UNIT - 2

FORM IN NATURE AND MANMADE ENVIRONMENT

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• Understanding form in all its attributes as the basis of creating architecture.
• Characteristics of form and its relationship with use/function/evolution as
manifested in first hand examples from nature and everyday manmade
environment including artefacts, objects buildings, cityscapes.
• Human body and sensory environment.
• Cognitive experience of form- ideas of Gestalt, visual perception, proxemics.
• Tactile, auditory, olfactory senses and human environment.

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FORM
• Form is the shape, visual appearance or
configuration of an object.
• The form of an object is the first interface
that we perceive.
• Form gives meaning to an object.
• It provides an interpretation to the function
of the object.
• It can arouse and fulfill desires.
• It shapes human interaction with the
object.

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• Designers create forms by deliberately shaping data into information and then into
the coherent argument that is the product.
• This argument is, according to Richard Buchanan, its "ability…to fully engage a
human being in support of a particular activity.“

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• Form should not be thought of as simply
the physical or aesthetic properties of a
product.
• It rather includes all aspects of an
object's character and the values of the
culture to which it belongs.
• Form is the manifestation of the object's
usefulness, usability and desirability.
• According to Philip Meggs, form gives a
design its cohesive composition that
gains order and clarity from the
relationship between the elements.

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 FORM IN NATURE
• The world around us is composed of forms, each
with individual characteristics.
• Trees, which from a distance look flat, when
approached become three-dimensional forms that
can be walked around and viewed from all sides.
• The contour of the land is a flattened shape at
sunset from behind, but as one moves across it, he
finds himself surrounded by hills and hollows, that is,
by forms.
• Even a blade of grass has form when it is handled
or blown through to make a sound.
• Nature embodies all her animal life in form, from
man to the so-called “shapeless” jellyfish.
• Form is involved with mass or volume, but it goes
further.
• Mass or volume is delimited by shape and is
contained by size, thereby becoming the form of
the object.
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FORM IN ART
• Form is an inclusive term that has several meanings.
• It may refer to an external appearance that can be recognized, as
that of a chair or the human body that sits in it.
• It may also allude to a particular condition in which something acts or
manifests itself, as when we speak of water in the form of ice or
steam.
• In art and design, we often use the term to denote the formal
structure of a work—the manner of arranging and coordinating the
elements and parts of a composition so as to produce a coherent
image.

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EVOLUTION OF FORM FROM NATURE
• The feeling for design is as old as mankind.
• The materials for design are millions of years
older.
• Design is considered a man-made expression,
yet its roots reach back into the beginnings of
the earth.
• Primeval eras manifested Design through the
expression of natural laws of growth and
formation.

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• The Understanding of the origins of forms and
processes is of inestimable value to the designer.
• An exploration of the natural rhythms and the ability
to see eternal forms, which outlast all man’s
activities, are a challenge to the designer.
• The designer will need to see life wholly and
contribute to it a sense of purpose.

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CHARACTERISTICS OF DESIGN
A plan of order
• The Designer will find no rules or formulas to help
him in his search for expression.
• He will not even find a simple definition for design.
• Being an expression of man’s own reaction or Expression of material
experience, design is as individual as the person
who creates it.
• There are however, certain characteristics that
can be associated with any good design. Fulfilment of purpose

Relationship to natural
laws of growth and order

Individuality
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A PLAN OF ORDER
• Order has been the cornerstone of creativity.
• The world began when order was created from chaos.
• Confusion or nothingness gave way to form and order,
that is, to Design.
• As man evolved into an intellectual being, his need for
order found expression in his habitat.
• Habitat: The palace, the temple, the cathedral, the Shanghai Skyline.
mausoleum, the skyscraper developed from a feeling of
design arising from the need to divide the simple cave
into areas for dining, sleeping and leisure.
• Order or Design,
can in fact be
interpreted as the
foundation of all
living.
• Any good design
is, first of all, a plan
for Order.
A Combodian Palace. A Nepalese Temple Shrine. A Mausoleum in Chicago.
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 EXPRESSION OF THE MATERIAL
• The earth is an interwoven tapestry of life
composed of blocks of field and forest, of plowed
ground, of towns and cities.
• It is the very character of the earth coming to its
surface from deep within: the areas of fertility
yielding patches of green or gold; the towns and
cities, with their deeply rooted networks of pipes,
gas and electric lines, railways, marked by a richly
textured area of concrete, glass, steel, trees, A Settlement in England
streets with thousands of people and their
perplexities.
• Any design should be an expression of its
materials, rather than an external attempt at
decoration.

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A Port Town in Europe.
FULFILLMENT OF PURPOSE
• Purpose in nature is usually involved in
survival.
• A tree grows in a certain shape to survive in a
constricted area.
• Fish develops fins so as to move through
water, find food and safety from predators.
• In man’s design, purpose is concerned with
other levels of activity.
• An effective design will fulfill its purpose.

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• Fulfilled purpose is exhibited in the totem poles created by Indians of the Pacific
Northwest.
• Stylized characters of exciting variety are carved into the huge poles of the Northwest
cedars, adding tremendous drama and meaning to the depiction of the history of the
clan.
• Even the colors have meaning.

Totem poles and houses at 'Ksan, near Hazelton, British

Columbia.

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• Totem poles can symbolize the characters and events in
mythology, or convey the experiences of recent ancestors
and living people.
• Some of these characters may appear as stylistic
representations of objects in nature, while others are more
realistically carved.
• Pole carvings may include animals, fish, plants, insects,
and humans, or they may represent supernatural beings
such as the Thunderbird.
• Some symbolize beings that can transform themselves into
another form, appearing as combinations of animals or
part-animal/part-human forms.
• Consistent use of a specific character over time, with
some slight variations in carving style, helped develop
similarities among these shared symbols that allowed
people to recognize one from another.
• For example, the raven is symbolized by a long, straight Totem poles in front of houses in Alert Bay,
beak, while the eagle's beak is curved, and a beaver is British Columbia in the 1900s
depicted with two large front teeth, a piece of wood held
in his front paws, and a paddle-shaped tail.

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• One of the most functional uses of design
is in the creation of architecture.
• A well-designed building will have a floor
plan, which makes a good two
dimensional design on paper.
• The linear ground plan which shows variety
in the layout of the space, harmonious
arrangement of sizes and shapes
representing rooms, and a pleasing rhythm
in the flow of traffic from area to area will,
when built, result in a structure that is
satisfying and functional in its 3D form.

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• In the early 20th century, Frank Lloyd Wright
revolutionized architecture with his organic
designs springing from their native settings
and expressing man’s essential needs.
• Contemporary architecture follows the
principles followed by him where shelters
are constructed according to the vital
requirements of the occupants, with the
structure evolving outwards.
• For integrity of design, buildings should be
created for the life within them.
• The floor plan thus became all-important
and the exterior is adapted to it in an
attractive and functional way.

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RELATIONSHIP TO NATURAL LAWS OF GROWTH AND ORDER:
• Nature is the supreme master of inherent design.
• The smallest granite pebble has its patterns,
resulting from centuries of building up and washing
away until the round smooth core of design
remains, each one unique.

• The trunks of trees are rich in design, drawn in

concentric circles through the seasons, then
twisted into writhing lines and textures by winds
and snows and lightning, hostile elements which
serve to improve the tree’s own intrepid
character.
• The outer bark has an individual design quality.
• Each has its own design – a beauty of color,
• texture, or line that has been part of the tree from
its beginning.

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 • There exist eternal laws of growth and order.
• Each blade of grass unfolds in an orderly
way characteristic of its kind.
• The leaves of every tree and plant evolve in
precise sequence.
• Though growth frequently leads to disorder,
the cycle of nature adds quality.
• Each facet of growth is accomplished
according to basic and orderly procedures.
• An authentic design is related to the basic
natural laws of growth and order.

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East gate center, inspired by Termites

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 • The circle is a centralized, introverted figure
that is normally stable and self-centering in its
environment.
• Placing a circle in the center of a field
reinforces its inherent centrality.
• Associating it with straight or angular forms or
placing an element along its circumference,
however, can induce in the circle an
apparent rotary motion.

Roman Theater according to Vitruvius

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INDIVIDUALITY
• Snowflakes, though following basic
growth patterns, are never exactly
alike.
• Seashells are never identical.
• The artist who would create truly
original dreams must learn to see the
individuality of his inspirations and to
respect it.
• One must train the eyes to look
beneath the general shape of things to
the variation that creates interest.
• An interesting design has individuality.

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• It is a fundamental law of science that nothing new is
created in the world of matter.
• Even in design, every design is based on age-old forms,
whether these are found in nature or are simple
geometric lines and figures used in an abstract way.
• A talent for design, using elements and methods long
grown old, can bring forth freshness and originality in its
own inimitable style.

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DESIGN AND LIVING
• A creative mind is an orderly mind, a mind
that sorts and arranges for creative use:
Whether it is figures, with a statistician;
Whether it is facts, with a historian;
Whether it is theories, with a scientist.
Whether it is melodies, with a composer.
• Design is not limited to attractive
manifestations.
• One of the most basic functions of the
• Carefully orchestrated crimes, or military
maneuvers are some examples. designer is the necessity to see life whole
and to assign to it a sense of purpose.
• Many people do not realize that they are
unconsciously creating design in the • There are neither rules for creating designs
orderly way in which they approach the nor any simple definition of design itself.
tasks of everyday life. • Yet there are certain characteristics,
• As life becomes more complex, man’s which can be found in any good design.
survival is going to depend increasingly
upon design.
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CHARACTERISTICS OF EFFECTIVE DESIGN
• A design is a plan of order.
• A good design is a expression of its material.
• An effective design fulfills its purpose.
• An authentic design is related to the basic laws
of growth and order.
• An interesting design has individuality.
• ‘Lota’ is an example of very effective design
due to the multiplicity of it uses scenarios.
• The form can be made in a variety of materials

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• https://portfolio.cept.ac.in/2021/S/fd/nature-and-form-bd2006-
spring-2021/anaar-plant-within-a-cavity-spring-2021-ug190092
• http://legacy.iaacblog.com/maa2012-2013-designing-agency/page/5/
• https://www.re-thinkingthefuture.com/sustainable-
architecture/a3238-10-ways-architecture-and-nature-can-be-
combined/

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Al Dar Headquarters / MZ Architects - representation

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Other Examples
• Lotus temple
• Sagrada familia
• Miwakey stadium

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The Guggenheim Museum Bilbao / Gehry Partners - Symbolism

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https://www.dosde.com/en/guggenheim-museum-bilbao-
guide-visual.html

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Other Examples
• Unité d'habitation - Le Corbusier
• Le Corbusier's chapel of Notre Dame du Haut in Ronchamp, France
• Guggenheim Museum Bilbao

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Human body and sensory environment.
HUMAN SENSES

1. VISION -Light, color, views

2. HEARING - Sound, noise, silence
3. TACTILITY - Texture, thermal, physical
feeling
FUNCTIONAL, AESTHETIC, PSYCHOLOGICAL.
4. SMELL
5. TASTE

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 NATURE - ITS FIVE BASIC ELEMENTS

1.Earth – Material, Site, Vegetation

2. WATER – Rain, Humidity
3. FIRE – Light, Temperature, Vegetation
4. WIND – Ventilation
5. SKY - Space
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Cognitive experience of form- ideas of Gestalt,
• Gestalt psychology affirms that the mind will simplify the visual environment in order to
understand it.
• Given any composition of forms, we tend to reduce the subject matter in our visual field to the
simplest and most regular shapes.
• The simpler and more regular a shape is, the easier it is to perceive and understand.
• From geometry we know the regular shapes to be the circle, and the infinite series of regular
the circle, the triangle, and the square.

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 LAWS of Gestalt

PROXIMITY SIMILARITY CLOSURE SYMMETRY CONTINUITY

• "Gestalt" is a German word that partially translates to "configuration or pattern" along with "whole or
emergent structure".
• According to this theory, there are eight main factors that determine how the visual system
automatically groups elements into patterns: Proximity, Similarity, Closure, Symmetry, Common Fate
(i.e. common motion), Continuity as well as Good Gestalt (pattern that is regular, simple, and
orderly) and Past Experience.
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Proximity (Photo on the left: Roberto Alonso): Proximity of
windows make them perceived in groups of two

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Similarity (Photo on the left: Roberto Alonso): Dark colored windows are read as a group
and light colored window panes are read as another group, forming horizontal lines.

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 Closure: China Central Television HQ,
Beijing; Closure also works in volumes.
Although the prism is not complete we still sense
the space as a prism

Closure: Closure also works in

facade articulation. Although the square
of the facade is not complete we still read
it as a square

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Symmetry: Reconstruction of the Parthenon (left), Taj Mahal (right)
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 Continuity: The alignment of raised parts of the facade
element makes the raised part perceived as a group (left); the
alignment of facade elements makes the whole facade perceived
as a group (right)

Continuity: The
alignment of facade elements
creates two groups, one of beams
and one of windows

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Cognitive experience of form- visual perception

• Visual perception is the ability to interpret the surrounding environment through

photopic vision (daytime vision), color vision, scotopic vision (night vision), and mesopic
vision (twilight vision), using light in the visible spectrum reflected by objects in the
environment.
• This is different from visual acuity, which refers to how clearly a person sees (for
example "20/20 vision").
• A person can have problems with visual perceptual processing even if they have 20/20
vision.
• The resulting perception is also known as vision, sight, or eyesight (adjectives visual,
optical, and ocular, respectively).
• The various physiological components involved in vision are referred to collectively as
the visual system, and are the focus of much research in linguistics, psychology,
cognitive science, neuroscience, and molecular biology, collectively referred to as
vision science.

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Cognitive experience of form - proxemics

• Proxemics is the study of human use of space and

the effects that population density has on behaviour,
communication, and social interaction.
• Edward T. Hall, the cultural anthropologist who coined
the term in 1963, defined proxemics as "the
interrelated observations and theories of humans use
of space as a specialized elaboration of culture".
• In his foundational work on proxemics, The Hidden
Dimension, Hall emphasized the impact of proxemics
behavior (the use of space) on interpersonal
communication.

A chart depicting Edward T. Hall's interpersonal

distances of man, showing radius in feet and
meters
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Two people not affecting Reaction of two people whose
each other's personal space regions of personal space are in
conflict

vs

• According to Hall, the study of proxemics is valuable in evaluating not only the way people
interact with others in daily life, but also "the organization of space in [their] houses and
buildings, and ultimately the layout of [their] towns".
• Proxemics remains a hidden component of interpersonal communication that is uncovered
through observation and strongly influenced by culture.

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 INTERFACE???
NATURE HUMAN

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 SPACE
• The geometric elements of point, line, plane, and volume can be
arranged to articulate and define space.

• Space inherits the sensual and aesthetic characteristics of those

elements in its field/frame.

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 VISION (Light, color, views)
LIGHT AND ARCHITECTURE :
 What is light
• Relationship between light space and human
• Relationship between light and architecture
 Lighting –Natural, artificial.
• Natural lighting architecture
 Daylight
• Types of day lighting
 Artificial Lighting
• Types of Artificial Lighting
• The perception of space is directly connected to the
way light integrates with it.
• What we see, what we experience and how we interpret
the elements is affected by how light interacts with us
and with the environment.
• The dynamic daylight and artificial lighting are able to
instigate and provoke different visual experiences and
moods.
• Due to the light, it is possible to perceive different
atmospheres in the same physical environment.
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RELATIONSHIP BETWEEN LIGHT, SPACE AND HUMAN
• Light is fundamental for space, it is the success of any building.
• Light quality affects human behaviour, health, comfort and mood.
• "Space and light and order. Those are the things that men need just
as much as they need bread or a place to sleep"-Le Corbusier,
August27, 1965
• Light, space and human they effect and work with each other.
• Space needs light to illuminate; light needs space to receive it, light
within the space change human experience.
• Most of the architects like to amplify the use of natural light.
• Natural light makes more architectural harmony between exterior,
interior, nature and human.
• Light work with some element like colours, can make space more
dynamic and beautiful.
• More than that, light can be employed through design to evoke an
emotional response to increased sensibilities.

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LIGHT INFLUENCE MOOD:
• The psychological factors should not be overlooked.
• People need to change perspective in order to relax the
eyes and mood.
• Lack of natural light makes people feel depressed and
tensed.
LIGHT CREATE ATMOSPHERE:
• Light creates atmosphere.
• Many factors affect the building atmosphere.
• Natural light is one of the most important factors.
• Architect needs to use light to create a different order and
rhythm change the spatial effect gives different
atmosphere.
LIGHTING:
• Naturally -by daylight received from the sky.
• Artificially -by electric lamps or other artificial light sources.

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NATURAL LIGHTING
• Lighting or illumination is the deliberate use of light to achieve a
practical or aesthetic effect.
Daylight as two distinct sources of light:
 Sunlight
 Skylight.
• Sunlight and skylight may therefore be considered as the direct and
diffuse components of daylight.
The quantity of Daylight obtained within a room will be dependent upon:
• Orientation, geometry and space planning of the spaces to be lit.
• The location and surface properties of any internal partitions which
may reflect and distribute the daylight.
• The location, form and dimensions of any shading devices which will
provide protection from too much light and glare.
• LIGHTWELL:
• In architecture a light well or air shaft is an unroofed space provided
within the volume of a large building to allow light and air to reach what
would otherwise be a dark or unventilated area.
• Lightwells may be lined with glazed bricks to increase the reflection of
sunlight within the space.
• Lightwells serve add a central space within the building, and provide an
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NATURAL LIGHT AND ARCHITECTURE:
• Natural light keeps changing through times.
• However, architects cannot control natural light, which
from morning to night, day after day changes.
• Its existence gives life to space, modeling the spatial
sensibility.
• Natural light for the space, like the air for life, these two
have symbiotic relationship.
• Natural light into interior design have many positive
effects, including the considerable financial savings in
energy.
• Natural light is considered a beneficial design for many
reasons: human health, comfort and satisfaction,
energy conservation, view.

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ARTIFICIAL LIGHTING:
• It is made by human. It is very useful when there is lack
of natural light.
Types of Artificial lighting
 General or Ambient lighting
 Accent or Directional lighting
 Traditional or Decorative lighting
 Task lighting

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COLOUR AND ARCHITECTURE
Color wheel shows the principal colors divided in two major
segments
• WARM
• COOL COLORS.
• The area made up of red, red-orange and yellow-orange
is said to consist of warm colors, yellow-green, green,
blue-green, blue and blue-violet is said to consist of cool
colors.
• The primary colors are red, yellow and blue.
• Other (secondary and tertiary) colors are obtained from
their combination.

PSYCHOLOGICAL EFFECTS OF COLORS

• Warm colors such as red or orange heighten body functions,
• While cool colors slightly reduce bodily functions.

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COLORS IN ARCHITECTURE
• Color has been effectively used in architecture since ancient times, as the ancient Neolithic
cave paintings.
• Early Christian churches (around 450-500 AD) were very plain outside but they were covered
with colored mosaics inside that showed biblical figures.
• Gothic churches were also alive with color, by way of paintings and stained glass windows.
• Renaissance architects (15th century) were not much interested in colors, since they were
more interested in the composition of forms and volumes.

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• The color scheme of International Modernist architecture, formed by the designers of Bauhaus,
Germany in 1920’s, was inspired by De Stijl architects.
• De Stijl architects used saturated primary colors (red, blue, yellow) for painting the walls of the
space, and used black for the structural elements such as columns or beams

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• Red - colour of energy, it’s bold, powerful and
vibrant. It has the longest wavelength.
• Yellow - very emotional color, confidence and
optimism. After red, yellow has the longest wave
length, appearing to be strong from a distance.
• Blue- color of intelligence, vastness, royalty, serenity,
coolness and tranquility. Sky appears blue and gives
calm effect, water appears blue and gives peace of
mind.
• Green - most refreshing, natural and cool color.
• Orange - gives warmth, comfort, security, passion,
and fun.
• Black - Black is graceful, efficient and serious.
• White - pure, clean, hygienic, innocent and simple.

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TEXTURE : Tactile
• “The sensations caused by the external surface of
objects received through the sense of touch. ”
Basically, how things feel”.
• Textures create visual interest and add those
touches of detail that were previously missing.
• Textures in design can be of two different kinds-
a. Tactile.
b. visual.
TACTILE: Actual alterations in a plane which may be
felt when touched are tactile textures .
1.Metal.
2. Stone.
3. Concrete
4. Glass.
5. Wood.
6. Fabric.
VISUAL TEXTURE : Appeals to our perception, what a
texture might feel like.
With a texture you may be aware of the repeating
motif but you are more aware of the surface.

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SOUND - Auditory
• There have been many studies attempting to figure out just
how music affects the human mind.
• Different people like different kinds of music.
• But certain sounds have a similar impact on almost everyone.
• Those are the sounds of nature.
• May it be the sound of chirping birds in the morning to rattling
of insects at the evening, Sound of stream & sound of the
wind, everything gives a sense of liveliness and connection
with nature.
• The artificial recreations are endless these days.
• May it be temple bell or a wind chime, a soothening flute
music or the sound of rain…etc., it has a definite impact on the
human minds.

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WATER
• A major characteristic of water is the ability to emit
sound when it is in motion or strikes a surface.
• Depending on the amount of movement and
volume of water involved, numerous sound can be
produced that complement and enhance the
spatial experience.
• The sounds of water can be manipulated to
produce trickles, dribbles, bubbles, gurgles, roars,
gushes & splashes.
• Attention to the audible aspects of water is very
important; too little can be irritating(i.e. a dripping
faucet); too much, especially in confined spaces,
can be considered overpowering.
Visual Impact
• Water can function as a focal point within a space
or as a means of creating & maintaining a sense of
continuity.
Auditory impact
• The intensity and frequency of the sound generated
by a water display can be used to convey a sense
of calmness or excitement, and can also mask
unpleasant or distracting ambient noise.
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SMELL - OLFACTORY COMFORT IN ARCHITECTURE
AND THE IMPACT OF ODORS ON WELL-BEING
• when dealing with odors (more specifically the bad
ones), we know how unpleasant it is to be in a space
that doesn't smell good.
• When dealing with buildings, what are the main sources
of bad smells and how can this affect our health and
well-being?
• Dealing with odors can be tricky.
• First of all, it is essential to mention that what one person
considers stinky and disgusting may not be for someone
else.
• These preferences are subjective and may vary widely
due to differences in culture and personal experience.
Of course, there are some odors that are unpleasant for
everyone.
• When excessively strong, they can disturb physical and
psychological comfort and even cause nausea,
headaches, and irritation in the eyes, nose, and throat.
• If they sustain over a long period of time, they can also
affect mood, anxiety, and stress level.
• In Denmark, for example, a study found that volunteers
experienced reduced productivity in an office when a
20-year-old rug was placed in the environment, emitting
odors and air pollutants.

Prepared by Ar. Aruna Palaniswamy

• An adult inhales and exhales about 11,000 liters of air daily.
• Odor is caused by one or more volatile chemical compounds that humans and
animals can perceive through smell.
• According to the report Guidelines for Ventilation Requirements in Buildings ,
humans perceive air in two ways.
• The first, sense of smell, is located in the nasal cavity and is sensitive to several
hundred thousand odorants in the air.
• The second, general chemical sense, is located on all mucous membranes in the
nose and eyes and is sensitive to an equally large number of irritants in the air.
• It is the combination of these two senses that determines whether the air is
perceived as fresh and pleasant or rancid and irritating.

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• Another element that can improve indoor air quality, in
addition to its many other benefits, is plants. They
produce oxygen, eliminate toxins from the air, and add
aesthetic value to a space.
• Some species have already proven to be more efficient
than others.
• NASA studied chrysanthemum (Chrysanthemum
morifolium) and concluded that they absorb polluting
gases, such as carbon monoxide and formaldehyde,
and eliminate harmful elements such as benzene.
Rapid lily and palm also absorb some pollutants.
• Other species, such as jasmine, geraniums, lavender,
and basil, release pleasant fragrances capable of
neutralizing unpleasant odors.
• Although there is no evidence that unpleasant odors, in
themselves, are directly linked to adverse health
effects, scientific research amply proves their harm to
the general well-being of occupants.
• Creating at least neutral-smelling environments may be
more essential to architecture than we think.

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 TASTE
• Taste is probably the toughest sense to link to in
architecture.
• It has been proven though that architecture can stimulate
taste through vision.
• It is possible that by mixing certain colors within objects of a
building, it elicits some oral sensations.
• For architect, client, user, professionals, and the public,
proportion between aesthetics of the building, its position in
city view, life experience and presence in the building,
along with a look at fashion and common patterns, are
Foundations of valuation and judgment , are criteria of
choosing optimal building or origin of taste in architecture.

Prepared by Ar. Aruna Palaniswamy

Prepared by Ar. Aruna Palaniswamy
• In buildings, odors can come from external or internal
sources. External sources are, of course, more complicated
to control.
• They can reach the building through openings and air
renewal systems and may stem from industrial activities,
highways, an unpleasant neighbor, busy streets, sanitation
infrastructure, or even chemical soil pollution.
• The internal sources of odors in a building may include the
building materials themselves, the coatings and paintings,
the furniture, the sewage system, construction materials,
conservation and maintenance materials, decomposition
products, or users and their belongings.
• In addition, as architects, providing good sunlight and,
above all, adequate and natural ventilation is a highly
efficient way to purify air in an environment.
• Facilitating air circulation helps to improve thermal and
olfactory comfort in an environment.
• If this is not possible, the use of mechanical ventilation with
fans and air conditioners can work efficiently as well.
• In the case of air conditioning, inlet and outlet air filtration
helps to remove harmful particles.
• However, air filters need to be maintained to prevent the
ventilation system itself from becoming a source of pollution.

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SPIRITUAL
• The meaning of spirituality has developed and
expanded over time, and various connotations can be
found alongside each other.
• Traditionally, spirituality referred to a religious process of
re-formation which "aims to recover the original shape
of man", oriented at "the image of God" as exemplified
by the founders and sacred texts of the religions of the
world.
• Ex : Church of light ( light, color, silence, view/ focal
point).

Concrete and light.

• Tadao Ando‘s principal focus on simplicity and
minimalist aesthetics in the Church of the Light is
silencing.
• The church is located in a typical Japanese suburb, a
cram of tradition and modernism on the outskirts
of Osaka.
• Its load bearing walls are very simple and traditional,
contrary to the modern architecture that has
encroached the city of Osaka.
• Tadao Ando takes an ancient approach with this,
especially when compared to Le Corbusier‘s insistence
that a wall would no longer be a structural element but
a mere membrane on the outer shell.
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INFERENCE:
• I strongly believe that nature and ourselves are one in itself; we are weaker when we are separate but
together we take on the world—literally!
• Nature works simultaneously with humans, and humans work simultaneously with nature to produce an
ongoing output and input of life on earth.
• Whether we realize it or not humans are interconnected with nature.

• Humans cannot survive without nature.

Thank you

Prepared by Ar. Aruna Palaniswamy