Analogies in Architecture

Seminar Report
Analogy in Architecture
(Source: Architecture, Target: Human body)
Submitted in partial fulfillment of the requirements
of the degree of
Bachelor of Architecture
by
Mr. Sushant M. Chandekar

E.No. 2011016601412773
Guide: Prof. Rahul Deshpande
SUMMER 2015 -2016
RASHTRASANT TUKADOJI MAHARAJ NAGPUR UNIVERSITY, NAGPUR
INSTITUTE OF DESIGN EDUCATION AND ARCHITECTURAL

STUDIES, NAGPUR
Seminar Report
Analogy in Architecture
(Source: Architecture, Target: Human body)
Submitted in partial fulfillment of the requirements
of the degree of
Bachelor of Architecture
by
Mr. Sushant M. Chandekar

E.No. 2011016601412773
Guide: Prof. Rahul Deshpande
SUMMER 2015 -2016
RASHTRASANT TUKADOJI MAHARAJ NAGPUR UNIVERSITY, NAGPUR
INSTITUTE OF DESIGN EDUCATION AND ARCHITECTURAL

STUDIES, NAGPUR
Institute of Design Education and Architectural Studies,
Nagpur
CERTIFICATE
This is to certify that the seminar work entitled ‘Analogy in Architecture (Source:
Architecture, Target: Human Anatomy)’ has been carried out by Mr. Sushant M.
Chandekar as a partial fulfillment of degree of Bachelor of Architecture, in the
academic year 2015-2016 at IDEAS - Institute of Design Education and Architectural
Studies, Nagpur affiliated to RTM Nagpur University.
Seminar Guide Seminar Coordinator

Prof. Rahul Deshpande Prof. Rahul Deshpande
Head of Department Principal

Prof. Milind Gujarkar Prof. Abhay Purohit
Date-
DECLARATION
I declare that this written submission represents my ideas in my own words and
whereothers' ideas or words have been included, I have adequately cited and referenced
the originalsources. I also declare that I have adhered to all principles of academic honest
y and integrity
and have not misrepresented or fabricated or falsified any idea/data/fact/source
in my submission.
I understand that any violation of the above will be cause for disciplinary action
by the institute and can also evoke penal action from the sources which have thus not
been properly cited or from whom proper permission has not been taken when needed.
_________________________________
Sushant M. Chandekar
E.No.2011016601412773
Date: __________
ACKNOWLEDGEMENTS
I would like to thank sincerely to my guide Prof. Rahul Deshpande for his
invaluable guidance, constant assistance, support, endurance and situational solutions for
the betterment of this seminar.
I would like to express my gratitude towards Prof. Veepa Jariwala for her
constant support towards the all panel discussions and to Prof. Devendra Deshpande for
his sorted solutions.
I would like to convey my heartfelt thanks to Mr. Tanul Vikamshi and Mr. Lalit
Vikamshi for believing in me and always pushing me forward with my thoughts.
Finally, I am thankful to my family and friends for all the constant moral
support.
CONTENTS
CHAPTER 1: INTRODUCTION ..................................................................... 3
1.1AIM AND OBJECTIVE ................................................................................................................... 5
1.2 SCOPE AND LIMITATION ........................................................................................................... 5
1.3 SYMANTICS OF THE TERM ....................................................................................................... 6
1.3.1 ANALOGY IN ARCHITECTURE ..................................................................................... 6
1.3.2 TYPES OF ANALOGY IN ARCHITECTURE ................................................................. 8
CHAPTER 2: STUDY OF PHILOSOPHICAL ANALOGY ....................... 11
2.1 EGYPTIAN PHILOSOPHY ......................................................................................................... 11
2.1.1 LUXOR TEMPLE .............................................................................................................. 13
2.1.2 MAPPING OF NILE .......................................................................................................... 18
2.1.3 PYRAMID AND BRAIN ................................................................................................... 21
2.2 RENAISSANCE PHILOSOPHY .................................................................................................. 22
2.3 INDIAN TEMPLE ......................................................................................................................... 27
CHAPTER 3: STUDY OF STRUCTURAL ANALOGY ............................. 34
3.1 STRUCTURAL ANALOGY ......................................................................................................... 34
3.2 ANALOGY IN THE WORKS OF AR. SANTIAGO CALATRAVA ........................................ 36
CHAPTER 4: ANALOGICAL REASONING .............................................. 40
4.1VISUAL ANALOGY: ..................................................................................................................... 40
4.2 HUMAN FORM AND CURVES: ................................................................................................. 41
CHAPTER 5: CONCLUSION ........................................................................ 43

Analogy in Architecture (Source: Architecture, Target: Human body) Sushant Chandekar Session: 2015-16 2
5.1 SYNTHESIS ................................................................................................................................... 43
REFERENCES ................................................................................................. 46
CHAPTER 1: INTRODUCTION
The inspiration from nature is driving force in Architecture and in many other
fields, resulting in majestic works of design solutions. Biological organisms refined
and developed by natural selection over a billion year research and development
period can be seen as embodying technologies, functions and systems that are
solutions to the problem of surviving in nature. Through these biological design ideas
human being is resolving his design problems and making his life easier. The
immediate question which arises is why biological ideas?
Characteristics of design object such as buildings and characteristics of the
way designs are produced, viewed both at an individual and at a cultural level, which
add themselves especially well to description via biological metaphor. The idea of
Wholeness, Coherence, Correlation and integration, used to express the organised
relationship between the parts of the biological organism, can be applied to describe
similar qualities in the well design buildings or artefacts. The adaptation of the
organism to its environment, it fitness, can be compared to the harmonious relation of
a building to its surroundings, and, more abstractly, to the appropriateness of any
designed object for the various purposes for which it is planned. Perhaps more
significantly it is biology, of all sciences, which first confronted the central problem
of teleology1, of design in nature; and it is very natural that all of sciences it should
for this reason attract the special interest of designers.
1
Teleology- the explanation of phenomena by the purpose they serve
rather than by postulated causes.
Second point is that as a matter of historical fact, it has been biology out of all
the sciences to which architectural and design theorists have most frequently turned.
“Man was a divine creature in whom where inscribed all universal laws.
Thus by understanding himself, man could understand the universe.”2
-Egyptians
Thousands of years ago Egyptians understood that man is the natures unique
and perfect creation, by understanding him one can understand the whole universal
laws. In the same way, the exploration and the need of human Anatomy has been felt
in Renaissance period by the Artist, Architect, Philosophers, Sculptor like Leonardo
Da Vince, Michelangelo, etc. They came up with the whole understanding of Human
Anatomy for the very first time. Because of those explorations in Human Anatomy,
today many of the design problems get solved easily. Human body and Architecture
has a unique similarities with one another, Architect is successful in his masterpiece
only if he could achieve two factors in his design, one is Functionality and another is
Aesthetics (broadly), On the other hand Human body has the perfect functionality,
unity in Structure, qualities of wholeness and the complete aesthetics. So, by
understanding the human structure and human form one may achieve these factors i.e.
Functionality and Aesthetics in any design field. Figure.1
2
Richard Cavendish. Man Myth and Magic, Vol. 23
Structure Functionality Aesthetics
Figure.1: Shows the Structure-Functionality-Aesthetics achieved by human body in
benign way.
1.1AIM AND OBJECTIVE
“To study the significance and presence of Human body on Architecture, from
History to modern era under the umbrella of „Analogy in Architecture‟ this paper
has been built. Considering the source as an Architecture and target as a Human
Body”
1.2 SCOPE AND LIMITATION

 Study only considers the analogy between Human body and Architecture, it
does not elaborate on other biological inspirations
 Study is explained considering only three analogies but other number of
Analogies is considered in conclusion to establish the strength of Analogy.

 The study is expanded in several fields of design for better solutions, In the
field of Automobile engineering, Product design the designers are getting
inspiration from Human body curves to improve the aesthetics and to snatch
the more attraction of the user. But the concerned field in this paper is
Architecture.
1.3 SYMANTICS OF THE TERM
1.3.1 ANALOGY IN ARCHITECTURE
What is analogy?
Analogy could be defined as:
• A comparison between one thing and another, typically for the purpose of
explanation or clarifications
 A correspondence or Partial similarities
 A thing which is or is represented as being comparable to something
else in significant respect
 A process of arguing from similarity in known respects to similarity in
other respects.3
Reasoning, thinking, and coming to a perception is between two entities
(source or base, and a target) where reaching a level and dealing with target as the
base or source. Hofstdter (1995) considered Analogy as a kind of high- level
perception, where one situation is perceived as another one.
3
Wikipedia.
Definition:
The Cambridge International Dictionary of English stated that to compare is to
―Examine Differences‖ and at the same time ―Consider Similarities‖, in analogy still
talking of similarities but not ignoring the differences which will control how deep is
the relationship between the target and source and thus identifying the strength of the
analogy.
Gentner D. in Whaley B.B., and Holloway R.L. defined analogy; as an assertion that a
relational structure that normally applies in one domain can be applied in another;
Analogy making is highly sophisticated cognitive process in which two
conceptualization –a source and a target- are analysed for common structural patterns.
The Dictionary of Philosophy called analogy as:
The establishment of similarity in certain aspects, properties and relations
between dissimilar object, conclusions by A. are made on the basis of such
similarities. The usual scheme of conclusion by analogy is, Object B possesses the
properties a, b, c, d, e, Object C possesses properties b, c, d, e; it is therefore, possible
that object C also possess the properties a.
‗A‘ is the great value in research work. At the early stages of the development
of society A. takes the place of observation and experiment and conclusions are drawn
from external and secondary aspects.
Christian Huygens, when he discovered an A. in the behaviour of light and
sound, got the idea of the way theory of light; James Maxwell extended the idea to the
characteristics of the magnetic field.

Metaphor/ Analogy have been used for education all through several ages and
in many fields. It has been used to expand learning abilities and creativity. To achieve
the creative design process, analogy could be the source.
Figure 2. Assuming the light grey area is the area representing the space of a routine
design. The space of usual designs is included in the area of routine designs. In order
to have a creative design, thinking out routine designs area is a must, extending this
area away from the usual ideas and designs. Creativity is about bringing unusual
ideas. And to bring out this creativity in design Analogy could be the source.
Analogy
Figure.2: Shows the path of Analogy leading usual design towards creative design.
1.3.2 TYPES OF ANALOGY IN ARCHITECTURE
Analogy has been classified into certain types which are shown below in the form of
Tree diagrams.
Figure.3: Types of analogy.
This paper mainly talks about three types of Analogies.
1. Philosophical analogy: It is the type of Analogy that depends on philosophies
and beliefs of the particular. Philosophical analogy has been used as tool to
explore more into the Architecture in ancient times.
Example: Vastu Purush mandala

2. Structural and Anatomical analogy: Analogy, in biology, similarity of
function and superficial resemblance of structures that have different origins.
For example, the wings of a fly, a moth, and a bird are analogous because they
developed independently as adaptations to a common function—flying.
Anatomical Analogy: In this type analogy engineering structure of buildings
is compared with the skeleton of the animal. Example: Rib vault
3. Visual analogy: similarity in some respect between things that are otherwise
dissimilar: "the operation of a computer presents an interesting analogy to the
working of the brain". A visual analogy adheres perfectly to the definition
above, but strictly using visual forms. Example: Popular theatre of Niteroi,
Ar. Oscar Niemeyer

CHAPTER 2: STUDY OF PHILOSOPHICAL

ANALOGY
In this paper the study of Philosophical analogy4 is carried out through some eras
of History of Architecture
 Egyptian Architecture
 Renaissance
 Hindu temple Architecture
2.1 EGYPTIAN PHILOSOPHY
Egyptian was the followers of Pharaonic mentality. Pharaonic- relating to the
characteristics of Pharaoh; Pharaoh- Ruler in Ancient Egypt. The Pharaonic mentality
was typically indirect i.e. ‗A defined form in Architecture is used to evoke the idea of
hidden form.‘5
Eg. In a fairly dark room we stare at a spot of bright light for a while, when we close
our eyes, we shall see, in lieu of this bright spot, the same spot, only dark. Similarly,
if we stare at a bright colour, for example green, when we close our eyes, we shall see
the exactly complementary shade of red. The Occidental6 would say that light and the
colour green are the reality. The ancient Egyptian would say that the realty is the inner
vision, outside of the object. The psychological reason behind this manner of thought
is the fact of expressing a desire very easily provokes a subconscious resistant. There
is more power in subconscious doubt than conscious belief. But the reason for indirect
4
Pg. no. 9.Pnt. (1)
5
Building form is the defined form of building and concept behind the form
is hidden form
6
Occidental- relating to the countries of west
mentality among the ancient Egyptians was based on the certain fact that everything
in nature (which is alive) is provoked by the action of complement. This creates the
crossing7. The deep understanding of crossing in Egyptians mentality suggests that the
ancient Egyptians had a profound knowledge of Human body (Human Anatomy).
“Man was a divine creature in whom where inscribed all universal laws. Thus by
understanding himself, man could understand the universe.”8
-Egyptians
7
Crossing is essential for any nervous sensation, thus for all consciousness
8
Richard Cavendish. Man Myth and Magic, Vol. 23
Figure.4: General plan of Temple of Luxor and projection of the plan on Human
skeleton.
2.1.1 LUXOR TEMPLE
Luxor temple is a largest Ancient Egyptian Temple complex, located at the east bank
of Nile river. It is the perfect example of significance of human Anatomy in
Architecture.
 The outline of a human skeleton traced according to the Anthropometrical
method and very carefully constructed bone by bone was superimposed on the
general plan of the temple.
 The head (full face of skeleton) is located exactly in a sanctuary of the
covered temple.
 Sanctuary of barque of Amun9 is in the oral cavity.
 Clavicles are marked by the walls.
 The chest (starting of ribs) is located in the first hypostyle of the covered
temple and ends with the temple‘s platform.
 The abdomen is represented by the peristyle court, and the pubis is located
exactly at the door separating peristyle from colonnade of Amen.
 Colonnades are dedicated to Fermurs, the thighs.
 Knees are at the site of the gate in front of which sit the two colossi,
making the entrance to colonnade.
 Tibias are in the court of Rames, framed by the colossi.
(Figure.4)
9
Amun- Egyptian deity.
 The pavement of the temple of Luxor was mosaic. After understanding the
standards of Egyptian Canon10, the proportions of Face were considered then
these proportions were transferred to the plane of pavements, Coincide
strikingly with the various walls that specified the face. Shown in the
(Figure.5&6)
 If it was truly the Egyptians intention to outline a human head in the
pavement, the doorways and opening should correspond to the interior and
exterior channels of the head. Now, after studying the diagram representing a
section of head and showing the location of the central organ, it is clear that
openings are also found in the plan of pavement. (Figure.7&8)
Figure.5: Survey of the pavement of covered temple, II pavement shown as mosaic
with the trace of Human face by Egyptian canon proportions.
10
Egyptian Canon- Principle of proportions for the construction of Human
figures.
Figure.6: Position of walls making the projection of face logical.

Figure 7: Schematic sagittal section showing the location of the principal organs: (1)
falx cerebri; (2) corpus callosum; (3) septum lucidum; (4) trigonum; (5) tela
chorioidea; (6) third ventricle; (7) white anterior commisure; (8) epiphysis (pineal
body); (9) corpora quadrigina; (10) optic chiasma; (11) corpus mamillare; (12)
pharyngeal orifice of the Eustacian tube; (13) cerebral peduncle; (14) pons; (15)
medulla oblongata; (16) cerebellum; (17) olfactory bulb; (18) lamina cribrosa of the
ethmoidal bone; (19) hypophysis (pituitary body); (20) soft palate; (21) salivary
glands; (22) thyroid cartilage; (23) clavicle.

Figure.8: Projection of the southern part of the temple on section of head, indicating
the position of principle organ.

2.1.2 MAPPING OF NILE
The Nile River plays an important part in Egyptian mythology, in that creatures which
appear near or live in the Nile became associated with many of the Egyptian gods and
goddesses.
“Whole universe or cosmos is the different scales of man”
-Egyptians
To study these different scales of man, Egyptian mapped Human skeleton (facing
right) on the map of Nile .After observing the map of Egypt on Google Earth it is
difficult to bring out the relation of human scales and the map of river Nile, but if one
overlay the nervous system of man over the map of Nile the relation is completely
visible. (Figure.9)
Axis of blood flow through Central nervous system:
 Brain
 Neck
 Chest
 Rib Cage
 Sacrum
According to the basic flow of central Nervous system in the human body, Egyptian
traced the axis of human central nervous system on Nile and marked the exact point
of Brain, Neck, chest, Rib Cage, Sacrum .Then the temples of Egypt like Busirus,
Hermopolis, The temple of Man were constructed exact on the traced points 11
(Figure.9)
1. On the position of Sacrum the temple of Man (Luxor) was constructed. This
temple was designed again by understanding the philosophies of Egyptians
about relation of universe and man.
 Also it was designed according to the human skeleton because the temple at
sacrum (luxor) was designed to represent the map of river Nile.12 (Figure.10)
2. On the position of Pineal gland (skull) the temple Busirus were constructed
with the philosophy that Busirus is the temple where soul is found, Similarly
the pyramids were constructed on the point where the skull of Skeleton starts.
11
Pyramid text- ‘The book of the dead’, E A Wallis Budge
12
https://www.youtube.com/watch?v=NT2U6pkMkf8, Egyptian were new
that Nile is mapped by human body
(Figur.9)
Figure.9: Trace of Human skeleton on river Nile.
Figure.10: Design Luxor temple as a map of river Nile.

2.1.3 PYRAMID AND BRAIN
When one Dreams, one‘s Consciousness naturally shifts to the Back of the
Head. This is more so the case when one has a ‗Lucid Dreams.‘ 13 One‘s Reptilian
Brain-Stem (Reticular Activating Formation) determines the depth of ones quantum
realm dreams. It is via ones ‗Lucid Dream‘ one can contact another form of
intelligence in the universe, which the ancient Egyptian‘s considered to be associated
with‘ SIRUS‘. In essence, ones ‗Lucid Dreams‘ are one‘s personal ‗Stargate‘.14 With
the belief of Indirect mentality15 Egyptians tried to connect the relation of Pyramid
with the behaviour of Human brain (Lucid Dreams). Figure.11
13
Lucid Dreams- While dreaming one is aware that he is dreaming.
14
Stargate- Travel between two distinct location in universe
15
Indirect mentality- Page 1
Figure.11: Image shows the relation of Human skeleton with Pyramid and relation
between pyramid and human brain. Small scale skeleton and a large scale skeleton are
placed in a pyramid then centre of both the skeleton (pineal Gland) is found exactly
where the Kings chamber is located.16
2.2 RENAISSANCE PHILOSOPHY
The Renaissance is a period in Europe, from the 14th to the 17th century, considered
the bridge between the middle Ages and modern history. The word Renaissance
means Rebirth or Change. Parallels between the harmonic interrelationship of parts of
human body and the proportional harmony which ought to be achieved in
architectural design were drawn in this period.
The idea is found first in Vitruvius man 17 , and is taken out over by several of
Renaissance commentators. Figure.13
Analogies made earlier in this period were more or less naïve. At one level, it
is urged that the layout of building match the body part for part. Visari, for example,
in his recommendations for the design of ideal palace, compares the faced with the
face, the central door with mouth, the symmetrically placed windows with eyes, the
courtyard with the body, staircase with legs and arms. Later on Analogical aim were
expressed symbolically in diagrams in which the human figure- which has
significance as the paradigm of ideal relationship of parts to whole in Renaissance art
– inscribed in the plan of church. Figure.12
16
Symbol and the symbolic- R A Schwaller de Lubicz
17
“Man was made in the image of God, so it was believed the proportions
exemplified in the human form would reflect a divine and cosmic order”18
Figure.12: Francesco di Giorgio, human figure inscribed in church plan
Figure.13: Vitruvius man by Leonardo da Vinci.
18
The Evolution of Designs by Philip Steadman.
2.2.1DOGON AND FALI PHILOSOPHIES
In Mali, West Bengal there‘s a group of tribes live name Dogon. The Dogon are
believed to be of Egyptian decent and their astronomical lore goes back thousands of
years to 3200 BC.
 The Dogon of Mali were represented the most literal use of Analogy in their
expression of ideas, in their Architecture.The dwelling unit, the house, which
was representative of the couple male and female, retained certain distinct
features of the body like the circular ‗head‘, the two arms at the side, etc. The
village was in the form of a man, which determines the relative positions of
dwellings and other structures.19
 In the case of Fali, Cameroon, the relationship of body to the dwelling is less
literal and rather more Functional. The different parts of the body can be
considered in their reciprocal relationships but also separately, and the
members can be dislocated in plane and in space in order of importance that
does not take into account their real connection with each other. 20 The
interpretation here not merely of the house, but of the various shells, from the
world to the granary, is conditioned by the image of human body.In such cases
the body was not that of ‗man‘ as the ideal (as during the Renaissance in
Europe) but was associated with the body of certain mythical hero or ancestor.
The layout of territory and position of cities (around Timbukt) with relation to
19
See, Geoffery Parrinder, African Mythology, (London: Paul Hamlyn 1969).
Enrico Guidoni, “ Primitive Architecture”, History of world Architecture, ed.
Pier Luigi Nervi, ( New york: Harry N. Abrams Inc. Publishers 1939), p. 284-
288.
20
Ibid. p .255
each other, were determined by the Anthropomorphic model, but always
Timbuktu occupied the principle point, the head.21
`Figure.14 Figure.15
Figure.14: Dogon: Organizational principle of society, with ‗joints‘ (1-8) and
connecting ‗Stones‘; 1-4, the four primordial male ancestors ( pelvis and shoulder), 5-
8 the four primordial female ancestors (knees and elbows), 9 territorial order (head).
Figure.15: Dogon: Ground plan of a family house; 1, kitchen (head). 2, main room
(torso). 3, larders (limbs); 4, vestibule (sex organ).
Figure.16
21
Guidoni.
Figure.16: Fali: Territorial organization and the relationship between four principle
groups (Cameroon). The macrocosmic order, (the earth is subdivided into four parts:
1, arms (Bossum); 2, head (kangu); 3, torso (Tingelin); 4, legs (Bor-Pesks).
Correspondence to the different positions assumed by man – the microcosm –
representing the four different groups – during the act of procreation.
Figure.17
Figure.17: Fali: Anthropomorphic conception of a residential enclosure (Cameroon) a,
sleeping quarters; b, granaries; c, central granary; d, vestibule.
Figure.18
Figure.18: Schematic plan of Timbultu showing its symbolic structure (Mali)

1-Market (belly), 2-Tomb of Sidi Mohmud, 3-Head, 4-Society (feet), 5&6- Arms.
2.3 INDIAN TEMPLE
"Everything is governed by one law. A human being is a microcosmos, i.e. the laws
prevailing in the cosmos also operate in the minutest space of the human being."
Hindu Temples take their cue from the structure of Human body. The vast Hindu
canonical literature on Agamic texts, Devalaya Vastu (Temple Vastu astrology) and
sacred geography describe the temple as a cosmic man, the 'Purusha' (cosmic man).
The legend of the „Vastu Purusha‟ states that Vastu Purusha blocked the heaven from
the Earth and Lord Brahma along with many other Gods trapped him to the
ground.Figure.19.
The science of Vastu is believed as part of the Indian architecture. Vastu Shastra
developed during the period of 6000 BC and 3000 BC and the ancient Indian text
Mayamatam represents Vastu Purusha as the presiding deity for all land structure
meant for temples or houses. Vastu Purusha Mandala is the metaphysical plan of a
temple incorporating course of the heavenly bodies and supernatural forces. This
Mandala square is divided into (8×8 =64) 64 metaphysical grids / modules or pada for
temples. (For dwelling places 9x9=81 metaphysical grids / modules or pada). At this
square Vastu Purusha is shown lying with his chest, stomach and face touching on
the ground - his head is shown at Ishanya (north-east) and his legs shown at Nairutya
(south west). The center point is known as Brahmasthana and at this vital energy
point Lord Brahma presides over the temple site and protects it.Figure.19.
Figure.19
The 'Aham Brahmasmi' ("I am Brahman. I am part of the Universe.") is the great
sayings (Mahavakya) mentioned in Brihadaranyaka Upanishad 1.4.10. of Yajur Veda.
The meaning is that ‗Whatever is in the Universe, is present in me‘ (and ‗whatever is
in me, is part of the Universe‘). Indian temples represents the macrocosm of the
universe and the structure of the human body represents the microcosm. Veda also
says "Yatha Pinde tatha Brahmande". It means what is going on within human being
is the same as what is going on in universe. According to the Tamil Saint Tirumular
"our body is a temple". Here I would like to quote Stella Kramrisch:
“The vastu-purusha-mandala represents the manifest form of the Cosmic Being;
upon which the temple is built and in whom the temple rests. The temple is situated
in Him, comes from Him, and is a manifestation of Him. The vastu-purusha-

mandala is both the body of the Cosmic Being and a bodily device by which those
who have the requisite knowledge attain the best results in temple building.”22
The concept of chakra features in tantric and yogic traditions of Hinduism. In
Yoga, Kundalini Shakti means the ‗coiled power.‘ It is compared to a serpent that lies
coiled while resting or sleeping.
Chakras are vital energy points (Kundalini energy) in the human anatomy, i.e. breath
channels, or nadis, and the winds (vayus), that are centres of life force (prana), or vital
energy. They include: 1. Muladhara, 2. Swadhisthana, 3. Manipura or manipuraka,
4. Anahata, Anahata-puri, or padma-sundara, 5. Vishuddha or Vishuddhi, 6. Ajna
and 7. Sahasrara.
1. Muladhara or root chakra located at the base of the spine in the coccygeal region
(governs senses). According to Vastu Mandala South-West (Nauritya) - Deity Lord
(Demon) Nauritya influences protection, strength and stability.
2. Swadhisthana or Adhishthana at the lower stomach region or the sacrum of the
human. Vastu direction West (Varuna) - Lord Varuna (Neptune) Lord of Water or
Rain. Formation of temple tank or water bodies in South or West will influence
reputation, fame, prosperity and success.
3. Manipura or Manipuraka at the digestive glands (governs digestion through
pancreas and adrenal glands) of the human. Digestion involves energy of fire. Female
22
Stella Kramrisch,; The Hindu Temple, Vol. I
bears navel, womb and umbilical chord. According to Vastu Mandala Lord Brahma or
Lord of Creation seated on lotus flower base (Adishtana) rules this point. Cosmic
Brahma bridges the cosmic human navel or life. If this point in temple should be left
open, the vital energy flows and the wholeness resides with blessings and protection.
4. Anahata, Anahata-puri, or Padma-sundara located at chest (governs lungs,
immune system - thymus of human being). As per Vastu Mandala Lord Vayu or Lord
of Wind rules this point. This grid relates to air and regulation of air. If this grid is
allowed to flow air and the peace and comfort resides.
5. Vishuddha or Vishuddhi located at the throat i.e., thyroid glands (governs sound,
speech communication and sence of security of human being). Mantras chanted by
cosmic humanbeing bridges with cosmic Ishanya. Comic Ishanya is represented in
OM, a Pranava Mantra form. According to Vastu Mandala Lord Shiva in Ishanya
form rules this grid and represents the space or Akasha. Mantras chanted here will
reverberate in space. If left free from obstacles and less occupation or weight, there
will be balanced power.
6. Ajna or third eye located at pineal glands or between the eye brows; the two side
nadis 'Ida' (yoga) and 'Pingala' are terminating and merge with the central channel
'Sushumna' (governs higher and lower selves and trusting inner guidance of human
being). As per Vastu Mandala this direction is also related to open spaces (‗Akasha‘)
and to the North East corner (Ishanya). The sanctum (Garbagriha or womb chamber)
is recommended at this grid, the seat of the divinity.

7. Sahasrara or pure consciousness chakra located at the crown of the head -
symbolized by a lotus with one thousand multi-coloured petals. According to Vastu
Mandala Anja is the sanctum. The vimanam and shikara forms the space element and
the currents of life ascends through the 'Brahma-randra shila' or stone slab placed at
'griva' (neck)of the vimana. The finial of the shikara of the vimanam is the grid at
which unseen sahasrara located.Figure.20.
Figure.20: Image shows that how the temple structure can be compared with
human body.
 Example 1: It is apt to quote the Sanskrit sloga from ―Viswakarmyam Vastu
Shastra‖:
"Garba Gruha Sirahapoktam antaraalam Galamthatha
Ardha Mandapam Hridayasthanam Kuchisthanam Mandapomahan
Medhrasthaneshu Dwajasthambam Praakaram Janjuangeecha

Gopuram Paadayosketha Paadasya Angula Pokthaha
Gopuram Sthupasthatha Yevam Devaalayam angamuchyathe"
Meaning: Garba-griham (main sanctum) is equated with human head; antarala
(vestibule) is equated with human neck; ardha - mandapam (half-hall) is
compared with human chest; maha - mandapam (main hall) is equated with the
stomach; flag-post is viewed along with human male organ;and gopuram or
temple gateway tower is viewed along with human feet.
 Example 2:
The Khajuraho Group of Monuments is a group of Hindu and Jain
temples in Madhya Pradesh, India. The temples are famous for their nagara
style architectural symbolism and their erotic sculptures. Most Khajuraho
temples were built between 950 and 1050 CE by the Chandela dynasty.
Figure.21.Dravidian structure of Shiva temple:

Linga means phallus. Yoni means womb. A Shiva temple, and by extension
the whole world, is the yoni of the Goddess. The entrance to the temple is the leaf-
shaped through within the temple, which envelopes Shiva‘s linga.Water is poured on
the symbol of Shiva and collected in the symbol of Shakti with aim of drawing the
energy of Shiva‘s fire into samsara. This highly erotic imagery is highly typical for
Tantra.23 (Figure.21)
23
Author of Illustration: Raghu Raj Kishore
CHAPTER 3: STUDY OF STRUCTURAL

ANALOGY
3.1 STRUCTURAL ANALOGY

The analogy has two distinct kinds of interpretations, the one to do with visual
appearance or composition, the other functional- although the two are interrelated. In
the first case it is the ‗organic‘ wholeness of the work of art- in which a balanced and
proportional relation of the parts to the whole and of the whole to its parts is achieved-
which is seen to be the source of beauty in that work. This wholeness provides the
basis for the same kind of satisfaction as is derived from the observation of the
beauties of nature; the two sources of aesthetics pleasure are one.
The second interpretation of analogy, the functional view, is in some ways a
development from or further explanation of the first. The equation of beautiful with
the useful or with the expression of usefulness, the idea that an architecture which is
well-designed and adapted for its purpose will be seen to a beautiful through the
recognition of this fitness for use. Again the idea is very ancient one, and can be
traced to Aristotle. For whom our perception of the beauty of animals arises through
rational appreciation of the structure of their parts and the functions of their organs. In
the natural history not only is each limb or separate structure seen as serving some
definite purpose, some peculiar function; but each of these functions of the parts is
subservient to, contributes to, the greater purpose of the whole.
So Structural Analogy could be defined as an analogy which deals with the functional
purposes of Source and target.
Dictionary definition of structural analogy is
Analogy, in biology, similarity of function and superficial resemblance of structures

that have different origins. For example, the wings of a fly, a moth, and a bird are
analogous because they developed independently as adaptations to a common
function—flying.
The part only has a functional meaning in relation to the whole: the legs serve
the purpose of support and locomotion for the body, and without the body they, and it,
are useless. The heart has ‗sinews‘ which spread throughout the body and transmit
motion to its parts. The whole body relies for its continued functioning and existence
on each and all of the various working together.
It is not unexpected that for architects and structural or civil engineers,
because they deal with statical problems and the distribution of weight and strength,
the area of biology of most direct interest should be anatomy. While coming to state
an example of analogies which have been drawn from anatomy and applied to
building construction. D‘arcy Thompson24 makes a whole series of comparisons of
mechanical structures with plant stems and with animal skeletons; he draws parallel
between, for example, the structure of bones and their artificial man-made
counterparts in girders and columns; he shows how the hollow human femur matches
the design of heavy cranes(Figure.22)
Human Femure
Figure.22 Heavy cranes

24
D'Arcy Wentworth Thompson was a Scottish biologist, mathematician.
It is perhaps not just a coincidental that such structural analogies should have
been made at a time when Vicq d‘ Azyr was initiating the functional approach to
comparative anatomy. Perronet‘s image was dismissed in a riposte from the architect
Pette, on the grounds that static equilibrium of a construction in stone could not be
properly compared with the way the muscles and elastics, living structure of the body
keep it in balance.25 But it was a vivid and striking image all the same, one which was
to be used repeatedly through the next hundred years, and with especial reference to
the architecture of the Gothic cathedral. (Figure.23)
Figure.23. Bartholomew, diagram comparing the counter-abutments of Gothic
vaulting with the human skeleton.
3.2 ANALOGY IN THE WORKS OF

AR. SANTIAGO CALATRAVA
“One draws the human body to understand the movement, the gesture. The space,
the landscape, the human landscape, and typology are important for me. These will
inspire or bring the essence to a project. So, for myself I venerate the human body.”
25
From a letter by Patte to Marigny
One of the most exciting innovators of modern architecture, Calatrava takes his
inspiration from natural and human forms fusing them with his carefully chosen
materials to create aesthetic harmony. His style is unique and symbolic, recognizable
the world over for the sense of movement that he manages to capture in a stationary
object.
Calatrava makes his architectural structures so interesting by calling on his innate
knowledge of engineering to use the technical structure of his creation as the basis for
his design. Think long sweeping lines, stark white materials and a flawless use of
glass and light.
There are few buildings mentioned below which are designed with his unique style of
Architecture
 Alamillo Bridge, Sevilla, Spain (1987-1992)
 BCE Place Galleria, Toronto, Canada (1987-1992)
 Montjuic Communication Tower, Barcelona, Spain (1989-1992)
 Alameda Bridge, Valencia, Spain (1991-1995)
 Ciudad de las Artes y las Ciencias, Valencia, Spain (1991-2006)
 Opera House, Tenerife, Canary Islands (1991-2003)
 Campo Volantín Bridge, Bilbao, Spain (1994-1997)
 Milwaukee Art Museum, USA (1994-2001)
 Manrique Bridge, Murcia, Spain (1996-1998)
 Athens Olympic Sports Complex, Greece (Revamped for 2004 Olympics)

Almillo Bridge, Sevilla, Spain (1987-1992)
The Alamillo Bridge completed in just thirty-oe months for the 1992 world‘s Fair in
Seville, Spain, was instantly recognized as a landmark, joining the list of numerous
memorable historic structures.
Design concept:
The simple image of Human body bearing a weight on its back recasts our perception
of the bridge by the strong relationship between the cables and the horizontal
deck.Figure(24)
Figure.24 Almillo bridge structure inspiration
Turning Torso, Malmo, Sweden (2011)
Turning Torso is a mixed-use residential tower in Malmo‘s Western harbour that
serves as a syjmbol of the revitalization of important urban areas from a decaying
industrial zone into a thriving seaside neighbourhood. Based on the turning Torso
sculpture executed years prior, the building is composed of nine cube units with
triangular tips. Each unit houses five floors, serving as a ‗sub-building.‘ At a height of
190 meters. Turning Torso is the tallest residential building in Sweden and the second
tallest residential building in Europe. Figure.15

Figure.25 Turning Torso
Bones and skeletal systems in his works:
The first 10 years of Calatrava‘s practice were spent working in Zurich.
Harbison, in Creatures from the Mind of the Engineer, explains Calatrava‘s work in
Zurich as ―the desire to express and understand structure with skeletal clarity and the
desire to create enormous and impinging creatures, caters to intellect, senses and
emotion at once neither cold nor lurid‖. The inspiration for many, if not all of
Calatrava‘s projects can be found in nature and in the machines and structures of
nature. Forms resembling bones and skeletal systems are often in the structure of his
work.
Figure.26 Concrete Pavillion, Swiss Building Fair, Basel, (1989)

CHAPTER 4: ANALOGICAL REASONING
Definition:
 Analogical reasoning is any type of thinking that relies upon Analogy.
 Luger and Stubblefield suggested that Analogical Reasoning in general
assumes that if two situations or objects are known to be similar in some
aspect, it is likely that they will be similar in others.
To quote example of Analogical reasoning, Works of Zaha Hadid has been
considered, so as to achieve the Analogical reasoning in her works,
Source- Architecture, Analogy- Visual analogy, Visual Aspect- Curve, Target-
Human body.
4.1VISUAL ANALOGY:
In such analogy, designers refer to existing buildings, forms from the nature,
paintings, they borrow and refer to what they visually see around them whether it is
other buildings or nature or painting, anything their eye sees and their mind visualizes
it and imagine it in a building.26
“Architects are visually oriented and are taught to think graphically”27
The Analogical reasoning is concerned about the visual orientation of designers, and
how the metaphorical and analogical graphical and conceptual thinking affects the
design.
26
Influence of Analogical Reasoning on Architecture design; the Evolution
of Form,Structure and Function- Samar Allam.
27
McKim 1972.
So, in the works of Zaha Hadid, analogical reasoning would be carried out under the
umbrella of Visual Analogy considering; Source: Architecture( Built Form), Target:
Human body(Form).
4.2HUMAN FORM AND CURVES:
In human body, muscle is the important element for giving it a beautiful shape. So as
to understand the muscles one should understand the line of balance.28
Line of balance speaks about the concept i.e. complementary opposites; push-pull,
bend-flex, positive-negative, above-below, front-back, contract-relax. (Figure.27)
Figure.27: Line of Balance or Push-Pull.
Figure.28: tracing the Line of Balance in Human body.

28
In the visual aspect only, not in anatomical aspect.
Figure.29: Tracing the line of balance in Heyder Aliye centre by Zaha Hadid and in
the posture of human form.
Figure 30: tracing of Line of Balance in Sheikh Zayed bridge Abu Dabi by Zaha
Hadid and in the posture of human form.

CHAPTER 5: CONCLUSION
5.1SYNTHESIS
 Is Analogy between Architecture and Human body is strong?
Logicians and philosophers of science have identified ‗textbook-style‘ general
guidelines for evaluating analogical arguments (Mill 1843/1930; Keynes 1921;
Robinson 1930; Stebbing 1933; Copi and Cohen 2005; Moore and Parker
1998; Woods, Irvine, and Walton 2004). Here are some of the most important
ones:
(G1) The more similarities (between two domains), the stronger the analogy.
(G2) Multiple analogies supporting the same conclusion make the argument
stronger.
(G3)The relevance of the similarities and differences to the conclusion (i.e. to
the hypothetical analogy) must be taken into account.

Table shows the Similarities and the multiple analogies covered in the paper
quoting the suitable examples.
Table1.1
Architecture Human body Analogies Examples

(Source) (Target)
Anthropocentric Philosophical Luxor temple,

Egyptian Architecture belief, Human Analogy, Anatomical mapping of Nile,
Anatomy Analogy Pyramid.
Human Proportions, Philosophical Vitruvius Man,
Renaissance Man as a God Analogy,Propotional Francesco di Giorgio-
Analogy29 Church
Human Anatomy, Philosophical
Dogon and Fali Anthropocentric Analogy, Timbultu, Society
belief Anthropometric planning.etc
analogy30
Vastupurush Philosophical
Indian Temples Mandala, Main Analogy, Anatomical Dravadian temples
Organ, Human Analogy
Anatomy.
Santiago Calatrava Human anatomy Visual Analogy, Buildings, bridges
Structural analogy
Multiple Analogies between Source and Target
Example quotes the similarities between Architecture (Source) and Human
body
Note: Proportional Analogy, Anthropometric analogy and functional analogy are
considered in this table just to show multiple analogies between source and table.
29
The most widely known theories of analogy introduced by Aristotle, in
Which analogies are represented in terms of proportions A: B:: C:D , or " A
is to B as C to D "
30
Rowe P. (1987-80) defined anthropometric analogy as ' mental
constructs' describing human's physical occupancy of and movement
through a space
„Above table shows the multiple analogies between source - Target and the
similarities between them through the examples. So, by fulfilling the guideline 1
and 2, we can state that the analogy between Architecture and Human body is
strong.‟
 Presence of Human body in Architecture.
Table1.2
Historical period Time period Analogies Source-Target

name traced
Philosophical Architecture-
Egyptian period 3200BC to 332BC Analogy, Human body
Anatomical
Analogy
Gothic period 1200AD to Structural Architecture-

1400AD Analogy Human body
Renaissance 1300AD to Philosophical Architecture-

period 1700AD Analogy. Human body
Modern period 1700AD to till now Visual Architecture-

Analogy, Human body
Structural
Analogy
“Table shows the presence of human body in the field of Architecture from
history to modern period.”

REFERENCES
Published works:
 Maibritt Pedersen Zari, paper no. 033,2009, Biomimetic Approaches to
Architecture Design for increased Sustainability.
 Yannick Joye, 2007 Tentative Argument for the Inclusion of Nature-Based
Forms in Architecture
 Samar Allam, Influence of Analogical Reasoning on Architecture design; the
Evolution of Form,Structure and Function
 Philip Steadman, 1979, The Evolution of Designs Biological analogy in
architecture and the applied arts.
 R.A. Schwaller de Lubicz, 1977 Symbols and the symbolic, Ancient Egypt,
Science, and the Evolution of consciousness.
 R.A. Schwaller de Lubicz, 1963 The Temple in man, Sacred Architecture and
the Perfect Man.
 Danny Wilten, 2013, Mapping of Osiris.
Web resources:
 www.wikipedia.org
 www.zaha-hadid.com

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Seminar Report

(Source: Architecture, Target: Human body)

Submitted in partial fulfillment of the requirements

Mr. Sushant M. Chandekar

Guide: Prof. Rahul Deshpande

SUMMER 2015 -2016

RASHTRASANT TUKADOJI MAHARAJ NAGPUR UNIVERSITY, NAGPUR

INSTITUTE OF DESIGN EDUCATION AND ARCHITECTURAL

(Source: Architecture, Target: Human body)

Submitted in partial fulfillment of the requirements

Mr. Sushant M. Chandekar

Guide: Prof. Rahul Deshpande

SUMMER 2015 -2016

RASHTRASANT TUKADOJI MAHARAJ NAGPUR UNIVERSITY, NAGPUR

INSTITUTE OF DESIGN EDUCATION AND ARCHITECTURAL

Seminar Guide Seminar Coordinator

Head of Department Principal

CHAPTER 1: INTRODUCTION ..................................................................... 3

1.1AIM AND OBJECTIVE ................................................................................................................... 5

1.2 SCOPE AND LIMITATION ........................................................................................................... 5

1.3 SYMANTICS OF THE TERM ....................................................................................................... 6

1.3.1 ANALOGY IN ARCHITECTURE ..................................................................................... 6

1.3.2 TYPES OF ANALOGY IN ARCHITECTURE ................................................................. 8

CHAPTER 2: STUDY OF PHILOSOPHICAL ANALOGY ....................... 11

2.1 EGYPTIAN PHILOSOPHY ......................................................................................................... 11

2.1.1 LUXOR TEMPLE .............................................................................................................. 13

2.1.2 MAPPING OF NILE .......................................................................................................... 18

2.1.3 PYRAMID AND BRAIN ................................................................................................... 21

2.2 RENAISSANCE PHILOSOPHY .................................................................................................. 22

2.3 INDIAN TEMPLE ......................................................................................................................... 27

CHAPTER 3: STUDY OF STRUCTURAL ANALOGY ............................. 34

3.1 STRUCTURAL ANALOGY ......................................................................................................... 34

3.2 ANALOGY IN THE WORKS OF AR. SANTIAGO CALATRAVA ........................................ 36

CHAPTER 4: ANALOGICAL REASONING .............................................. 40

4.1VISUAL ANALOGY: ..................................................................................................................... 40

4.2 HUMAN FORM AND CURVES: ................................................................................................. 41

CHAPTER 5: CONCLUSION ........................................................................ 43

5.1 SYNTHESIS ................................................................................................................................... 43

fields, resulting in majestic works of design solutions. Biological organisms refined

immediate question which arises is why biological ideas?

Characteristics of design object such as buildings and characteristics of the

Wholeness, Coherence, Correlation and integration, used to express the organised

organism to its environment, it fitness, can be compared to the harmonious relation of

a building to its surroundings, and, more abstractly, to the appropriateness of any

for this reason attract the special interest of designers.

Thus by understanding himself, man could understand the universe.”2

in Renaissance period by the Artist, Architect, Philosophers, Sculptor like Leonardo

unity in Structure, qualities of wholeness and the complete aesthetics. So, by

Functionality and Aesthetics in any design field. Figure.1

Structure Functionality Aesthetics

Figure.1: Shows the Structure-Functionality-Aesthetics achieved by human body in

1.1AIM AND OBJECTIVE

1.2 SCOPE AND LIMITATION

does not elaborate on other biological inspirations

 Study is explained considering only three analogies but other number of

Analogies is considered in conclusion to establish the strength of Analogy.

field of Automobile engineering, Product design the designers are getting

1.3 SYMANTICS OF THE TERM