Architecture and Composition

When I was 10 /11, I participated an art competition where came a really famous and respected artist who asked us very interestingly if we wanted to learn the rules of 'drawing'. Honestly I very intensely said 'yes'. And he turned out to be the greatest personal wizard of my life from that very moment when he declared there is actually no rules and regulations of drawing. All I do, every scratch I put on paper-is an art.

Well, that motivated me for a long time.

When I got into architecture, 'Composition' was a total alien to me which often led me to depression. It used to confuse me why do I even need to learn this? Firstly, i better explain 'composition in architecture'. It is basically done with basic shapes like dot, line, square, triangle, sphere for starter. And the objective is to be capable of arranging spaces in a good and functional manner.

Now here comes the part where I act cool and say, 'Well, there is no rule for composition'. (Trust me, I will be beaten for what I just said). Anyway, there are actually some gross rules for it, you know just to keep it on track, to keep a 'composition' a 'composition' instead of anything else. Not a big deal though. This grammar does not assure that it would certainly be a good composition; the thing 'beautification' is completely in the hands of us. The more it will be done with passion, the more it will be beautiful.

The first and foremost ground rule is that the composition cannot resemble anything tangible. It might have a 'concept' that might give the 'idea' of something tangible, but it is in no possible way can 'BE' the thing that already exists.

This often confuses us. Again, the objective of composition is 'Spacing'. So the Space that we create needs more care than setting of shapes. The more rhythmic the space is, the more it will be considered as a good composition. one thing, i better mentioned before that, it is better to practice freehand drawing of basic shapes to make them appear perfect.

It needs a Focus, a point where all attention of the spectators will meet. It is often done by placing a Big Shape, or placing a space surrounded by all shapes, or changing the orientation or a form in repetition, or change a form in the forms of same genre.

Negative space, is the space which cannot be used. So this is better to be very careful about intersecting shapes, and placing shapes. Like when two curve line intersects it often creates negative space as that space generally cannot be used to put things.

Intersection of forms often follows some rules in architecture. It i almost forbidden to intersect forms in edges, as this is a weak point. It often gives the sense that one of the forms might fall off or apart.

These are the gross rules of composition. Well almost every rule mentioned above has illustration.
This is always said that, composition is a way of touching an intangible area, this is a privilege to turn that intangibility to something tangible, and architects often have that luck to be the wizards of turning thing that we imagined into Real. It all depends on Feeling, the more Feeling can be occupied to touch that intangibility, the more it will be born with the dogmatic chance of being bewitching.

Architecture, and do not stop.

Well, to most people Architecture may sound something exciting, well, i don't doubt it is not. But you better know something before starting it. You know as we all like to call it 'Mental Preparation'; well, you are gonna need that a lot in here in architecture.

No doubt architecture provides students with a various number of exciting subjects. Like, Architecture offers a course on music to the students, a course on art, a course on Photography which i bet most people find very interesting.

but to start with architecture, the first semester does not turn out that pleasant for the students who have just enrolled. firstly the hard-working, and simultaneously the pressure and also another most important ingredient that is called 'melancholy' cook the first semester. But if you are afraid already, just be patient, and hang in there, you know you will certainly find hundreds of reasons to convince you not to leave and stay. I mean this is the objective of the first semester so that you can put up with pressure and tension and so on. but honestly the feeling after submitting some project that might have killed your sleep for nights, I bet you can't buy it with money-the happiness, the solace and the contentment.

trust me, if I were a doctor I would definitely prescribe the people who suffers from insomnia to enroll into architecture, as they can certainly patronize their insomnia in terms of projects, and also they can definitely get million dollars sleep which they are mainly suffering from.

Architects always say a thing that, architecture is not only a subject, it is a life-style, a way of living. if you go on with architecture, within few months you will observe certain change of your taste. And you will certainly grow a 'saying' in everything, whether it is good or bad.

well it is better to have some basic courses done on designing before starting architecture, otherwise the course might seem more frustrating as it was for me. but not to worry, you will be a good designer some day, even if you have the basic design course done or not. the thing is about trying and 'feeling'. you first have to feel things, like even if the wind blows you have try to feel the breeze on your skin, or the hot air that burns your skin. you have to observe more and care more. and above all you have to try more.

the most sarcastic or might be the beautiful thing of BEAUTY is that, it is not constant and neither possesses any limit. So whatever you do, and might seem beautiful, will certainly not seem beautiful to all, and certainly has the ability to be more beautiful. so never ever stop trying when the architecture life seem terrible, because, you know the thing is just denied as shitty thing who knows might not shitty at all, and no doubt can be far better than what is just presented.

best of luck with architecture. i hope one day you will be the one of whom I will be taking autograph.

Tadao Ando and Azuma House

Tadao Ando, September 13, 1941, Minato-ku, Osaka, Japan

Tadao Ando was an self taught architect, who has gone far enough with his own accord in Architecture that, it create his own philosophy of architecture which was categorized by Architectural Historian Francesco Dal Co as 'Critical Regionalism'. He worked as a truck driver and a boxer in early life. When he was a second year high School student, he was amazed by Imperial Hotel in Tokyo designed by F.L Wright, which eventually led him to give up boxing and start architecture.

Japanese Religion and Culture have great influence on Tadao Ando, which as it is said to create an 'Haiku' effect to beautify the nothingness in order to represent the uniqueness of 'Simplicity'. His philosophy was 'to change the dwelling is to change the society'. One of his Early work is Azuma house(also known as Row House), in Sumiyoshi, Osaka, Japan.This is the building which brought him success.

Azuma House

Building Name: Azuma House
Year of Construction: 1975-76
Site Area: 57.28 sq meter
Building Area: 34 sq meter
Total Floor Area: 64.72 sq meter
Location: Osaka, Japan
Award: Japan Association of Architecture, 1976

Plan Of Azuma House

Concept:

As Tadao Ando says, 'In its simple spatial composition, in its expression of enclosure, and the way light gives character to daily life's spaces, this house encapsulates my image of Architecture.'

Tadao Ando represents a rectangular concrete box in the dense core of Osaka abundant with wooden houses with less privacy. This building holds three rectangular blocks. He takes out the middle block and replaces it with a 'court-yard', yet ensuing privacy. The most significant thing about this project is the courtyard that connect the two part of the building with a bridge. And this project allows the inhabitants to make a relation with the environment by providing them with the day-light that changes distinctively through the whole day.

Section of Azuma House

 we can certainly get the feeling of day light changing throughout the day and that helps to build a relationship with the environment.

 

However, this is also true this project of Tadao Ando has been criticized too. Some says that the circulation is not easy enough in this house, and the massive concrete walls are certainly something that an environmentalist should try to avoid. And some believe the ventilation is poor except in the courtyard of the house. It is a continuous facade with no aperture which some say definitely one of the flaws of the house as it lessens places for visual relief, and also result in increase of temperature inside the house as the glasses and the concrete have high specific to absorb heat energy.

Nevertheless, Tadao Ando's Azuma house is certainly one of those building which meets highest meets of an individual in the tiniest space possible, and yet it is a beautiful architecture with simplicity in its distinctive feature.

A quick timeline of Art in Indian-subcontinent & Bangladesh

Human civilization started by the Valley of Indus about 27,000 years ago and lasted till 17,000 B.C. Aryan arrived here shortly after that time. Next history is the history of collision and unification of Aryan and Austric ( Kol, Shobor, Chondal) culture, from which Indian culture adopted it’s character. The oldest mark of Indian Art is found in ‘Pandurajar Dhibi’ with different kinds of motifs done on earthenware.  Besides, oriented earthenware also found in Chalcolethic (i.e; Bronze Age) village areas. This represents the ‘Pottery Craft’ established that time.

                                                                                                           

Ivory Fertility Ringstone, Shunga period

Before Mouriya-Shungo time, there were some low-relief burnt-earth plate works found in the distorted history of that time. Approximately at 300 B.C, Pundrabardhan was included into Mouriya Dynasty. From Engraved writing found near Bogra at Mahasthan, Buddhism is proven to be established. In Shoungo Dynasty there was found Terracotta of two dimensional characteristics used for Architectural orientation.

In the reign of second Chandragupta, overall Indian culture (literature, drama, astronomy, art etc) accomplished ‘Classical’ (Dhrupodi in local language) character (320A.D-575A.D). There is seen two art-ideologies in Classical style. Firstly, Ornamental style, where shape-oriented painting was core objective, with using color of different intensity and lines. This method was known as ‘Margoriti’. The second one was the ‘Moddhojugiyo’ style, avoiding orientation, using sharp and clear lines. 

Vikramaditya, Chandragupta II

Shiva Nataraj, the Lord of Dance, Chola Dynasty (ca.860-1279): represents cosmic dance of creation tramping a dwarf which represents ignorance, there is a nimbus around him, and one hand holds fire, another hand points out the left leg as a place for submission for the believers and another hand assures freedom for the devotee.

 In the middle of 8^th century, Paul Dynasty was established and they ruled over 400 year. Paul Dynasty supported Buddhist religion, and education, culture and architecture started flourishing centering this religion back that time. Painting art-style was established in Bengal in this period, proof of which was found in miniature art in ‘Talpatar puthi’ and the ‘wooden-cover’ of this. This was called ‘East-Indian Art-way’ or ‘Paul Art’. Miniature art era in Bangla started from ‘Paul period’. Paul ‘Puthi’ art, and sculpture were inspired by ‘Classical’ style followed back in Gupta dynasty. Starting from the last stage of 10^th century, the ‘Moddhojugiyo’ style was followed over the next 150 years. In 14^th century this ‘Moddhojugiyo’ style was also followed to paint manuscript in Gujrat, situated in west India.

 

Puhtichitra inspired from Jagannath (Lord of Universe, also considered as a form of Vishnu) culture

After Paul reign, Bangarajja (south-east Bengal and the southern part of West-Bengal), ruling power shifted to Hinduism followers ‘Sen’ king. So during their reign culture and art was flourished basing ‘Hindu’ religion.

Indo-Islamic Architecture, Gol Gumbaz Mosque, Bijapur, India

Then the whole Bengal was conquered by Turkey’s Muslim warriors, which added different taste in Indian art and culture. In Sultan Dynasty, ‘Safavi’ painting-style of Persian art-style was followed in Darbar in manuscript painting. This art-way was a balanced blending of Persian, Baigentain and Chinese art. Muslim art was paper-based, which vertically characterized it, and also geometric, motifs derived from nature based because of religious reason. Calligraphy was another way of art invented by Muslims. These influenced the Indian art of that time and during Sultan Iliash Shah, there was a unique architectural art style called ‘Indo-Islamic’ method. Glaze-tile orientation started first in India in architecture in Sultan Jalal Uddin Shah’s period. In 15^th and 16^th century there was seen a unification of Persian Hirat and Shiraj ghorana, and Bangladeshi ghorana.

During sultan Allauddin Shah, the appearance of Srichoitonno Deb influenced the culture and art of that time. In 16^th century paper was started making locally in Bengal, where paintings were about the story of Ram and Krishna, influenced from Vishnu religion. One of the most important aspect of this time was Patachitro and Potchitro. The reflection of Rajasthani art was seen in 16^th and 17^th century Bengali art. 18^th and 19^th century Patachintro was somewhat influenced by ‘Moddhojugiyo’ style. Patachitro of the last stage of 18^th century was inspired by Bengali local Potchitro.

Radha swings with Krishna, Patachitra

Potchitra

  

Akbar and the Elephant Muni, Mughal miniature art

In 1576, after Bangle was included to ‘Mughal’ reign, Mughal culture started entering the Bengali culture. Mughal miniature art was an attempt of a secular art, combining the Persian and Bengali art.  Mughal art-style basically is the unification of Persian, Indian hereditary and European art-style, which was two dimensional with pure and smooth lines, where enamel-like bright colors were present but light-shadow and perspective were absent. During 16^th century, establishing relation with Westerns ‘Mughal’ art started being influenced by Flemis-art, where the artist of this time started practicing ‘Perspective’ and ‘Light-shadow’. This style later became very famous in 19^th century. In 17^th century Mughal art finally could made it out of the influence of Persian art and achieved unique character partly influenced by European art style where colors started becoming smooth and cold. According to subject and character Mughal art was secular. On the other hand, in different region of Bengal, unifying local and Mughal art, some some Mughal-local art was born, of them some became famous as unique art style, eg. Murshidabad, Lakhnau, Patna etc. This Murshidabad art style became a very famous unique art style in the time of Nabab Alibordi Khan (1740-1750) containing the character of disciplined and limited lines, and cold colors. In the 2^nd half of 18^th century some artist from Rajasthan started permanent-dwelling in Murshidabad, with which Murshidabadi art-style appeared to be interested in Rajput art-style.

Bhabaneshwari Temple, Baronagar,(Murshidabadi Style Terrocota)

After Palashi war, defeating Nabab Shiraj-ud-doula, company ruling starts in Bengal. Art directly intervened by European especially English is called Company painting style. There are some different ways can be seen in Murshidabad in Company painting-style. Firstly, miniature painted on foreign paper; secondly, portrait of Indian Nababs and Feudal-lords; thirdly, a unique style called ‘mica-art’, with scratching talc/mica, and then printing it in glass.

After 1857 Shipahi-revolt, company ruling in India came to an end and British colonial ruling started, with which Calcutta became the administrative capital of Bengal. The personal stage of art work becomes institutional in this period which gives birth to Modern Era ending Middle Age. Chasing luck some European artists came in the country. They used to follow three medium, oil-painting on canvas, water color on elephant teeth and finally water-color on paper and printing it from that in engraving method. They started teach drawing technique to local artist.

Starting from the last stage of 18^th century and throughout the 19^th century, the Art movement started based on Kalighat temple, Calcutta, was renowned as Kalighat Potchitro.

At the last stage of 19^th century, Bengali people started establishing press in their own accord. Booklets were largely printed from there to entertain less educated people, with containing pleasing picture in it. Presses here started becoming renowned as ‘Bot-tola Publication’ and the printing art started being called as ‘Bot-tola Printing Art’. Lithography and Oleograph also became famous as printing method then.

 British artist started Oil-painting in this subcontinent, but through the decades after Company ruling, and before establishing art school, these was seen a mixed style of oil-painting. It was the symbol of transition period in changing of taste.

In 1854, ‘Government school of Art’ was established in Calcutta, and some other similar to this in Mumbai, Madras, Lahore, Jaypur. Vocational training, creative drawing, sculpture etc various kinds of education were exercised in these institutions, and middling these institution there evolved a artist community educated in Practical Western art style. Someone named Shoshivushon Paul educated in Practical Western method, started an art school named ‘Maheshwarpara School of Fine Art’ in Maheshwarpara, Khulna which is considered to be the first fine arts school in east Bengal, and first village-based art school in whole India.

At the starting of 20^th century, under Abanindranath Tagor’s apprenticeship and lead another new art movement established named ‘Bengal School’ or ‘Nobbo-bongiyo trend’. This style was synthesis of Ajanta, Mughal, Practical Western style and Japanese Wash style.

In 1920, Rabindranath Tagor’s attempted to start a Kolabhobon in Shanti-niketon. Under Nondolal’s lead, here started a new style of art unifying Western and Eastern art. In 1930, paintings started being inspired by the atrocity of 2^nd World war and the-than global recession due to the war.

After Division of subcontinent in 1947, Muslim artists came in east Bengal and started institutional practice of art. Jaynul Abedin lead to establish ‘Government Institute of Art’ in Dhaka, and that is how unique history of art in Bangladesh evolved. At the starting this art practice was European academic and Calcutta-centric art styled. 

Femine-4, Zainul Abedin

In 1950, exploitation in economic, social and cultural aspects by West Pakistan made the artist to carry out work subjecting their very own heritage art, and the scenario of the misery of the people of Bangladesh. In 50’s people trained from Dhaka art institute, also started practicing the most famous style of art in Europe- ‘Abstract Expressionism’. ‘Cubism’ and ‘Surrealism’ were also noticed to be practiced. This decade was the transition of evolving international art impact in Bangladeshi art.

Fish Catching Net, Shafiuddin Ahmed

In 60’s the main stream painting was ‘post abstract-expressionism and ‘oil-painting’ became the only medium of creative drawing. Focusing on 1969 mass uprising, oodles of poster, banner, festoon, magazine cover and drama evolved.

Farmers in confrontation-2, S M Sultan, 1986

In 70’s the most signifying incident was the Liberation War of Bangladesh, which largely influenced the cultural arena. The cultural sectors were highly influenced by patriotism. The main stream ‘Abstract Art’ of 60’s was replaced by ‘Realisism’ in art and sculpture. There started spreading a life in cultural sectors. Constructing Art-institutes, sending a lot if students to study abroad started bringing new style and innovation in our culture.  “Bangladesh Shilpokola Academy’ was built then, with which exhibition and competition on art started taking place with government grant. This decade is the decade of newly birth of art in Bangladesh.

Bangladesh 1967, Murtaza Bashir

In 80’s, artists started experimenting with new styles. This decade made it possible for the women to participate in art-world. In 80’s there were some works done inspiring from local art-style, where a sarcastic expression was tried to be carried out.

An Allegory of Self-exploration, Nazlee Laila Monsur

In 90’s, the revolutionary ‘conceptual art’ style was added to Bangladeshi culture. This style is now diminishing the difference between ‘visual’ and ‘performing’ art.

Now what it is expressed in art-form, considered as an ‘Art-piece’.