Architectural Thesis- Music in Architecture

ARCHITECTURAL THESIS - 2012 SALEM SCHOOL OF ARCHITECTURE VINAYAKA MISSIONS UNIVERSITY – SALEM

“INTERNATIONAL RESIDENTIAL SCHOOL AT KOTTAYAM”

SUBMITTED BY : SINOJ NARAYANAN, REG. NO: 380051012 GUIDE: PROF. AR SUBOTH THOMAS

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THESIS REPORT

VINAYAKA MISSIONS UNIVERSITY SALEM SCHOOL OF ARCHITECTURE SALEM – 636 308.

The dissertation entitled ___________________________________is submitted on _____________in partial fulfillment of the requirements for the Degree of Bachelor of Architecture, Vinayaka Missions University, Salem. Name of the student _________________________________ Registration No: _________________________________ Signature _________________________________ Guide Coordinator Dissertation committee Dean & Head of the Department

External Examiner

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Acknowledgement I take great pleasure in expressing my gratitude and sincere appreciation to the people whose constant guidance, support and inspiration rendered to me and went a long way in rearing this project along in its inference. I would like to first thank my Thesis Guide and Director, Ar. Suboth Thomas for leading me in the right direction, providing me all the useful knowledge of the selected subject and guiding me in every aspect in conducting this dissertation work. I appreciate the staff of all the places where the case studies where executed and people who were stupendously supportive for providing all the information required. I discern the timely co-operation of the staff of the Salem School of Architecture. Also I would like to thanks to the respected professors of our college who have always guided me for achievement of this project. I am ever grateful to my parents, who supported me throughout this dissertation giving me all the encouragement whenever required. Lastly but not the least my special thanks goes out to all my favorite juniors for their intense support for my work and also to all my close friends for they have been my greatest strength.

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Abstract

School is a part of the education system which develops the social skills of a child in order to make them fit in the present highly advanced and complicated civilized world. They represent some of the most important part of the civic structure. They train and develop the child, enhance their skills and set them for their future. Everyone remembers more than half their childhood through memories of their school, no matter how the school designs is. The corridors, classrooms, the playground etc brings in memories that remain fresh to any adult. What if the school is further enhanced with design features? It would invariably transform the school atmosphere to an education haven bringing out the perfect character required for their survival, in short the perfect student as man is a student throughout his life. Learning everyday something new is what man is designed to do. One can never design a perfectly functional school without knowing the basics factors which is involved in its working. There are lots of elements which come to play from the back drops of the design which should help in the intellectual and physical growth of the child. Schools are the stepping ground for a child, where the tools required for their survival is provided, or rather attained by the children throughout his or her life at school. These tools equip them accordingly for the race of life in future. As such much care is required for the designing of a school because it should affect every factor; if it doesn’t, the school is a failure. 3

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While at designing a school, the architect should take into consideration the little voices, as it is these people who will be the main users affected by the design. Children are extremely aware of their surroundings and they are superb observers; they are cognizant, perhaps more than an adult. If the designing is done reluctantly taking in the reasons and factors involved in the adult realm, students may get the impression that designing of the school is done in an unimportant manner. They are capable of pointing out the flaws in the design and hence begin the age old problem of oppression faced by these students. They have to either fit in or rebel out of the school system. All have to work along well smoothly like a well oiled machine, a perfect school creating the perfect student for this high tech world.

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his thesis report progresses in a specific manner such that the special topics are taken into consideration in the beginning and going down further into detailed discussions from then. This is done so, such that one is gives a proper understanding to how the design was evolved and what plays the design deciding factors.

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Contents:

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Pages:

1. Music and Architecture 1.1. The Starting Note 1.2. Creation 1.3. Harmony 1.4. Proportions 1.4.1. Proportions: the Creator’s Tool 1.4.2.Harmony in Nature 1.4.3. Divine Proportions 1.4.4.Phi in Music and Architecture 1.5. Pythagoras 1.6. Leon Battista Alberti 1.7. Andrea Palladio 1.7.1. Arithmetic Mean 1.7.2. Geometric Mean 1.7.3. Harmonic Mean 1.8. Le Corbusier 1.8.1. Le Modulor 1.9. Conclusion

9 11 12 17 19 21 23 24 28 31 34 38 39 39 40 41 43 46

2. Education, Man and Society 2.1. Different ranges of Human Experiences 2.2. The 25 Patterns 2.3. Interactions 2.3.1. Types of Interactions 2.3.2. Trends in teaching and Learning 2.3.3. The 18 Modalities

52 54 55 56 56 57 58

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2.4.

Life between Classrooms: Applying Public Space Theory to learning Environment 2.4.1.Applying this theory to school design 2.4.1.1. Corridors 2.4.1.2. Classrooms and formal Learning Spaces 2.4.1.3. Indoor public spaces in school

3. International school 3.1. The Beginning and the Result 3.2. Programs of the International Baccalaureate Organization (IBO) 3.3. Syllabus 3.4. Requirements derived 4. Case study 4.1.1. Indus International School 4.1.2.Montfort Anglo-Indian Higher Secondary School 4.1.3. Conclusion 4.2. Literature Case study 4.2.1.Pathways World School 4.2.2. Mercedes Benz International School 4.2.3. GEMS International School 4.2.4. Tiruvananthapuram International School 4.2.5. Conclusion 5. Rules and Regulations 5.1. Kerala Municipality Building Rules (KMBR) 5.2. Basic other standards 5.3. Basic school building conversion norms

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60 61 62 63 64 64 67 70 70 71 80 87 89 94 98 102 108 109 112 116

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6. Project Brief 6.1. Need for the project 6.2. Feasibility 6.3. Aim 6.4. Objectives 6.5. Methodology 6.6. Site study

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118 118 118 118 119 120

7. Design Brief 8. Design Sheets

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1. Music and Architecture: Ying and Yang

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he question about the relation between music and architecture is a topic that is being analyzed since ancient periods to present day. Music and architecture are in ones consciousness only related through manmade systems and within the conception of art (the abstract or the interpretation of reality) and not within conception of reality. The relation between music and architecture is therefore a language or method, a cultural invention by men. One could suggest that due to modernity where mankind is alienated from his reality, also representation has been alienated from reality. Such is the pace of the modern world that man lost his ability to perceive things more deeply, something that in ancient days was done in a The relation between daily process. Questions rarely music and architecture arise to why it happens, rather it happens, a pattern just is therefore a language continuing over and over.

or method, a cultural invention by men.

Music and architecture and their links have been studied, understood and applied into practice since ages. From ancient Greek‟s Parthenon to modern day contemporary structure such as Stretto House by Steven Holl shows how the architect can bring in music into architecture and in turn create their own environment of harmony or stretto note as such in the case of above examples. Throughout history, many analogies have been made concerning music and architecture “along the narrow

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channels of interaction: number, rhythm, notation and proportion”.1 As such the music should be understood as a metaphorical structure requiring translation into visual terms before becoming available to architecture. As seen further own, one will understand how music is to be applied into architecture through the metaphorical device of harmony as this shows the clearest bond between architecture and music. This thesis will divided into parts according to the level of understanding that is required for knowing the application of music into architecture. Though this topic is considerably vast taking in account every detail is considerably not possible. Even every attempt has been made to understand the usage of music into architecture. The part that has been given utmost understanding is the musical device of harmony applied into architecture and its importance it plays in the divine creation. Due to the reason as obvious being that this topic being a quite vast one, works of many who worked for understanding the proper relation music have with architecture is, omitted. But all importance have been given that one truly understands the relationship which music and architecture share, or rather said by the end of the this research part that both these art forms were born from the same mother. Topics that helped in understanding the properties that linked the two systems have been discussed accordingly. As such of reasons stated above, rather than going through the topics that lay scattered throughout the time line, here, 1

MARTIN, E. (Ed), Architecture as a Translation of Music, pg 57

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subjects have been chosen in a manner that one can gain an understanding in the mystical bond that lay in both fields of creation. Must be specially mentioned is that what lay ahead is the literature study required for one to understand the true power of music over architecture. First part consists of the understanding that is to be given to know the metaphorical understand the music in architecture through lingual analogy. By exploring the seam between music and architecture and its metaphorical representation within the built environment, new modes of formal translation and a new paradigm of musical space can be identified. As such a basic understanding is to be provided in order for the proper understanding of the relationships that they share. The study continues on to discussion on the topic of creation. The history of creation is given an understanding; the history in which man has been striving to attain natural beauty is made known. Plato‟s works are taken for understanding about the creation through the topic of Divine Creation of God: The Universe. Further on the topic of creation in architecture and music is understood. How architecture and music share same bonds are noted and analyzed. These parts have to be understood by one, in order to gain the proper knowledge of the process that underlay in the process of creating an object of beauty.

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and Her play of Harmony one is given an understanding to harmony played the basis in ancient world. The study continues on the importance of Proportions in creation. How a set of integers rule the creation process of leading to a harmonious environment is understood. Its importance and its part it has played in the forming harmonious properties of any work of art are well illustrated. By here one will understand how proportions play the major role in the linking of music into architecture. Analyzing historically many examples can be seen that applies harmonious proportions, though it varied during the stages it progress in. One by then can easily interpret the presence of proportions in process of creation. Also in order for understanding the beginnings of proportions is understood through the works of Pythagoras. Further on, for the understanding of working of proportions in creation, the works of greats such as Alberti, Palladio and le Corbusier is studied.

The next part consists of the study on harmony as harmony lays the best example in the understanding of the deep bond shared between architecture and music. Beginning Nature

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The Starting Note: Metaphorical understanding through Lingual analogy. 1.1

to be considered as a unique language which seeks to represent experiences in a particular way. Then and then only can one see the perfect creation in being. Further defined when applying the above concept, it leads to f one were to be asked about the relation between music whole new change in perception, barriers and borders are and architecture the answer by any commoner would be lifted and a whole new picture comes in being. The similarity none or at least not much, for the obvious reason of in the two forms of art is now made visible. The obvious fundamental differences in their systems such as architecture differences only occur between the elements or medium not implying notes or chords in the design or music not using which each use to represent experiences; for instance columns columns or beams in their composition. Just due to this reason and beams in one case and notes and chords in the other. people would tend to dismiss all notions of similarities Either how, at the level of organization and function, of how between these two interrelated grand creations. they do it and what they do, one can see the similarities. Representation of experience is the key idea. It represents Then and This lack in understanding this fact is because of a language of its own kind; as such that this is the reason then only the reason that one perceives it using their for a language to exist; this is what it does. senses the way humans are tuned by nature to

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can one

do. Plato, stating in his Timaeus that man has see the received these senses as a gift from God. Using perfect man‟s senses as his parametric boundary without knowing the differences, one will not be creation able see the beauty that lay between the in being. intermeshed relations between music and architecture. But if one were to be given a further insight, a brief introduction to the basics of the links in music and architecture, then he or she will begin to see the world in a different way, a world consisting of perfectly balanced order reigning over the chaos that lies hidden underneath. When speaking of music and its influence in architecture or vice versa, the lingual analogy is the key to understanding the phrase and hence the end results that these creations are

Thus in simple words, the difference between the systems whether music or architecture is a matter or material which they use to achieve the goals of the system: namely, representing particular experiences. The similarity between them is a matter of process involved rather than the medium or material they use. As such it is to be always kept in mind that no matter what the creative form is there holds an important place for selection and combination of available elements from a given vocabulary, whether it be words, architectural forms, sounds, colors in order to represent a particular experience. As such one should understand by now that the difference lies in, architecture playing in the dimensions of space, while in music it plays with the marking of time in space. The

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architect and a music composer share the same basic rules during the space of creation. They visualize the creation in their own method, in which abstract, practical concepts are applied. These ideas are further developed, imperfect tones are removed and the grand picture is musicians are known to visualize their entire score as one beautiful picture which in the end unravels itself in completely different way. “…at last it gets almost finished in my head, so that I can see it as a while, even when it’s a long piece, at a single glance, like a fine painting or a beautiful statue”. Mozart

Throughout history, many analogies have been made concerning music and architecture along the narrow channels of interaction such as: number, rhythm, notation and proportion. Just as one note can affect an entire song, one object can affect a room or even an entire building. Both are equally as difficult to begin as they are to complete. With music and architectures web of intermeshed relation with one another, the tendency has been to perceive music as a metaphorical structure requiring translation into visual terms before becoming available to architecture. When stating about translation one has to understand the simple yet complex terms that state basis for all work of art. When an artist begins his work there are some catalyst that act together, a sense unknowingly working alongside each other in the mind of the artist, all for the end product Representation. Translation, association, conceptualization and interpretation is possibly as old as the either conscious or unconscious existence of mimesis which is the human representation of nature/reality; maybe the sole raison d‟être

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of art itself, the ticking heart lying underneath a painting, a musical score, a poem on even a building. Metaphorical mixing that as explained creates an analogy state in which the process actually goes a step beyond the basic understanding of the word metaphor. It pushes across the boundaries of imagination, creating new worlds, new possibilities, and new creations. Just to give a vague example, in the song by the name “Shape of my heart” by Sting one can quite easily understand how an artist can easily bring an imaginative world through the use of words. “He deals the cards to find the answer The sacred geometry of chance The hidden law of probable outcome The numbers lead a dance I know that the spades are the swords of a soldier I know that the clubs are weapon of war I know that diamonds means money for this art But that’s not the shape of my hearts”

As seen above, the metaphorical use of words brings the tense situation following a poker game along with other emotions playing together.

1.2 Creation

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efore one understands the use of metaphor of music to be used in architecture one should understand about creation. What is creation; a question that can be

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answered simply as the act of bringing something into being. Art can be defined through the terms of creation. Art can be described as the application of human creative skill by use of the imagination. Art can be used in creative terms to express a representation of oneself; it is there to convey a singular belief, of a single person or an entire society, through creation.

Like the Divine Creation discussed in Timaeus, the elements required to create both music and architecture are already present; sound is already created by everything around, space is already present, it is up to one to define them by arranging their different elements. The creation, in Plato's sense is really the creation of order.4

Relating something to a dominant being to bring in an understanding is, as mentioned earlier, the oldest form of learning. As such one should understand that there is definitely no manner in which one can actually create a system of his own without understanding the basics of the language to be used. In the world of knowledge of man, as far as it extends, it can be seen his endeavor to replicate Nature as She is seen to the naked eye. Man in his strive for attaining the perfection in his work to recreate God in work of the Divine creation of the universe, has learnt about the attaining of principles and proportions that helped attain the harmonious order required in his creation. The world that God created is “a living, intelligent organism that magnificently displays mathematical order and proportion”. 2 Plato describes about the perfection in which God created the earth saying that “…he wanted everything to become as much like himself as possible…so he took over all that was visible…and brought it from a state of disorder to one of order”.3

Later in Timaeus, Plato discusses about the senses, stating that they are a gift that in some way help one become better and slightly closer to the perfection of the creator. “The senses are not instruments, but rather passages, through which external objects strike upon the mind. The eye is the aperture through which the stream of vision passes; the ear is the aperture through which the vibrations of sound pass.”5 Plato continues to discuss that along with these gifts, comes the

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PLATO, Timaeus, pg xiii PADOVAN, R., Proportion: Science, Philosophy, Architecture, pg 105

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PLATO, TIMAEUS, sec. 4 ibid

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ability to realize such things as musical sound, harmony and rhythm. They are there to increase the understanding of the world around and in turn open the window for new creations. By investigating the Timaeus, it can be interpreted that Plato believed the heavens to be perfect due to their inherent order and harmony created through their architecture; in turn they produce music in their perfection. Furthermore, it can be deduced that the humans are unlike the heavens and lacking in grace and through creation one attempts to bring him somewhat closer to its beauty. With the creation of something perfect, one can relate to the heavens harmonious proportions. Through Plato‟s Timaeus it becomes apparent that his ideas of the universe imply its creation as a result of three parts; God (the creator), architecture (order) and music (harmony). When architecture was applied to space it created order from chaos. The order created results in a harmonious universe, creating music. These order created through the fusing proportions that bring the unequal equal. The part which Plato played in describing about the Divine Proportion, though didn‟t state it by name, will be later on discussed, as such of the reason that the role of Proportions is not yet to be investigated in this stage of research. Creation as such in terms of art can be argued as ones attempt to relate to the divine by imitating the initial creation of the cosmos by God. In The Beautiful Necessity, Bragdon argues that music and architecture are allied in creation; “They alone of all the arts are purely creative, since in them is presented, not a likeness of some known idea, but

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a thing-in-itself”6. In Plato‟s Republic, the topic of mimesis is introduced. The Greek word mimesis can be translated to mean „representation‟, and yet a deeper understanding would reveal that Plato used it when discussing artistic creation to mean imitation. 7 Through this understanding it becomes clear that all creation is in fact imitation, only the degree of imitation varies. Protagoras coined the phrase: “Man is the measure of everything on Earth”, which is said perhaps then due to the understanding that came during the pre-Socratic era that there is specific reasoning for the dimensions in nature, and in turn the understanding of the Divine Creation. Unlike the Unlike the other arts, neither architecture nor music can exist without the artist, the art is not attempting to become a predefined object; it is using already existing laws and elements to become something new. “It is clear that music and architecture are both arts that don‟t need to imitate things”.8 Therefore, when considered in respect to the theories of mimesis, it would seem that they are the truest of all art forms and are pure in creation as they have no mimesis with which to concern themselves – they do not imitate.9 Although this statement cannot be proven, it does become apparent that out of all of the arts, these are the most unique and

other arts, neither architecture nor music can exist without the artist…

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BRAGDON,C., The Beautiful Necessity: Seven Essays On Theosophy and Architecture, pg 15 7 PLATO, Republic, pg 335 8 CAPANNA,A., ‘Iannis Xenakis- Architect of Light and Sound’ 9 WATERHOUSE, P., ‘Music and Architecture’, Music and Letters, pg 321-324

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creative. To be creative, is to bring one‟s imagination into being, and this can truly describe how one creates with regards to both music and architecture. 10 While they are allied in their creativity, there is a unique difference between music and architecture, which sets their creation apart. Similarities exist in the creation of both; nevertheless it is the context of their creation, which sets them apart. This is discussed earlier in which the basic differences and similarities appear in their element and mode of approach towards representation. Architecture is the social art that touches all human beings at all levels of their existence everywhere and every day. This is the only creation that encompasses the four major realms of human endeavor: Humanities, Science, Art, and Technology.11 Architecture deals with making of physical space into usable space, i.e., creation an aura that is required to produce the perfect harmonious feeling required; which in turn sent an appealing nature and helps perceive it easily by the senses. Vitruvius has stated that Architecture is a science arising out of many other sciences and the architect to be adorned with many branches of study and varied kind of learning; and with these apply those works which are the result of other arts.12 10

ANTONIADES, A. C., Poetics of Architecture: Theory of Design, pg 13 COUNCIL OF ARCHITECTURE, Architectural Practice: Conditions of Engagement and Scale of Charges, Preface, pg 61; Document approved by the COA at its 40th meeting. 12 VITRUVIUS, THE TEN BOOKS OF ARCHITECTURE, Chapter II- Fundamentals of Architecture 11

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Architects create their own atmosphere in their own concepts. The only change which it creates is knowledge gained by one when the architects influence of the concept in the design. This could be with recurring columns, of windows or through the theme that they create. “Creativity is the essence of architecture and harmony an essential aim of architecture. Architecture that has been recognized as great, in historic pat as well in our own time, has been harmonious with nature and its immediate environment. These are the essential tenets of design which architects aspire to follow.”13 Architecture is the art of ordering elements spatially, whereas music is the art of ordering tones, or sounds in a temporal relationship, resulting in a unique composition. Music has a

non-retrogressive basis – as music is solely based temporally it can only be viewed with the linear progression of time. 14 It is true that music can be played in reverse but in these instances the music would cease to be the original composition, becoming a unique piece of music and would 13 14

Ibid, pg 62 MATOSSIAN, N., Iannis Xenakis, p 56 and pp 172-173

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still be played linearly. On the other hand, architecture, being based spatially, can literally be viewed from many different perspectives, each creating a unique experience of the architecture, yet remain the same. This is the main distinction, which sets apart the experience of each art form. However, it is clear from the interwoven relationship between space and time, that the creation of both can be connected, albeit analogically.15 The understanding of the word metaphor and its transformation that takes place when it is used in the case of music into architecture or architecture into music is to be understood. Either way it is need to perceive it with the naked eye, to understand its meaning; a graphical representation to be exact. In the musical sense this is called as musical notation and it comes in many ways. “For a composer to convey musical ideas to a performer or the audience, the development of notation was central.” 16 Notation helps in preserving the art, to later understood and played or used all over again. Present day standard music notation is based on a five-line staff. Pitch is shown by placement of notes on the staff (adapted by additional symbols called sharps and flats) and the fraction (4/4, 3/4, 6/8, etc.) shown at the beginning of a piece of music denotes the time signature. 17

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This musical notation forms the structure, which binds the music and represents all aspects of a musical piece. “…at last it gets almost finished in my head, so that I can see it as a while, even when it’s a long piece, at a single glance, like a fine painting or a beautiful statue”. Mozart

As such music is dreamed and created first in the visual realm before being actually played. Architecture too begins in embryo stage in the form of 2 dimensional graphical representations. The creation, investigation and preservation of architecture specifically rely on a standardized graphical notation. The architect, the creator that is, plays with the elements in the process of

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MARTIN,E., Architecture as a translation of music: Pamphlet Architecture No.16, pp 78-79 16 SHAW-MILLER, S., ‘Thinking Through Construction: Notation-CompositionEvent. The Architecture of Music’, pg 38 17 KENNEDY, M., Concise Dictionary of Music, pg 519

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representation and translation, in order to reach their final goal. Same is the case as in music, where experimentation and playing plays the important part of perfecting the score. As such the musician too can use his own way own creating their representation form of the music; other techniques to show It is used in the experimental music(Figure 1), created and performed by musicians such as John Cage, which in many cases is difficult to transcribe in standard notation. Another example of this can be seen in the composition Metastasis (Figure 2), by Iannis Xenakis, which often appears more like a technical schematic than a musical score. Till above, architecture and music have been discussed with respect to creation and its metaphorical applications. However, to fully understand their inherent bond, parallels in harmony must be investigated, as this presents the clearest connection between the two art forms.

1.3 Harmony Music can be separated into three parts; rhythm, melody and harmony. Although these are not the sole considerations during the creation of music, everything within music will be related to one of these three aspects. Rhythm can be described as the organization of music in respect to time; the regular occurrence of beat, which gives a sense of movement. Rhythm refers to any movement characterized by a patterned recurrence of elements or

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motifs at regular or irregular intervals. 18 These recurring elements are perceived using the senses, as stated by Plato, to understand the recurrence that follows as it proceeds. Rhythm incorporates the fundamental notion of repetition as a device to organize forms and spaces in architecture.19 Although rhythm can be found throughout architecture such as the rhythm of classical columns, the vaults of gothic churches and the progression of repetitive housing, it is not musical in entirety. Yet Rasumussen in Experiencing Architecture states “architecture itself has no time dimension, no movement, and therefore cannot be rhythmic in the same way as music”. As such rhythm does not a play a major part in the whole part of the design is not taken much into consideration. Melody is concerned with the progression and “succession of notes, varying in pitch, which have a recognizable shape”; therefore rhythm is an important in melody. Additionally, through its definition, melody is similar to harmony, yet has one distinctive difference; “Melody is horizontal i.e. they are heard consecutively, whereas in harmony notes are sounded simultaneously”. Architecture is viewed as a whole, therefore melody, is rarely transferred to architecture. In music, harmony is the use of simultaneous pitches (tones, notes), or chords. The study of harmony involves chords and their construction, chord progressions and the principles of connections that govern them. Harmony is often said to refer to the "vertical" aspect of music, as distinguished from melodic line, or the "horizontal" aspect. Carl Dahlhaus says: “harmony 18 19

CHING, Architecture: Form, Space and Order, pg 382 ibid pg 382

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comprises not only the („vertical‟) structure of chords but also their („horizontal‟) movement. Like music as a whole, harmony is a process.” As such harmony is taken into account for this discussion as seen above that harmony is viewed as a whole just as in the case of architecture. Before anything else, there was number, which was introduced into architectural theory during the medieval period. The clearest connection that can be made between music and architecture is that of mathematics, and this can be seen architecturally by the use of geometry. Geometry forms a large part of the creation of architecture; in the past geometry and architecture was once considered one and the same, with architecture symbolizing geometry in the built form. Research on the relationship between geometry and music begins with the ancient understanding of the “artes The explanation of liberales". The seven “artes the order and liberales" in antiquity and the harmony of Nature Middle Ages were grouped in the “trivium" with grammar, rhetoric was, for and logic whereas arithmetic, Pythagoras, to be music, geometry and astronomy were brought together in the found in the “quadrivium". Architecture was science of numbers. assigned to practical arts (“artes mechanicae"), where harmony and proportion are applied to principles of creation. With new ideas of interdisciplinary of arts and sciences one should refer to this classical understanding. Pythagoras' ideas on harmony and proportion impressed the formation processes

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in music and architecture over many centuries. Geometry was given the role of formalization and mediation of the relations between architecture and music. The explanation of the order and harmony of Nature was, for Pythagoras, to be found in the science of numbers. He speculated that harmonious sounds were emitted by the heavenly bodies as they described their celestial orbits. This is the “harmony of the spheres” a notion which Shakespeare found congenial (Merchant of Venice): “There's not the smallest orb which thou behold'st, But in his motion like an angel sings, Still quiring to the young-eyed cherubins.”

Music allowed for the translation of number and mathematics into art, through harmony. The simultaneous combination of these notes and the ensuing relationships of intervals and chords are known as musical harmonies. The development of harmony has subsequently resulted in a more philosophical conception of the term; “by harmony we generally mean a fitting, orderly and pleasant joining of diversities, which in themselves may harbor many contrasts”.20 It can also be perceived that everything in the universe is run according to perfect, meticulous harmony. Such perceptions of harmony have led it to be not solely used in music, but other arts as well.

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DOCZI, G., The Power of Limits: Proportional Harmonies in Nature, Art and Architecture, pg 8

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Harmony is a state recognized by great philosophers as the immediate prerequisite of beauty. A compound is termed beautiful only when its parts are in harmonious combination. The world is called beautiful and its Creator is designated the Good because good perforce must act in conformity with its own nature; and good acting according to its own nature is harmony, because the good which it accomplishes is harmonious with the good which it is. Beauty, therefore, is harmony manifesting its own intrinsic nature in the world of form. As Keats says in his “Ode on a Grecian Urn”: Beauty is truth, truth beauty, that is all Ye know on earth, and all ye need to know.

Exactly as said above, that is all one knows. What beauty is to man is nothing else the than the sense of pleasure he receives when seeing or hearing, whatever may be the medium. This beauty is nothing but the harmonious combination of an order applied on to a work, which in turn works its magic. Harmony in ancient world was considered to bring one closer to the Divine Perfection; God‟s image. It can be understood from treaties of the past, how important it was to have that order, that harmonious relationship between its elements as it is the basic essence of creation. As seen, it is evident that man has used nature as his module. As such nature created in such exact proportion it is inevitable that man use those same proportions into his creations.

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1.4 Proportions

By now one must understand, just for a basic understand it is some proportions in man‟s creation that is used to create harmony. Since the basis for this study consists of the use of music as a metaphor in architecture through the musical device of harmony, the area of research that falls under the category of understanding harmony in music is avoided and the topic of harmony in architecture is given rather importance. But in order for one to complete understand the working of harmony in architecture some guidance is to be provided which has to do with music too. “Thus in the human body there is a kind of symmetrical harmony between fore arm, foot, palm, finger, and other small parts; and so it is with perfect buildings.”21 Vitruvius here is definitively talking about the harmonious proportions in which nature applies. How harmonious proportions came into being is to be understood first. These musical harmonies are a key factor in the metaphor of music in architecture – they account for much of music‟s influence in architectural design. Although they may seem indirectly related, by the use of proportions in architecture it is possible to visualize musical harmonies. 21

VITRUVIUS, THE TEN BOOKS OF ARCHITECTURE, Chapter II- Fundamentals of Architecture

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These proportions were considered sacred in ancient Greek construction and were considered to be elementary in their design since the concept of attaining harmony in the structure was considered crucial in the design. They brought these properties of harmonies in their construction through simple harmonic proportions: octaves, fifths and fourths for example. Thus they created architectural marvels which even stand today, in which the elements were made in harmony with each other. Everything that falls in the design phase: the plan, elevations, the roofing, even to the minute details of carving on the columns was created in according to this rule.

THESIS REPORT

Alberti took influence from both Pythagoras and Plato to define the acceptable proportions of a building, and where these proportions should be taken from. Musical harmonies can used in architectural design and that the same numbers that enchant our ears, also delight our eyes.23 Palladio worked on the same concept of the proportions too, but made his own variations to the proportions. “Palladio seems to be the first Renaissance architect to apply the Vitruvian concept of „symmetry‟: that is, to relate the corresponding measures of several interconnected spaces”. 24

Later on these principles were analyzed by Pythagoras and Much later on example of marvel to be mentioned would be ended finding the harmonious proportions that plays in the creation of The Modular by the genius Le Corbusier. music. Here too these simple proportions were taken Although the Modular was actually not created Mathematically as Pythagoras as the module. For Pythagoras beauty by all sense of creation, it proved to be a way was associated with the ratios of small integers. Much of Representation, the ultimate attempt of derived later on, by Renaissance Age great Humanists wrote man to create the perfect order. Le Corbusier proportion is a treaties on the importance of bringing harmonious just brought order into the jumbled set of confidence proportions into a building. Humanist such as Alberti architectural construction proportions and trick [Smithson and Palladio devised their own methods of arriving to unified them into the Modular using the rules their harmonious proportions. laid by Ancient World. His Modular was and Smithson constructed on the basis of Golden Proportions 1970: 94]. The use of musical harmonies is highlighted with the and other rules written in the past, as such it harmonious proportions of Alberti and Palladio used created the necessary harmony which is to be in architectural designs and that same numbers that enchant our ears, also delight our eyes. 22 23

22

ALBERTI, L., B., op.cit., p 196, cited MORRIS, Toby E., ‘Musical Analogies in Architecture’, The Structurist, pg 67

ALBERTI, L., B., op.cit., pg 196, cited MORRIS, Toby E., ‘Musical Analogies in Architecture’, The Structurist, pg 67 24 PADOVAN, R., pg 234

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THESIS REPORT

formed as by nature. It is later on discussed to on how Le Corbusier applied these proportions for his creation of The Modular.

"We are now to treat of the Figure: By Figure I understand a certain mutual Correspondence of those several Lines, by which the Proportions are measured, whereof one is the Length, the other is the Breadth, and the other is Height.

As such seen from above discussions the importance of Proportions is understood through the terms of architecture. As of now this study will continue in a progression based on the further understanding of how Proportions can be incorporated into the design. Hence, the topics covered will have the necessary progression and will have to obviously begin with God‟s Ultimate Creation: Nature in which He has brought in the Perfect order, the order in which represented His Image. It further continues on Pythagoras and his discovery of the harmonious proportions in music. Also the use of proportions in the works of Alberti and Palladio is explained as the study progresses.

"The Rule of these Proportions is best gathered from those Things in which we find Nature herself to be most complete and admirable; and indeed I am every day more and more convinced of the Truth of Pythagoras's Saying, that Nature is sure to act consistently, and with a constant Analogy in all her Operations:

1.4.1 Proportions: The Creators Tool

In his ten books On the Art of Building, Alberti discussed all aspects of architecture – specifically, architectural proportion, “Alberti presents a mathematically… coherent theory of proportion, one that owes… to the Pythagorean and Platonic theory of cosmic harmony”. 25

What one must understand is that, underlying any creation that required perfection, proportions played a great role in creating that perfection, a naturally formed pattern which creates harmony on its own. Harmonies in music are same as that used in architecture as both share the same rules in proportions. As such it will be these proportions that all importance will be given for in this thesis. These proportions play the role of linking architecture to music to incorporate the harmony that is required. These harmonious elements work along to create the pleasing effect for the eyes just as music does for ears.

"From whence I conclude that the same Numbers, by means of which the Agreement of Sounds affects our Ears with Delight, are the very same which please our Eyes and Mind. We shall therefore borrow all our Rules for the Finishing our Proportions, from the Musicians, who are the greatest Masters of this Sort of Numbers, and from those Things wherein Nature shows herself most excellent and complete." Leon Battista Alberti.

“Having thus made a single whole of these three, he went on to make appropriate subdivisions, each containing a mixture of the Same, and Different, and Existence. He began the division as follows. He first marked off a section of the whole, and then another twice the size of the first; next a third, half as much again as the second and three times the first, a fourth twice the size of the second, a 25

PADOVAN, R., op.cit., p 220

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INTERNATIONAL RESIDENTIAL SCHOOL fifth three times the third, a sixth eight times the first, a seventh twenty-seven times the first." Plato, Timaeus.

In the Timaeus, Plato gives the first vivid description about all that exists is ultimately on single being; the one God and the Multiplicity of all things. He believed that God created man in his image and used certain proportions in bringing in Beauty in His creation. According to Plato‟s quote as seen above, he describes about how the proportions are formed. The soul as Plato stated was divided into harmonious “appropriate subdivisions” summarized in the Lamda which Pythagoras used for summing up the existence of harmony. The Roman statesman, philosopher and mathematician, Boethius (480-524 A.D.) explained that the soul and the body are subject to the same laws of proportion that govern music and the cosmos itself. The belief of many during the past, a past that includes greats such as Pythagoras, Alberti, believed in the cosmic music of the universes. They believed that since these heavenly bodies where harmonious in their own way as they were the perfect creation of God as such the music of the cosmos is produced, that perfect harmonious music that cannot be perceived by our senses. Yes, they can be perceived, they have been heard by man in the past.

THESIS REPORT

and rarified that our ordinary ears are unable to hear it. It is the Cosmic Music which, according to Philo of Alexandria, Moses had heard when he received the Tablets on Mount Sinai, and which St Augustine believed men hear on the point of death, revealing to them the highest reality of the Cosmos. In the Pythagorean concept of the music of the spheres, the interval between the earth and the sphere of the fixed stars was considered to be a diapason (1/2) -the most perfect harmonic interval. The following arrangement is most generally accepted for the musical intervals of the planets between the earth and the sphere of the fixed stars: From the sphere of the earth to the sphere of the moon; one tone; from the sphere of the moon to that of Mercury, one half-tone; from Mercury to Venus, one-half; from Venus to

Pythagoras taught that each of the seven planets produced by its orbit a particular note according to its distance from the still centre which was the Earth. The distance in each case was like the subdivisions of the string referred to above. This is what was called Musica Mundana, which is usually translated as Music of the Spheres. The sound produced is so exquisite

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the sun, one and one-half tones; from the sun to Mars, one tone; from Mars to Jupiter, one-half tone; from Jupiter to Saturn, one-half tone; from Saturn to the fixed stars, one-half tone. The sum of these intervals equals the six whole tones of the octave. What from the works of the past it‟s evident of the presence of work of proportions which play in bringing order to a creation. As seen, Nature too follows this pattern of proportion which lays rules for Her creations to be born. This proportion is evident in Her work and has been Mans greatest tool for his creation. It is up to these measurements that man looked upon for his module when creation began by man. These proportions as by nature created harmony among itself as the cosmic design as such the creations of man were harmonious in nature. The harmony of what Plato called as "one visible living being, containing within itself all living beings of the same natural order".

1.4.2 Harmony in Nature

The creative method of Nature is a topic that has spilled ink over the centuries, about how it happens and its specifics. Throughout history, many great people have pondered, worked out and understood this sensitive matter. “The Ancients....did in their Works propose to themselves chiefly the Imitation of Nature, as the greatest Artist at all Manner of Compositions," Leon Battista Alberti. Throughout nature, an underlying pattern seems to connect all forms. When investigated “we discover perfection, an incredible

THESIS REPORT

order” that can leave one in awe of the world around us.26 Harmonies can be found throughout most objects, be them natural or manmade, like an imposed musical structure on the physical world. Many examples of this can be found in György Doczi‟s The Power of Limits: Proportional Harmonies in Nature, Art and Architecture, the simplest of which are the harmonies and musical progressions found in the growth pattern of leaves (Figure 6) and in snowflakes (figure 7). The relationship found in this natural creation indicates “that the same dinergic harmonies that delight our eyes in the shape of leaves and flowers also enchant our ears in the chords and melodies of

music”.27 It is intriguing that harmonious patterns are not solely concentrated to just the formation of leaves, but other objects in nature, such as shells and even the proportions of the human form. Spirals found in shells, such as those discussed by Doczi, are defined by logarithmic patterns, which abide by the Golden section‟s proportions. It is astounding how organic growth can create such harmonious forms in all examples.

26 27

DOCZI, G., op.cit., pg i ibid pg 13

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The harmonious proportions of the human body have been discussed greatly, by such people as the first know architect, Vitruvius and Leonardo da Vinci. These harmonic proportions; Divine Proportions, governs the physical form, define the parameters of any architecture made for human kind. Nature by far has excelled herself as the Divine creator‟s perfection. Creating the pattern required for Her to make her unique world, She has chosen a perfect proportion for Her Replication. This proportion is unchanged, through the spam of time unknown, it continues to recreated, ever unknowingly, ever beautiful.

W

hen speaking of nature proportions, the topic of Divine proportions should be talked about. One should be given a proper insight about the Divine Proportions, in order for the proper understanding of the division that lays foundation for the creation for life.

1.4.3 Divine Proportions:

THESIS REPORT

Although not identifying it as the „Golden Ratio‟, Euclid of Alexandria (325-265 B.C) defined the proportion in his Book VI of the Elements: “A straight line is said to have been cut into extreme and mean ratio when, as the whole line is to the greater segment, so is the greater to the lesser.”

“A straight Lesser line is said to have been cut The properties of golden ratio were mentioned in into extreme the works of ancients Greeks such as Pythagoras and Euclid, the Italian mathematician Leonardo and mean of Pisa (1170 or 1180-1250), and the Renaissance ratio when, mathematician J. Kepler (1571-1630) and Humanists such as Alberti has incorporated them as the whole into his designs. line is to the greater In 1509, L. Pacioli published the book “De Divina Proportione” in which he bought in new emphasis segment, so on the golden ratio, in which he illustrated the is the greater golden ratio as applied to human faces. G. Cardano (1545) mentioned about the golden ratio to the lesser.” Greater

The concept of Divine Proportions division appeared more than 2400 years ago as evidenced in art and architecture. It is possible that the magical golden ratio divisions of parts are rather closely associated with the notion of beauty in pleasing, harmonious proportions expressed in different areas of knowledge

in his book Ars Magna and J. Kepler found the golden ratios presence in the Fibonacci sequence and it was Kepler who called it as Divine Proportion. M. Ohm (1835) gave the first known use of the term “Golden Section” and J. Sulley (1875) first used the term “Golden Ratio” in English with G. Chrystal (1898) using it first in mathematical context.

Divine Proportion is also known as the Golden Ratio, Golden Section, Golden Mean and the mean of Phidias.

The ratio is given the Greek symbol “” (Phi) in honor of the great Greek sculptor Phidias who made extensive use of the

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ratio when designing buildings such as the Parthenon and the Propylaea on the Acropolis in ancient Athens. Though was known then to mathematicians as Tau  the Greek for “the cut” or “the section”, it wasn‟t until the early 20th century that the American mathematician M. Barrwas suggested the name “phi” the first Greek letter in the name of the Greek Phidias.

 shows up throughout nature. Recall the famous drawing

by Da Vinci showing man within the circle and the Golden Ratios in the human body, and more recently, Le Corbusier's The Modular. For example, the finger bones are in  ratio to each other, and the position of features on the human face follow . The major 6th harmony interval in music is in ratio to the octave.

There is only one point that makes the golden section; this point is called the Golden Section Point. Dividing a segment into two parts in mean and extreme proportion, so that the smaller part is to the larger part as the larger is to the entire segment, yields the so called Golden section and the ratio

In the figure the point B divides the line AC of length 1 in the extreme and median ratio. Such that AB: BC=  =1.618

designated

as , is known as the golden number. The ratio is the reciprocal of . This number has many fascinating qualities and the ancient Greeks considered the regular pentagon which includes a number of 'golden ratio' relationships, as a holy symbol. The ratio of the golden section has to do with the Fibonacci Series. The Fibonacci series is a series of numbers in which the sum of the previous two numbers equals the following number. The Fibonacci series is: 1, 1, 2, 3, 5, 8, 13, 21, 34, 55, 89…….. As the series goes on (as the numbers get larger), the ratio of each two adjacent numbers approximates to the golden section.

The „Golden Ratio‟, divides a line at a point such that the smaller part relates to the greater as the greater relates to the whole: the ratio of the lengths of the two sides is equal to the ratio of the longer side to the sum of the two sides. As such according to the rule the above line of length 1 and the larger sub segment being then,

= Thus is the solution of the equation:

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Through the above formulae value of is gained as 1.61803 as the positive value and 0.61803 as the negative, the latter being called as , as “” being the negative reciprocal of  It is interesting to note that the golden proportions have influences in mathematics too. The astounding Fibonacci Sequence (named after the 13th century mathematician Leonardo of Pisa who introduced the concept to Western culture): 0, 1, 1, 2, 3, 5, 8, 13, 21, 34, 55, 89, 144, 233, 377…is both additive, as each number is the sum of the previous two, and multiplicative, as each number approximates the previous number multiplied by the „Golden Section‟. The ratio becomes more accurate as the numbers increase, forever closing in on the divine limit. 28 i.e. as the number increases to higher limits towards infinity it is then that one reach closer to the value of  as 1.6180340, the exact value to seven decimal places. So how a line can be divided into its golden section is shown diagrammatically alongside. In the figure, the line AC of length a is divided by the point B at a pot that AB:AC=AB:BC. A rectangle which is in the ratio of the length to width is equal to 1. 618 28

approximately, is called a golden rectang1e The construction of the golden rectangle is a simple matter. The side BC of a square ABCD is bisected. With that point say E as center, an arc from point D is drawn cutting BC produced in G. Draw GF perpendicular to AB meeting AD produced in G. Then AFGB is the golden rectangle. The proof is equally simple. Let BC= 2 units of length. Then ED = EG= 5 units BG/GF = (BE + EC)/ GF = (1 + 5)/2= 1.618034 BG is divided by C in the golden section. C is sometimes called the "golden cut." It is associated with the idea of the "mean proportional ": BC is the mean proportional of BG and CG:

=

,

i.e.

BC2

For the subdivision of a Golden Rectangle, a rectangle of a certain property is taken into consideration. The rectangle should be as such that if a square is cut off from it the remaining rectangle should be similar to the original rectangle.

Dr. Scott Olsen, Ph.D., The Golden Section: Nature’s Greatest Secret, pg. 10

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For better understanding this example is taken. Let a rectangle of length 1 and width x. A square of sidelength x is cut off, there remains a rectangle of length x.

THESIS REPORT

The end result being:

As seen, the Golden Rectangle when cut using the Golden cut on it, then the end result is another Golden rectangle, this process is inexhaustible. For the further division of the Golden Rectangle, the figure aside gives the further explanation.

Figure below shows a logarithmic spiral superimposed on a coiled Golden Rectangle. This study shows the -ratio sectioning of the Golden Rectangle with short side squares and the diagonals of the original seed Golden Rectangle and the diagonal of the first -sectioned Golden Rectangle. Note that the two diagonals intersect at a point called the "Eye of God," the origin of the logarithmic spiral.

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1.4.4 Phi in Music and Architecture

The part phi plays in music is something needs to be explained in detail. As such one must have understood the perfect harmony phi creates in application. It‟s arranges, or rather said, creates an order in the proportioning laws, a perfect module; Natures Tool. Again musical intervals play along with the phi to create the necessary magic in creation. The musical intervals as stated earlier was experimented by Pythagoras. H.E Huntley in The Divine Proportions explains about the Divine proportions and relations it have with music through the use the musical interval major sixth, which according to him had the perfect relation with the Golden Cut. He offers an explanation by beginning the explanation by the psychological effect of the Golden Rectangle. The Golden Rectangle according to Huntley had a positive effect on the aural nerve just as a harmonious tone would for the ears. When one sees a Golden Rectangle the time interval the eyes take to relate the adjacent length of the rectangle is what links the two together. “However complex physiologically the act of seeing an object may be, the estimation by the eye of the relative lengths of the two adjacent sides of the rectangle is ultimately reducible to the instinctive measurement of the relative duration of two time intervals.”29 The ratio of time taken for the line of vision to swing between two adjacent sides is registered instinctively by man‟s internal clock. The experience gained by man in the past makes him realize and come to an 29

HUNTLEY,H.E, The Divine Proportion: A Study in Mathematical Beauty, pg 52

THESIS REPORT

analysis about the ratio of the length of the sides and conclude it to be a square or a rectangle. For example, it‟s the past gained knowledge of one to understand a figure is a square through the two time intervals taken to analyze the sides. Hence by now, one can answer the question of why the Golden Rectangle has an aesthetic appeal of its own. It‟s the time interval taken to analyze by the aural nerves of these harmonious proportional sides, that brings the soothing sensation same as the case of these harmonious intervals in music. Pythagoras noted the interesting fact that the musical intervals which are most consonant30 are reducible to the ratio of small integers: INTERVAL Unison Octave Major Third Major Six

FREQUENCY RATIO 1:1 2:1 5:4 8:5

As explained earlier there is exist a process of registering the harmonious proportion by the brain bringing a calming aural effect. Hence, “…when the ear hears an octave and the eye beholds a rectangle which is equivalent to a double square. 30

Harmonious blending of the tones of certain musical intervals was that an absence of "beats" between their harmonics resulted in consonance. The sound emitted by two notes such as those separated by a semitone is a dissonance: such an interval is rich in beats between interfering harmonics, a discord obnoxious to the ear.- Helmholtz

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But it is in accord with observation and experiment that the musical interval which gives the greatest satisfaction to the greatest number is the major sixth, frequency ratio 8:5, approximately. This corresponds to the pleasure experienced in seeing the golden rectangle, the adjacent sides of which are in the ratio- :1, which is approximately equal to 8:5.”31 So for Huntley, the ratio- 8:5 create the most harmonious environment. This is explained by him due to the perfect proportion which brings in the concept of harmony, and hence eventually Beauty in Representation. The work of Phi as said earlier was crucial in Ancient Greek designs. This fascinating relationship was a major part of Greek designing. Parthenon, The Golden Cut played an important part in the proportioning of their designed by building. The Parthenon by Phidias is a Phidias, was striking example for the magnificent work of art. dedicated to the

N

ow to understand the work of Golden Proportion in ancient Greek architecture is explained. Rather said, the previous line can be rephrased in a matter suiting this thesis to as: The part Proportion played in ancient Greek Architecture.

31

Goddess Athena, therefore being of utmost importance.

HUNTLEY,H.E, The Divine Proportion: A Study in Mathematical Beauty, pg 55

THESIS REPORT

Parthenon, designed by Phidias, was dedicated to the Goddess Athena, therefore being of utmost importance. Buildings on the Acropolis in ancient Athens such as Parthenon and the Propylaea were constructed by Phideas as a monument to Greek Goddess Athena. Here one can see the work of musical proportions in the construction. “The front columns of the Parthenon with their seven spaces embody the 3:4 ratios…the corresponding musical harmony of the fourth-diatessaron…(and the) fifth-diapente harmonies.” This clearly shows a consideration of Pythagorean theories about harmony and their beauty when translated into visual forms. The Parthenon‟s plan corresponds to two reciprocal golden rectangles, thus echoing the diapente harmony. “The naos or celle of the temple and the treasury or virgin‟s chamber in the Parthenon is in golden proportion”32 The role Golden Proportions played in the construction of Parthenon is as explained below. If the Parthenon is inscribed inside a rectangle the so formed rectangle is a Golden Rectangle of ratio of side- 1:. Furthermore, the Parthenon has been constructed using the intervals considered to be harmonious to the ancient Greeks: fourth, fifth and octave respectively. The use of proportions is quite evident in every element in the Parthenon, even from the column spacing to the placing of the pediment. The plan being derived from the elevation too is attained using the Golden Proportion. The following pictures will provide an explanation to how the proportions where used in designing of the Parthenon. Only 32

DOCZI, G., op.cit., pg 110

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THESIS REPORT

basic dimensions where analyzed in the elevation which provided the result of the use of diapente as the proportion rule.

Many have investigated the Parthenon, resulting in different interpretations of its proportions. It is clear that some alterations have been required in the musical interpretation of the proportions for both of these buildings and this can also be true for the investigation for many other „musical‟ buildings. Obviously, some margin of error must be allowed for the construction of the buildings during times where any competent degree of accuracy was impossible in comparison to contemporary standards. What the end result of such analysis is the unconventional truth of existence the harmonious intervals in the construction of the ancient Greeks. As such it can be stated that the Greeks and Romans must have considered musical harmonies to a high regard as they were used in the design of their most significant buildings.

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A

s of till above what has been discussed is the part proportions played in the ancient world and its understanding in the creation of Nature. As such, it is seen that proportions got its own natural way bringing an order into its elements. Whatever be the proportion, there exists then an order, even if the case of unharmonious intervals, even if they play in accord there exist a pattern between their unharmonious tones creating their own music or in any other sense work of art.

….Pythagoras as it is he who raised the art to its true dignity by demonstrating its mathematical foundation.

Above, it is stated that harmonious intervals play a role in creation of beauty. In order for one to know how the understanding of harmony began in music, a small diversion here is required. Pythagoras and his discovery in music is to be understood. For understanding the principles behind the concepts of harmony and its role its play in the creation, one must begin with Pythagoras as it is he who raised the art to its true dignity by demonstrating its mathematical foundation. It is he who simplified the harmonious proportions in music.

1.5 Pythagoras (570-480 BC)

The term harmony originated from the Greek word harmos, which can be translated to mean, to join. At the time of Pythagoras music was very rudimentary, to the point where there was no understanding of musical harmony. However, this changed with Pythagoras, who was “concerned with the

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nature of musical intervals; that is, with the sound of two different notes played in succession”. 33 According to Pythagoras all things and principles of being can be grasped by integers and mathematical regularities. Thus he also expressed harmony by using relations on integers. He found that musical intervals are reached by the division of a string as well as the relations between the numbers of sound oscillations. All harmonic proportions are express able by the numbers of “Tetraktys34; in the four directions north, south, east, west and the four elements water, fire, air and earth. Having first learned the divine theory of music from the priests of the various Mysteries into which he had been accepted, Pythagoras pondered for several years upon the laws governing consonance and dissonance. Pythagoras experimented with musical tone with the use of the monochord. Pythagoras‟s mind, alive to possibilities, came upon a very simple theorem that had cosmic value. The legend is that Pythagoras, while walking past a blacksmith‟s shop, heard different pitches being emitted from the striking of the anvils. Pythagoras first realized complete musical harmony when noticing a musical relationship between the tones created by the striking of five blacksmith‟s hammers. Four of the five hammers seemed to create tones, which sounded harmoniously, while one did not.

33

VALENS, E. G., The Number of Things: Pythagoras, Geometry and Humming Strings, pg 149 34 The integers 1, 2, 3 and 4

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What must have gone through his mind was the variation in pitches was possibly created by the different weights of the hammers. Then he recreated the whole incident by hanging weights on to chords; twelve, nine, eight and six respectively (different weights corresponded to the sizes of the braziers' hammers). Number (in this case amount of weight) seemed to govern musical tone. Pythagoras thereupon discovered that the first and fourth strings when sounded together produced the harmonic interval of the octave, for doubling the weight had the same effect as halving the string. The tension of the first string being twice that of the fourth string, their ratio was said to be 2:1, or duple. By similar experimentation he ascertained that the first and third string produced the harmony of the diapente, or the interval of the fifth. The tension of the first string being half again as much as that of the third string, their ratio was said to be 3:2, or sesquialter. Likewise the second and fourth strings, having the same ratio as the first and third strings, yielded a diapente harmony. Continuing his investigation, Pythagoras discovered

THESIS REPORT

that the first and second strings produced the harmony of the diatessaron or the interval of the third; and …or in the tension of the first string being a third short the greater than that of the second string, their ratio was said to be 4:3, or sesquitercian. The whole third and fourth strings, having the same ratio as the first and second strings, produced concept of another harmony of the diatessaron. harmony Pythagoras investigated the number series 6, according 8, 9 and 12 and was able to devise a clear 35 relationship known as musical harmonies. to According to Iamblichus, the second and Pythagora third strings had the ratio of 8:9, or epogdoan. Pythagoras studied on these s rested of intervals or proportions he discovered as he these taught at his school about these same intervals but here these intervals where about the stars and intervals. earth (as discussed earlier), or in short the whole concept of harmony according to Pythagoras rested of these intervals. From this point Pythagoras began to experiment and investigate different musical intervals and the effect of playing different notes simultaneously. The sound experiments were developed by Pythagoras using his “monochord"36, a simple instrument with one string tightened over a resonance box. What he gained in understanding in this experiment is about the proportions which act in the play of pitch, the same proportions that 35

VALENS, E. G., The Number of Things: Pythagoras, Geometry and Humming Strings, pg 154 36 A single stringed instrument with a moveable bridge

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formed the sacred symbol of the Pythagoreans. By halving the string one get the octave (1:2). The proportion 2:3 stands for a fifth and 3:4 for a fourth. The proportion 4:5 for the major third was not included as a harmonic interval in the Pythagorean system. Later on, in the Renaissance the “Tetraktys" was enlarged by Zarlino (1558), so that the major and minor third (4:5 and 5:6), the second, and the sixth were also included as consonant proportions.

THESIS REPORT

He began then constructing the musical intervals for a „perfect fourth‟ and a „perfect fifth‟ mathematically, as they were the most perfect (Figure 5). Pythagoras experimented with the „perfect fifth‟ interval as he could construct this relationship using only four numbers, “the same four numbers that make up the triangular number ten”.39 The discovery of the number ten within the structure of the fifth interval compelled Pythagoras to continue his investigation of the relationships between musical notes, which eventually led to his discovery of musical harmony.

The end results to his experiments were that the length of a string is directly related to its pitch. “Pythagoras confirmed his observation that any musical tone will be raised one octave whenever the string producing the tone is reduced in length Moreover, Pythagoreans often referred to the harmony of the by one-half”.37 universe through its architecture of musical spheres, Pythagoras realized that when two strings are plucked describing their orbits together, The end results to his experiments were that the length of a string is through the harmonic the most principles discovered by harmonious directly related to its pitch. Pythagoras. “They sound will maintained that the universe sings and that the fast planets be created when the two strings are equal, “or when one is 38 like Mercury sing in a higher voice than do the slow ones”. 40 It plucked at ½, 2/3, or ¾ of the other‟s length”. is clear that for the Pythagoreans the architecture of the universe, geometric forms and musical harmony were all 37

VALENS, E. G., The Number of Things: Pythagoras, Geometry and Humming Strings, pg 149 38 DOCZI, G., op.cit., pg 8

39 40

ibid pg 151 VALENS, E. G., op.cit., pg 147

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intricately related in the harmony of the cosmos. Hence as usual, the eventual quest of Pythagoras was to find that harmony that rang in God‟s Creation.

B

y this end one can put forth the argument that musical intervals play a major part in the harmonizing of music. The bringing in of harmony through the proportioning as understood is due to its pitch being in relation to the length of the string. Pitch as in the sense required, the time interval as Huntley stated. This harmony, according to Pythagoras could be converted into mere integers. And it is these integers that played the catalytic role for the future development to come in architecture, when order was bought into chaos, when the world was keen to know about harmonious elements in structures. The musical harmonies, which have previously been discussed, are a key factor in the metaphor of music in architecture – they account for much of music‟s influence in architectural design. Although they may seem indirectly related, by the use of proportions in architecture it is possible to visualize musical harmonies. In order to illustrate the theories of architectural harmony, the theories of harmony in art and architecture of Humanists, such as Leon Battista Alberti and Andre Palladio will be discussed. As it is Humanists greats such as Alberti and Palladio who brought the play of proportions in buildings.

THESIS REPORT

1.6 Leon Battista Alberti

During the fifteenth century, an emphasis began to be placed on the work of artists; music, arithmetic, geometry and astronomy, made up the Quadrivium and were known as the liberal arts. 41 Together with the Trivium (Grammar, Rhetoric and Logic), they were promoted in the middle ages as vital for the education of the human being. This resulted in the elevation of theory, due to creation being considered inferior. But this in turn created a spirit of learning that developed at the end of The Middle Ages. During the period the focus of many intellectuals began to include practice as well as theory, through the translation of texts by the old masters, such as Socrates and Plato. This resulted in the realization of work by Humanist greats such as Alberti. As provided in Proportion: Science, Philosophy, Architecture, Alberti explains that “For us, the outline is a certain correspondence between the lines that define dimensions;

41

WITTKOWER, R., Architectural Principles in the Age of Humanism, 4th ed., p 117

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one dimension being length, another breadth, and the third height…I affirm again with Pythagoras: it is absolutely certain that Nature is wholly consistent…The very same numbers that cause sounds to have concinnitas, pleasing to the ears, can also fill the eyes and mind with wondrous delight. From musicians therefore… or from those objects in which Nature has displayed some evident and noble quality, the whole method of outlining is derived”. 42

It is Alberti who first directly attributed musical harmonies to beauty in architecture, since stated by Plato and Pythagoras.

It is Alberti who first directly attributed musical harmonies to beauty in architecture, since stated by Plato and Pythagoras. Before this insight by Alberti, the application of musical theory to architecture had all but vanished, and without the belief in harmony, there was just number. However, with Alberti‟s discussions, the use of music in architecture had been revitalized, drawing upon the harmonies discussed in Plato‟s Timaeus to issue new considerations for the use of proportion and harmony in architectural design.43 This was caused by a belief that “the same relationships which determine musical intervals also determine the movements of stars and, through astrological influences, affect the events on Earth”. 44 As such as seen similar to Pythagoras, Alberti believed in Cosmic Music, the 42

ALBERTI, L., B., On the Art of Building in Ten Books, p 196, cited in PADOVAN, op.cit., p 220 43 MALLGRAVE, H., F., op.cit., p 34 44 MITROVIC, B., ‘Andrea Palladio's Villa Cornaro in Piombino Dese’,

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Harmonious Music of the Cosmos. He believed in the existence of harmonious proportions in the work of beauty. As such Alberti ended up creating harmonious proportions between the elements of the room through linking them to the musical harmonious ratios.

Alberti began his investigation into harmony with the translation of musical harmonies into architectural proportions; he uses these proportions to define the areas of horizontal spaces, grouping them into short, medium or long. Alberti composes these areas much like a musician would; in fact Alberti attempts “to compose all…ratios out of the simple ratios 3:2, 4:3 and 2:1 – in musical terms, the basic Pythagorean harmonies: fifth, fourth and octave”. 45 What it resulted in was the amazing harmony attained between the different 45

PADOVAN, R., op.cit., p 221

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THESIS REPORT

dimensions of a surface with its individual constituents. Alberti would only use ratios that could be broken up into “the consonant intervals of the musical scale, the cosmic validity of which was not doubted”.46 Alberti continued to use this technique in definition of three dimensional spaces and this technique influenced many of his contemporaries

Then he lists three further Proportions "Proper for middling Platforms": First the Double, which he says is best; second, the Sesqialtera Doubled; And third, the Sesquitertian Doubled.

The following will describe about how Alberti used the musical intervals to create a relation for rooms proportioning. Alberti develops the relationship between the proportions of numbers and the measuring of areas. Methodically, he lists three types of area; short, middle, and long. The shortest of all is the square, and in this category of short areas he includes: sesquialteria, or fifths, or diapente, and sesquitertia, or fourths, or diatessaron.

The first is straight forward, The second is found by taking a square, finding its fifth or sesquialtera, and extending the area by that amount, and then, in turn, extending that area by its fifth. "Thus the Length will exceed the Breadth by a double Proportion plus one Tone more" The third Proportion is found by doing the same with the square and it‟s Fourth. "Here the longer Line contains the shorter twice, excluding one Tone of that shorter Line."

These three Proportions therefore, which so called simple, are," he says, "proper for the smaller Platforms."

46

WITTKOWER, R., op.cit., pp 101-2, cited in PADOVAN, R., Op cit, p 221

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For his category of "long" areas he lists three: Double Sesquialtera, Double Sesqitertia, and Quadruple. So these are Alberti‟s proportions: Short- 1:1, 2:3, 3:4 Middle- 2:4. 4:9, 9:16 Long- 1:3, 3:8, 1:4 During the time of Alberti “music had a

particular attraction for… artists because it had always been considered a mathematical „science‟” and in his work, Alberti was striving towards the creation of harmony within architectural design.47 A famous name that can be used as an example would be Leonardo da Vinci. He became highly interested in Alberti‟s theories, and this can be viewed in his fascination in perspective; “for both, music and painting convey harmonies; music does it by its chords and painting by its proportions”. 48

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“Musical intervals and linear perspective are subject to the same numerical ratios, for objects of equal size placed so as to recede at regular intervals diminish in „harmonic‟ progression”. 49This clearly shows the influence Alberti‟s theories on musical harmony in architecture had on Leonardo. Furthermore the Vitruvian Man, done by Leonardo, is the genuine proof to the argument that proportions have been worked on and studied by him. It is to be understood, the general trend that staged during the Golden Renaissance Age is being displayed, where the artisans realized their potential in reaching closer to their goal of perfect creations.

47

WITTKOWER, R., Architectural Principles in the Age of Humanism, 4th ed., p 117 48 WITTKOWER, R., Architectural Principles in the Age of Humanism, 4th ed., p 118

49

ibid pg 118

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1.7 Andrea Padallio Andrea Palladio was a Renaissance architect who is commonly considered the most influential architect who ever lived. He like Alberti discussed about musical harmonies as architectural proportions. Palladio, like Alberti, wrote a treatise on architecture, titled Four Books on Architecture. Andrea Palladio in The Four Books of Architecture, published in 1570, suggested seven sets of the most beautiful and harmonious proportions to be used in the construction of rooms.50 As discussed by Wittkower, the measurements chosen for these proportions almost perfectly reflected harmonious musical intervals.

“….and it is this demand As stated by Wittkower, “Palladio took the for the right ratio which is greatest care in employing at the centre of Palladio’s harmonic ratios not only inside each single room, conception of but also in the relation of architecture”. the rooms to each other, 50

Circular, square 1:1, the diagonal of the square 1:1.414...., a square plus a third 3:4, a square plus a half 2:3, a square plus two-thirds 3:5 and a double square 1:2.

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and it is this demand for the right ratio which is at the centre of Palladio‟s conception of architecture”. 51 It is clear from Palladio‟s discussions that harmonic proportions were very significant to his architectural thought as according to Wittkower “out of 153 room length/width ratios from the building plans presented [by Palladio]… ninety-seven can be interpreted as ratios which correspond to musical ratios”. Comparing the proportions which Palladio uses, one again finds the resemblance it has with the Pythagorean musical scale. The exception is the incommensurable proportion of the side of the square to its diagonal, or 1: 2. 51

WITTKOWER, R., op.cit.., p 72

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1.7.2 The Geometric Mean When Palladio goes on to talk about the generation of the height of rooms, he elucidates three types of proportion which are traditionally thought to have been discovered by Pythagoras:   

The Arithmetic Mean The Geometric Mean The Harmonic Mean

1.7.1 The Arithmetic mean: In an Arithmetic Mean, the second amount exceeds the first by the same amount as the third exceeds the second, as in 2:3:4. Three exceeds two by the same amount that four exceeds three. Practically, this means taking the length and adding it to the width, then dividing the result in half, as Palladio described. "...let the room to be vaulted be twelve feet long and six broad; add six to twelve and it will make eighteen, the half of which is nine; the vault ought therefore to be nine feet." 52

"....the length and breadth of the room being known, we will find a number that has the same proportion to the breadth as the length has to the number sought.......if the place we intend to vault is nine feet long and four feet wide, the height will be six feet"

In a Geometrical Mean the first amount is in proportion to the second amount as the second is to the third. a is to b as b is to c. Or a:b = b:c. In Palladio's example; 6 exceeds 4 by a third of 6 which is 2, just as 9 exceeds 6 by a third of 9 which is 3. Or 4:6:9. Or 4:6 = 6:9. Practically this means, in the words of Palladio; "..we find this by multiplying the lesser extreme with the greater; because the square root of the number which will result from such a multiplication will be the number we seek."

In his example, multiply the lesser extreme, or width, which is 4, by the greater extreme, which is 9, to get 36. The square root of 36, (i.e. the only number which when multiplied by itself will give 36) is 6. Thus the height of the room is 6. 52

Palladio, A, The Four Books of Architecture, published 1570

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1.7.3 The Harmonic Mean It is derived from the section in Plato's Timaeus which follows on directly after his description of the Lamda (Timaeus, 6) which describes the "composition of the soul". Next, he (God) filled in the double and treble intervals by cutting off further sections and inserting them in the gaps, so there were two mean terms in each interval, one exceeding one extreme and being exceeded by the other by the same fraction of the extremes; the other exceeding and being exceeded by the same numerical amount.

The first part of the clause in italics refers to the Harmonic Mean, the second to the Arithmetic Mean. In other words the Harmonic Mean is the mean exceeding one extreme, and being exceeded by the other, by the same fraction of the extremes. Palladio uses the example of a room six feet wide by twelve feet long which has a ceiling height of eight feet. The mean, 8, exceeds the smaller extreme, 6, by a third of the smaller extreme; 2, just as it (the mean) is itself exceeded by the same fraction (a third) of the larger extreme, 12, which is 4.

THESIS REPORT

This can be expressed as Where „b‟ is the mean between two extremes „a‟ and „c.‟

There are two ways to find the height (Harmonic Mean) of the room: 1. Using the Arithmetic mean 2. Without using Arithmetic Mean WAY # 1: This is found by multiplying the greater and lesser extremes and dividing the result by the Arithmetical Mean found in the first example. Thus 12 times 6 gives 72, which is then divided by the arithmetical mean, 9, to give the answer 8 which is the harmonic mean; the height of the room. WAY # 2: Multiply the greater by the lesser, 12 x 6 = 72, then multiply that result by two, 2 x 72 = 144, and then divide that result by the sum of the two extremes (6 and 12): Thus;

, that is the Harmonic Mean

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This can be remembered by the following formula; b=

.

1.8 Le Corbusier: Le Corbusier or Charles-Édouard Jeanneret (1887-1965), was the architect was one the architects of the 20th century who created a revolution on his own. He envisioned a common proportion that creates perfect order to be created in order to attain the magnificent architectural beauty of the past Le Corbusier wanted to design mass housing for the post-World War II reconstruction which was modularized, relatively cheap and yet inhabitable. To achieve this, he argued, the proportions needed to be based on the proportions of the human body so that people would feel „at home‟, and the measurements

THESIS REPORT

compatible with each other to facilitate the modular construction. Le Corbusier developed the Modulor between 1943 and 1955 in an era which was already displaying widespread fascination with mathematics as a potential source of universal truths. In the late 1940s Rudolf Wittkower's research into proportional systems in Renaissance architecture began to be widely published and reviewed. In 1951 the Milan Triennale organized the first international meeting on Divine Proportions and appointed Le Corbusier to chair the group. On a more prosaic level, the metric system in Europe was creating a range of communication problems between architects, engineers and craftspeople. At the same time, governments around the industrialized world had identified the lack of dimensional standardization as a serious impediment to efficiency in the building industry. In this environment, where an almost Platonic veneration of systems of mathematical proportion combined with the practical need for systems of co-ordinated dimensioning, the Modulor was born. "The modular, which Le Corbusier developed after many years of research, is like a musical scale which gives order to the infinitude of possible musical pitches. based on the size and proportions of the human body, it is a means of fitting architecture to the human spirit, of ordering the infinitude of possible proportions in such a way as to make them conform to the human shape. In the new Museum of Western Art, the Modulor system has been observed in

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THESIS REPORT

height of a human, then this would form an ideal basis for universal standardization. Using such a system of commensurate measurements Le Corbusier proposed that architects, engineers and designers … Albert would find it relatively simple to produce forms that Einstein were both commodious and delightful and would summarized find it more difficult to produce displeasing or impractical forms. After listening to Le Corbusier‟s his intent as arguments Albert Einstein summarized his intent as being to create a “scale of proportions which makes being to the bad difficult and the good easy”.54A more create a mundane motive might also partially explain this “scale of endeavor. Le Corbusier saw that such a system could be patented and that when it became proportions universally recognized and applied he “would have which the right to claim royalties on everything that will be constructed on the basis of [his] measuring makes the system”55.

everything from the structural members to the architectural details and furnishings. - Tadayoshi, Fujiki53

With The Modulor, Le Corbusier intended to define an harmonic measure on a human scale that was applicable to architecture and mechanics (Boesiger and Girsberger, 1967; Evenson, 1970; Web-a). The system, like any grammatical implication, relies on the applicant. The fundamental concept is a set of ratios proportional to digits, limbs and intervallic divisions of human proportion that form a harmonic and agreeable system by which to divide up space. There is a clear resemblance of this notion to Golden Sequence and Divine Proportions, which have been ubiquitous in architecture, maths, science, aesthetics and music for many centuries. Le Corbusier created the modular in a time where there was wide spread appreciation to the mathematical foundation mathematics had over creation was being exhibited. But this had its adverse effect too. It affected the whole architectural construction system worldwide, creating different proportions system being used.

bad difficult and the good easy”

For Le Corbusier, what industry needed was a system of proportional measurement that would reconcile the needs of the human body with the beauty inherent in the Golden Section. If such a system could be devised, which could simultaneously render the Golden Section proportional to the

Like Vitruvius and Alberti before him, Le Corbusier sought to reconcile biology with architecture through the medium of geometry. Just as Vitruvius describes the human body pierced with a pair of compasses and inscribed with Euclidean geometry as an allegorical connection between humanity and architecture, so Le Corbusier uses a Euclidean geometric overlay on the body for similar purposes [Vitruvius 1914: 73]. After much experimentation, Le Corbusier settled on a six-foot-tall (1.828m) English male body with one arm upraised.

53

54

"The Modular in the National Museum of Western Art" Japan Architect August 1959, p48

55

Albert Einstein quoted in Modulor 58 Modulor 46

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Le Corbusier was primarily interested in designing buildings, which were inherently fitting to the human form. The modulator is based upon the length 113cm, which is half the height of an average man with his arm extended straight above his head (226cm according to Le Corbusier). The actual modulator is in fact a geometric sequence, consisting of this base value with a multiplying factor of the golden ratio. “Where there is order; there is harmony,” Le Corbusier said. So it is understandable that Le Corbusier too was fascinated

THESIS REPORT

by the by the mystical play of harmony in creation. Le Corbusier developed the proportioning system, the Modulor, to order " the dimensions of that which contains and that which is contained ". He saw the measuring tools of the Greeks, Egyptians and other ancient civilizations as being "infinitely rich and subtle because they formed part of the mathematics of the human body, gracious, elegant, and firm, the source of that harmony which moves us, beauty". The Modulor was a system of proportion, of Le Corbusier's design, based on human measurements, the double unit, the Fibonacci numbers, and the golden ratio. The following discusses on how Le Corbusier created the Modulor with the use of proportions in order to create the perfect harmony required for a building.

1.8.1 The Modulor: According to Le Corbusier, the initial inspiration for the Modulor came from a vision of a hypothetical man inscribed with three overlapping but contiguous squares. Le Corbusier advised his assistant Hanning to take this hypothetical “manwith-arm-upraised, 2.20 m. in height; put him inside two squares 1.10 by 1.10 m. each, superimposed on each other; put a third square astride these first two squares. This third square should give you a solution.

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The place of the right angle should help you to decide where to put this third square”. 56 In this way Le Corbusier proposed to reconcile human stature with mathematics.

These three measures (113, 183, and 226) characterize the space occupied by a man of 6ft. The Modulor system is very straightforward: basic heights a, 2a (113 cm for the "red" series and 226 cm for the "blue" series) are chosen and then multiply these heights by increasing and decreasing powers of the "golden number" to obtain the values in the series. (The "golden number" = (1+5)/2). It is often denoted by the Greek letter phi (). As such this can be denoted by:

The grid created by Le Corbusier, provides three measures related by the Golden Rule57 ø 113, 70, 43cm.  113, 70, 43 (proportioned according to the Golden section.) 43 + 70 = 113 1130 = 70 = 183 1130 + 70 +43 = 226 (2 x 113)

56 57

G=1+

Application of the Golden Rule to the measure 113 leads to the Serie Rouge: 4-6-10-16-27-43-70-113-183-296, etc. Application of the Golden Rule to the measure 226 creates second series, Serie Bleue: 13-20-33-53-86-140-226-366-592, etc. Some of these values or measures are characteristically connected to human stature. Using the values in the two Series, Le Corbusier was easily able to demonstrate that any square or rectangular region whose dimensions corresponded to those values could be dissected in seemingly limitless numbers of ways into smaller regions whose dimensions also took values from the Series.

Modulor 37 Boesiger and Girsberger, 1967

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THESIS REPORT

The two separate systems (on either side of the central

vertical in figure) are generated could be from the numbers 480 and 960 (6x80, 6x160). The left system is generated using 480 / 1.618034, yielding (in whole integers rounded off by dropping all decimals) 296, 183, 113, 70, 43, 27 etc. The right system uses 960 / 1.618034, yielding 593, 366, 226, 140, 86 etc.

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1.9 Conclusion: The Answer that has been Evident for quite a while.

to design in order to attain a sense of security, relaxation and comfort. And it‟s proven in history that it does so too.

S

A critical analysis on the woks of Phidias, Pythagoras, Alberti, Palladio and Le Corbusier will reveal a number of integers or fractions that had to do with their creation.

o what does one attain finally? After reading all about metaphors, creations, God, harmony, Divine proportions, Nature, mans creations one can see the basic structure that underlay in the creative patterns of architecture and music. Not do only the above mentioned creations have such rules but so do all forms of creations. Anything that fall within the process of birth of something new, consists of certain elements that lay elementarily similar in working. As such, seen from the examples laid down, there underlies an important role for proportions to play in the process of creation. These magical numbers, however transformed creates their own music, when put any round. It is because of how as Le Corbusier stated: “Where there is order there is Harmony”, the certain order that is responsible for creating Harmony is in these proportions. Be it Alberti‟s rule for room designing or Palladio‟s room proportions, it is the role of proportions to judge the Architect‟s end decision to the design. The design must follow a pattern that consist a set of proportions, a module, to guide his design, then naturally a sense of order follows in the creation. Something as Alberti says “The very same numbers that cause sounds to have concinnitas, pleasing to the ears, can also fill the eyes and mind with wondrous delight.”

These proportions relax one‟s mind exactly the way music does to the mind. This powerful knowledge can be applied in

As for the case of Phidias who extensively used the Golden Ratio and other harmonious intervals of the Greeks then, the next generation of theorists applied their own knowledge into the work of proportions, in turn creating their own pleasing effect on the eyes as it adjusts to the music of the structure. The work of Andréa Palladio and Leon Batista Alberti could be argued as the basis pulled out of the ancient Greek knowledge. This can be argued with the Nicomachus table. The philosophers of the Renaissance used neo-classical ideas from ancient Greece to fashion their society and construct their architecture. They based their architecture on a Table found in the work of a 2nd century AD mathematician, Nicomachus, who was one of the last mathematicians to record what was known from ancient Greece. The scale of proportions from Nicomachus‟ table is shown below: Nicomachus Table 1

2

3

4

8

16 32 6 12 24 48 9 18 36 72 27 54 108 81 162

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A symbol found in Plato‟s Timaeus called the World Soul clearly brings the Nicomachus Table to mind: 1 2 3 4 9 8 27 These are the very same numbers attained and further experimented Pythagoras in order for work with musical pitches. These numbers are the raison d‟être of creations. In this scale, 1. The rows are in the ratio of 2:1. 2. A sequence with ratios of 3:1 runs down the lower edge of the Table. 2. The left leaning columns are in the proportion, 3:2; 3. The right leaning columns are in the ratio 4:3. 4. Any number in this sequence is the arithmetic mean of the two numbers that brace it from above, e.g., 9 is the arithmetic mean of 6 and 12. 5. Any number of this sequence is the harmonic mean of the two numbers that brace it from below, e.g., 8 is the harmonic mean of 6 and 12. 6. Any integer from this series is the geometric mean of two numbers that frame it along any diagonal, e.g., 12 is the geometric mean of 6 and 24 and also 8 and 18 and 9 and 16.

b

THESIS REPORT

ac (Harmonic, Geometric and Arithmetic Mean 2

respectively), have in turn consulted to the past Historians for help in finding that perfect proportion for his creation. To create a system of architecture, Alberti considered a hexagon of integers surrounding an integer of the Nicomachus Table. He then made adjacent integers the length, width, and heights of the rooms in his buildings or their facades. As in the case of Le Corbusier‟s Modulor and its application, one can begin with the story of grand success Le Corbusier had in reintroducing age old written laws into the modern world and trying to unite the architectural order worldwide. His Modulor though magnificent in its creation process in the case actual of application into architecture, it was considered to be a failure. It is due to the reason that his Modulor was not adaptive enough to massive areas but proved its

In the case of Palladio who used the Nicomachus rules for attaining his three means for rooms: c 

2ac , b  ac , ac

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effectiveness in its application in enclosed smaller spaces such as in the Monastery of La Tourette. As said, the Fibonacci series play a role in the development of this Modulor along with the application of Golden Rule to the division of the sequence. Also Le Corbusier wanted the application of 90 to the creative grid he created as represented the figure along. As such seen there too in the Modulor‟s very existence lies a pattern of proportion. He too intended to create harmony using Mathematics of the ancients. But its application is impractical is large scale design which unfortunately is marred by the fact that it does not satisfy the space frame requirement of the growing standards of the world. But an Architect can learn enough to understand the importance he has to provide to a unified system of proportions and that however may be the change made to it, he must not alter from his original intent to create a harmony among the elements of structures.

THESIS REPORT

This too is the final understanding to be made by the reader. This is what underlies in all creative forms, as such in the case of this thesis, which is the creation of the design of an International school. A school where children who are to be tomorrow‟s leaders, the next future builders, reside, live and study for the attaining the tools required for their future survival in the world. These basic understanding made from the above research the architect can create a magical atmosphere inside the school (though unknown to the user) a relaxed atmosphere, just that is “….however may required for the studious change must not environment of a school. An alignment that brings order for alter from its classrooms and others elements of original intent to schools proportions can be applied. create a harmony Also a proper measure for the access paths, roads etc can be the necessary among the help that an Architect can provide to elements of the design for the sake of well being structures.” of the students. The perspective to be upheld with utmost importance is of the main users of the school: students, as such the proportion of the height to width and length can be fixed accordingly. Further regulating lines can be drawn from the above study which includes about intervals of

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THESIS REPORT

Pythagoras, Alberti‟s proportions for rooms, Palladio‟s proportions for rooms and his method for finding the height for the rooms, and of Le Corbusier‟s creative method for the Modulor will also be noted during design phase. Also without mention, the application o Golden Rule, construction of the Golden Rectangles to various parts of the design will be also included. And with the inclusion of a quote by Le Corbusier this part of thesis have come an end. “Architecture is the masterly, correct and magnificent play of masses. The task of the architect is to vitalize the surfaces which clothe these masses.”

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Design Ideas derived from study 49

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2.

THESIS REPORT

MAN- EDUCATION- SOCIETY: The Ever Growing Love Triangle

Now, have anyone given a thought about a child attains or rather using the study above say, use his so called biological and social hereditary. This is where education hen looking into the history of man and his role in comes to play. The raw child who knows no bounds, no fear is society it is quite evident about the role education taken and taught about the world; let the child know all that plays to make man be a productive part of society; is to be known and in the end provide the world with a or in short the role of education that play on man for his perfect student. These perfect students are capable of lifelong beneficial growth in society, to be said quite large. learning in which they are the proving example for …. they are the ―Man being a student throughout his life.‖ As a matter of fact one could even argue that education plays an important role in creation of a proving example By now it is evident that education is very civilized man. important for an individual‘s success in life. for “Man being a Culture is related to education and one can say Education provides children teaching and learning that culture itself is the social heredity of man. skills which prepare them physically, mentally and student Culture consists of all that man requires to become socially for the world of work in later life. Education throughout his a member of the society. The child born as a is generally seen as the foundation of society which biological being in the society attains these brings economical gain in wealth, social prosperity life.” hereditary traits from his parents. These equip him and political stability. with a level of mental superiority which enables him to get Education of a child begins at home. It is here that a child aquatinted with and gain acquisition of the language, learns the basic rules of civilization, where he is taught the technology, laws, beliefs, customs, arts, habits, etc. of his first steps of do‘s and don‘ts. Leading psychiatrist in the field, people. A child is born with both biological and social vouch children having a bad childhood tend to be violent heredity in which the latter being everything that is socially and unpredictable in nature. So as such one can see the learned. After birth he comes in contact with a variety of obvious fact that man attains his first guiding steps is experiences within his environment and consequently learns responsible for his role in society. to cope and adjust accordingly through the process of Now moving on to how education brings in the rules of socialization. Through this process the child becomes a creation. The organization of school falls first into the member of a society. In this regard, he becomes conscious and category. School plays the beginning role in the molding of a aware of the values of the culture of his society and is able to child‘s character for the future. Schools are the grounds where react to stimuli in his environment. students pick their social, intellectual skills. School is the Culture is not a personal thing thus it is continuous. The domain in which the child spends his childhood, cross into their argument, that there can be no culture without society is long teens; in short the important phase of their life is passed agreed and come to conclusion by anthropologists. through. One remembers about his or her childhood

W

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memories and lots of these memories are in the corridors, classrooms and grounds of their schools. It is here that world of a child is opened where she/he prepares themselves for future. The basic function of school as such remains as such educating one. Through the timeline of history one can see the role schools played in the lives of greats such as Shakespeare, Einstein, Lincoln, just few names among millions. Schools prepare a child by providing the knowledge required by the child to survive in the world. One, when going through the past educative methods, could come to a conclusion about the evolution of school educative system. From the ancient learning of arts liberals in school, the rudimentary mathematics and basic learning and writing given free to all sects of the society by the Jews in the ancient Middle East to present day educative patterns for the The architect approach of bringing the perfect student, are few examples for one to must first keep in see the evolution pattern. As such since one is given mind about the understanding about schools and its thoughts and the importance in man and society, the understanding of topic required for the designing of a school is now taken for discussion. By the structure now, one must understand there are through the eyes many factors which come into play in the working of a school. The architect of a child. must first keep in mind about the thoughts and the understanding of the structure through the eyes of a child. Most of the time, designs arise where students have their world consisting of massive structures. Here it creates a sense of domination over the child

THESIS REPORT

which in turn can create a depressive effect. The above mentioned factor is just an example among lots of problems in designing which can be seen in school designs. Long depressive corridors with classrooms aligned by them, multiple storied typical floor patterns (which unfortunately provide the visual effect of a factory in which these children work), are few other problems that have to be given a special mention. These design flaws are rather caused due to the reason the design approach has not been done in consideration of the child‘s realm and instead the realm of adults are considered. School designs have sunk to such standards that the same designs used during the Industrial Age is still continued and exploited further. One must understand that the designs evolved in the Industrial Age was meant for pumping out maximum number of educated students to be used in the Industrial boom. Classes then were too crowded, dingy and highly depressive; a scenario that can be still seen today. Though the classes then had a purpose of filling in maximum student and getting them through school, present day education cannot follow such systems. The thinking has to be changed, the design ideas have to be changed and furthermore the pleas of these children, barely audible over the howls of the adults ruling the school management segment, have to be considered. As seen in order for the students‘ proper development there are many areas an architect can enhance in order to provide en encouraging overall improvement for the child. Hence beginning again with is the study about different ranges of human experiences, as they are responsible to the behavioral pattern of a human being. The reason in creating a diversion in the study is due to the reason that an architect

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must include these factors as his design elements, as these understandings are important for the creation of a design uplifting every aspect of improvement of a child. 2.1 Different ranges of human experiences Prakash Nair and Randall Fielding, explains in The Language of School Design, about the different ranges of human experiences that can be broadly classified as four major and simultaneous realms—spatial, psychological, physiological and behavioral.    

Different attributes to the realms: Spatial: Intimate, Open, Bright, Closed, Active, Quiet, Connected to Nature, Monumental, Technological. Psychological: Soothing, Safe, Awe-Inspiring, Joyful, Playful, Stimulating, Creative, Encouraging Reflection, Spiritually Uplifting, Creating a Sense of Community. Physiological: Warm, Cool, Cozy, Breezy, Healthy, Aromatic, Textured, Visually Pleasing. Behavioral: Independent Study, Collaborative Work, Team Work, Physical Fitness Activity, Research, Writing, Reading, Computer Work, Singing, Dancing, Performing, Presenting, Large Group Work, Communing With Nature, Designing, Building, Teaching, Relaxing, Reflecting, Playing

THESIS REPORT

For example, research tells that as humans the sense of sight (physiological realm) is a major emotional (psychological realm) trigger. It is also know that emotions can elicit a physical response (behavioral realm) such as laughter when someone are happy, facilitated to a lesser or greater degree by the environment (spatial realm). So it‘s pretty much understood that this interconnection between these realms plays an important role in the bringing of a positive pedagogic environment. These non-linear interconnections create a healthy pattern which balances the realms in a whole. As such as, an architect should place the knowledge of the interrelations of the realms stated above and their effects in mind, in fact they should play among the basics in the initial stages of design and along through the design; ever changing, understanding and eventually coming to a conclusion of the needs and requirements of the ultimate residents of the school.

What is fascinating about this list of attributes is the obvious interconnectedness of the attributes across the four realms and the fact that the interconnectedness is nonlinear.

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A

school, in its totality, represents a very complex organization, but one that can usually also be represented in the form of a "pattern."

2.2 The 25 patterns1

25 school design patterns because they represent a fairly complete range of the various design principles that define a good school design. 1. Classrooms, Learning Studios, Advisories and Small Learning Communities 2. Welcoming Entry 3. Student Display Space 4. Home Base and Individual storage 5. Science Labs, Arts Labs and Life Skills Areas 6. Art, Music and Performance 7. Physical Fitness 8. Casual Eating Areas 9. Transparency 10. Interior and Exterior Vistas 11. Dispersed Technology 12. Indoor–Outdoor Connection 13. Soft Seating 14. Flexible Spaces 15. Campfire Space 16. Watering Hole Space 17. Cave Space 18. Design for Multiple Intelligences 19. Day lighting 1

Prakash Nair and Randal Fielding, The Language of School Design: Design st Patterns for 21 Century School, pg 11

THESIS REPORT

20. Natural Ventilation 21. Full Spectrum Lighting 22. Sustainable Elements and School as 3D Textbook 23. Local Signature 24. Connected to the Community 25. Bringing It All Together The 25

patterns……

Seen above, there are many factors that the design of come to an eventual conclusion through the Bringing It All Together, the final factor in healthy and the pattern language. Also, the authors functional clearly state that they want to emphasize that they are not presenting these design learning patterns as a comprehensive vocabulary for environments. school design. The 25 patterns contained here only begin to define the graphic language for the design of healthy and functional learning environments.2

T

o move with the study about influential matters dealing with designing of the perfect school the study about interactions is to be made. Interactions are how the study process continues through, a never ending flow of knowledge happening around the school. This is what must be the perfect learning atmosphere the design must gain, the ultimate quest of the architect.

2

Prakash Nair and Randal Fielding, The Language of School Design: Design st Patterns for 21 Century School, pg 2

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2.3 Interations The word 'interaction' means mutual or reciprocal action, action or influence of persons or things on each other. In better words it is a process of continual action and reaction between two or more persons. A gathering which stimulates mutual or reciprocal action among students themselves or between the teacher and students are dealt with in relation to the place can be termed as interaction. Interaction is an attribute of social nature of human beings. In academic institutes interaction is important due to its psychological and social implication. It is also behavioral modulator of the students. Any meeting, or face to face conversation of passing of ideas is a form of interaction and it is bound to happen in a learning environment. Designer has to sensitively handle and carve spaces for healthy interaction among users. 2.3.1 Types of Interaction Meeting is any form of face to face contact between people. They could vary from accidental meeting of people moving between work places or class rooms to pre arranged formalized or ritualized events. Interactions are broadly classified into following types: a. Students-teacher interaction b. Student- student interaction c. Teacher- teacher interaction a. Student - teacher interaction: It is a formal in nature and takes place mainly in classrooms, seminar halls, and faculty rooms and during organized events in campus.  Stimulate and maintain the learner's interest

THESIS REPORT

Motivate the learner to learn Provide counsel, support and encouragement to each learner  Provide timely feedback to learners to make sure that learners are making progress  Importance of such interaction has led to the creation of living learning centers, these centers promote learning communities in which faculty members interact more frequently with students a bout subjects covered in class, and about other issues of interest to students, such as advising on graduate school opportunities, career path and the like.  

b. Student - student interaction: It is mostly informal in nature, takes pace mainly outside class rooms, lounges, terraces, corridors, hostels library, canteen, courtyards and outdoor spaces. It is vital for constructive education. c. Teacher-teacher interaction: It can be a formal or informal depending on the place and its intent. Whereas a meeting is a formal interaction but a coffee time talk is informal but either how it is passing of information that place in either case. Depending upon the nature of interaction each one of above can be further classified in to two 1. Formal interaction, 2. Informal interaction  Formal interaction: this type of interaction takes place in preplanned, scheduled or organized way. Student-

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teacher interactions during a lecture in class rooms or halls, or seminars or other formal function are few examples of formal interaction.  Informal interaction: this type of interaction is spontaneous and unplanned and mainly takes place in outdoor spaces, like corridors, verandah, courtyards, loggias canteen, play fields of in hostels etc. Such interaction does not have a definite duration and can flow from one point to another with time of day. Visual or verbal transfers of ideas over distance can be there due to intermediate physical barriers. 2.3.2 Trends in Teaching and Learning Teachers are increasingly no longer the only educators in schools, whilst learning increasingly takes place in other settings. In the future students will need to take more responsibility for their own learning, and educators will need to monitor and support individual learning programs, whilst at the same time ensuring motivation, stability and continuity. Traditionally, learning happened in a linear way, from teacher to student. Further research conducted on how students learn and how to prepare children for today‘s world, has led to advances in educational theory. A quick overview of some of the pedagogical changes that should affect the way learning spaces are designed:  Lecture Based Learning: This traditional method of teaching involves the linear transfer of knowledge from teacher to student. Students

Teachers are increasingly no longer the only educators in schools, whilst learning increasingly takes place in other settings.

THESIS REPORT

need to be facing the teacher, who is most often in the front of the room.  Project Based Learning This method of teaching gives students the opportunity to work together in groups to complete projects. The idea is that the student learns through the process of making or creating. This usually requires more space with movable furniture.  Student Directed Learning Theorists like Reggio Emilia or Maria Montessori theorized this method of teaching where the student becomes the facilitator. In some cases, each student requires their own desk.

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THESIS REPORT

2.3.3 The 18 Learning Modalities Beginning this part of the explanation that deals with different kinds of interactions through which knowledge is passed on, the quote of a great genius is noted here, “I never teach my students. I only provide the conditions in which they can learn.” -Albert Einstein

Like said this is what the design must do. Providing the perfect atmosphere that anywhere taken there is unobstructed access to information. Continuing on with the discussion, the topic comes back to back to Prakash Nair and Randall Fielding and their explanation of learning methods. Here is a detailed explanation to how they have arrived to an analysis of the study spaces available. The 18 Learning Modalities that the physical school must support are:3 1. Independent study 2. Peer tutoring 3. Team collaborative work in small and mid-size groups (2–6 students) 4. One-on-one learning with the teacher 5. Lecture format with the teacher or outside expert at center stage 6. Project-based learning 7. Technology-based learning with mobile computers 8. Distance learning 3

Prakash Nair and Randal Fielding, The Language of School Design: Design st Patterns for 21 Century School, pg 19,20

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9. Research via the Internet with wireless networking 10. Student presentations 11. Performance and music-based learning 12. Seminar-style instruction 13. Community service learning 14. Naturalist learning 15. Social/emotional learning 16. Art-based learning 17. Storytelling (floor seating) 18. Learning by building—hands on learning As seen above it‘s clearly understandable that there is definitely a large margin between the old age pedagogic teaching methods to the present. Just depending on classrooms can no longer be a considerable practice. A school having the requirements which at least covers to some margin to above provided learning modalities, then the school could attribute lots to the child, for their future which is to come. From the above done discussions, one reaches to conclusions on the importance of interactions and its role it plays in order to initiate the creative process of learning. From the ….one reaches to conclusions interactions happening inside classrooms to the on the importance of ones happening outside, interactions and its role it the flow of knowledge is unobstructed process. plays in order to initiate the Knowledge here would creative process of learning mean everything that is to be known, as anyhow

THESIS REPORT

it brings in the process of socializing within the child in order for him to be a part of the society. The thought process that can be applied for this design though, depends mainly on above discussed data. The design will focus on providing interactive spaces both formal and informal, in such way that the child does actually feel like being in a an institution, rather he or she is in a place that looks nothing like a school, rather a plaza which consists of the buildings scattered according to the necessary zoning for age groups. Here, the situation arises where the students feels more superior as he still remains dominant of his space, not being congested to walk in ritual pattern through corridors every day of his life. The above idea can be applied into the design, which is to be derived from the study conducted much earlier in this thesis. Since owing to the fact that no discussions have been made yet about the site, this study is to continue accordingly, and the data analyzed here to be applied as abstract ideas in the initial phase of design. One will be provided necessary data to how the design is to be evolved from the conducted studies. Also, one more factor have added into the long list of requirement taken for increasing the input of the school. This factor plays an important role in the design factor, as it deals directly with the circulation pattern that is to be created inside the site. Also the ideology of creating a corridor free atmosphere is derived at this point.

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THESIS REPORT

2.4 Life between Classrooms: Applying Public

Space Theory to Learning Environment

Background: the Theory of Public Space Danish architect Jan Gehl‘s widely renowned book ‗Life between Buildings‘ was first published in 1971 and translated into English in 1987. The book was a critique of the modernist focus on city buildings and roads at the expense of multifunctional public space; space which in the modernist movement had been neglected. People were expected to use their cars to travel between home, shops and a workplace that were all situated in different city zones. Gehl‘s noted that public space had been neglected in the rush to separate commercial, residential and industrial zones, and that the spaces between buildings had become in many cases a car-dominated wasteland, in contrast to the traditional European town square with its cafes spilling out of buildings, and people going about their business and leisure in the quiet company of the city.

“The book was a critique of the modernist focus on city buildings and roads at the expense of multifunctional public space; space which in the modernist movement had been neglected.”

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2.4.1 Applying this theory to school design In the same way as the modernists of 19th and 20th century reduced their concept of human beings to producers and consumers so that they would fit neatly into their city model, schools for many years were designed around a very simple notion of students. Students were empty vessels to be filled with knowledge, which was thought to be possible by grouping them together by age, and delivering content to them. It was a factory model, in much the same way as the modernists saw the city as one big money-making factory.

THESIS REPORT

are also being designed around these acknowledgements of the human nature. Understanding why this change is important helps teachers and students to be able to use it effectively – in a sense to ‗un-train‘ themselves after years of modifying their behavior to fit or rebel against the traditional ‗cells‘ (classrooms) of factory model schools. 2.4.1.1 Corridors: The Clogged Freeways of School Corridors are the most obvious example of public space in a school but they only provide two of the three functions: thoroughfare and (not very convincingly in most cases) marketplace. Typically unfurnished and without any nooks or crannies, they don‘t offer anywhere for meeting or quiet observation and reflection. Typical Ney York school corridors, no “meeting space” function at all

The Amphitheatre at Scotch Oakburn College’s Middle School is located right at the building’s front door and incorporates elements of thoroughfare, meeting place and marketplace.

The good news is that in the same way that cities are now being designed to enhance and build social capital; schools

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This means they aren‘t nice places to spend time in: people are inclined to hurry off and find another space for meeting. Without the passive supervision of a range of students and adults ‗hanging out‘ in the space between classrooms, corridors often become a site for bullying and rough behavior. It is important to understand that a school can exist without corridors. A classic example of a school where corridors are replaced by public space is at Millennium High School in New York City. Beyond its ability to connect various elements of the school more effectively than a corridor, it also serves as the school‘s much-needed ‗meeting place‘. By adding suitable furniture it Indoor public space at Millennium High School, New York

THESIS REPORT

In addition, having windows between the semi-private spaces (meeting rooms, classrooms, specialist spaces, offices) and what has then become the ‗commons‘ further improves that space in the same way as house and shop windows.

Classrooms and Formal Learning Spaces: Classrooms and other formal learning spaces such as laboratories, studios, theatres and small group tutorial or discussion rooms are very important parts of a school, and they are necessarily enclosed in many cases. Wherever the learning modality involves some kind of presentation it is important that the space be oriented to that focal point. However, the proportion of a student‘s time spent sitting and listening to a lecture or presentation is ideally small in comparison to the time spent on problem solving, handson learning, independent study, working in teams and other project-based learning. Dissemination of information can be entirely personalized and globalised in the broadband age and beyond, and students are well aware of this. For this reason we need to reconsider the proportion of our schools‘ indoor spaces that privilege a stand-and-deliver modality.

encourages use of the space for productive social and academic behavior.

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Children’s classroom should be vibrant and in vigorous to their atmosphere

THESIS REPORT

In these indoor public spaces, often referred to as ‗Learning Commons‘, or in some cases ‗Einstein Studios‘, students are not forced into a particular way of behaving, as they are in a classroom. Indoor public space, the ‘Café/Commons’ at Duke School, North Carolina, USA. Each of the school’s Small Learning Communities has its own Café/Commons.

Indoor Public Space in Schools: purposes, key features and a rationale If it‘s expected to stop schools to consist of corridors and classrooms, and instead expect them to offer a range of formal and informal learning environments, we almost never end up with corridors, as they simply don‘t make for good quality public space. Instead, the spaces between formal learning areas are designed specifically for the purpose of informal learning: learning from peers, learning by application, and learning a range of highly sought-after ‗soft‘ skills that are increasingly demanded by the business community as well as anyone with a desire for safer neighborhoods.

Moving on from the study conducted on interactions, the initial study of the design is to be conducted, as in this case is about an International School. The chosen syllabus for the school is taken for a specific reason which will be explained as required.

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THESIS REPORT

3. International School

3.1

I

International education began on 20 July 1867 when the future King Edward VII of Great Britain formally opened Spring Grove School in Hounslow, not far from today‘s London Heathrow airport. This remarkable experiment, supported by politician Richard Cobden, scientist Thomas Huxley and novelist Charles Dickens, had its origins in an essay competition associated with the London international exhibition of 1862 entitled ―The advantages of educating together children of different nationalities‖.

nternational education is an elusive concept, difficult to define and sometimes confusing in its varied interpretations. School curriculums have always had an international dimension with students studying the history, geography and literature of other countries, learning their languages and taking part in exchange programmes. Comparative studies of different education systems are international too, and so are aid programmes designed to improve a developing country‘s education system. But none of these is described by the phrase ―international education‖ as to be intended to be used. International education grew up in international schools. It was a response to the needs of multinational groups of students whose expatriate parents had been brought together by diplomacy or trade. These international students wanted to learn together, to get on with each other, to interact with the host community and then—in most cases—to return to their own country. Over the years a distinctive style of education grew up in many of these international schools. One might call it an education for international-mindedness; an education designed to break down the barriers of race, religion and class; an education that extolled the benefits of cultural diversity; above all else, an education for peace.

The Beginning and the Result:

In 1924 the International School of Geneva opened its doors to the children of the new breed of international civil servant working at the League of Nations. Its philosophy was a blend of the pragmatic—an appropriate education for a multinational group of transient students—and the visionary—dedication to the League‘s Covenant and, in particular, its commitment to peace. By the 1960s there were some 50 international schools around the world, and in 1962 a new chapter in their development began when Atlantic College, the first of the United World Colleges, opened in Wales, educating some 200 outstanding scholarship students, chosen from around the world, in their final two years of schooling. Slowly, and rather haphazardly, the building blocks of international education were being put in place. Its aspirations were ambitious—for example:

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 to allow for the reintegration of students into their own culture or for integration into other cultures (International School of Geneva)  to initiate an experience in international learning and living in the spirit of the United Nations (United Nations International School, New York)  to help students appreciate the world in its complexity (Washington International School)  to foster international understanding and peace (United World Colleges). A realistic ―education for international-mindedness‖ was needed both to respond to these lofty aims and to recognize that in the background loomed the students‘ likely return to their home country. This new international education would have to open the doors to a wide variety of different courses at universities across the globe. As such also along the process of international minded education there arose another problem during the 1950‘s: International schools could no longer afford the resources needed to prepare small numbers of students for entry to universities in different countries around the world. This gave path to the International Baccalaureate Diploma Programme (DP), which was developed during the following decade. The phrase ―international baccalaureate‖ was first used in 1962; students sat the first trial examinations in 1963; the first IB diplomas were awarded in 1970 to students in 11 schools.

THESIS REPORT

Here, at last, was an international programme balancing breadth and depth that satisfied the universities:  six subjects chosen from distinctive areas of knowledge and studied at two different levels  a research project  community service  a distinctive study of the theory of knowledge. In the Middle Year Program (MYP), where the student‘s learning in eight conventional disciplines is focused on international issues through a number of interdisciplinary ―areas of interaction‖ The MYP‘s early pioneers described it as ―international humanism‖: • Approaches to learning • Community and service • Human ingenuity • Environments • Health and social education. The Primary Year Program (PYP) is based upon six global guiding principles:  who we are  where we are in place and time  how we express ourselves  how the world works  how we organize ourselves  sharing the planet.

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The IB learner profile, which lists 10 descriptors (a mixture of acquired knowledge, skills and values) that distinguish the internationally minded person, student or teacher:  inquirers  knowledgeable  thinkers  communicators  principled  open-minded  caring  risk-takers  balanced  reflective. The word ―international‖ does not appear in the profile‘s description, confirming the impression that the IB was trying to develop curriculums that do not depend upon international students, international teachers or international resources. Towards the end of the millennium a new phrase entered the vocabulary of international education as ―internationalmindedness‖ gave way to ―global citizenship‖. Oxfam‘s Education for Global Citizenship emphasizes the elements of responsibility and participation when it describes the global citizen as someone who:  is aware of the wider world and has a sense of their own role as a world citizen  respects and values diversity  has an understanding of how the world works

THESIS REPORT

 is outraged by social injustice  participates in the community at a range of levels from the local to the global  is willing to act to make the world a more equitable and sustainable place  takes responsibility for their actions.

Always in a state to evolve from Evident it is by present day standards it is global one citizens that this civilization requires. Always in a state to evolve from one stage to another, never afraid of stage to what is yet to come. This is what is to be attained by a another, school as the final product. As such, this factor is applied into the design as this curriculum helps in never bringing out the perfect global citizen. It has to noted afraid that no barriers exists between borders of countries and of what the globalization of this world is in process. is yet to come.

N

ow, in order to fully understand about how IB works, the information of its syllabus is to be gone through. The purpose of the IB is to produce global citizens, but it can be well-integrated with the local curriculum. Hindi can be offered as a second language in the IB Diploma Program. The IB curriculum is more challenging than educational boards like the CBSE and ICSE. The challenge is in the quality of assignments, not in the amount of work assigned.

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3.2 Programmes of the IBO: The Primary Years Programme (PYP), the Middle Years Programme (MYP), and the Diploma Programme (DP) The International Baccalaureate Organization offers three programmes of international education that span the primary, middle and secondary school years. The Primary Years Programme (PYP) is designed for students aged 3-12, the Middle Years Programme (MYP) for students aged 11-16, and the Diploma Programme (DP) for students aged 16-19. While these programmes form a continuous sequence, each may be offered independently. The Diploma Programme ―A rigorous pre-university course of studies that leads to examinations, for highly motivated secondary school students.‖ The Diploma Programme is a comprehensive two-year curriculum, available in English, French and Spanish, that generally allows students to fulfill requirements of various national education systems. IB diploma holders are admitted to universities, including the most selective, in more than 102 countries. The grading system is criterion-referenced. This means that each student‘s performance is measured against well-defined levels of achievement. Top grades reflect knowledge and skills relative to set standards applied equally to all schools.

THESIS REPORT

 Group3: Individuals and Societies (History, Economics, Business and Management, etc)  >Group 4: Sciences (Biology, Chemistry, Physics and Environmental Systems)  Group 5: Mathematics and Computer Science  Group 6: Electives (either Visual Arts or a second subject from Groups 3, 4 or 5) In addition, all DP students must study a two-year course called Theory of Knowledge (TOK); work to produce on Extended Essay (EE); and engage in Creativity, Action, and Service (CAS).

DP students choose one subject from each of the following six 'Subject Groups':  Group 1: First Language (English)  Group 2: Second Language (French, German ab initio, Hindi, etc)

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The Middle Years Programme (MYP) ―A framework of academic challenge and life skills appropriate to this stage of adolescence.‖ The MYP insists on a thorough study of various disciplines. The accent is on their interrelatedness. Teachers use criteria established by the IBO to assess all student work. The organization does not set or mark examinations. The IBO, providing external moderation, validates the school‘s assessment standards. Authorized schools are visited and evaluated regularly. A team of professional educators reviews the delivery and effectiveness of the programme and makes recommendations for improvement.

THESIS REPORT

The Primary Years Programme (PYP) ―Provides an opportunity for learners to construct meaning, principally through concept-driven inquiry.‖ Traditional academic subjects are part of the programme but it emphasizes the interrelatedness of knowledge and skills through a transdisciplinary programme of inquiry. The PYP focuses on the heart as well as the mind and addresses social, physical, emotional and cultural needs as well as academic ones.

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The sports facilities available are varied and numerous, so there should be something to suit everyone. Activities include the traditional team sports such as Soccer, Cricket, Hockey, Netball, Volleyball and Basketball as well as Badminton, Table-tennis, Carom, Trampoline, Chess, Tennis, Aerobics and Skating. Fixtures take place regularly against local schools and other International Schools in the region. Nearly all of the activities are open to both sexes and many run all the year round. In addition excursions and trekking expeditions are organized.

THESIS REPORT

Since the element of this thesis revolves around the idea of perfect school in all modes of perspective, IB have proved its worth in creation of the global citizen required for the present age, thus in fact meeting the requirements required for the evolution of a perfect school in all sense. The IB‘s ideology of creation of perfect student is the exact requirement in the present day, as stated much earlier; it is this trend that will help man in the quest for his success in future. Man as a student who learns throughout his life, a process that should begin through school never to end with it. Once the school design and the way the teaching are done links together harmoniously, the perfect learning atmosphere comes to form.

Now since the conclusions have been arrived on the matter of the perfect syllabus suitable for the school, the requirements for an IB school will be discussed. These requirements are found out using the syllabus structure provided by the IB Organization.

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3.3 Syllabus International Baccalaureate syllabus subjects: Grade 1- 5  Language arts  Mathematics  Program of Enquiry (science, social studies)  Arts  Information Technology  Library Skills  Physical Education  Music Grade 6-8  Arts and design  Drama  Music  Language A  Language B  Humanities  Physical Education  Mathematics  Sciences Grade 9-10  Arts  English  Humanities  Languages

THESIS REPORT

 Mathematics  Sciences  Physical Education  Technology Grade 11-12  Arts  English  Language  Humanities  Physical Education  Mathematics  Sciences  Technology 3.4

Requirements Administration block  Reception  Director‘s office  chairman‘s office  Principal‘s office  Vice-principal‘s office  Treasury and office  Office room  Vault  Conference room  Toilets  Counselor‘s office

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Academic requirements  Primary year program:  Library  Classrooms  Computer lab  Arts  Music instruction  Staff rooms  Toilets  Middle year program  Classrooms  Library  Science labs  Arts instruction  Language lab  Music instruction  Staff rooms  Toilets  Diploma year program  Classrooms  Library  Arts instruction  Music instruction  Language labs  Staff rooms  Toilets

THESIS REPORT

Sports and Recreation  Football  Tennis  Basketball  Volley ball  Badminton  Running track  Yoga  Tai-chi  Pottery

The areas needed for the above requirements will be calculated accordingly using the case studies (literature and live). Also, there are other norms to be taken into consideration which will be also discussed.

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THESIS REPORT

4. CASE STUDY 4.1.1 Indus International School General Information: Built up area: 10.76 acres Total park area: 3.3 acres Car parking area: 1.06 acres Site area: 26.09 acres Architect: Ar. Dinesh Varma, Ace group Capacity: 825 students, 25 per class Hostel: provided in the campus Curriculum: ICSE, IGCSE Class time: 9am to 4pm

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THESIS REPORT

Area analysis Area of each block: Administration Primary Block Middle School Block Secondary Block Dining Block Swimming Pool Indoor Complex Girls Hostel A Girls Hostel B Girls Hostel C Boys Hostel Staff Quarters

1400 sqm 2493 sqm 2493 sqm 2418 sqm 3082 sqm 1380 sqm 1530 sqm 740.25 sqm 740.25 sqm 1068 sqm 3684 sqm 1790 sqm

Administration Block

The administration block is in the central position of the site. Its appearance has a prominent look which gives its grand importance. The plan of the structure is circular and it is built in Roman style with huge columns. The building is finished with a white plastered feel and surrounded by beautiful landscape. The building is three storied structure. When entering the building you see a welcoming reception with wood works and huge double doors. The furniture‟s have a touch of modernity in them. The flooring is of red and white tiled. Seating is provided at either side of the main door. The ground floor consists of main offices, conference rooms, principal‟s rooms etc. They are all placed around a well finished courtyard. The courtyard is being arranged with white pebbles and shrubs. The courtyard is topped up with dome shaped roofing made of polycarbonate sheets which gives lighting to the whole area. The many offices are Director of Administration, Principal, Admission, Store room, Finance, etc. The other two floors are used as resource centre for the whole school. The many offices are Director of Administration, Principal, Store room, Finance, etc.

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The other two floors are used as resource centre for the whole school.

Resource Centre The entry of the building is through a huge flight of steps of about 4 m is provided. The steps are held by huge columns. When entering the building there is an empty lobby which is not used for any particular purpose. The library section is again dividing in to two by senior‟s library and junior‟s library. The senior‟s library has a reception which is used for issuing books and other purposes. Planning for the furniture in the library is not done which is evident with the placement of the shelves. There is a baggage counter while entering the library. The junior library has colorful shelves which make the place a very lively place for them. The shelves height is restricted to the children‟s height and reading area with TV provision is provided for their comfort. The other side is the computer centre which is divide into 2 or 3 classes by make shift boards which shows the lack of planning in this computer centre. Staff rooms are provided in this floor for the teachers.

Primary Block The whole building is built in Roman style with huge columns in the front of the building. The lobby space is again given for this building. The height of the lobby is triple height which gives a pleasant grand look for the person entering the building. The top 2 floors are projected into the lobby space height by the balconies. The classrooms are decorated with stickers which gives an energetic feel for the children. Compared to the outer feel of the building the inner concept changes the whole thing. The tables and chairs provided are of height required for the children. Mats are for children to play and to take a nap. Just outside the classrooms is where the children keep their bags so have a bag free classroom. Big toys are placed around 73

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the building for the kids to play around in the break. The tables are shaped into an octagonal. Water coolers are provided at each interval for the children for their comfort. Restrooms are provided at each floor with partition in the front so it becomes more of a private place. The sanitary wares are of the height of the children for their ease. There are temporary rooms provided for Xerox copy machine.

Middle School Block The building is placed next to the open amphitheatre. The classrooms are facing the open courtyard. The courtyard gives a classy look to the building. Seating‟s are provided along with the planters to give finishing touch to „mini garden‟. Classrooms are placing in a normal pattern each table for 2 students. They have space under their table tops to place the unwanted books. Projector are hung from the ceiling adjusted according to the screen placed in front of it .Speakers are provided in each class for any important announcements. The laboratories have less importance given to their use, which to lead to poor planning. Lockers are provided at each corridor at each floor for the students to keep the personals in it and lock it whenever they want it.

Secondary Block The Secondary block has same planning and concept as the primary block to have a symmetrical pattern in the elevation and the view. The lobby has the same look as the primary block that is they have same triple height and the balconies protruding into the space of the lobby. The Secondary block has same planning and concept as the primary block to have a symmetrical pattern in the elevation and the view. The lobby has the same look as the primary block that is they have same triple height and the balconies protruding into the space of the lobby. Classrooms are the same as the middle school but the laboratories differ. Here the high tech laboratories are brought in sophisticated method of solving the 74

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needs of a lab. The labs that were there in this block were for Physics, Chemistry and Biology. Lecture rooms are provided along with these labs with seating arrangements for teachers as well students. There is a staff room in each lab for the teachers working in the lab. Store room is also provided to keep all the excess equipments for later use. Toilets pattern is same rest of the school blocks, there is a partition provided in front of the rest rooms. Staffs rooms are provided in a luxurious manner with sofas with coffee makers and each teacher have their own system with their space. Lockers are provided for each teacher and toilets are provided for them.

Dining Block The plan of this dining hall is rectangular in shape and has two in each side of the building. On the longer side of the rectangular is closed and the other two sides are open to the children. The capacity of the hall is 500 students; it is separated in the middle as the boys section and the girls section. Their entry into the dining hall is also restricted by the entries on either side of the hall. Wash area is provided at each ends of the halls for both girls and boys. There is about 12 wash basins and out of those there is 3 of which is placed at lower height. Buffet system is prevalent in this area with serving tables provided at each end.

Kitchen When entering the kitchen you will realize the placement of each room is in a perfect orderly manner. There is about 100 staff working in this kitchen alone which makes the kitchen run in a faster pace. Placements of rooms are in corridor manner. Just opposite the entry is loading and docking area. Placements of rooms are in corridor manner that is in this corridor you get to reach all the rooms. Just opposite the entry is loading and docking area and facility needed for it sufficient are provided all around the place. On the right side of the entrance is the dishwashing area. Bakery section comes next to this utility. Store rooms are kept next to the cooking section. 75

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There are 3 store rooms; one is the cold storage, one for storing dry foods. The next room is the utility room. Waste disposal is properly solved in this area, by placement of dry wastes in a compartment which is later burnt off. Wet waste is disposed way back in a room where the odor won‟t affect anyone and is taken away outside to dispose. Staff dining is placed just outside the kitchen area. LPG is placed outside the building for ease in loading and unloading of the cylinders. Used water in the kitchen is filtered and recycled.

Open Amphitheater This is placed in between Dining hall and middle school, gives an excellent landscape feature. There are about 12 sets of stepped seating‟s provided and 2 aisles in between the stepped seating‟s. The stage is placed in such a way every one can have a view to the stage. The open stage has 2 dressing rooms provided along with the back wall. The soil of the hill is retained by the stones and thus avoids soil erosion. Interlocking tiles are placed as flooring for the whole amphitheatre. Grass is grown in between them which makes it part of the nature.

Accommodation There is four hostel blocks in this campus 3 for girls and one for the boys. The girls hostel is divided into A, B and C blocks. The planning is same for all the girls‟ hostel. The entry is of roman style decorated with landscape seating‟s. The interior faces a tiled courtyard with one tree in the centre. Seating‟s provided in the lobby for the guest and telephone was placed in the front for the children for their calls. Rooms in the hostel have three people each student gets their own cot and table for their use. Wardrobes are provided for their personal and shelves are provided for each. Just outside is where shoe rack is provided. Common toilets are provided in each floor and thus students can lock their rooms for safety. For laundry the students are required to place it outside their room, it later on taken to the 76

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laundry room for cleaning. There is a separate study area for students who want to leave the room and study in a quiet place.

Hospital There is a Tele-medicine facility on campus which enables a direct link up with top hospitals for immediate consultation. A hospital with a doctor in residence and 3 nurses are available 24 x 7. All students are covered by medical insurance and are trained in first aid. But the structure present is temporary with low ceiling height and insufficient space. In the waiting area the furniture is of plastic chairs and coolers are provided. Beds provided are separate for girls and boys. They are curtained for privacy. Drugs are stored in Godrej wardrobes for safety and always locked and kept away from the children. There is a fridge placed for medicines that have to be kept in cold climate. Consulting room has not much sufficient place for doctor and the patient to be at ease.

Laundry This is a separate block placed next to the Integrated Sports Complex in the campus. There are only two rooms; one is used as the boiler room and the other for the washing machine and ironing. Clothes received here are washed, dried, ironed and returned to their owners.

Swimming Pool Block This block is placed next to the Integrated Sports Complex and away from the academic buildings. This structure is an enclosed swimming area but not covered, it has an open roof which brings in enough and more sunlight. The main door is double door into small lobby space where a table and chairs placed. But the tiles are same as the pool side tiles. Notice board is placed in front for any particular notice for 77

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everyone concerned. The complex also features two swimming pools, one for toddlers, and a 25m pool. The depth of the toddler‟s pool is of 11/2 feet which is safe for their use. The maximum depth of the main pool is of 7 feet. The changing rooms are provided at the other end of the pool, it is separate for boys and girls. They have shower area provided at the exterior which is necessary before entering the pool. The foot bath pool is provided at every entry of the pool so as to keep the pool neat. Excess water that flows out is drained out through the side drains. Galleries are provided for the viewers during any competition. Filtering system is provided at the entry of the pool area.

Integrated Sports Complex This block is placed next to the Integrated Sports Complex and away from the academic buildings. This is an Indoor stadium having a height of three floors with long windows giving a touch of roman style. Two sets of double doors are placed at the entry and opposite side of the stadium. The Indoor Sports Complex houses a basketball court, three badminton courts, two table-tennis tables, gymnasium, and one squash court. The roof is spanned by the trussed works and it is covered by the aluminium sheets. Lightings for the stadium are evenly placed on the roof which lightens it up when needed. Gymnasium, table-tennis, gymnasium and squash court is placed in the top floor.

Outdoor Sports Galleries are placed on top of the laundry and shopping area buildings, thus views won‟t be blocked. There are two basket ball courts, one placed next to the kitchen area and the other after the football ground. The size of basket ball court is 26 x 14m. 78

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Hockey ground is placed at one end of the football ground. The size of hockey ground is 90x 55m. There is a tennis court placed next to the hostels for the inmates play in it. The size of the court is 18x 36.5m.

Horse Line This is the stable of the horses and this building is placed next to the ground. The building outlook is very different from rest of the building. The roof is trussed and aluminum sheets are placed over it. Next to the stable is the trainer‟s house where he stays and nurtures the horses. There are 12 horses in this stable. They each have sufficient space for their abode. The flooring is made of granite so that it could be washed easily. There is a room where all the miscellaneous items like food, saddle, etc is placed. Hay is stacked outside the stable in another shed. There is horse riding ground made for the exercise and riding of the horse.

Parking and Landscape The campus in enriched with a beautiful landscape according to the terrain. It helps to break the monotony created by the buildings. The lamp posts and trees give the walkways a different character. The play areas are also treated with lawn. The interior courts are also treated with plants capes. The parking is provided in a separate yard. This helps to avoid pedestrian conflicts and keep a silent atmosphere inside the campus.

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4.1.2

THESIS REPORT

Montfort Anglo-Indian Higher Secondary School

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General Information Total site area: 40 acres (approx.) Capacity: 1050 students Grades: 3 to 12 Curriculum: 3rd to 11th; Anglo-Indian syllabus 12th; State syllabus Class timing: 9.15 am to 4.15 pm Site: The site is located at Yercaud hills, Salem. It enjoys a magnificent view towards the village and the hills beyond. Found in the early 1917 the architecture pattern follows the Franco-Indian architecture built in all stone and mortar.  The natural vegetation on the site has been to use for landscaping purpose. This in turn provides a boost to the already calm and cool atmosphere.

Entrance to School     -

Have a two way road system. Average road width: 10m The entry faces the tall and imposing statue of St. Montfort. Chapel stands at the entry of the site. It‟s an all stone and mortar structure. Arched windows are provided for lighting to the chapel. Stained glass is used extensively. Franco-Indian architecture used. Reminds of French châteaux.

Administrative block  It‟s the second building from the main driveway from the entry. 81

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 Built in a simple manner having G+ 1 floor.  Ground floor consists of: - Principal‟s office, a reception, treasury office, the main office and 2 classrooms. Also 2 bathrooms are provided for the staffs. -The first floor consists of dormitories for boys; classes- 7th to 9th, wardens office and toilets and showers.  Constructed using locally available stone and mortar.  Have thick walls and given no finishing thus maintaining the archaic effect.  Flooring is of tiles in the structure. The pathway around it is plastered with cement.  Roofing is slopped from centre with tiled roofing. Beams and rafters of wood is used.  Church architecture is used for the designing of this block.  Have a common corridor leading to all rooms. Arches are provided for the entrance to the corridor.  The Administrative Block overlooks the school campus.

The Library    

The library block stands as separate block adjacent the Administrative Block. This structure also constructed out of stone and mortar. The roofing follows the typical pattern followed it the site with wooden trusses used. The library houses books from 35 sections. Also it provides the students with educational magazines.  Chairs are provided for the students for reading.  It also has a counter for the librarian.

Primary block  It‟s originally an L- shaped building constructed in facing the administrative block.  It follows the contours of the site. As such number of floors increase according the slope. The main block is a G+2 structure. This is followed with 2 more floors on the next level of contour.

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 The ground floor and floor is meant for classes and the second floor is used as the dormitories for boys from class 11th and 12th.  A classroom consists of a stage for teaching a blackboard and seating for 30 students. The seating is of wooden benches for 2. There are 3 windows in each class room and one door. A dimension of class is 6x6m approx.  The structures have extensions made on the second floor and have safety grills provided on the main staircase that lead all the way to the dormitories. The grills are placed for security reasons.  Other than for class rooms there are study halls for the study need of the residential students of the school. Also there are staff rooms provided.  This school wing houses indoor games areas such as caroms, billiards, table tennis etc.  Toilets are provided on the way back to the main stairway.  Dining wing is attached to this block. This dining falls on the next level and corridor is made for the access from the main block.  Circulation patter is simple. Pattern followed is: class - central stairway & lobby spaceseparates to dormitories, dining hall indoor games zone, outdoor sports zone and to the main assembly.

Secondary Block  This is a different block built opposite to the administrative block.  The structure is constructed recently as an extension to the old school.  This structure is built out of brick and cement. It‟s plastered in white paint. rches are provided for openings to the corridor.  Ground floor and first floor consists of classrooms and staff rooms.  Toilets provided towards the end of the corridor.  Ground floor consists of: - Labs for chemistry, physics, biology and computer science. - Also have workshops and study halls. Workshops concentrate on students creative talents. 83

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 2nd floor consists of dormitories for boys from class 3 to 6. It also has a warden‟s office, toilets and showers for students.

Dining Hall & Kitchen  It‟s a different structure which is combined with the Primary Block.  This building makes the third floor of the primary wing since the construction used follows the contours. Further down there is another floor. This is for the Montfort Culinary School.  3 dining halls are provided. The seating is set at 9 people on at table. Seating capacities of dining halls are as follows: - Dining hall 1~30 tables - Dining hall 2~15 tables - Dining hall 3~26 tables. Total seating capacity=659  3 different entries are provided for reaching the dining hall. From the main block, from the assembly and from the main passage respectively.  Buffet system is followed. For this purpose a counter runs along the corridor from the kitchen to the dining hall.  The kitchen is a 12x8m room on the other end of the dining wing.  It has the cooks counter placed at the centre of the kitchen with preparation counters running adjacently on either side. On the left side too, preparation counters are placed and the cookers and fryers occupy the space on the right side.  There is a separate room for the rice cookers which houses 3 boilers.  LPG is stored outside and pipelines bring in the LPG to the kitchen. This has been done for the ease in loading and unloading of the cylinders.  There is 2 rooms for dry storage and a cold storage unit for perishable items. In addition to these rooms there is a dishwashing area, utility room and a room for storing utensils.

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Recreational areas The sports zone consists of: - Tennis courts: 9 nos - Basketball court: 3 nos - Soccer field: 1 nos - Swimming pool: 1 nos - Cricket ground: 1 nos - Horse riding: 1 ground allotted. - Gymnastics: 1 ground allotted.  The tennis courts are situated in 2 places. The first 2 courts are situated on the entrance to the Sports zone. The other 7 courts are situated near the cricket ground further down the way. Hardened soil is used as material for the courts flooring. The basketball court is also built separately in 2 areas. 2 of the courts serve as the school assembly ground which is sandwiched between the administration block and the primary block. The 3rd court is situated near the soccer field. Cement is used as the material for the flooring of the basketball court  The cricket ground consists of a green lawn with a pitch of hardened soil. No seating is provided for the ground and palm trees align the borders of the ground. A practice net pitch is also provided on one corner of the ground.  The soccer field is a well watered and manicured ground with a running track running along its borders. The fields seating is provided in a stepped style. There is also a centre which overlooks the field. This centre houses all sport equipments. Temporary goal nets are placed on the ground for practice purpose. 85

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 Swimming pool is built open to air with seating‟s provided on one end. It‟s having blue tiles for covering; blue coloured slip proof tiles lining the pool and dull rough mosaic as the pathway. There are 2 diving decks of different heights. Covered bleachers are provided for seating. Separate structures are built for changing and for showers. Filtration system falls in the next floor adjacent to the equestrian club.  Equestrian club: Montfort school has its own equestrian club for the students. For this there are stables for the horses and special fodder is made there just for horses and the cows in the diary farm. Grass is cultivated using fertilizers made from cow dung. For horse riding a ground is allotted.

Accommodation (dormitories)  For accommodation of students dormitories are provided. The boys stay on the campus in dormitories. These dormitories are situated on the top floor of the institutional buildings and over the administrative block. For the students a bed, a wardrobe and a stool is provided each. Rows of overhead showers are provided for bathing in a common bathroom and toilets and urinals are provided linking to these shower rooms. The girl‟s dormitories are situated of the campus grounds overlooking the soccer field. They stay in hostel the hostel block. There are three hostel blocks made for the girls alone. For laundry the students supposed to place their clothes outside the dormitories where they will be picked up, washed, ironed and send back to the owners.

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4.1.3

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CONCLUSION

Indus International School            

 Merits: The school is planned according to the terrain. A large parking area is provided apart from the school campus, which ensures safety to the children. A good landscape and maximum interaction space is provided The amphitheatre and play area for lower school sections are mingled with the plants capes. The building facades have ROMAN character with large columns, freezes etc. the dome over lobby of all buildings ensures adequate lighting inside the lobby space. Bag racks are provided in all class rooms. Audio visual facility is provided in all the class rooms. Library is provided in a separate block  Demerits: There is no separate pedestrian paths are provided. No rest house is provided. The walk able distance between hostels and high school section is too large. The kitchen is situated in the middle of the dining hall. Hence the cooking odour is bound to reach dining hall.

Montfort Anglo-Indian Higher Secondary School  Merits:  This school is aptly built on a high altitude. As such the schools environment boosts learning mentality.  There is easy access from the institutional area to the dormitories.  The school is built in such a way that future expansion is made possible.

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 The architecture used is grand and awe inspiring. French castle architecture pattern used gives the buildings massive outlook.  The school zoning is done properly.  Focus is emphasised in the design to help the institution to keep a watch over the students.  The Montessori system followed helps students to create an initiative in their field of expertise.  Demerits:  Lack of proper maintenance is seen.  Not much landscaping is focused for the interaction of students with nature.  No specific planning done for students gathering places.  The dormitories have a dull monotony.  The girl‟s hostels are placed far away from the campus.

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4.2

THESIS REPORT

Literature Case Study

 4.2.1 Pathways World School Lead firm: Fielding and Nair Facility design features site hierarchy. The school is planned with the understanding that learning does not begin nor end in the classroom. The entire site has been laid out as an eclectic mix of formal and informal areas to encourage different learning styles.

The Academic Block * Students can have one-on-one lessons from peers or teachers in so-called “formal learning zones”. * The immediate area outside the classroom serves as an extension of the learning experience and is designed to encourage informal student gatherings. * This in turn leads to a central green zone within each academic block. Reason: green zones are designated for a student-created garden that will be changed annually. * Within each academic block, there are also two “labs” that will be outfitted to permit a variety of hands-on activities. * Each academic block also has one room set aside as an independent study lounge for those occasions 89

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when students want to read, write or browse the Internet on their wireless laptops in a quiet setting.

Other Site Features * There are quiet zones and green zones * Large group gatherings - the central tiered amphitheatre around a large water body is intended for both informal and formal gatherings * A spiritual centre removed from the rest of the site. * There is a heavy emphasis on physical activity and a variety of opportunities are afforded to students to excel in their area of ability and interest. * The site also boasts a world class media centre which serves as the global connections zone as well as a large arts and crafts centre.

Multiple Intelligences Theory Howard Gardner‟s Multiple Intelligences Theory was chosen to be the central theme, running through all aspects of the project development and implementation. In fact the name Pathways, was itself coined to represent the multiple Pathways to learning that are available - and how each individual walks a different Pathway of learning during the course of his or her life. When built and operational, Pathways World School will be India‟s first Multiple Intelligences School.

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Programming  One principle of this project is that Pathways will ALWAYS be a work in progress. As such, there will never be a complete program of all project requirements.  Most areas are designed as large spaces that can be outfitted internally as needs dictate. The selection of wireless computer networking technology has helped in this regard because many items of fixed furniture and equipment will now be mobile - thus precluding the need to locate them on plans.

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Technology  Computers to be used as a tool to facilitate learning other subjects as well.  Another important technology aspect of Pathways is the availability of fully interactive distance learning facilities. Goal of Pathways is to graduate good citizens as much as to graduate academic scholars. Pathways are to be created around a culture of community service. A substantial number of seats (up to 15% of all seats) will be made available via scholarships to deserving students who are unable to afford the expense of studying at this school.

Design features Lakeside amphitheatre can serve many learning modes including collaboration, independent study and performance. It is also a place for relaxation and emotional/spiritual development. Entrance to one of the academic buildings built in small scale allows Pathways to avoid the institutional character that is often associated with large schools. By breaking up the school into smaller learning communities, each student becomes part of a smaller peer group and has a greater sense of belonging and identity.

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Site zoning has been in a way to provide maximum fluidity. This in turn gives ways to maximum academic progress of students.

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 4.2.2

THESIS REPORT

Mercedes Benz International School

Lead Firm Parekh Noorani Architects Pvt. Ltd.: Team Members Ash A. Parekh, Principal Architect & Director Arif F. Noorani Principal Architect & Director Ekta Anand, Project Architect Gauri Diwakar, Architect ootage: 45000 Grades: KG, 1-10 Curriculum: IB Completion: 2003

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Ideas the design contains that enhance learning >Spatial separation via creation of “an excess of flexible multi-level passive interactive” social courts encourages mixed congregation. > The classrooms have direct access to the 3 “active” aptly equipped playfields (for the 3 divisions). >Furniture: The student desks are detached modules, allowing flexibility e.g. seminar, group discussion, one-onone, academic set-up, etc. >The students agreed that classrooms be equipped with Internet access- to function as “Global Net Classrooms”. > Classrooms are equipped with “wet areas” & customized teaching aids. A combination of yellow/white light is provided for better rendition. > Classrooms are equipped with “accordion” partitions to facilitate larger student workshops. >To encourage the Arts, buildings are painted using neutral colors. >The promenades have niches for display of student art. >The courtyard displays the “student graffiti wall” & sculpture. >The library/media center is a 2-story space, demarcated vertically for younger/older kids equipped with storytelling areas, reading rooms, AV room & computer lab. >The amphitheatre configuration allows for night-time oratory, dramas & stage shows. >The “acoustically detached” music room has individual practice rooms for personalized instruction. >The pliable cafeteria functions as a yoga / meditation center, recreational room with table tennis & carom. > The laboratories provide access to landscaped spaces for “real world” botanical experimentation. 95

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Innovations in the planning, programming & design process The school consists of administrative, classrooms, utility & cafeteria blocks. An undulating perimeter wall made from local stone responds to the existing topography. >One access/exit point restricts all vehicular traffic to the periphery& users can safely walk the 4-Acre campus using the covered promenades. >The first aid room is located at the cul-de-sac. >The future Gymnasium is to be placed adjacent to the pool changing rooms. >The strategic service road allows direct access to all utilities, loading docks & future hostel. >The temperature varies from 35° F - 105° F. Also the sun/wind patterns were studied. For effective cross-ventilation, the buildings had to function as “hybrid wind tunnels”. The “single loaded” classrooms are flanked by proportionate “quiescent wind-catcher courts” with a 60‟ long suspension bridge connecting the C-shaped wings. > The12‟ height, tinted glass fenestrations & westerly winds keeps rooms comfortable. Electrical panels, conduits & hazardous devices are locked in vandal-proof utility closets. >The pool-facing café is a combination of semi-covered & covered eating areas enhanced with an array of vibrant colors, shapes and lighting moods. >The materials selected are locally available, with emphasis on ease of maintenance, vandalism & economics, e.g. the flooring in the hightraffic promenades is ironite floor. Outdoor cafeteria: open to sky with pergola roofing allowing maximum light and ventilation. 96

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Entry to classroom foyer. The playground is located on the front side.

.

Building zoning

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 4.2.3

THESIS REPORT

GEMS International School, Dubai

Lead Firm: CPG Consultants Pvt. Ltd Site area: 4.2 ha Capacity: 2440 Grades: Kindergarten to 12th Site: Sandwiched between 2 main roads and built in this elongated site, having multiple frontages to the neighboring context and the roads.

Creating a Phenomenon The building combines spatial and programmatic stimulation with physical clarity and excitement into a coherent and imaginable whole. Concept: >The architecture is inspired by the poetic undulations of the sand dunes. The building captures this through its meandering form and flowing roof. >Nestled within this dunes-cape are multiple oases - the centers of learning. The spatial organization is like a learning journey akin to a voyage of discovery. Activity is intertwined with circulation: >expands into large spaces for communal activities >contracts into smaller spaces for more intimate learning. The result is an activity „river‟ that pulsates dynamically through the learning oases - always in a state of programmatic state

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Using Creative Programming Creative programming facilitates new learning methods and environments. This involves designing for flexibility and fluidity. Creating open spaces for the school‟s facilities for centers such as Administration centre, Knowledge centre, Science and Technology centre, Sports centre and Arts centre. Hence maximizing efficiency and ensuring co-existence of these spaces. >Spaces can be reorganized and transformed for other or multiple uses - both temporary and permanent. This is achieved by combining small spaces, dissecting larger ones or reconfiguring them. >Centers are not isolated entities. Programmatic and spatial fluidity occurs at the interface of centers - these are social spaces where informal learning can take place.

Creating a Total Learning Environment This school will offer an unparalleled learning environment and opportunities for students and their families. Students will benefit from public spaces that encourage open access to the school building and the reputation of its provider as the leading thinker of modern education. The design of the building is evocative of the desert landscape and creates a light and awe inspiring space for the school community. >Discovery World is at the heart of the school. The large open resource library are provides for a range of individual, small group and whole class teaching spaces. 99

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>Surrounding the library are two elementary science rooms, robotics lab, art room, design technology room and a 60 seat planetarium. >The planetarium is the focal point for cosmology curriculum that will be offered throughout the school. The opportunity for students to develop their understanding of the universe will enable all learners to be better world citizens. >Study of the performing arts will be showcased in the 660 seat auditorium. In phase one the community will have access to music and practice rooms, music technology suites, post-video editing suites, and sound stage for digital video recording, dance studio, drama room fitted. >The campus will also house a range of sports facilities, including a six-lane, 25-metre swimming pool, 400-metre athletic track, synthetic sports pitch, squash and tennis courts, fitness centre and the regions first indoor skiing simulators in a school setting. >Learning zones are spacious with break-out spaces and small group technology. > Students will also have access to a rooftop „Peace Garden‟ a space designated for reflection and contemplation.

Design Patterns Welcoming Entry: The grand approach to the school with fully sheltered drop off point for the guests is just the one of the many welcoming factors. The internal winter/tropical garden serves as the beautiful back drop to the school lobby as one of the oases nestled within this dune-scape.

Art, Music, and Performance: The large auditorium with 660 seating capacity is equipped with a performing stage and support spaces which are programmatically linked to the performing art centre - hence creating a sustainable arts hub for students and public. Physical Fitness: The school has a complex dedicated for sports facilities for 100

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the students and the public to use at specific times of the day. These facilities range from indoor sports hall, swimming pools to outdoor hard courts and an international size track and field. Interior and Exterior Vistas: The building foot print takes a unique shape which allows multiple frontages to the public. Hence, all the centres of learning provide extensive access for the students to visually connect with the internal courtyard - the plaza and the external surrounding urban landscape outside the school. These multiple vistas allow students to easily orientate themselves with the campus facilities and current activities. Cave Space: Multiple niches that are intertwined with the circulation as a result of the meandering concept of its spatial strategy create opportunity for intimate learning to communal size gathering to occur. Local Signature: Inspired by the poetic undulations of the sand dunes in the Middle East, the building draws its presence from its architectural display of the flowing form on its roof edge hence softening the harsh environment of urban landscape.

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 4.2.4 Trivandrum International School Built Up Area 7304.94 Sq Mt Site Area 17 acres Architect Ar.Jayachandran

General Planning “The entire idea is based on modular fusion, so as to facilitate a flexible planning & potential for future expansion.” is the concept generated by the architect himself. The planning of the school campus has been influenced by the irregular shape of the site. The planning has been done by putting the academic zone near to the main entry and the residential as well as recreational on the other end. A road as well as pedestrian covered path runs from the entry to all the buildings. Although the planning is according to the site symmetry is also used in the central part of the campus and the natural slope of the building site is also maintained in the design.

Administration Block The Administration building has an aesthetic entry which leads to a landscaped courtyard. Just opposite to the main entry is the podium which is used as a stage for the morning assemblies. At each cardinal direction there is opening towards the exterior which gives a good flow for the people. The administration is placed at the peak of the hill. This building mainly consists of libraries and offices. In the first floor there is another array of offices along the courtyard. There is a registrar‟s room, director‟s room and offices. There is a library with a cutout in the centre of the room to see the ground floor library in the next

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floor. There is a watch tower in the topmost floor. The possibility of future expansion is taken into account since the school is still growing

Academic Block

1) Junior school Junior school is the first building of the campus from the main gate. The low profile of the junior building symbolically makes this part of the school the smallest in the campus. This building is set exclusively only for students from 1st to 4th standard. They have exclusive pool for their recreation. Classrooms are decorated by each different theme to give a good atmosphere. Pressure of studies has been lessened due to color and the activity filled days. Every furniture is designed in a scale suitable for children. The building has a central core of toilets with classes around one of the recessed spaces on north faces the swimming pools and the other on the south faces the play area in 103

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the basement. The central toilet core of the building makes the efficient handling of the services possible through the central duct. Although the building is efficient and aesthetically pleasing the blank wall at the entry destroys the welcoming nature which is important aspect in buildings. The enclosed play area makes the children safe. 2) Middle school Middle school from standard 5 to 8 is in the same block with the administration. The administration building also holds 2 libraries one for the seniors and the other for the juniors. 3) Senior school and Infant school The senior school with the standards from 9 to 12 is working in a separate building with 20 students in each class. All the classes and labs are having adequate natural lighting and posses‟ storage for the student‟s materials. At the end of Class 8, students make the choice whether to follow the ICSE or the Cambridge International Examinations IGCSE curriculum for the next two years. The Staff room is provided at each floor. HiTech staff room is established with phones at each interval and computers for each staff member. Seating with tables is provided. Laboratories have to design in a precise manner. The architect himself designed all the furniture of the labs. Labs included Computer, Chemistry, Physics and Biology. There is a store room attached to each room. All the classrooms are provided around the central „chess‟ courtyard. The courtyard is covered with polycarbonate sheets. Lockers are provided for each student. The senior school block has the infant school in its basement with lesser number of students in each class room.

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Recreation Spaces Music Rooms There are two types of music room: one for western music and another for eastern music. The equipments required for the each activity is provided. These rooms are situated in the Hostel block. So it is close to the other outdoor recreations but very far away from academic blocks. Due to shortage in rooms for each requirements hostel rooms were given to fulfill the necessity. Outdoor sports The school has a football court, 2 tennis courts, 1 basket ball court and a badminton court. For the junior school the play area with the children play equipments is the main recreation zone. Swimming Pools There is a six track swimming pool of 25m length with a minimum depth of 60 cm and maximum of 1.6m and small kiddies‟ pool of 60cm deep. For the junior school the play area with the children play equipments is the main recreation zone. Changing rooms are provided at the end of pool with shower cubicles and toilets. There are separate provisions for girls and boys. Filter system is provided in the basement and both carbon and sand filter system is used.

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4.2.5 Conclusion: By all the above made learning’s on the subject, it is quite clear to the fact that there is always a factor in which the architect tries to bring in his own sense of architecture into the structure which in turn helps the learning process. Pretty much it is to be understood that the game play which lays rule in the designing is based on the circulation which provides an uninterrupted flow of knowledge, the psychological effect space can play on mind etc. The overall ideas gained through studying the above part could be stated such as evolution of the school around a specific theme, ideas regarding the play of courtyards and corridors, active learning spaces, Knowledge River linking the building, among the many few ideas that can be gained from these studies. Furthermore going through live case studies one get to know the functioning of a school, not as an insider, but as an outsider, an external eye watching the school, through its course in the day, an ever flowing flow of knowledge in every possible form of interactions. Hope for the Future, Cuban art by Dwight Baird

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5. RULES AND REGULATIONS 5.1 Kerala Municipality Building Rules Group B: Educational Buildings Educational buildings shall include all educational buildings or part there of exceeding 150Q.M of floor area, used for school, college, institution, education and/or research.

 The height of room in a building other than residential occupancy shall be not less than 3m: Provided that in the case of air conditioned rooms it shall be not less than 2.4m.  The maximum height of buildings or part there of shall not exceed twice the width of the street abutting the plot plus twice the width of the yard

Group A2: Special Residential Buildings Shall include all lodging rooming houses, dormitories, tourist homes, hostels (exceeding 150m sq.), crèches, day care centers, children’s nursery, and reading rooms, and libraries, and educational buildings (not exceeding 150 sq.m floor area).

Coverage and floor area ratio

 The maximum percentage of coverage permissible for each occupancy shall limit the maximum area at any floor of a building. The floor area ratio value hall limits the maximum buildable total floor area. Floor area ratio ie, F.A.R. shall be calculated as shown below: F.A.R= Total floor area on the floors Plot area  The percentage of coverage and the F.A.R. value of building under different occupancies shall not exceed the maximum specified along side. Height of room

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from the building to the abutting street.  This height may further be increased in proportion, at the rate of 3m for every 50cms, by which building or the corresponding portion or floor of the building is set back from the building line. Size of bathroom and latrine  The area of bath-room shall not be less than 1.50 sq.m. with either side not less than 1.1m, carpet area of a latrine shall not be less than 1.1sq.m with one side not less than 1m: Provided that the area of combined bathroom and latrine shall be not less than 2.2sq.m with one side not less than 1. 1m  The height of bathroom or latrine shall be not less than 2.2m.

     

Staircases The minimum width of stair shall be not less than 1.20m The minimum width of tread shall be 30cms The height of riser shall not exceed 15cms. The height of handrail shall be not less than 90cms. The width of passages giving access to the staircase in any building shall not at any point, be less than the width of the stair.

Corridor, verandahs and passageways  The clear width of any corridor, verandah or passageway in any building shall be not less than 1m at any point. Exit Width The unit of exit width used to measure the capacity

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of any exit shall be 50cms. A clear width of 25cms. shall be counted as an additional half unit and clear width less than 25cms. shall not be counted for exit width. Doorways  Every exit doorway shall open into an enclosed stairway or a horizontal exit or a corridor or passageway providing continuous and protected means of egress.  No exit doorway shall be less than 75cms in the case of residential and 1.2m in the case of all other occupancies.  Sanitation facilities to be provided shall be computed at the rate of not less than 1 person per 4.75Sq.m of carpet area of the building Prohibition for Constructions Abutting Public Roads  No person shall construct any buildings other than compound wall within 3 meters from plot boundary abutting national highways, state highways, or other roads notified by municipality. Parking Space  Street parking space shall not be less than 15sq. m (5.5m x 2.7m) –Motorcars 3sq. m – Scooters 1.5sq.m -cycles  Off Street Parking Space Group B –Educational One parking space for every or fraction of (i) High schools, higher secondary school, junior technical schools, industrial training institute etc. - 300sq.m of carpet area

(ii) Higher educational institutions- 200sq. m of carpet area Group B –Special Residential One parking space for every or fraction of (i) Rooms with attached bath  8 rooms (unto 125sq. m carpet area each room)  5 rooms (12.20 sq. m)  3 rooms (above 20 sq. m) (ii) Rooms without attached bathroom  18 rooms (unto 5 sq. m)  12 rooms (5-12 sq. m)  6 rooms (above 12 sq. m) For buildings attached with eating facility - One car parking space every 30 sq. carpet area of dining space or 20 seats of dining accommodation shall be provided in addition.

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Occupancy

No. of occupants per unit exit width of Stairway

Educational Special residential

25 50

Occupants Per Unit Exit Width Occupancy Load Occupancy Educational Special residential

Doors 75 75

5.2 Basic Other Standards Occupant load (Gross area in sq. m per persons) 4.0 4.0

Minimum Open Yards  All buildings up to 10m height under educational, medical/hospital or office/business or storage occupancy with more than 300sq.m built up area Front yard – average 6m with min. 4.5m Side yards – average 2m with min. 1.5m (each side) Rear side - average 3m with min. 1.5m  Where more than one building is proposed to be constructed in the same plot, then open spaces between 2 buildings shall not be less than 1.5m for buildings unto 10m height and 3m exceeding that height.  Where the height of the building exceeds 10m, the open yard from the boundaries shall be increased proportionately at the rate of 50 cm for every 3m increase in height.

Stairs in classroom areas must be 1.25m for less than 500 people. Maximum length of escape routes in 25m measured in a straight line from stairwell door to furthest workplace or 30m in an indirect line to the center of the room. Width of stairs = .8M/100 people (min – 1.25m and max 2.5m). General-purpose teaching areas include standard classroom, supplementary classrooms, extra large classroom, rooms for special courses, language labs and other ancillary rooms in academic area.

Language Laboratory 30 language places per 1000 pupils will be needed. The size of LT (Listen/Talk) is approximately 80 sqm. Booths: 1 x 2m Language labs should be well related to the general purpose teaching area. Booth size should be 1 x 2 m and number of places/lab: 20 i.e. almost 40 sq m plus ancillary space (e.g.: studio, recording room, archive for teachers and pupils room) is also necessary. 110

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The top front half should have a see through glass panel so that the student can see the teacher. The booth should be equipped with headphones, microphone, and tape recorders. The teacher area should have a platform at least 6 inches high. Learning resource Center Library includes a conventional school library with books and magazines, lending facilities reading and work places. The media center is an extension of the library with recording and playback facilities for radio, film, television etc, i.e. audiovisual equipment and a corresponding stock of software, microfilm and microfiche facilities. It is now commonly called the LRC. It is at the core of academic facilities and should easily be accessible to classrooms, etc. Standard space requirement: 0.35 - 0.55 sq. m/pupil Book issues and returns – 5sqm/workplace, Catalogue space of 20 – 40 sq m; Information: 10 -20 sq m. Media Centers Growth is use of instructional materials other than those of traditional lib coupled with new emphasis on individual study has promoted concept of media or resource center. Such aids as microfilm, audiocassettes and film need viewing room and study carrels wired for special technical equipments. Added to lib service space needs become larger, staffing and work areas needed give effective support for classroom teaching needs. Student use suggests variety working and study options.

Multi-purpose spaces equipped with movable or stacking chairs. Such centers include many of the following:  Chairs of several types, including cushions or carpet risers, Tables, Carrels, and Staff desks & chairs.  Special furniture: circulation desk, files, storage cabinets, display, photocopy, reading, browsing, listening, and viewing.  Open access materials & stacks; Small group listening & viewing; Conference areas; Group work projects & instruction; Administration & workspace; Equipments stock; Maintenance & repair; Dark room; Professional collection for teaching staff; Magazine & newspaper storage including microfilm. Lecture Rooms & Theatres Min area/Person- 0.46m2 (based on moveable seats, armless center to center) - 0.6m2 (fixed seats with arms at center to center) Shape of lecture theatre becomes more important as size and volume increase. Square flexible but fan shape preferred for larger theatres where plan form relates to adequate sight lines for audio-visual presentations, cinema etc. Small capacity lecture room up to approx. 80 persons quite satisfactory with flat floor: larger halls require either ramped floor (max 1:10) or stepped floor, dependent upon achieving adequate sight lines. Uniform change of eye level should be achieved at each seat row, min being 60 and median 125. 111

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Seating types  Individual chairs, capable of being linked together in rows, stacked and stored away, with or without writing tables fixed seating of various degrees of comfort with or without tip-up seats, with or without arms.  Retractable seating systems capable of folding down on to tiered staging (which usually includes aisles), whole arrangement being refractor and stored in relatively small area flat auditorium floor capable of being used for other purposes. Seating min dimensions Back to back distance between rows of seats (with tip-up seats) Width of seats, linked without arms 750 Width of seats, linked without arms 460 Width of seats with arms 500 Unobstructed vertical space between seats

be close as possible to lecture. This can be achieved by Ushaped seating arrangement, which reduces number of rows required, and also give saving in total area. Demonstration It usually requires steeply raked floors to ensure good viewing to top of demonstration benches. Relative cost of such auditoria with heavily services demonstration benches, preparation room and like should be compared with costs of normal lecture room equipped with closed circuitry. Seating can be set round demonstration area in semicircular formation if no requirement for chalkboards of screens, as with anatomy demonstration theatres. Laboratory

300

Seating Arrangements Lecture: Audience should be able to see and hear lecture. Dept 1000pupil 2000pupil Receiving 90 – 100 100 -200 Dry storage 300 – 500 600 – 1000 Refrigerated 100 360 Dish washing 240 – 400 520 – 720 Trash room 130 – 150 190 - 240 Where chalkboard or screens needed desirable viewing requirements affect seating plan. Increasing trend towards audience participation: implies students should

Biology Labs It should be located on the first floor, with windows facing southwest. Activities include lectures, demonstrations, viewing projected materials, individual and group study, writing experimentation with plants and animals. Chemistry Lab It should be readily accessible from individual research and preparation rooms. Activities include demonstration, individual and group study, experimentation, writing, lectures. Physics Lab It is used for lectures, demonstrations, study, writing and experimentation. Provision should be made for adequate storage. 112

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Area/Student -2.5m2 For lectures and demonstrations practical – 4.5m2/place Room size for practical should be not less than 100m2 Room for preparation and collection should be not less than 30m2 Refectory Dining Centralized dining normal: 1,2 or 3 sittings, depending on school policy. Space can be sub-divided to be more intimate and to identify groups of pupils. In small schools space can be used for school assembly concerts, drama productions. Allow 1 m2/P and adequate air space. Kitchen Allow 0.5m2/P with cafeteria servery, unit services for groups of pupils or mobile serveries to table. For kitchen and ancillary rooms, the size and equipment specification depends on the catering system. The distribution capacity is 5 -15 meals/minute or 250 – 1000 per hour. Space for distribution is 40 – 60 sq m. Dining room size depends on number of pupils and number of sittings minimum of 1.2 – 1.4m2 per places, 1 washbasin should be provided. Kitchen space 150 – 650 students – 4sq ft/student 650 – 2000 students – 2.5 sq. ft/student.

Students

Seats

Kitchen

Serve

700

290

195

154

1000

500

240

230

Accommodation Sleeping - Preferable face East. Separate room for each sex over age 8. Prefer to provide same age group to each dormitory. Open dormitory more useful in preparatory and junior schools, uncommon in senior. 5 m2 for first 2 beds; 4.2m2 each additional bed; 900 between beds. 5–12 beds normal but up to 20 can be accepted. Dormitory cubicles: Each to have window area 5m2 Separate bedroom @ 6m2, preferably 9m2, USA min 8.4m2, preferred 10.2m2. Beds should not be arranged in tiers. Storage for each pupil’s personal belongings and clothes to be placed alongside each bed. Spaces to be adequately ventilated. Sanitary: To be dispersed throughout building accessible from sleeping quarters. 1 shower or bath/10 Person (50% baths) 1 WC/Person Day room Provide more than 2.3m2/P, preferably 4.5m2. Should consist of common room, library, hobbies room, quiet room, games room, radio and TV room.

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Staff accommodation Married teachers need living room and bedroom each 18m2, 3-4 smaller rooms and kitchen each 11m2, WCs, baths, storage. Total each approx 80m2. Junior teachers need study 12m2 near today room space, bedroom 10m2 near to pupil’s sleeping accommodation, preferably bathroom and storage. Sick rooms In small schools placed near matron next to general sleeping quarters. In large schools can be separate building with doctors and nurses’ quarters and dental suite. Provide separately for boys and girls. 1 Sick room/20P >> 7.4 m2/bed with 1.8m between any 2 beds. Provide adequate room ventilation. Provide adequate separate sanitary accommodation for sick room, separate isolation room where pupils exceed 40, sufficient accommodation for staff. Recreation Depends on size of school and nearness to sports grounds, baths etc. Provide access to grassed areas for ball games, swimming pool, gymnasium, running track etc., suitable space and equipment for drama, art, music, films, lectures, crafts, religious worship. Services Provide adequate suitable air space and heat or cool and ventilate according to climate. Services may be centralized or individual to building.

5.3 Basic school buildings conversion norms  35% of total land to be used as per KMBR.  classrooms:  Traditional classrooms-2.00sq.m/pupil  International classrooms-2.5-2.8sq.m/pupil To be used- 2.6sq.m/pupil  science labs: 93-111.4sq.m (1 for every125)  110sq.m to be used  auditorium: school capacity X 50% X 0.7sq.m  library: 0.9%/pupil (standard space requirement=0.55sq.m/pupil)  computer lab: 79-111.4sq.m (1for every 250)  music instruction: 79-111.4sq.m (1 for every125)  art instruction lab: 79-111.4sq.m (1 for every 250)  cafeteria: school population X 50% X .9sq.m  kitchen: one third of dining  dining: school population X 50% X 1.5sq.m  Administrative and resource areas Requirements for administrative and resource areas are as follows (minimum area): 1. Work area: 56sq.m 2. Waiting area: 18.5sq.m 3. Principal’s office: 25sq.m 4. Guidance: 15sq.m per counselor plus waiting area, if clustered  Student health 1. Nurse’s office: 15sq.m 114

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2. 3. 4. 5.

Exam room: 7.5sq.m Waiting area: 18.5sq.m Rest area: 15sq.m Toilet room: 7.5sq.m

 Faculty 1. Faculty room: 55.7sq.m 2. Teachers’ resource area: 55.7sq.m 3. Specialized resource: 42sq.m; rooms for remediation

Recommended Additional Facilities 1) 2) 3) 4)

OAT Gymnasium Sports grounds Guest rooms for visiting faculty & experts.

Plinth area norms 1) Principal – 200sqm 2) Professor – 160sqm 3) Asst Professor – 120sqm 4) Lecturer – 100sqm  Norms for conversion of carpet area from plinth area The technical, administrative amenities & residential areas are usable floor areas. Provision is to be made for corridors, staircases, entrance foyers, lockable spaces, toilets, stores for cleaners, gardeners, sweepers etc. An area of 40% of carpet area is suggested for these purposes.

Students Hostel 50% of the total student’s strength to be provided with hostel accommodation Single room – 10sqm Two bed room – 16sqm Three bed room – 20sqm There shall be separate hostel for girls wanting accommodation with all amenities and special security arrangements. Dining hall – 1.5sqm/student Common room – 1.5sqm/student Residential Area It is desirable to provide residential area for staff members to attract talented persons. 115

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6. THE PROJECT BRIEF: 6.1 Need for the project Kerala has a literacy rate of about 94%. According to the 61st round of National Sample Survey (2004–2005), per capita spending on education by the rural households resulted to be more than twice the national average ( 41 for Kerala, 18 for India). Urban India spending, on the contrary, resulted to be greater than Kerala's ( 74 for India, 66 for Kerala). Even having such per capita spending level and such high literacy rate, children from affluent families are sent outside the state for quality education. Also according to a recent survey conducted by EducationWorld, not one school from Kerala managed to cross into the list. Reason that can be stated here is that most of the international schools based in Kerala, lack the luster and feel of an international standard school. So, the absence of a truly international residential school in the state emphasizes the need for such a project.

Feasibility

 An international school in God’s Own Country Kerala will invite students from other states and countries, thus promoting educational tourism.  It will boost the development of nearby rural areas of the site.  It will prevent the outflow of income and human resources to other states.  It will provide employment opportunities to the surrounding population.

Aim  To design a residential school considering both aesthetic and functional requirements needed for adopting international curriculum.  To create a visual atmosphere pleasing to eyes as in the way music does to ears.  Understand the importance of interactive spaces, the role they play in the development of a child characters.

Objectives  To create a balanced learning environment based on individual and combined attention.

 A definite percentage of students in schools situated in other states are from Kerala. So, providing the same quality of education in their homeland itself plays as a plus point.  Students coming from other countries can continue their education here, as the curriculum is international.

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 To create an efficient working environment within the complex with respect to circulation, function and space distribution.  To provide world-class facilities in the school, which aid the development in the student both mentally and physically.  Re-apply the concept of harmonious creation into the learning spaces, bringing the child closer to the Perfection, in every manner.  To re-apply the proportions used since ages to create the design and bring it too close to Perfection. Methodology  Study the special topics and come to the inferences that are required.  Analyze the case studies done along with the literature studies to be conducted to reach an understanding to how things function in a school.  Have the site zoned accordingly, use the ideology gained by studying the special topics.  Eventually, design brief is formed using the data collected, and conceptual sketches are conducted.  Use the above received ideas, refine them to use the practically possible concept sketches to finally reach the design conclusion.

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SITE STUDY The site is located at Ezhuthumanthuruthu, situated in Kottayam district, Kerala. One can reach here by road from Thalayolaparambu or from Kadathuruthy town. Site mainly consists of unused farmlands and is situated in a peaceful environment consisting of fields and a stream bordering the site on 3 sides with a road of 8m width running on the 4th side of the site.

rainfall is 3600mm. Geological base: the soil is mainly alluvial and is quite crumbly on the top soil owing to the fact that they where once fields the soil is well tilled.

Topography: the site is flat with no contours. Only towards the western side where the stream flows there is slight depression.

Vegetation: not much vegetation on site, with wild grass

 Nearest Railway Station: Kadathuruthy Railway Station-6kms.  Nearest Bus Stand: Thalayolaparambu Bus Stand.  Nearest Airport: Nedumbassery International Airport, Cochin.  Nearest city: 15kms from Vaikom town, 28kms from Kottayam  Nearest town: 8kms from Kadathuruthy.

N

Site

Site Area: 40 acres Adjacent land use: mainly consists of farms. Climatic Factors: the annual temperature ranges

Road

between 20˚C to 38˚C. From June to September, the South-West monsoon bring heavy rainfall, from October-December, light showers are received from North-West monsoon. Average 118

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and plants growing on it.

North East (October to May)

Sun Path

South West (June to Semptember)

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Bibliography           

Music and Architecture Ten Books on Architecture, Vitruvius Timaeus, Plato The Four books on Architecture, Andrea Palladio The Architecture of Leon Battista Alberti in Ten Books The Divine Proportions: A Study on Mathematical Beauty The Golden Section, Hans Walser The Metaphor of music in Architectural Theory and Practice, Raymond Quek Le Corbusier- Le Modulor Architecture: Form, Space and Order Experiments on relations between Geometry, Architecture and Music, Cornelie Leopold

 Education, Man and Society  Building codes illustrated for elementary and secondary schools- a guide to understanding the 2006 International Building Code, Steven R. Winkel/ David Smith Collins/ Steven P. Juroszek  The Language of School Design: design Patterns for 21st Century School, Prakash Nair and Randall Fielding  A Pattern Language, Christopher Alexander  Designing Primary Schools for the Future, Merike Darmody/ Emer Smyth/ Cliona Doherty.  Reshaping our Learning landscape: A Collection of Provocation Papers, Prakash Nair and Randall Fielding.  Other References  Architect’s Data, Ernst And Peter Neufert  Time Saver Standards for Building Types, Joseph De Chiara and John Hancock Callender  Kerala Municipality Building Rules.

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