Elements of Space Making Sem2
Short Description
Download Elements of Space Making Sem2...
Description
| || | History of interior design ʹ II By : Birva Gandhi
| ements of space making
F oor
O O O O O O O
Co mn
efinition Anatomy |vo tion Attribtes Spatia Ro es App ications esign Consideration
Wa
oor
Window
Stair
Roof
Ú : The f oor is essentia y a horizonta p ane, providing a firm datm, a resting p ane for a objects in that space. As the base p ane, the f oor is a sing e entity with references on y to gravity, the ͚downward͛ force. Where eve s are invo ved, the re ative positions of other base p anes get perceived as ͚above͛ or ͚be ow͛ the reference p ane. O d high German ʹ F or (meadows) Latin ʹ P ans ( eve ) Greek ʹ P anasthai (To wander) Modern German ʹ F r or Fem ( Fie d or p ain) Sanskrit ʹ Bhta ( |arth or bottom or base srface) F oor assmes connotations to Firmness Stabi ity Repose
Anatomy
Typo ogica Variations
Typo ogy with respect to materia treatment
Typo ogy with respect to form
Unmo u ate
mo u ate
Natura
an - a e
| Since from origin of hman being, a horizonta srface provides the most secre and stab e srface for hman habitation. It is de to this reason that most of hman deve opment happened in the p ains. Frther definition came throgh the creation of eve as p inth from the grond p an. Mytho ogy, in most c tre, refers to a time when the wor d was comp ete y covered with water - a f at p ate or a swir ing sphere. The and emerged from this primordia ocean, regenerating ike as we know it. A sion to this is seen in the metaphorica depictions in chrches of the ear y Christian era as we as Greek temp es, where wave patterns in the f ooring and marb e veins are sed to sim ate ripp es, trans ating sch fantasy on to the f oor. Severa |gyptian temp es have the ower parts of wa s painted with aqatic p ants and the f oors are embe ished with zigzag ine patterns denoting water. In some Indian temp es too, at the externa jnction of wa s and f oor, bands of decoration are fond showing ripp ing waters, aqatic p ants and grotesqe monsters from the netherwor d ʹ a reiteration of the connotation the f oor had to an e ement emerging from the sea.
Horizonta ity
Spport and stabi ity
ͻ A treated srface created to provide a comfortab e datm, the f oor forms the base p ane for any composition pon it. ͻ F atness and horizonta ity are inherent attribtes of the f oor, they became an omnipresent reference, throghot the eve , stretching the entire extent of the space.
ͻ The horizonta grond p ane, offering the perfect foi to gravity, indces into any object a state of reposeʹ a state of eqi ibrim, where the object is at tota rest. ͻ Pragmatic meaning-where one mst be ab e to move arond on it or p ace objects on it. ͻ It emphasizes or conception of the grond as something firm and immovab e, conveying the fee ing of so id footing. ͻ Gravity confers pon it a ro e, inked to the idea of spport.
F oor for definition of space: A perceptib e change in the f ooring strong y de ineates and demarcates a difference in the zone. Apart from f oor finish, even its mod ation, as e evations and depressions, he ps in creating sbspace throgh their mta reference, wherein each eve registers itse f as a distinct space.
atm and reference: e to its f atness it atomatica y provides a reference to a the e ements that come above it or be ow it. This aspects of common reference makes it the datm, the nifying base factor in the organization of space, which binds the individa parts throgh its omnipresence.
F ooring as movement gide: The f oor being the datm pon which a movement, of both persons and goods take p ace, it can be effective y se to accentate movement patterns. This can be achieved by the creation of giding ines throgh artic ation in shapes, eve s or srface differentiation by exp orations in different materia s, co ors or even textres.
F oor to express thresho d: F oor as p atform or p inth, pon the grond srface, define space. As pre de to the next spatia seqence, it signifies a thresho d and offers the transition from ambigos srronding to contain vo mes. The thresho d is a so sometimes hinted at throgh raising the f oor p an by sma interva and again owering it. When the movement path is perpendic ar to the entry into the next space, the f ooring takes the pattern, which differentiate it and demarcates the spot ,pon reaching where the next entry seqence is revea ed.
F oor for commnication: The basic fnctiona needs demand constant visa reference to this p ane nderfoot. This provides the f oor with a high potentia for sperimposing motifs, signs and symbo s as they sre y and effective y get registered. Rango i done by women in India on the f oor p ane near the entrance, patterns and motifs in aid in the f oor, are common y exercised forms of f oor renderings for aspicios prposes.
Ú O The f oor mst convey a notion of spport, stabi ity, firmness and repose. O The f oor fndamenta y defines territories. The interface between the datm p ane, the p inth and the srronding grond can dictate the pragmatic re ationship of sperstrctre with the grond, as one has to move on it. | evated f oors or the f oors distinct from the circ ation zones afford dignity and sancity. O The f oor receives visa attention as one has to wa k on it. Hence, it can be over aid with visa c es for impact and commnication. O Being the e ement connecting the sperstrctre to the grond/earth, the f oor becomes a p atform for the perception of a that is conceived above and arond it. It sho d ths provide a base and foregrond to a the other e ements. O F oors can effective y dob e p as srfaces to sit on or condct activities. Appropriate f oor eve s, their rendering and their softness can convenient y accommodate sch opportnities. O As f oor is one of the few architectra e ements that sre y invo ves perception throgh toch, textra rendering, materia variations and gradient can be creative y exp oited to enhance the experience and the perception of space.
Ú : A co mn is essentia y a s ender, vertica spporting e ement, oaded from the top and transferring the oad axia y to the base. It is free standing except for the strctre above it and the anchorage at the base. The word is derived from the Midd e |ng ish. O d French ʹ Co mpne Latin ʹ Co mna (Pi ar) Sanskrit ʹ Sthambh
Anatomy
Obe isk
!" # $
co mn
" !" $
Pier
%"" " "% "
Pi aster
& " %' ( $
|vo tion
ring the ages when the earth was considered as a f at p ate f oating on a sea of water with the sky as another so id p ane, the montains, de to their inaccessib e heights and formabi ity were spposed to be the points on earth on which the sky rested, the axis mndi ʹ the primary spport. The co mn, ths, initia y ref ected the qa ities of its direct reference in natre representing the same featres ʹ tress, montains etc. In ear y rock ʹ ct architectre, where the emphasis was pon ͚void ʹ making ͚, the co mn took embe ishment, decoration and inscription ʹ a visa e ement more than anything e se. Bi t p architectre, took on the significant strctra responsibi ities, the notion of ͚spport͛ became primary, thogh p astic treatment and decoration sti contined to add va e to its fnctiona ity. From the ear y hacked timber co mn in md hoses to the decorated stone ones sed ater for permanence and monmenta ity. Co mns derived aesthetic expression from natre, especia y as manifestations of the tree. Changing techno ogy and new materia s p ayed a key ro e in redcing the girth of co mns and increasing their height, a owing them to take on soaring proportions and ske eta expressions.
Centra ity
Vertica ity
irectiona ity
Rhythm
) # " "" ! # $
) * % # " ' % " "( # % " ' " $
) # ' $ "' "# "'# ' %" ' # ' ' ! + " ' " $
) %" " "'" # ' ' ' " + ' $ " " % % %" ' " $
) " %" " " % " ! ' # # %" " $
) " ' "" " " "( # " +$
)% ' "( " " , " $ " % "( " $
Co mn as focs of space: A freestanding co mn adds vita ity to the composition, the co mn, as an obe isk, acts as the focs in spatia ensemb es, ordering the varios parts with reference to it. . The area commanded by the co mn determines its proportions.
Co mn for space definition: a) efinition of vo me: three or for co mns that are not p aced a ong the same ine enc ose space by acting as the vertices of an invisib e po ygon ho ding it together. Sch a definition creates a notiona enc osre with roof whi e retaining the advantage of an open space. b) Sbdivision of space : in a composite arrangement, co mns not on y sbdivide the main vo me into many sma er ones bt at the same time a so he p in the proper definition of sb vo mes.
Co mn as movement gide: A series of co mn when p aced a ong a ine creates an imaginary p ane binding them, setting p strong perspectives and, ths estab ishing direction, inviting movement a ong them.
Co mn as mod ator of façade Co mns when exposed as an e evationa e ement, even as fins, sn ʹ breakers etc., sca e, compose and mod ate the façade de to their rhythm, vertica ity as we as sc ptra qa ity.
Ú O A co mn consists of three energy zones: the capita , the shaft and the base. These sho d be artic ated is sch a way to jxtapose aesthetics and fnctions most natra y. 1. the capita , the jnction of the co mn shaft and beam/ inte is genera y expressed as an en arged arm or girth at top, conveying a sense of ho ding the roof and re ieving its weight to the trnk. 2. The base fnctions as a firm anchor that spports as we as absorbs the entire oad. O A freestanding co mn commands vo me a arond it. As far as possib e a co mn sho d be ocated independent y to be received we by the srronding components and retain its own identity and expression. O Rhythm is the most potent attribte of the co mn, achieved throgh repetition. This can be exp oited most creative y to introdce sbspaces and impact dynamic perception whi e in movement. Any change in the estab ished rhythm gets perceived making a node ʹ a nationa pase a ong the visa /physica movement. Change in the rhythm can be offered throgh its spacing, the form of co mn or even the textra rendering, materia etc. O on ʹ p aner p acement of co mns defines vo me, which can sbt y sb ʹ sca e arger spaces, yet maintaining visa continity and perception of the entire vo me.
View more...
Comments
