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UNIT-2.pptx form in nature and manmade environment
- 1. FORM IN NATURE AND MANMADE ENVIRONMENT UNIT - 2
- 2. •Understanding form in all its attributes as the basis of creating architecture. •Characteristics of form and its relationship with use/function/evolution as manifested in first hand examples from nature and everyday manmade environment including artefacts, objects buildings, cityscapes. •Human body and sensory environment. •Cognitive experience of form- ideas of Gestalt, visual perception, proxemics. •Tactile, auditory, olfactory senses and human environment.
- 3. FOR M • Form is the shape, visual appearance or configuration of an object. • The form of an object is the first interface that we perceive. • Form gives meaning to an object. • It provides an interpretation to the function of the object. • It can arouse and fulfill desires. • It shapes human interaction with the object
- 4. • Designers create forms by deliberately shaping data into information and then into the coherent argument that is the product. • This argument is, according to Richard Buchanan, its "ability…to fully engage a human being in support of a particular activity.“ The Anthropologie Grasshopper Stapler A charming sloth - the incense stick holder Coral Chair is designed by the studio Aisslin
- 5. Norman Foster designed 30 St Mary Axe "Gherkin“, London. Beijing National Stadium Lotus Temple Olympic Pavilion, Barcelona -Frank.O.Gehry Eastgate centre – Harare, Zimbabwe
- 6. Form should not be thought of as simply the physical or aesthetic properties of a product. •It rather includes all aspects of an object's character and the values of the culture to which it belongs. •Form is the manifestation of the object’s usefulness, usability and desirability. •According to Philip Meggs, form gives a design its cohesive composition that gains order and clarity from the relationship between the elements.
- 14. •The world around us is composed of forms, each with individual characteristics. •Trees, which from a distance look flat, when approached become three-dimensional forms that can be walked around and viewed from all sides. •The contour of the land is a flattened shape at sunset from behind, but as one moves across it, he finds himself surrounded by hills and hollows, that is, by forms. •Even a blade of grass has form when it is handled or blown through to make a sound. •Nature embodies all her animal life in form, from man to the so-called “shapeless” jellyfish. •Form is involved with mass or volume, but it goes further. •Mass or volume is delimited by shape and is contained by size, thereby becoming the form of the object. FORM IN NATURE
- 16. FORM IN ART •Form is an inclusive term that has several meanings. •It may refer to an external appearance that can be recognized, a that of a chair or the human body that sits in it. •It may also allude to a particular condition in which something act manifests itself, as when we speak of water in the form of ice or steam. •In art and design, we often use the term to denote the formal structure of a work—the manner of arranging and coordinating the elements and parts of a composition so as to produce a coherent image.
- 18. EVOLUTION OF FORM FROM NATURE •The feeling for design is as old as mankind. •The materials for design are millions of years older. • Design is considered a man-made expression, yet its roots reach back into the beginnings of the earth. •Primeval eras manifested Design through the expression of natural laws of growth and formation.
- 19. •The Understanding of the origins of forms and processes is of inestimable value to the designer. •An exploration of the natural rhythms and the ability to see eternal forms, which outlast all man’s activities, are a challenge to the designer. •The designer will need to see life wholly and contribute to it a sense of purpose.
- 20. CHARACTERISTICS OF DESIGN •The Designer will find no rules or formulas to help him in his search for expression. •He will not even find a simple definition for design. •Being an expression of man’s own reaction or experience, design is as individual as the person who creates it. •There are however, certain characteristics that can be associated with any good design. A plan of order Expression of material Fulfilment of purpose Relationship to natural laws of growth and order Individuality
- 21. A PLAN OF ORDER •Order has been the cornerstone of creativity. •The world began when order was created from chaos. •Confusion or nothingness gave way to form and order, that is, to Design. •As man evolved into an intellectual being, his need for order found expression in his habitat. •Habitat: The palace, the temple, the cathedral, the mausoleum, the skyscraper developed from a feeling of design arising from the need to divide the simple cave into areas for dining, sleeping and leisure. A Combodian Palace. A Nepalese Temple Shrine. A Mausoleum in Chicago. Shanghai Skyline. •Order or Design, can in fact be interpreted as the foundation of all living. •Any good design is, first of all, a plan for Order.
- 22. EXPRESSION OF THE MATERIAL •The earth is an interwoven tapestry of life composed of blocks of field and forest, of ploughed ground, of towns and cities. •It is the very character of the earth coming to its surface from deep within: the areas of fertility yielding patches of green or gold; the towns and cities, with their deeply rooted networks of pipes, gas and electric lines, railways, marked by a richly textured area of concrete, glass, steel, trees, streets with thousands of people and their perplexities. •Any design should be an expression of its materials, rather than an external attempt at decoration. A Port Town in Europe. A Settlement in England
- 23. FULFILLMENT OF PURPOSE •Purpose in nature is usually involved in survival. •A tree grows in a certain shape to survive in a constricted area. •Fish develops fins so as to move through water, find food and safety from predators. •In man’s design, purpose is concerned with other levels of activity. •An effective design will fulfil its purpose.
- 24. • Simple form exploration of a regular measuring tape, inspired by the shape of a chicken head . • The Regular measuring tape now has a form to rest the hand as we clutch the tape and use it.
- 28. • Fulfilled purpose is exhibited in the totem poles created by Indians of the Pacific Northwest. • Stylized characters of exciting variety are carved into the huge poles of the Northwest cedars, adding tremendous drama and meaning to the depiction of the history of the clan. • Even the colours have meaning. Totem poles and houses at 'Ksan, near Hazelton, British Columbia.
- 29. •Totem poles can symbolize the characters and events in mythology, or convey the experiences of recent ancestors and living people. •Some of these characters may appear as stylistic representations of objects in nature, while others are more realistically carved. •Pole carvings may include animals, fish, plants, insects, and humans, or they may represent supernatural beings such as the Thunderbird. •Some symbolize beings that can transform themselves into another form, appearing as combinations of animals or part-animal/part- human forms. •Consistent use of a specific character over time, with some slight variations in carving style, helped develop similarities among these shared symbols that allowed people to recognize one from another. •For example, the raven is symbolized by a long, straight beak, while the eagle's beak is curved, and a beaver is depicted with two large front teeth, a piece of wood held in his front paws, and a paddle- shaped tail. Totem poles in front of houses in Alert Bay, British Columbia in the 1900s
- 30. •One of the most functional uses of design is in the creation of architecture. •A well-designed building will have a floor plan, which makes a good two dimensional design on paper. •The linear ground plan which shows variety in the layout of the space, harmonious arrangement of sizes and shapes representing rooms, and a pleasing rhythm in the flow of traffic from area to area will, when built, result in a structure that is satisfying and functional in its 3D form.
- 31. •In the early 20th century, Frank Lloyd Wright revolutionized architecture with his organic designs springing from their native settings and expressing man’s essential needs. •Contemporary architecture follows the principles followed by him where shelters are constructed according to the vital requirements of the occupants, with the structure evolving outwards. •For integrity of design, buildings should be created for the life within them. •The floor plan thus became all-important and the exterior is adapted to it in an attractive and functional way.
- 32. RELATIONSHIP TO NATURAL LAWS OF GROWTH AND ORDER: •Nature is the supreme master of inherent design. •The smallest granite pebble has its patterns, resulting from centuries of building up and washing away until the round smooth core of design remains, each one unique. •The trunks of trees are rich in design, drawn in concentric circles through the seasons, then twisted into writhing lines and textures by winds and snows and lightning, hostile elements which serve to improve the tree’s own intrepid character. •The outer bark has an individual design quality. •Each has its own design – a beauty of color, •texture, or line that has been part of the tree from its beginning.
- 33. •There exist eternal laws of growth and order. •Each blade of grass unfolds in an orderly way characteristic of its kind. •The leaves of every tree and plant evolve in precise sequence. •Though growth frequently leads to disorder, the cycle of nature adds quality. •Each facet of growth is accomplished according to basic and orderly procedures. •An authentic design is related to the basic natural laws of growth and order.
- 34. INDIVIDUALITY • Snowflakes, though following basic growth patterns, are never exactly alike. • Seashells are never identical. • The artist who would create truly original dreams must learn to see the individuality of his inspirations and to respect it. • One must train the eyes to look beneath the general shape of things to the variation that creates interest. • An interesting design has individuality.
- 35. •It is a fundamental law of science that nothing new is created in the world of matter. •Even in design, every design is based on age-old forms, whether these are found in nature or are simple geometric lines and figures used in an abstract way. •A talent for design, using elements and methods long grown old, can bring forth freshness and originality in its own inimitable style.
- 36. DESIGN AND LIVING •A creative mind is an orderly mind, a mind that sorts and arranges for creative use: Whether it is figures, with a statistician; Whether it is facts, with a historian; Whether it is theories, with a scientist. Whether it is melodies, with a composer. •Design is not limited to attractive manifestations. •Carefully orchestrated crimes, or military maneuvers are some examples. •Many people do not realize that they are unconsciously creating design in the orderly way in which they approach the tasks of everyday life. •As life becomes more complex, man’s survival is going to depend increasingly upon design. •One of the most basic functions of the designer is the necessity to see life whole and to assign to it a sense of purpose. •There are neither rules for creating designs nor any simple definition of design itself. •Yet there are certain characteristics, which can be found in any good design.
- 37. CHARACTERISTICS OF EFFECTIVE DESIGN • A design is a plan of order. • A good design is a expression of its material. • An effective design fulfills its purpose. • An authentic design is related to the basic laws of growth and order. • An interesting design has individuality. • ‘Lota’ is an example of very effective design due to the multiplicity of it uses scenarios. • The form can be made in a variety of m aterial s
- 42. Al Dar Headquarters / MZ Architects - representation
- 45. Other Examples • Lotus temple • Sagrada familia • Miwakey stadium
- 46. The Guggenheim Museum Bilbao / Gehry Partners - Symbolism
- 52. Other Examples • Unité d'habitation - Le Corbusier • Le Corbusier's chapel of Notre Dame du Haut in Ronchamp, France • Guggenheim Museum Bilbao
- 53. Human body and sensory environment. HUMAN SENSES 1. VISION - Light, color, views 2. HEARING - Sound, noise, silence 3. TACTILITY - Texture, thermal, physical feeling FUNCTIONAL, AESTHETIC, PSYCHOLOGICAL. 4. SMELL 5. TASTE
- 54. 1.Earth – Material, Site, Vegetation 2. WATER – Rain, Humidity 3. FIRE – Light, Temperature, Vegetation 4. WIND – Ventilation 5. SKY - Space NATURE - ITS FIVE BASIC ELEMENTS
- 55. Cognitive experience of form- ideas of Gestalt, • Gestalt psychology affirms that the mind will simplify the visual environment in order to understand it. • Given any composition of forms, we tend to reduce the subject matter in our visual field to the simplest and most regular shapes. • The simpler and more regular a shape is, the easier it is to perceive and understand. • From geometry we know the regular shapes to be the circle, and the infinite series of regular the circle, the triangle, and the square.
- 56. PROXIMITY SIMILARITY CLOSURE SYMMETRY CONTINUITY • "Gestalt" is a German word that partially translates to "configuration or pattern" along with "whole or emergent structure". • According to this theory, there are eight main factors that determine how the visual system automatically groups elements into patterns: Proximity, Similarity, Closure, Symmetry, Common Fate (i.e. common motion), Continuity as well as Good Gestalt (pattern that is regular, simple, and orderly) and Past Experience. LAWS of Gestalt
- 57. PROXIMITY • The principle of proximity states that things that are close together appear to be more related than things that are spaced farther apart. • People tend to group together elements that are near each other. It doesn’t matter if these elements have different shapes, sizes, or colors. Also an essential element of visual hierarchy, proximity is a common way to group design elements. Simply speaking, objects that are close together are generally perceived as more related than objects farther apart.
- 58. Proximity (Photo on the left: Roberto Alonso): Proximity of windows make them perceived in groups of two PROXIMITY
- 59. SIMILARITY • The principle of similarity states that when things appear to be similar to each other, we group them together. And we also tend to think they have the same function. • They can be grouped by color, shape, or size. Similarity can be used to tie together elements that might not be right next to each other in a design.
- 60. Similarity (Photo on the left: Roberto Alonso): Dark colored windows are read as a group and light colored window panes are read as another group, forming horizontal lines. SIMILARITY
- 61. CLOSURE • People have the tendency to literally try to see the whole picture. • If there are any gaps in a figure, the human brain will still understand the bigger context by ignoring the gaps. • These will be filled with information even if it isn’t actually there. We will perceive a complete circle and make out a triangle depicted in the middle of this illustration even though no direct lines illustrate its sides. Instead, all that genuinely exists are three V and three Pac-Man-
- 62. Closure: China Central Television HQ, Beijing; Closure also works in volumes. Although the prism is not complete we still sense the space as a prism Closure: Closure also works in facade articulation. Although the square of the facade is not complete we still read it as a square CLOSURE
- 63. COMMON REGION The principle of common region is highly related to proximity. It states that when objects are located within the same closed region, we perceive them as being grouped together. Adding borders or other visible barriers is a great way to create a perceived separation between groups of objects—even if they have the same proximity, shape, size, color, etc. The circles are right next to each other so that the dot at the end of one circle is actually closer to the dot at the end of the neighboring circle. But despite how close those two dots are, we see the dots inside the circles as belonging together.
- 64. SYMMETRY Our visual system also tries to reduce complexity. This fact means that we’ll choose to see simple symmetry in objects. When there are multiple ways to perceive a display, the human visual system prefers to see simple symmetrical things rather than more complex and asymmetrical ones. For example, when presented with the Olympic logo, you see overlapping circles rather than an assortment of curved, connected lines. symmetrical images are perceived collectively, even in spite of distance.
- 65. Symmetry: Reconstruction of the Parthenon (left), Taj Mahal (right) SYMMETRY
- 66. CONTINUITY Individual elements that are positioned in a continuous line or a soft curve seem more related to one another than elements that are positioned randomly or in a sharp curve. According to the principle of continuity, elements arranged in a line or curve are generally assumed to continue beyond their defined end point. In other words, once our eyes begin to follow a line or curve, we believe that line will continue in the same direction until it encounters another object. • The figure/ground principle states that we are predisposed to see objects within a relationship of primary and secondary importance. • The figure or foreground is more important than the elements that sit behind it in the background. • It also explains how the characteristics of objects can determine our perception of foreground and background. For example, when small things overlap a larger one, we view them in the foreground. FIGURE GROUND
- 67. Continuity: The alignment of raised parts of the facade element makes the raised part perceived as a group (left); the alignment of facade elements makes the whole facade perceive as a group (right) Continuity: The alignment of facade elements creates two groups, one of beams and one of windows CONTINUITY
- 68. FIGURE GROUND Based on the color, contrast, size, etc, objects are separated as whole figures from their backgrounds. • Smallness means that we favor interpreting small objects as figures. • The idea that surrounding shapes tend to be interpreted as background to the shapes that they surround.
- 72. Cognitive experience of form- visual perception •Visual perception is the ability to interpret the surrounding environment through photopic vision (daytime vision), color vision, scotopic vision (night vision), and mesopic vision (twilight vision), using light in the visible spectrum reflected by objects in the environment. •This is different from visual acuity, which refers to how clearly a person sees (for example "20/20 vision"). •A person can have problems with visual perceptual processing even if they have 20/20 vision. •The resulting perception is also known as vision, sight, or eyesight (adjectives visual, optical, and ocular, respectively). •The various physiological components involved in vision are referred to collectively as the visual system, and are the focus of much research in linguistics, psychology, cognitive science, neuroscience, and molecular biology, collectively referred to as vision science.
- 76. A chart depicting Edward T. Hall's interpersonal distances of man, showing radius in feet and meters •Proxemics is the study of human use of space and the effects that population density has on behaviour, communication, and social interaction. •Edward T. Hall, the cultural anthropologist who coined the term in 1963, defined proxemics as "the interrelated observations and theories of humans use of space as a specialized elaboration of culture". •In his foundational work on proxemics, The Hidden Dimension, Hall emphasized the impact of proxemics behavior (the use of space) on interpersonal communication. m Cognitive experience of form - proxemics
- 77. Cognitive experience of form - proxemics
- 78. Two people not affecting each other's personal space Reaction of two people whose regions of personal space are in conflict vs •According to Hall, the study of proxemics is valuable in evaluating not only the way people interact with others in daily life, but also "the organization of space in [their] houses and buildings, and ultimately the layout of [their] towns". •Proxemics remains a hidden component of interpersonal communication that is uncovered through observation and strongly influenced by culture.
- 80. • The geometric elements of point, line, plane, and volume can be arranged to articulate and define space. • Space inherits the sensual and aesthetic characteristics of those elements in its field/frame. SPAC E
- 81. VISION (Light, color, views) LIGHT AND ARCHITECTURE : What is light • Relationship between light space and human • Relationship between light and architecture Lighting –Natural, artificial. • Natural lighting architecture Daylight • T ypes of day lighting Artificial Lighting • T ypes of Artificial Lighting •The perception of space is directly connected to the way light integrates with it. •What we see, what we experience and how we interpret the elements is affected by how light interacts with us and with the environment. • The dynamic daylight and artificial lighting are able to instigate and provoke different visual experiences and moods. •Due to the light, it is possible to perceive different
- 82. RELATIONSHIP BETWEEN LIGHT, SPACE AND HUMAN •Light is fundamental for space, it is the success of any building. •Light quality affects human behaviour, health, comfort and mood. •"Space and light and order. Those are the things that men need just as much as they need bread or a place to sleep"-Le Corbusier, August27, 1965 •Light, space and human they effect and work with each other. •Space needs light to illuminate; light needs space to receive it, light within the space change human experience. •Most of the architects like to amplify the use of natural light. •Natural light makes more architectural harmony between exterior, interior, nature and human. •Light work with some element like colours, can make space more dynamic and beautiful. •More than that, light can be employed through design to evoke an emotional response to increased sensibilities.
- 83. d LIGHT INFLUENCE MOOD: •The psychological factors should not be overlooked. •People need to change perspective in order to relax the eyes and mood. •Lack of natural light makes people feel depressed and tensed. LIGHT CREATE ATMOSPHERE: •Light creates atmosphere. •Many factors affect the building atmosphere. •Natural light is one of the most important factors. •Architect needs to use light to create a different order an rhythm change the spatial effect gives different atmosphere. LIGHTING: •Naturally -by daylight received from the sky. •Artificially -by electric lamps or other artificial light sources.
- 84. NATURAL LIGHTING • Lighting or illumination is the deliberate use of light to achieve a practical or aesthetic effect. Daylight as two distinct sources of light: Sunlight Skylight. • Sunlight and skylight may therefore be considered as the direct and diffuse components of daylight. The quantity of Daylight obtained within a room will be dependent upon: • Orientation, geometry and space planning of the spaces to be lit. • The location and surface properties of any internal partitions which may reflect and distribute the daylight. • The location, form and dimensions of any shading devices which will provide protection from too much light and glare. • LIGHTWELL: • In architecture a light well or air shaft is an unroofed space provided within the volume of a large building to allow light and air to reach what would otherwise be a dark or unventilated area. • Lightwells may be lined with glazed bricks to increase the reflection of sunlight within the space. • Lightwells serve add a central space within the building, and provide an internal open space for windows to give an illusion of having a view outside.
- 85. NATURAL LIGHT AND ARCHITECTURE: • Natural light keeps changing through times. • However, architects cannot control natural light, which from morning to night, day after day changes. • Its existence gives life to space, modeling the spatial sensibility. • Natural light for the space, like the air for life, these two have symbiotic relationship. • Natural light into interior design have many positive effects, including the considerable financial savings in energy. • Natural light is considered a beneficial design for many reasons: human health, comfort and satisfaction, energy conservation, view.
- 87. ARTIFICIAL LIGHTING: • It is made by human. It is very useful when there is lack of natural light. Types of Artificial lighting General or Ambient lighting Accent or Directional lighting Traditional or Decorative lighting Task lighting
- 88. COLOUR AND ARCHITECTURE Color wheel shows the principal colors divided in two major segments • WARM • COOL COLORS. • The area made up of red, red-orange and yellow- orange is said to consist of warm colors, yellow-green, green, blue-green, blue and blue-violet is said to consist of cool colors. • The primary colors are red, yellow and blue. • Other (secondary and tertiary) colors are obtained from their combination. PSYCHOLOGICAL EFFECTS OF COLORS • Warm colors such as red or orange heighten body functions, • While cool colors slightly reduce bodily functions.
- 89. COLORS IN ARCHITECTURE • Color has been effectively used in architecture since ancient times, as the ancient Neolithic cave paintings. • Early Christian churches (around 450-500 AD) were very plain outside but they were covered with colored mosaics inside that showed biblical figures. • Gothic churches were also alive with color, by way of paintings and stained glass windows. • Renaissance architects (15th century) were not much interested in colors, since they were more interested in the composition of forms and volumes.
- 90. • The color scheme of International Modernist architecture, formed by the designers of Bauhaus, Germany in 1920’s, was inspired by De Stijl architects. • De Stijl architects used saturated primary colors (red, blue, yellow) for painting the walls of the space, and used black for the structural elements such as columns or beams
- 91. • Red - colour of energy, it’s bold, powerful and vibrant. It has the longest wavelength. • Yellow - very emotional color, confidence and optimism. After red, yellow has the longest wave length, appearing to be strong from a distance. • Blue- color of intelligence, vastness, royalty, serenity, coolness and tranquility. Sky appears blue and gives calm effect, water appears blue and gives peace of mind. • Green - most refreshing, natural and cool color. • Orange - gives warmth, comfort, security, passion, and fun. • Black - Black is graceful, efficient and serious. • White - pure, clean, hygienic, innocent and simple.
- 92. TEXTURE : Tactile •“The sensations caused by the external surface of objects received through the sense of touch. ” Basically, how things feel”. •Textures create visual interest and add those touches of detail that were previously missing. •Textures in design can be of two different kinds- a. Tactile. b. visual. TACTILE: Actual alterations in a plane which may be felt when touched are tactile textures . 1.Metal. 2. Stone. 3. Concrete 4. Glass. 5. Wood. 6. Fabric. VISUAL TEXTURE : Appeals to our perception, what a texture might feel like. With a texture you may be aware of the repeating motif but you are more aware of the surface.
- 93. SOUND - Auditory •There have been many studies attempting to figure out just how music affects the human mind. •Different people like different kinds of music. •But certain sounds have a similar impact on almost everyone. •Those are the sounds of nature. •May it be the sound of chirping birds in the morning to rattling of insects at the evening, Sound of stream & sound of the wind, everything gives a sense of liveliness and connection with nature. •The artificial recreations are endless these days. •May it be temple bell or a wind chime, a soothening flute music or the sound of rain…etc., it has a definite impact on the human minds.
- 94. WATE R • A major characteristic of water is the ability to emit sound when it is in motion or strikes a surface. • Depending on the amount of movement and volume of water involved, numerous sound can be produced that complement and enhance the spatial experience. • The sounds of water can be manipulated to produce trickles, dribbles, bubbles, gurgles, roars, gushes & splashes. • Attention to the audible aspects of water is very important; too little can be irritating(i.e. a dripping faucet); too much, especially in confined spaces, can be considered overpowering. Visual Impact • Water can function as a focal point within a space or as a means of creating & maintaining a sense of continuity. Auditory impact • The intensity and frequency of the sound generated by a water display can be used to convey a sense of calmness or excitement, and can also mask unpleasant or distracting
- 95. SMELL - OLFACTORY COMFORT IN ARCHITECTURE AND THE IMPACT OF ODORS ON WELL-BEING •when dealing with odors (more specifically the bad ones), we know how unpleasant it is to be in a space that doesn't smell good. •When dealing with buildings, what are the main sources of bad smells and how can this affect our health and well-being? •Dealing with odors can be tricky. • First of all, it is essential to mention that what one person considers stinky and disgusting may not be for someone else. •These preferences are subjective and may vary widely due to differences in culture and personal experience. Of course, there are some odors that are unpleasant for everyone. •When excessively strong, they can disturb physical and psychological comfort and even cause nausea, headaches, and irritation in the eyes, nose, and throat. • If they sustain over a long period of time, they can also affect mood, anxiety, and stress level. •In Denmark, for example, a study found that volunteers experienced reduced productivity in an office when a 20-year-old rug was placed in the environment, emitting odors and air pollutants.
- 96. •An adult inhales and exhales about 11,000 litres of air daily. •Odour is caused by one or more volatile chemical compounds that humans and animals can perceive through smell. •According to the report Guidelines for Ventilation Requirements in Buildings , humans perceive air in two ways. •The first, sense of smell, is located in the nasal cavity and is sensitive to several hundred thousand odorants in the air. •The second, general chemical sense, is located on all mucous membranes in the nose and eyes and is sensitive to an equally large number of irritants in the air. •It is the combination of these two senses that determines whether the air is perceived as fresh and pleasant or rancid and irritating.
- 97. •Another element that can improve indoor air quality, in addition to its many other benefits, is plants. They produce oxygen, eliminate toxins from the air, and add aesthetic value to a space. •Some species have already proven to be more efficient than others. •NASA studied chrysanthemum (Chrysanthemum morifolium) and concluded that they absorb polluting gases, such as carbon monoxide and formaldehyde, and eliminate harmful elements such as benzene. Rapid lily and palm also absorb some pollutants. •Other species, such as jasmine, geraniums, lavender, and basil, release pleasant fragrances capable of neutralizing unpleasant odors. •Although there is no evidence that unpleasant odors, in themselves, are directly linked to adverse health effects, scientific research amply proves their harm to the general well- being of occupants. •Creating at least neutral-smelling environments may be more essential to architecture than we think.
- 98. •In buildings, odors can come from external or internal sources. External sources are, of course, more complicated to control. •They can reach the building through openings and air renewal systems and may stem from industrial activities, highways, an unpleasant neighbor, busy streets, sanitation infrastructure, or even chemical soil pollution. •The internal sources of odors in a building may include the building materials themselves, the coatings and paintings, the furniture, the sewage system, construction materials, conservation and maintenance materials, decomposition products, or users and their belongings. • In addition, as architects, providing good sunlight and, above all, adequate and natural ventilation is a highly efficient way to purify air in an environment. • Facilitating air circulation helps to improve thermal and olfactory comfort in an environment. •If this is not possible, the use of mechanical ventilation with fans and air conditioners can work efficiently as well. •In the case of air conditioning, inlet and outlet air filtration helps to remove harmful particles. •However, air filters need to be maintained to prevent the ventilation system itself from becoming a source of pollution.
- 99. TAST E •Taste is probably the toughest sense to link to in architecture. •It has been proven though that architecture can stimulate taste through vision. •It is possible that by mixing certain colors within objects of a building, it elicits some oral sensations. •For architect, client, user, professionals, and the public, proportion between aesthetics of the building, its position in city view, life experience and presence in the building, along with a look at fashion and common patterns, are Foundations of valuation and judgment , are criteria of choosing optimal building or origin of taste in architecture.
- 101. SPIRITUAL •The meaning of spirituality has developed and expanded over time, and various connotations can be found alongside each other. •Traditionally, spirituality referred to a religious process of re-formation which "aims to recover the original shape of man", oriented at "the image of God" as exemplified by the founders and sacred texts of the religions of the world. •Ex : Church of light ( light, color, silence, view/ focal point). Concrete and light. •Tadao Ando‘s principal focus on simplicity and minimalist aesthetics in the Church of the Light is silencing. The church is located in a typical Japanese suburb, a cram of tradition and modernism on the outskirts of Osaka. •Its load bearing walls are very simple and traditional, contrary to the modern architecture that has encroached the city of Osaka. •Tadao Ando takes an ancient approach with this, especially when compared to Le Corbusier‘s insistence that a wall would no longer be a structural element but a mere membrane on the outer shell.
- 102. INFERENCE: •I strongly believe that nature and ourselves are one in itself; we are weaker when we are separate but together we take on the world—literally! •Nature works simultaneously with humans, and humans work simultaneously with nature to produce an ongoing output and input of life on earth. •Whether we realize it or not humans are interconnected with nature. •Humans cannot survive without nature.