Muhammd Saiful Rafif

5013201096

Example 1

First, if there isn’t already a set of identified patterns, the rules that govern the formation of the type
group will need to be generated – those things which make this particular use identifiable. A collection
of as many examples of the type group as possible will be gathered to create a sample group
(exploratory thinking). The SITUATION/TYPE phase is not necessary if the rules of a type or a pattern are
already accessible or have been identified by some other means.

CONTEXT/ELEMENTS/PARTS

Compiles the elements to parts through both exploratory and evaluative processes. Exploratory thinking
addresses each rule and begins to ask what variations are possible while still meeting the rule’s
intentions. The exploratory thinking develops clouds of possibilities for each individual rule. The rules
and expansive clouds provide the options for the designer to use as the engine of the design process.
The diagrams can get more particular and detailed as long as the information stays focused on principles

SELECT ALTERNATIVES implies that a commitment needs to be made. Since we know that any of the
alternatives will work well because they all satisfy the type rules, the commitment is a case of finding
the potential between the various elements.We are looking for ways that one formal typological pattern
reinforces another almost as a bonus or an afterthought.This is what we mean by synthesis

Example 2

The second example uses the same underlying process, moving from reduction (SITUATION/TYPE) to
deployment (CONTEXT/ELEMENTS/PARTS) and then repetition (ASSEMBLY/PROPOSAL), using
exploratory and evaluative thinking styles. However, this example focuses on developing a module for
repetition in order to form a building, rather than applying patterns at a full building scale.The building
type is the warehouse as it allows the ability to ignore specific programme at the moment.

[CONTEXT/ELEMENTS/PARTS] There are no explicit case-study analyses or formal comparisons in this

example as there was starting content accessible which fulfils the need for SITUATION/TYPE and
ISOLATE PATTERNS. Due to preloading the process with starting information, the project starts at the
CONTEXT/ELEMENTS/PARTS phase. If this were not the case, then another way to isolate patterns in a
building type would be employed, such as using reduction through questioning.

[ASSEMBLY/PROPOSAL] Moving to the exploratory thinking during the ASSEMBLY/PROPOSAL stage, the
level of detail is different from the previous. Instead of diagrams, there is the beginning of an architec-
tural proposal. The proposal is still very schematic, probing possibilities as it might be necessary to
abandon a line of enquiry depending on other choices that are made as part of the design process.

Example 3

In the Villa DVDP project, typology is employed as a form of urban-to-architectural pattern transfer.
Instead of mapping principles of pre-existing spatial configuration of family residence to form a variation
of the same type (residence to residence), the designers used typological patterns as a way to transfer
principles of use from one type to another (urban centre to residence). Since the transfer involves a shift
from the urban to the architectural, there is also a mapping between scales. This example shows that it
is possible to isolate patterns from something other than case-study. In addition, it highlights that
experienced designers rarely go through the exhaustive exercises of a formal comparative case- study
 Muhammd Saiful Rafif
5013201096

analysis. Instead, they pull from their experience and observations of past conditions, building up a
nuanced understanding of the environment. In the first phase of this example, Seys and D’Hooghe
identify patterns by engaging their knowledge of urban composition combined with the desire of their
client.

There are four public spaces choose by the client, a square, an intersection, a public building, and a
shopping street – were selected after the clients identified parts of Leuven that they liked as well as
spaces ‘that, together, are representative instances of Leuven’s public space apparatus. Than the
architect make a reduction what are the four spaces function that can use to the villa. The square is
defined by its edges and is a void for entry into a city heart. The intersection is rich in circu- lation,
implying a complex weave of several scales and speeds of movement. The public building sets up a
forecourt, a foreshadowing of monumental façade, and a place for gathering.The shopping street
operates as containers projecting outwards into the street, reinforcing issues of visibility, exposure, and
display.

The second type of reduction is formal in nature and develops the patterns which will be applied as the
typological response the reduction is labelled ‘urban scenes → formal abstraction → essentialization

The final phase of the method finalized the relationships among the building parts, refining their
associations and integrating them into the site