From the (Coffee) Grounds Up: 26 Architectural Principles from Concept to Dialogue

From the (Coffee) Grounds Up: 26 Architectural Principles from Concept to Dialogue

Rachel Witherspoon

Contents 2 Site

4 Environment

6 Analysis

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1 Concept

3 Context

5 Program

7 Transformation

18 Surface

16 Movement

19 Unity

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15 Light

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17 Materials

21 Balance

Throughout this book, I will explore the 26 Principles outlined in Andrea Simitch and Val Warke’s book The Language of Architecture: 26 Principles every Architect Should Know. To analyze the concepts effectively and logically, I discuss them chronologically as they would be brought up in a project. As part of the analysis, I will include aspects of assignments completed as part of Georgia Institute of Technology’s ARCH 1060: Introduction to Design and the Built Environment course.

10 Mass

8 Grids

12 Order

14 Space

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80’ Key Circulation Areas Public Areas Service Areas Private Areas

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9 Geometry

11 Structure

13 Scale

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22 Representation

24 Fabrication

26 Dialogue

FPB 1.4 FPB 1.1 VAV 1.1

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VAV 1.2 FPB 1.7

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20 Infrastructure

23 Prefabrication

25 Presentation

Along with class assignments, I will also be mimwicking an architectural project and taking you, the reader, through the development of the project. For this book, the project I am developing is converting an empty church office building into a coffee shop for the surrounding downtown community. The structure is a fourstory administrative building, but for the purposes of the book, I am focusing on the first floor, assuming that the other floors could very easily be cleaned up and rented out as usable office space.

Concept Every project must begin with a concept. Whether well-planned or drawn haphazardly on a napkin, every structure and place you pass began as a conceptual idea. At this stage, very few aspects of the site have been developed and likely the only guiding principle is the end goal. In this project, the end goal is creating a unique coffee shop in downtown Greensboro, NC.

While creating a 3-dimensional paper model, my first step was to create a few drafts until I reached a concept I liked and wanted to continue within the project. This process included drafting cut lines and practice folding the material before continuing through the process of creating the final model.

Site Once a concept is put into motion, a site for the project must be determined.

While this is sometimes a pre-existing structure, a site can also be a plot of land or an empty corner in the city where the building will be constructed from the ground up. Because my project is contained in a current structure, I walked through the building to get an idea of what I wanted to change throughout the project.

Grafton Architects, Universita Luigi Bocconi, Italy, 2008 Photo by Paolo Tonato Universita Luigi Bocconi is situated on a corner in Milan, Italy, making the building a focal point for all who walk past. The structure perfectly uniquely stands out but does not seem out of place alongside other buildings in the area.

Herzog & de Meuron, Dominus Winery, Napa Valley, 1997 Photo by Yueqi Li With the open space of the vineyard, Dominus Winery is able to extend to 100 meters long without having to use much vertical space.

Context Once a site is selected for a structure, the context of that site must be evaluated.

Other built structures, trees, or private property can all limit the space available for the new structure. For this part of my project, I diagrammed roads and buildings surrounding the existing structure.

To emphasize the importance of context, these two images compare buildings in vastly different environments. The top image shows a house in a rural area, with only a few other houses in the surrounding area. The bottom image shows the Bank of America building in midtown Atlanta, with significantly less available space surrounding it.

Environment The environment in which your site is constructed can heavily influence the building’s orientation, shape, and materials. In this case, the site is already constructed and structurally stable, so I simply created a wind diagram to get an idea of the way the environment could unevenly wear the exterior.

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The amount of available light to the site ins an important factor in designing the structure. Light angles are dependent on the geographic location of the site, as well any surrounding structures or trees that could block light rays from hitting the structure.

Temperature is another important factor of the environment of a site, mostly affecting the materials that can be used.

For a project using air-dry clay, I worked at the photo studio in the basement of a building, which was warmer than room temperature. This warm temperature made the clay soft and hard to work with after a short amount of time.

Program Program begins to outiline the logistics of a new project, including existing measurements and requirements for the finished product. The plan below shows the current site, with structural walls represented as being thicker than standard walls. This project is restricted by the existing structure, as the exterior materials and site would make it nearly impossible to expand the building.

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In an analysis of the Salk Institute in La Jolla, California, I identified the overarching shapes that make up the structure. Each shape serves a different purpose, such as lab space, office space, etc., while the overall shape of the building guides the eye towards the coastline.

Even abstract projects done in a class or studio have program to give guidelines for the final product. For this project, the materials and tools were predetermined and students were given a basic instruction to guide the project.

Analysis Before any changes can be made to a site, the existing site must be analyzed and surveyed. This could include marking immovables such as structural walls, elevators, or staircases, or analyzing how light and shadow interact, how people would move throughout the space, etc. For this project, I walked through the existing building to see how the space is currently divided and get an idea of what I want to change.

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Top Image: Rietveld-Schroder House, Utrecht, Gerrit Rietveld, 1924 (As built drawing by Suzanne Merchant, Jim Shi, Stephen Ru, Nicole Ratajczak) The model image below shows an analysis of the line drawing. The model was later used to analyze light and shadow in relation to the original line drawing and building providing the inspiration.

Transformation At the transformation step, the site begins to change towards the end goal. This step could be placing a structure on a previously empty site or beginning to alter an existing structure. This image shows a new plan with some walls removed to open up the space and create a more inviting area.

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Clay, being a very malleable material, is very easy to transform. In this series of images, I started with a cube and completed two transformations in sequence: stretch, then split.

Grids Grids are a quick way to add logic and structure to a site. By aligning aspects of the site along a grid, every aspect of the site can feel more cohesive and planned.

In this image, I overlapped a grid onto the proposed plan to show an existing pattern.

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Drawing a grid is an effective way to create an outline for building a model. Some materials, such as wooden dowels, make it nearly impossible to create curves or circular shapes, so a grid is especially important in developing models with restricting materials.

Grids are also incredibly helpful in guiding a hand drawing. In this charcoal drawing, I was using a model that had a clear grid, so sketching an underlying grid to trace over and darken was key to a clean drawing.

Geometry Similarly to griding, keeping a cohesive geometry throughout the site is a great way to unify different aspects. In this site, all of the individual spaces are relatively rectilinear, making for an organized plan .

This image shows the initial decomposition of the building. The primary shape in the composition is a rectangular prism, though a large cylindrical shape is a focal point at the center of the building, and a triangular shape is a point of visual interest placed on top of one of the rectangular prisms.

At first glance, the geometry of the Glass House in Sao Paulo appears to be made solely of rectangular shapes, but when given a closer look, many of the angles in the structure create similar triangles throughout the section.

Mass When thinking about the geometry of an entire site, it can help to think of the differing masses present on the site. This site includes the building where the renovation is taking place, but also includes a parking deck and a connecting building on the north side.

As a study of mass, I used household objects to perform transformations and create different masses. For this study, I used small paper cubes and rocks to show a starting point and then perform the action “scale”. I then returned to the starting point to perform the action “rotate”.

Structure Structural elements can heavily influence possible layouts of a site, especially if the project is altering an existing structure. In this image, structural elements have been darkened, including supporting walls (interior and exterior), columns used to replace and original structural wall, and a beam, also replacing an original structural wall.

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Though this breakdown of Lina Bo Bardi’s Glass House focuses on the geometry of the structure, it naturally highlights some of the structural elements, such as the columns supporting the building as the ground slopes away.

When using the decomposed pieces from the original site image, it is easy to compress the pieces to make the building’s symmetry even more apparent.

The symmetry emphasizes the structural components found in the center of the structure; in this instance, the cylindrical part of the structure.

Order Griding and geometry both play into order and help create an orderly system.

Repetition, aggregation, and hierarchy all contribute to creating an orderly and sensible system. In this image, the repetition of the rectangle shape demonstrates the underlying order of the plan.

Using the decomposition of the Denver Central Library, an underlying order becomes clear. Most of the pieces are rectangular, which draws focus towards the cylindrical structure in the center.

The Salk Institute also presents repeated shapes that give the entire site a cohesive appearance. Rectangular shapes guide the order of this structure, but strategically placed triangles guide the eye downwards towards the coastline and make the site appear longer.

Scale Scale can be defined in terms of nearly any object, but often the most useful is people. A scaled diagram is essential in understanding how people will be able to move through the space and dimensions of a space can also impact the scale of an object relative to another- for example, a building with tall ceilings might have taller doors or windows than average.

To show scale, I placed a human silhouette into two different diagrams:-Glass House and the Denver Central Library. Despite both images being the same size on this page, with a scaled figure, it is easy to compare the sizes of the two buildings and recognize that the Denver Central Library is much wider and taller.

Space The usage of space in a building is not always as straightforward as it may seem.

Even in a public building, some spaces may be considered private or service areas. In this step, I used a key and shades of gray to show how accessible a space is to the public, including circulation spaces.

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In this diagram, light gray shading indicates lab space, dark gray shading indicates office or classroom space, and the shading outside of the building itself represents pools of water inset into the concrete pathway.

While it can be more difficult to understand space from a section, overlaying the plan in this image helps give a better idea of how much space is available inside. While this is not a perfect representation of the space, it gives a different understanding of the space than having only a plan or section.

Light Light is an important aspect of any built structure, both natural light and electrical light. A well-lit space is crucial for any effective environment, but balancing natural and electrical light is key in creating a welcoming space. This image shows light entering from the north and south side, with very minimal light entering from the north side.

Because the wooden dowels of this model are so thin, the amount and angle of light on the model can give drastically different effects. In the top image, diffuse light was used, which created an overall shadow. In the bottom image, direct light was used, which cast much harsher shadows off of the model.

Movement Movement can pertain to two things-moving aspects of the structure and movement of people (circulation). Doors, windows, and elevators are all considered moving elements of a structur. Human circulation is also an important factor when deciding where to place walls and furniture. This image shows a circulation diagram of the site without any furniture.

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This circulation diagram shows human movement throughout Lina Bo Bardi’s Glass House, emphasizing the large open space at the back that allows for tons of human movement. The stairs are also included in circulation, but are involved mostly in vertical circulation rather than lateral circulation.

The plan of the Denver Central Library overlapping the section image emphasizes the circular nature of circulation in the middle of the building, while there is a more typical angular pattern of circulation in the wings of the building.

Materials Materials and color can drastically change the feeling of a space. With the ability to emphasize an architectural style or completely turn it on its head, it is important to find materials that create the desired impact. For my project, I used popular buildings of similar programs to inspire my choices for material.

Materials used in representing projects can drastically change the impact of the drawing or model. Charcoal emphasizes the light and shadow of an image. Clay can create nearly any shape when molded correctly, but is sensitive to temperature and can be difficult to work with if not handled properly. 3-D models are good for showing how shapes and structures interact with their environment.

Surface Surface and exterior appearance of a project are crucial to the experience a site gives a visitor because it is often the first impression a building gives. Color is an essential aspect of surface, especially on the interior and color combinations can play a big role in the overall aesthetic of a building or room.

Even though these two images show the same model under the same light conditions, they invoke very different reactions. The charcoal asks the viewer to be more analytical and truly observe how the light interacts with the model. However, the colored image is more playful and gives the impression of modern art more than having a clear intention like the charcoal drawing.

Contrast Contrast often refers to colors and materials, but the contrast between a building and the other building nearby is also important to consider. An architect must also decide the level of contrast they desire-- do they want the building to stand out among its neighbors, or should a visitor not be able to tell the difference between an old and new building?

This colored model image uses a triadic color palette to create a reasonable contrast that is pleasing to the eye. Shades and tints of one color can also create a monochromatic contrast that appears more cohesive.

Light and dark can also create contrast without any color at all. Utilizing the contrast between black, white, and shades of gray often creates a sophisticated and clean look.

Balance While in some instances it may be important for a building or space to stand out, it is also important that the building does not look out of place (unless that is the intention). In a single building, balance and cohesion are key. The image below shows the balance between open, public space and closed, private space, balancing the interior as a whole.

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This model is colored using an analogous color scheme, which by itself does not have much of a balancing element, but when tints and shades are included, the combination of lights and darks balances the image as a whole.

Symmetry in structures is a great way to balance masses, visually and structurally.

While the Denver Central Library’s front face does not automatically register as being symmetrical due to the eccentric colors and shapes, the pieces can easily be broken apart and put back together in a way that emphasizes the symmetry of the structure.

Infrastructure Infrastructure is often not the primary concern in the early stages of development, but quickly becomes important as the building gets closer to the fabrication stage. Architects generally work with other professionals to figure out the logistics of mechanical systems such as HVAC, fire and water. The diagram below shows a possible HVAC system for this space.

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While these diagrams do not show any traditional infrastructural systems, understanding the plan, space, and underlying grid of a structure are crucial to strategic and effective placement of such systems.

Representation Similarly to materials, different methods of representing models or projects can change the way they are interpreted. Hand drawings, digital drawings, and 3-D models all make a structure read differently, and often, multiple representations are needed to give the full effect. The image below shows an digital line drawing of the interior of the coffee shop project.

The top image is hand-drawn with pencil, which gives the image personal, slightly imperfect look.

The bottom image shows a digital drawing that appears clean and professional. Both types of representation are important and can be used to show different aspect of a project.

Prefabrication Certain elements of a project, including furniture, some facade elements, or art pieces, can be made prior to being brought to the site, making construction or installation easy. Below, I digitally constructed some furniture pieces to be included in the final rendering of the structure.

Models can often be constructed in pieces.

For this wooden dowel model, I built each face separately, then glued them together and waited for the glue to dry before continuing to add smaller details on each face.

Fabrication In the fabrication stage, the ideas and drawings come to life. All of the prefabricated elements are placed into the final structure or installation. The image below shows a digital rendering of the interior of the coffee shop with materials applied.

These images show the final model produced through the process photos show on the previous page. Using the prefabricated faces, I put the model together and added small details on each face to complete the model.

Presentation Presentation of a space, project, or drawings is key to selling your idea. A good presentation can change the way your model is interpreted and a bad presentation can make even the best idea seem undesirable. Below, I have included some furniture and finishing elements to make the rendering feel more complete.

Even with short projects with smaller deliverables, a clean and straightforward presentation is an important aspect of the project. In the OneNote submissions for ARCH 1060 projects, text and image placement is often just as important as the project deliverable itself.

Dialogue Throughout the process of a project and after completion, dialogue is key to improving in the future. The world is constantly changing, and without proper dialogue during and after projects, it is difficult to evolve and adapt practice to fit the ever changing industry,

Elements of a project can appear to be in dialogue with each other. In a symmetrical structure, the two sides seem to converse and balance each other perfectly.

Two differing images of the same model can provide a unique dialogue about the model and allows the viewer to understand one model in multiple ways.

In this example, the photograph gives a literal interpretation of the model, while the colored image emphasizes the light and shadow interact with the model.