Bachelor of Architecture: Dissertation Report

Minimalism In Sustainability 1
DISSERTATION REPORT
MINIMALISM IN SUSTAINABILITY
submitted by
RENI K CHERIYAN (730611251035)
of
BACHELOR OF ARCHITECTURE
in
EXCEL COLLEGE OF ARCHITECTURE AND PLANNING
ANNA UNIVERSITY
CHENNAI 600 025
APRIL 2015
ANNA UNIVERSITY
CHENNAI 600 025
DECLARATION REPORT
This is to certify that the dissertation Report of Reni k cheriyan, IV year (Batch
2011-2016) EXCEL COLLEGE OF ARCHITECTURE AND PLANNING has
been approved on .04.2015. Submitted for the university VIVA – VOCE
Examination held on
INTERNAL EXAMINER EXTERNAL EXAMINER

ANNA UNIVERSITY
CHENNAI 600 025
BONAFIDE CERTIFICATE
Certified that this dissertation report is the bonafide work of Reni k cheriyan who carried out the
work under my supervision.
Signature Signature
HEAD OF THE DEPARTMENT SUPERVISOR
Signature Signature
PRINCIPAL EXTERNAL EXAMINER

ACKNOWLEDGEMENT
I express my sincere gratitude to my guide Ar. NITHYA PRIYA for her immense
patience and valuable guidance and moral support throughout my discussions.
Her suggestions were always a source of inspiration to proceed throughout my
dissertation.
I express my warm thanks to our principal Ar. G.TAMIL VANAN for his support and
guidance.
I thank all the faculty members of College of Architecture, for their valuble inputs
towards my dissertation.
I am thankful to my family for supporting me and believing me in all what I did and
for helping me to do my dissertation up to my expectation.
I am thankful to my guide AR.MANURAJ who help me for collecting the necessary
data through discussions.
I am thankful to all my seniors, classmates and all others who helped me to
complete my dissertation.
And thank you almighty for giving me strength and leading me throughout my life.
DATE: Signature of the

Candidate
ABSTRACT
Minimalism evolved in the modern era is still being practiced in different ways by
different architects. The purpose of this study is to analyse the key principles in
minimalism and understand its application in different manner in different eras. The
study is mainly focused on seven different designed buildings of different eras.
There are four steps in this study. Firstly, it is needed to find the basic data
regarding minimalism, its need, various key principles and its application in India.
In the second place aspect of sustainability is analysed with minimalism. The third
step involves the analysis and understanding the core of the study through case
studies. The last and the fourth step shows the results of the analysis and the
development of various elements of minimalism based on the analysis.
The various elements to be noted are
 Space planning
 Colour
 Interior accessories
 Form
The analysis out of the result of these elements can be used to identify minimalism
in any design.
CONTENTS
1. CHAPTER 1 INTRODUCTION
1.1. PHILOSOPHY 01
1.2. AIM 01
1.3. OBJECTIVE 01
1.4. SCOPE 02
1.5. LIMITATIONS 02
1.6. METHODOLOGY 02
2. CHAPTER 2 LITERATURE STUDY
2.1. MINIMALISM 03
2.1.1. Minimalism In Architecture 05
2.1.2. Minimalism In Architects Words 07
2.1.3. Hallmarks Of Minimalism 08
2.1.4. Minimalism And Energy Conservation 09
2.1.5. Cost Effectiveness 10
2.2. SUSTAINABILITY IN ARCHITECTURE 12
2.2.1. Architecture And Sustainability Factors 12
2.2.2. General Guidelines For Sustainable Design 14
2.2.3. The Logics Of Sustainable Architecture 15
2.2.4. Hallmarks Of Sustainability 17
2.2.5. Sustainability And Green Architecture 30
3. CHAPTER 3 LITERATURE REVIEW
3.1. GLASS AS A SUSTAINABLE, MINIMALISTIC MATERIAL 34

3.2. GREEN ARCHITECTURE IN RESIDENCES 36
3.3. THE SPATIAL LANGUAGE OF LAURIE BAKER 38
4. CHAPTER 4 LITERATURE CASE STUDIES
4.1. FRANSWORTH HOUSE 41

4.1.1. Mies Vander Rohe 41
4.1.2. Fransworth House 42
4.1.3. Minimalistic principles in design 46
4.1.4. Sustainability Factors 48
4.2. GLASS HOUSE 49
4.2.1. Philip Johnson 49
4.2.2. Glass House 49
4.3. HOUSE IN PLANTATION 55
4.3.1. RahulMehrotra 55
4.3.2. House In Plantation 55
4.4. ROBIE HOUSE 60
4.4.1. F L Wright 60
4.4.2. Robie House 61
5. CHAPTER 5 STUDY OF SUSTAINABLY DESIGNED MINIMALISTIC

HOUSES
5.1. TANGGA HOUSE BY GUZ ARCHITECTS 65

5.2. THE CLUNY HOUSE BY GUZ ARCHITECTS 66
5.3. THE FISH HOUSE BY GUZ ARCHITECTS 67
5.4. THE SUN HOUSE BY GUZ ARCHITECTS 68
5.5. MEERA HOUSE BY GUZ ARCHITECTS 69
5.6. E+GREEN HOME BY UNSANGDONG ARCHITECTS 70
6. CHAPTER 6 CASE STUDIES

6.1. DR.CIJOS RESIDENCE 72

6.1.1. Ar.LijoReny 72
6.1.2. House Of Dr Cijo 72
6.1.4. Sustainability Of Design 77
6.2. WALL HOUSE-RESIDENCE OF ANUPAMAKUNDOO 78
6.2.2. Sustainability Of Design 81
6.3. RESIDENCE OF KLARABROGLI 82
6.3.1. Fabian 82
6.3.2. Residence of klaraBrogli 83
6.3.3. Minimalistic principles indesign 86
6.4. ACTOR SREENIVASANS HOUSE 88
6.5. HAMLET 89
6.5.1. Laurie Baker 89
6.5.2. Hamlet 91
6.5.4. Sustainability of design 95
7. CHAPTER 7INFERANCE AND CONCLUSION
7.1. Analysis 97
7.2. Inferance 98
7.3. Conclusion 99
8. REFERENCES 100
LIST OF FIGURES
2.1 Fransworth house 04
2.2 Robie House 04
2.3 An Intelligent Façade 15
2.4 Perforated Shading Panels 15
2.5 K2 Sustainable apartments In Victoria 17
2.6 Sustainable Design Technique 17
2.7 Fascia Boards 28
2.8 Plastic Flooring Products 28
2.9 Illawara Flame House 30
2.10 Bamboo Flooring 31
4.1 Exterior Facade OfFransworth House 42
4.2 Fransworth House-Ground Floor Plan 44
4.3 Fransworth House-First Floor Plan 44
4.4 Fransworth House-interior 45
4.5 Fransworth House-interior spaces 46
4.6 Fransworth House-interior View towards Water Body 46
4.7 Glass House-plan 50
4.8 Glass House-Exterior view 51
4.9 Glass House-Living space 52
4.10 Glass House-living area 52

4.11 Glass House-Kitchen 52
4.12 Glass house Exterior view 54
4.13 House In Plantation- Entry 56
4.14 House In Plantation- Interior 57
4.15 House In Plantation- Interior 57
4.16 Robie House Ground Floor Plan 63
4.17 Robie House First floor Plan 63
4.18 Robie House Exterior 63
5.1 Tangga House ByGuz Architecture 65
5.2 The Cluny House ByGuz Architects 66
5.3 The Fish House ByGuz Architects 67
5.4 The Fish House ByGuz Architects 68
5.5 The Sun House ByGuz Architects 69
5.6 Meera House ByGuz Architects 70
5.7 E+Green Home ByUnsangdong Architects 71
6.1 Dr.Cijos Residence-Exterior 72
6.2 Dr.CijosResidence-Drawing Room 73
6.3 Dr.Cijos Residence-Dining 73
6.4 Dr.Cijos Residence-Ground Floor Plan 74
6.5 Dr.Cijos Residence-Section 1 74
6.6 Dr.Cijos Residence-Section 2 75
6.7 Dr.Cijos Residence-First Floor Plan 75

6.8 Dr.Cijos Residence-Interior 76
6.9 Dr.Cijos Residence-Bedroom 76
6.10 Dr.Cijos Residence-interior 76
6.11 Wall House North Façade 78
6.12 Wall House south Façade 78
6.13 Wall House Ground floor plan 79
6.14 Wall House First Floor Plan 79
6.15 Wall House First Floor 79
6.16 Wall House Interior 80
6.17 Wall House Interior 80
6.18 Wall House Exterior 80
6.19 Residence Of klaraBrogli 83
6.20 Residence Of klaraBrogli-External Views 84
6.21 Residence Of klaraBrogli-Interior 85
6.22 Residence Of klaraBrogli-Interior 85
6.23 Actor Sreenivasans House 88
6.24 Hamlet –Plan and sections 92
6.25 Hamlet Exterior 92
6.28 Hamlet interior 93

CHAPTER 1
INTRODUCTION
1.1 PHILOSOPHY
Minimalism is a term that is often used to describe art that thrives on simplicity in
both content and form, and seeks to remove any sign of personal expression. For
centuries artists have portrayed their inspirations and interpretations in more
profound ways. An extension of extreme simplicity, the main aim of minimalism is
to allow the viewer to appreciate the work more intensely without the distractions of
composition, theme and so on. In fact, it is the systematic reduction of expressive
elements in a given form.
1.2AIM :
To explore the influence of minimalism (of modern era) in sustainable architecture
(of today’s post modern period).
1.3 OBJECTIVES :
 To understand the principles and need of minimalism.
 To understand the influence of modern architecture and minimalism in India.
 To find out the influence of minimalism in sustainable architecture.
 To analyse minimalism in sustainable architecture.

1.4 SCOPE :
In today’s energy deficient world proving the clear connection between minimalism
and sustainable architecture.
1.5 LIMITATIONS
Minimalism being a vast topic it is not possible to cover all the aspects, hence has
limited the study to only minimalism in architecture and its link with sustainable
architecture.
1.6 METHODOLOGY
MINIMALISM IN SUSTAINABILITY
PRIMARY DATA SECONDARY DATA
Live Case Studies Discussions Data Collection Literature Casestudies
ANALYSIS AND INFERENCE
CONCLUSION
CHAPTER 2
LITERATURE STUDY
2.1 MINIMALISM
Minimalism is broadly characterized as a response to and reaction against the
unfairness, gestural mark-making and private vision of Abstract Expressionism. In
the 1960’s art world, in response to the colourful self-indulgence of Abstract
Expressionism, there arose a cold, bare-bones art form called Minimalism. Using
examples ranging from small-scale sculpture to massive earthworks, it can be
seen that it is one of the century’s most important and long lived art movements.
The Minimalists removed illusion and habits of perception from their art, essential
starting with nothing, and forced viewers to do the same. As a specific movement
in the arts it is identified with developments in post-World War II Western Art, most
strongly with American visual arts in the late 1960s and early 1970s.
The term “minimalist” is often applied colloquially to designate anything which is
spare or stripped to its essentials. Among Minimalists are painters, sculptors,
creators of installations, and artists who work with light or even with topography
and land.
Fig 2.1 Fransworth House 1950 Fig 2.2 Robie House 1950
Minimalism is a term that is often used to describe art that thrives on simplicity in
both content and form, and seeks to remove any sign of personal expression. For
centuries artists have portrayed their inspirations and interpretations in more
profound ways. An extension of extreme simplicity, the main aim of minimalism is
to allow the viewer to appreciate the work more intensely without the distractions of
composition, theme and so on. In fact, it is the systematic reduction of expressive
elements in a given form. Originating in America in the late 1960,s Minimalism is
one of the key movements in 20th century art, which has had an enormous impact
on subsequent artists, architects, composers and designers. It aimed at reducing
the sculpture and paintings to its most essential forms.
Minimalism describes movements in various forms of art and design, especially
visual art and music, where the work is stripped down to its most fundamental
features. It is rooted in the reductive aspects of Modernism, and is often
interpreted as a reaction against Abstract expressionism and a bridge to
Postmodern art practices. Soon afterwards, this creative approach began to take
hold in architecture, and the works of many contemporary architects are rooted in
minimalism to a greater or lesser degree.
The idea of simplicity appears in many cultures, especially the Japanese traditional
culture of Zen Philosophy. Japanese manipulate the Zen culture into aesthetic and
design elements for their buildings. This idea of architecture has influenced
Western Society, especially in America since the mid 18th century. Moreover, it
inspired the minimalist architecture in the 19th century.
2.1.1 Minimalism In Architecture
“Minimalism is actually simplification”-The term is used to describe a design and
architecture trend wherein the subject is reduced to its necessary elements of
function and form.
 Minimalist Architecture Principle:
Sort out what your highest priority architectural requirements are and then do the
least you possibly can to achieve them.
 The roots of minimalism:
In architecture are often traced back to the mid to late 1950s. The movement was
a reaction to new styles of architecture – and lifestyle – that was being cultivated in
the United States. In the U.S in that post WW II boom years, there was a
movement towards large and excessive styles of building. During this era, there
was a trend towards the ornate. Minimalism developed as a response to the
increasingly commercial and consumerist lifestyles that were being reflected in
design.Although minimalist art has its root in America, minimalist architecture was
born elsewhere. Northern Europe, particularly Scandinavia, and Japan are
important in the history of minimalist design, and in fact, these places continue to
be among the biggest embracers of minimalism.
 The idea of minimalism:
Can be described as “less is more,” or as some designers and architects are fond
of saying, “doing more with less”. Minimalist architects use spaces as a design
feature in and of itself. Instead of trying to fill spaces with features, they create
designs in which the empty space is carefully thought out and used as everything
they add to the room.
 Important techniques used in minimalist design :
Basic shapes and straight, clean lines are also as is playing around with different
kinds of lighting. The outcome is elegant but without being fussy. Minimalist design
has been highly influenced by Japanese traditional design and architecture. In
addition, the work of De Stijil artists is a major source of reference for this kind of
work. De Stijil expanded the ideas that could be expressed by using basic
elements such as lines and planes organised in very particular manners.
Another technique that is often employed is giving one feature more than one use.
One example might be a floor with a heating unit underneath, forming both the
foundation for the room and warming the room. This allows designers to create
optimum utility without crowding the space.
 Features:
Such as sleekness and emptiness, light plays a major role in minimalist
architecture, and achieves status as a building material. The use of light as a
construction material is not, limited to contact with a natural light source but, rather,
includes artificial illumination elements, which serve to support the architectonic
concepts. In order to direct this light outside as well as inside, transparency and
façade are a primary concern of minimalist architecture. In addition to the direct
use of glazed façade surfaces, some architects prefer the semi transparent
features of opaque cladding changes the status of the façade, which is released
more and more from superficiality and established as an individual interspatial
structure.
2.1.2 Minimalism In Architects Words
Ar. Ludwig Mies van der Rohe adopted the motto “Less is more” to describe the
aesthetic tactic of arranging the numerous necessary components of a building to
create an impression of extreme simplicity, by enlisting every element and detail to
serve multiple visual and functional purposes (such as designing a floor to also
serve as the radiator, or a massive fireplace to also house the bathroom).Designer
Buckminister Fuller adopted the engineer’s goal of “Doing more with less”, but his
concerns were oriented towards technology and engineering rather than
aesthetics.
A similar sentiment was industrial designer Dieter Rams’ motto “Less but better”
adapted from van der Rohe.Ar. Adolf Loos who save the hatred of an ornament
and said it is only a form of fear of the minimalist design vacuum space. His
famous statement is the “Ornament is crime.”
2.1.3 Hallmarks Of Minimalism
 Buildings are stripped off all but to the most essential elements
 Emphasis is placed on the outline, or frame, of the structure
 Interior walls are eliminated
 Floor plans are open
 Lighting is used to dramatise lines and planes
 The negative spaces around the structure are part of the overall design
 The structure uses relatively simple elegant designs
 Ornamentations are quality rather than quantity
 Using the basic geometric shapes as outlines
 Single shape or a small number of like shapes for components for design
utility
 Tasteful non – fussy bright colour combinations
 Natural textures and colours and patterns

 Clean and fine finishes
 May use colour brightness balance and contrast between surface colours to
improve visual aesthetics.
 Neat and straight components (like walls or stairs)
 Flat or nearly flat roofs
 Pleasing negative spaces
 Large windows to let in lots of sunlight
2.1.4 Minimalism And Energy Conservation
Minimalism in architecture emerged out of an economic crisis in the post-World
War I scenario and it embraced the new industrial age and technological materials
with a social and economic focus. Today we stand at the brick of an energy crisis
as well as an ecological crisis. So now we employ stat-of-the-art technology with
an environmental focus. We stand in an age where sustainability is indispensible.
Green architecture, also known as sustainable architecture, is a catchall term for
design and construction practices that are environmentally responsible. The goal is
building healthy places to live and work by using earth-friendly materials and self-
sustaining building systems. To make buildings and other facilities more eco
friendly, there is a need to reduce their impact on the environment. To achieve this,
there is a need to reduce the input and output of resources and energy into
buildings and facilities.

Moreover, the house embodies a “philosophy of modern living,” based on
economy, technology, environmental preservation, and social values without
sacrificing comfort. This comfort extends to air quality, cooling, lighting, and
acoustics despite the reduced load on the environment.
Sustainable architecture is closely related to Minimalist architecture. The
Nalukettus of Kerala are prime examples how comfort is brought into the dwelling
units with minimum inputs and outputs of resources.
2.1.5 Cost-Effectiveness
There are number of ways to cut costs when constructing a building. Low-cost
architecture is all about construction that optimizes the various aspects of
construction without changing the quality of the final product .Cost-effective does
not mean substandard or poor quality structures. Quite the opposite, it involves
strategies intended to optimize resources, technologies, material utilization, and
maximum efficiency of the structure. “Cutting costs can be achieved in various
ways without losing sight of utility or aesthetics”, says B.S. Bhooshan, an architect
and planner.
An outstanding example of cost-effective architecture is the works of the well-
known architect Laurie Baker. Baker is known to have initiated a whole tradition of
sustainable architecture in India. sustainable architecture apparently cuts overall
construction cost by about 25 percent, while ensuring substantial savings on
maintenance expenses. Baker has been experimenting and employing these

technologies effectively since the sixties. Baker propagated the use of locally
available materials and cost effective architecture. He essentially believed that
materials like brick, tile, lime, palm thatch, stone, granite and laterite could create
low-cost buildings. Besides, the use of mud blocks like adobe or stabilized
compressed earth blocks can also cut costs to a large extent.
 Adobe bricks are soil and water carefully mixed together and shaped in a
mould. The fascinating feature about mud blocks is the fact that it can be
made on site and the mud excavated in the site can be partly used to make
these blocks. In terms of technologies there are various cost-effective
solutions like use of filler slabs, ferro cement, rat-trap walling system, arch
opening or stone lintels and also used of vaults or domes.
 Filler slab is a construction of roof slab using cement and filler-like clay tiles
or coconut shells with steel rods used as a skeleton. The idea is to
substitute the conventional concrete roof slab, which usually consumes
more steel and cement. Filler slab reduces the use of concrete by 20
percent and steel by 50 percent, which will ultimately reduce costs.
 Ferro cement is a sheet made of chicken mesh covered by a thin layer of
concrete. It is commonly used for doors, windows, roof covers, shelves, and
even water tanks. Ferro cement roof can save a considerable quantity of
cement, sand and steel skeleton, compared to a conventional concrete slab.

 Rat-trap walling system was first introduced by Laurie Baker. This type of
bonding of walls leads to a lesser number of bricks and joints needed in the
construction and hence saves on cement mortar. This technique reduces
the use of bricks by 17 percent and cement mortar by 54 percent.
Reinforced concrete lintel can be replaced with stone lintels or arches..
2.2 SUSTAINABILITY IN ARCHITECTURE
2.2.1 Architecture And Sustainability Factors
Architecture presents a unique challenge in the field of sustainability. Construction
projects typically consume large amounts of materials, produce tons of waste and
often involve weighing the preservation of buildings that have historical
significance against the desire for development of newer, modern designs.
Sustainable construction is defined as “the creation and responsible management
of healthy built environment based on resource efficient and ecological principles”.
Sustainably designed buildings aim to lessen their impact our environment through
energy and resource efficiency.
 It includes the following principles:
 Minimising non-renewable resource consumption
 Enhancing the natural environment

 Eliminating or minimising the use of toxic materials
“Sustainable building” can be defined as those buildings that have minimum
adverse impacts on the built and natural environment, in terms of the building
themselves, their immediate surroundings and the broader regional and global
setting. Thus, the rational use of natural resources and appropriate management
of the building stock will contribute to saving scarce resources reducing energy
consumption and improving environmental quality.
 Sustainable buildings should:
 Harvest all own water and energy needs on site.
 Be adapted specifically to site climate and evolve as conditions change.
 Operate pollution free and generate no waste that aren’t useful for some
other process in the building or immediate environment.
 Promote the health and well-being of all inhabitants, as a healthy ecosystem
does. It should comprise energy efficient integrated systems that maximize
efficiency and comfort.
 Improve the health and diversity of the local ecosystem rather than degrade
it.
 Be beautiful and inspire us to dream.
Sustainable design is the thoughtful integration of architecture with electrical,
mechanical, and structural engineering. In addition to concern for the traditional

aesthetics of massing, proportion, scale, texture. Shadow and light, the facility
design team needs to be concerned with long term costs: environmental, economic
and human. All in all sustainable design is more of a philosophy of a building than
perspective building style.
2.2.2 General Guidelines For Sustainable Design
Guideline 1: Use a holistic approach; aesthetics, functions, landscape,climate,
comfort are all important and should work well together in one design.
Guideline 2: Do not see a building as a separate entity.
Guideline 3: Do not use unnecessary expensive eco-gadgets.
Guideline 4: Do not make the buildings caricatures.
Guideline 5: Be smart about the design: be aware of the effects of
spaces,shapes,coloursand materials on people, just like in non-sustainable design.
Guideline 6: Do not see sustainability as a restriction in the design process.
Guideline 7: Try to establish timeless qualities; do not just design for the present
situation
2.2.3 The Logics Of Sustainable Architecture
Sustainable architecture appears in many different forms and styles and at the
moment these can be classified in different ways. This section will discuss the
categorisations that havebeen made by Guy and Farmer (2001).
The classification of sustainable architecture that has been made by Guy and
Farmer consists of six different ‘logics’. These authors define a ‘logic’ as In other
words, they have tried to distinguish five different approaches that result into
different expressions of sustainable architecture.
Fig 2.3 An Intelligent Façade Fig 2.4 Perforated Shading Panels
 The eco-technic logic relies on high-tech methods such as intelligent
façades, dynamic structures and BMS controlled louvres. Externally, these
buildings often have a high level of visibility: they usually display the newer
technologieand material developments.
 The eco-centric logic is expressed in a completely different way. Natural
and minimally processed materials such as earth, timber and straw are
mostly used. These are supplemented with reused and recycled materials
only. Their degree of visibility depends highly on the context. In a context of
buildings with many modern materials, the eco-centric building will be highly
noticeable.
 The eco-aesthetic logic, individual creativity, aesthetics and appropriate
architectural forms prevail. These forms are created by computer modelling.
 The eco-cultural logic is linked to regionalism and therefore it uses regional
building styles, shapes and local building materials. The visibility of the
sustainable goals can range from slightly to highly visible.
 The eco-medical logic, creating a healthy indoor environment is the most
important goal.The well-being of the users has to be assured and the
materials, colours and shapes have tobe chosen accordingly. Traditional
building materials and earth colours might be visible aspects when they are
applied .However, the visual difference between e.g. apotentially hazardous
paint and a natural paint is often indistinguishable. This means that aneco-
medical strategy might not be noticed by people.

2.2.4 Hallmarks Of Sustainability
Fig 2.5 K2 Sustainable Apartments In Windsor, Victoria
 Sustainable energy uses features of passive solar design, recycled and
sustainable materials, photovoltaic cells, wastewater treatment, rainwater
collection and solar hot water.
Fig 2.6 Sustainable Design Techniqe
 Heating, ventilation and cooling system efficiency

The most important and cost-effective element of an efficient heating, ventilating,
and air conditioning (HVAC) system is a well-insulated building. A more efficient
building requires less heat generating or dissipating power, but may require more
ventilation capacity to expel polluted indoor air.
Significant amounts of energy are flushed out of buildings in the water, air and
compost streams. Off the shelf, on-site energy recycling technologies can
effectively recapture energy from waste hot water and stale air and transfer that
energy into incoming fresh cold water or fresh air. Recapture of energy for uses
other than gardening from compost leaving buildings requires centralized
anaerobic digesters.
HVAC systems are powered by motors. Copper, versus other metal conductors,
helps to improve the electrical energy efficiencies of motors, thereby enhancing the
sustainability of electrical building components. (For main article, see: Copper in
energy-efficient motors).Site and building orientation have some major effects on a
building's HVAC efficiency.
Passive solar building design allows buildings to harness the energy of the sun
efficiently without the use of any active solar mechanisms such as photovoltaic
cells or solar hot water panels. Typically passive solar building designs incorporate
materials with high thermal mass that retain heat effectively and strong insulation
that works to prevent heat escape. Low energy designs also requires the use of
solar shading, by means of awnings, blinds or shutters, to relieve the solar heat
gain in summer and to reduce the need for artificial cooling. In addition, low energy
buildings typically have a very low surface area to volume ratio to minimize heat
loss. This means that sprawling multi-winged building designs (often thought to
look more "organic") are often avoided in favor of more centralized structures.
Windows are placed to maximize the input of heat-creating light while minimizing
the loss of heat through glass, a poor insulator. In the northern hemisphere this
usually involves installing a large number of south-facing windows to collect direct
sun and severely restricting the number of north-facing windows. Certain window
types, such as double or triple glazed insulated windows with gas filled spaces and
low emissivity (low-E) coatings, provide much better insulation than single-pane
glass windows. Preventing excess solar gain by means of solar shading devices in
the summer months is important to reduce cooling needs.
Deciduous trees are often planted in front of windows to block excessive sun in
summer with their leaves but allow light through in winter when their leaves fall off.
Louvers or light shelves are installed to allow the sunlight in during the winter
(when the sun is lower in the sky) and keep it out in the summer (when the sun is
high in the sky). Coniferous or evergreen plants are often planted to the north of
buildings to shield against cold north winds.

In colder climates, heating systems are a primary focus for sustainable architecture
because they are typically one of the largest single energy drains in buildings.In
warmer climates where cooling is a primary concern, passive solar designs can
also be very effective. Masonry building materials with high thermal mass are very
valuable for retaining the cool temperatures of night throughout the day. In addition
builders often opt for sprawling single story structures in order to maximize surface
area and heat loss. Buildings are often designed to capture and channel existing
winds, particularly the especially cool winds coming from nearby bodies of water.
Many of these valuable strategies are employed in some way by the traditional
architecture of warm regions, such as south-western mission buildings.
In climates with four seasons, an integrated energy system will increase in
efficiency: when the building is well insulated, when it is sited to work with the
forces of nature, when heat is recaptured (to be used immediately or stored), when
the heat plant relying on fossil fuels or electricity is greater than 100% efficient, and
when renewable energy is used.
 Renewable energy generation
 Solar panels
Active solar devices such as photovoltaic solar panels help to provide sustainable
electricity for any use. Electrical output of a solar panel is dependent on
orientation, efficiency, latitude, and climate—solar gain varies even at the same
latitude. Typical efficiencies for commercially available PV panels range from 4%
to 28%. The low efficiency of certain photovoltaic panels can significantly affect the
payback period of their installation. This low efficiency does not mean that solar
panels are not a viable energy alternative. In Germany for example, Solar Panels
are commonly installed in residential home construction.
Roofs are often angled toward the sun to allow photovoltaic panels to collect at
maximum efficiency. In the northern hemisphere, a true-south facing orientation
maximizes yield for solar panels. If true-south is not possible, solar panels can
produce adequate energy if aligned within 30° of south. However, at higher
latitudes, winter energy yield will be significantly reduced for non-south orientation.
To maximize efficiency in winter, the collector can be angled above horizontal
Latitude +15°. To maximize efficiency in summer, the angle should be Latitude -
15°. However, for an annual maximum production, the angle of the panel above
horizontal should be equal to its latitude.
 Wind turbines
The use of undersized wind turbines in energy production in sustainable structures
requires the consideration of many factors. In considering costs, small wind
systems are generally more expensive than larger wind turbines relative to the
amount of energy they produce. For small wind turbines, maintenance costs can
be a deciding factor at sites with marginal wind-harnessing capabilities. At low-
wind sites, maintenance can consume much of a small wind turbine's revenue.
Wind turbines begin operating when winds reach 8 mph, achieve energy
production capacity at speeds of 32-37 mph, and shut off to avoid damage at
speeds exceeding 55 mph. The energy potential of a wind turbine is proportional to
the square of the length of its blades and to the cube of the speed at which its
blades spin.
Though wind turbines are available that can supplement power for a single
building, because of these factors, the efficiency of the wind turbine depends much
upon the wind conditions at the building site. For these reasons, for wind turbines
to be at all efficient, they must be installed at locations that are known to receive a
constant amount of wind (with average wind speeds of more than 15 mph), rather
than locations that receive wind sporadically. A small wind turbine can be installed
on a roof. Installation issues then include the strength of the roof, vibration, and the
turbulence caused by the roof ledge.
Small-scale rooftop wind turbines have been known to be able to generate power
from 10% to up to 25% of the electricity required of a regular domestic household
dwelling. Turbines for residential scale use are usually between 7 feet (2 m) to 25
feet (8 m) in diameter and produce electricity at a rate of 900 watts to 10,000 watts
at their tested wind speed. Building integrated wind turbine performance can be
enhanced with the addition of an aerofoil wing on top of a roof mounted turbine.
 Solar water heating
Solar water heaters, also called solar domestic hot water systems, can be a cost-
effective way to generate hot water for a home. They can be used in any climate,
and the fuel they use—sunshine—is free. There are two types of solar water
systems- active and passive. An active solar collector system can produce about
80 to 100 gallons of hot water per day. A passive system will have a lower
capacity. There are also two types of circulation, direct circulation systems and
indirect circulation systems. Direct circulation systems loop the domestic water
through the panels. They should not be used in climates with temperatures below
freezing. Indirect circulation loops glycol or some other fluid through the solar
panels and uses a heat exchanger to heat up the domestic water.
The two most common types of collector panels are Flat-Plate and Evacuated-
tube. The two work similarly except that evacuated tubes do not convectively lose
heat, which greatly improves their efficiency (5%-25% more efficient). With these
higher efficiencies, Evacuated-tube solar collectors can also produce higher-
temperature space heating, and even higher temperatures for absorption cooling
systems. Electric-resistance water heaters that are common in homes today have
an electrical demand around 4500 kW·h/year. With the use of solar collectors, the
energy use is cut in half. The up-front cost of installing solar collectors is high, but
with the annual energy savings, payback periods are relatively short.
 Heat pumps
Air-source heat pumps (ASHP) can be thought of as reversible air conditioners.
Like an air conditioner, an ASHP can take heat from a relatively cool space (e.g. a
house at 70°F) and dump it into a hot place (e.g. outside at 85°F). However, unlike
an air conditioner, the condenser and evaporator of an ASHP can switch roles and
absorb heat from the cool outside air and dump it into a warm house.
Air-source heat pumps are inexpensive relative to other heat pump systems.
However, the efficiency of air-source heat pumps decline when the outdoor
temperature is very cold or very hot; therefore, they are only really applicable in
temperate climates.
For areas not located in temperate climates, ground-source (or geothermal) heat
pumps provide an efficient alternative. The difference between the two heat pumps
is that the ground-source has one of its heat exchangers placed underground
usually in a horizontal or vertical arrangement. Ground-source takes advantage of
the relatively constant, mild temperatures underground, which means their
efficiencies can be much greater than that of an air-source heat pump. The
inground heat exchanger generally needs a considerable amount of area.
Designers have placed them in an open area next to the building or underneath a
parking lot.
Energy Star ground-source heat pumps can be 40% to 60% more efficient than
their air-source counterparts. They are also quieter and can also be applied to
other functions like domestic hot water heating. In terms of initial cost, the ground-
source heat pump system costs about twice as much as a standard air-source
heat pump to be installed. However, the up-front costs can be more than offset by
the decrease in energy costs. The reduction in energy costs is especially apparent
in areas with typically hot summers and cold winters.

Other types of heat pumps are water-source and air-earth. If the building is located
near a body of water, the pond or lake could be used as a heat source or sink. Air-
earth heat pumps circulate the building's air through underground ducts. With
higher fan power requirements and inefficient heat transfer, Air-earth heat pumps
are generally not practical for major construction.
 Sustainable building materials
Some examples of sustainable building materials include recycled denim or blown
in fiber glass insulation, sustainably harvested wood, Trass, Linoleum, sheep wool,
concrete (high and ultra high performance roman self-healing concrete), panels
made from paper flakes, baked earth, rammed earth, clay, vermiculite, flax linnen,
sisal, seegrass, expanded clay grains, coconut, wood fibre plates, calcium sand
stone, locally obtained stone and rock, and bamboo, which is one of the strongest
and fastest growing woody plants, and non-toxic low-VOC glues and
 Recycling items for building
Sustainable architecture often incorporates the use of recycled or second hand
materials, such as reclaimed lumber and recycled copper. The reduction in use of
new materials creates a corresponding reduction in embodied energy (energy
used in the production of materials). Often sustainable architects attempt to retrofit
old structures to serve new needs in order to avoid unnecessary development.
Architectural salvage and reclaimed materials are used when appropriate. When
older buildings are demolished, frequently any good wood is reclaimed, renewed,
and sold as flooring. Any good dimension stone is similarly reclaimed. Many other
parts are reused as well, such as doors, windows, mantels, and hardware, thus
reducing the consumption of new goods.
When new materials are employed, green designers look for materials that are
rapidly replenished, such as bamboo, which can be harvested for commercial use
after only 6 years of growth, sorghum or wheat straw, both of which are waste
material that can be pressed into panels, or cork oak, in which only the outer bark
is removed for use, thus preserving the tree. When possible, building materials
may be gleaned from the site itself; for example, if a new structure is being
constructed in a wooded area, wood from the trees which were cut to make room
for the building would be re-used as part of the building itself.
 The Sustainability of Recycled Plastic
Sustainability is all about using the earth's resources with an eye not only on short-
term profit and convenience, but also on the effects this may have over the long
term. A short-term profit that brings environmental problems later is no profit at all,
but a bad loan, and the banks have recently taught us all about the viability of bad
loans.
If we are able to recycled the earth's resources - a common theme in nature - then
we will have sustainable development. If life and the environment is enriched and
not harmed by technological advancements, and if a closed loop can be
maintained, only then is the technology sustainable. Everyone is in agreement that

the use of oil in the way mankind has been using it is not sustainable, and plastic
comes from oil. It's a resource that cannot be renewed at the current rate of
consumption.Plastic is one of the most useful inventions we have, but if we want to
continue using it, we need to recycle it. Creating a bigger demand for recycled
products in both business and domestic markets is essential, It isn't that hard, as
replacing the use of wood where recycled plastic will provide the same look and
feel.
Our outdoor recycled products are not only stylish for sustainable design, but will
provide a sustainable future. Our synthetic wood looks and feels like the real thing
but this recycled plastic is entirely maintenance free. No sanding down and
painting, the colour is added during manufacture and is UV treated to protect from
sunlight, no toxic preservatives, no need for replacement for decades, as there is
no rot, splitting, or warping - and there are no splinters for little fingers. These are
lifetime products of the highest quality at prices we can afford. We currently only
recycle 7% of the plastic we use. Landfill is very expensive these days, and unless
we would like to have a garbage tip right on your doorstep, holes to put our waste
in will soon run out. But 30% of the waste that goes into it is plastic. It's financially
and morally indefensible to continue wasting a reusable and recyclable resource in
this way.
Recycled plastic products are sustainable in any way we choose to look at them.
We believe that with your help we can keep the world in pristine condition for all
future generations to enjoy. use recycled plastic wherever it makes sense,
sustainable building projects sought after in the sustainable construction sector,
are a great way to achieve this. If we are to make this place a better world for all,
just remember, to recycle all the plastic you use.
 Materials sustainability standards
Despite the importance of materials to overall building sustainability, quantifying
and evaluating the sustainability of building materials has proven difficult. There is
little coherence in the measurement and assessment of materials sustainability
attributes, resulting in a landscape today that is littered with hundreds of
competing, inconsistent and often imprecise eco-labels, standards and
certifications.
Fig 2.7 Fascia Boards Fig 2.8 plastic flooring products
Fascia Boards that will never rot or need costly maintenance or replacement.
Recycled plastic with the aesthetics of wood but all the advantages of plastic.
 Waste Management
Waste takes the form of spent or useless materials generated from households
and businesses, construction and demolition processes, and manufacturing and
agricultural industries. These materials are loosely categorized as municipal solid
waste, construction and demolition (C&D) debris, and industrial or agricultural by-
products.[20] Sustainable architecture focuses on the on-site use of waste
management, incorporating things such as grey water systems for use on garden
beds, and composting toilets to reduce sewage. These methods, when combined
with on-site food waste composting and off-site recycling, can reduce a house's
waste to a small amount of packaging waste.This is the new techniques of
sustainable architecture .
 Sustainable Building Consulting
A sustainable building consultant may be engaged early in the design process, to
forecast the sustainability implications of building materials, orientation, glazing
and other physical factors, so as to identify a sustainable approach that meets the
specific requirements of a project.

2.2.5 Sustainability And Green Architecture
Though the words “green” and “sustainable” are often used interchangeably, there
are several differences between them, meaning that a “green” building is not
always “sustainable.”
A building is green when it helps reduce the footprint it leaves on the natural
environment and on the health of its inhabitants.Green home design includes
building for energy efficiency, including the use of renewable energy sources such
as wind, water, or solar; creating a healthy indoor environment; implementing
natural ventilation systems; and using construction materials that minimise the use
of volatile organic compounds (VOCs) in the home.
Fig 2.9 Illawarra Flame House created by University of Wollongong
fibro home crated by Australian students to achieve net-zero energy consumption,
won the 2013 world's biggest energy competition.

While the definition of green is relatively simple, sustainability has a more precise
meaning derived from the term “sustainable agriculture,” which is the production of
any plant or animal products using farming techniques that protect the
environment, public health, human communities, and animal welfare without
compromising future generations' ability to do the same.
According to the United States Environmental Protection Agency, sustainability
“creates and maintains the conditions under which humans and nature can exist in
productive harmony, that permit fulfilling the social, economic and other
requirements of present and future generations.”
The importance of sustainability lies in the “future” factors, which set a higher
standard than those used to define green building. Sustainable products reduce
the impact on the environment by using responsibly-sourced products; those that
are either completely renewable or sustainably harvested. A sustainably harvested
source material is gathered in a way that does not affect the surrounding area,
pollute the air or permanently reduce the supply.
Fig 2.10 Bamboo flooring

Bamboo flooring is a popular green material, but it is not sustainable.In ecology,
the word “sustainable” describes how biological systems remain diverse and
productive over time. For humans, it describes the potential for long-term
maintenance of well-being, which in turn depends on the well-being of the natural
world and the responsible use of natural resources .
A very clear example of the difference between “green” and “sustainable,” can be
the popular “green” bamboo flooring. There is no doubt that a lumber product
made from a renewable resource is green, but most bamboo flooring is made in
China and transported by ships and trucks to different countries all around the
world. The air pollution caused and the fuel used to transport the material turn it
into the opposite of a sustainable material, since it contributes to global climate
change.
Another example can be the wood used to build a house. While wood is generally
considered an eco-friendly or green product because it is natural and durable, it is
not always sustainable. Wood is sustainable if the company that cuts down the
trees does not permanently deplete the forest. If it is harvested in an
environmentally irresponsible way, it is not sustainable at all.Wood is a sustainable
material if the company that cuts down the trees to produce it does not
permanently deplete the forest.
Only a house that meets zero energy standards - with zero net energy
consumption and zero carbon emissions - can be considered sustainable.

Buildings that contribute to urban sprawl and large homes which consume high
levels of energy and resources can not be considered sustainable.

CHAPTER 3
LITERATURE REVIEW
Some of the famous articles are selected for literature review. The selected one
are as follows.
1. Study Of Glass As A Sustainable,Minimalistic Material.
2. Green Architecture In Residences
3. The Spatial Language Of Laurie Baker
3.1 GLASS AS A SUSTAINABLE,MINIMALISTIC MATERIAL
( Name Of Student: Joseph Edward Edison , Calicut University)
 Aim
To explore the influence of glass in the current period.
 Objective
 To understand the benefits of this transparency in offering new modes of
visual pleasure and spacial experience to building occupants.
 To understand the influence of glass in changing the face of architecture.
 To understand various types of glass used for various functions.
 To understand the importance of glass as a sustainable material.

 Methodology
He has decided to fulfil this study through case studies, referring a lot of books and
analysing the works of famous architects.
 Data Collection.
 Glass in green buildings.
 Types of glasses and its applications.
 Transparencies-Article for e-architect by Matthias Neumann.
 Dissertation review on glass in transparent architecture .Interview with
Ar.Manuraj (who designed a house with full of glass at kuriachira. tcr.)
 Case Studies
 Farnsworth House by Meis Van Der Rohe.
 Glass House by Philip Johnson.
 House of Dr. Cijo by Lijo and Reny (live case study)House of Ms.Suma by
Ar.Manuraj(live case study).
 Analysis And Inference.
 Conclusion.
 Conclusion
After its role in the last century’s call to a new architecture and urban life, glass
architecture is today more ubiquitous than ever. A highly engineered product, glass
has emerged in a new light as an apparently culturally accepted material in design
and construction.. The innovations are observable and have direct use.
 Summary
The study is successful in proving that, Glass is a wonder material that combines
more than a few advantages such as Transparency, Natural Day-lighting, Blending
of Exteriors with Interiors and Acoustic control. Glass, a wholly recyclable material,
supplies unrestricted occasions for architects as well as designers for the
innovative applications in buildings. Glass plays a noteworthy role in accomplishing
greater indoor environmental quality and energy efficiency and in so doing fulfills
numerous criteria for minimalistic and sustainable buildings.
3.2 GREEN ARCHITECTURE IN RESIDENCES
(name of student: jasmin Varghese ,kerala university)
 Aim
To explore the aplication of geen architecture in residences.
 Objective
 To understand the charecteristics of green architecture.
 To understand the criterias for getting IGBC certification in India.
 To find out the goals of green architecture.
 To understand the importance of greenbuilding design in the present
scenario.
Methodology
 Data Collection
 What Is Green Architecture And Green Design-Article By Ar.Jackie Craven.

 Small Article On Igbc
 Article On Education Of Green Architecture Byunesco.
 Dissertation Review On Green Architecture By Ar.Tony Brown.
 Interview With Ar.N Mahesh (Who Got Platinum Grade For One Of His
Project)
 Case Studies
 Actor Sreenivasans House At Kandanadu(Ar.N Mahesh,Trivandrum)
 Dr.Ismayels House At T Hrissur (Lijo Reni Architects)
 Us Coast Guard Headquarters, Washington, Dc
 The Magney House: Energy-Conserving Home By Australian Architect
Glenn Murcutt
 Leafhouse: A Vine-Covered Solar House Designed By Students From The
University Of Maryland
 katrina cottage: low-cost and energy-efficient emergency pre-fab
housingsolar-powered victorian: a historic inn with high-tech photovoltaic
panels
 analysis and inference
 conclusion
 Conclusion
Since the Industrial Revolution, the world has witnessed incalculable technological
achievements, population growth, and corresponding increases in resource use.
As we enter a new century, we are recognizing the “side effects” of our activities:
pollution, landfills at capacity, toxic waste, global warming, resource and ozone
depletion, and deforestation. These efforts are straining the limits of the Earth's
“carrying capacity”—its ability to provide the resources required to sustain life while
retaining the capacity to regenerate and remain viable.This concept recognizes
that meeting long-term human needs will be impossible unless we also conserve
the earth's natural physical, chemical, and biological systems.
 Summary
Green architecture, or green design, is an approach to building that minimizes
harmful effects on human health and the environment. The "green" architect or
designer attempts to safeguard air, water, and earth by choosing eco-friendly
building materials and construction practices. A home’s design is “green” if its
serves to reduce many of the harmful impacts buildings have on our environment
and our home’s inhabitants. So “green” home design revolves around four key
issues:Designing for energy efficiency including the use of renewal energy sources
such as wind, geothermal, and solar.Creating a healthy indoor air environment with
adequate ventilation within the home.Specifying building materials and resources
that are sustainable, have low embodied energy, and produce a minimal amount of
upstream environmental impact.
3.3 THE SPATIAL LANGUAGE OF LAURIE BAKER
(Name of student: shine sunny;university of Calicut)
 Aim
It aims broadly in understanding the use of various types of spaces in Laurie
Baker’s works.
 Objective
To study his life and influences
To understand about his works – practices and principles
The analysis of -laurie baker in India
 Methodology
It involves the analysis in search for new meaning,The parameters are-
 Scale
 Proportion
 Light
 Enclosure
 Spaces
 Form
 Conclusion
The study includes case studies of few of his famous buildings. This includes
Centre for development Studies and residences of all scales. Study has been
conducted to the smallest of details as his work. An unflustered bedroom of brick is
lit by the dark stained courses of a traditional window; another window is recessed
into an alcove – a tiny room in its own right. Such spaces allow the ordinary to
become exceptional and in so doing extend the mind to a multitude of varying
associations. The directness and simplicity of Laurie Baker’s own work made it
essential that the book be intended for all:

 SUMMARY
The study is successful in proving that, ‘attention paid to the particular needs of the
individual and how the space may be accommodated within a building is the
hallmark of his residences’.

CHAPTER 4
LITERATURE CASE STUDIES
4.1 FARNSWORTH HOUSE
4.1.1 Meis Van Der Rohe
Mies van der Rohe is one among the great architects who brought about a totally
new style of architecture in 1900’s. Mies van der Rohe’s famous dictum “less is
more” is for modernists a defining statement. For minimalists, however, it has
become a kind of mantra to be repeated daily as they pursue their quest to strip
away unwanted detail.
For the true minimalist the objective of all design is to define the true essence of
any given piece, whether it be a piece of cutlery, a gallery space or a house in the
landscape. To Meis, the architecture of ‘nothingness’ suggests a maximum
opportunity for free expression on the part of those who use the building: they can
furnish it in any way they like, use it for anything they like, change its interior
spaces in any manner that seems most suitable.
As a reinforcement of Modernism in architecture, as well as its manifestation in all
of the arts; Minimalism may be traced back to the beginning of the Arts and Crafts
Movement and the move away from the Victorian clutter. It is rooted in the efforts
toward simplicity made by William Morns, among others, who established the
groundwork for the modernist principles of honesty of materials and structure, and
the ‘total work of art’. Minimalism as evident today, most obviously stems for the
philosophy and architecture of Mies van der rohe and the reductive tendency that
finds its ultimate expression in hiswork, by taking this desire for simplicity to the
extreme in buildings such as the Barcelona Pavilion, constructed in 1929 and
Farnsworth house in 1945-51.
4.1.2 Farnsworth House, 1945-51
The Fransworth House, designed and completed by Mies van der Rohe from 1946
to 1951, is considered a seminal example of minimalist architecture as it was
introduced to the United States. Located on the bank of the Fox River in Plano,
Illinois, the house was commissioned to be a weekend retreat for single
woman,Dr.Edithfrasworth
Fig 4.1 Exterior Façade – Entry Of Fransworth house
Mies intended to maximize the feeling of a free flow of space between zones in the
interior, and between architecture and nature. Glass, however, arguably the most
important material for the early Modernists, always intervenes between the two,
keeping unpredictable, dangerous forces at bay.
Glass provides a visual, but not actual, connection with the external world,
abstracting it from experience and presenting it as a pattern on a transparent wall.
Mies’s development of this abstraction in the three decades that seperates the
Barcelona pavilion and the Farnsworth House is obvious; the former has a direct
relationship with the brick country villas that Mies had designed previously, with
long tentacle walls extending out into the countryside, while the latter, in the
contrast is completely detached from its site, a glass box riding high above the
ground on steel columns.
 Planning
 Stairs connect the ground to the 55’ x 23’ terrace slab, and connect the
terrace slab to the 77’ x 29’ main hose slab. This continuous upper level
plane, set 5’ – 3” above the ground to prevent flooding, is used for both
exterior deck space and interior floor.
 Door and façade details were designed so that the deck’s 1-1/4”travertine
pavers are not penetrated or interrupted, making a smooth transition from
outside to inside.
 These details, combined with the continuous flat ceiling and planar facades,
make the house seem like a box that is “slipped” into the steel column
structure.
Fig 4.2 Ground Floor Plan
Fig 4.3 First Floor Plan

 In plan, the house consists of two rectangular slabs floating above the
ground, bracketed by steel columns.
 The house’s steel skeleton frame structure provides an exterior armature
supporting uninterrupted floor and roof planes.All structural steel
connections are welded in ways that minimize their visual presence. The
steel skeleton frame was sandblasted and primed after installation at the
site.
Fig4.4 Interior Spaces – Glass Facades Bringing In Nature Into The House
 The building’s façade is made ¼” thick single-pane clear glass panels
spanning 9’-6’ from floor to ceiling channels, and measuring 10’-6’ wide.
 The effect of this fully transparent façade is to blur the usual boundaries
defining domesticity. In the Farnsworth house, distinctions between public
and private, outside and inside, often disappear.
 Interior
The interior space of the house is delineated by an asymmetrically placed core
volume, containing the kitchen, bathroom and fireplace. In contrast to the façade’s
steel and glass, it is constructed primarily of primavera plywood. The core is the
only place where elements puncture the severe roof and floor planes.
Fig 4.5 Interior Spaces Fig4.6 Interior View – Towards The Water Body
 The house is heated by a radiant floor slab system set into the travertine’s
concrete set bed.
 The house is not air conditioned; minimal cooling is provided by cross-
ventilation between the two operable windows and entrance doors.
 The track-mounted shantung drapery just inside the glass façade also
helps control solar heat gain.
4.1.3 Minimalistic Principles In The Design
a) Space Planning
Though Mies played with hundreds of preliminary drawings, the final design shows
a totally open floor plan, with only bathroom spaces and the central utilities
internalized. Even the columns are located on the exterior, not merely for
aesthetics but to give complete flexibility to the one-room interior arrangement,
which exists as a single space unpartitioned except for the central service core.
Thus each element in planning comprises wanted spaces. One could say that in
terms of spatial relationships, the composition of the house seems to “embrace its
entire surroundings.” The glass walls dissolve into the landscape, and the trees
and surrounding woods act to regulate space and provide visual wall elements.
b) Colour And Texture
Chose the core material for its neutrality, as well as the white paint that covers the
steel and the white travertine marble, because to let the shades of the house to be
muted in comparison to the robust changing colours of nature. These colours are
continually changing throughout, and one could with no doubt say that should that
it is simply marvellous.
c) Interior Accessories (Furniture)
The interior spaces are zoned by the precise placement of furniture. The living
space sits between a dining area on the west and the sleeping space on the east
side, positioned so the sleeper awakes with the rising sun. Contrastingly, an open
bi-level terrace extends on the west side of the house, providing a porch to watch
the setting sun, as well as open-rise stairs connecting to the ground.
The structure and interior itself is a mixture of steel, glass, and Roman Travertine.
Simplicity has been followed in the selection of furniture. Modern classy furniture
have been in corporate. Mostly homogeneous both visually as well as structurally.

Plain, modern-looking furniture - in natural wood (especially dark wood), dark
leather, white are mainly seen in furnitures.
d) Form
Two parallel horizontal planes creating the roof and floor are held in suspension
between the earth and sky by only eight steel columns. All eight stop short of roof
channels, so the roof plane does not rest on the columns but merely touches them.
This detailing gives the illusion that the horizontal and vertical elements are held
together by magnetism. Geometric shape as outline and rigidity and linearity is
maintained. There are no naturalistic elements to the composition, so the house
literally floats like a piece of technology amid nature.
4.1.4 Sustainability Factors
 The house is heated by a radiant floor slab system set into the travertine’s
concrete set bed.
 The house is not air conditioned; minimal cooling is provided by cross-
ventilation between the two operable windows and entrance doors.
 The track-mounted shantung drapery just inside the glass façade also helps
control solar heat gain.
 The interior spaces are zoned by the precise placement of furniture.
 The living space sits between a dining area on the west and the sleeping
space on the east side, positioned so the sleeper awakes with the rising
sun.
 furniture - in natural wood (especially dark wood), dark leather, white are
mainly seen in furniture
4.2 GLASS HOUSE
4.2.1 Philip Johnson
Like Mies van der Rohe, Philip Johnson is yet another architect who designed free
flowing spaces and brought transparency to structures.In his Glass house in Mew
Canaan, Connecticut, 1949-50, Philip Johnson, Mies’ chief disciple, echoed this
detachment. Johnson was able to mate all the walls from the glass, relying on the
protection of his extensive wooded estate for privacy. Like the Farnsworth house,
nature is treated as a remote backdrop, a changing panorama to be observed from
an immutable, crystalline capsule.
4.2.2 Glass House
Always highly aware of his celebrity status, Philip Johnson acted as his own client
when designing the Glass House in the late 1940s. From then until his death in
2005, he remained a central architectural presence, around whom other architects
and artists gathered. When the Glass House was completed, it brought Johnson
instant celebrity at the age of 44.
After Johnson acquired a five-acre lot in New Canaan, he began the designs for
the Glass House. Echoing the first attempts of his thesis project, he came up with
twenty seven various designs. The scheme he finally settled on bore an
unexpected resemblance to Mies’s initial designs for the Farnsworth House.
 Glass House – Plan
The floor of the Glass house reveals a fairly traditional living space. Although there
are no walls, Philip Johnson referred to areas within the rectangular, loft-like space
as “rooms.
Fig 4.7 Planning Lay Out Of Glass House
 The house is a perfect rectangle in plan, an oblong cube constructed of
sheets of quarter-inch glass and framed in black painted steel.

 Upon entrance, if following the perimeter, stands a round brick column, one
half of which is the bathroom, the other a fireplace. Just beyond that is the
sleeping nook, screened by free-standing cabinets.
 The living room is defined by a very specific placement of Mies van der
Rohe-designed furniture over a white rug. Bookending the living space are
two pieces of art, a Poussin landscape on an easel and a sculpture by Elie
Nadelman.
 An exposed countertop caps the stretch of free-standing cabinets that
create the kitchen corner, and a dining table and chairs round out the fourth
corner.
Fig 4.8 exterior view at night – the artificial light extruding into the forest
 Glass House – Exterior And Interiors
As the house is placed at the edge of an overlook and sited below a hilltop, it
immediately plays a role within the surrounding nature, even if by placement alone.
The landscape has been manipulated by the careful pruning and cutting of trees,
shaped to expose a play of clearings. The glass exterior allows the structure to
look light and delicate and adds to the overall feeling of the space.Each building,
additionally, is sited carefully and with great thought so as not to disrupt the
framework created by the existing stone walls.The site grew over the course of fifty
years, with the addition of ten other structures. The brick guest house was built at
the same time as the Glass House, and is the only structure on the property to
have undergone alterations, as Johnson turned the two-bedroom space into one,
with a vaulted ceiling. Each additional building reflected Johnson’s evolving
aesthetic and his breaks with rigid architectural styles.
Fig4.9 Living Space And Round Brick Coloumn
Fig4.10Living area Fig 4.11 Free-Standing Cabinets in kitchen

a) Space Planning
The house is a perfect rectangle in plan, an oblong cube constructed of glass
framed in black painted steel. Upon entrance, stands a round brick column, one
half of which is the bathroom, the other a fireplace. Beyond that is the sleeping
nook. Bookending the living space are two pieces of art. The use of glass
accentuates the idea of pulling the elements of the outside into the interior. Mainly
to let the light in, playful reflections in the glass so that interesting shadows are
obtained in the interior space. Function is given priority and the form is thus
obtained. Based on the use it is properly combined with no addition of
unnecessary spaces that do not serve any function can be seen. In the direct
centre of each glass wall is a door which opens to the exterior. There are no
windows in the house, but opening all the doors created a sufficient cross breeze
in the summer. Johnson considered the house to be a viewing platform, and its
purpose was to provide a vantage point on the landscape.But despite the very
modern style of the house, the layout could easily be a colonial home.
Monochromatic colour pattern is used. The transparent glass is framed in black
painted steel. Connection with nature is enhanced by using brown colour paint in
the large cylindrical brick wall. A contrast colour scheme is opted by the fixed
monochromatic simple furniture plan with the ever changing surrounding
landscape.
The placement of furniture throughout the house is precise. The rug defines the
living room area, while seating around a low table anchors the space. Thus the
furniture arrangement turns the living room as the focal point of the house. But the
fixed furniture plan contrasts with the surrounding landscape, which is ever-
changing through weather and season.
The structure and interior itself is a mixture of steel, glass, concrete, brick, earth,
stucco. Simplicity has been followed in the selection of furniture. Modern classy
furniture have been in corporate. Plain, modern-looking furniture - in natural wood
(especially dark wood), dark leather, are mainly seen in furniture.
d) Form
An oblong cube constructed of sheets of quarter-inch glass and framed in black
painted steel. Flat concrete roof with the cylindrical brick column projecting slightly
out of the roof. The structure’s beauty is also determined by the use of geometric
shapes, cuboid and cylinder as outlines and by maintaining rigidity and linearity.
Usage of only 2 shapes for design.
Fig 4.12 exterior view at day – scenery of the forest comes inside with natural light
4.3 HOUSE IN PLANTATION
4.3.1 Rahul Mehrotra
Rahul Mehrotra is an Indian architect and urban designer trained at the School of
Architecture, Ahmadabad, and the Graduate School of Design at Harvard
University. He has been in private practice since 1990, and works on architecture,
urban design and conservation projects. He has built extensively in India, and
besides several single family houses, his projects include the Laxmi Machine
Works Corporate Office in Coimbatore, an Extension to the Prince of Wales
Museum in Bombay, an Institute for Rural Development in Tulzapur, and the
Restoration of the Chowmahalla Palace in Hyderabad; he is currently developing
(with the Taj Mahal Conservation Collaborative) the Master Plan for the Taj Mahal
and its surroundings. He believes that it has become critical for architects to initiate
their own efforts and that there needs to be more engagement around the making
of space and environments.
4.3.2 House In The Plantation
The home designed by Rahul Mehrotra is in a mango plantation extending
approximately 8hectare, about 5km north of Ahmadabad. The climate of north-
west India is largely dry and hot, so the detached house was placed in the centre
of the plantation, so that the evergreen trees can act as a natural filter.
Fig 4.13 House In The Plantation - Entry
Heat and sunlight mitigated by the all-year-round tree filter, and the direct view into
the green shade provides another source of relief. Visitors are intended to
experience the house as an introverted stone oasis, protecting, calming, after they
have crossed the sea of trees. The centring theme is continued in the house.
 Planning
 A cruciform ground places the living-room centrally as a connecting and
linking zone. Each arm of the cross acquires a different function:
 Access area with accentuated main entrances and an enclosed courtyard
with seating,
 Opposite the dining area with kitchen and ancillary rooms,
 At right-angles to this the bedroom area for the family and
 The guest wing on the end.
The courtyard is a location for the soul of the house. The area, which is
ambivalently placed inside and outside, avoids the stiffness of an unduly rigid
cross figure, which would suggest an inappropriate symbolic quality.

Fig 4.14 Space In The 1st Floor Above The Bedroom In The Ground Floor
The very presence of a shimmering pool is enlivening, but the pool also suggests a
cooling swim, of course. The wall that follows the pool of water blue as well,
making pool, wall and sky all of one piece. Coloured, smoothly rendered surfaces
inside are contrasted with the tactile qualities of natural materials.
The strictly consistent geometry of the ground plan figure can be experienced from
the roof showing the designer’s lucidity and precision, but the timelessness of the
building’s formal language also expresses its occupants’ attitude to life.
Fig 4.15 House In Plantation - Interior Pool With Wall, Pool And Sky Following The Same Blue
Colour Of The Pool

a) Space Planning:
The cruciform plan with its each arm of the cross serving a different function:
access area with accentuated main entrances and an enclosed courtyard with
seating, opposite the dining area with kitchen and ancillary rooms, at right-angles
to this the bedroom area for the family and the guest wing on the end. Based on
the use it has been properly divided into braches without any unwanted space. The
courtyard, the patio, the centre open to the sky, appears all over India as a part of
domestic culture that is millennia old.
b) Colour And Texture:
The exteriors have used soft tones of natural colours of earth and followed a
monochromatic pattern. Whereas the interiors have incorporated various shade of
blue with a combination of red in the corridor. In this house, colour is not
something applied, but entire walls are “plunged into colour,” like the red in the
corridor leading to the dining area. It becomes an integral part of the architectural
sub-figures, and lends them an individual quality, but this does not break the whole
composition down.
The wall that follows the pool of water blue as well, making pool, wall and sky all of
one piece. The extension of the water with the blue wall into the living room
suggests the concept of living expressed by the courtyard: a spatial connection on
the one hand and on the other hand the inclusion of the refreshing and stimulating
element in the main area where much time is spent in a hot climate. The very
presence of a shimmering pool is enlivening, but the pool also suggests a cooling
swim, of course. This “synthesis in blue” becomes the most expressive design
element in the house. The architect very deliberately allows the cooling effect of
this colour to dominate as a counterpoint to the outside temperature.
On the exterior strong colour contrasts are derived from an everyday Indian world
of magnificent hues, the sandstone, quarried in the vicinity, suggests historical
Indian buildings and at the same time reminds of the nearby desert climate.
c) Interior Accessories (Furniture):
Modern details like profiling, material connections, door, furniture and floor
coverings show precise workmanship, but above all the intellectual intensity of the
architect’s handling of his brief. The interior’s openness to the courtyard contrasts
with the hermetic quality of the block-like exterior with its identical window slits.
Introversion, classical Indian motif, attempts to create communicative space that
will bind the family together in the centre. Simplicity has been followed in the
selection of furniture. Modern classy furniture in the interiors have been
incorporated by the architect.
d) Form:
Flat roof is used and roof terrace is a stone plateau garden which is also an
exposed pavilion for the cooler evening hours. Coloured, smoothly rendered
surfaces inside are contrasted with the tactile qualities of natural materials: on
the outside the house is clad in sandstone, large wooden doors form independent
areas of material, the entrance is a rough exposed concrete frame reminiscent of
Le Corbusier, and a stainless steel rain-shield caps the living room window.
The extremely carefully balanced scale of materials and colour demonstrates the
architect’s high degree of sensitivity in an entirely Indian way. The block like
exterior of the building as a result of following the theory of form follows function
enhances the concept of minimalism in the house in the plantation.
4.4 ROBIE HOUSE
4.4.1 F. L. Wright
1867-1959, American architect, Wright is widely considered the greatest American
architect. After studying civil engineering at the Univ. of Wisconsin, he worked for
seven years in the office of Dankmar Adler and Louis H. Sullivan in Chicago.
 Wright’s Open Planning Concept
He was the first architect in the United States to produce open planning in houses,
in a break from the traditional closed volume, and to achieve a fluidity of interior
space by his frequent elimination of confining walls between rooms. For the Millard
house (1923) at Pasadena, Calif, he worked out a new method, known as textile –
block slab constructions, consisting of double walls of precast concrete blocks tied
together with steel reinforcing rods set into both the vertical and horizontal joints.
 Wrights Architecture Of Movement And Spatial Flow
When F. L. Wright took away interior walls to allow for more freedom and special
flow, he modulated both the flow of flow of people – by a succession of
architectural devices. A favourite is the screen wall which diverts traffic around it,
creating a left turn, diversion in movement. The screen labyrinth contributes to the
mystery of these spaces, making them seem endless. Wright saw that architecture
is an art in which movement is an essential element. He saw that movement
through its spaces is determined by the plan, which becomes a magical labyrinth in
which one journey and experiences the arcane delights and range of the
architect’s creative imagination.
Movement enters a vertical dimension as stairs, ramps, mezzanines, galleries,
balconies and vaulted ceilings open up new vistas of space and form. Space
dissolves into space, rarely directly, but glimpsed through yet another offset turn in
the plan.
4.4.2 Robie House, 1909
This is the house which brought in the energy seeking expression in Wright to its
apotheosis. In this house, for Wright, everything came together to perfection. The
dramatic roofs of the Robie House hover and penetrate the environment like no
others. They represent the most perfect statement of the prairie house.
Inside the Robie house was revolutionary in having no walls or partitions to break
the flow of space through the common areas: living room, dining room and central
stairway. The large central space is defined, but not divided, by the chimney. The
chimney serves as a screen, not as a divides, and the space continues into
diamond shaped bays at either end of the house opening onto porches. This part
of the house has no dividing walls or partitions – only a free flow of spaces richly
embellished by burnished wood – work, patterned carpentry, art glass, French
doors and the broad recessed health.Bedrooms, kitchen and servant’s quarters
were placed at the rear of the house. The ground floor level contained a children’s
playroom and the boiler room and laundry. A walled courtyard was provided as an
extension of the children’s playroom.
 The Prairie Style
Wright’s first independent commission was the residence (1893) in the River
Forest, lll. Establishing himself in Oak Park, lll, he built a series of residences with
low horizontal lines and strongly projecting eaves that echoed the rhythms of the
surrounding landscape; it was termed hid prairie style. The most famous examples
are located in Chicago and its suburbs; they include the Willitts house (1900-
1902), Highland Park; the Coonley house (1908), Riverside; and the Robie house
(1909), Chicago.
a) Space Planning
The Robie house had no walls or partitions to break the flow of space through the
common areas: living room, dining room and central stairway. The large central
space is defined, but not divided, by the chimney. The chimney serves as a
screen, not as a divides, and the space continues into diamond shaped bays at
either end of the house opening onto porches. This part of the house has no
dividing walls or partitions – only a free flow of spaces. No wastage of space and
evolution of plan through functional requirements. Whereas space dissolves into
space, rarely directly, but glimpsed through yet another offset turn in the plan.
Fig 4.16 Ground Floor Plan Fig 4.17 First Floor Plan
Fig 4.18 Exterior View Of The Robie House

Connection with nature is enhanced by using soft brick brown coloured external
walls with white paint.
Modulation of both the flow and flow of people – by a succession of architectural
devices like the screen wall which diverts traffic around it, creating a left turn,
diversion in movement. The screen labyrinth contributes to the mystery of these
spaces, making them seem endless. The common part of the house has no
dividing walls or partitions – only a free flow of spaces richly embellished by
burnished wood – work, patterned carpentry, art glass, French doors and the
broad recessed health.
d) Form
It’s a residence with low horizontal lines and strongly projecting eaves that echoed
the rhythms of the surrounding landscape. Roof is not flat instead sloping.
CHAPTER 5
STUDY OF SUSTAINABLY DESIGNED MINIMALISTIC SPACES
5.1 TANGGA HOUSE BY GUZ ARCHITECTS
The house is a contemporary interpretation of a traditional courtyard house, laid
out around a central green courtyard with a double height stair and entry area
forming the focal point of the project. The L-shaped plan creates open spaces
which encourage natural ventilation and offer resident’s views over the courtyard to
the verandah, roof gardens and beyond.
Fig 5.1 Tangga House By Guz Architects
Lushly planted roof gardens surround the house and add to the effect that nature is
evident in every part of the house. The large roof above the courtyard creates an
indoor and outdoor space leading to the gardens and swimming pool which wraps
around two sides of the house. The Tangga house hopefully gives the owners the
opportunity to live in harmony and comfort with nature, in Singapores hot tropical
climate.
5.2 THE CLUNY HOUSE BY GUZ ARCHITECTS
The project demonstrates how technology, planning and design can be applied
sensitively to generate a comfortable, luxurious, yet sustainable family home.
Fig 5.2 Cluny House By Guz Architects
Photovoltaic cells and solar water heaters are employed together with design for
passive cooling and cross ventilation to reduce energy usage. Irrigation tanks and
roof gardens collect and recycle rainwater; and the use of materials such as
recycled teak and artificial timber adds warmth without compromising the finite
resources of our environment.The house is laid out around a central water court
that forms the focal point of the project. Lushly planted roof gardens surround this
and add to the effect that nature is evident in every part of the house.
Although the house is high tech – using state of the art systems, photovoltaic
cells, security systems – these are integrated discreetly and work with the natural
environment of the house rather than against it.This integration of technology and
nature deserves special mention in a compelling design that could realistically
become the model for sustainable living.
5.3 THE FISH HOUSE BY GUZ ARCHITECTS
This modern tropical bungalow encapsulates the essence of living in the hot and
humid climate of Singapore by creating open spaces which encourage natural
ventilation and offer residents views to the ocean.
Fig 5.3 Fish House By Guz Architects
The main design concept is to create a house which has close relationship with
nature and this is achieved by having a swimming-pool linking the house with the
landscape and ultimately visual connections with the sea. The idea of connection
is reinforced by having the basement level media-room with a u-shaped acrylic
window which allows diffuse natural light in and also views out into the pool. The
curved roofs, which symbolizing the sea waves, also emphasize the idea of the
nearby sea. These are almost totally covered with thin bendable photovoltaic
panels supplying enough energy to the house, while the remaining area is used as
a green roof giving residents some outdoor leisure spaces.
Fig 5.4. Exterior And The curved roofs
Fish House is a modest and yet luxurious residential design which gives residents
opportunities to live in harmony and comfortably with nature.
5.4 THE SUN HOUSE BY GUZ ARCHITECTS
The sun house is a relatively compact house for Singapore on a roadside corner
plot in an established bungalow area. The architects endeavored to make the most
of the site by pushing the main ‘L’ shape of the building to the rear. This then
created an open courtyard which was private but with still a feeling of openness on
the relatively densely constructed site, thus still allowing for good views and
airflow.
They used the ponds and pool as cooling elements for the building as well as
visual focal points. Volumes and space were maximised as much as possible by
sharing the open staircase and double height living space with the courtyard area.
At the end of the day the house was also designed around the owner, who had a
lovely collection of artwork and sculptures and this inspired the creation of a large
solid wall with niches which housed his artworks as well as giving the building an
anchor on which to expand other spaces.
Fig 5.5 Exterior And interiors
5.5 MEERA HOUSE BY GUZ ARCHITECTS
The plots on the island of Sentosa are not large and neighboring buildings are built
close to the sides of each house. Thus the architects’ strategy was to build a solid
wall to each side neighbor to provide privacy where possible, while creating a
central light and stair well which would funnel the sea breeze through the center of
the building.
The front and rear of the building meanwhile, terrace back allowing each level to
have visual or actual access to greenery. The intention was to try to allow each
roof garden provided a base for the level above allowing the layered effect to make
each level feel like it was a single level dwelling sitting in a garden as much as the
architects could do in the close confines of Sentosa island and with such a large
building.
Fig 5.6 Meera House By Guz Architects
5.6 E+ GREEN HOME BY UNSANGDONG ARCHITECTS
E+ Green Home is an amazing house and I that is the one that has the most green
technologies under one roof and on it. There are 95 green technologies applied to
this house. Firstly, it is a passive house meaning that it is an energy efficient
building that requires low heating or cooling energy for space and provides
pleasant indoor environment during summer and winter. It needs 15kWh/m2
annual heating energy and below 120kWh/m2 of total primary energy supply. A
building like this provides comfortable indoor environment to the occupants with
only 1/8~1/10 of energy consumption of other general existing buildings.

Fig 5.7 E+ Green Home By Unsangdong Architects
The building energy consumption has been minimized with the help of high
performance insulation and high density triple pane windows from the Energy+
technical elements. The performance of air tightness has been improved by
minimizing air leakage from the windows, and the indoor temperature has been
maintained at constant temperature by applying vertical cylinder which helps
indoor temperature to be stored in the concrete. Energy Plus has been achieved
by applying solar heat and PV to additional necessary energy. And new
technologies such as cooling radiator and natural lighting system with ventilation
are applied to maximize the residents’ comfort.
Rain water is purified to be used within the house, and recycled plastic and lumber
are used to decorate interior space. Residents’ health is also considered, and
environment-friendly wallpapers and CO2 concentration monitoring are used in the
building. 450 sensors are installed to monitor these various technologies, and
e+ms (Energy + Management System) is added which can save, combine, and
control the information on energy output and input by connecting with each
elements such as lighting, outlets, switches,

CHAPTER 6
CASE STUDIES
6.1 DR. CIJO’S RESIDENCE
6.1.1 Ar. Lijo And Reny
Started in the year 2005, this young firm is run by an architect couple who share
similar design temperament. “In the bright light of the future, past just leaves
behind shadows”. This has been a constant reminder for them to move ahead than
sit back and savor the past. In a region where ‘context’ means nothing more than
historical visual references, our core concern has always been the changes in
climate & its present pattern, new building materials & technology, lifestyle &
attitude of the clients, changes in the urban fabric at the macro and micro level.
6.1.2 House Of Dr.Cijo
Fig 6.1 Exterior View Of Cijos House

The road holds the house behind a compound wall of mute contemporary colours,
breaking at two points, on either side of the site, to form horizontal openings as two
entries to the site, a vehicular gate & a wicket gate. The wicket gate stands under
a gateway as a contemporary interpretation of a traditional element called
‘padippura’. The gateway connects the compound wall to the house visually. This
setting in of the compound wall and the main gate connected to it facilitates better
turning radius for vehicles entering the compound,
Living And Dining
Fig 6.2 Drawingroom Fig 6.3 Dining
On entering the house one would be taken aback by the sheer volume of the
interior space. This is achieved by the 8m height above the skylight court in the
living and above the staircase and also by the quantity of light flooding in through
the two huge sky lights.The family space, viewed from the living room below,
designed like a bridge; seem to hover in mid air, having painted a slightly darker
shade of grey.
The dining area is segregated from the living area with a wall, that fall short of
reaching the ceiling that in turn help in giving the family deck above a floating
effect.The kitchen too has an in-built seating which turns out to be a multipurpose
area for cutting vegetables, grating coconut (due to its comfortable height) .The
master bedroom and the guest bedroom have foyer each, which opens into the
court in the living, giving quite a rare feel while breaking all conventional notions
about a bedroom.
 Plans,Section details
Fig 6.4 Ground Floor Plan
Fig 6.5 section 1

Fig 6.6 section 2
Fig 6.7 First floor Plan

a) Space Planning:
The space for the residence has been properly planning taking into consideration
the various uses involved in the residence. Spaces have been combined
accordingly whenever possible thus giving spaces that serve multipurpose. The
breakfast counter in the kitchen also doubles up as study table for kids. The
inclusion of work area space into the kitchen space itself, in turn avoids a separate
work area altogether. This helps in giving the kitchen a more spacious feel. In total
the architect has managed to maintain volumes of spaces in the interiors making it
look more spacious.
Fig 6.8 Courtyard Space Fig 6.9 Bedroom Fig 6.10 Courtyard View
b)Colour And Texture:
White is prominently used. Shades of grey could be visible in certain areas. The
consistency in the usage of the monochromatic colour pattern is clearly visible in
the interiors.
c)Interior Accessories (Furniture):
The architect has made it possible to include the most modern furniture for the
interiors. Contemporary furniture has been used in the living and bedroom spaces.
He has also taken care of the issue in the case of sanitary and bathroom
accessories.
d)Form:
Linearity and rigidity in the exterior is clearly visible. The juxtaposed solid form with
its structural walls pulled out, ensure a perpetual play of light and shadow. The
structural fins that come out redirects breeze into the building at various openings
as well as adds a certain aesthetic character of the building. The various masses
that rise and fall are pure reflection of the volume contained within.
6.1.4Sustainability Of The Design
Mainly used convention brick in the construction and strategically positioned
openings placed in manner that creates stack effect and allow for an interior
climate independent of air-conditioning systems and artificial ventilation throughout
the year, proving that modern design can be both appropriate and sustainable.
6.2 WALL HOUSE - RESIDENCE OF ANUPAMA KUNDOO IN AUROVILLE
Linear in plan, the house is oriented to the south-east for optimum air circulation.
The house is basically a narrow, 2.2m and long vaulted space contained within the
brick masonry with the various activities arranged in a row. Each activity can spill
over to the north-east side into alcoves and projections, and on the southwest,
under the large overhang provided by the main vaulted roof. The design of the
house ensures that the activities are cocooned into private secure spaces, while
the spillover in the living areas is large and open to nature.
Fig 6.11 North-East Façade Fig 6.12 South-West Facade
This play of indoors and outdoors in quite a marked feature, as it goes far beyond
mere inter-penetration. Long steps create a further demarcation of spaces, and
they continue on the outside into the garden. The south-west façade is a
transparent wooden structure with a mesh to allow full view of the sunset, while the
vault overhang provides adequate shade and ensures that the heat and glare of
the direct sun does not reach the cool interiors. The house is characterised with a
cavity wall at the north side that connects the insides with the exteriors.
Fig 6.13 Ground Floor Plan Fig 6.14 First Floor Plan
On the first floor, the bed extends out of the brick façade on a space frame
structure so that more space is gained, finished with a wooden floor procured from
the short-living acacia auriculiformis trees that were extensively planted in Auroville
Fig 6.15 First Floor – Bed Space Extending Out Of Brick Wall
the early years. The bed space extends on the other side, with the vault forming a
covered terrace, and then further continues as an open-to-sky terrace and water
body.
Fig 6.16 Interior
In interior, paints and plaster not used burned clay pots acting as fillers the
bathrooms appear to be more outdoor in character, especially in the way they
blend with nature. On the other side of the main vault is an independent room with
a separate toilet with the possibility of its own independent entrance.
Fig 6.17 Water Body To Cool The Interior Fig 6.18 Linearity In Exterior Facade
a) Space Planning:
Linear in its plan with a simple and straight with a simple and straight forward
arrangement of spaces has been successfully derived by the architect. The blend
of indoor spaces has been successfully derived by the architect. The blend of
indoor spaces with the outdoor is quiet a marked feature, as it goes far beyond
mere inter-penetration making it difficult to distinguish where the inside ends and
the outside begins. The vault space can connect or separate the two parts of the
house depending on the desired use. Long steps create further demarcation of
spaces and they continue on the outside into the garden.
The interiors and the exterior façade has incorporated warm and neutral colours
from nature, since most natural materials used have been exposed for their true
colour and texture.
c) Form:
The house is characterised by its simple and clearly defined lines. It is massive in
its form and linearity has been followed in the exterior. The vaulted space of the
house maintains its linearity with the spread of the space.
6.2.2 sustainability Of The Design:
For sustainability and to make the residence more climatically responsive, outer
walls are thick. Burned clay pots as filler slabs also act as insulators apart from
enhancing the appearance. Use of plaster, paints has been eliminated. Lime
mortar instead of cement. While the house is open to a picturesque view, keeping
the interiors free from glare and heating up, the double height volume of the house
enhances the air stack movement, thus keeping the insides cool. Punctuations in
the vaults bring in the light and also enable hot air to escape the area, thereby
creating a draft.
Use of structural steel has been entirely eliminated in the construction of the vaults
and minimised in the fault roofs and intermediate floors by introducing shallow
terracotta hollow vaults and smaller spans. The windows have been designed in
layers with flexible variations in usage to further regulate the climatic comfort
throughout the year. Water bodies have been added to further cool the house. The
house runs entirely on solar energy through solar photovoltaic that take care of all
electrical demands. The garden water also gets pumped up through the solar
pumping system, and the solar water heater provides all the hot water demand.
6.3 RESIDENCE OF KLARA BROGLI IN AUROVILLE
6.3.1 Fabian
With the background of an architectural education in Germany (University of
Applied Sciences Bremen, School of Arts Berlin-Weissensee - Advanced
Architectural Design) and working experiences in Berlin, Mumbai and Auroville,
Fabian practise architecture, interior design and construction in Auroville since
2000.He finds it is fascinating to bridge traditional building culture (the use of
regional materials, techniques and the knowledge about the social and climatic
conditions) with a modern approach towards architecture and the use of spaces is
definitely a worthy task. He believes the quality and the context of the site, the
cultural background, the client's imagination and needs are important aspects of
any architectural project. In his work he aim to understand the essence of these
aspects, to give the right answers to arising questions and to fuse them into a
contemporary building form - spiced with some funky masala of the architect's
choice and taste. He feels free to experiment with all materials available, be it
earth, concrete, steel, glass, aluminium and plastic as each one of them has its
own qualities and aesthetics. And believe that there are basically no negative or
positive materials, it all depends on their usage, the relations to other materials.
6.3.2 Residence Of Klara Brogli
Klara’s house, a single resident unit, in the tropical environs of Auroville, Tamil
Nadu is one such vibrant and unique interpretation that breaks free of seemingly
‘green’ materials that literally weaves an intentive material palette into sensitive
spaces which respond to both the cultural climatic context.
Fig 6.19 Residence Of Klara Brogli

The house is designed as a balance between the extremes, an approach that is
echoed in its formal and spatial planning, material palette, construction techniques
and craftsmanship as well as its very massing.
Fig 6.20 External Views From Different Sides
From the entrance, the east and north-eastern facades seem like parts of a
strange object piquing our curiosity. Like the eastern, western façade uses
different layers to adjust to the scorching sunlight and heavy rain.A wooden
screen, woven like traditional baskets, filters the sunlight whilst sliding elements
further inside, made of glass and textile fabric, protect from the occasional spray of
rain going through the screen as well as the humidity.
Carefully designed openings lead to steps inside. Sunlight pouring into the double-
height interior is reflected by the natural yellow stone floor. The play of light on the
white, yellow and rust-co loured surfaces makes this an animated and spiritually
uplifting space.The aluminium outer wall, air and plywood on the inside and
strategically positioned openings allow for an interior climate independent of air-

conditioning systems and artificial ventilation throughout the year, proving that
modern design can be both appropriate and sustainable.
Warm flooring blends with smooth-polished plastered walls and fine exposed
concrete gently emerging from the soil to create an elegant living space. A raised
plinth with varying levels and a water channel define the area of the building
without isolating it. Around its open pavilion-like core, the ground floor merges with
its surroundings forming an ideal backdrop for social events and dinner parties.
Despite its openness, there's enough privacy to withdraw.
Fig 6.21 Natural Yellow Stone Fig 6.22 Play Of Natural Light In Interiors
The kitchen, an independent block with ample cooking space connects the public
pathway with the house encouraging interaction.A steel staircase and bridge at the
centre of the house allow visual connectivity between floors. The upper floor
houses the private spaces and is translated into a light weighted block in
aluminium, plywood and steel. The facing façade of the house, exposed to high
thermal radiation and heavy rainfall, adapts to the extremity of the climate by
adopting a concept of multiple layers that act as buffers and diffusers. The multiple
layers of screen, strategic opening and play of material occupied with careful
planning of the volumes within thus set into motion an active play of light and air,
allowing for creating ambient conditions within a largely extreme context.
a) Space Planning:
The single resident unit has its much lighter spaces on the upper floor encased in
the corrugated aluminium sheets. Organised largely, around an open pavilion like
structure. Ground floor merges with its surround providing an apt backdrop to the
activities within. The upper floor houses the private spaces and thus translates into
a space of sensual modification, offering glimpses of what lies beyond.
Soothing colours, soft surfaces and an intricate play of light create a sensual
environment. Mostly white and grey are used which therefore helps in maintaining
the monochromatic pattern. Some spaces have also used yellow as it is the
exposed colour of the yellow Jaisalmer stone in the godowns and its colour
became the base. Sunlight pouring into the double-height interior is reflected by
the natural yellow stone floor. The play of light on the white, yellow and rust-co
loured surfaces makes this an animated and spiritually uplifting space.The grey
walls remained, polished with sandpaper to an almost fabric-like degree. The

elements though distinct in colour, function and appearance, are clearly part of a
bigger whole.
Modern and classy furniture were used to establish the style of minimalism in its
interiors. The ferrocement works are an example of how smooth and colourful an
experience working with cement can be. The elements though distinct in colour,
function and appearance, are clearly part of a bigger whole.
d) Form
Linearity in the form has been followed to obtain a cubical block on top of another
cubical block.
6.3.4 Sustainability Of The Design
It is a hybrid with conventional brick-work, natural stone, steel beams, wooden
screens, aluminium, and glass.The aluminium outer wall, air and plywood on the
inside and strategically positioned openings allow for an interior climate
independent of air-conditioning systems and artificial ventilation throughout the
year, proving that modern design can be both appropriate and sustainable.
6.4 ACTOR SREENIVASAN'S HOUSE-KERALA'S FIRST ECO FRIENDLY
HOUSE
Fig 6.23 Sreenivasan's House-Exterior
Occupants of these sustainably designed houses find more satisfaction while
compared to other buildings.The residence situated at Kandanadu near
Tripunithara at Ernakulum would be the first house in Kerala to get the eco friendly
recognition which won the platinum grade certification from the Indian green
council (IGBC). Embedded with a handful of green features makes the soul of the
house.
Solar PV panels for electricity, solar water heaters and VRV air conditioners would
be the best in this home. Arrangements to reduce the entrance of heat are made
while lighting controlled by sensors adds more colours to the house. This house of
Sreenivasan was build for 2 crores budget which is of 6,364 square feet extended
in a 75 cents plot. Facilities for rain water harvesting, water recycling plant and
lawn with horticulture crops makes the house more attractive.
For reducing the water consumption native and drought tolerant species are being
used in landscape. Rapidly renewable equipments are used in flooring which is
idle for an eco friendly house. A share of the land was devoted for vegetation and
lawns which was required to get the green certification. The Lawn made up of
Mexican grass does not require much water.
A green home can be set up by spending a little more to the total project cost. The
level of appreciation depends upon various criteria which include the site selection,
planning, design method, water and energy competence, resources.
Green Homes platinum rating is given to those buildings which could acquire 60 –
80 points according to the criteria put forward by the Indian Green Building Council
(IGBC). The four-bedroom residence situated at Kandanad, near Tripunithara
scored 64 points after meeting all requirements put forward by the IGBC.
6.5 HAMLET
6.5.1 Laurie Baker
Baker studied architecture in Birmingham and graduated in 1937, aged 20, in a
period of political unrest for Europe. Used indigenous architecture and methods of
as means to deal with construction problems. Baker lived in Kerala with Doctor
P.J. Chandy. He received great encouragement and later married his sister while
Laurie continued his architectural work and research accommodating the medical
needs of the community through his constructions of various hospitals and clinics.
Baker sought to enrich the culture in which he participated by promoting simplicity
and home-grown quality in his buildings. He gave his emphasis on cost conscious
construction. An ideal that the Mahatma expressed as the only means to revitalize
and liberate an impoverished India.
 Architectural Style
• Designing and building low cost, high quality, beautiful homes
• Suited to or built for lower-middle to lower class clients.
• Irregular, pyramid-like structures on roofs, with one side left open and tilting
into the wind.
• Brick jali walls, a perforated brick screen which utilises natural air movement
to cool the home's interior and create intricate patterns of light and shadow.
• Baker's designs invariably have traditional Indian sloping roofs and
terracotta Mangalore tile shingling with gables and vents allowing rising hot
air to escape.
• Curved walls to enclose more volume at lower material cost than straight
walls.
• His respect for nature led him to let the idiosyncrasies of a site inform his
architectural improvisations, rarely is a topography line marred or a tree
uprooted.
• This saves construction cost as well, since working around difficult site
conditions is much more cost-effective than clear-cutting.
• Baker created a cooling system by placing a high, latticed, brick wall near a
pond that uses air pressure differences to draw cool air through the building.
• His responsiveness to never-identical site conditions quite obviously

allowed for the variegation that permeates his work.
• Methods of his low cost construction were:
1. Filler slab
2. Jack Arch
3. Masonry dome
4. Funicular shell
5. Masonry arches
6.5.2 The Hamlet
Hamlet is Baker’s home in Trivandrum. This is remarkable and unique house built
on a plot of land along the slope of a rocky hill, with limited access to water and
hardly any vegetation when Baker started construction. But it is now a visual
delight.
The plan is circular with only five metre diameter and very simple in planning. In
the ground floor we have a living space with seating along the walls. Opposite to it
are the arch shaped stairs leading to the first floor. The ground floor also
comprises an open kitchen in which itself food is taken. The first floor comprises of
a bed space.
Fig 6.24 Plan And Sections Of Hamlet
Fig 6.25 Steps To Front Door Fig6.26View From Opposite Side Fig6.27Steps Directly Cut
Baker’s house in a quite niche in Kerala’s capital city represe nts a captivating
fusion of nature and home. The feeling of being away from nature always brings a
certain melancholy to the city-dweller. The fact that nature and home have become
two separate entities brings so much pain that one can barely think of anything
else.
Fig 6.28 Use Of Natural Light In The Interiors Fig 6.29 EntranceWith Bell
 Some of the major techniques used in Hamlet:
 The play of shades and shadows by using ‘brick jallis’, the effective way to
minimize your electricity bills.
 Built in furniture for house
 Environment concern – recycled wood from traditional demolished building
 Surface treatment by using waste materials
 Quality of spaces
 Traditional approach
He has preserved the simplicity of the Quakers and Gandhian thought in his
architecture. He had the realisation that he was to build houses for the common
man. “Simplicity has its own inherent beauty. One does not need to do anything
special to bring it out.”In Baker’s creations one can always see a great respect for
nature.
A peaceful co-existence involving nature, man and home comes across in his
work. Moving around within Baker’s architecture one feels that one has been
transcended to a novel and poetic world. The extreme simplicity in his architecture
infuses tranquillity and leaves one at a loss for words.
a) Space Planning
The plan is circular. This is because curved walls enclose more volume at a lower
material cost than straight walls. The foundation used is of random rubble. The
plan is quite open, simple as well as compact in design.
Brick jallis which along with the utilisation of natural air movement cools the interior
also creates intricate patterns of light and shadow in the interior. Gables provided
to cool the interiors. Arches seen in the design at many places so as to reduce
construction cost as well as for beautifying the exterior façade.
Warm colours and neutral colours from nature were obtained, since natural
materials used have been exposed for their true colour and texture, like the
exposed red brick in the interior and exterior and by the terracotta Mangalore tile in
the exterior.
Monochromatic colour scheme can be seen throughout. Filler slab used in the
roofs so that 20-35% less material, decorative, economical and reduced self-load,
almost maintenance free and above all 25-30% cost reduction.
The furniture’s used were inbuilt. Thus very simple in its basic structure and form
bringing forward the simplicity.
d) Form
The design had traditional Kerala pitched roofs and made up of terracotta
Mangalore tile shingling with gables and vents allowing rising hot air to escape
over a perfect circular plan. Arches could be seen in many places not only for
beatification but also as a way of cost reduction.
6.5.4 Sustainability Of The Design
For the design to be sustainable Baker has incorporated many features in the
design:
 Usage of exposed bricks
 Filler slab in roof
 Masonry arches
 Doors and windows made up of the remnants of old doors/windows
 Window grills made up of bits and pieces
 Exposed bricks (avoiding plaster, paints etc.)
 Inbuilt furniture
 Electric wires not concealed
 Circular walls (less usage of material)
 Jallis in the wall along with window
 Gables
 Decoration of wall from broken pottery, pens, glass.

CHAPTER 7
INFERENCE AND CONCLUSION
7.1 ANALYSIS
 Elements That Imply Minimalism In A Design
a) Space Planning:
The concept of minimalism had been initially evolved from the theory of ‘form
follows function’, where the function is given priority and the form is thus obtained.
The essential elements in the case of space planning would be attained when the
function of the particular space is justly met without any unnecessary additions of
spaces that do not serve any function.
The ultimate colour for any self-respecting minimalist scheme is white. Though
initially it was only white that was prominent, today variety has been experimented.
It must be noted that to attain minimalism in colour, monochromatic colour patterns
may be used. But you can opt for a softer look, by choosing warm neutrals and
colours from nature. Stone, beige, taupe, brown and even green may enhance
their connection with the nature, provide that they should be ‘pale and interesting’-
whilst splash of a bolder colour for accents may be preferred. Such designs use
colour brightness, balance and contrast between surface colour combinations,

usually natural textures and colours, and clean and fine finishes and almost
smooth textures are commonly used for minimalistic designs.
Simple and classy furniture are ideal minimalist interior design look. Most
minimalist furniture and fixtures are homogeneous both visually and structurally.
Plain, modern-looking furniture would be ideal-in natural wood (especially dark
wood), dark leather, white or bright colours, or chrome, glass, mirror and stainless
steel. Low level furniture is also widely used in today’s minimalist interiors.
d)Form:
The structure’s beauty is also determined by using geometric shapes as outlines
and maintaining rigidity and linearity. Using only a single shape or a small number
of like shapes for components for design unity is encouraged in minimalistic
designs. Mostly observed trend of roofing is flat or nearly flat roofs.
7.2 INFERANCE
As years pass “Minimalism” too has undergone changes during its application.
Through this study we have seen that sustainable architecture being practiced
today in this post modern era, actually holds features of minimalism. That is, one
could even say that minimalism is the foundation for sustainable architecture. And
the concept of minimalism, if justly used in the usage of materials in construction, a
sustainable design could be derived. Hence minimalism holds a great scope as
and considered a futuristic style even after its birth in the 19 th century.
7.3 CONCLUSION
Minimalism in architecture emerged out of an economic crisis in the post-World
War I scenario and it embraced the new industrial age and technological materials
with a social and economic focus. Today as we stand at the brick of an energy
crisis as well as an ecological crisis. So now we employ stat-of-the-art technology
with an environmental focus. We stand in an age where sustainability is
indispensible. The topic of sustainability is at the forefront of current international
discussions. The rising importance placed on green practices has been prompted
by the rapid depletion of natural resources, and the increased anthropogenic
interference in the natural climatic balance. Private and public research institutions
and bodies are continuously researching and working on innovative technologies
and systems which are environmentally viable for the today’s society. This
architectural style which came up during the modern era is still in practice.
8 REFERENCES
 CHARLES K. HYOT – Interior Spaces Designed By Architects – An

Architectural Record Book.
 DONALD W. HOPPEN – The Seven Ages Of F. L. Wright
 LAURIE BAKER – A Manual for Cost Cuts
 SHAHID AB Minimalism – Wikipedia the free encyclopedia
 NEW MINIMALIST HOUSES – Anja Liorella Orici
 PAOLA SASSAI - Stratergies for Sustainable Architecture
 INSIDE OUTSIDE MAGAZINE
 OOBACKER – Dissertation – The Spatial Language of Laurie
 http://www.farnsworthhouse.org
 www.google.com – Minimalism
 http://www.andotadao.org
 http://www.galinsky.com/buildings/churchoflight
 http://books.google.co.in – Designing Simplicity

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Minimalism In Sustainability 1

RENI K CHERIYAN (730611251035)

EXCEL COLLEGE OF ARCHITECTURE AND PLANNING

CHENNAI 600 025

EXCEL COLLEGE OF ARCHITECTURE AND PLANNING

CHENNAI 600 025

2011-2016) EXCEL COLLEGE OF ARCHITECTURE AND PLANNING has

been approved on .04.2015. Submitted for the university VIVA – VOCE

INTERNAL EXAMINER EXTERNAL EXAMINER

EXCEL COLLEGE OF ARCHITECTURE AND PLANNING

CHENNAI 600 025

work under my supervision.

HEAD OF THE DEPARTMENT SUPERVISOR

PRINCIPAL EXTERNAL EXAMINER

patience and valuable guidance and moral support throughout my discussions.

Her suggestions were always a source of inspiration to proceed throughout my

for helping me to do my dissertation up to my expectation.

I am thankful to my guide AR.MANURAJ who help me for collecting the necessary

data through discussions.

I am thankful to all my seniors, classmates and all others who helped me to

DATE: Signature of the

study is mainly focused on seven different designed buildings of different eras.

development of various elements of minimalism based on the analysis.

The various elements to be noted are

2. CHAPTER 2 LITERATURE STUDY

3. CHAPTER 3 LITERATURE REVIEW

3.1. GLASS AS A SUSTAINABLE, MINIMALISTIC MATERIAL 34

4. CHAPTER 4 LITERATURE CASE STUDIES

4.1. FRANSWORTH HOUSE 41

5. CHAPTER 5 STUDY OF SUSTAINABLY DESIGNED MINIMALISTIC

5.1. TANGGA HOUSE BY GUZ ARCHITECTS 65

6. CHAPTER 6 CASE STUDIES

6.1. DR.CIJOS RESIDENCE 72

7. CHAPTER 7INFERANCE AND CONCLUSION

2.1 Fransworth house 04

2.2 Robie House 04

2.3 An Intelligent Façade 15

2.4 Perforated Shading Panels 15

2.5 K2 Sustainable apartments In Victoria 17

2.6 Sustainable Design Technique 17

2.7 Fascia Boards 28

2.8 Plastic Flooring Products 28

2.9 Illawara Flame House 30

2.10 Bamboo Flooring 31

4.1 Exterior Facade OfFransworth House 42

4.2 Fransworth House-Ground Floor Plan 44

4.3 Fransworth House-First Floor Plan 44

4.4 Fransworth House-interior 45

4.5 Fransworth House-interior spaces 46

4.6 Fransworth House-interior View towards Water Body 46

4.7 Glass House-plan 50

4.8 Glass House-Exterior view 51

4.9 Glass House-Living space 52

4.10 Glass House-living area 52

4.11 Glass House-Kitchen 52

4.12 Glass house Exterior view 54

4.13 House In Plantation- Entry 56

4.14 House In Plantation- Interior 57

4.15 House In Plantation- Interior 57

4.16 Robie House Ground Floor Plan 63

4.17 Robie House First floor Plan 63

4.18 Robie House Exterior 63

5.1 Tangga House ByGuz Architecture 65