Introduction to architecture pdf free download

The text also provides students with case studies and images of exemplary buildings to help them connect the dots between theoretical concepts and constructed works of architecture. Designed to serve as a supplementary text, Introduction to Architecture is a cross-disciplinary anthology well suited for foundational courses in architectural history, architecture, theory of architecture, cultural studies, anthropology, and urban studies.

An architectural theorist, historian, and practitioner, Joseph Godlewski earned Ph. He is an assistant professor at the Syracuse University School of Architecture, where he teaches courses in theory and design.

This book offers a thorough introduction to the entire field of architecture, outlining the steps that are normally taken in becoming a qualified architect, from initial education right through to professional practice, as well as how to apply this architectural training in other fields. Complete with feature spreads on individual projects, Architecture: An Introduction's broad, up-to-date approach unites history, theory and practice.

Subjects covered include how to develop a brief with a client; taking an idea from brief to project; types of visual presentation including drawings, models and computer renderings; project planning and management; the diverse roles within a company; and the future of architectural practice.

This book is a must for anyone considering taking an architecture course or just beginning one. Pioneering manifesto by founder of "International School. Profusely illustrated. Understanding the relationship between design and technology is critical to the understanding of architecture.

This book clearly explains the core aspects of architectural technology: structural physics, structural elements and forms, heating, lighting, environmental control, and computer modelling. Hundreds of photographs, diagrams, and screengrabs demonstrate common architectural forms and construction techniques.

Historical and contemporary examples chart significant moments in architectural engineering and the development of materials science Includes an examination of computer-aided design CAD and the use of building information management BIM technology for predicting and analyzing the behavior of buildings.

Written by three experienced teachers, this essential introduction to architecture will help students to integrate their design thinking with the appropriate structural and environmental solutions. Being the mother of all art forms, the creations of an Architect are live testaments of his work which are timeless. No Architect can disown or deny his work. The purpose of this book -Introduction to Architecture- is to act as an initiation to this noble subject for newcomers and simultaneously be a refresher for experienced professionals.

A line is not only a line in Architecture. It is a part of a dream. A dream nurtured by the interplay of solids and voids, light and shade, colour and texture, foreground and background against a canvas called Nature.

The idea is to inculcate the basics of this learning called Architecture and prepare them mentally to take the wonderful challenges in life as successful Architects. DIVLearning a new discipline is similar to learning a new language; in order to master the foundation of architecture, you must first master the basic building blocks of its language — the definitions, function, and usage.

Language of Architecture provides students and professional architects with the basic elements of architectural design, divided into twenty-six easy-to-comprehend chapters. This visual reference includes an introductory, historical view of the elements, as well as an overview of how these elements can and have been used across multiple design disciplines. How to Read Architecture is based on the fundamental premise that reading and interpreting architecture is something we already do, and that close observation matters.

This book enhances this skill so that given an unfamiliar building, you will have the tools to understand it and to be inspired by it. Author Paulette Singley encourages you to misread, closely read, conventionally read, and unconventionally read architecture to stimulate your creative process. This book explores three essential ways to help you understand architecture: reading a building from the outside-in, from the inside-out, and from the position of out-and-out, or formal, architecture.

This book erodes boundaries between the frequently compartmentalized fields of interior design, landscape design, and building design with chapters exploring concepts of terroir, scenography, criticality, atmosphere, tectonics, inhabitation, type, form, and enclosure. Using examples and case studies that span a wide range of historical and global precedents, Singley addresses the complex interaction among the ways a building engages its context, addresses its performative exigencies, and operates as an autonomous aesthetic object.

Including over images, this book is an essential read for both undergraduate and postgraduate students of architecture with a global focus on the interpretation of buildings in their context. A unique graphical guide for using architectural terminology to jump-start the design process This design studio companion presents architectural terms with special emphasis on using these terms to generate design ideas.

It highlights the architectural thinking behind the terminology and helps readers gain a thorough understanding of space and form. Scott 2 3 4 buildings, but it might take a great leap of the imagination to appreciate 5 the character of the original spaces and forms that no longer exist.

Examining 6 buildings for evidence of alteration and change of use provides the starting 7 point from which to explore the reasons for these changes. Reconstructions provide an inter- 2 esting problem, for although drawings of the original may be in existence 3 so that the reconstruction is accurate in form and measurement, there may 4 nevertheless be differences between the two.

No detailed drawings of the 8 original existed and the reconstruction was worked out from photographs 9 and examination of the existing site. Buildings that were designed but never built at the time have, on occa- sion, been constructed later. Earlier in Mackintosh had won the competition for the design of the Glasgow School of Art, and the city still has many of his buildings.

The original was intended as a private house, but the building of was intended to be open to the public and to house conferences and part of the Mackintosh archive. The architects, Andy Macmillan and John Cane, sought exemplars in surviving works by Mackintosh and Macdonald and contemporary artists and craftspeople were brought in to interpret the interior decorations.

At the beginning of the twentieth century 8 W. He argued that a 7 limited range of select masterpieces of the past should be studied in order 8 to understand how they achieved their beauty. He analysed the principles of 9 composition of these masterpieces, in terms of the disposition of planes, masses, form, proportion and treatment of materials. He thought that from 1 such analyses students could learn to make pleasing forms themselves rather 2 than by studying how buildings were constructed or why they were built.

There, history was seen 6 as an obstacle inhibiting the development of creativity, so it initially had 7 no place in the curriculum. Principles of design were to evolve from the 8 practical activity of designing and making. However, after three years, 9 architectural history was introduced at the Bauhaus, as a means of verifying the principles that the students discovered.

From them students could verify what they had 3 discovered about their own period. Thus, designing for modern needs and 4 using modern materials would lead to the development of new appropriate 5 forms. Some see the architecture of the past as a continuum and argue that studies should concentrate on recurring ideas and themes, for similarities of approach can be found between the past and current archi- tectural practice.

Others argue the opposite: history should be interpreted as a process of continual change and it is important to emphasise the ways in which the past differs from the present. Seeing architectural history as part of a wider social process implies a rigorous historical approach that does not focus primarily on architects and their ideas.

Other European architectural schools emphasise sociology and urbanism in their architectural history. Their work evolves from a synthesis of a wide range of information expressed in their designs as layers of meaning. Architectural history may contribute to this, but may not necessarily do so.

As we have seen there is no one response to the knowledge and issues raised by history. Today, whether or not we live in large cities with their wealth of architectural history, a wide range of architecture is accessible on the web and those in the remotest rural areas may still acquire a sense of the variety of possible architectural experiences.

Different activities such as work, recreation, bringing up a family and worship require different kinds of buildings, perhaps in special locations, 1 with varying spaces, environments and forms. The functions of buildings are 2 often complex, and not all are utilitarian, in the sense of serving a practical 3 purpose. Stonehenge had a changing but carefully 7 considered relationship to the rising and setting of the sun and moon, 8 and it may have provided a focus for religious ceremonies and rituals.

Some 9 religious buildings embody something of the spirit of the religion. The awe- inspiring temples of ancient Egypt were designed to enhance the importance 1 of the gods and the priesthood. The space inside medieval cathedrals was 2 often large and of great height. This enhances the acoustics and the spatial 3 requirements of the clergy and congregation, but it also has another more 4 subtle function.

The scale of the space creates a sense of awe in those visiting 5 the building. Appropriately 8 these shafts direct the eye heavenwards. In practical terms their round form and encircling pathway en- 1 courage worshippers to circulate around the building, which, according 2 to tradition, contains the cremated relics of the Buddha or his disciples 3 Figure 4.

In the late eighteenth century in France, some architects became particularly interested in the expressive aspect of architecture. Often the forms of buildings are a mix of prac- tical, expressive and symbolic functions, and we discuss these in more depth as we explore the space, interiors and forms of buildings.

We tend to think of this space as being inside, but it may also be outside and include a courtyard or a walled garden. These 5 enable the air to circulate under the building, provide a sheltered place for 6 children to play in bad weather, and offer views through and past the 7 building. Shelter in the form of a huge 9 umbrella is how we might describe a railway station train shed. Barlow and R. From the outside we can see what goes on inside and vice versa.

When dark glass is used the effect is rather different. By contrast, at night when the lights are on inside, the walls dissolve completely and the interior is revealed. The German Pavilion was designed by Mies van der Rohe for the international exhibition in Barcelona in to be part of space rather than enclose it see Figure 3.

Instead, there are gaps that allow people to move around the freestanding walls. In traditional Japanese domestic architecture the spaces are subdivided not by thick walls but translucent paper screens and movable partitions, some not even reaching the ceiling, so there is little sense of enclosure. Space and function 59 Space and function 2 3 Buildings often consist of several juxtaposed spaces catering for different 4 related activities.

There may also be a 9 balcony for sitting, chatting and looking. There are separate rooms for cloak- rooms and toilets and an entrance hall to meet friends and buy tickets. All of these may change over time. Whole families and their guests might sleep in 2 the chamber, which could also be used for storage. Some halls had two storeys 3 at one end, with a bedroom upstairs and parlour below. The hall of the lord 4 of the manor operated as a manorial court and centre for organising farming 5 activities, as well as a residence.

A wall 9 known as the Flodden Wall encircled Edinburgh, Scotland, in the sixteenth century. As the population grew, the density of the town increased, and it 1 became common to build upwards. Stone tenements of up to ten storeys were 2 constructed, with one or more families living on each storey. The families 3 in each building or tenement shared a communal staircase and, later, lava- 4 tories. The poor might have only one room, the slightly better off two rooms, 5 and the wealthy had many rooms.

Each house was well 9 built with a yard containing a privy, and gas and water laid on. This was a distinct improvement on urban slum accommodation, where often whole families with many children lived in one or two rooms Figure 4. In theatres, concert halls and even motorway service stations there are often long queues of women waiting to use the toilets and washroom.

More adequate facilities are now being designed, for research has shown that women, in comparison with men, need to use them more often and they need twice the time. In the UK in the s there was a great expansion of middle-class house building. These houses were designed by men as single-family units for a nuclear family of two parents and several children. In reality, families are of varying size and type.

Today an increasing number of people live alone: divorced and separated families require a home each, elderly relatives may live in a residential home or join the nuclear family, and the ethnic diver- sity of our cities brings many extended families. The kitchen isolated the 2 person working there from the rest of the family. As early as , Robert Owen in Scotland 5 published plans for alternative communities that catered for the needs of 6 working mothers. Kitchens and dining rooms were part of the communal 7 facilities shared by the whole community, rather than rooms in each indi- 8 vidual home.

He also proposed community nurseries so that childcare 9 took place largely out of the home. Howland argued 2 for professional childcare and domestic services, and with J. Deery and A. Owen made unrealised plans for apartment hotels, patio houses and 4 cottages with communal kitchens, dining rooms and laundries for the experi- 5 mental community of Topolobampo in Mexico in In the hot sunny climate of 9 southern Africa rural families use the outdoor living space as well as separate buildings for sleeping, cooking or storage Figure 4.

The extended family 1 unit may include grandparents and the families of several brothers. In the 2 traditional home of a Shona family in Zimbabwe work and domestic activ- 3 ities such as craftwork, preparing crops and food, washing up, socialising 4 and play take place in the central, well-swept courtyard with perhaps a tree 5 for shade.

Shelter and warmth at night, propriety, security and practicality 6 mean that sleeping space and the areas for cooking, food storage and hygiene 7 are inside buildings. Each is housed in its own circular or rectangular build- 8 ing with thatch roof.

There are gender-segregated communal buildings where 9 children sleep, individual buildings for each married couple to sleep, and granaries. Instead of one kitchen, there might be several, one for each married 1 woman. Invisible lines subdivide the interior space of the kitchen into male 2 and female areas and there is a platform for religious rituals.

On the periphery 3 of the homestead there are washrooms and latrines and there may be small 4 enclosures for chickens or a goat. Visitors to the homestead have no door to 5 knock on but will recognise they are entering a home either because there 6 is a fence or because the space around is well swept, and they can announce 7 their presence by calling.

These were designed for protection against dust storms, to 1 provide shade and to channel cool breezes. Traditionally, houses in Bahrain 2 in the Gulf were gender-segregated and designed for privacy. There were two entrances: one for guests and one for the family. A space may be physically large or small but we can only judge this by making comparisons, for its scale depends on the number of people using it, the furnishings and objects in it, the neigh- bouring spaces and our expectations.

Small rooms in a terraced house may suggest snug comfort, but if a whole family had to live in one small room, as many people did in the nineteenth century, then the space is overcrowded and uncomfortable. Spaces for large numbers of people, such as a cathedral, sports hall, parliament or factory, need to be large. They are large scale if the height of the internal space is for more than the practical reasons of acoustics, the provision of air and the need to reduce the sense of enclosure.

The earlier example of a medieval cathedral illustrated how scale can evoke a feeling of awe and grandeur. The juxtaposition of different-sized spaces may be deliberately exagger- ated to give a sense of drama or to impress the visitor. At the Ennis House in Los Angeles, California, , Frank Lloyd Wright deliberately designed a small, dark entrance hall with a low ceiling, as a dramatic contrast from the glare of the sun outside and the spacious proportions of the rooms beyond.

The priority given to some spaces over others within a building is referred to as spatial hierarchy. Some parts such as the principal living and entertaining rooms 2 were beautiful and should be exposed; others such as kitchens and cellars 3 were not suitable for view and should be hidden. This was a double-height room that 7 opened out onto a terrace and offered an elegant, light and airy contrast to 8 the kitchens, bathrooms and bedrooms.

It 4 certainly could not form the focal point for the household and visitors. Today, 5 many kitchens are multifunctional and are used for laundry, cooking, dining 6 and a centre for the family. They may also be status symbols in terms of 7 design and the latest technology.

Those with a proscenium arch cater for a linear 9 relationship between the audience and a rectangular stage. By contrast, theatres in the round are, as their name implies, designed so that the audience 1 surrounds the stage. Generally the stage and the auditorium are the largest 2 spaces within the hierarchy of space in a theatre.

This is where the main 3 action takes place both in reality and metaphorically. The high auditorium 4 is designed to be airy, give good acoustics and to provide audiences with 5 adequate sight lines. Above the raked seating in the auditorium there 6 may be a number of galleries or tiers of balconies. The stage area may appear to be a small box 9 shape to the audience, but it includes a tall rectangular space above the stage, housing the hoist mechanisms for the stage scenery.

The types of 1 performance and the facilities for the audience and the artistes determine 2 both the relative size of the stage and auditorium and the range and size of 3 other spaces. The rear of the building right houses a complex of tiny cells 8 used for dressing rooms, administrative activities and storage.

The stage and 9 auditorium combined are allocated a far larger space. The stage is a tall rectangular box shape. The auditorium, which is lower, is roofed over with 1 a dome; its shallow rounded form inside pleasingly echoes the circular tiers 2 of balconies beneath and symbolically unites the audience in a shared ambi- 3 ence.

Poor visibility of the stage, however, is offered to those not fortunate 4 enough to be in the front row of the boxes and balconies. This leads into an elegant, small-domed circular hall that gives access to the royal box see Figure 5. Spatial priority in this building is allocated to the front left housing the main entrance. This includes a large vestibule leading to a two-branched grand staircase over- looked by galleries within a large domed foyer adjacent to the auditorium.

These are important social and ritual spaces designed for the audience to promenade elegantly and to see and be seen during intervals and when entering or leaving the building.

Rules of proportion evolved but could be broken as architects tackled the complex tasks of building. Later, the width of the 4 spaces between columns became important in determining dimensions. The later building is a little longer and much wider, 8 but the dimensions of the elements were not increased because it was prac- 9 tical to reuse much of the older material.

To 2 make the building appear up to date the entrance portico had new, more slender columns. He described how the human body with 5 hands and feet outstretched could be inscribed in both a circle and a square 6 if you took the navel as the centre. This module 8 in turn determined the diameter of the base of a column, and multiples of 9 it gave its height and the other dimensions of a temple.

The height of a Doric column should be six times the diameter of the base of the shaft. The Greeks had noted the rela- 5 tionship between musical harmonies and the different lengths of string in 6 tension that provided harmonious sounds. Andrea Palladio used three 2 different sets of ratios for the proportions of his villas and churches in Italy. So a room that measures 6 feet by 12 feet, with a height of 9 feet, is arithmetically proportioned. We might then have a room measuring 4 feet by 9 feet with a height of 6 feet, because the width of the room is two-thirds of the height, and the height is two-thirds of the length.

So the proportion of one-third links the width 6 , length 12 and height 8 of a room. The division of a straight line into two parts so that the rela- tionship of the smaller part to the larger equals that of the larger part to the whole illustrates the principle of the golden section. Unlike the previous proportions, it is not based on the relationship between whole numbers.

It can be generated from a square by dividing it and so generating a spiral known as the Fibonacci series, after a twelfth-century Italian mathematician. In the twentieth century the French architect Le Corbusier derived a series of golden sections from the dimensions of the human body as a basis for architectural proportions. These three measurements were then subdivided to create a series of golden sections, or Fibonacci ratios. These presented a considerable challenge to furnishing the interiors.

In other cultures non-rectangular forms predominate, particularly for traditional dwellings such as the ice houses of the Inuit of North America or some indigenous African housing see frontispiece and Figure 4. Renaissance archi- tects used geometry to obtain ideal shapes for buildings, and Alberti preferred circular, centrally planned churches not for practical reasons but because he saw the circle as an absolute and perfect shape, common in nature and an appropriate expression of the divine.

At certain periods architects have created exciting, 3 complex spaces with sculptural roofs. It consists of over 5, cells 6 decorating the dome Figure 4. The stars would gladly descend from their zones of light, and wish they lived in this hall instead of in heaven.

Some building types such as libraries, sports stadia, concert halls and station booking halls offer practical opportunities for non-rectilinear forms. The swirling forms of baroque churches were part of a 6 campaign to encourage people to the Catholic Church. The twisted glazing and exploding, truncated, titanium-clad 5 forms would have been impossible to engineer without the aid of sophisti- 6 cated computer programmes see Figure 2.

Inside is a variety of spaces for 7 displaying a wide range of modern art. Aerial bridges and walkways that 8 give further views of the galleries interlink these spaces.

Today, we think a kitchen is best located near the dining area so that food arrives warm on the table. Some large institutions such as hospitals inevitably have kitchens far from the point of consumption because it is not possible to bring patients to one large dining area.

From the outside open-air sculpture is visible and glimpses can be seen of the art works within. Architects with a classical training tend to start with a single geometrical form such as a cube, and distribute the various functional spaces within it in a symmetrical manner if this is possible. We will see this when we look at the plans of Syon House see Figure 5. The results were buildings with an irregular layout such as the Bauhaus design school in Dessau, Germany, of —6 Figure 4.

Projecting at right angles from a central stair- 2 case are three pins or wings of distinct height and spread. A third and separate wing contains the classrooms, 7 laboratories and library. These 4 provide direct access and make it unnecessary to go through a number of 5 rooms to reach any one of them. Careful planning is required to make circulation routes 7 short and direct. In addition, in buildings open to the public architects need 8 to ensure accessibility for all levels of mobility and vision.

The Richard 9 Attenborough Centre for Disability and the Arts, University of Leicester Ian Taylor, Bennetts Associates, is a calm and enjoyable sensory and visual 1 experience for all who use it, artists, dancers, musicians and audiences, 2 disabled or not. It has a symmetrical H plan 5 parallel to the street that is easily understood by users. The aroma of British cedar of Lebanon panelling offers further clues. This is an excellent example of inclu- 1 sive design.

Corridors and stairs were either grand and very evident, 5 to guide and impress guests, or hidden away and narrow, for servants to use 6 see Figure 5.

The house 8 eventually rambled so extensively that by guests after dinner had to 9 walk the length of the house, climb two storeys and then walk the length of the picture gallery, to reach the new drawing room!

The 2 assembly chamber is at the heart of the building and is encircled by a spiralling ramp reaching from the top of the building Figure 4. Buildings are also about creating a comfortable and 2 safe environment for working, living or housing objects.

Space must be found to house these services and the pipes 7 and wires necessary for the building to function. One of the most important requirements in build- 2 ings is adequate light, although buildings such as warehouses need less light 3 than those where people live, work or spend large amounts of time. In 4 museums light is needed to see the exhibits but it can also damage them so 5 it has to be carefully controlled.

Some 7 churches have dark interiors even though they may have large windows. The 8 stained glass colours the shafts of light entering and adds to the sense of 9 mystery. In different parts of the world 3 and at different times of year the amount of natural light varies.

Around the 4 tropics the hours of daylight vary little from a twelve-hour norm. In the polar regions, the sun hardly sets during the short summer, but in winter the hours of daylight are minimal.

Buildings need to take account of these regional variations. Therefore, shutters were vital. There may be roof lights or, if it is a multi-storey building, a light well. The thatch and clay shield the interior from the blast of the sun.

A building with thick walls will absorb and hold the heat from the sun during the day, reducing the rate at which the spaces within become hot. At night the heat from the walls will be slowly emitted to mediate the effects of the colder air. This effect has been well understood for thousands of years and examples of its application can be seen in the hot regions of the Near and Far East, in China and India.

Vernacular buildings are excellent examples of the sustainable use of materials and passive environmental control — lessons that are still being learnt today. In the twentieth century the modernists rejected load-bearing walls and with them their heat-absorbing properties.

In the nineteenth century, gas lighting, by gas transported in pipes to each individual building, created a stronger and more controllable light but, like candles and lamps, it had the major disadvantage of polluting the atmosphere and leaving deposits of soot within the rooms.

The development of electric lighting in the late nineteenth century transformed interiors, creating a bright, even and clean source of illumination. By the nineteenth century large wood-burning or coal stoves had become more common for heating domestic interiors in central Europe. Boilers generated hot water or steam that was carried by pipes and radiators throughout the building. To cool the air and create a comfortable environment in hot climates fans and shutters were used. Massive stone or brick load-bearing walls offer good thermal insu- 2 lation, and many small windows, roof lights and light wells provide as much 3 natural light as possible.

Some of these techniques have been used in hot 4 climates for thousands of years. In India and the Middle East unglazed 5 windows with decorated, perforated screens or jalis encourage air circulation 6 and cross-ventilation. Wind towers were also used to cool buildings in hot dry climates. A tower on the roof catches the cooler, 1 less dusty air above the building, which is channelled down to the rooms 2 below.

This unique book eloquently explains much of what is so ''fashionably scrambled up'' in the B. Arch course. Written with the designing hard and hardly reading students in mind - this book is a must read for Architectural students, who are trying hard to make some sense out of the mystified wor. Fully updated and expanded throughout, the book provides the data required for architects to design buildings that will maintain the users comfort in a variety of conditions, with minimal reliance on energy intensive methods like air conditioning.

It equips the reader with the tools to realize the full potential of the good intentions of sustainable, bioclimatic design. All sections have been revised and updated for this third edition including all the most relevant developments affecting heat, light and sound controls. This new edition brings in the new emphasis on sustainability, urbanism, urban regeneration, and cultural identity, to take a holistic approach to the subject of architecture.

Just some of the topics that are covered in this book include: -Architecture as an art -The history of architecture -Basic architecture concepts -The importance of drafting -Line types -Architectural scales -Architectural styles -Tools every architect needs -Much, much more. Introduction to Architectural Science Author : S. This chapter also provides information about selected issues that are typical of a design process, and methods of design problem solving.

This collaboration takes place in various ways, and depends on mutual expectations and opportunities, which are not always clear for all participants at the beginning of a design pro- cess.

For this reason, in the seventh chapter basic principles of communication between participants of a design process, as well as presented causes of poten- tial misunderstanding, are explained. For the successful realization of a design process we need a well- educated architect who has a broad knowledge, based on a solid foundation. Therefore, the education of young architects should be, from the beginning of their studies, carried out in a carefully planned manner.

The other purpose of the textbook is to introduce students to a market-oriented way of thinking, a standard approach for the architecture profession. I would like to emphasize that the source of the tips and comments in this textbook is the knowledge and design experience of the author. This means that the recipients of information included in this book are not obliged to accept uncritically all my opinions and guidance. A concept comes to our mind, and we want to realize it.

Before we do anything, we guess, more or less, why we want to do it. And, in the end, achieving the main aim is the prize for our effort. It is only a verbal formulation of our dreams. After this verbal formulation we take the next step, which is specify- ing and detailing the main aim of our actions. However, only some of us learn how to create a space in a professional way, because for this action both proper knowledge and a developed consciousness of creation are necessary.

We architects may design not only houses but also landscapes, apartments, clothes, cars, planes, machines and tools, graphics, promotional campaigns, and even law. Above all, we are especially interested in spatial design, e. Designing a space, in contrast to clothes, cars, planes, machines and tools, graphics, promotional campaigns and law, we call architectural design.

Typically we make all architectural design decisions in fluctuating condi- tions of uncertainty about their correctness and after taking into consideration possible, sometimes difficult-to-predict, consequences. Architectural design stands out from other kinds of design because of a few important features. Firstly, it applies to a relatively large space, usually much bigger than in the case of any means of transport such as planes or cars.

Secondly, the realized effect of design work, e. Thirdly, such a realization serves people for a relatively long time, much longer than the above-mentioned means of transport.

Fourthly and finally, to prepare an architectural design it is necessary to possess knowledge from a few branches beyond pure designing; for example, 7 it is not possible to design a sports hall without knowledge of football, bas- ketball or volleyball rules.

It would also be difficult to design a garden with- out any knowledge about the needs of the trees and flowers we want to plant there. Similar problems would occur in any attempt to design a temple with- out knowledge of any of the rituals of that particular religion. It should be emphasized that architectural design is a paid service for which we take proper payment.

Architectural practice is a professional service that we, as architects, provide to our clients. Apart from in extraordinary situa- tions, when we prepare an architectural design for ourselves — in this case we are both service providers and customers — we work for a specific client s.

That is why this client hires a professional architect. Howev- er, we should be aware of our responsibility for the effects of our design activi- ty.

Moreover, our architectural design can- not disturb the society or, generally, the public interest, and all proper regula- tions in force must be respected. Therefore, it is important to explain to clients how some of their ideas might affect the space, either negatively or positively.

This is an obligation and privilege for all architects. For exam- ple, a client who wants to build a playing field may remain a member of the local authority of the municipality. In some cases, we may deal with institu- tional clients or firms, which may be represented by individuals. In particular, we architects are responsible for the space created by us. In conclusion, we can state that architectural design is the preparation of a plan for changing a space that is not our property.

At the same time, we should remember that when starting work on any spatial change, we take responsibil- ity for the result of our work Fig. This responsibility we take both to our client and the society, because the profession of architect is an occupation that requires public trust. This idea, in accordance with its high degree of complexity, cannot be realized without a prepared plan.

To execute this plan, we need adequate knowledge of architecture, and at least basic knowledge of disciplines related to architecture, above all engineering, and branches about which knowledge is required in certain cases, for example the sports industry, trade, gastronomy and catering, private or public transport, etc.

These branches are also represented by their own specialists. In particular, architects cooperate with specialists from various engineering branches. In other words, the aim of the above-mentioned process is to prepare an architectural design, i.

The result of this process is the architectural design, while the result of the whole investment process is a new building, the renovation of a building, or the development of a landscape.