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
INTERNATIONAL RESIDENTIAL SCHOOL
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
THESIS REPORT
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.
THESIS REPORT
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 doesnt, the school is a failure.
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THESIS REPORT
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.
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.
Contents:
THESIS REPORT
Pages:
1. Music and Architecture

1.1. The Starting Note
1.2. Creation
1.3. Harmony
1.4. Proportions
1.4.1. Proportions: the Creators 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
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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
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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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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7. Design Brief
8. Design Sheets
1. Music and Architecture: Ying and Yang
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 Greeks 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
THESIS REPORT
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
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.
Platos 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.
THESIS REPORT
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
THESIS REPORT
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
can one
do. Plato, stating in his Timaeus that man has

see the
received these senses as a gift from God. Using
perfect
mans 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
10
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 its 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 dtre
THESIS REPORT
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 thats 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
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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THESIS REPORT
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
possibleso he took over all that was visibleand 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
PLATO, Timaeus, pg xiii

PADOVAN, R., Proportion: Science, Philosophy, Architecture, pg 105
PLATO, TIMAEUS, sec. 4

ibid
12
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 Platos 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 didnt 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
THESIS REPORT
a thing-in-itself6. In Platos 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 dont 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
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
13
creative. To be creative, is to bring ones 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
THESIS REPORT
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
14
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
THESIS REPORT
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 its 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
15
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
15
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
THESIS REPORT
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
16
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
THESIS REPORT
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.
20
DOCZI, G., The Power of Limits: Proportional Harmonies in Nature, Art and
Architecture, pg 8
17
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; Gods 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.
THESIS REPORT
1.4 Proportions
By now one must understand, just for a basic understand it is

some proportions in mans 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 musics 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
18
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
19
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 Gods 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
20

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 Platos 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
21
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 its 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 Gyrgy Doczis 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 sections 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
22
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 creators
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.
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
23
THESIS REPORT
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 wasnt 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:
24
THESIS REPORT
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, 377is 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: Natures Greatest Secret, pg. 10
25
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.
26
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. Its 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 mans 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, its
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. Its 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
27
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
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 ratiosthe 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 Parthenons plan corresponds to two reciprocal
golden rectangles, thus echoing the diapente harmony.
The naos or celle of the temple and the treasury or virgins
chamber in the Parthenon is in golden proportion32
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
28
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.
29
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
THESIS REPORT
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.
Pythagorass mind, alive to possibilities, came upon a very
simple theorem that had cosmic value. The legend is that
Pythagoras, while walking past a blacksmiths 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 blacksmiths 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
30
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

Strings, pg 154
36
A single stringed instrument with a moveable bridge
31
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 , 2/3, or of the others length.
is clear that for the Pythagoreans the architecture of the
universe, geometric forms and musical harmony were all
37

Strings, pg 149
38
DOCZI, G., op.cit., pg 8
39
40
ibid pg 151
VALENS, E. G., op.cit., pg 147
32
intricately related in the harmony of the cosmos. Hence as

usual, the eventual quest of Pythagoras was to find that
harmony that rang in Gods Creation.
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 musics 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
33
one dimension being length, another breadth,

and the third heightI affirm again with
Pythagoras: it is absolutely certain that Nature
is wholly consistentThe 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
Albertis discussions, the use of music in architecture had been
revitalized, drawing upon the harmonies discussed in Platos
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,
THESIS REPORT
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 allratios 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
34
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 its 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
35
For his category of

"long" areas he lists
three: Double
Sesquialtera, Double
Sesqitertia, and
Quadruple.
So these are Albertis
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 Albertis
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
THESIS REPORT
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 Albertis
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

117
48
118
49
ibid pg 118
36
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 Palladios 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.
THESIS REPORT
and it is this
demand for the
right ratio which
is at the centre
of Palladios
conception of
architecture. 51
It is clear from
Palladios
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
37
THESIS REPORT
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
38
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
39
This can be remembered by the following formula;

b=
1.8 Le Corbusier:
Le Corbusier or Charles-douard 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
40
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 Corbusiers
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
system55.
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
41
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.
42
THESIS REPORT
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 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
43
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.
44
THESIS REPORT
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 its proven in history that it does so too.
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 Albertis rule for room designing or
Palladios room proportions, it is the role of proportions to
judge the Architects 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 ones 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 Andra 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
16 32
6 12 24 48
9
18 36 72
27 54
108
81 162
45
A symbol found in Platos 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 dtre 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.
THESIS REPORT
ac
(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 Corbusiers 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 ,
ac
46
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
Modulors 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
tomorrows 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
47
THESIS REPORT
Pythagoras, Albertis proportions for rooms, Palladios

proportions for rooms and his method for finding the height
for the rooms, and of Le Corbusiers 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.
48
THESIS REPORT
Design
Ideas
derived
from study
49
THESIS REPORT
50
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 individuals 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 dos and donts. 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
childs 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
51
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 childs 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
52
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 realmsspatial, 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 its 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.
53
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. IndoorOutdoor 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
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.
st
Patterns for 21 Century School, pg 2
54
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-
55
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 todays 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.
56

Analyzing the shift in trends in traditional and emerging models
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
(26 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
st
Patterns for 21 Century School, pg 19,20
57
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 buildinghands on learning
As seen above its 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.
58
THESIS REPORT
2.4 Life between Classrooms: Applying Public
Space Theory to Learning Environment
Background: the Theory of Public Space

Danish architect Jan Gehls 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.
Gehls 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.
59
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 dont 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 Colleges Middle School is

located right at the buildings 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
60
This means they arent 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 schools 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 students 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.
61
Childrens 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 Caf/Commons at Duke
School, North Carolina, USA. Each of the schools
Small Learning Communities has its own
Caf/Commons.
Indoor Public Space in Schools: purposes, key features and

a rationale
If its 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 dont 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
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 todays
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 countrys 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 thenin most casesto
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 pragmatican appropriate education for a
multinational group of transient studentsand the
visionarydedication to the Leagues 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 ambitiousfor example:
63
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 1950s:
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 students
learning in eight conventional disciplines is focused on
international issues through a number of interdisciplinary
areas of interaction The MYPs 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.
64
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 profiles
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. Oxfams
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.
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.
65
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 students 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)
66
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 schools
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.
67
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 IBs 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.
68
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
Directors office
chairmans office
Principals office
Vice-principals office
Treasury and office
Office room
Vault
Conference room
Toilets
Counselors office
69
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 furnitures 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, principals 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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THESIS REPORT
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 seniors library and juniors
library. The seniors 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 childrens 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
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THESIS REPORT
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.
Seatings 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
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THESIS REPORT
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.
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THESIS REPORT
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 wont 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 seatings provided and
2 aisles in between the stepped seatings. 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 seatings.
The interior faces a tiled courtyard with one tree in the centre. Seatings
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
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THESIS REPORT
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
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THESIS REPORT
everyone concerned.
The complex also features two swimming pools, one for toddlers, and
a 25m pool. The depth of the toddlers 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 wont 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.
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THESIS REPORT
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 trainers 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.
79
4.1.2
THESIS REPORT
Montfort Anglo-Indian Higher Secondary School
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THESIS REPORT
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.
Its 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 chteaux.
Administrative block
Its the second building from the main driveway from the entry.
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THESIS REPORT
Built in a simple manner having G+ 1 floor.

Ground floor consists of:
- Principals 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
Its 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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THESIS REPORT
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. Its 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.
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THESIS REPORT
2nd floor consists of dormitories for boys from class 3 to 6. It also has a wardens office, toilets and showers for students.
Dining Hall & Kitchen

Its 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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THESIS REPORT
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.
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THESIS REPORT
Swimming pool is built open to air with seatings provided on one end. Its 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 girls 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
THESIS REPORT
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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THESIS REPORT
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 girls 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
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THESIS REPORT
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 Gardners 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 Indias first
Multiple Intelligences School.
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THESIS REPORT
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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THESIS REPORT
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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THESIS REPORT
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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THESIS REPORT
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.
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THESIS REPORT
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 caf 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.
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THESIS REPORT
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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THESIS REPORT
Using Creative Programming

Creative programming facilitates new learning methods and
environments. This involves designing for flexibility and
fluidity.
Creating open spaces for the schools 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.
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THESIS REPORT
>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
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THESIS REPORT
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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THESIS REPORT
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
registrars room, directors 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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THESIS REPORT
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
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THESIS REPORT
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
students 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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THESIS REPORT
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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INTERNATIONAL RESIDENTIAL SCHOOL THESIS REPORT
4.2.5 Conclusion:
By all the above made learnings 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
106
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.), crches,
day care centers, childrens 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
107
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
108
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.
109
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
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
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
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. 512 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
pupils 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.
113
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 pupils 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. Principals office: 25sq.m
4. Guidance: 15sq.m per counselor plus waiting area, if
clustered
Student health
1. Nurses office: 15sq.m
114
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 students 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
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 (20042005), 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 Gods 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.
116
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.
117
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.
Site
Site Area: 40 acres

Adjacent land use: mainly consists of farms.
Climatic Factors: the annual temperature ranges
Road
between 20C to 38C. From June to September,

the South-West monsoon bring heavy rainfall,
from October-December, light showers are
received from North-West monsoon. Average
118
and plants growing on it.
North East (October to

May)
Sun Path
South West (June to

Semptember)
119
120
THESIS REPORT
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
Architects Data, Ernst And Peter Neufert
Time Saver Standards for Building Types, Joseph De Chiara and John Hancock Callender
Kerala Municipality Building Rules.
THESIS REPORT

Architectural Thesis - Music in Architecture

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ARCHITECTURAL THESIS - 2012

SALEM SCHOOL OF ARCHITECTURE

INTERNATIONAL RESIDENTIAL SCHOOL AT KOTTAYAM

SUBMITTED BY : SINOJ NARAYANAN, REG. NO: 380051012

INTERNATIONAL RESIDENTIAL SCHOOL

VINAYAKA MISSIONS UNIVERSITY

The dissertation entitled ___________________________________is submitted on _____________in partial fulfillment of

INTERNATIONAL RESIDENTIAL SCHOOL

INTERNATIONAL RESIDENTIAL SCHOOL

School is a part of the education system which develops the social

INTERNATIONAL RESIDENTIAL SCHOOL

his thesis report progresses in a specific manner such that the

INTERNATIONAL RESIDENTIAL SCHOOL

1. Music and Architecture

2. Education, Man and Society

INTERNATIONAL RESIDENTIAL SCHOOL

Life between Classrooms: Applying Public Space Theory to learning Environment

INTERNATIONAL RESIDENTIAL SCHOOL

INTERNATIONAL RESIDENTIAL SCHOOL

1. Music and Architecture: Ying and Yang

he question about the relation between music and

Music and architecture and

channels of interaction: number, rhythm, notation and

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

INTERNATIONAL RESIDENTIAL SCHOOL

subjects have been chosen in a manner that one can gain an

and Her play of Harmony one is given an understanding to

The next part consists of the study on harmony as harmony

INTERNATIONAL RESIDENTIAL SCHOOL

The Starting Note: Metaphorical understanding

to be considered as a unique language which seeks to

do. Plato, stating in his Timaeus that man has

Thus in simple words, the difference between the systems

INTERNATIONAL RESIDENTIAL SCHOOL

architect and a music composer share the same basic rules

Throughout history, many analogies have been made

of art itself, the ticking heart lying underneath a painting, a

As seen above, the metaphorical use of words brings the tense

efore one understands the use of metaphor of music to

INTERNATIONAL RESIDENTIAL SCHOOL

answered simply as the act of bringing something into being.

Like the Divine Creation discussed in Timaeus, the elements

Relating something to a dominant being to bring in an

Later in Timaeus, Plato discusses about the senses, stating

PLATO, Timaeus, pg xiii

PLATO, TIMAEUS, sec. 4

INTERNATIONAL RESIDENTIAL SCHOOL

ability to realize such things as musical sound, harmony and

a thing-in-itself6. In Platos Republic, the topic of mimesis is

BRAGDON,C., The Beautiful Necessity: Seven Essays On Theosophy and

INTERNATIONAL RESIDENTIAL SCHOOL

creative. To be creative, is to bring ones imagination into

ANTONIADES, A. C., Poetics of Architecture: Theory of Design, pg 13

Architects create their own atmosphere in their own concepts.

non-retrogressive basis as music is solely based temporally it

INTERNATIONAL RESIDENTIAL SCHOOL

still be played linearly. On the other hand, architecture, being

This musical notation forms the structure, which binds the

As such music is dreamed and created first in the visual realm

MARTIN,E., Architecture as a translation of music: Pamphlet Architecture

INTERNATIONAL RESIDENTIAL SCHOOL

representation and translation, in order to reach their final

motifs at regular or irregular intervals. 18 These recurring

The dissertation entitled _______________________is submitted on _in partial fulfillment of