Colours Of Rang

Colours Of Rang

The event, titled “Rang”, was a collaborative effort by the student ambassadors and the South Asia club of Limkokwing University in presenting a show that celebrated both the Bangladeshi New Year as well as the harvest festival of India. Rang, which means Colours in Urdu, showcased performances that took the audience on a euphoric ride that explored tradition and culture.

The event was planned for the rest of the world to see how Asia is like from the inside and what it hold as a culture.

There was lots of entrainment like:

Dancing:

The Comedy Dance:

We saw the maldivians give us a dance of there hometown:

The event was base on the fact that Asia is not home to culture but people who beleive in it and enjoy it.

Form and Design

Organic(Gaudi):

                            Organic architecture is a philosophy of architecture which promotes harmony between human habitation and the natural world through design approaches so sympathetic and well integrated with its site that buildings, furnishings, and surroundings become part of a unified, interrelated composition. Architects Gustav Stickley, Antoni Gaudi, Louis Sullivan, Frank Lloyd Wright, John Lautner, Claude Bragdon, Bruce Goff, Rudolf Steiner, Bruno Zevi, Hundertwasser, Imre Makovecz, Neville Gruzman and most recently Anton Alberts, Nari Gandhi, John Preihs and Laurie Baker are all famous for their work with organic architecture.

Organic architecture is also translated into the all inclusive nature of Frank Lloyd Wright’s design process. Materials, motifs, and basic ordering principals continue to repeat themselves throughout the building as a whole. The idea of organic architecture refers not only to the buildings' literal relationship to the natural surroundings, but how the buildings' design is carefully thought about as if it were a unified organism. Geometries throughout Wright’s buildings build a central mood and theme. Essentially organic architecture is also the literal design of every element of a building: From the windows, to the floors, to the individual chairs intended to fill the space. Everything relates to one another, reflecting the symbiotic ordering systems of nature.

Digital computer:


                                                        There is no escape from computers they have become an indirect and integral part of everyday life. The computer with its sophisticated tool, capable of carrying out tedious menial or complex tasks quickly n accurately. The computer produce programs for parts of the building to enable robotic manufacturing procees to produce teh goods.machines on site could be also controld by the computers (from the master program) and the construction of the building would be automatic.tehre are computers and software which proves that the robotic manufacturing processes already exists such as computer aided design;taht will produce drawings and information from an overall design.


                                                       

                                                      Structural designs can be undertaken by computers together with techniques of value analysis life cycle costing n energy demands.;the building can be readily appraised. Incorporated into the system will be teh experience n the knwlege of many practitioners n the mistakes of designing and construction will b avoided.a linear approach to design ,production n performance n that order is perpetutated with those ppl involvd ineach of the three areas only brought in ata stag directly pertinent to them.


                                                        One computer n master program can serv all needs.in modern world with the globalization n modern technology the designers who are already using computers for daughtering and producing drawings r becoming Mr efficient than those using traditional skills. The effective use of computers in design analysis will undoubtedly improve in building technology.




The Machine Aesthetic:
                        A study of the machine aesthetic may be best served by dividing its development into four stylistic interpretations, as given by architectural historian Richard Guy Wilson:2 Moderne, machine purity, streamline, and biomorphic.                                               The Moderne Style used the look of the machine ornamentally. It was decorative design, and its machine aesthetic served to conceal the inner workings of the object while calling attention to itself as machine. In a sense, the Moderne was simply a sort of superficial styling, aesthetically emoting the machine yet not necessarily possessing a functional relationship with the object.  

 
                                                Aesthetic considerations cd is applicable to the whole building or just to sections o parts. This inclusion of curved soldier arches over window openings will demand careful consideration of the techniques for achieving these. The requirements of say exposed aggregate finishes to concrete will demand a variation in the normal procedures.

 
Arts and Crafts:
                          Arts and Crafts was a late 19th-century movement to revive handicrafts. Arts and Crafts architecture sought a spiritual connection with the surrounding environment, both natural and man-made.the expression of technological environment has been a key concern n the development of modern architecture crucial to this selective approach is the creative interaction of many previously semi-interdependent discipline for instances structural n services enginerring,materials,computer n ecological sciences.

                                          Arts and Crafts objects were simple in form, without superfluous decoration, often showing the way they were put together. They followed the idea of "truth to material", preserving and emphasizing the qualities of the materials used. They often had patterns inspired by British flora and fauna and drew on the vernacular, or domestic, traditions of the British countryside. Several designer-makers set up workshops in rural areas and revived old techniques.

                                                                                                                  Written By:
                                                                                                  Azeez Ur Rahman and Nipunika Abuisingh

Material

Stone:

                stone structures are stable because of their unique construction method, which is characterized by the presence of a load-bearing facade of carefully-selected interlocking stones. Dry-stone technology is best known as wall construction, but dry stone buildings, bridges, and other structures also exist.

                               Rock structures have existed for as long as history can recall. It is the longest lasting building material available, and is usually readily available. There are many types of rock through out the world all with differing attributes that make them better or worse for particular uses. Rock is a very dense material so it gives a lot of protection too, its main draw-back as a material is its weight and awkwardness. Its energy density is also considered a big draw-back, as stone is hard to keep warm without using large amounts of heating resources.

                                         Dry-stone walls have been built for as long as humans have put one stone on top of another. Eventually different forms of mortar were used to hold the stones together, cement being the most commonplace now.

The granite-strewn uplands of Dartmoor National Park, United Kingdom, for example, provided ample resources for early settlers. Circular huts were constructed from loose granite rocks throughout the Neolithic and early Bronze Age, and the remains of an estimated 5,000 can still be seen today. Granite continued to be used throughout the Medieval period (see Dartmoor longhouse) and into modern times. Slate is another stone type, commonly used as roofing material in the United Kingdom and other parts of the world where it is found.

Mostly stone buildings can be seen in most major cities, some civilizations built entirely with stone such as the Pyramids in Egypt, the Aztec pyramids and the remains of the Inca civilization.

Straw:

                                     Straw is an agricultural by-product, the dry stalks of cereal plants, after the grain and chaff have been removed. Straw makes up about half of the yield of cereal crops such as barley, oats, rice, rye and wheat. It has many uses, including fuel, livestock bedding and fodder, thatching and basket-making.

In many parts of the world, straw is used to bind clay and concrete. A mixture of clay and straw, known as cob, can be used as a building material. There are many recipes for making cob.

When baled, straw has excellent insulation characteristics. It can be used, alone or in a post-and-beam construction, to build straw bale houses.


Enviroboard can be made from straw

                                        straw have been in use in many ways for building since prehistory. The incorporation in machine-manufactured modular bales seems to date back to the early 20th century in the midwestern United States, particularly the sand-hills of Nebraska[5], where grass was plentiful and other building materials (even quality sods) were not

Mud:

            

                   Mud is a liquid or semi-liquid mixture of water and some combination of soil, silt, and clay. Ancient mud deposits harden over geological time to form sedimentary rock such as shale or mudstone (generally called lutites). When geological deposits of mud are formed in estuaries the resultant layers are termed bay muds. Mud is closely related to slurry and sediment.

Mud, in the construction industry, refers to wet plaster, stucco, cement or other similar substances.[clarification needed]

                                             Mud that is mostly clay, or a mixture of clay and sand may be used for ceramics, of which one form is the common fired brick, or dried with the inclusion of straw reenforcing to form an unfired adobe brick. Adobe walls are frequently finished with a mud plaster, seen above in the introductory illustration. Such buildings must be protected from groundwater, usually by building upon a masonry, fired brick, rock or rubble foundation, and also from wind-driven rain in damp climates, usually by deep roof overhangs. In extremely dry climates a well drained flat roof may be protected with a well-prepared and properly maintained dried mud coating, viable as the mud will expand when moistened and so become more water resistant.

                                             In ceramics, the making of liquid mud (called slip)[citation needed] is a stage in the process of refinement of the materials, since larger particles will settle from the liquid.
 Mud is similar to muck, but lacking significant quantities of humus, and often containing higher proportions of sand.

                                             Mud can provide a home for numerous types of animals, including varieties of worms, frogs, snails, clams, and crayfish. Other animals, such as pigs and elephants bathe in mud in order to cool off and protect themselves from the sun. Humans have also used mud as a building material, or a sealant material.

Timber:                                  

                                Timber is wood that is used in any of its stages from felling through readiness for use as structural material for construction, or wood pulp for paper production.

                                  Timber is supplied either rough or finished. Besides pulpwood, rough lumber is the raw material for furniture-making and other items requiring additional cutting and shaping. It is available in many species, usually hardwoods. Finished lumber is supplied in standard sizes, mostly for the construction industry, primarily softwood from coniferous species including pine, fir and spruce (collectively known as Spruce-pine-fir), cedar, hemlock, but also some hardwood, for high-grade flooring.

                                                                         Written By:

                                                                                                             Suliat Yusuf

Construction System

Load-bearing wall:
                      A load-bearing wall or bearing wall, is one in which a wall of a structure bears the weight and force resting upon it, conducting the vertical load from the upper structure to the foundation. A bearing wall is opposed to a curtain wall, which uses the strength of a sub-wall to bear the weight of the curtain such as the brick facade on a skyscraper, and superstructure, usually a steel frame, to carry the weight of the floors and walls inside the curtain walls protection. The materials most often used to construct load-bearing walls in large buildings are concrete, block, or brick.
                                        
                                          Load-bearing walls are one of the earliest forms of construction. 




The development of the flying buttress in Gothic architecture allowed structures to maintain an open interior space, transferring more weight to the buttresses instead of to central bearing walls. Notre Dame Cathedral, for example, has a load-bearing wall structure with flying buttresses.



The birth of the skyscraper era, the concurrent rise of steel as a more suitable framing system first designed by William Le Baron Jenney, and the limitations of load-bearing construction in large buildings led to a decline in the use of load-bearing walls in large-scale, commercial structures.

 
 

 

Arch and Dome:
                                   An arch is a structure that spans a space while supporting weight (e.g. a doorway in a stone wall). Arches appeared as early as the 2nd millennium BC in Mesopotamian brick architecture and their systematic use started with the Ancient Romans who were the first to apply the technique to a wide range of structures.

                                            The semicircular arch was followed in Europe by the pointed Gothic arch or ogive whose centreline more closely followed the forces of compression and which was therefore stronger. The semicircular arch can be flattened to make an elliptical arch as in the Ponte Santa Trinita. The parabolic and catenary arches are now known to be the theoretically strongest forms. Parabolic arches were introduced in construction by the Spanish architect Antoni Gaudí, who admired the structural system of Gothic style, but for the buttresses, which he termed “architectural crutches”. The catenary and parabolic arches carry all horizontal thrust to the foundation and so do not need additional elements.

                                 
1.Keystone



2.Voussoir


3.Back


4.Impost


5.Intrados


6.Rise


7.Clear span, "Bay"


8.Abutment 
 
 
                                          A dome is a structural element of architecture that resembles the hollow upper half of a sphere. Dome structures made of various materials have a long architectural lineage extending into prehistory.
 

                                         A dome can be thought of as an arch which has been rotated around its central vertical axis. Thus domes, like arches, have a great deal of structural strength when properly built and can span large open spaces without interior supports. Corbel domes achieve their shape by extending each circular layer of stones inward slightly farther than the previous, lower, one until they meet at the top. These are sometimes called 'false' domes. 'True', or 'real' domes are formed with increasingly inward-angled layers which have ultimately turned 90 degrees from the base of the dome to the top. Domes have been constructed from a variety of building materials over the centuries: from mud to stone, wood, brick, concrete, metal, glass and plastic.

Post and Lintel:
                                 Post and lintel (or Post and beam) is a simple architrave where a horizontal member (the lintel—or header) is supported by two vertical posts at either end. This form is commonly used to support the weight of the structure located above the openings in a bearing wall created by windows and doors.
                         
                                  A lintel (or header) is a horizontal beam used in the construction of buildings, and is a major architectural contribution of ancient Greece. It usually supports the masonry above a window or door opening. (Also sometimes spelled 'lintol', 'lintil',' lyntil'.)




Lintels may be made of wood, stone, steel or reinforced or pre tensioned concrete.

For example, at Stonehenge, stone lintels top off some of the megaliths. In typical homes today, lintels are commonly used in fireplaces where one will span the opening of the firebox. In this use they are most often steel, either straight for a square opening or arched for a more decorative effect.

 

 

 
 
 
 
 

 
 
 
Flying buttress:
                   A flying buttress, or arc-boutant, is a specific type of buttress usually found on religious buildings, not all of which are cathedrals. They are used to transmit the horizontal force of a vaulted ceiling through the walls and across an intervening space (which might be used for an aisle, chapel or cloister), to a counterweight outside the building. As a result, the buttress seemingly flies through the air, and hence is known as a "flying" buttress.


                                      Although they are considered a hallmark of Gothic architecture, they were employed by the Byzantines, and in some Romanesque work, but were generally masked by other constructions or hidden under a roof. However, by 1150 flying buttresses were intentionally left exposed by architects and became decorative features in their own right, such as in the cathedrals of Chartres, Sens, Le Mans, Paris, Beauvais, and Reims.

                                  Its presence outside the clerestory walls created a web of stonework that disguised the solidity of the structure, and gives the impression that the cathedral is being suspended from heaven. It balanced the network of ribs under the interior vaults that give the same impression, as if the upper stonework is forming a tent-like canopy over the congregation. It has been suggested that these external arches created a screen that 'hid' the walls to diminish the impact of weightiness so common in earlier architecture. From the inside the wide windows and the increasingly thin shafts under the vaults continued the feeling that the building was an illusion, that weight had become weightless. Hence the phrase Canopy of Paradise.

                                  This technique has also been used by Canadian architect William P. Anderson to build lighthouses at the beginning of the 20th century.

                                                                                                                                                                             

                                                                                                            Written by:

                                                                                                                            Yusuf Wahbi Adewale