MOVEMENT IN CAMPUS DEIGN

STUDY ON THE PRNCIPLE AND IMPORTANCE OF

CIRCULATION AND ITS ELEMENTS.

DISSERTATION REPORT
Submitted by,
SINDHUJA.S
IX SEM, B SEC,
13 AR 65,
BACHELOR OF ARCHITECTURE
THIAGARAJAR COLLEGE OF ENGINEERING,
MADURAI-625015.
1. TOPIC
1.1.INTRODUCTION
Circulation refers to the way people move through and
interact with a building.
In Public buildings, Circulation is of high importance.
Its a perceptional thread that links any space of a building.
Structures such as Elevators, Escalators and Staircases are
often referred to as circulation elements, as they are
positioned and designed to optimize the flow of people
through a building.
Circulation is often the most attractive and active area of the
built environment. In some cases it constitutes the major part
of the venue.
In Campus, the circulation network is also a key driver of
Spatial Organization.
1.2NEED FOR THE STUDY
Since we move in Time, through a sequence of spaces, we
experience it in relation to where we have been and were we
anticipate going.
Thereby, in order to acquire a legible and functionally
efficient planning, designing of circulation space is an
important factor to be considered.
In current scenario, there have been many compromises in
proper/efficient planning of circulation spaces.
This study supports to emphasis the significant role of
circulation space in buildings and to elevate its gradually
decreasing importance.
1.3.WHY CAMPUS??
One could say that the word uni-versity means One
including all, a single, unified community of individuals of
Circulation (pedestrian and vehicular) is subsidiary
considerations, but nevertheless are properly designed as an
integral part of the total fabric of the campus and not later
superimposed on a framework that initially ignored them, as
is often the case.
The circulation system may be allowed to establish as the
basic framework of the campus, since movements of
students is a primary functional requirement.
A Campus is made up of visible physical, measurable
systems, which directly express and support invisible,
system of human interactions.
The visible are the landscape and open spaces, pedestrian
ways, vehicular access the framework of the buildings. The
invisible are the interaction of living and academic
activities, the time, motion and communication required.
2. PROJECT
2.1.AIM AND OBJECTIVE
To interpret the design guidelines for effective planning of
circulation spaces in a building.
Understanding the behavior pattern of people-through
questionnaire.
To identify the factors to be considered for effective planning
of circulation spaces.
To produce a comparative analysis of the case studies, to
infer on the pros and cons in planning of its circulation
spaces.
2.2.METHODOLOGY
STAGE 1:
What are circulation spaces?
What is the importance of its planning in a building?
 spaces.
What are the spatial standards and dimension standards for
circulation paths and spaces?
STAGE 2:
Data collection with respect to circulation in campus
designing.
Literature study of international case examples of campus
designs.
Preliminary analysis and inference.
STAGE 3:
Framing questionnaire for occupancy research and analysis,
for campus.
Live case studies on campus designs, solve questionnaires.
Analysis of the issues and potentials of the circulation spaces
in the case study.
Comparison of International case example to live case
buildings.
Design guidelines for various inference made.
2.2.SCOPE AND LIMITATIONS
To identify the possible solutions to avoid the inflexible and
obstinate circulation and movement in campus, and to find
out the standards which should be followed while designing
the pathways and roads in campus design.
The main scope would be framing design principles for
designing flexible circulation to provided a feasible design
principles.
The study is mainly based on connections between the
different parts of campus and to establish the continuous
fabric to avoid disturbance of pedestrians and vehicles.
3.STUDY AND DATA COLLECTION
3.1.EVOLUTION OF CAMPUS DESIGN
The notion of the importance of the setting to
academic life later migrated to America, and early
colonial educational institutions were based on the
Scottish and English collegiate system.
The campus evolved from the cloistered model in
Europe to a diverse set of independent styles in the
United States. Early colonial colleges were all built
in proprietary styles, with some contained in single
buildings, such as the campus of Princeton
University or arranged in a version of the cloister
reflecting American values, such as Harvard's. Both
the campus designs and the architecture of colleges
throughout the country have evolved in response to
3.2.CIRCULATION
INTRODUCTION
Our journey or circulation path can be conceived
of as the perceptual thread that links the spaces of a
building, or any series of interior or exterior
spaces, together
-Since we move in Time
-Through a Sequence Of Spaces
We experience a space in relation to where weve
been and where we anticipate going
In this topic well look at the principal components
of a buildings circulation system as positive
elements that affect our perception of the forms and
Before passing into the interior of a building, we
have to approach its entrance along a path
This is the first phase of the circulation system,
when we are preparing to see, experience, and use
the spaces within a building
The approach and entrance can vary in duration
from a few paces through a compressed space, to a
lengthy and circuitous route
It can be perpendicular to the primary facade or be
oblique to it
The nature of the approach may contrast with
what is confronted at its termination, or it may be
continued on into the buildings interior sequence of
spaces, obscuring the distinction between inside
 APPROACH
The Distant View

ENTRANCE
From Outside to inside

CONFIGURATION OF THE PATH

The Sequences of Spaces

PATH-SPACE RELATIONSHIPS
Edges, Nodes, and Terminations of the Path

FORM OF THE CIRCULATION SPACE

Corridors, Halls, Galleries, Stairways and Rooms
APPROACH
FRONTAL
A Frontal approach leads directly to the entrance
of a building along a straight, axial path.
The visual goal that terminates the approach is
clear
It may be the entire front facade of a building or
an elaborated entrance within the plane.
OBLIQUE
An oblique approach enhances the effect of
perspective on the front facade and form of a
building
The path can be redirected one or more times to
delay and prolong the sequence of the approach
If a building is approached at an extreme angle, its
entrance can project beyond its faade to be more
clearly visible
SPIRAL
A spiral path prolongs the sequence of the
approach and emphasizes the three-dimensional
form of a building as we move around its
perimeter
The building entrance might be viewed
intermittently during the approach to clarify its
position or it may be hidden until the point of
arrival
ENTRANCE
Entering into a defined field of exterior space, a
building or a room within a building involves the act
of penetrating a vertical plane that distinguishes
one space from another and separates, where you are,
from where you are going
This act of entering can be made significant in a
number of ways not just by punching a hole in a wall
A passage can be created through an implied plane
established by two pillars or an overhead beam
If greater visual and spatial continuity between two
spaces is desired, even a change in level can
establish a threshold and mark the passage from one
place to another
Normally when a wall is used to define and enclose a
space or series of spaces, an entrance is
accommodated by an opening in the plane of the
wall
However, the form of the openings can range from a
simple hole in the wall to an elaborate, articulated
gateway
No matter what the form of the space being entered
or the form of its enclosure, the entrance into the
space is best signified by establishing a real or
implied plane perpendicualr to the path of
approach
For the purposes of classification groups can be put
together in the following categories
Flush, Projected, and Recessed
A flush entrance maintains the continuity of the
surface of a wall and can be, if desired, deliberately
obscured
A projected entrance forms a transitional space,
announces its function to the approach, and provides
overhead shelter
A recessed entrance also provides shelter and
receives a portion of exterior space into the realm of
the building
FLUSH PROJECTING RECESSED
In each of the categories, the form of the entrance
can be similar to, and serve as a preview of the form
of the space about to be entered
Or it can contrast with the form of the space about
to be entered to reinforce its boundaries and
emphasize its character as a place
From a location point of view an entrance can be
centred within the frontal plane of a building, or be
placed off-centre to create a condition of local
symmetry about its opening
The location of an entrance relative to the form of the
space being entered will determine the configuration
of the path and the pattern of the activities within
the space
The idea of an entrance may be visually
reinforced by:
Making the opening lower, wider, or
narrower than anticipated
Making the entrance deep or circuitous
Articulating the opening with
ornamentation or decorative
embellishment
CONFIGURATION OF THE PATH allingnment
All paths of movement, those of people, cars,
goods, or services are linear in nature
All paths have a starting point, after which we are
taken through a sequence of spaces to our
destination.
The contour of a path depends on our mode of
transportation
Pedestrians are free to turn, pause, stop and rest
at will
Wheeled vehicles, for example, a bicycle has
less freedom, a car even less, in changing pace
and direction abruptly
greater volume of space than their bodily dimensions
and greater freedom of choice along a path

Persons approaching an intersection or crossing are

always faced with a decision
The Continuity and Scale of each path at the
intersection helps us to distinguish between majour
routes leading to major spaces and secondary
paths leading to less important spaces
If the paths at a crossing are equal, sufficient
The form and scale of entrances and paths must
also convey the functional and symbolic distinction
between public promenades, private halls, and
service corridors

The nature of the configuration of a path

influences and is influenced by the organizational
pattern of the spaces it links
The configuration of a path may reinforce a
spatial organization by paralleling its pattern
On the other hand the configuration may contrast
with the form of the spatial organization and serve as
a visual counterpoint to it
Once we are at the stage of being able to map out the
overall configuration of the paths in a building
mentally, our orientation within the building and our
understanding of its spatial layout will be made clear
LINEAR
All paths are linear
A Straight path, can be the primary organizing
element for a series of spaces
Also it can be curvilinear or segmental, intersect
other paths, have branches or form a loop
RADIAL
A Radial configuration has linear paths
extending from or terminating at a central,
common point
SPIRAL
A Spiral configuration is a single, continuous
path that originates from a central point,
revolves around it and becomes increasingly
GRID
A Grid configuration consists of two sets of
parallel paths that intersect at regular intervals
and create square or rectangular fields of space
NETWORK
A Nework configuration consists of paths that
connect established points in space
COMPOSITE
In reality, a building usually employs a
combination of the different paths
Important points in any pattern are centers of
activity, entrances to rooms and halls and
places for vertical circulation provided by
stairways/ramps and elevators
 These nodes punctuate the paths of movement
through a building and provide opportunites for
pause, rest and reorientation
To avoid the creation of a disorienting maze, a
hierarchical order among the paths and nodes of a
building should be established by differentiating their
scale, form, length and placement
PATH -SPACE RELATIONSHIPS
Paths may be related to the spaces they link in a
number of ways
Pass by Spaces
The integrity of each space is maintained
The configuration of the path is flexible
PASS THROUGH SPACES
The path may pass through a space axially,
obliquely or along its edge
In cutting through a space, the path creates pattern
of rest and movement within
TERMINATE IN A SPACE
The location of the space establishes the path
This path-space relationship is used to approach
and enter, functionally or symbolically important
spaces
FORM OF THE CIRCULATION SPACE
Spaces for movement form an integral part of any
building organization and occupy a significant
amount of the volume of a building
If considered just as functional linking devices,
then circulation paths would be endless, corridor-
like spaces
The form and scale of a circulation space,
however, should accommodate the movement of
people as they walk, pause, rest, or take in a view
along a path
The form of a circulation space varies according
to how:
Its boundaries are defined
Its form relates to the form of the spaces it
links
Its qualities of scale, proportion, light and
view are articulated
Entrances open onto it
It handles changes in level with stairs and
ramps
A circulation space may be:
Enclosed
Forming a public galleria or private corridor that
The width and height of a circulation space
should be proportionate with the type and
amount of movement it must handle
A distinction in scale should be established
between a public promenade, a more private hall,
and a service corridor
A narrow, enclosed path naturally encourages
forward motion
To accommodate more traffic as well as to create
spaces for pausing, resting, or viewing, sections of
a path can be widened
The path can also be enlarged by merging with
the spaces it passes through
Within a large space, a path can be random,
Stairs and stairways provide for our vertical
movement between the levels of a building or
outdoor space
The slope of a stairway, determined by the
dimensions of its risers and treads, should be
proportioned to fit our body movement and
capability
If steep, a stair can make ascent physically tiring
as well as psychologically forbidding, and can
make descent precarious
If shallow, a stair must have treads deep enough
to fit our stride
A stairway must be wide enough to comfortably
accommodate our passage as well as any
furnishings and equipment that must be moved up
or down the steps
The width of a stairway also provides a visual clue
to the public or private nature of the stairway
Wide, shallow steps can serve as an invitation,
while a narrow, steep stairway can lead to more
private places
While the act of walking up a stairway may
convey privacy, aloofness, or detachment, the
process of going down can imply moving toward
secure, protected or stable ground
Landings interrupt the run of a stair and enable it to
change direction
Landings also provide opportunities for rest and
possibilities for access and outlook from the
stairway
Together with the pitch of the stairs, the
locations of landings determine the rhythm and
choreography of our movements as we ascend or
descend its steps
Stairs in accommodating a change in level, can
reinforce the path of movement, interrupt it,
accommodate a change in its course, or terminate it
prior to entering a major space
The configuration of a stairway determines the
direction of our path as we ascend or descend its
steps
There are several basic ways in which to configure
the runs of stairs
Straight run stair
L shaped stair
U shaped stair
Circular stair
Spiral stair
Geometric stair
The space a stairway occupies can be great, but its form
can be fitted into an interior in several ways
It may be treated as additive form or as a volumetric
solid from which space for movement as well as rest
have been carved out
The stairway can run along one of the edges of a room,
wrap around the space, or fill its volume
It can be woven into the boundaries of a space or be
extended into a series of platforms for seating or
terraces for activity
A stairway can be an organizing element and meander
through and weave together a series of spaces at
different levels of a building or outdoor spaces
Landings which are visible on approach invite
ascent, as do treads which spill out at the bottom of
a stairway
On the other hand, to offer access to a private
place or signify inapproachability, the path of a stair
can rise steeply between walls through a narrow
shaft of space
Stairs are three-dimensional forms just as moving
up or down a stairway is a three-dimensional
experience
This three-dimensional quality can be exploited
when we treat it as sculpture, freestanding within a
space or attached to a wall plane
Further a space can itself become an oversized