A. Meaning of Personality Data This part of data is responsible for all the magic of abstraction ... more A. Meaning of Personality Data This part of data is responsible for all the magic of abstraction that may happen in design. Information or characteristic of the perception of the users of the object or building (occupants) constitute the personality data, in such a way that it should represent the purpose and the user community. Traditionally, the term personality, literally meant the physical, emotional, socio cultural and economical representation of the aspirations of the users. The perceived space data, family values, family habits, traits, trends; life style, gender culture and degree of freedom, religious practices, traditions, cultural issues, festivals, community interactions, etc, are the basic issues involved in this data. These issues are neither static nor tangible to be measured by quantitative scales. Lifestyle is ever changing phenomenon. Therefore the scale, proportions, totality, and ambiance, are more relevant than the physical dimensions or numbers The abstraction of the personality is referred as concept today. Image of the built form generally speaks of the person(s), it represents and the land where it is located. Initially, all religious buildings were taller than rest of the structure in the town, as they were symbolically communicating with God or heaven and therefore a seat of power. They also served as landmark, places of gathering and guidance. Today commercial complexes and towers have taken that role. Probably, the society has become secular, and such a symbolism is no longer a necessity. Thus the personality changes with the socioeconomic structure. In order to understand the personality of a building, we need to refer to "The Fountainhead" by Ayan Rand. The traditional concept or personality of a building was based on assumption "You must learn to understand-and it has been proved by all authorities-that everything beautiful in architecture has been done already. There is a treasure mine in every style of the past. We can only choose from the great masters. Who are we to improve upon them? We can only attempt, respectfully, to repeat." Today we attempt to follow "The purpose, the site, the material determine the shape. Nothing can be reasonable or beautiful unless it's made by one central idea, and the idea sets every detail. A building is alive, like a man. Its integrity is to follow its own truth, its one single theme, and to serve its own single purpose. A man doesn't borrow pieces of his body. A building doesn't borrow hunks of its soul. It's maker gives it the soul and every wall, window and stairway to express it." However the gimmicks of graphics (Basic Design, as it is taught) have excelled in the architectural schools to discover the concept by distorting the basic geometrical and Platonic forms.
Term of the tread now is CONCEPT. All architectural studios use this term, but rarely explain. Mo... more Term of the tread now is CONCEPT. All architectural studios use this term, but rarely explain. Most of us have understood (or misunderstood), this term through extensive use by teachers and seniors, who were also victims of the same process. Concept is an abstraction of the totality of the situation or the data, in a single entity, as construed by the designer. Since its totality, it includes form, contents, & organisational structure or tectonic. It is similar to the theme that you follow on birthday parties, but with more breadth and depth.
The factors which influence the design and decisions in design are referred to as data. In the de... more The factors which influence the design and decisions in design are referred to as data. In the design process, we have classified this data in four categories, viz. Anatomical, Geophysical, Personality (Socio-cultural) and Technique. Anatomy gives the logical internal organisation, geophysical data the surrounding cover, personality gives the soul, intent and action, and technology makes all these feasible with materials. Technique or technology shapes the expression to the intents with logical functioning in a given location.
This part refers to the internal organisation of the built form or allocation of dedicated spaces... more This part refers to the internal organisation of the built form or allocation of dedicated spaces for various activities in the matrix of Vāstupuruşa-Mandala. Uploading of this paper was delayed due to re-verification of texts and typing of Sanskrit text for authentication. Though this part is one of the six parts, in which the entire literature is grouped, references available in the texts are not proportionate. In fact, coverage given to placement in most texts is around 3 to 5 percent, and some texts have no mention at all. At the same full chapters are devoted to location of doors, proportion of doors and even design of the shutter.
This unit intends to study of the fundamentals of built-form i.e. the shape, size and proportions... more This unit intends to study of the fundamentals of built-form i.e. the shape, size and proportions of the buildings. This includes the various types or models of residences; their names and properties; the major components of a building like roof, super-structure and floors. The Şadvarga system, which is the golden mean theory of vāstuśāstra, a tool for appropriating the dimensions of a building is also discussed. The change of levels; expansion of building and defects in the construction are also included. This paper better be read after 2.4. Grid or Mandala, as the references will be understood properly.
The myths and legends of all ancient religions used symbols for their metaphysical esoteric conce... more The myths and legends of all ancient religions used symbols for their metaphysical esoteric conceptions, represented visually and simultaneously by objects like the Omphalos or cosmic egg, the Stone of the Kaaba, the World Pillar, the Shiiva-Lingam, or by abstract signs and line-diagrams. Figures of divinities, came latter for explicating the recondite meaning of symbols, where these were no longer obvious and accessible. Vāstu-mandala is such a diagram, which illustrates general principles of form creation, graphically. In physical sense, it is wither skeleton or cage. Brahman is the centre, from where enumerates the world of manifestation. The centre is the support. It represents the full but undifferentiated whole of the universe. It is the womb where in single being are formed by separating lines. The lines are the veins of Vāstupuruşa and network of these lines create the vāstupada. The points of intersection of the veins and the centre are called marmas or sensitive points. As a doctor is has the correct knowledge of the veins and the vulnerable parts of the human body, the architect is supposed to know the maņdala. This unit shall study the philosophy and architecture of grid or vāstupuruşa-maņdala which is the basis of generating form of a building. This unit also includes the concept of vāstupuruşa, names, position, nature, mantras and the logic of organization of the deities in the grid.
This work is an attempt to rationalise the contents of Traditional Indian Architecture, referred ... more This work is an attempt to rationalise the contents of Traditional Indian Architecture, referred as Vāstuvidyā (science) or Vāstushāstra (technology), so as to relate it to contemporary architecture, and thereby be applicable in practice. Most of practitioners of Vāstu in India are non architects, and club the practice with astrology, Reiki, and such other fields, creating doubts about the rationality and scientific contents of this science. These six articles, are extracted from the thesis of the author on Vāstuvidyā with intention to present contents of the ancient text on this subject, technically and without any coating of superstition. The first article in the series prepares the background to relate vāstuvidyā to present day architecture, and classify the contents.
Geophysical data includes all the information (existing & Proposed) aboveground, underground and ... more Geophysical data includes all the information (existing & Proposed) aboveground, underground and in the surrounding, related to the location of the building or the site i.e. land or plot. This may be further broken into off-site factors and on-site factors. These may be represented through maps and plans 1. This data is processed as site analysis and terminates into site planning. The purpose of the site analysis is to record and evaluate information on the site and its surroundings, in order to make a considered response to both site opportunities and constraints, to provide a good quality living environment, and acknowledge, respect, and improve the character of the area. The site analysis results in a site context plan, which is then used as a prompt in developing the design for the site. Site analysis is more than just collecting information about the site, though its first and essential part. The site analysis should identify issues/objects that will affect the design or its performance adversely as liabilities and the objects that will enhance performance as assets. Thus the site data is interpreted in terms balance sheet of assets and liabilities. The assets or liabilities always prompt for immediate independent responses in terms of standard or typical solutions. This tendency should be curbed as it does not consider the totality and retards innovations. For example, one may see southwest corner as an area susceptible to heavy rain. Provide chajja or avoid openings may be immediate independent response. The other aspect of data may suggest that it's the location for best view, the main reason to buy property, and the third data me inform that it's the best location for afternoon Sun in cold winter. The design response should be a single solution for all these factors, and not three independent solutions for each of them.
(The difference in the method, methodology and process is ignored for UG students in the present ... more (The difference in the method, methodology and process is ignored for UG students in the present context.) The process of design, even in the modern architectural schools, is based on a trial and error method or proposing, testing & improving. There is no definite method or methodology prescribed in any of the textbooks. Sometimes the techniques in architecture are referred to as methods. Since the end-product is distinctly visible, its success or failure often shadows the method followed. The design process followed in academies is a five-step process, as follows:
A. Meaning of Personality Data This part of data is responsible for all the magic of abstraction ... more A. Meaning of Personality Data This part of data is responsible for all the magic of abstraction that may happen in design. Information or characteristic of the perception of the users of the object or building (occupants) constitute the personality data, in such a way that it should represent the purpose and the user community. Traditionally, the term personality, literally meant the physical, emotional, socio cultural and economical representation of the aspirations of the users. The perceived space data, family values, family habits, traits, trends; life style, gender culture and degree of freedom, religious practices, traditions, cultural issues, festivals, community interactions, etc, are the basic issues involved in this data. These issues are neither static nor tangible to be measured by quantitative scales. Lifestyle is ever changing phenomenon. Therefore the scale, proportions, totality, and ambiance, are more relevant than the physical dimensions or numbers The abstraction of the personality is referred as concept today. Image of the built form generally speaks of the person(s), it represents and the land where it is located. Initially, all religious buildings were taller than rest of the structure in the town, as they were symbolically communicating with God or heaven and therefore a seat of power. They also served as landmark, places of gathering and guidance. Today commercial complexes and towers have taken that role. Probably, the society has become secular, and such a symbolism is no longer a necessity. Thus the personality changes with the socioeconomic structure. In order to understand the personality of a building, we need to refer to "The Fountainhead" by Ayan Rand. The traditional concept or personality of a building was based on assumption "You must learn to understand-and it has been proved by all authorities-that everything beautiful in architecture has been done already. There is a treasure mine in every style of the past. We can only choose from the great masters. Who are we to improve upon them? We can only attempt, respectfully, to repeat." Today we attempt to follow "The purpose, the site, the material determine the shape. Nothing can be reasonable or beautiful unless it's made by one central idea, and the idea sets every detail. A building is alive, like a man. Its integrity is to follow its own truth, its one single theme, and to serve its own single purpose. A man doesn't borrow pieces of his body. A building doesn't borrow hunks of its soul. It's maker gives it the soul and every wall, window and stairway to express it." However the gimmicks of graphics (Basic Design, as it is taught) have excelled in the architectural schools to discover the concept by distorting the basic geometrical and Platonic forms.
Term of the tread now is CONCEPT. All architectural studios use this term, but rarely explain. Mo... more Term of the tread now is CONCEPT. All architectural studios use this term, but rarely explain. Most of us have understood (or misunderstood), this term through extensive use by teachers and seniors, who were also victims of the same process. Concept is an abstraction of the totality of the situation or the data, in a single entity, as construed by the designer. Since its totality, it includes form, contents, & organisational structure or tectonic. It is similar to the theme that you follow on birthday parties, but with more breadth and depth.
The factors which influence the design and decisions in design are referred to as data. In the de... more The factors which influence the design and decisions in design are referred to as data. In the design process, we have classified this data in four categories, viz. Anatomical, Geophysical, Personality (Socio-cultural) and Technique. Anatomy gives the logical internal organisation, geophysical data the surrounding cover, personality gives the soul, intent and action, and technology makes all these feasible with materials. Technique or technology shapes the expression to the intents with logical functioning in a given location.
This part refers to the internal organisation of the built form or allocation of dedicated spaces... more This part refers to the internal organisation of the built form or allocation of dedicated spaces for various activities in the matrix of Vāstupuruşa-Mandala. Uploading of this paper was delayed due to re-verification of texts and typing of Sanskrit text for authentication. Though this part is one of the six parts, in which the entire literature is grouped, references available in the texts are not proportionate. In fact, coverage given to placement in most texts is around 3 to 5 percent, and some texts have no mention at all. At the same full chapters are devoted to location of doors, proportion of doors and even design of the shutter.
This unit intends to study of the fundamentals of built-form i.e. the shape, size and proportions... more This unit intends to study of the fundamentals of built-form i.e. the shape, size and proportions of the buildings. This includes the various types or models of residences; their names and properties; the major components of a building like roof, super-structure and floors. The Şadvarga system, which is the golden mean theory of vāstuśāstra, a tool for appropriating the dimensions of a building is also discussed. The change of levels; expansion of building and defects in the construction are also included. This paper better be read after 2.4. Grid or Mandala, as the references will be understood properly.
The myths and legends of all ancient religions used symbols for their metaphysical esoteric conce... more The myths and legends of all ancient religions used symbols for their metaphysical esoteric conceptions, represented visually and simultaneously by objects like the Omphalos or cosmic egg, the Stone of the Kaaba, the World Pillar, the Shiiva-Lingam, or by abstract signs and line-diagrams. Figures of divinities, came latter for explicating the recondite meaning of symbols, where these were no longer obvious and accessible. Vāstu-mandala is such a diagram, which illustrates general principles of form creation, graphically. In physical sense, it is wither skeleton or cage. Brahman is the centre, from where enumerates the world of manifestation. The centre is the support. It represents the full but undifferentiated whole of the universe. It is the womb where in single being are formed by separating lines. The lines are the veins of Vāstupuruşa and network of these lines create the vāstupada. The points of intersection of the veins and the centre are called marmas or sensitive points. As a doctor is has the correct knowledge of the veins and the vulnerable parts of the human body, the architect is supposed to know the maņdala. This unit shall study the philosophy and architecture of grid or vāstupuruşa-maņdala which is the basis of generating form of a building. This unit also includes the concept of vāstupuruşa, names, position, nature, mantras and the logic of organization of the deities in the grid.
This work is an attempt to rationalise the contents of Traditional Indian Architecture, referred ... more This work is an attempt to rationalise the contents of Traditional Indian Architecture, referred as Vāstuvidyā (science) or Vāstushāstra (technology), so as to relate it to contemporary architecture, and thereby be applicable in practice. Most of practitioners of Vāstu in India are non architects, and club the practice with astrology, Reiki, and such other fields, creating doubts about the rationality and scientific contents of this science. These six articles, are extracted from the thesis of the author on Vāstuvidyā with intention to present contents of the ancient text on this subject, technically and without any coating of superstition. The first article in the series prepares the background to relate vāstuvidyā to present day architecture, and classify the contents.
Geophysical data includes all the information (existing & Proposed) aboveground, underground and ... more Geophysical data includes all the information (existing & Proposed) aboveground, underground and in the surrounding, related to the location of the building or the site i.e. land or plot. This may be further broken into off-site factors and on-site factors. These may be represented through maps and plans 1. This data is processed as site analysis and terminates into site planning. The purpose of the site analysis is to record and evaluate information on the site and its surroundings, in order to make a considered response to both site opportunities and constraints, to provide a good quality living environment, and acknowledge, respect, and improve the character of the area. The site analysis results in a site context plan, which is then used as a prompt in developing the design for the site. Site analysis is more than just collecting information about the site, though its first and essential part. The site analysis should identify issues/objects that will affect the design or its performance adversely as liabilities and the objects that will enhance performance as assets. Thus the site data is interpreted in terms balance sheet of assets and liabilities. The assets or liabilities always prompt for immediate independent responses in terms of standard or typical solutions. This tendency should be curbed as it does not consider the totality and retards innovations. For example, one may see southwest corner as an area susceptible to heavy rain. Provide chajja or avoid openings may be immediate independent response. The other aspect of data may suggest that it's the location for best view, the main reason to buy property, and the third data me inform that it's the best location for afternoon Sun in cold winter. The design response should be a single solution for all these factors, and not three independent solutions for each of them.
(The difference in the method, methodology and process is ignored for UG students in the present ... more (The difference in the method, methodology and process is ignored for UG students in the present context.) The process of design, even in the modern architectural schools, is based on a trial and error method or proposing, testing & improving. There is no definite method or methodology prescribed in any of the textbooks. Sometimes the techniques in architecture are referred to as methods. Since the end-product is distinctly visible, its success or failure often shadows the method followed. The design process followed in academies is a five-step process, as follows:
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