ගෘහ නිර්මාණ ශිල්පය

විකිපීඩියා, නිදහස් විශ්වකෝෂය වෙතින්
වෙත පනින්න: සංචලනය, සොයන්න

For a topical guide to this subject, see Outline of architecture.

Section and elevation of the dome of Florence Cathedral, Italy.
Brunelleschi in Italy, in the building of the dome, not only transformed the cathedral and the city of Florence, but also the role and status of the architect.


ගෘහ නිර්මාණ ශිල්පය (Architecture) යනු is both the process and product of planning, designing and constructing space that reflects functional, social, and aesthetic considerations. It requires the manipulation and coordination of material, technology, light, and shadow. Architecture also encompasses the pragmatic aspects of realizing designed spaces, such as project planning, cost estimating and construction administration. A wider definition may comprise all design activity from the macro-level (urban design, landscape architecture) to the micro-level (construction details and furniture). In fact, architecture today may refer to the activity of designing any kind of system and is often used in the IT world.

Architectural works are often perceived as cultural and political symbols and as works of art. Historical civilizations are often identified with their surviving architectural achievements.


Architecture (Latin „architectura“, from the Greek „arkitekton“, ὰρχιτεκτονική – arkhitektonike, from ὰρχι chief or leader and Τεκτονική builder or carpenter) is the art and science of designing buildings and other physical structures.

ගෘහ නිර්මාණ ශිල්පී[සංස්කරණය]

Architects plan, design and review the construction of buildings and structures for the use of people by the creative organization of materials and components with consideration to mass, space, form, volume, texture, structure, light, shadow, materials, program, and pragmatic elements such as cost, construction limitations and technology, to achieve an end which is usually functional, economical, practical and often artistic. This distinguishes architecture from engineering design, which has as its primary object the creative manipulation of materials and forms using mathematical and scientific principles. As documentation produced by architects, typically drawings, plans and technical specifications, architecture defines the structure and/or behavior of a building or any other kind of system that is to be or has been constructed.

Theory of architecture[සංස්කරණය]

Historic treatises[සංස්කරණය]

Architectural drawings of details of the Palace of Persepolis, Persia (Iran)

The earliest written work on the subject of architecture is De architectura, by the Roman architect Vitruvius in the early 1st century CE.[1] According to Vitruvius, a good building should satisfy the three principles of firmitatis utilitatis venustatis,[2][3] which translates roughly as -

  • Durability - it should stand up robustly and remain in good condition.
  • Utility - it should be useful and function well for the people using it.
  • Beauty - it should delight people and raise their spirits.

According to Vitruvius, the architect should strive to fulfill each of these three attributes as well as possible. Leone Battista Alberti, who elaborates on the ideas of Vitruvius in his treatise, De Re Aedificatoria, saw beauty primarily as a matter of proportion, although ornament also played a part. For Alberti, the rules of proportion were those that governed the idealised human figure, the Golden Mean. The most important aspect of beauty was therefore an inherent part of an object, rather than something applied superficially; and was based on universal, recognisable truths. The notion of style in the arts was not developed until the 16th century, with the writing of Vasari.[4] The treatises, by the 18th century, had been translated into Italian, French, Spanish and English.

The Parthenon, Athens, Greece, "the supreme example among architectural sites." (Fletcher).[5]

In the early nineteenth century, Augustus Welby Northmore Pugin wrote Contrasts (1836) that, as the titled suggested, contrasted the modern, industrial world, which he disparaged, with an idealized image of neo-medieval world. Gothic architecture, Pugin believed, was the only “true Christian form of architecture.”

The 19th century English art critic, John Ruskin, in his Seven Lamps of Architecture, published 1849,[6] was much narrower in his view of what constituted architecture. Architecture was the "art which so disposes and adorns the edifices raised by men ... that the sight of them" contributes "to his mental health, power, and pleasure".

For Ruskin, the aesthetic was of overriding significance. His work goes on to state that a building is not truly a work of architecture unless it is in some way "adorned". For Ruskin, a well-constructed, well-proportioned, functional building needed string courses or rustication, at the very least.

On the difference between the ideals of "architecture" and mere "construction", the renowned 20th C. architect Le Corbusier wrote: "You employ stone, wood, and concrete, and with these materials you build houses and palaces: that is construction. Ingenuity is at work. But suddenly you touch my heart, you do me good. I am happy and I say: This is beautiful. That is Architecture".[7]

Contemporary concepts of architecture[සංස්කරණය]

The great 19th century architect of skyscrapers, Louis Sullivan, promoted an overriding precept to architectural design: "Form follows function".

While the notion that structural and aesthetic considerations should be entirely subject to functionality was met with both popularity and skepticism, it had the effect of introducing the concept of "function" in place of Vitruvius "utility". "Function" came to be seen as encompassing all criteria of the use, perception and enjoyment of a building, not only practical but also aesthetic, psychological and cultural.

Nunzia Rondanini stated, "Through its aesthetic dimension architecture goes beyond the functional aspects that it has in common with other human sciences. Through its own particular way of expressing values, architecture can stimulate and influence social life without presuming that, in and of itself, it will promote social development.'

To restrict the meaning of (architectural) formalism to art for art's sake is not only reactionary; it can also be a purposeless quest for perfection or originality which degrades form into a mere instrumentality".[8]

Among the philosophies that have influenced modern architects and their approach to building design are rationalism, empiricism, structuralism, poststructuralism, and phenomenology.

In the late 20th century a new concept was added to those included in the compass of both structure and function, the consideration of sustainability. To satisfy the contemporary ethos a building should be constructed in a manner which is environmentally friendly in terms of the production of its materials, its impact upon the natural and built environment of its surrounding area and the demands that it makes upon non-sustainable power sources for heating, cooling, water and waste management and lighting.

History[සංස්කරණය]

Vernacular architecture in Denmark.

Origins and the ancient world[සංස්කරණය]

Architecture first evolved out of the dynamics between needs (shelter, security, worship, etc.) and means (available building materials and attendant skills). As human cultures developed and knowledge began to be formalized through oral traditions and practices, architecture became a craft.

Here there is a process of trial and error, and later improvisation or replication of a successful trial. What is termed Vernacular architecture continues to be produced in many parts of the world. Indeed, vernacular buildings make up most of the built world that people experience every day.

Early human settlements were mostly rural. Due to a surplus in production the economy began to expand resulting in urbanization thus creating urban areas which grew and evolved very rapidly in some cases, such as that of Çatal Höyük in Anatolia and Mohenjo Daro in Pakistan.

In many ancient civilizations, like the Egyptians' and Mesopotamians', architecture and urbanism reflected the constant engagement with the divine and the supernatural, while in other ancient cultures such as Persia architecture and urban planning was used to exemplify the power of the state.

The architecture and urbanism of the Classical civilizations such as the Greek and the Roman evolved from civic ideals rather than religious or empirical ones and new building types emerged. Architectural styles developed.

Texts on architecture began to be written in the Classical period. These became canons to be followed in important works, especially religious architecture. Some examples of canons are found in the writings of Vitruvius, the Kao Gong Ji of ancient China[9] and Vaastu Shastra of ancient India and Manjusri vasthu vidya sastra of Sri Lanka[10] .

The architecture of different parts of ආසියාව developed along different lines from that of Europe, Buddhist, Hindu and Sikh architecture each having different characteristics. Buddhist architecture, in particular, showed great regional diversity. In many ආසියාවn countries a pantheistic religion led to architectural forms that were designed specifically to enhance the natural landscape.

The medieval builder[සංස්කරණය]

The Taj Mahal, in India

Islamic architecture began in the 7th century CE, developing from a blend of architectural forms from the ancient මැද පෙරදිග and from Byzantium but also developing features to suit the religious and social needs of the society. Examples can be found throughout the Middle East, North Africa and Spain, and were to become a significant stylistic influence on European architecture during the Medieval period.

In යුරෝපය, in both the Classical and Medieval periods, buildings were not attributed to specific individuals and the names of the architects frequently unknown, despite the vast scale of the many religious buildings extant from this period.

During the Medieval period guilds were formed by craftsmen to organize their trade and written contracts have survived, particularly in relation to ecclesiastical buildings. The role of architect was usually one with that of master mason, or Magister lathomorum as they are sometimes described in contemporary documents.

Over time the complexity of buildings and their types increased. General civil construction such as roads and bridges began to be built. Many new building types such as schools, hospitals, and recreational facilities emerged.

Renaissance and the architect[සංස්කරණය]

With the Renaissance and its emphasis on the individual and humanity rather than religion, and with all its attendant progress and achievements, a new chapter began. Buildings were ascribed to specific architects - Brunelleschi, Alberti, Michelangelo, Palladio - and the cult of the individual had begun.

There was still no dividing line between artist, architect and engineer, or any of the related vocations, and the appellation was often one of regional preference. At this stage, it was still possible for an artist to design a bridge as the level of structural calculations involved was within the scope of the generalist.

Early modern and the industrial age[සංස්කරණය]

With the emerging knowledge in scientific fields and the rise of new materials and technology, architecture and engineering began to separate, and the architect began to concentrate on aesthetics and the humanist aspects, often at the expense of technical aspects of building design.

St Pancras Midland Hotel, ලන්ඩනය, United Kingdom

There was also the rise of the "gentleman architect" who usually dealt with wealthy clients and concentrated predominantly on visual qualities derived usually from historical prototypes, typified by the many country houses of Great Britain that were created in the Neo Gothic or Scottish Baronial styles.

Formal architectural training in the 19th century, for example at Ecole des Beaux Arts in ප්‍රංශය, gave much emphasis to the production of beautiful drawings and little to context and feasibility. Effective architects generally received their training in the offices of other architects, graduating to the role from draughtsmen or clerks.

Meanwhile, the Industrial Revolution laid open the door for mass production and consumption. Aesthetics became a criterion for the middle class as ornamented products, once within the province of expensive craftsmanship, became cheaper under machine production.

Vernacular architecture became increasingly ornamental. House builders could use current architectural design in their work by combining features found in pattern books and architectural journals.

Modernism and reaction of architecture[සංස්කරණය]

The Bauhaus Dessau architecture department from 1925 by Walter Gropius

The dissatisfaction with such a general situation at the turn of the twentieth century gave rise to many new lines of thought that served as precursors to Modern Architecture. Notable among these is the Deutscher Werkbund, formed in 1907 to produce better quality machine made objects. The rise of the profession of industrial design is usually placed here.

Following this lead, the Bauhaus school, founded in ජර්මනිය in 1919, consciously rejected history and looked at architecture as a synthesis of art, craft, and technology.

When Modern architecture was first practiced, it was an avant-garde movement with moral, philosophical, and aesthetic underpinnings. Immediately after පළමුවන ලෝක යුද්ධය, pioneering modernist architects sought to develop a completely new style appropriate for a new post-war social and economic order, focused on meeting the needs of the middle and working classes. They rejected the architectural practice of the academic refinement of historical styles which served the rapidly declining aristocratic order.

The approach of the Modernist architects was to reduce buildings to pure forms, removing historical references and ornament in favor of functionalist details. Buildings that displayed their construction and structure, exposing steel beams and concrete surfaces instead of hiding them behind traditional forms, were seen as beautiful in their own right.

Architects such as Mies van der Rohe worked to create beauty based on the inherent qualities of building materials and modern construction techniques, trading traditional historic forms for simplified geometric forms, celebrating the new means and methods made possible by the Industrial Revolution.

Many architects resisted Modernism, finding it devoid of the decorative richness of ornamented styles. As the founders of the International Style lost influence in the late 1970s, Postmodernism developed as a reaction against the austerity of Modernism. Robert Venturi's contention that a "decorated shed" (an ordinary building which is functionally designed inside and embellished on the outside) was better than a "duck" (a building in which the whole form and its function are tied together) gives an idea of this approach.

Architecture today[සංස්කරණය]

Part of the architectural profession, and also some non-architects, responded to Modernism and Postmodernism by going to what they considered the root of the problem. They felt that architecture was not a personal philosophical or aesthetic pursuit by individualists; rather it had to consider everyday needs of people and use technology to give a livable environment.

The Design Methodology Movement involving people such as Christopher Alexander started searching for more people-oriented designs. Extensive studies on areas such as behavioral, environmental, and social sciences were done and started informing the design process.

As the complexity of buildings began to increase (in terms of structural systems, services, energy and technologies), architecture started becoming more multi-disciplinary. Architecture today usually requires a team of specialist professionals, with the architect being one of many, although usually the team leader.

During the last two decades of the twentieth century and into the new millennium, the field of architecture saw the rise of specializations by project type, technological expertise or project delivery methods. In addition, there has been an increased separation of the 'design' architect [a] from the 'project' architect.[b]

Moving the issues of environmental sustainability into the mainstream is a significant development in the architecture profession. Sustainability in architecture was pioneered in the 1970s by architects such as Ian McHarg in the US and Brenda and Robert Vale in the UK and New Zealand. There has been an acceleration in the number of buildings which seek to meet green building sustainable design principles. It is now expected that architects will integrate sustainable principles into their projects.[11] An example of an architecturally innovative green building is the Dynamic Tower which will be powered by wind turbines and solar panels.[12]

See also[සංස්කරණය]

Notes[සංස්කරණය]

a. ^ A design architect is one who is responsible for the design
b. ^ A project architect is one who is responsible for ensuring the design is built correctly and who administers building contracts - in non-specialist architectural practices the project architect is also the design architect and the term refers to the differing roles the architect plays at differing stages of the process.

References[සංස්කරණය]

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  1. D. Rowland - T.N. Howe: Vitruvius. Ten Books on Architecture. Cambridge University Press, Cambridge 1999, ISBN 0-521-00292-3
  2. Translated by Henry Wotton, in 1624, as "firmness, commodity and delight" [1]
  3. Vitruvius [2]
  4. Françoise Choay, Alberti and Vitruvius, editor, Joseph Rykwert, Profile 21, Architectural Design, Vol 49 No 5-6
  5. Banister Fletcher, A History of Architecture on the Comparative Method
  6. John Ruskin, The Seven Lamps of Architecture, G. Allen (1880), reprinted Dover, (1989) ISBN 0-486-26145-X
  7. Le Corbusier, Towards a New Architecture, Dover Publications(1985). ISBN 0-486-25023-7
  8. Rondanini, Nunzia Architecture and Social Change Heresies II, Vol. 3, No. 3, New York, Neresies Collective Inc., 1981.
  9. 7th-5th centuries BCE.
  10. http://en.wikipedia.org/wiki/Architecture_of_ancient_Sri_Lanka
  11. Sustainable practices that were at the core of vernacular architecture increasingly provide inspiration for environmentally and socially sustainable contemporary techniques[3]. The U.S. Green Building Council's LEED (Leadership in Energy and Environmental Design) rating system has been instrumental in this. Other energy efficiency and green building rating systems include Energy Star, Green Globes, and CHPS (Collaborative for High Performance Schools),LEED.
  12. "AssociatedPress". AssociatedPress. සම්ප්‍රවේශය 2008-12-21. 
  • Panayiotis Pagalos, "The significance of time in contemporary architecture. Technical and poetic time: the case of Aldo Rossi", Phd dissertation, University of Patras, Greece, 2008

External links[සංස්කරණය]

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