MEANING IN ARCHITECTURE

UNIT I
MEANING IN ARCHITECTURE

Architecture as a vehicle of expressing,

symbolism and communication - Illustrative
examples

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WHAT IS AN ARCHITECT?
• An architect is someone who loves to design, and is specifically trained and licensed to work on the
planning and design of buildings.
• The facts of an architect's role are as varied and fascinating as their work; these are professionals
who lead the process of creating functional spaces, from concept and design to a full
realization of those designs.
• Architecture is an art that works hand in hand with science to design places where people can live,
eat, work and play.
• As a leader of various projects, from something as small as an addition to someone's home, to
something as large as a hospital, college campus, or an entire neighborhood, the role of an architect is
to bring together the creative ideas and visions of the client and keep in mind the needs of
those that will be using the new space.
WHAT DOES AN ARCHITECT DO?
• An architect is not just involved in the design of a building.
• As a licensed professional they are also responsible for public safety and overseeing of projects.
• Their role is important in every stage of the building's construction, from the initial concept to the
opening ceremony when the building is complete.
• Beyond completion, an architect often remains involved in a project as buildings evolve to
incorporate new surroundings and ideas.
• The aspects of work can be split into three main roles or phases- the design, documentation and
construction roles

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THREE MAIN ROLES OR PHASES-
1. Design stage
2. Documentation stage
3. Construction stage
1) DESIGN STAGE:
• In the design role, an architect is hired by a client to produce detailed designs of a concept or idea that
the client wants to bring to reality.
• As well as needing creative design ideas, this part of the role involves a great deal of technical
knowledge and responsibility.
• There is a need to comply with building and safety regulations, local planning regulations and
restrictions.
• Depending on the project there may be laws surrounding the preservation of the local environment
or any historic parts of a building.
• Regular client meetings are important to establish requirements and discuss detailed design proposals.
• Also important is heading up the team of professionals who will work on this stage of the project
including engineers, designers and financiers.
2) DOCUMENTATION STAGE:
• During the documentation phase, the responsibilities are to capture the design on paper, producing
detailed drawings and using technology such as CAD to test the feasibility of the design.
• This stage can involve continual revision and redrawing to incorporate changes based on the client's
requirements, budget and regulations.
• Once the design documents are complete, there are then OOthat need to be produced.

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3) CONSTRUCTION DOCUMENTS STAGE:
• These are the construction documents, which translate the design into instructions and technical
specifications for contractors and construction experts.
• Once the project reaches the construction stage, the architect will be involved in site visits and
meetings, overseeing the construction and signing off on various pieces of work, negotiating with
contractors and dealing with and resolving any problems that arise.
MEANING & UNDERSTANDING:
• It is a theoretical and scientific criticism and/or a philosophical explanation to issues related to
architecture design..
• Architecture theory is useful to judge, criticize and soundly assess the design process,Architecture
articulates intent,
• From the cosmological ordering of the universe in antiquity to the more prosaic commercial domination
of the urban landscape in our contemporary cities, architecture has always played a central political role
in ordering human interaction in the public domain.
• Comprise all design activity, from the macro level (urban design, landscape architecture) to the micro
level (construction detail, furniture).
• It is the process and product of planning, designing and constructing form, space and ambience that
reflect functional, technical, social, environmental, and aesthetic considerations.
• It requires the creative manipulation and coordination of material, technology, light and shadow.
• Architecture also encompasses the pragmatic aspects of realizing buildings and structures including
scheduling, cost estimating and construction administration.

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FACTORS THAT LEND MEANING TO ARCHITECTURE :
• Each project has a different set of requirements, limitations, challenges, and opportunities that affect
project‖is cultural, environmental, technological, and aesthetic contexts.
• The factors presented below are among the most influential.

CLIENT:
• Some clients have a clear idea of a program, budget, and other project objectives, including
the final appearance of the building.
• Others look to their architect to help them define the project objectives and to design a building that
meets those objectives.
• In both cases the effectiveness of the relationship between client and architect is a major factor in
making and implementing design decisions throughout the project.

PROGRAM:
• All clients have a series of aspirations, requirements, and limitations to be met in design.
• The program provides a place for identifying and delineating these factors and any number of related
considerations .
• The program may be short or long, general or specific, descriptive of needs, or suggestive of solutions.

COMMUNITY CONCERNS :
• Clients and their architects must adjust their designs to satisfy community groups, neighbors, and public
officials.
• These design adjustments are often add efforts to meet objections or to gain support rather than direct
responses to codified requirements.
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CODES AND REGULATIONS :
• Regulatory constraints on design have increased steadily.
• Beginning with simple safety requirement sand minimal land-use and light- and-air
zoning, building codes and regulations have grown into a major force in design that regulates every
aspect of design and construction.
CONTEXT AND CLIMATE :
• Contextual factors include the nature of the surrounding fabric of natural and built elements.
• Existing patterns and characteristics of this fabric can provide clues or starting points for approaching
site development as well as the building design , influencing its configuration and use of
materials , colors, and textures.
• Climatic factors include the nature of regional microclimates defined by solar radiation,
temperatures, humidity, wind, and precipitation
SITE :
• These factors include site size; configuration ; topography; geotechnical characteristics; ecological
features, including vegetation, wildlife habitats, water elements, and drainage; and accessibility to
property.

SUSTAINABILITY:
• In its broadest scope, sustainability refers to the ability of a into decline through exhaustion or
overloading of the key resources on which that system depends. society, ecosystem, or any such on going
system to continue functioning into the future without being forced
• For architecture, this means design that delivers buildings and communities with lower environmental
impacts while enhancing health, productivity, community, and quality of life.
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BUILDING TECHNOLOGY :
• Building configuration, materials, and systems are rarely arbitrarily chosen and are only partially based
on aesthetic criteria.
• For example, floor-to-floor height required to accommodate structural , mechanical, lighting, and
ceiling systems in a cost effective manner varies significantly from an apartment house to an office
building to a research facility.
• Similarly, office fenestration may be based on one module and housing on another module.
• Instill other cases, these dimensions may be dictated largely by mechanical systems or even by the
knowledge and preferences of the local construction industry.

COST:
• In most cases, there is a limit to the funds available for construction.
• Once defined, this limit has a major influence on subsequent design decisions, from building size and
configuration to material selection and detailing.
• Although most budgets are fixed(often by the amount of financing available), others may be flexible.
• For example, some owners are willing to increase initial budgets to achieve overall life-cycle cost
savings.

SCHEDULE :
• The demands and constraints set by the project schedule may influence how specific issues are explored
and considered.
• For example, an alternative requiring a time-consuming zoning variance may be discarded
in favor of one that can keep the project on schedule.
• Another example may include committing to a final site plan early in the process—before the building
footprint on the site plan is fully designed.
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DEFINITION OF ARCHITECTURE :
• V.s. Pramar defines architecture as ‗The creation of utilitarian spaces with the component of aesthetics
achieved by means of technology.
• D.K.Ching defines architecture as ‗The architecture of space ,structure, enclosure through movement in
time-space achieved by means of technology accommodating a program compatible with its context.
• Space ,structure ,enclosure-organisation pattern , relationships , hierarry , Frontal image and
spatial definition, qualities of shape , colour , texture , scale , proportion ,qualities of surfaces , edges and
openings.
• Movement in space and time- approach and entry ,path configuration, and access ,sequences of
spaces.
• Technology-structure and enclosure, environmental protection and comfort, health ,safety and
welfare ,durability.
• Program- user requirements ,needs , aspirations ,socio-cultural factors ,economic factors.
• Compatible with its context- site and environment ,climate ,sun and temperature and
precipitation, geography ,soils ,topography , vegetation and water , scenery and cultural characteristics of the
place.
• Vitruvius: defined the essential qualities of architecture as "firmness, commodity and delight".
• Johann Wolfgang von Goethe: "I call architecture frozen music".
• Walter Gropius: "Architecture begins where engineering ends".
• Le Corbusier: "A house is a machine for living in".
• Louis Sullivan: "... form ever follows function. This is the law", usually quoted as the architectural
mantra "form follows function".
• Mies van der Rohe: "Less is more".
• Robert Venturi: "Less is a bore".
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EXPRESSIVE ROLE IN ARCHITECTURE

Architecture today has gradually become faced with a crisis of meaning;
• Nicolas Le Camus de Mézières (1721–c.1793) defined the role of architecture as a language
expressive of its destination and purpose.
• The aim of architecture was accordingly to communicate the character and social status of his clients,
but he also believed that buildings could evoke human sensation responding to the mind and move the
soul.
• It is claimed that the essence of architecture was fictional and poetic Ever since antiquity,
Vitruvius had established the expressive role of architecture in his definition of the term
‗decorum.‘
• For Vitruvius, however, architecture expressed an order that transcended its materiality; it spoke of the
order of the universe.
• Important cultural changes motivated by the Scientific Revolution transformed the very nature of
architecture in the late seventeenth century.

EXPRESSION IN ARCHITECTURE
• Expression in architecture is the communication of quality and meaning.
• The functions and the techniques of building are interpreted and transformed by expression into
art, as sounds are made into music and words into literature.
• The nature of expression varies with the character of culture in different places and in different times,
forming distinct modes or languages of expression that are called styles.
• Style communicates the outlook of a culture and the concepts of its architects.

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• The boundaries of a style may be

• national and geographical (e.g., Japanese, Mayan) or

• religious (e.g., Islamic) and
• intellectual (e.g., Renaissance),

embracing distinct linguistic, racial, and national units, and different expressions within each of these
boundaries are produced by the particular style of regions, towns, groups, architects, or craftsmen.
• The principal forces in the creation of a style are tradition, the experience of earlier architecture;
influence, the contribution of contemporary expressions outside the immediate cultural environment;
and innovation, the creative contribution of the culture and the architect.
• These forces operate to produce an evolution within every style and ultimately to generate new
styles that tend to supplant their predecessors.
• The components of expression, which communicate the particular values of style, are content
and form.
• Since content can be communicated only through form, the two are organically united, but here they
will be discussed separately in order to distinguish the specific and concrete meaning (content) from
the abstract expression of qualities (form).

CONTENT :
Content is the subject matter of architecture, the element in architectural expression
that communicates specific meanings that interpret to society the functions and
techniques of buildings

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DIFFERENT ASPECTS OF ARCHITECTURE AS A VEHICLE OF EXPRESSING AND
COMMUNICATION:
• Art is a form of self-expression with absolutely no responsibility to anyone or anything. Architecture can be
a piece of art, but it must be responsible to people and its context.
• This is not to say that art cannot have any impact on people. It is quite the opposite. Many art pieces
have become very influential, even politically potent.
• Many of them, in fact, are created as a form of critique to a certain concurrent event, government, movement,
etc. For example, Chinese artist Ai WeiWei―s series of photographs cleverly titled as ‘Study in
Perspective‘ show a number of politically charged buildings with an arm extending out towards them,
flicking off the middle finger.
• As powerful a tool as art is, having potential is not the same as having responsibility.
• Architecture, before it is an art, must first be conscious of people. It is worthless to explore form and do
formal (shape) experiments as architecture without constantly being aware of people's perception and
experience.
• However, it is quite common for formal experiments and explorations to inform architecture in design
and construction.
• As mentioned before, architecture can be a piece of art. In fact, many successful ones are terrific art pieces in
their own ways (formally active or passive).
• By having the responsibility to respond to people, architecture is indeed a more challenging task than
art. It is undoubtedly more limited and less expressive.
• Architecture must begin with its fundamental task. It must provide an inspiring and terrific experience for
people inside and outside of it. It must be responsible at the very least to its immediate context and inhabitants.
It then becomes an amazing piece of architecture when it is also a piece of art and environmentally responsible
in some way or other.
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• For example, the left image

above shows a piece of
architecture in Asakusa,
engaging with its corner
location through its shape and
its facade.
• It is not easy to imagine this
building to be located
anywhere else.
• Its exterior planes are lined
up with its surrounding
buildings and its material
appropriately identifies with
the traditional temple district
context of Asakusa.

AsakusaTourist Information Right: Audi Forum Tokyo by

Center by Kengo Kuma. Creative Designers International.
The right image shows a piece of sculpture near Harajuku that stands in isolation and screams for attention
(notice it ―wiggles‖ its way into the space between the two buildings without touching them, expressed by
its shape).
• This building can easily be ―transported‖ and placed anywhere else and will still be equally as contextual
as it is currently.
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EXPRESSION OF TECHNIQUE-COMMUNICATION:
The second aspect of content is the communication of the structural significance of materials and
methods.
Its purpose is to interpret the way in which architecture is put together.
The characteristics of materials that are important in expressing design techniques are the properties of
their composition (e.g. Structure, weight, durability) and the way they are used in structure.
Their properties may be expressed and interpreted by the treatment of the surface, and their use
may be expressed by emphasis on the dimensions and joining of the building units into which they
are formed.

• The hardness, weight, and crystalline composition of stone masonry traditionally have been
emphasized by devices not necessarily connected with structural methods: rustication (finishing in
rough, uneven surfaces), drafting (more refined, linear cutting), and polishing.
• Niches and other indentations, projecting courses, or frames around openings suggest massiveness. •
In nonbearing walls, a smooth, unbroken surface implies thinness.
• The use of stone or brick masonry in construction is emphasized by clarifying the limits of each
block and by the amount of mortar used and by distinguishing lintels, arches, and other specific
members from the construction of the wall.
• The properties of wood are suggested by revealing and emphasizing its texture in load-bearing
members and by treating the sheathing of light wood frames in patterns (of shingling or boarding)
that communicate thinness.
• The plasticity of concrete is shown by freedom in modeling and its use in construction by
emphasizing the impressions of the wooden forms in which it is cast. The sections of light metal
curtain walls are frequently stamped into geometric patterns to illustrate their nonbearing character.

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• Materials that must be covered for protection, such as unfired brick and the steel used in framing,
are not adaptable to this type of communication.
• Many elements in the Gothic cathedral serve as diagrams of structure: the supporting piers are clusters
of shafts, each of which extends upward without interruption to become the rib of the vault, and the
ribs themselves are an elucidation of technique; the flying buttress and the window tracery are elegant
interpretations of their functions.
• In the modern steel-frame building, the hidden forms of the skeleton are often repeated on the facade
to enable one to ‗see through‘ to the technique, but the system also permits the alternative of
expressing the lightness and independence of the curtain wall by sheer surfaces of glass and other
materials.
• The expression of technique is characteristic not of all architectural styles but only of those such as the
Gothic and modern, in which new techniques excite a search for the interpretive design of their materials
and methods.
• More often than not, both materials and methods have been disguised by decorative forms or surfacing
such as veneers, stucco, or paint, because of emphasis on the expression of content or of form.
• Most early stone architecture in Egypt, Greece, and India retained as decoration the forms
developed in wooden forerunners.
• The precious marble of Greek temples was disguised under painted stucco; Roman brickwork was
hidden by slabs of coloured marble; and 19th-century cast-iron columns were molded into classic or
Gothic forms.
• Technical content has been one of the foundation stones of 20th-century architectural theory,
particularly in its early phases, and has represented a reaction against 19th-century symbolic content.
• It is essential for the understanding of modern architecture that the expression of technique be seen as
an art—a creative interpretation that heightens awareness of the nature of architecture.

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ARCHITECTURE
ARCHITECTURAL DESIGN PROCESS:

• Architectural design is the process of conceiving a built form to accommodate a specific

activity compatible with its context and has to be physically constructed.
• The built form is conceived as an idea.
• The architectural design process is a systematic procedure used by architects and designers to create
structure to meet the needs and desires of the occupants or owners. Idea may be conceived in two
ways

MENTAL CONCEPTION
• Showing the purpose of the object.
• Analyzing the functional and aesthetic aspects.

REPRESENTATIONAL CONCEPTION
• Drawing sketches
• Miniature models

• As a first step in the design process a “design Project Statement‘ that provides basic information
and parameters about the structure ,the client ,the site , the cost and the time of completion has to be
prepared.
• Then the mental process of visualizing the built form begins which is progressive with
adjustments and modifications and final evolution of the built form.
• Initial idea Progressive modifications and adjustments Final form
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THEREFORE THE STAGES IN DESIGN CAN BE SYSTEMATICALLY DEFINED AS

1. Preparation of “design project statement”-provides basic information and parameters about the
structure, the client, the site, the cost and the time of completion.

2. Schematic design phase –

Detailed program which defines the needs and objectives :function, size and relationship
between spaces, character and image and a host of other considerations that affect the design .
Analyze the site and determine the best placement of the building and spaces within to capture views
and sunlight and ventilation. Determine the general layout ,form and overall appearance of both the
house and site.

3. Design Development :
Sketches,drawings and study models are prepared to help evaluate the ideas and concepts and
set the final direction for refining the design.

4. Presentation Drawings :
showing the preliminary floor plan and an exterior elevation that meets the requirements of
the client.

5. Construction Documentation:
working drawings (blue prints)and specifications are prepared which define in detail all of the
materials that are to be inculpated into the house, where they are to be located and how they are to be
installed.

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ARCHITECT RESPONSIBILITY :
•An architect is responsible for conveying the progress of civilization through the creation of spaces
that have function for its inhabitants while using environmentally sound processes and materials.
•An architect must take into account the past, present and future of both building techniques and global
cultures in order to convey a structural message that relates to past and present ideologies while gently
leading the path for the future of human consciousness and cultural identity.

•We are influenced by our senses. What we see, hear, feel, smell and taste all have impacts on our
psychological and cultural identities.
• The fact that we are being exposed to those sensations relates to a manifestation of current culture.
• Every piece of human culture has physical aspects that exist within the definite senses.

•Architects and those who design spaces must therefore take into account the physical multi sensory
aspects of their creations in order to best understand the psychology of the space, acting in
reference (or not) to the physicality of the culture that they are conveying.

• The creation of space is a physical manifestation of culture through the presentation of texture,
color, timing, depth, light cycles, temperature etc. and though some of us might like to believe that ideas
come from the core of a white cube everything we think and do has relation to the greater temporal scale.
• So in summary, an architect helps to build the evolution of society by physically manifesting items
of culture in the form of spatial constructs where representations of culture meet the human mind
in a multi sensory locality.
• An architect has a physical sensory responsibility to the people who experience the constructed space
while also acting as an artist and painting the picture that we call society.
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SOCIAL RESPONSIBILITY IN PRACTICE :
• The social responsibility of architects lies in part in believing that architecture can create better
places, that architecture can affect society, and that it can even have a role in making a place
civilized by making a community more livable.

• As architects, we want to believe that architecture affects the quality of life.

• Whether you believe that or not, one thing is true: As members of society, we can affect the quality
of life in our communities through involvement beyond our practice.

• As citizens of our society, we can influence social conditions; we can even be the cause of positive
social change.

• Very few of us would choose to give up all our personal possessions to help the poor or dedicate our
entire life to a cause, but many of us do want to make a contribution to our social fabric. Many of us
would likely be willing to give some portion of our time or financial resources to help the
disadvantaged or to be a benefit to society.

• Before we start talking about role of Architect in society, let talk about who is an Architect? By
looking into situations in past till date I define architect to be a person who can design a space
(closed/ open) that can host a function or group of functions. This definition can be changed a bit
to better suit the time reference of human activity.
• In early days any one with basic visualization power was able to fulfill the architectural requirements
of society.

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•As few days passes society needs demanded people with minimum visualization power and some
experience in the work to plan or design the spaces for their needs.

•In present days society required skilled architects who are educated and trained to
be in architectural profession.

•The increase in meeting the complexities of societies desires is the sole reasons for change in the
added requirements to call some as architect.
•In early days when population is small and they are living with fewer and simple desires, everyone acted
as architect of his own space.
•Effectively in those days as an architect‖s role was just to, respond to the environment around him in a
positive manner while satisfying his own needs.
•As stated previously along with the increase in population, role of architect and complexity in his duties
have increased, which resulted in transforming architecture as a profession and technically one has to
do some course work to call themselves as an architect and the same holds good for practicing in
present days.
• Let see what the role of architect in present days, this will tell us the difference in his role in society
from olden days to present days.

• Defiantly the bottom line of an architect‖s role in society is to respond with the surrounds environment
in a positive manner while rendering his/clients needs.
•The trend in present days is that one who designs is different from the one who is getting it built to the
one who is going to use.

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• It's a difficult job for him to satisfy the needs of all those people while keeping the effective
environment of the place/ space intact.
• Even if one was success full in doing all the, it's not certain that the space will cater to the expected
function for a minimum of 30 years.
•For various reason it could host a completely different function, to the one it was planned for.
•So architect need to have proper idea of what could be the potential of the space in the near feature,
and educate client about it.

• If required to modify the function of the space they are working or selecting another site for the
function client is looking for he should be educated about it.
•For doing these things he should be aware of trends and needs of the society. As a person with
maximum knowledge about spatial planning and designing structures that become part of
environment.
• These days many of the civilians are not having knowledge on why we need to value the natural
environment and its special configurations.
• It's the duty of architect to educate people about it; with some public lectures of writing etc. in
this way when is educates the society his job will be easier when they approach him do getting
any of their work done.
•Then another important role is that it's his duty to train architects for future.
• He should educate and guide the young and upcoming architects about their role in society as an
architect, and also should take part in teaching architecture students who are going to become the
future generation architects.

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ARCHITECTURE AND ALLIED AREAS
1.ARCHITECTURAL ENGINEERING :
• More commonly offered outside the United States, this field combines study of architecture and
engineering and in some cases may allow professional registration in both fields.
• Some programs emphasize civil and structural engineering along with architecture, while others
stress electrical and mechanical engineering concepts as they relate to architecture.
• In the U.S. architectural engineering is more typically studied as a specialization within architecture or
within a broader engineering field.

2.ARCHITECTURAL HISTORY:
• Study of the architecture of particular regions and/or periods.
• May be offered as course work within art history or (especially at the graduate level) as an
independent program.
The Society of Architectural Historians maintains listings of graduate programs in the field.

3.CIVIL ENGINEERING:
• Study in civil engineering and architecture overlap but emphasize different aspects of building
design.
• Civil engineering programs tend to focus primarily on the infrastructure of buildings and the physical
forces that need to be accounted for in their design, construction, and maintenance.
• Architecture also includes study of such engineering concepts but programs tend to focus more on visual
concepts such as space, form, scale, and on exposure to a variety of architectural styles and designs. •The
two fields often work in partnership with one another, and can lead to similar careers.

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4.ENVIRONMENTAL DESIGN:
• A multidisciplinary area, which may include such fields as architecture, interior design, product design,
landscape design, graphic design, film, theater, and/or computer graphics.
Schools that include departments in both architecture and other design fields are often named as "schools
of environmental design."
5.HISTORIC PRESERVATION:
• Professionals in historic preservation use a broad range of techniques to encourage the renovation and
re-use of historic buildings and neighborhoods.
•Education may be offered in schools and departments of architecture, art, history, architectural history,
or independent departments of historic preservation.
6.INTERIOR DESIGN:
• Focuses on making the elements within a space (everything from furnishings to positioning of windows
and walls) most functional for users.
• Over 100 programs in the United States and Canada are professionally accredited by the Council for
Interior Design (formerly the Foundation for Interior Design Education and Research).
•Most are located in schools of art, architecture, or home economics.
7.LANDSCAPE ARCHITECTURE:
•Design of outdoor environments, which may include urban, rural, open space, or conservation
planning.
•Academic programs may be found in schools of architecture, agriculture, environmental science, or
forestry.
•Study areas include survey landscape design, landscape ecology, plant and soil science, geology,
urban and regional planning, and environmental sciences.
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8.LIGHTING DESIGN:
• Lighting designers most often have an academic background in interior design, industrial design, or
electrical engineering, though architecture schools are increasingly involved in the field.
9.PLANNING:
Also referred to by such terms as urban and regional planning, town planning, and so forth.
• Involves study in architecture, economics, development, public policy, land use, and community
development.
• Most programs are offered at the graduate level.
• Planners may be employed in architecture and engineering firms, in government, or
occasionally in independent consulting firms.
• Responsibilities vary widely, ranging from environmental impact assessment to zoning code analysis.
10.REAL ESTATE:
•The sale, management, and analysis of land and properties.
•A wide variety of careers exist but most educational programs are strongly focused on the specifics of the
U.S. real estate markets.
•Real estate development involves skills and responsibilities similar to that of a construction manager
and many developers have a background in that field.
11.SUSTAINABLE DESIGN:
• Applying the principles of sustainable development—economically viable growth that includes a focus
on the needs of future generations and the poor as well as awareness of environmental limits—to
the creation of consumer products, buildings, communities, and other human-created
products.
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THE ROLE OF CLIMATE FACTORS ON DESIGNING :
INTRODUCTION:
• The effect of meteorological factors on human constructions has long been considered so much so
that in the traditional architecture and new civil engineering, this issue has been accounted for
according to the available facilities and information.
• Considering climate factors registered based on long-term climate data is essential in designing
and building construction in different locations so as to assimilate with the region's climate and
minimize the potential adverse effects and also to optimize the climate potentials.
CLIMATE FACTORS:
• There are different climate factors that must be considered in civil operations, building
constructions and building designs.

• The most significant climate factors are as follows: weather temperature, soil temperature, angle
and intensity of sunlight, relative humidity, direction and wind speed, rainfall and sunlight.

• Climate factors cannot be reduced in these items. Rather parometric pressure and such are also
considered as climate factors but they don't play a big part in designing and civil operations.
•Besides, the changes of some climate parameters are not high over the year so it does not make
a big difference knowing about their time changes.
• Now, well be dealing with each of these factors.

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WEATHER TEMPERATURE :
• Weather temperature is the most important climate factor affecting climate designing.
•The intended dimensions in designing various points of a building and also the material in
use are determined by the maximum and the minimum temperature of the region.
• Therefore, the quantity and quality for constructing a building are different depending on the
type of the region: tropical, cold and moderate.
•Cold region would require taking special decisions on the choice of materials.
• In order to prevent energy dissipation in tropical and cold regions in summer and winter
time, body insulation of the buildings must be considered whereas this issue might not be of
priority in moderate regions.

SOIL TEMPERATURE :
• Soil temperature and its changes are of importance over the year. The soil surface
experiences the most changeability of temperature during the year which is caused by proximity
with air and its changes.
• The more we go to the depth of the soil, the less changes of temperature we have so that in
a specific depth called depth or attenuation depth temperature, annual changes of soil
temperature is caused.
• Given the fact that building foundation lies in the soil, knowing about soil temperature,
especially glacial soil and its depth, is of high significance in the selection of the materials
and determining the foundation of a building.
• Moreover, knowing about the depth of glacial soil can be effective in the installation of gas,
water... pipes.

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SUNSHINE :
• The rate of receiving sunshine is a function of several factors which include: latitude (angle of
sunshine),the amount of cloud, and sunshine hours.
• The less the latitude, the less the angle of the stretch of sunshine with the vertical line to horizon and
the more the receiving sunshine.
• In areas where the rate of receiving sunshine by the earth surface is high, temperature is high too.
•If the goal is to reduce the amount of sunshine entering the earth surface (this method has
recently been noticed by climatologists and it is one of the strategies for reducing global warming and
earth engineering), we can use reflexive mirrors.

RELATIVE HUMIDITY:
• By definition, relative humidity refers to the proportion of the existing amount of humidity in the air
to the maximum amount of acceptable humidity in terms of percent.
• The more the rate of relative humidity, the more the possibility for the formation of water drops on
physical objects on the earth surface(including buildings and other constructions
such as bridges, streets,etc.).
•This means the acceleration of the effect of humidity on equipment & their rust chemically (corrosion
of metals, oxidation of metals,etc.)& physically (freezing water and causing crack in building design.
• In the regions where there is more relative humidity of weather such as coastal areas and islands,
designing and construction of the buildings take place according to high adverse
effects of water.
•They must be designed and constructed in a way that physical and chemical adverse effects of water
decrease to the minimum level or even zero. This need is met through the selection of water and corrosion-
resist materials and equipment.
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WIND DIRECTION AND SPEED :
• Wind direction is a way from which it is blowing. Knowing about the wind direction of each region,
bearing the most frequency from that direction (prevailing wind), is an important factor in setting
the direction of building construction aerodynamically so that in the state of heavy winds, light
buildings wouldnt be hit.

• In ancient times, in order to design the direction of wind wards especially in tropical regions the length
of wind ward vents was built in the direction of prevailing wind so that wind could be used in the best way
possible to cool the building.
• Wind speed is also important because in the case of high speed winds, there is the possibility for the
detachment and physical damage to different parts of building especially light ones.

RAIN FALL :
• The amount of rainfall is one of the most determining factors that shall be considered in building
design, especially ceiling design.
• In rain areas, the ceiling of buildings must be designed as gable roof so that water erosion is reduced,
due damages are minimized and there would be no water left on the roof.
• Otherwise, adverse effects of rain and its penetration into buildings would rise.

• Knowing about the rate of rainfall, especially for designing structures like dams (estimation of the
maximum probable rainfall) is necessary so we can determine spillway dimension, etc. moreover, in
order to design surface water disposal system across cities when it rains, knowing about the
maximum urban flood relevant to return period sounds like essential.

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EXAMPLES :
BUILDINGS IN SHANTI NAGAR, ORISSA, INDIA :
THE MAIN POINTS:
• Unprotected southern walls lead to
overheating.
• FCR (Fibre Concrete Tiles) and clay tiles
perform similarly.
• Double layer of tiles has no significant
influence on the indoor air temperature, but
certainly on the surface temperature
which is not monitored.
• Buildings with a high storage mass are
clearly warmer at nighttime, but not much THE MONITORED BUILDINGS :
cooler in daytime because of the high • The four houses that were compared
ventilation rate. are all residential buildings of single
GEOGRAPHICAL LOCATION AND CLIMATIC story structures.
CHARACTERISTICS : • Ratio window to floor area: 30%
• The climate is hot and dry in the summer season (March to • Walls: Brick, white plastered on
June) with temperature variations between a maximum of around outside, 30 cm;little sun protection on
50°C and a minimum of 20 - 30°C, thus a large diurnal the southern side.
temperature swing. • Roof: Clay tiles
• Winter (November - February) temperatures vary between a • Ventilation: Good
maximum of 20 - 30°C and a minimum of 4 - 10°C. • Floor: Mud
• Measurements were taken in March 1990, when the outdoor
temperature varied between 21°C at night and 35°C in daytime.
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• Ratio window to floor area: 28%

• Walls: Brick, white plastered on outside, 40 cm.
• Roof: Double FCR sheet with 8 cm ventilation
space (FCR = Fibre Concrete Roofing, 10 mm
thick).
• Ventilation: Poor to moderate
• Floor: Mud

• Ratio window to floor area: 16%

• Walls: Brick pillar structure with clay infill, 40
cm; outside color brown.
• Roof: Single FCR sheet
• Ventilation: Moderate
• Floor: Mud

• Ratio window to floor area: 21%

• Walls: Brick pillar structure with clay infill, 40
cm; outside color brown, large storage mass.
• Roof: Single FCR sheet, alternatively clay tiles
• Ventilation: Moderate
• Floor: Mud

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CLIMATIC PERFORMANCE AND CONCLUSIONS :
• During the daytime, house 1 is clearly hotter than all the others, up to 6°C.
This is mainly due to the unprotected southern wall and window with very little roof overhang.
The reduced thermal storage capacity and insulation of the outer walls (thinner walls) are also
contributing factors.

• No difference could be observed between FCR roofing and clay tile roofing.
• Although no clear difference between double FCR sheeting and single sheeting could be observed, there
is a clear advantage with double sheeting because of the lower inner surface
temperature.

This was not measured, but observation by the inhabitants supports it.
Moreover, recent research works at the CECAT in Habana, Cuba, have shown, that in such a case the
inner surface temperature of a ventilated double sheeting construction is lower by approximately 8°C.
• At night all houses perform similarly and have a temperature about 6°C higher than the outside
temperature.
• This is due to the relatively high thermal storage capacity.
• House 1 with the least storage capacity is slightly cooler. With increased night ventilation it might
be possible to decrease night temperatures.
• Houses with mud-walls are clearly superior in the daytime compared to brick structures because of the
larger storage mass and also because they are less ventilated.
• The performance at night could be further improved by increased ventilation, but the inhabitants
are not concerned because they sleep outdoors.

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AN ARCHITECT IS A TECHNOCRAT :
• Technocrats, a term used frequently by journalists in the twenty-first century, can refer to individuals
exercising governmental authority because of their knowledge.
• The concept of a technocracy remains mostly hypothetical, though some nations have been
considered as such in the sense of being governed primarily by technical experts in various fields
of governmental decision-making.
• Technocrat has come to mean either "a member of a powerful technical elite" or "someone who
advocates the supremacy of technical experts".
• Examples include scientists, engineers, and technologists who have special knowledge,expertise, or
skills, and would compose the governing body, instead of people elected through political parties and
businesspeople.
• In a technocracy, decision makers would be selected based upon how knowledgeable and skillful they
are in their field.
• The term technocracy was originally used to designate the application of the scientific method to
solving social problems.
• According to the proponents of this concept, the role of money, economic values, and moralistic
control mechanisms would be eliminated altogether if and when this form of social control should
ever be implemented in a continental area endowed with enough natural resources, technically
trained personnel, and installed industrial equipment.
• Technical and leadership skills would be selected on the basis of specialized knowledge
and performance, rather than democratic election by those without such knowledge or skill deemed
necessary.

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• TODAY, some 20 years after the apparent unlamented demise of Technocracy, that doctrine is only
just coming into its own—in our architecture.
• Architects, in collaboration with numerous home owners, businesses and universities (not to mention
the U N), are producing numberless permanent monuments to the theory.
• Harvard University's Graduate Student Dormitory, Illinois Techs' Campus, Lever Brothers New York
headquarters, and Massachusetts Institute of Technology's new auditorium are only our premiere examples.
• Nearly all modern, and, oddly enough, many traditional houses, also exhibit symptoms of
the same ideological disease.

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MIT’S NEW AUDITORIUM.
• The most interesting current example of the scientific
approach is undoubtedly MIT’s new auditorium.
• The building's envelope is a triangular segment of a sphere,
supported at ground level on three points.
• This form is as arbitrary as it is startling.
• The architects quite consciously excluded the ability to hear
as a factor influencing the building's shape.
• To be able to see was as much utility as the spherical segment
had to offer.
• The acoustic properties of the hall were then approached as a
separate engineering problem, to be solved in such secondary
terms as absorptive veneers, baffles and reflectors—all
elements essentially draped within the basic structure.
• In such cases the acoustic engineer (a physicist and thus a true
scientist) becomes, in every sense, an architect.
• He must not only fix it, as he has always done.
• He must be highly creative, if the building is not to fall
esthetically as well as in its primary purpose.
• Where this approach is followed consistently, all of those
problems which can be met by the engineer are set aside for
separate solution, thus reducing to a minimum the number of
criteria the envelope must satisfy.

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• This might be called fracturing, as opposed to the
classical architectural endeavor to synthesize.
• To fracture implies either ultimate faith in and
complete acceptance of engineering, or a new
situation so complex that the synthesizing method no
longer works.
• How much of it, one wonders, is made necessary by
the original arbitrary choice of an envelope? And, in
its turn, how defensible is this shape, from the
standpoint of the human uses which are the real
functions a building is designed to serve? The ability
to hear is the essence of an auditorium.
• A shape which fails to further that ability, and to
express its acoustic intent, would seem to be
merely a package, not architecture.
• The MIT auditorium is so brilliant an example of
the technocratic approach that it transcends the
doctrine. It is architecture.
• Because of this, perhaps, it excellently exemplifies
the style's characteristics. A building‖s form is first
very arbitrary and very clear. Its functions are then,
more or less ingeniously, stuffed inside that envelope.
• And, finally, the resulting somewhat unsatisfactory
spaces are ameliorated by technical means.

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SYMBOLISM IN ARCHITECTURE:
• Society requires that architecture not only communicate the aspirations of its institutions but also
fulfill their practical needs.
• Differences in expression, apart from differences in planning, distinguish the forms of architectural
types (the house from the church, etc.), the kinds of use (the Catholic from the Protestant church),
and the traditions and customs of users (the English from the Swiss Protestant church).
• Architectural forms become the vehicles of content—in plan, elevation, and decoration—they are
symbolic. The architectural plan, when used symbolically, communicates through its shape.
• From prehistoric times and in many cultures, the circle, with its suggestion of the planets and other
manifestations of nature, gained a symbolic, mystical significance and was used in the plans of
houses, tombs, and religious structures.
• By slow processes it came to be employed for memorial and shrines and for hero cults in both the
East and the West.
• When building techniques permitted, its symbolism often merged with that of the dome.
• In Hindu temples, the square (and the cross plans developed from it) expressed celestial harmony.
• The central-plan Christian church (circle, polygon, Greek cross, ellipse) fascinated the architects of the
Renaissance with its symbolic and traditional values, and it is found in their drawings and treatises to the
virtual exclusion of the more practical longitudinal basilicas that architects were often commissioned to
build.
• Plan symbolism remained almost exclusively in the sphere of religion after antiquity, and its
traditions gradually disappeared in the course of the 19th century.
• The modern plan is determined by problems of form (space-mass relationships, etc.) and by the
practical demands of use rather than by symbolic communication.
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In elevation the most consistent symbolic forms
have been the dome, the tower, the stairway, the
portal, and the colonnade.
Domes imply the meanings of the circle and more,
since a dome is a covering.
• Long before masonry domes could be built, the
hemisphere was associated with the heavens as a
cosmic canopy,‘ and throughout history domes have
been decorated with stars and astrological symbols.
• In ancient Rome and among Christians and Indian
Buddhists, the dome came to mean universal power.
• During the Renaissance it spread from religious
structures to palaces and government buildings,
retaining some of its implications of power.
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• The Chinese pagoda extends central-plan
symbolism into towers; many towers and spires
rose from the northern European Gothic
cathedral, and the medieval Italian city was a
forest of towers erected by nobles in constant
competition to express their supremacy.
• The stairway, employed in the past to give
‗monumentality‘ to important buildings,
frequently became more expressive than
convenient, especially in Baroque palaces.
• Portals, from the time of ancient Egyptian
temple pylons and Babylonian city gates,
became monuments in themselves, used to
communicate a heightened significance to what
lay behind them.
• In the Gothic cathedral they became the richest
element of the facade—a translation of biblical
doctrine into stone.
• Since the development of the classical Greek
temple, the colonnade on the exterior of
buildings has borne similar implications
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• This resistance is especially evident in the popular
symbolism of domestic architecture, where the
atmosphere of the home is often expressed by cottage-
like roofs, shutters, trellises, mullioned windows,
grilles, and other associations with a more peaceful
past.
• Decoration, the most easily recognized medium of
content, communicates meaning either
through architectural elements or through the figural
arts (sculpture, painting, mosaic, stained glass, etc.).
• The architectural elements used decoratively, such as
the classical orders, usually originate in technique and
in time lose their structural significance to become
symbols.
• In ancient Rome and from the Renaissance to the 20th
century, the formal Grecian orders were applied to
buildings of many different techniques as
expressions of the continuing influence of Greek
institutions.
• The sculptures of the Hindu temple, the mosaics of
the Byzantine church, and the stuccoes of Moorish
palaces are not ornamental applications; they
determine the form of the building itself.
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SYMBOLISM IN 19TH CENTURY:
• Symbolism came to the force in late 19th century, with its roots
in arts and literature.
• Largely a reaction against naturalism and realism ,the
movement was largely in favour of spirituality, the
imagination and dreams.
• Symbolism has ,since then,pervaled every facet of human life.
• Almost everything –be it a building, a painting, a movie or a
tale-has its roots in some
form of symbolism or,conversely,resorts to symbolism for
expressing itself.
• In architecture ,clearly, buildings are imbued with and embody
multileveled and multipurpose meanings and messages.
• They provide not only structure and form, but the text, context
and meaning to social and cultural life.
• Architecture also constitutes powerful expressive and
symbolic vehicles in its own right
,with monumental buildings being more noteworthy in their
statements and style than in their functional provision and
delivery.
When it comes to architecture ,symbolism exists at many levels.
• However, we tend to connect it mainly to historical and religious structures as the imagery appears to be
highly explicit and profound in them.
• Symbolism exemplified in monuments ,mosques,chruches and to her spiritual and historic structures
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. SENSE OF SPACE:

• The term sense of space has been defined and utilized in different ways by different
people. It is often used in relation to characteristics that make a place special or unique, as well as
to those that foster a sense of authentic human attachment and belonging.

HISTORY OF SYMBOLISM:
• Symbolism in 19th century was characterized as spiritual or mystical in nature ,which represented
the inner life of people. Hence ,symbolism is applied use of any iconic representations which carry
particular conventional meanings.

RELIGIOUS SYMBOLISM:
• Religious architecture is a record of the way people express their faith.
• Religious symbolism uses symbols, including arches types,artwork,texts,rituals,and other
signs.

SYMBOLS AND HINDU TEMPLE:

Cultures have often associated geometric shapes with religion.
In India ,the relation between symbols and temple architecture is clearly spelt out by vastu shartra.
The various parts of a temple are related to corresponding parts of the body.

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EXAMPLES: PENTAGRAM:
• A pentagram is a five-pointed star drawn with five straight strokes.
• Also called pentacle, the pentagram was symbolically in ancient Greece
and Babylonia.
• The five pointed star depicts the four elements-earth,air,fire and water
and the spirit.
• The pentacle ,also said to be a pre-Christian symbol that relates to nature
worship .
SYMBOLISM IN STRUCTURES:
The pyramids-Egypt
• The pyramids of Egypt symbolize the powerful
existence of the human race on the earth.
• They represent the supreme control of man ,the
animal with intellect, on the entire earth.
• The shape of the Egyptian pyramids represents
primordial mound from which the
Egyptians believed the earth was created.
• The shape is said to represent the descending rays of
the sun and most pyramids were faced with
polished white limestone to give them a brilliant
appearance when viewed from far..

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PYRAMID AT LOUVRE,PARIS:

• In 1983,apart from creating two large glass-covered courtyards to house sculptures ,Pei‖s
design also included the excavation of two other courtyard to create storage and
infrastructure space.
• It is made out of 666 panes of glass.
• Formally ,it is the most compatible with the architecture of the Louvre.
• It is also one of the most structurally stable of forms and lends a feeling of transparency.
• The design and the materials used signify a break with architectural traditions of the past.
• Today, along with the Eiffel tower ,the pyramid at Louvre, rich in illuminati symbolism ,is
considered one of the landmarks of Paris.

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GUGGENHEIM MUSEUM BILBAO :
• A museum of modern and contemporary art ,the Guggenheim Bilbao is located in Spain.
• Designed by frank Gehry,widely considered the master of pop architecture, the museum hailed as a
signal moment in architectural culture.
• The randomly curving building ,with its witty shapes and sinuous line in titanium ,is now considered the
epitome of the post-modern.
• Intended to resemble a ship ,the building reflective titanium panels resemble fish scales and echo organic
life forms that are seen commonly in Gehrys designs.
• The Guggenheim Bilbao, called the ―greatest building of out time by architect Philip Johnson, is the
structure that follows the DE constructivist style .

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