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PEOPLE ARE
REPRESENTED BY
ARCHTECTURE THATSURROUNDS
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SPIRIT OF ARCHITECTURE
Architecture is a meeting place between the
measurable and the immeasurable. The art of
design is not only rooted in the aesthetic form, but
in the soul of the work. In Phenomena and Idea,Stephen Holl once wrote, " The thinking-making
couple of architecture occurs in silence. Afterward,
these "thoughts" are communicated in the silence
of phenomenal experiences. We hear the "music"of architecture as we move through spaces while
arcs of sunlight beam white light and shadow.
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Somewhere between the messiness of the
building site and the puzzles of
architectural theory lies the profession,
discipline and art of architecture. It is
always under construction.
Architecture is built through the
development of ideas as much as throughthe erection of buildings.
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The history of modern architecture shows thepersonality of the architect who designed it.
This style began in the United States andEurope. It then spread from there to the rest ofthe world.
Modern architects reacted against thearchitecture of the 19th century; they thought itborrowed too many ideas from the past.
As the 20th century began they believed it was
necessary to invent an architecture thatexpressed the spirit of a new age and wouldsurpass the styles, materials, and technologiesof earlier architecture.
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It is well known that the building
environment influences our emotional
state. There are rooms where one
immediately feels comfortable and
perfectly at ease, while others are awe
inspiring or even intimidating.
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Yale University Art and Architecture Building: Paul Rudolph
Many more floors than at first suspected lie hidden behind a solid and, at the
same time, irritatingly fragmented street front.
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Architects work involves designing what
they hope will make the world a betterplace. That work ranges from small
conversions to helping to regenerate post-
industrial cities, even planning new ones.That means a unique concentration on
design work, informed by an up-to-date
understanding of the conditions is neededto design and construct architecture.
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A degree from the School of Architecture is
supposed to prepare the young architects with:
Design and conceptual skills.
Team working skills. Communication skills including verbal, written,
formal drawing, computer modeling and physical
modeling.
An understanding of society and its culture, andthe built and natural environments.
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LEADING AND INNOVATING
Choice and flexibility shall be the themes ofapproach for teaching architecture.
The environment shall be such that the faculty feelsfree to discuss the key issues with students and thestudents shall free to do the same amongst oneanother. This encourages diversity in students.
The institute shall be capable enough to trainarchitects to go on to become global leaders of
excellence in design, innovation and management. The institute shall have a blend of cultures where the
prestige of Indian architecture precisely as thebackdrop is examined with perspective.
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DESIGNING FOR DESIGNERS
-J. L Nasar, W. Preiser, and T. Fisher There is a need to mark a new understanding
towards looking at the learning environmentsthat house architecture and design programs asa building type that deserves special attention.
There is need for a fresh look at buildings ofschool of architecture as a new typology.
There is a need to incite a speculative form ofcuriosity that calls for a deeper insight into waysin which designers design environments toaccommodate themselves.
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We would have to firstly understand the
relationship between the schools of
architecture building forms and their users
exemplified by students and faculty.
A research needs to be done thathighlights the paramount value of
assessing the dialectic relationships
between architecture and design studentsand their environments.
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BAUHAUS
Gropius chief aim was to demarcate each of different elements quite distinctly
without isolating one from another, and at the same time to give an
architectural unity to the whole.
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Yet, in spite of the special significance of
this building type, the architecture of
schools of architecture has received little
critical discussion. Although some authors
have written systematic reviews ofarchitectural education, no book has
focused on the architecture buildings
themselves.
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Another critical statement is introduced to
highlight idiosyncrasies inherited inarchitectural academe Architectureschools have often sought new buildingsby signature architects as a way to build a
reputation. Although some of thesebuildings won design awards and praisefrom the critics, sometimes prior toconstruction and occupancy, the samebuildings did not work well for thedesigners.
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Utilizing multiple approaches for
discussing and debating the architectureof schools of architecture, buildings are
examined from different perspectives
including the evolutionary history ofarchitectural education, typological
analysis of architecture school buildings,
systematic post occupancy evaluations-
POEs, and comparative analysis of those
evaluations.
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It is generally argued that buildings for schools
of architecture should be the best structures inuniversity campuses.
The reason is simple, that is the designers are
working for clients and users who understandwhat their needs are, the design process and its
limitations, potentials, and pitfalls.
It encompasses two interventions, one about
assessing designs of schools of architecture,
and the other about lessons learned and the
future of schools of architecture.
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Designing for Designers is a conscious
endeavor towards systematically addressing therelationship between architecture students and
faculty and the physical environment that
accommodates their needs, wants, and activities
while at the same time reflecting or translatingtheir aspirations in a visually pleasing and user
responsive environment.
The value of this issue can not be realized until
the architecture of school buildings is designedin tandem with the thinking of the experiences
that take place inside them.
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It opens an avenue for future studies on linking
different teaching methods in classrooms,
lecture halls, and studios, and the qualities andcharacteristics of spaces and places that housethem while fostering architecture studentsperformance and faculty productivity.
Strikingly, these issues have been addressed
extensively over the past few years in pre-
university education by, but never at the level
of schools of architecture buildings. Has not thetime come to address this understanding withrespect to buildings of schools of architecture?
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The reason is that most criteria place emphasis on
the quality of programs, curriculum content,
knowledge delivery methods, quality of faculty
teaching and research, learning outcomes,
and standard spatial requirements in relation to
the number of students with little or no interest
in the spatial qualities of the building that
accommodates all of that.
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A proper working environment has to be created which facilitates faculty andstudents to teach, learn and interact anywhere.
The faculty rooms are placed too far from the studios. This hinders the
interaction of the teachers with the students. Similarly, an interconnection
between the library and the studios cannot be easily made out.
CEPT
Centre for Environmental Planning and Research
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Better designs tend to have:
1. A well-managed process.2. Compatible exteriors and warm interiors.
3. A gathering space (Atrium) with lots of naturallight.
4. Layouts and signs that make it easy for people tofind their way around.
5. Some focus on basics to ensure good acoustics.
Research shows that architects and the public differin their values or taste standards for the waybuildings should look.
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So, whose values take priority,
the designer or the public? Ultimately, this becomes a question of audiences; and
part of the problem in answering the question involvestreating architectural appearance as a question ofaesthetics. Doing so treats good architecture like a
photograph framed in a gallery or displayed in amagazine or book. It transforms the architect and jurorinto a kind of priest, who delivers cultural knowledge tothe uneducated masses. The intimidated public oftengoes along, lacking confidence in their aesthetic
judgment and feeling uneasy challenging the expert.
Treated as aesthetics, architecture need only appeal toan elite audience; it can function poorly, look ugly, orrequire the viewer to have a special knowledge to
appreciate.
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For places experienced by the public (building exteriors,and interiors used by many people), the values of the
public (the consumer) take priority. When a design involves public money, public
property, or becomes visible to the public (as
are most buildings from the street), it becomes
a societal concern. Unlike the high arts that need appeal to only a narrow
audience who choose to experience it (in a gallery ortheater), architecture surrounds people and does notafford them the choice of avoiding it.
For this audience, design appearance does not require aspecial priestly knowledge to interpret.
Design should appeal to the way the broaderpublic who experience it feels about it.
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The overall performance, includes the
buildings appearance, its evaluativequality, the meanings and evaluative
responses it conveys to the users.
Research has consistently shown thatvision dominates human experience, and
that appearances, aesthetics or the
invisible mental image places convey
takes first priority in humans experiencesof places.
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As for visual quality, we need better knowledge of theperformance-related outcomes associated with
appearance. Do places that look good make workers or visitors
feel better in them?
Does that, in turn, improve creative thinking, productivity,
or the bottom line. Do aesthetic appearances affect property values?
Successful designs must convey the desired meaning, ameaning that is supportive of the function, and both tousers and occupants. For example, a gambling casinoshould probably look exciting to work in, while a dentistsoffice should probably look calming..
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Guggenheim museum in Spain
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