In addition to a definition statement, each principle should have associated rationale and implications statements, both to promote understanding and acceptance of the principles themselves, and to support the use of the principles in explaining and justifying why specific decisions are made. Should both represent the essence of the rule as well as be easy to remember. Specific technology platforms should not be mentioned in the name or statement of a principle.
Avoid ambiguous words in the Name and in the Statement such as: "support", "open", "consider", and for lack of good measure the word "avoid", itself, be careful with "manage ment ", and look for unnecessary adjectives and adverbs fluff. Should succinctly and unambiguously communicate the fundamental rule.
For the most part, the principles statements for managing information are similar from one organization to the next. It is vital that the principles statement be unambiguous. Should highlight the business benefits of adhering to the principle, using business terminology. Point to the similarity of information and technology principles to the principles governing business operations. Also describe the relationship to other principles, and the intentions regarding a balanced interpretation.
Describe situations where one principle would be given precedence or carry more weight than another for making a decision. It will often be apparent that current systems, standards, or practices would be incongruent with the principle upon adoption. The impact to the business and consequences of adopting a principle should be clearly stated.
The reader should readily discern the answer to: "How does this affect me? Some of the implications will be identified as potential impacts only, and may be speculative rather than fully analyzed. An example set of architecture principles following this template is given in Contaminated soil and water often found in begin to emerge as a result of considering A responsive architecture is one that under- abandoned industrial wastelands can be the potentially dynamic reciprocity between goes transformation as motivated by its remediated through introducing frameworks multiple species and the environments that engagement with environmental stimuli.
It that support plant growths that absorb sustain them. As with the cell, where half of is one that is often embedded with scales existing pollutants or earthworks that isolate what defines its behavior is what exists of programmatic responses from the cellular and contain contaminated earth.
A Bachelor of Architecture component system of thesis at Cornell University triangulated forms of various proposes a series of artificial dimensions and densities groundscapes that draws constructs a system of contaminated water up from elevated walkways, bridges, the water table and filters it and follies, allowing the through a canopy of live pedestrian to experience the material before reintroducing remediated landscape.
The EcoARK constructed as the main exhibition hall of the Taipei International Flora Exposition uses these recycled bottles as its primary building material. The translucent blocks can be disassembled and reused elsewhere. The scalelike wooden shards create a porous skin that not only offers summer shade but can also be detached to provide event seating. Here, rebuilding itself from what trash is separated into has been discarded. Most consider the making of buildings to be an additive process—and indeed it usually is.
It is the layering of multiple materials and systems that, together, construct 64 the completed edifice. However, when a work is concep- 65 tually conceived as a monolithic volume, the resulting mass transcends the thinness of these layers.
It Historic Museum in Ningbo stands as a monumental China are constructed of testament of the absence of bricks and tiles recycled from those structures devastated local buildings.
A delicate by disaster and of the imbalance is achieved presence of vanishing between the massive form construction traditions. Mass is the distinct presence of volumetric density.
The pyramids of Egypt are masses that convey solidity and impenetrability. Embedded within their cores are the inner sanctums of the pharaohs for whom they were built.
The mass is achieved at two as the primary spatial voids. A series of At another scale, bands of often occupiable piers in compressed gneiss produce a was transported is conceptually understood monolithic mass of material spatial dialogue with one as an excavation within this mass—a negative another together construct density. Processes A sense of mass is achieved by the relentless repetition or aggregation of material or volume that subsequently transcend their individual incrementalism in favor of a monolithic surface or volume.
The abstracted urban Sicily—is conceived as a monolith references the a pile of stones or bricks or a stacking of logs. Here, the that construct the ghosted wreckage was amassed back streets is the physical into the blocks by which the detritus of imagined town had originally been narratives.
The exhibition of getting this up there is a recurrent theme in his work, which inevi- tably involves masses that are not simply floating but, at times, appear to be caught between ascent and descent, hovering over plazas, pools, and even other buildings. Still, the levitation of mass demands a resolution in physics, and Mendes da Rocha supplies these resolu- tions … sparingly.
If the neoclassic museum required a grand portico to signify its entrance as well as its importance, Mendes da Rocha uses a giant beam spanning the site to mark the presence of this important museum.
Light reflected from the plaza over what might otherwise have been just below lights the galleries through the gaps a hole in the ground. The huge square arch between the staggered floor slabs. One that marks entry into this important space moves about within the museum with the seems almost to twist and crack as it sends same grace the museum moves about the two brackets downward to support the quay.
Once more, Mendes da Rocha derives asymmetrical, curved arch over the stairs. This arch then frames views from within and through the space, ironically providing Concrete becomes cloudlike. George, subtractive process, a literal 7 twelfth century has been excavation that simultane- carved from the solid volcanic ously produces the mass rock in which it is located. Mass Subtractive By cutting into a solid, its thickness is revealed; massiveness is disclosed by the removal of substance that allows one to perceive its dimensions.
This ground can often become a figural accomplice to the shaping of Conceptually understood as of the regulating lines and architectural space. The mountains.
Alejandro collectively opaque, yet Aravena, —05 Characteristics mass—however here density is not equated constantly transforming Density and gravity are terms that are most with weight or lack of space, but rather with commonly associated with mass—the impene- opacity and lack of scale. Gravity Density While all buildings are in a perpetual state of A sense of mass can be achieved through resisting gravitational forces, an awareness of material or spatial density, as in a stone wall this resistance can be amplified through or a medieval village, where the heaviness of detaching or articulating a structure from its the material and the relationship of solid to ground.
It is in this condition of apparent void contribute to the perception of density. The idealized Italy —09 , are interior is suspended within simultaneously heavy and this exterior shell by strands light.
The exterior concrete of concrete shafts that, in shell is a seemingly turn, draw exterior light to impenetrable box that its interior. A common metaphor, whereby architecture is represented as a body, considers structure to be a form of skeletal system. This is only sometimes true, 72 however, in the cases when the various building 73 systems—skin, mechanical, interior finishes, and so on—are separated. It is and transferring loads into the ground. While commonly believed that with these branches gravity is a constant for most earth-bound and the trunks against which lean-tos were architecture, loads can vary widely—even supported, columns may have had their origin.
Regardless, most early structures were The beautiful eiciency of the earliest human composed primarily of elements that were shelters probably developed from the in compression; that is, the tree trunks, occupation of natural structures: caves and bricks, and stones—then columns, walls, trees.
Once humans found themselves and arches—were typically being squeezed searching for food in situations where there by gravity. As with traditional part of a comprehensive tent structures, the Olympic architecture that connected a buildings were fully number of the Olympic sites constructed off site, and then beneath a continuous mesh erected in just a few days. Shigeru Ban and the Softness of Structure Shigeru Ban delights in making strong structures out of weak material.
Through multiplication and increases in dimension, previously unimagined structural proper- ties are introduced to standard materials. The result is a structural expression that is characterized by the distinct qualities of the weak material, one that is simultane- ously familiar and yet abstract.
The material operates as a found object, imparting its inherent limitations to its creative redeployment. Shigeru Ban has said that he discards material preconceptions and in so doing is able to connect the material or shape of a standard material with an abstract idea, one that is often informed by an environ- mental sensibility.
As with his installation for the London Design Festival, his paper-tube structures have introduced a poetic value to a relatively low-tech and adaptable material. The bun- quake of , Shigeru Ban deploys a conceptions.
In the shadow of the massively dling of individual timber elements gives checkerboard of foot 6 m shipping constructed stone bridge of Pont du Gard, way to a hexagonal latticework—fusing col- containers to construct a temporary hous- a proliferation of lightweight cardboard umns with surface into an uninterrupted ing shelter. Here, the prosaic shipping tubes construct two arched trusses that structural expression. The aggregation of container is reused as the basic building support a suspended walkway of recycled an otherwise inconsequential material block of a three-story structure.
The struc- paper and plastic, a ghosted reference to amplifies its structural and spatial poten- tural expression of the construction the Roman engineering that preceded it. When a material is in tension, it becomes stretched by gravity, even if such stretching is not noticeable to the naked eye. The interplay between elements in tension and those in compression has been a fundamental aspect in the development of 8 architectural forms.
Elements Structure The basic elements of a structural system are also the primary elements in the production of architectural space: columns, walls, beams, slabs, and their various combinations. For the Burgo Paper Factory and its linear processing 98 feet 30 m wide, supported in Mantua, Italy completed of wood pulp into rolls of by two pylons that clearly Walls in , a column-free area newsprint.
The architect- communicate the transfer of almost 90, square feet engineer Pier Luigi Nervi of loads from cables into It is not surprising that most of the earliest 8, sq m was needed to designed a graceful suspen- the ground. Walls could be easily constructed by stacking earth, wood, or masonry.
Thick walls, whether straight sided or battered with sloping sides , are among the most efficient methods for transferring loads from a roof into the ground. They are also very effective in the separation of spaces, especially in dividing the public from the private elements of a building or city not to mention fortified walls, separating a city from an attacking enemy.
Retaining walls are used to hold back earth or sand and to prevent erosion and other forms of soil migration. It is often necessary to construct retaining walls in order to stabilize the ground when constructing on a slope. Retaining walls essentially reconfigure hillsides, transforming a natural topography into an architectural feature.
In Racine, Wisconsin —39 , with ample skylights columns with a flood of by Frank Lloyd Wright, spanning between the natural light penetrating their earliest manifestations, columns were columns gradually spread hovering, disclike slabs. Eventually, columns began to become more objectlike, and arches—especially when connected in a series—could span fairly large distances, with their loads carried downward by increasingly slender columns.
Perhaps originating as replications of trees or, among the more nomadic groups, of tent poles, columns have always been considered to be among the most expressive elements of architectural construction.
While a wall can be composed of a variety of pieces, even of mud and piled stones, singularly or in combination, columns require more carefully constructed elements; the failure of a column tends to be more perilous than the failure of a piece of wall. It is a testament to the architectural importance of columns that, as architecture evolved, columns were even applied to walls as a form of decoration—pilasters and half columns—as if to bring to the surface the latent strength and order that columns can impart to a wall.
The Porch of the Caryatids at metaphorical condition, with the Erechtheion in Athens the massive weight of the c. Beams typically accept might be considered to be bent beams. They composed of an undulating thinner roof membranes. The loads along their entire length to be are wholly in compression, transferring their base slab, much like a series effect is that of being in an transferred downward to be collected into forces downward in an arc onto a column or of domes that forms a rolling expansive interior landscape interior terrain of mounds, with very few columns, from two or more points, on either walls or wall.
The addition of hinges at the two points archways, and courtyards. Most structures have a hierarchy of contact and, on occasion, also at the apex The equally undulating roof distant Alpine landscape. In the case of Slabs especially large structures, there may even As Sandaker, Eggen, and Cruvellier point out be tertiary beams. The structural aspect withstand a degree of flex.
Because building needs to accommodate. While the tops of slabs usually provide the basic surface of floors, the undersides of slabs can be ridged, providing directionality, or with deep wafflelike indentations, thereby performing in a multidirectional mode.
When exposed, the undersides of such slabs can provide a visual complexity that can bring scale and texture to a space. Hybrids A vault might be considered to be like either a bent slab or an extruded arch. Because of the massive loads that can be deposited along these sides, vaults are usually constructed either with thickened walls lining their edges, additional counter- vaults converging on the sides, or some form of buttress that can assist in transferring the loads diagonally downward into the ground.
Domes might be considered to be like arches that are spun along their central axis. In fact, beginning with gothic architecture, many domes consist of a series of arched ribs that converges in a center. As with vaults, domes require a considerable amount of support along their edges in order to transfer the radial forces diagonally downward. As materials evolved, it became common to see tensile elements—chains, iron rods, and cables—employed in vaults, domes, and similar structures to bind the opposing sides together in order to resist outward thrusts, holding the structure together from within.
Composed of a ample light for the industrial tabletop requiring few points of vertical series of groin vaults operations yet limiting direct two vaults intersecting at sunlight. Because of their internal geom- etries, space frames can be modified to take on virtually any profile, even highly irregular configurations.
The works of Spanish composition. The results architect Santiago Calatrava often resemble the delicate consistently propose an skeletal structure of birds, elaborate balance between though at an enormous scale, elements in tension and those as here at the Quadracci in compression, rendered Pavilion of the Milwaukee Art completely in white so that Museum completed in the structural figures with its combination of sun- coalesce to form a singular screening with enclosed spaces.
The exterior forms and interior spaces of prehistoric and ancient architec- tures were inevitably a direct manifestation of their structure. Exteriors even displayed layers of implied structure—aedicules, niches, pilasters, half columns, and latticelike grids—that masked the actual structure within. Columns, their shapes, and with movement flowing freely spacing, can determine the around them.
Like a huge and complex basket, horizontal moldings weave in and out behind pilasters and in front of windows; in the rusticated base, window sills appear to be squeezed from a recessed band; the pilasters on the upper floors seem to penetrate the massive cornice line; and a central element of three large arches—duplicat- ing the proportions of those T H E L A N G UA G E O F A R C H I T E C T U R E above—lead the eye into a deep porch and further to the banks of the River Adige.
The eighteenth-century similar information. Perspective in the physical impulses could be both human figures as well as translated into elevations engineering projects and curtain wall, surfaces—transparent or arts gave us an awareness of the horizon, of that could communicate military architecture.
The surface of a building, and its civic mask. However, these displays tend to of thickness, imply unfathomable depths. In by a false perspective. Barkow Leibinger and the Active Surface The architectural surface is normally con- ceived of as a vertical plane that encloses— one that is primarily concerned with pro- viding security and ventilation and demarcating the limits between public and private.
Barkow Leibinger challenge these assumptions, arguing instead that the architectural surface, regardless of its ori- entation, is one that has a responsibility to demonstrate the ephemeral traces of a par- ticular program and site. Their surfaces are conceived as topographical landscapes that actively register the passage of light or of gaze, the dimension of structural incre- ment, the polychromy of context or the collection of water.
In so doing, they pro- duce the spatiality of the surface, blurring the boundaries between inside and out, between sky and ground. In their Laser Machine and Tool Factory in Stuttgart, Germany, the roof is the primary surface that is activated. A normally static membrane is here trans- Barkow Leibinger: Laser Machine and Tool Factory, Stuttgart, Germany, axonometric and exterior view of roof formed into an undulating surface of glass and aluminum clerestories that simultane- ously illuminates the production halls below and collects rainwater for laser cool- ing.
The resulting three-dimensional patchwork references both the physical context of agricultural fields and an his- torical context of annexed allotments. The tower addition proposed in their Bremerhaven competition entry fuses surface with building mass. Surface here is not relegated to a more or less modest planar dimension. Here, opaque and transparent. Here, surface oper- the surface performs: at times the building ates as a constructed geometric pattern, one is camouflaged as it reflects becomes its that is programmed by a dynamic interface surroundings, at others it is a beacon of between gravity, scale, and material.
Each of its four sides glass that protrude inches has a similar geometric from the surface. The Orange Cube in Lyon, aluminum screen with a panels on a concrete frame. Interfaces express the public face of the building while penetrate outward. Inner layers may include control natural ventilation and heat gain from and private, between the population of a city structure, mechanical systems, and insulation.
The surfaces The most interior layer may express the and the various membranes of which they are specific requirements of various interior In order to more efectively control solar composed help to keep the occupants warm spaces, providing utilitarian amenities and penetration of a building, both for environ- or cool, prevent the penetration of precipita- comfort to the occupants.
These screens may take many and facilitate egress. Like clothing, its or dissuade entrance. The outer layers tion from within the building and its walls to it projects. When a composer writes a piece of music, it makes a consider- able difference if it is to be written for a solo piano, 88 a string quartet, an orchestra, or a marching band. Materials, both natural and artificial, retain traces of their origin, and they communicate intrinsic qualities that evoke associations and responses in their perceivers.
Phenomenal Intrinsic to each material are its physical attributes, which can perhaps best be described by a series of pairings—thick or thin, opaque or transparent, matte or reflective, dark or light.
It is the qualities of these attributes that suggest meaningful associations with not only the program of a work, but also its perceptual experience. A wall made of glass might appear to dissolve the boundary between public and private, or inside and out, but it can also convey a crisp brittleness and a reflective hardness that suggests an atmospheric serenity.
Here, marble, associations. While their designs favor basic, easily recognizable volumes traditional house forms, simple boxes , their provocative and unfamiliar usage of materials has consis- tently altered our understandings of the role materials can play in an architectural work. It appears to be a deco- layers of limestone immediately adjacent rative touch, elaborated by the apparent to the building. The use of materials can absence of the concrete on the corners.
In suggest a function: In this case, the dense reality, the concrete is the structure, with storage of goods is represented in a build- smaller columns tucked within the corners. The house leads us to question our material prejudices, referring In the Stone House in Tavole, Italy, the dry to the traditional usage of materials while stone masonry walls at first suggest the drawing us into new, unexpected impres- other stone houses of the village, as well as sions.
A material seduction begins to occur. For example, the gabions that line the exte- rior walls of the Dominus Winery in Yountville, California, at first produce the image of a massively rusticated country wall. Gabions—wire mesh cages usually containing rough stones collected on-site— are traditionally used for retaining walls, most familiar for their usage in highway construction where their strength seems to be equated with their apparent solidity and opacity. At the winery, however, Herzog and de Meuron have used the gabions as an exte- rior cloak, filling the cages with varying sizes of rock and, occasionally, with no rock at all.
From the interior, glass walls behind the gabions take advantage of the dappled light that filters through the stones. What is understood to be solid and opaque is instead permeable and translucent. Yet this massiveness is belied in unimagined traits that are often even oppo- thoughtful encounter with the work.
We several ways. A large, horizontal cut on two site the initial impression. The two Degelo, with Christian Kerez surrounding buildings, Kunstmuseum in Bregenz, are brought into focus as the — are of cast connecting the building with Austria — The light filters in through the concrete, and it is the sanding both its built and geological contrasting materials plenum areas and the of their exterior surfaces that contexts.
Textural steps seem stealthy or monumental, modest Materials can develop textures through their or emphatic, unobtrusive or processional.
If cast concrete is highly Permeability polished, it can virtually disappear as it The way a building can weep or breathe is an reflects the environment surrounding it. Or important and even necessary aspect of the its normally hard, inelastic surface can be selection of materials. The permeability of softened through the imprint of the traces materials—especially those used in the of its forming.
Or if it is subdivided into exterior membranes of a building—can keep individual blocks, it can be stacked into a a structure and its components dry or humid, porous screen. The texture of a material can hot or cold, fresh or musty, even light or determine the sharpness or blur of a shadow, dark.
Behaviors Acoustic It would be a mistake, however, to consider Materials can be acoustically hard or soft; the nature of materials as being permanent they can cause echoes or mule voices. An and unchangeable. An understanding of the acoustically reverberant space can appear behaviors of materials not only plays an to be exaggerated in its vacancy or in the important part in protecting the integrity of Texture is the material of into the tip of the rods, grandness of its scale.
While the and, at night, by light sources as more intimate, more comfortable. The significantly to the aesthetic qualities of a primary structure is a wooden embedded in each rod. Most it changes from reddish brown to green, with respond in a direct way to the stresses of weathering steel as it oxidizes to an earthen gravity, heat, cold, moisture, and so on, albeit rust, or with cedar as it weathers from a in varying degrees.
Some of these responses reddish brown to gray. Less predictable is the can be permanent, as with cracking or staining and eventual erosion of more erosion, while others can be cyclical, as with resistive surfaces that allow initially untainted expansion and contraction or flexing and materials to slowly fade into their surrounding straightening.
Recognizing these behaviors, context, to return to the earth. All materials have a lifespan, but how a Anticipating such material transformations is material transforms over time is unique to a significant aspect of the design process. It is Wilton, New York, built in the raised library block. At the very least, and the relentless use of factory, brought to its site on 95 weathering steel suppress all eighteen-wheelers, and most materials change color or texture when detail and scale, reinforcing assembled in situ.
Over time, wet. However, some materials are much more the notion of the building as the steel has rusted to a dark reactive, with transformations that can be a sculpture. Steel is also used brown, its weathered surfaces as a functional material merging with the forested capable of accommodating landscape. Parametric to site: Technological that can generate and design software developed invention produces the distribute up to 16, watts for the Soft House project spatial experience.
The material scientist properties change in response to an external Michael Cima speaks of simultaneous stimulus. Michelle Addington explains that fabrications in which multiple programs are smart materials design behaviors, with the embedded within a single material structure. These nanocomposite condition of properties such coated ribbons automatically lar set of circumstances. Dawkins believed that the experience of architecture is a private dialogue between the body, mind and the built environment.
Monteagudo adds that architecture focuses on the human being and the meticulous use of design to provide services that meet the needs of man. Conway and Roenisch summarize architecture as the art and science of buildings concerned with aesthetic qualities as well as structure. The research borders on the questions relating to its historical underpinning, its development, application as well as relevance of these selected principles. According to Chen and Nakama , these principles have been accepted and practiced by the western world since it was appreciated in a scientific context by Needham in Xu defines Feng Shui as an ancient discipline that influences the design and layout of buildings and cities.
Vastu Shastra is a science that informs the construction and design of buildings like temples and Royal palaces Khan, Vastu Shastra and Feng Shui principles are based on synchronizing the built environment with the natural environment Tchi, These included: the supports Pilotis , Flat roof roof garden , free plan open plan system , free facade, use of long horizontal windows Daanico, Laugier, an 18th century Priest, theorist and Architect interpreted the fundamental principles of architecture using the primitive hut Longrigg et al.
Longrigg et al. Without a set of principles, it would be difficult to distinguish between a good and a bad design ibid. Prior to the spread of industrialization, the early 19th century saw the emergence of the discipline of history Karaiskakis, The period of the industrial revolution in the 19th century saw a spark of a new breed of architecture Karaiskakis, Gottfried Semper, a German Architect approached the issue of architectural origins basing them on the hearth, mound, roof, and enclosure Curl, Semper was fascinated by a Caribbean hut during the Crystal Palace exhibition in Joveini, Semper theorized that the hearth was the point of socialization Perry, From the above, it is clear that these design principles present a hint of complementing and enhancing compatibility between the built environment and the natural environment.
In summary, the study focuses on identifying comparative thoughts between seven selected design theories. A minimum of two philosophies were chosen from various classes categorized as: traditional, contemporary and individual theorists. Generally, these principles were chosen based on their influence in the modern approach to design across the world. The traditional principles were chosen due to their growing popularity in the western world; Feng Shui and Vaastu Shastra.
The contemporary principles namely Green Architecture and Le Corbusier were adopted due to global acclamation and its indelible impact in design. The theorists; Vitruvius, Gottfried Semper and Marc-Antoine Laugier wrote discourses that shaped the pattern of the profession of architecture. Their influence though subtle, is still incorporated into the conceptual design process.
Though Le Corbusier can be classified as a theorist, his principles has transcended from thought to influencing 20th century architecture and beyond. The study was primarily based on written literature sourced from books by seasoned authors, theses and journals. Alternative sources from where data was sought included conference papers, research reports, websites, blogs and review papers.
The following represent the results obtained from the study. In summary, it is defined by Xu as an ancient discipline that examines the sites of cities and buildings, and determines the layout and desirable arrangement of both exterior and interior spaces. Feng Shui is about - years old Lam, Vastu Shastra on the other hand, can be described as living in harmony with nature and synchronizing energies with the forces of nature Shamsunder, The science of Vastu Shastra is considered to be about 12, years old MahaVastu, Both Feng Shui and Vastu Shastra are traditional design practices that have endured the tunnels of time.
Vastu is relatively older; and from the argument of Schmieke and Maestro and Maestro , it has greatly influenced the art of Feng Shui. Schmieke asserts that about years ago monks crossed over the Himalayan Mountains from India, through Tibet and into China, carrying with them this ancient Vedic knowledge. Maestro and Maestro believe that the influence of Vastu Shastra is the force that influenced other principles or science of design and construction.
Monuments like the Egyptian and Mayan pyramids, Taj Mahal, Greek Parthenon and Roman Coliseum have largely been influenced by the science of Vastu Shastra; with regards to shape, proportion, measurements and alignment to the cardinal points ibid. From the data gathered, the contemporary theories that arrived later in the subsequent centuries have largely been influenced directly or indirectly by these traditional principles.
Active and passive design considerations of the environmental factors such as wind, sunlight direction, building orientation on a plot resulted from the long existence and influence of Vastu Shastra.
Apart from the traditional principles, most of the other principles evolved during the 17 th century apart from the Vitruvian principle and Green Architecture. From the assertions of Attmann and Broadbent , the history of Green Architecture is basically the history of mankind and even goes beyond the emergence of human beings. Green architecture is the longest surviving principle amongst other design principles. Green architecture is defined as an approach of designing that minimizes the harmful effects of the built environment and the human factor in order to preserve the natural environment by using eco-friendly materials and construction methods Roy, This emphasizes the fact that the concept of Vastu largely affected the other principles.
In the discourses of Semper and Laugier written in the 18 th century, the theme of nature and harmony is explored and accentuated. Green is a concept that has always been in existence and has been used subtlety in designs over the centuries. Due to advancement of technology, more sophisticated designs are made but the same concept of harmony with environment is primarily considered.
Due to the impact of the built environment on the natural environment Vierra, , various certification systems have been applied to regulate the type of buildings introduced into the environment Liaw et al. Development of the principles. The Chinese who predominately practice Feng shui believe that the five elements of Chi are made manifest by the presence of fire, water, earth, wood and metal Coleman, The elements of Feng Shui and Vastu Shastra bears resemblance to ancient Greek belief that the world is made up of four elements; fire, air, earth and water Lam, Both Feng shui and Vastu Shastra assert that the elements must be in harmony to ensure the continued existence of life in the heaven, earth and human plane Shamsunder, Moran et al.
Similarly like Feng Shui and Vastu Shastra, the concept of Green architecture also seeks to create harmony and balance between the built environment and nature Roy A green building design process must begin with an intimate understanding of the site in order to produce an architecture that embraces the site characteristics thus reducing the damage on the environment Rettenwender and Spitz, Le Corbusier, one of the most influential 20th Century Architect postulated five principles which influenced modern architecture namely the supports Pilotis , flat roof roof garden , free plan open plan system , free facade and the use of long horizontal windows Daanico, Monteagudo, Under each principle, Le Corbusier believed that a building must form part of its environment.
Yet in the application of the pilotis, it was observed that this principle makes an interesting contrast to other design philosophies that seek to merge the dwelling with the earth, and to incorporate the experience of a tactile earth in a design Korzilius Secondly, there is the idea of bringing the landscape under the outline of the building creating a connection between the building Villa Savoye and the landscape Korzilius, This position also allows a focal perception of the user from a height above appreciating all surrounding beauty and harmony Korzilius, Also, roof gardens serve as means of bringing nature to buildings; Le Corbusier opened the roof of the building to create an uninterrupted vista of the surrounding site Daanico, The last three principles make use of a structural system called domino that allows free plan open plan system , free facade and the use of long horizontal windows Monteagudo, Design Studio is a core subject in architectural course or education at the higher learning institutes in Malaysia and other countries overseas.
This manual is specific to a PowerPoint slide deck related to Module 4 Architectural design and construction.
Landscape architecture is concerned with the arrange ment of land water plant forms and structures for their best and greater enjoyment. To accent the titles even more they are underlined. It deals with land-planning prob lems such as building sites gardens outdoor-living areas playgrounds and parks.
Along with this qualitative exploration quantitative analysis of marks in the subjects of Basic Design and Architectural Design of a second year student and Architectural Design Building technology and Materials of the same student when in fourth year was made. CISC based computer will have shorter programs which are made up of symbolic machine language. My design envisioned a glass box that complemented the existing.
This Designers Notebook provides a guide for all parties involved in a precast concrete project and defines the responsibilities of each party. Repetitive questions from previous exams are reused 4.
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