supremacy.
Visual tension is created between the point and its
89
field.
POINT ELEMENTS
A point has no dimension. To visibly mark a position

in space or on the ground plane, a point must be
projected vertically into a linear form, as a column,
obelisk, or tower. Any such columnar element is seen
in plan as a point and therefore retains the visual
characteristics of a point. Other point-generated
forms that share these same visual attributes are the:
Piazza del Campidoglio, Rome, C. 1544,

Michelangelo.
The equestrian status of Marcus Aurelius
marks the center of this urban space.
90
‫الكعبة المشرفة ‪ ..‬مركز الكون والتكوين المعماري للحرم المكي‬
‫‪92‬‬
LINE
A Line is a critical element in the

formation of any visual construction.
It can serve to:
- join, link, support, surround, or

intersect other visual elements.
- describe the edges of and give shape

to planes.
- articulate the surface of planes.
93
LINE
Although a line theoretically has only one dimension, it must have some degree of
thickness to become visible. It is seen as a line simply because its length dominates its
width. The character of a line, whether taut or limp, bold or tentative, graceful or
ragged, is determined by our perception of its length- width ratio, its contour, and its
degree of continuity.
Even the simple repetition of like or similar elements, if continuous enough, can be
regarded as a line. This type of line has significant textural qualities.
94
 The orientation of a line affects its role in
a visual construction. While a vertical line
can express a state of equilibrium with
the force of gravity, symbolize the human
condition, or mark a position in space, a
horizontal line can represent stability, the
ground plane, the horizon, or a body at
rest.
An oblique line is a deviation from the vertical

or horizontal. It may be seen as a vertical line
falling or a horizontal line rising. In either case,
whether it is falling toward a point on the
ground plane or rising to a place in the sky, it is
dynamic and visually active in its unbalanced
state.
LINE
LINEAR ELEMENTS
Crown Hall. School of Architecture and Urban

Design, Illinois Institute of Technology, Chicago, 1956,
Mies van der Rohe.
Buildings also can be linear in form, particularly
when they consist of repetitive spaces organized
along a circulation path.
At a smaller scale, lines articulate the edges and

surfaces of planes and volumes. The lines can be
expressed by joints within or between building
materials, by frames around window or door
openings, or by a structural grid of columns and
beams. How these linear elements affect the
texture of a surface will depend on their visual
weight, spacing, and direction .
Seagram Building. New York City, 1956-58,
Mies van der Rohe and philip Johnson.
96
PLANE
A line extended in a direction other than its

intrinsic direction becomes a plane.
Conceptually, a plane has length and width,
but no depth.
Shape is the primary identifying

characteristic of a plane. It is determined by
the contour of the line forming the edges of
a plane. Because our perception of shape
can be distorted by perspective
foreshortening, we see the true shape of a
plane only when view it frontally.
The supplementary properties of a plane—its

surface color, pattern, and texture—affect
its visual weight and stability.
97
PLANE
Planes in architecture define three-dimensional
volumes of mass and space. The properties of each
plane—size, shape, color, texture—as well as their
spatial relationship to one another ultimately
determine the visual attributes of the form they define
and the qualities of space they enclose.
In Architectural design, we manipulate three generic

types of planes:
Overhead Plane
The overhead plane can be either the roof plane that
shelters the interior spaces of a building from the
climatic elements, or the ceiling plane that forms the
upper enclosing surface of a room.
Wall Plane
The wall plane, because of its vertical orientation, is
active in our normal field of vision and vital to the
shaping and enclosure of architectural space.
Base Plane
The base plane can be either the ground plane that
serves as the physical foundation and visual base for
building forms, or the floor plane that forms the lower
enclosing surface of a room upon which we walk.
98
PLANAR ELEMENTS
While we walk on a floor and

have physical contact with
walls, the ceiling plane is
usually out of our reach and is
almost always a purely visual
event in a space. It may be the
underside of an overhead floor
or roof plane and express the
form of its structure as it spans
the space between its
supports, or it may be
suspended as the upper
enclosing surface of a room or
hall.
Hangar, Design I, 1935, Pier Luigi Nervi.

The lamella structure expresses the way forces are
resolved and channeled down to the roof supports.
99
PLANAR ELEMENTS -
EXAMPLE
A roof plane can extend

outward to form overhangs
that shield door and widow
openings from sun or rain, or
continue downward further
still to relate itself more closely
to the ground plane. In warm
climates, it can be elevated to
allow cooling breezes to flow
across and through the interior
spaces of building.
Robie House, Chicago, 1909, Frank Lloyd Wright.

The low sloping roof planes and broad overhangs are
characteristic of the Prairie School of Architecture.
100
PLANAR ELEMENTS
Kaufmann House (Falling Water), Connellsville,

Pennsylvania, 1936-37, Frank Lloyd Wright.
Reinforced concrete slabs express the horizontality of the
101
floor or roof planes as they cantilever outward from a central
core.
PLANAR ELEMENTS
Schroder House, Utrecht, 1924-25, Gerrit Thomas Rietveld.

Asymmetrical compositions of simple rectangular forms and
primary colors characterized the de Stijl school of art and
102
architecture.
VOLUME
A plane extended in a direction other than its intrinsic
direction becomes a volume. Conceptually, a volume
has three dimensions: length, width and depth.
All volumes can be analyzed and understood to consist of:

- points or vertices where several planes come together
- lines or edges where two planes meet
- planes or surfaces which define the limits or boundaries of a volume.
Form is the primary identifying characteristic of a

volume. It established by the shapes and
interrelationships of the planes that describe the
boundaries of the volume.
As the three-dimensional element in the vocabulary of

architectural design, a volume can be either a solid—
space displaced by mass—or a void—space contained
or enclosed by planes.
103
VOLUME
In architecture, a volume can be seen
to be either a portion of space
contained and defined by wall, floor,
and ceiling or roof planes, or a quantity
of space displaced by the mass of
building. It is important to perceive
this duality, especially when reading
orthographic plans, elevations and
sections. Plan and Section
Space defined by wall, floor, and ceiling or roof planes.
Elevation
Space displaced by the mass of a
building.
104
Notre Dame Du Haut, Ronchamp, France,
1950-55, Le Corbusier.
VOLUMETRIC ELEMENTS
Villa Savoye, Poissy, France, 1928-31, Le Corbusier.
Building forms that stand as an object in the landscape

can be read as occupying volume in space.
105
VOLUMETRIC ELEMENTS
Piazza del Campidoglio, Rome, C. 1544, Michelangelo.

A series of buildings enclose an urban square.
Building forms that serve as containers can be read as

masses that define volumes of space.
106
Elements of form defining space
❑Elements of form defining space
In architecture we manipulate three generic types of planes
Munich
Overhead plane Olympic
stadium
Ceiling plane or
roof plane
Modern interior
Wall plane
Vital for enclosure of
architecture space . Active in
our field of vision Precast construction
house
Base plane
With ground plane the building
can merge , rest firmly or be
elevated above it.
Horizontal plane
Base plane
Elevated plane
Depressed plane
f Overhead plane
roof plane
ceiling plane

Vertical Linear
elements –define the
edges of volume of
space
Single vertical plane -
articulates the space
which it fronts
L- shaped plane –
generates a volume of
space from its center
outward as a diagonal.

parallel plane - define the volume

of space in between that is oriented
axially towards open end.
U shaped plane – defines the volume

that is primarily oriented towards the
open ends.
Planes closure – vertical plane on all

Sides establish boundaries of an
Introverted and influence the field
of space around enclosure.

Horizontal plane
Base plane •Seems to be figured out when there is a perceptible change
in color , texture .
•With edge definition
•With surface articulation – eg carpet , lawn , paving etc.

Horizontal plane
Elevated Base plane
•Elevating creates a specific domain
•If surface characteristics continues up across the elevated plane ,
then the elevated one will appear part of surrounding plane.
•If edge conditions is articulated by a change in form ,color , texture
, then the field will become a distinct plateau ,that is separated from
surroundings.

Horizontal plane
Elevated Base plane – spatial & visual continuity
Edge is well defined . Spatial continuity interrupted. Visual and spatial continuity is
Spatial continuity Visual continuity maintained. interrupted. Elevated plane
maintained. physical access required stairs for physical isolated from ground level.
accommodated access.

Horizontal plane
Elevated plane
-
•it can be result form site conditions or constructed to
elevate a building from surroundings to enhance its
image in landscape.
•Used to differentiate the scared buildings or it defines
any important typology.
•Elevated plane can define a transitional space
between exterior and interior.
•A section floor plane can be elevated to establish a
zone of space with in the large space.

Horizontal plane
Elevated plane
-
Villa
savoye ,
Paris
Acropolis
athens CEPT , Canteen
Area.

Horizontal plane
Depressed Base plane – spatial & visual continuity
Vertical surface of depression
establishes boundaries
By contrasting form , geometry or orientation
The space is Separates

Remains an
distinct
integral part

Horizontal plane
Depressed plane
Depressed areas in
- topography of site – stage for
outdoor arenas and
amphitheater .
Steps Depression benefits
down – sightlines , sense of having ,
introvert acoustical quality.
nature
Steps up –
extrovert
nature

OVERHEAD PLANE
❑ it is similar to the trees . It
gives sense of enclosure.
❑ Overhead
- plane define a
filed of space between itself
and ground plane. Valencia Opera House, Spain
❑ Edges of the overhead
plane define the boundaries
of this field.
❑ Vertical linear elements ,
edges of overhead plane ,
elevated base plan and
depressed base plane aid in
visually establishing the
limits of the defined space Salamanca House, NewZealand
and reinforce the volume.

OVERHEAD PLANE
❑ Offers protection. Determines overall form
❑ It is determined by the materials & structural
-
form.
❑ the roof plane can visually express how the
pattern of structural members resolve forces
and transfer loads.
❑ The roof planes can be the major space defining
element of the building and visually organizes a
series of forms and spaces beneath the canopy.
Tensile Roof
University of phoenix , Arizona,
Indoor stadium. Retractable roof.
Roof PLANE Dynamic Tower , UAE
❑Can be hidden from view by

-wall or merge.
❑Can be single or many
❑Can extend outward as
overhang
❑Can be elevated to allow breeze Arena Zaqreb, Croatia
to pass through
❑Overall form can be
endeavored with a distinctly
planar quality by opening with
vertical or horizontal edges.

ROOF PLANE
Glass House, New Canaan,

Connecticut, designed by Philip
Johnson, 1949.

Ceiling PLANE
❑Can reflect the form of the structural system.
❑Can be detached from roof plane, suspended , underside of an overhead. Can
-
be lowered / raised to articulate spaces.
❑Can be manipulated to define and articulate spaces.
❑Can be manipulated to define and articulate zone of spaces.
❑Form , color , texture and pattern of the ceiling plane can be manipulated to
improve the quality of light / sound / directional quality.
❑Form can be manipulated to control the quality of light , sound / within a
space. Raised to let in Light
Lowered

Ceiling PLANE Light wave ceiling plane
UAE , Airport. Restaurant Rosso ,

ISrael

Single vertical plane
❑A vertical plane has frontal qualities. It has two surfaces

or faces which it fronts on and establish two distinct
spatial fields
❑They can differ in form , color or texture to articulate
different spatial conditions.
❑The height of the vertical plane relative to our body
height and eye level is the critical factor that effects the
ability of the plane to visually describe spaces.

Single vertical plane This vertical wall divides the
campus and forest area.
The wall
establishes
different
spatial
quality
JNCASR ,BUILDING , DESIGNED BY CHARLES COREA , BANGALORE

Single vertical plane
Provides sense of
Provides little or no enclosure. It allows
sense of enclosure. It visual continuity Separates one
defines the edges of space from Full sense of
spatial field another enclosure

Linear elements
❑Vertical linear elements such as columns ,
obelisks and towers have been used
throughout history to commemorate
significance events or establish particular
points in space or to organize spaces around
it.
❑Vertical linear elements can also define a
transparent volume of spaces. Column of Marcus Aurelius , Rome
❑ marks the corners and edges of spaces.
❑Linear members that possesses the
necessary material strength can perform
structural functions.
❑They can express movement across space.
❑Stand as column supports for entablature.
❑Columns and beams together form a 3d
framework for architectural space. Obelisks in Vatican city
Linear elements
❑marks the corners and
edges of spaces.
❑Linear members that
possesses the necessary
material strength can
perform structural functions.
Hagia Sophia ,Istanbul
They can express movement
across space.
❑Stand as column supports
for entablature.
❑Columns and beams
together form a 3d
framework for architectural
space.
Parthenon , Rome Domino house , Lecorbusier
Linear elements
❑A row of column supporting an entablature – a

colonnade is often used to define the public face or
façade of a building –
advantages
a. Being penetrated easily for entry.
b. Offers a degree of shelter from the elements
c. Forms a semi transparent screen the unifies
individual building form behind it. Colonnade in ST.Peters Square
d. Columns can define the edges of an exterior
space.
e. Articulate the edges of building mass in space.
f. Trellis or pergola can provide a moderate
degree of definition and enclosure for outdoor
spaces.
g. Allow light and breeze to penetrate.
IIMB , CORRIDOR , B.V.Doshi
Openings in space defining elements
❑Openings are required for visual and

spatial continuity.
❑Openings determine patterns of movement
( door)
❑Openings allow light to penetrate the space
( window)& illuminate the surface of a
room.
❑They offer views from the room / interior
to exterior.
❑They establish visual relationship between
rooms and adjacent spaces.
❑They provide natural ventilation.
❑Depending on size , number and location
they can weaken the enclosure.
Thank you☺

Unit 1 Architecture - Its Elements

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Unit 1 Architecture - Its Elements

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Ar. Swathi, M.Arch (EESA). IGBC AP

1. Originated from the Greek word Architekton

Introduction to Architecture Unit - 1

• ARCHITECHTURE IS A SOCIAL ART THAT TOUCHES

• – Provide setting for activities

What we have learned about form, function, and

The materialization of the is the

This materialization is concerned with the relationships

Good architecture is balanced composition of

Typology with respect to form

Un-modulated : Flat, level floors with no change or

Modulated : These floors on different forms, heaving

Maras, Peru Golden temple, Amritsar

Greek temples where wave patterns in the flooring and marble

Egyptian temples have the lower parts of walls painted with

In some Indian temples too, at the external junctions of walls and

Floor distinctly emphasizing

Plan, Mughal gardens,

Floor for communication : As a horizontal base plane, floors are

Rangoli done by women in India, patterns and motifs inlaid in

Floor modulation to create space

Sense of unity by relationship of planes

Centrality : A column, due to negligible girth as compared to its

Column as focus of space : A freestanding column, as a point in

Column as movement guide : A series of columns when placed

Diwan e khas, Fatehpur Sikri :

Pol house, Ahmedabad.

Ar. F.L.W. designed Johnson Wax building. The mashroom columns

St. Peter’s square, Vatican

The wall is vertical plane, which defines an enclosure.

Shapes and inherent potentials :

Wall as a display or storage element :

Wall as a movement guide :

Wall as form giver and façade modulator :

Wall as communicator and encoder of messages :

City Palace, Udaipur :

A door is essentially a puncture through a plane allowing for

Door ways to elaborated to mark entry point and visual composition.

By frame By Shutter By Form

Door as point of access :

Door as guide to movement :

Door as image maker :

Door as modulator of façade :

- Point and Point Elements

- Line and Linear Elements

- Plane and Planer Elements

- Volume and Volumetric Elements

- Form & Space

- Proportion & Scale

Point indicates a position

A point extended becomes a

Line with properties of:

A line extended becomes a

Plane with properties of:

Volume with properties of:

As the prime element in the vocabulary of form, a

Although a point theoretically has neither shape nor

When the point is moved off-center, however, its field

A point has no dimension. To visibly mark a position

Piazza del Campidoglio, Rome, C. 1544,

A Line is a critical element in the

It can serve to: