SYNOPSIS

We distill the essentials of the conceptual architecture in the phase of modern world.

Everything is changing towards better to fulfill the demand of users. The concept

based design/architecture is necessary to change the view or vicinity of our cities.

To study the need of conceptualization in the demanding world. I have chosen this to

show how it can affect the quality of work and changes the surrounding as well as

improving the aesthetic values.

HYPOTHESIS

How can concept based architecture enhance architectural quality of a

building.

AIM:

To know the importance/need of conceptualization in respect of architecture.

To study the changes occurred in the modern concept based architecture.

1
 To study the how way of achieving a good design based on concept.

OBJECTIVE:

Study the qualitative use of conceptual architecture

Use of concept based architecture to enhance the work.

Full fill the need of society by desperate designs.

Using the ideas to create new and appealing.

Study the relation between the concept and the function of a building.

Delimitation of the study

I have made a sincere attempt to do the complete justice to the chosen topic, but

there exists a lack of knowledge and resources at the undergraduate level. Not much

research has been done on the construction vary from one building to another of

conceptual architecture. Hence the research lacks the aspects of construction

techniques vary from one design or another.

2
Purpose of conceptual architecture:

The purpose of conceptual architecture is to direct attention to the decomposition of

the system without delving into the details of interface specification. Conceptual

architecture provides a useful vehicle for architects for communicating the

architecture to non-technical audiences, such as management, marketing, and in

some cases users. It is also the starting point for Logical Architecture, which

elaborates the component specifications and architectural mechanisms to make the

architecture precise and actionable.

RESEARCH METHODOLOGY:

The first part is based on the literature review and will have a character of an

introduction and discussion. Facts and trends within the research and building

industry spheres is presented.

The second part is based on the live case studies review understanding the use of a

concept in a particular building.

A system analysis that widens the understanding of the key concepts used in

integration of building.

Parametric studies are conducted to discuss the design considerations in the

integration process.

3
Conclusion:

Conceptual Architecture supports the design and evolution of the system, allowing

us to pay attention to starting level concerns, creating enough order at the starting

level to provide cognitive traction.

The conceptual architecture articulates a conceptual view of the system. It is

analogous to the elevation and floor plan views that building architects use for their

customers. In that paradigm, the blueprint adds the detail needed by various

specialist contractors to perform their function in building the structure.

4
 CHAPTER 1

INTRODUCTION

"Conceptual Architecture" is the conceptual view(s) of the architecture of a system.

It describes at a broad brushstrokes conceptual level the significant design ideas of

the system. In particular, this view includes diagrams and text which identify,

explicate, rationalize and contextualize the key structures and mechanisms of the

system, and the relationships among them.

Conceptual Architecture expresses the key architectural elements and their

relationships that give "shape" to the system. Each of these architectural elements,

or abstractions, play a critical role in the system which is signified by their

responsibility assignments. They collaborate and interact, and these relationships

are a significant design consideration not only because interaction points "seams" in

the system are non-trivial, but because interactions give rise to synergy that makes

5
the system more than a simple aggregate of executing parts. The parts, their

arrangement and concert, cohere within and give expression to the system "gestalt."

A concept is an abstract idea representing the fundamental characteristics of what it

represents. Concepts arise as abstractions or generalizations from experience or the

result of a transformation of existing ideas. The concept is instantiated (reified) by all

of its actual or potential instances, whether these are things in the real world or other

ideas. Concepts are treated in many if not most disciplines both explicitly, such as in

linguistics, psychology, philosophy, etc., and implicitly, such as in mathematics,

physics, etc. In informal use the word concept often just means any idea, but

formally it involves the abstraction component.

There are at least three prevailing ways to understand what a concept is

a) Concepts as mental representations, where concepts are entities that exist in the

brain (mental objects)

b) Concepts as abilities, where concepts are abilities peculiar to cognitive agents

(mental states)

c) Concepts as Fregean senses (see sense and reference),

Where concepts are abstract objects, as opposed to mental objects and mental

states.

The concept plays an important role by understanding the need of the site in respect

of type of building required. It helps in designing process. It promotes towards

BUILD BEAUTIFUL.[1]

6
 HISTORY

Only human beings have a rich conceptual repertoire with concepts like tort, entropy,

Abelian group, mannerism, icon and deconstruction. How have humans constructed

these concepts? And once they have been constructed by adults, how do children

acquire them? While primarily focusing on the second question, in The Origin of

Concepts, Susan Carey shows that the answers to both overlap substantially.

Carey begins by characterizing the innate starting point for conceptual development,

namely systems of core cognition. Representations of core cognition are the output

of dedicated input analyzers, as with perceptual representations, but these core

representations differ from perceptual representations in having more abstract

contents and richer functional roles. Carey argues that the key to understanding

cognitive development lies in recognizing conceptual discontinuities in which new

representational systems emerge that have more expressive power than core

cognition and are also incommensurate with core cognition and other earlier

representational systems. Finally, Carey fleshes out Quinian bootstrapping, a

learning mechanism that has been repeatedly sketched in the literature on the

history and philosophy of science. She demonstrates that Quinian bootstrapping is a

major mechanism in the construction of new representational resources over the

course of childrens cognitive development.[2]

7
Carey shows how developmental cognitive science resolves aspects of long-

standing philosophical debates about the existence, nature, content, and format of

innate knowledge. She also shows that understanding the processes of conceptual

development in children illuminates the historical process by which concepts are

constructed, and transforms the way we think about philosophical problems about

the nature of concepts and the relations between language and thought.[2]

What is Conceptual Architecture?

"Conceptual Architecture" is the conceptual view(s) of the architecture of a system. It

describes at a broad brushstrokes conceptual level the significant design ideas of the

system. In particular, this view includes diagrams and text which identify, explicate,

rationalize and contextualize the key structures and mechanisms of the system, and

the relationships among them.

Conceptual Architecture expresses the key

architectural elements and their relationships

that give "shape" to the system. Each of these

architectural elements, or abstractions, play a

critical role in the system which is signified by

their responsibility assignments. They

collaborate and interact, and these relationships are a significant design

8
consideration not only because interaction points (analogous to articulation points in

physical systems) and "seams" in the system are non-trivial, but because

interactions give rise to synergy that makes the system more than a simple

aggregate of executing parts. The parts, their arrangement and concert, cohere

within and give expression to the system "gestalt." [3]

Conceptual Architecture Diagram

The Conceptual Architecture Diagram renders the formative architectural

abstractions (named boxes) and their interrelationships (lines). For complex

systems, there may be a set of such diagrams, exploring the (de)composition of

more complex, architecturally interesting architectural elements.[4]

Mechanism Sketches

Beyond the (set of) Conceptual Architecture Diagram(s) and CRC-R descriptions,

architectural mechanisms (i.e., mechanisms of architectural significance) are

sketched (in diagrams and descriptions) to conceive and convey their essential

design nature -- the design intent, contextual assumptions, structure, and "how it

works" dynamic considerations. The capabilities of the system emerge from the inter-

9
and intra-working of the parts of the system, and mechanisms allow us to focus on

specific processes within the system, conceptually (at this point) designing

architecturally significant functions of parts of the system.

Architecturally significant mechanisms are those that have more diffuse or systemic

impact or are make-or-break important to system outcomes. Many of the patterns in

our field's literature formulate tried-and-true mechanism designs addressing very

specific system capabilities (often internally focused at system sustaining and

structural integrity concerns because these are common across systems irrespective

of their specific user-facing functionality). A system has functions just like a body has

functions. And many of these are internal system sustaining functions that have to do

with continuity rather than serving any immediate external demand being made of

the system.

Together, the expressions of the Conceptual Architecture form a conceptual

framework within which we conceive of, reason about, communicate and share,

extend and reify and evolve the key design ideas of the system.[5]

10
Why: Motivation for the Conceptual Architecture View

Conceptual Architecture is a key medium for describing the "big picture" and

essential design ideas of our system, helping others to more rapidly comprehend a

complex system, how it relates to its context and how it is composed, and its critical

mechanisms or interworking to achieve some key internal system capability essential

to sustaining itself. The Conceptual Architecture Diagram serves as a high level map

of our system, providing for navigation around complex systems, location of

responsibilities, and identification of dependencies.

But Conceptual Architecture is also a focus of essential design work! As we conceive

of the system structure, we're tackling questions of decomposition and modularity,

with the dual of composition and emergent properties. We do so as to make the

system organizationally and cognitively tractable, bringing order to the system and

addressing system challenges. We might think of this as a kind of "social order" if we

see its elements as agents of system responsibilities, working with cohorts to deliver

system capabilities and in this interaction effecting emergent properties. But even if

we don't go that far, we are at least bringing a kind of mechanical order, complete

with hierarchically composed sub-orders, to the system.

Modular systems enable us to partition realms of uncertainty and experiment,

separating them from more stable and understood areas of the system; to separate

11
areas of the system that change for the same reason, from other areas of the system

that have different change impulses; to create areas of focus for investments in

highly tuned performance or extreme robustness and resilience; to separate

elements for reuse or leverage; and to create units of work assignment. (Whether we

organize development primarily by features or by components, it is helpful to have

clear component ownership so that the structural health of the component is an

explicit charter.)

Early on, we're dealing with our conceits of formative system elements -- on paper.

We're crafting lo-fidelity sketch-prototypes of the system structure, and iterating

across the conception of the system and our discovery and exploration of how we

might conceive of, arrange and build the system. Because it is cheap to do, relying

more on how generative our imagination is leveraging the grist of experience,

patterns, capabilities in other systems and frameworks, and so forth, we can explore

various alternatives, discovering elements and relationships, illuminating the system

conception or possibilities we might offer in terms of system capabilities. We can

play with different factorings of responsibilities into capabilities and onto elements.

And we can evaluate our postulated alternatives with respect to coverage or

completeness, how they address system challenges, as well as balance, harmony,

conceptual integrity and consistency, in addition to the achievement of desired

system outcomes (capabilities and properties). All of which allows for a much more

active, adaptive, creative exploration of the system concept and structural

organization before the direction is channeled and cast in shaping, anchoring

expectations and code.

12
We don't claim to be able to so well conceive of the system in its ultimate form that

we go into system development with a perfect and complete design. We do claim

that we can begin the evolutionary adaptation process with a more plastic and

malleable medium than a growing mass of code. And then we can support code

evolution with, again, a more malleable medium for exploring architectural-level

refactoring and adaptations -- changing sketches and more formal models to explore

the impact of ideas before we incur the cost of making the changes in the code base.

All the while maintaining greater intellectual traction over a complex system, because

we have cognitive aids to system understanding and work with system constructs in

their own terms, rather than always and only in terms of code which contains details

that obfuscate.[5]

How: Some Comments on Creating and Evolving the Conceptual

Architecture

During early system conceptualization, we start to envision the form or shape of the

system, its boundaries and interactions, its primary elements and their interactions.

The sketchy shapes of these elements, expressed mainly in terms of their

responsibilities, analogies, and drawing on patterns and experience, take a rough

13
form, allowing us to investigate the system concept. Then, as the system concept

(identity, value propositions and capabilities) takes shape, so too does the

Conceptual Architecture.

In designing complex systems, separation of concerns is a key strategy for gaining

intellectual traction and enabling ourselves to reason about important design

decisions while considering emergent properties that are part and parcel of the

decomposition-composition dual of systems design and development. The concerns

focused on at this point are related to giving shape to the system paying attention to

user-facing capabilities and developer-facing properties of the system.

The architectural elements of software systems (that is, elements significant enough

to the system to draw out and deal with in architectural design) are constructs of

inventive human thought. We mold and shape them to accomplish a purpose,

subject to constraints and forces. We leverage analogies to draw experience and

knowledge from other domains, including mechanisms of nature (e.g., swarms),

man-made (e.g., mechanical mechanisms like hubs), and social constructs (e.g.,

social and economic mechanisms like brokers).

The Conceptual Architecture Diagram is a lightweight and yet powerful tool for

sketch-prototyping the system structure, and for rendering the structure of an

existing system, to explore adaptations to it. Thus it allows us to explore the system

14
from its earliest conception through evolution. As we experiment on paper, it is

cheap to postulate various alternatives and explore their ramifications.

As system capabilities are explored, the associated responsibilities are allocated to

"chunks" or components of the system, and these responsibilities are an important

thinking tool for architectural designers who need to make software abstractions

cognitively malleable and communicable. With something as simple as elements

each with their list of responsibilities and relationships, we can experiment with

different factorings and hence different abstractions or elements each with a different

basis for cohesion of responsibilities. Further, it becomes possible to assess:

15
 clarity of responsibilities

whether responsibilities are missing

components for cohesion of responsibilities

the system shape for balanced distribution of responsibilities

Architectural components may play different roles in the system, so their

responsibilities are related within role-scopes. That is to say, for example, a

component may play a minor role in system health monitoring and an active role with

respect to some other system capability (e.g., providing shopping cart

functionality).[6]

In highly dynamic systems, as software intensive

systems are, structure and dynamics are

designed together -- if we focus on structure we

impact dynamics, and vice versa. When we

focus on dynamics -- on behavior and "how it

works" and properties that emerge from the

structures as they perform their function and

interact -- our design decisions have to be expressed in terms of the structure for the

structure houses, if you like, the implied responsibilities and interfaces. So we

explore behavior, in our mind's eye and with responsibility lists, or on paper or the

white board, using rough diagrams or informal sketches that just sketchily map

interactions to accomplish some piece of behavior. During early conceptualization

we're careful not to distract ourselves with model precision; we're trying to clear

16
some of the fog of uncertainty. We're attending to our need to move fast and

acknowledging that we need to "see" and think "out loud" "in pairs" or small groups,

and to "get our hands dirty" with the cheapest possible design medium -- including

sketch prototypes and code experiments. But importantly, using diagrams to create a

shared thought-space to learn and explore just enough to discover and resolve the

significant uncertainties and challenges of this moment. Then, as we progress with

iteratively and incrementally building the system, our Conceptual Architecture

diagrams and explanations mature, and continue to be important thinking tools as we

evolve the design.

The conceptualization of a product isn't limited to the conceptualization of its use, but

the product in use. We're designing what the product is capable of in conjunction

with what the product is and how it is built. A car isn't a faster carriage, and although

early cars had aspects of a carriage, the engine was quite different than a horse, and

this translated to mechanisms to make the wheels move (from passive to active). In

other words, when we conceptualize a new kind of product we iterate across

designing capabilities and the mechanisms and structures that deliver those

capabilities, and the product changes the ecosystem (a gasoline powered car raises

the need for places to replenish fuel) so to make the product successful we also

(impact the) redesign (of) key aspects of the ecosystem or larger system of systems

into which our system fits, interacts and in important ways shapes and is shaped by.

In most peoples vocabularies, design means veneer. Its interior decorating. Its the

fabric of the curtains and the sofa. But to me, nothing could be further from the

17
meaning of design. Design is the fundamental soul of a man-made creation that

ends up expressing itself in successive outer layers of the product or service. ..

Conceptual Architecture grants us passage between the from-the-outside and the

from-the-inside views of the system, allowing us to design interactively across the

concept of the system and the internal concepts that allow that conception to take

form. And it allows us to think about the elements and how they play together. More

specifically, it is the conception and narration of the organization of the parts or

elements of the system and its key, or architecturally significant, mechanisms -- as

the system is conceived, developed and evolved. More pivotally, it is an agent of

consilience, helping us to bridge various divides in system design.

But again I must emphasize, Conceptual Architecture is not a write-once read-only (I

carbon stamp myself with the allusion, huh?) sort of thing. It is useful early, and

throughout the evolution of the system, serving as an aid to thinking about and

communicating system structure, evaluating alternatives, designing and redesigning

as we create and evolve the system.[7]

18
 CHAPTER 2

LIVE CASE STUDIES

Lotus temple.

Hall of nation.

I have chosen this two live case studies mentioned above to show the use of

concept and its impact on the building. How the concept can change the quality of a

building. By studying their use of a particular concept in a particular building shows a

concept. How it evolves and come in a form of building between users.

19
 LOTUS TEMPLE

Introduction:

It is also known as Bahai Faith.

A temple in the capital city of

India. Build by Architect Mr.

Fariborz Sahba was selected by

the world governing body of Bahai faith, The Universal House of Justice in the year

1974 with Flint & Neill partnership of London was the consultancy and ECC

construction group of Larsen & Toubro Ltd. were the contractors. The Design

process for the structure began in the year 1976. It is said that Architects travel

throughout India for Proper design, lotus is finalized as the national flower of India it

is a Symmetric Half-open Lotus flower surrounded by its leaves.

It have 1300 total seating capacity with the height of 35m from the ground and

diameter of 70m with a concrete frame and precast concrete ribbed roof. It has an

architectural style of expressionist. The temple is a symbol of the BAHI faith, which

believes in oneness of all religion and mankind. The faith gives emphasis on prayer

and meditation.it is the youngest worlds independent religion.

As in the figure the building depicts the lotus flower.

The petals of lotus is spread around it as in landscape and the inner petals as the

building and from the center it is open to the sky.[8]

20
Why choosing lotus as a concept?

If the Hindu architecture is observed, you may find that despite external differences
between the various temples, all offer significant and sacred symbols common to all
religions of India, symbols that have extended even to other countries and religions.
One of these symbols is the sacred flower of the Indians, "the lotus"

Conceptually inspired this flower symbolizes purity and holiness in the Hindu
tradition is that the architect Fariborz Sahba developed the project to this temple.
This concept had to be converted to defined geometric shapes such as spheres,
cylinders, toroids and cones, which translate into equations subsequently used as a
basis for structural analysis and engineering drawings. The resulting geometry was
so complex that it took two and a half years to complete the plans for the temple.

21
Components of the structure:

Main building consisting of

Basement

Three groups of Nine shells springing from the podium

Double layered Interior dome

Nine arches

Nine ponds

Walkways

Ancillary building consisting of

Information center

Library

Administrative building

Rest rooms.[9]

22
Analysis

Interior dome is 28 m in height and 34m in diameter

Inner leaves are of 200 mm thick and of 33.6 m in height

Outer leaves are of 135 mm from their cusps to the line of glazing, beyond

which they thicken to 250 mm and of 22.5 m in height

Entrance leaves are of 150 mm at center to 300 mm thick at their edges and

of 7.8 m in height

Shells within the interior dome: 60mm thick.[9]

Conclusion

The lotus temple has a high significance on concept as anyone can look at the

building and say it is lotus the concept of a flower is used in elevations as well as

plan and being the main part of the

whole process building has its own

unique identity by the appearance of

it.

The site view reveals how can a

concept reveals all about the

building.

23
The white color shows peace

And the complete lotus flower with an opening top.

The building is viewed from inside it gives a view of that flower is open. Thus the site

plan makes the lotus complete by the landscaping by ponds, walkways and stairs.

From the outside view the flower looks it is slightly open with the effect of center is

open which provides diffused sunlight within it.

The Bahai temple is probably one of the most special and most distinctive buildings

to be built in todays world. The completed structure remains both architecturally and

in engineering point of view, as a MARVEL!

It assures the prediction is right that the conceptual architecture enhances the quality

of a building.

The design looks like a half opened Lotus flower with 27 freestanding "petals" made

of marble. The architect, while designing the temple took into account the eternal

beauty of Lotus flower. The construction work took almost 10 years before it finally

got shape and was open for public. The temple integrates the aesthetic values along

with the technological influence within the whole structure. There are nine reflecting

pools outside of the temple. Converting the geometry of the design that did not have

any straight line to the actual structure needed a lot of effort and dedicated

engineering.

The temple has the capacity to accommodate nearly 2500 people and has nine

doors that open in a central hall. The whole structure is made of white marble that

adds to the glory of the temple. It is about 40 meters tall surrounded by nine ponds

and appears as if the temple is floating like a Lotus flower in water.

24
 HALL OF NATIONS

Introduction

It was designed by Raj Rewals in

1971-72. Each and every hall is in

the modified shape of a pyramid.

The main pavilion of the hall of

nations has a clear span of 78 m

and a height vary from 3 m to

21m, thereby providing a vast

capacity for items to be exhibited from books to bulldozers. The hall of industries is a

combination of 4 smaller pavilions by ramps enclosing a central area for open air

exhibits, utilities, toilets, and other services are located under the ramps. Although

each of the halls was initially conceived as a full pyramid.

Earlier the hall of nation is known by the hall of industries after 25 years of the

independence it is rebuild and now it become the worlds one of the most famous

steel frame construction

buildings.

The modification of a pyramid

can be seen in the picture.

The interior of hall looks huge

and full spacious.[10]

25
Why choosing pyramids as a concept?

The use of pyramids in hall of nation is the best option because the site is renovated
by AR. Raj Rewal the earlier building shapes resembles the pyramid. Thus the
shape of pyramid allow lots of space inside it to provide large area for exhibition was
the main reason to redesign its shape of pyramids. The the pyramid is cut between
half to give its new shape and design to the building.

The pyramids have geometrical calculations and equations which led the building
easy to build by constructing point of wide the pyramid also gives highly aesthetic
appearance to the building as the site is huge so the cluster of pyramids was a good
sense it unites the site into one and the functioning becomes easier for the users to
travel from one hall to another

This concept had to be converted to defined geometric shapes such as spheres,

cylinders, toroids and cones, which translate into equations subsequently used as a
basis for structural analysis and engineering drawings.[11]

26
HISTORY:

It is a huge complex of buildings, covering over 150 acres sprinkled with many

lawns, overlooking the historic Purana Qila, which stands opposite Gate no 1. The

complex houses many pavilions like the Nehru Pavilion, the Defense Pavilion, the

Indira Pavilion, and the Son of India Pavilion. It has various building which are build

in various shapes and sizes. It also has an auditorium where Rock shows and plays

are held quite frequently. There is also an internal shuttle service for those who do

not wish to walk. Pragati Maidan houses a movie theatre called Shakuntalam, quite

popular among college kids for its comparatively cheap tickets. The complex houses

18 exhibition halls, several buildings, eateries, performance spaces and compounds,

including headquarters of the India Trade Promotion Organization (ITPO), and hosts

over 70 national and international exhibitions annually, with the largest being the

India International Trade Fair which attracts over 10,000 exhibitors and over

30,00,000 visitors.[12]

27
Components of the structure and Analysis

The site plan shows the number of halls each of the 'Halls of Industries' is similar in

design and is 82m x 82m x 27m high. Provides 6700sqm area for exhibition pyramid

supporting on the eight points.

A special 9 member joint was evolved for precast construction but the builder

preferred in-situ construction. The joint was modified to suit the adopted technique.

The 'Halls of Nations' is supported on pile foundations tied together with post

tensioned plinth beams stressed in stages. The 'Hall of Industries' rest on spread

footings tied together with high tensile steel bars. The entire complex was analyzed,

designed and built in a period of fifteen months.[13]

28
Conclusion

The hall of nation stands on the unique path in the exhibition buildings due to its

design and the use. The upper point part of pyramid is been cut from the top to give

the rectangular view from the plan.

The picture gives an elevation view of the building which shows the modification of

the pyramid shape.

The use of pyramid based concept in the building makes the functioning as well as

aesthetic appearance to the building.

29
 LIVE CASE STUDY ANALYSIS:

In the above two live case studies we analyze that the use of concept as an initial

step by which the functioning and the requirement of the site is fulfilled and also it

enriches the surroundings attracting users popularize the site giving aesthetic

appearance which is adaptable by nearby buildings n environment.

It also shows that the conceptual architecture stand out of the box because it always

give a fresh move on the new site with new identity and new enthusiasm to build and

design and curiousness of users which supports the design and appreciate it.

Both live case studies shows the achievement of appreciation at world level and the

hard work behind the concept that doesnt mean it is easy to think n decide n cuild

the whole analyzing process must be there to achieve the final layout of concept

which is required.

Thus the conceptual buildings tell the identity of their own from far away they are

easily recognizable by the people what the building is like in the case of lotus temple

and hall of nation

30
 CHAPTER 3

LITERARTURE STUDY:

Guggenheim Museum Bilbao, Spain

Sydney Opera House

These two literature case studies is taken to support the live case studies how the

conceptual architecture is achieving worldwide attention and improvising the quality

of the building,

31
 GUGGENHEIM MUSEUM

(Bilbao, Spain)

Introduction

The work of American architect

Frank O. Gehry, the

Guggenheim Museum has

played a key role in the urban

revitalization and transformation of the area, in addition to becoming the symbol of

the city of Bilbao, Spain. The building is a perfect example of the more avant-garde

architecture of the twentieth century and represents a landmark for its innovative

architectural design both abroad and domestically, forming a seductive backdrop for

the exhibition of contemporary art. Visits can be made to both the interior and the

exterior of the building.[14]

32
Location

It is situated on a plot of 32,500 square meters, of which 24,000 square meters are

occupied by building. 9,066 square meters are devoted to exhibition spaces.

The museum is located 16 meters below the elevation of the city at the estuary of the

Nervion. El Puente de La Salve, one of the main entrances of the city, crosses

through the building.[14]

Analysis

Appearance created by regular forms with covered stone, curved forms coated in

titanium and large glass walls, the building is built around a central axis; the hall, 50

meters high, a monumental empty space topped by a metal dome. Around it, a

system of curved bridges, glass elevators and stair towers connecting the 19

galleries spread over three floors, which combine classic rectangular space with

other unique forms and proportions, all lit by the dome zenith. Temporary exhibitions

and large-format works have a place in a gallery of about 30 m. wide and nearly 130

33
m. long, free of columns, located on the volume that passes under the La Salve

Bridge.

Because of their mathematical complexity, the sinuous curves were designed using

a three dimensional design software called Catia, which allowed designs and

calculations that, years earlier, had not been possible.

The building is built with load-bearing walls and ceilings, which have an internal

structure of metal rods that form grids with triangles. The shapes of the museum

could not have succeeded if it did not use load-bearing walls and ceilings. Catia

determined the number of bars required in each location, as well as the bars

positions and orientations. In addition to this structure, the walls and ceilings have

several insulating layers and an outer coating of titanium. Each piece is unique and

exclusive to the place, determined by Catia.

Built of limestone, glass and titanium, the museum used 33,000 pieces of titanium

half a millimeter thick, each with a unique form suited to its location. As these pieces

are so thin, a perfect fit to the curves is necessary. The glass has a special treatment

to let in the sun's light, but not its heat.[15]

34
Why fish as a concept?

The design of the building follows the style of Frank Gehry. Inspired by the shapes

and textures of a fish, it can be considered a sculpture, a work of art in itself. The

forms do not have any reason nor are governed by any geometric law.

The museum is essentially a shell that evokes the past industrial life and port of

Bilbao. It consists of a series of interconnected volumes, some formed of orthogonal

coated stone and others from a titanium skeleton covered by an organic skin. The

connection between volumes is created by the glass skin. The museum is integrated

into the city both by it height and the materials used.

35
Being below the benchmark of the city, it does not surpass the rest of the buildings.

The limestone, of a sandy tone, was selected specially for this aim. Seen from the

river, the form resembles a boat, but seen from above it resembles a flower.[16]

As the site is located near the sea he used fish to retain the unity of land and sea

together like the fish swims in the sea same fish Is can also live on the ground in the

form of building which shows the unity between land and sea which shows the

uniqueness of the concept.

Conclusion:

Guggenheim Balbia, Spain is one of the most beautiful buildings built on the concept

the building reflects two forms one from the elevation and other from the plan but

there is one more behind it is like fish raising fins in the water to move ahead, by

continuously looking at the building.

The view of the building enriches the site as well as the surroundings by its aesthetic

appearances. The shapes and the curves like a flower or a fish is completely

undistinguishable the shape of the building reflects the concept has an important role

in the fourmulative structure build.

This work shows how a concept based building enhances the quality of architecture.

36
It reflects the high definition work and dedication regarding the concept which is

praised by the society at the world level/

This shows how a concept based buildings gives you the wings to stand out.

It has its own significance in by its concept the high dynamic structure and load

bearing walls is used in the design to get the form.

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 SYDNEY OPERA HOUSE

(Australia)

Introduction

The Sydney Opera House is a multi-

venue performing arts center in Sydney,

Australia. It is one of the 20th century's

most famous and distinctive buildings.

Designed by Danish architect Jrn Utzon.

The building and its surrounds occupy the whole of Bennelong Point in Sydney

Harbor, between Sydney Cove and Farm Cove, adjacent to the Sydney central

business district and the Royal Botanic Gardens, and close by the Sydney Harbor

Bridge.

Though its name suggests a single venue, the building comprises multiple

performance venues which together are among the busiest performing arts

centers.[17]

38
Analysis

The facility features a modern expressionist design, with a series of large precast

concrete "shells", each composed of sections of a sphere of 75.2 meters (246 ft. 8.6

in) radius, forming the roofs of the structure, set on a monumental podium. The

building covers 1.8 hectares (4.4 acres) of land and is 183 m (600 ft.) long and 120

m (394 ft.) wide at its widest point. It is supported on 588 concrete piers sunk as

much as 25 m (82 ft.) below sea level.

Although the roof structures are commonly referred to as "shells" they are precast

concrete panels supported by precast concrete ribs, though the shells appear

uniformly white from a distance, they actually feature a subtle chevron pattern

composed of 1,056,006 tiles in two colors glossy white and matte cream. [18]

Apart from the tile of the shells and the glass curtain walls of the foyer spaces, the

building's exterior is largely clad with aggregate panels composed of pink granite

quarried at Tarana. Significant interior surface treatments also include off-form

concrete.

Of the two larger spaces, the Concert Hall is in the western group of shells, the Joan

Sutherland Theatre in the eastern group. The scale of the shells was chosen to

reflect the internal height requirements, with low entrance spaces, rising over the

seating areas up to the high stage towers. The smaller venues (the Drama Theatre,

the Playhouse and the Studio) are within the podium, beneath the Concert Hall. A

39
smaller group of shells set to the western side of the Monumental Steps houses the

Bennelong Restaurant. The podium is surrounded by substantial open public

spaces, and the large stone-paved forecourt area with the adjacent monumental

steps is regularly used as a performance space.[19]

Why the shell as a concept?

Sydney opera house is look like a shell shaped structure as it is near the sea the

building is composed on the shells which is found on the sea shore.

The designing of the building reflects the shapes and the curves it can be considered

a sculpture, a work of art in itself. The forms do not have any reason nor are

governed by any geometric law. The opera house is essentially a shell that evokes

40
the design of sea shell. The museum is integrated into the city both by it height and

the materials used.

Conclusion

The Sydney opera house is built on the concept of shell the pointed edges of the

stones in the roof shows the edges of the shell which is smooth the curved or up and

down flow on the surface of shell is seen on the top of the building the shell has a lot

of space inside it as the opera house resembles the same in this building not only

the shape but also the characteristics of the shell is considered.

As the design build on concepts reflects the aesthetic appearances as well as the

qualities and the shapes of the existing form.[20]

41
 ANALYSIS

Conceptual Architecture is analyzed by the above case studies on

Lotus Temple

Hall of Nation

Guggenheim Museum

Sydney Opera House

All of the studies mentioned above shows the importance of conceptual architecture

in todays world each n every buildings comes in the different styles. And different

architects all resembles one thing the aesthetic appearances of the buildings were

unique and different from one another but satisfies the requirement on the site and

the users all are working buildings and got fame on the world level.

In all the designs we can see the use of concepts and their application in the process

of completion of the particular building.

All of them have different concepts and different places therefore it also shows that

the concept is relevant to the site not like anything or any concept can be put

anywhere without considering the site.

42
Making concept as initial step led the architects to achieve new heights in their

career and giving their best as well as showing the importance of conceptual

architecture in the todays and the future world it led our surrounding beautiful and

adds value to the particular area.

43
 CONCLUSION

Studying deeply the literature and the live case studies on the conceptual

architecture shows how the concept changes the views appearance and the use of a

building which is a high success to the buildings in order to stand out.

Concept gives us the initial step how to build? And what to build?

The conceptual based architecture attracts large number or users and gives value to

the building and the site even it add value towards architecture.

Conceptual Architecture supports the design and evolution of the building, allowing

us to pay attention to starting level concerns, creating enough order at the starting

level to provide cognitive traction.

The conceptual architecture articulates a conceptual view of the building. It is

analogous to the elevation and floor plan views that building architects use for their

customers. In that paradigm, the blueprint adds the detail needed by various

specialist contractors to perform their function in building the structure.

44
 RECOMMENDATIONS

Using of concept based architecture is the way to represent our work on high note.

Concept is the basic or initial step toward designing but it reflects at the end of the

work it takes high level of concentration towards a particular designing and focuses

to achieve the same is not easy sometimes but using concept based architecture we

can show our work and abilities towards the users and clients to represent our

creativity as well as knowledge of doing a particular designing.

The above studies shows the importance of conceptual architecture in order to stand

out. Use of concept help us to know what we have to design and how much we need

to improvise or modify a particular diagrams or sketches to get the final form of the

building thus it enables us to give aesthetic appearances of the building and make

elevations more interesting for the users as well as the landscape.

Making an interesting to the users led the building used to the fully extent and the

use of site is more it enhances the quality and surroundings of the particular building.

There is no use of the buildings which is not used by publics or any other purpose

therefore those buildings are useless or ready for deconstruction.

45
REFRENCES:

1. Louis Kahn quote from Frampton, Kenneth. Modern Architecture, a critical history. page 245.

2. The Origin of Concepts, Book by Susan Carey description page no 2

3. Eisenman, Peter (2004). Eisenman Inside Out: Selected Writings, 1963-1988. Yale University

Press. ISBN 0-300-09008-0

4. Frampton, Kenneth (1992). Modern Architecture, a critical history. Thames & Hudson- Third

Edition. ISBN 0-500-20257-5

5. "Architecture As Conceptual Art?". Harvard Design Magazine. Number 19, Fall 2003/Winter 2004.

6. Ruth Malan's Trace in the Sand journal. It can be explored using the topic map, which is

organized by architects (who) architecting (how) architecture(what) in purposive (why),

organizational (where) and evolutionary (when) context.

7. Holl, S. (2002). Idea and Phenomena, Lars Muller Publishers, p. 73

8. Holl, S. (2000). Parallax, Princeton Arch. Press, pp. 174, 305, 308

9. Bah' Association at The University of Georgia. Feb 9, 2003. Retrieved Apr 12, 2016.

10. https://web.archive.org/web/20130611023242/http://www.rajrewal.in/projects/exhibition-hall-

nations.htm. Archived from the original on June 11, 2013. Retrieved June 30,

11. "Staid Pragati Maidan to turn up market". Indianexpress.com. October 8, 1998. Retrieved 2015-

06-18.

12. "Nation-Building - Durai's Story". Freewebs.com. Retrieved 2015-06-18.

13. Nivedita Khandekar (December 1, 2012). "The pitchers of serenity". Hindustan Times. Retrieved

2013-09-23.

14. Tyrnauer, Matt (June 30, 2010). "Architecture in the Age of Gehry". Vanity Fair. Retrieved July 22,

2010

46
15. Security tight before Guggenheim Museum opens in Basque city, CNN, October 18, 1997

16. Riding, Alan. "A Gleaming New Guggenheim for Grimy Bilbao", The New York Times, 24 June

1997

17. Watson, Anne (editor), "Building a Masterpiece: The Sydney Opera House", Lund Humphries,

2006, ISBN 0-85331-941-3, ISBN 978-0-85331-941-2.

18. Woolley, Ken, Reviewing the performance : the design of the Sydney Opera House, The

Watermark Press, 2010, ISBN 9780949284921.

19. Webber, Peter, "Peter Hall: The Phantom of the Opera House", The Watermark Press, 2012, ISBN

978-0-949284-95-2.

20. Watson, Anne, ed. (2013). Building a Masterpiece The Sydney Opera House Lessons in Space

and Environment (40th Anniversary Edition) (Hardback). Sydney: Powerhouse Publishing. ISBN

978-1-86317-152-6.

47
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2. The Origin of Concepts, Book by Susan Carey

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lotus.html

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