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Received 21 October 2017; received in revised form 27 January 2018; accepted 31 January 2018
KEYWORDS Abstract
Design ideation; A framework that integrates the fragmented elements of concept derivation, processing, and
concept generation; translation is developed and discussed. This framework aims to consolidate the divergent
design systematiza- components of design conception into a comprehensive system that facilitates design
tion; conceptualization, initiation, and integration of various concept evolution phases, components,
idea concretization;
layers, and aspects. Accordingly, the framework describes a comprehensive approach based on
concept objectifica-
a series of alternating divergence/convergence cycles. Subsequently, the approach encom-
tion;
concept consolida- passes a concept evolution process, derivation methods, aggregation/segregation technique,
tion; translation channels, and development layers. Each of the major divergent phases of the
design management framework consists of eight parts. Furthermore, the skills and tasks associated with framework
implementation are mapped into the main processing phases. The scope of this study is
architectural design in higher education and practice. To demonstrate its applicability, the
framework is implemented and illustrated by a case study. Reflections about its implementation
and limitations are reported and discussed.
& 2018 The Author. Higher Education Press Limited Company. Production and hosting by Elsevier
B.V. on behalf of KeAi. This is an open access article under the CC BY-NC-ND license
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https://doi.org/10.1016/j.foar.2018.01.003
2095-2635/& 2018 The Author. Higher Education Press Limited Company. Production and hosting by Elsevier B.V. on behalf of KeAi. This is an
open access article under the CC BY-NC-ND license (http://creativecommons.org/licenses/by-nc-nd/4.0/).
Concept evolution in architectural design: an octonary framework 181
toward the future. In addition to the element of appropri- 1.4.3. Concept generation techniques
ateness, which was also addressed by Runco and Jaeger As a more specific version of the previous section, concept
(2012), the element of “surprise” is also associated with generation techniques represent the main concern of
creativity (Howard et al., 2008; Newell et al., 1962). Jensen et al. (2009), who defined six techniques of concept
Measuring creativity in concepts and products is not an generation as follows.
easy task. Two of the most common methods for measuring
creativity are divergent thinking and creativity trait tests 1. A modified 6-3-5 technique that combines a morphologi-
(Jensen et al., 2009). In these tests, divergent thinking is cal analysis of the 6-3-5 directed brainstorming. In this
considered a process that allows for various, oftentimes technique, repetitive rounds of brainstorming sessions
seemingly unrelated, streams of thoughts that produce are organized. In each session, a team of six persons
innovative solutions to a given problem. Different from meets to solve a problem. Each member is asked to
divergent thinking's focus on the process, creativity trait generate three concepts for the solution in text and/or
testing is concerned with humans and mainly based on the sketch within a short period of 5–15 minutes. The results
hypothesis that persons who are creative share a common of the first session are rotated within the team, where
set of personality traits (Jensen et al., 2009). each member modifies the previous solution. This rota-
tion is repeated as needed until new concepts start to
emerge.
1.4. Concept processing 2. Transformational design using mind-mapping. This
method produces new products by changing their existing
The three abovementioned areas are concerned with con- states to provide a new functionality.
notations and associations of concepts; however, concept 3. A design by analogy technique using a WordNet-based
processing is more intrinsic. It highlights the concept search procedure. WordNet is a technique for the
evolution act itself. Its major focus is on the derivation systematic classification of analogies based on the
processes, methods, techniques, selection, and translation semantic representation of functions.
into products. These components are discussed in the 4. Far-field analogies. A search for cross-domain or far-field
subsequent sections. analogies that may use designs in one discipline to inform
solutions in another.
5. Principles from historical innovators. Implementation of
1.4.1. Concept generation
creativity principles as captured from extraordinary
In terms of concept derivation, Taura and Nagai (2013)
historical innovators to inform the concept generation
classified concept generation into two main phases, namely,
of new product designs.
problem- and inner sense-driven phases. Cross (1997)
6. Theory of inventive problem solving. It consists of a set of
described the relation between the two phases by defining
principles that can be used to inspire creative solutions
concept emergence as a perceptual act that leads to a
to conflicts in a design based on a study of thousands of
creative leap or as a bridge between design problem and its
previous patents.
solution. Taura and Nagai (2013, 13) based their classifica-
tion on two factors, namely, basis of concept generation and
ability that enables concept generation to proceed. This
categorization is similar to that proposed by Sternberg and 1.4.4. Concept evaluation and selection
Lubart (1999), as discussed in the previous section. In Several research works have highlighted the stage of con-
addition, when Taura et al. (2012) studied creative concept cept evaluation and selection as a major design activity by
generation in design, they analyzed the patterns in the itself. Among these, Toh and Miller (2015) proposed that
process that led to creative design ideas. These patterns concept can be generated by brainstorming, selection, and
represent explicit and inexplicit concepts that form, when evaluation tasks. They noticed that an improved quality of
continuously intertwined at the abstract level, an effective results is produced when concepts are generated by teams
thinking process that results in creative design concepts. as compared to individual products (Toh and Miller, 2015).
Furthermore, Pressman (2012, 12) linked concept genera- The process of concept selection, which is based on the
tion with design processing by proposing a designing cycle satisfaction of prescribed design goals and criteria, has been
that has three major “I” phases, namely, inspiration, viewed by several researchers as one of the most elusive
ideation, and implementation. Among these phases, idea- and challenging tasks in engineering design (e.g., Pugh,
tion is mainly concerned with concept derivation as a 1996). Concept selection is described as a convergent
linkage between inspiration and implementation. process that consists of the evaluation of proposals and
the selection of candidate ideas (Nikander et al., 2014). It
occurs directly after concept generation when the designers
1.4.2. Concept generation methods are expected to assess various ideas and select the concepts
A major area of scholarly research on concept-related areas with most potential and promise to move forward in the
is represented by concept generation methods. Taura and design process (Kudrowitz and Wallace, 2013; Ulrich et al.,
Nagai (2013, 42) described three of these methods as 2011). Although several selection methods are essentially
follows: 1) property mapping from one object to another, based on informal processes of evaluating and selecting
2) blending of two or more concepts, and 3) concept concepts (e.g., Lopez-Mesa and Bylund, 2011), others are
integration in thematic relations. However, despite the formalized to help designers make informed decisions
significance of this area, it is still considered under- during this process (e.g., Pugh, 1996). A few of these
researched. concept selection methods are based on assigning attribute
Concept evolution in architectural design: an octonary framework 183
values to each generated concept and then comparing and of the theoretical models on certain concrete examples.
contrasting the concepts to reach the “optimal” solution to Meanwhile, the ontological assumption underlying the sec-
the design problem. ond methodology is that abstract knowledge is embodied in
actual cases.
1.4.5. Concept translation and development This study mainly aims to contribute to the enhancement
Concept translation represents another major stage in the of the knowledge body in design conception, and make
design process. Tomes et al. (1998) addressed this stage and concept derivation, and early design management and
discussed the translation from verbal interpretation to development processing easy to follow and teach. Its main
visual representation and expression. In this context, they objectives are to externalize and systematize concept
considered that the main goal of the design process is development and provide an alternative to heuristic-based
represented by the acceptable visual translation of the conceptualization methods that can be added to existing
design brief. The translation methods are not sufficiently ones.
addressed in the design literature.
3. Octonary concept-processing framework
2. Research design
Selecting a concept for a given design is a difficult decision. It
affects multiple significant subsequent decisions that influ-
Most conceptual design processing phases are addressed
ence not only the resultant product but also the entire design
independently in the design literature. However, a compre-
process. In academia, such a selection is increasingly difficult
hensive theoretical construct that combines components,
for students who have yet to develop their methods or styles.
processes, methods, and approaches for concept derivation
To help systematically initiate concept generation, approach
in design has yet to be proposed. Hence, a framework that
design problem solving, and stimulate innovative ideas, a
addresses and connects these aspects is introduced and
framework for concept processing is introduced and devel-
developed in the present work. This framework consolidates
oped. It consists of an approach, a process, a technique,
various concept processing stations, derivation methods,
methods, phases, and stations (Fig. 2). In this approach,
translation channels, design development aspects, and
which will be referred to as “exploring and sequencing,”
implementation techniques into a whole integrated system
each step expands horizontally to traverse options and
of design conceptualization. Furthermore, the framework
exhaust alternatives. The horizontal exploration step that is
structure and detail fill a number of research gaps in the
used to probe details is followed by a vertical one that
pertinent literature. Each of the major elements of the
assembles the results of the previous step to present an
framework consists of eight categories; hence, it is called
output that becomes an input for the next cycle. This latter
an “octonary framework.” The framework aims to associate
step is used to develop a detailed succession of phase series
the various constituent components to facilitate ease in
in the management process. The technique presented in this
concept derivation and concretization in terms of approach,
approach is “aggregation and segregation,” which is based on
following, and teaching.
alternating cycles of convergence and divergence. The
Concept derivation in design is perceived as an intuitive
process consists of eight phases, each of which represents a
activity, the knowledge of which is mostly intrinsic and
part of a cycle and characterized by being either divergent or
implicit. Subsequently, its latent ontological existence, as
convergent. Each of the main divergent phases consists of
well as its indirect epistemological approach, makes con-
eight components that describe the methods, channels, or
cept-related knowledge difficult to locate and follow. To
layers, which are illustrated by the highlighted phases of the
overcome this difficulty, the proposed framework is formu-
process in Fig. 2. In the figure, the ellipses represent the
lated to address the systematization of concept derivation
main stations, from which the process diverges to explore
and concretization, and knowledge externalization.
options, whereas the chamfered rectangles represent sources
This study is based on two main methodologies, namely,
that need consolidation to form the main output stations.
interpretative and case study methods. The first is applied
The highlighted phases will be discussed in detail because of
to the development of a conceptual model for concept
their significance to design processing and their derivative
processing. It is based on information visualization to
predisposition.
demonstrate the management structure of concept proces-
Notably, the eighth items in the stages that are not
sing. The epistemological assumption underlying its con-
highlighted in the framework, such as research and select,
struct is that knowledge is gained through a fusion of the
are not deterministic. The illustration is only an example.
cognitive visualization of reality and rational reasoning
Similarly, although the framework structure suggests a
about that reality. The ontological assumption is that
process, its sequence is indeterministic. Its steps are
knowledge is created by developing alternative interpreta-
flexible to re-order, recursive to repeat as needed, and
tions of reality to help understand its real setting. In both
adaptable to re-prioritize as the designer requires.
classes of assumptions, the resources of this reality are
represented by inference from the existing literature, as
cited in Section 1, and the professional and academic 4. Concept evolution process
experience of the author.
The second methodology is used to implement, test, and A design concept can be developed using an eight-phase
reflect on the framework developed using the former process. This octonary process is illustrated in the rectangle
method. The epistemological assumption underlying its in right panel in Fig. 2. It represents an automaton that
construct is that knowledge is gained through an application transforms the contents of the stations at the middle part
184 B. Eilouti
Figure 2 Overall structure of the octonary framework of concept evolution in the design.
4.2. Research
4.5. Proposal selection The previous step produces various concept components
that are translated from the formulated concept into output
Based on the evaluation of concept alternatives, a concept channels. These components should be grouped according
or a combination of concepts should be selected and to various requirements. The main competency needed in
refined. This phase is convergent and tends to aggregate this phase is synthesis to aggregate the components of the
alternatives in one or a hybrid composition of multiple previous phase into a design prototype.
precepts.
186 B. Eilouti
The concept aggregated in the previous phase needs to be As in the previous method, a list of keywords is also needed
refined and developed into an applicable design. The in this step. Analogy focuses on external appearance and
components of this phase will be further discussed in forms, metaphor focuses on meanings, connotations, emo-
Section 7. tions, and implications. For example, in designing a library,
A set of eight competencies and another eight areas of the users’ definition of knowledge may ignite thoughts of
focus are associated with this model and ascribed to its enlightenment, exploration, or discovery. In the first step, a
elements (Fig. 3). The competencies should be moved from concept may be based on providing an overwhelming
one station to the next. These steps require knowledge, indirect light throughout the project to express knowledge
skills, and abilities, such as inquiry, analysis, visualization, as a source of light for minds. In the second and third steps,
reasoning, decision making, modeling, synthesis, and opti- the design may combine linear paths of search/exploration
mization. In each phase, each lens of focus magnifies an and central spaces of discovery or finding. Consequently,
area of concentration. The focus areas consist of research the design needs to provide strong contrast between the
questions, relevant data, ideas, potential solutions, propo- elements that express mystery and those that express
sals, concepts, prototypes, and design products. discovery. An example of design that attempts to model
The eight-phase processing cycle may be repeated as meanings was introduced in an experiment, in which a chair
needed for sub-problems that may emerge during the that expresses sadness was designed (Nagai and Noguchi,
process and require additional particular precepts or con- 2003).
cepts. Three phases, namely, concept derivation, transla-
tion, and development, of the framework will be discussed
in detail in the following sections. Each one consists of eight
components or layers. The remaining phases are self- 5.4. Experience
explanatory.
This method emphasizes the experience that potential users
5. Concept derivation methods of the building at hand expects or desires to live. For
example, a concept may highlight the transition from reality
This section represents the third phase of the model to dream once a user enters the designated building.
presented in the previous section and illustrated in Fig. 3. Another example may generate a design that expresses a
Producing a design concept represents the major impetus journey into the future which, takes the users in a time
that drives the entire design process. It influences multiple machine into the world after 50 years.
aspects and phases of design. Thus, the design process is
recommended to start by deriving a concept parallel to the
functional analysis of the problem at hand. A concept may
5.5. Symbolism
be derived using one or more of the following eight methods
(Fig. 4; Eilouti, 2018).
A design in this method relates its elements to traditional,
conventional, or cultural symbols. It uses the language of
5.1. Theme memory (e.g., Norberg-Schulz, 1965) to remind users of
another well-known datum or reference. For example, a
This method is launched by selecting a novel, story, movie, library may use elements of design from a temple to
painting, poem, or song to initiate and develop a concept. symbolize the sacredness of knowledge. As such, it may
Subsequently, elements of the selected theme are used to employ domes, minarets, and/or religious ornamentations
organize the topological layout of the spaces and the that are associated with sacred buildings to convey a feeling
aesthetic morphology of the masses of the building at hand. of holiness. In some cases, the number of elements, such as
For example, the entire design may be based on “Sinbad the number of galleries and minarets in the Suleymaniye
Travels,” where the sequence of travels may be used to Mosque, is employed to symbolize specific persons (Eilouti,
inform the sequence of spaces. In addition, the flying carpet 2017).
and head turban may inspire the shapes and forms of
façades and masses. Selecting a theme is generally related
to the building function, context, typology, users, commu-
nity, culture, or desired goal. 5.6. Context
5.2. Analogy Design ideas may be derived from the direct or indirect
contexts of the design to be either in harmony with or
A designer in this derivation method is asked to list key- contrast to the surroundings. The context can be geo-
words related to the typology, function, or philosophy of the graphic, temporal, or cultural. For example, if the building
project at hand. The designer is then asked to think of of interest is in a historic district, then a design scheme may
shapes or forms related to the most inspiring keyword/s in derive its clue from the historical background of the urban
the list. For example, if the project is a library, then setting of the project or provide a style that is completely
inspiration may be derived from paper shapes, books, pens, different to make the design stand out as an independent
or colorful magazines. unit with a unique identity.
Concept evolution in architectural design: an octonary framework 187
The drive behind a design in this method is based on This item is referred to as a “what-if” simulation method.
geometry, materials, technology, landscape, or blending The design may start by imagining a major event that may
various existing concepts. An example of the first is a design take place in the building. For example, in designing a
that manipulates triangles or circles in different transfor- shopping center, a scenario could be construed for an annual
mations, namely, scales, transmissions, and rotations. The shopping festival with competitions and prizes. This sce-
second may generate compositions entirely made of adobe nario requires the design of plazas that accommodate social
or recycled materials. In the third, a project may be based gathering and interaction. It also needs an efficient design
on the interaction between users and spaces by providing of easy accessibility, smooth circulation, clear egress, and
responsive façades that employ technology and artificial direct memorable way-finding solutions.
intelligence to interact with users. In the fourth, the entire
project may employ internal landscaping elements, such as
6. Concept translation
vegetation and water to define the spaces and connect the
constituent components. In the fifth, two or more existing
The sixth phase of the model of concept evolution pre-
concepts may be merged to produce a new hybrid (e.g.,
sented in Section 4 and illustrated in Fig. 3 is concerned
Nagai et al., 2009)
with translating the concept of interest into design compo-
nents. In this regard, the concept functions as a connector
or nexus among all design elements to convey the philoso- recurrent for novice designers. However, this tendency is
phy and manifest the statement of the design. Additionally, not recommended in a good designing praxis. The style
it aims to keep the design ingredients coherent and should not be the starting point. Instead, the concept
consistent. A successful design concept is expressed in the statement should suggest which style to adopt. For exam-
geometry, layout, color scheme, style, surface treatment, ple, if the concept is a trip to future, then a proper style
systems, landscaping, and even in the project logo and would be high-tech or deconstruction to express futurism.
graphic design. Providing integrity throughout the various Similarly, if the concept is a journey to a jungle, then the
spaces and forms is essential in building design. However, style can be critical regionalism, blobitecture, or brutal-
achieving integrity does not mean repetition of shapes. This ism. In terms of translation, style is usually reflected by the
balance between unity and variety represents a critical internal and external formal languages of a design composi-
criterion to be considered in the design. As generated by tion. As such, the interior design, massing configuration,
one of the abovementioned derivation methods, a concept and façade treatment can manifest the designated style.
should be translated into the following eight channels of
design (Fig. 5; Eilouti, 2018). 6.5. Surface treatment
The graphic representation of a project provides another These factors concern the connections between a building
opportunity to express the design concept. It may use the and its natural and man-made surroundings. They composed
geometric elements applied in the building itself. Further- of external forces that affect site planning and urban fitting
more, it may use the same color scheme used in the surface considerations that impact the building's relation to its
treatment of the building façades. If a logo is required for environment.
the building, then reflecting the concept in an abstract,
minimalist, and expressive graphic representation is also
desirable. 7.4. Human factors
7.2. Functional factors These systems are related to the incorporation of passive
and active ecological ones, such as natural, artificial,
The domain of human factors comprises space dimensions, signage, safety, and security schemes into the building
spatial and topological relations, efficient circulation solu- design. The first provides solutions for the environmental
tions, and accomplishment of the positive interface conditions, such as passive natural lighting and ventilation
between humans and their environments via view, ventila- systems. The second consists of active engineering systems,
tion, and natural light exposure of building spaces. such as the structure, HVAC, energy provision and conserva-
tion, water distribution, electrical, mechanical, and sewage
networks. The third encompasses all internal and externals
signs that are added to facilitate way finding. The fourth
covers the safety and fire-resistance systems. The fifth is
related to security assurance in the building using auto-
mated surveillance, cameras, and entry control solutions.
9. Case Study
9.2.7. Landscaping
9.2.2. Layout The harmony between morphology and landscaping scheme
The juxtaposition of cells in relation to one another also is clear. Both are based on non-uniformly transformed
emphasizes the generative concept. The transformed hexa- hexagons; one is three-dimensional, whereas the other is
gons are configured in a manner similar to that of fiber two-dimensional (Fig. 11g).
structure in a tree leaf or as units of honeycomb that
complement and support one another. In the two- and 9.2.8. Logo
three-dimensional forms, the language is kept homogeneous The logo design of the project uses the same geometric
in plans, façades, sections, and massing (Fig. 11b). entities that are employed in the plan configuration and
façade composition (Fig. 11h). It abstracts the hexagons 9.3.1. Aesthetic aspects
into their primitive components as triangles and clusters The two-dimensional geometric shapes and three-dimen-
them in a radial composition that imitates the plan layout. sional forms, parametric repetitive rhythm, proportions,
scale, hierarchy, and order are influenced by the cell
structure that exhibits a delicate balance of unity and
9.3. Concept development variety. The dynamic shapes in the planimetric language is
extended to the volumetric treatment of the masses, which
After translating the concept into various design elements, are modeled as hexahedra prisms instead of mere perpen-
it is developed into a building design by incorporating dicular extrusion of planar hexagons (Fig. 13a).
various layers as follows (Fig. 12).
Concept evolution in architectural design: an octonary framework 195
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