Architectural Design Concepts Approaches

Architectural Design Concepts Approaches Dr. Yasser Mahgoub Feb. 4, 2017

Definition • A simple definition of a concept suggests that concepts are ideas that integrate various elements into a whole.

• These elements can be ideas, notions, thoughts, and observations.

• Concepts are the antithesis of notions, which do not make any pretense about being appropriate.

• A concept, on the other hand, implies appropriateness; it supports the main intentions and goals of a project and respects each project’s unique characteristics and restrictions.

Definitions of Concept • • • • • • • • • •

Idea Theory Notion Parti (French) Conception Opinion Abstraction Philosophy Belief Inspiration

• • • • • • • • • •

Image View Intention Plan Fancy Thought Impression Hypothesis Supposition … DESIGN

Introduction • Concept formulation is not an automatic activity; it takes a concentrated effort to develop a concept that appropriately integrates things not previously brought together. • Bringing things together is a creative act-one that designers, architects, critics, artists, musicians, and writers have identified as being about 10 percent inspiration or genius and 90 percent hard work.

Introduction • Concept formulation is an unfamiliar activity for most people, and students of architecture have as much trouble mastering it as they do other aspects of design.

• Three problems block skill development in conceptualizing.

– communication, – inexperience, and – generating hierarchies.

Generating Hierarchies Vision Values Concepts

Ideas Solutions Problems

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Design Reasoning / Logic Levels

Inductive Deductive Reasoning

Deductive Reasoning “from general to specific”

Philosophy Meaning Socio-Culture Experiential Function Form Structure Materials Lighting Ventilation Etc.

Inductive Reasoning “from specific to general ”

Introduction • Inductive reasoning or inductive logic, is a type of reasoning which involves moving from the specific to the general.

Inductive Reasoning from Specific to General

• Deductive reasoning or inductive logic, is a type of reasoning which involves moving from the general to the specific.

Deductive Reasoning from General to Specific

Introduction • The design process works with information and ideas simultaneously on many levels.

• Designing is a reciprocal action and reflection.

• One assembles the puzzle picture by searching for fits; piece after piece is picked up, tried, and found to be a misfit until, finally, the right piece steps into place.

• The designers mind searches memory to find elements that meet their needs of the given problem.

Shape & Dimensions Roads & Access Surroundings & View Topography & Soil Site Temperature Sun Wind Climate Humidity Sand Height Forms Colors Building Structure Technical

Solution

The Concept

CONTEXT

NEED

Site

Program

FORM & SPACE

Areas Spaces Relationships Functions Equipment Gender Number User Activities Socio-Cultural Vision Client Organization Budget Schedule

Sketches Material Variety Models Exterior Form Balance Texture Drawings Symmetry Color & Details Asymmetry Scale Renderings Interior Space Proportion Size Animations Unity Volumes Shapes Rhythm

Elements

Principles

Concept Idea Analogy Metaphor Symbolism

Maslow's Hierarchy of Needs

Introduction • Creativity comes into play and the efforts to find approaches that will be original, aesthetically satisfying, valid solutions to the problems defined through programming.

• Even experienced and highly skilled designers often find it difficult how this aspect of the design process works.

• They will say that they “think about “the problem until they are “hit by an idea”.

Steps of the BASED Design Process • BRIEFING • Site selection, Program formulation, Data collection, Examples, ...

• Analysis • Design and Project Data analysis • Identification of Objectives

• Synthesis • Formulation of Concepts and Alternatives • Communication of Concepts

• Evaluation • Review of Alternatives • Selection of one alternative

• Design • Design details • Communication media

Introduction • The design process works with information and ideas simultaneously on many levels. • Designing is a reciprocal action and reflection.

Introduction • One assembles the puzzle picture by searching for fits; piece after piece is picked up, tried, and found to be a misfit until, finally, the right piece steps into place. • The designers mind searches memory to find elements that meet their needs of the given problem.

Introduction • Creativity comes into play and the efforts to find approaches that will be original, aesthetically satisfying, valid solutions to the problems defined through programming.

• Even experienced and highly skilled designers often find it difficult how this aspect of the design process works.

• They will say that they “think about “the problem until they are “hit by an idea”.

Levels of Expression The concept should be appeal to both: • The Normal Layman • The Professional Specialist

Dimensions of Concepts Any building concept should provide: • Exterior Expression • Interior Experience

Interior

Elements of Concept Generation and Expression Function Form Materials Structure Lighting Ventilation Socio-Cultural Experiential Meaning Philosophy

Concepts Translations – Visual and Verbal

Design Forces Dr. Yasser Mahgoub

Design Forces • Designs are generated by considering the forces that are affecting the project.

• A meaningful or “Fitting” design is achieved when these forces reach a state of “Equilibrium” (a state of rest or balance due to the equal action of opposing forces. equal balance between any powers, influences, etc.; equality of effect. mental or emotional balance; equanimity)

Design Forces • Types of forces include: • External Forces can generate from: urban context (buildings, heights, conditions, character), site (topography, shape), Environment (climate, weather, sun, wind, … ), Access (streets, transportation, pedestrians, cars, parking), people ( gender, age, occupations) , functions (activities, uses)

Design Forces A

D

Design

C

External Forces affecting the design

B

Design Forces • Internal Forces can generate from: required functions and needs, orientation requirements, view, internal organization, movement and procedures, work/production processes, links to adjacent internal and external functions.

Design Forces

A B C Internal Forces generating the design

Design Forces • Generated Forces: Designs also generates forces that are expected to affect its surrounding after its completion.

Design with Forces A

D

Design

C

Forces Generated from the design

B

Generating Concepts and Design Ideas

Architectural Design Approaches • The common problem right after every project brief for all students are: – Where should I begin?

– How could I explain it?

– What are the basis for this design?

• There are several approaches to design. Here are the breakdown summary in each of these approaches.

Architectural Design Approaches

Architectural Design Approaches

Design Approach 1: Concepts

Concept - Difficulty level : Beginner

Design Approach 1: Concepts • This method is called 'Concept'.

• It is commonly used throughout the design world.

• Titles of concepts tends to lean towards a usage of a certain 'unique keywords' (or 'Bombastic Keywords') an attempt to make it more appealing for the impression that it consisted a certain uniqueness either in it's design and approach.

• This approach is a natural steps in the journey of designing and understanding design for beginners.

• However, it could also be misused as a shortcut for design with less depth into it.

Design Approach 1: Concepts • For example, after a brief visit to the site, you’ve overheard an information that the site are constantly flooded by rainfall.

• Literally, by associating these factors keyword site = (flood + rain) therefore design will be rain = umbrella, to make it more design-ish, name it, 'The Liquid Repellent'.

• Then jump right away into form.

• Take away the umbrella leg, using the shape of the umbrella from above as plan and pop in the umbrella as the main form just to 'stay in concept'.

Design Approach 1: Concepts • However, here is where the problem comes in.

• You didn't venture further in to find out what is causing the flood.

• No matter how much the liquid is repelled from the building, the flooding will continue.

• The designed building is neither solving the flood problem or considering the flood as an influencing factor to the building (for example building it on a stilts). Also cramping in all the spaces in my building for the sake of the umbrella shape, this is what we call, function (spaces) follow form.

• Sometimes it works, most of the time we end up with unused negative spaces.

Design Approach 2 : An Issue Based

Design to solve current problem at site. Difficulty level : Intermediate

Design Approach 2 : An Issue Based • If we began to address the flooding or any other problems in the proposed site and to resolved it through design - this method is called an 'issue based' approach. • Issue based could also be not just from the site but also from the problem with the current design or any other matter faced by users. • The lack of access to the disable for example, or the lack of communal spaces, etc. The attempt to improved the current condition or to resolved this issues with design is the core for the issue based approach.

Design Approach 2 : An Issue Based • To achieve the solution, we could began by comparing current ideas and solutions from other designs.

• This is known as 'precedent studies'.

• A combination of issue, precedent studies and idea in an attempt to resolved this issues will be the design.

• The name of this attempt will also be the title keyword of the design.

• Perhaps it might take more than several words, this is where choosing a holistic keyword to represents it really comes in handy during presentation.

Design Approach 3: Design Theory & Philosophies

Difficulty level : Intermediate Hard

Design Approach 3: Design Theory & Philosophies • Design Theory approach is based on an architects design philosophies and views towards the design. • In this approach, we are not addressing the raising issues in the proposed site, but perhaps it is more towards answering the project brief and requirement. • This approach seems similar to 'Concept Approach', however it is complex and requires a deeper and thorough studies and understanding.

Design Approach 3: Design Theory & Philosophies •

Consider yourself as a disciple to these philosophies because we are borrowing their theories in our path towards the design solution. • Without it (an in-depth understanding where we will be constantly challenged in our attempt towards the design solution), the produced design will be considered as a poor & vague imitation attempt towards the design solution

Design Approach 4: 2+3

Difficulty level :Expert

Design Approach 4: 2+3 • The fourth is a combination of approach no.2 and 3. • It is an attempt to solved site issues with design theory to produce a solution through our design. (this is what is required in senior/graduation projects) • Such solution could be a combination of several other theories that you feel relevant and necessary in order to resolved several raising matters regarding the site, building or space and to follow through all these theory as a problem solving guideline through the design.

Solution Finding Methods

Solution Finding Methods

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Solution Finding Methods

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Solution Finding Methods

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Solution Finding Methods

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Solution Finding Methods

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Solution Finding Methods

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Solution Finding Methods

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Solution Finding Methods

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Solution Finding Methods

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Solution Finding Methods

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Elements and Principles of Design

ELEMENTS Background Colour Foreground Form Grid Light Line Mass Material Path Plane Point Shadow Shape Solid Space Structure System Texture Type Void

PRINCIPLES Balance Contrast Direction Dominance Economy Emphasis Fragmentation Harmony Hierarchy Movement Order Pattern Proportion Repetition Rhythm Scale Symmetry Time Unity Value Variety

Concepts Criteria Summary

Concepts Criteria Summary

Mood or Inspirational Board

Mood or Inspirational Board

Concept Generators

Site Determinants • • • • • • • • • • • • • • •

Topography Climate Geography Demographic Geology History Social characteristics and conditions Economic conditions Legal, legislative and administrative conditions Location and visual aspects Land use Characteristics of man-made environment Circulation Technology Others

Physical Concepts • Location  View  Harmony with nature  Underground architecture

Cultural Factors • • • • • •

Historical factors Religious factors Social factors Economic factors Political factors Functional factors

Spatial Relations     

The pragmatic space The perceptual space The existential space The cognitive space The abstract space

Qualities of Space  Proportion  Scale  Form  Definition  Color  Texture  Pattern  Enclosure  Light  View

Visual Design Factors: Form Characteristics • Continuity  Sequence  Repetition and Rhythm  Balance: Symmetrical & Asymmetrical  Proportion  Pattern, texture and color  Hierarchy  Transparency  Direction  Motion  Time  Sensory Qualities

Visual Design Factors: Visual factors • Visual perception: – – – –

Structural approach Evaluative approach Orientation Spacescape

 Lynch 1 (Image of the City): path, node, edge, district, and landmarks  Lynch 2 (Theory of Place): Legibility, Structure and Identity, Imageability and Sequentiality

Visual Design Factors: Visual Organization Gestalt Theory (Proximity, similarity, continuity, closure)  Law of Proximity  Law of Similarity  Law of Continuity: good continuance  Law of Closure: forces of organization  Symmetry, Inclusiveness, Unity, Harmony, Regularity, Conciseness, Maximal Simplicity

Visual Organization • Figure/Ground  Surface/Edge  Outline/Object  Autonomous figures

Architectural Compositions • Unity • Coherence • Incoherence

Visual fields  Minimal heterogeneity  Proximity  Resemblance  Enclosure  Common orientation  Symmetry  Repetition

Shape, Pattern, and Form •            

Linear shape The circle The ring The organic shape The square The ellipse Star shape Hexagonal shape Rectilinear shape The grid Radiocentric shape Branch shape The organic pattern

Size (Scale) • • • • •

Monumental Bulky Minimal Human Vehicular

Color • • • •

Theory of colors Formal organization Properties Perception

Age: The traditional and the modern       

ignore respect imitate copy contrast hide away integrate

Construction • Materials  Methods  Systems      

Cast-in-situ Pre-cast Lift-slab Tunnel form Flying shutters Pre-stressed

Structure System • Bearing walls  Skeleton  Shell and Vault  Space truss  Space frame  Geodesic dome  Tent Structure  Folded plates  Verandel Girders  Verndeal Floors  Tensile Structures  ...

Arabic/Islamic Design Ideas • • • • • •

The Courtyard The alleyway and the courtyard Al Saha Al Qasabah Al Mafrouka The Islamic Star

Other Ideas • Using the hard line  Using straight and hard lines  Using straight and curved lines  The curved paths  The axis and the courtyard  The organic pattern  The cal-de-sac  The spine  The inclined axis  The irregular axis  Direction  Tilting the mass

Other Ideas • Shifting the center of the shape  The arcade  The crack  The podium  The layers  The cluster  The organic disorganic contrast  Contrast between the solid mass and the fragmented masses  Contrast between the curved solid mass and the fragmented masses  Transition in space: open, semi-open, closed  Sequence of space

Other Ideas • The frame  The rounded corners  The muqarnass

 The triangle  Parts of the octagon  Square with a circle  Part of a curve  Shapes at random  THE SQUARE  Circles  Tilted square  The octagon  Straight line with free line

Creativity & Innovation

Introduction • Creativity consists of looking at situations from a different perspective • Most of us have a creative element, we are discouraged from using it • Creativity can be enhanced

The Creative Process • Accumulate background information and knowledge • Mental incubation - doing unrelated things • Develop several alternatives • Evaluate and implement • Not a short process

Types of creativity • Invention - the creation of a completely new product • Extension - expansion of an existing product or service • Synthesis - combining several products or services into something unique

Characteristics of Creative People • • • • • • • •

Bright, not brilliant Good at idea generation Positive self-image Motivated by challenging problems Sensitive to the world around them Don’t make snap decisions Flexible Look for meaning and implications of problems

Developing Creativity • Left side of brain: – rational – linear thought – mathematical – controls speech – analytical – controls right side of body

Developing Creativity (ctd) • Right side of the brain: – imaginative – lateral thought – creative – controls left side of body

Creativity and Innovation • Creativity – the ability to develop new ideas and to discover new ways of looking at problems and opportunities.

• Innovation – the ability to apply creative solutions to problems or opportunities to enhance or to enrich people’s lives.

Can We Learn to Be Creative?

Yes!!

By suspending conventional thinking long enough to consider new and different alternatives!

Linear Creat ivit y (Logic/Knowledge) Focus Dept h Skills Hard Work

Lat eral Creat ivit y (Intuitive/Imagination)

Breadt h

I nnovat ion

Uniqueness

Analogies

Out -of-t he-Box

Non-Logic

Experience Growt h Expansion

Creative Thinkers • • • • •

Always ask, “Is there a better way?”

Challenge custom, routine, and tradition.

Are reflective.

Play mental games.

Realize that there may be more than one “right” answer.

• See mistakes as pit stops on the way to success.

Elements of Creativity • • • •

Unique (original) Valued (useful) Intent (purpose) Continuance (implementation excellence)

Increasing Personal Creativity • • • •

Read voraciously Think in opposites Look for new uses for old things Draw and keep your idea in a file or notebook

Barriers to Creativity • Searching for the one “right” answer • Focusing on “being logical” • Blindly following the rules • Constantly being practical • Viewing play as frivolous

Barriers to Creativity (continued)

• • • • •

Becoming overly specialized Avoiding ambiguity Fearing looking foolish Fearing mistakes and failure Believing that “I’m not creative”

Tips for Enhancing Organizational Creativity • • • • • • • •

Expecting creativity Expecting and tolerating failure Encouraging creativity Viewing problems as challenges Providing creativity training Providing support Rewarding creativity Modeling creative behavior

Tips for Enhancing Individual Creativity • Allow yourself to be creative • Give your mind fresh input every day • Keep a journal handy to record your thoughts and ideas • Read books on stimulating creativity • Take some time off

The Creative Process Preparation

Incubation

Implementation

Investigation

Illumination

Transformation

Verification

Failure: Just Part of the Creative Process!

• For every 3,000 new product ideas:

– Four make it to the development stage.

– Two are actually launched.

– One becomes a success in the market.

• On average, new products account for 40% of companies’ sales!!

Activities, Media, and Information in Design 1- Organization drawings explore Programmatic concerns

2- Conception drawings explore Shapes and forms 3- Fabrication drawings tend to be More definite and precise

What is Creative Design?  Combining ideas from different sources  Visual Imagination, Visual Metaphor, and Analogy  Expanding the search space

Examples

Yacht Sails Waves

Examples

Palm Trees

Examples

Horseshoe Crab Shell

Examples

Hands Clasped In Prayer

Conclusion

Conclusion • To conclude, whichever approach that we took, based it on the most important aspect of design: Problem solving.

Illustrations of Concept Examples of Sketches

From Sketch to Reality

Michael Lee-Chin Crystal, Toronto

Concept Sketches

Illustrations of Concepts

Illustrations of Concepts

Illustrations of Concepts

Examples of Drawings

End