ARC 082 :

THEORY OF ARCHITECTURE 02
PREPARED BY : ARCHT. DOROTHY P. CASTRO, UAP
UNIVERSITY OF PANGASINAN –PEN
COLLEGE OF ENGINEERING & ARCHITECTURE
1.0 ARCHITECTURAL
DESIGN PROCESS AND
METHODOLOGIES
WHAT IS DESIGN PROCESS?

▪ An architectural design process is essential

in providing a series of steps so that you end
up with the best architect designed house
for you.
▪ The activity of architectural design is consist
of certain kinds of tasks done is specific
order. 3
WHY IS THE DESIGN PROCESS IMPORTANT?

▪ The architectural design process is important because

the design of a house is complicated.
▪ There are many things to consider in a home, and you
want to get it right.
▪ The architectural design process means that you don’t
overlook any critical aspects in the design of your
home.
▪ It also helps communicate the intention of the house
design 4
WHAT ARE
DESIGN
PROCESS?

5
PRE –DESIGN /
PD
PROGRAMMING
▪ The first objective is to get-together with a client
and determines overall project vision and goals.
▪ In this phase, we carry out
▫ Client consultation
▫ Existing conditions survey and
documentation
▫ Photographs
▫ Measurements
▫ Compile existing drawings if any
▫ Prepare high-level base drawings
▫ Statement of probable build/construction
cost
▫ Programming space and use
▫ Code review
6
▪ Duration: usually 2-4 weeks
SCHEMATIC DESIGN SD

▪ In this phase, we do series of rough

sketches/drawings that illustrate the basic
concepts of the design
▪ Duration: usually 4-8 weeks
▪ At the end of this phase, we deliver
▫ Floor plans of all levels with generic
openings and plumbing fixtures
▫ Exterior building elevations with
representative openings and finishes
▫ Building cross-section
▫ Typical wall section
7
DESIGN DEVELOPMENT DD
▪ This phase involves finalizing the design and specifying
items such as materials, window and door locations and
general structural details.
▪ Duration: usually 8-12 weeks
▪ At the end of this phase, we deliver
▫ Floor plans with a proposed basis of design openings
and plumbing fixtures
▫ Overall dimensions
▫ Structural grid dimensions
▫ Interior wall dimensions
▫ Exterior elevations with a proposed basis of design
openings and finishes
▫ Additional building sections
▫ Wall sections at all typical conditions
▫ Typical details
▫ Additional details to establish a basis for design
products 8
CONSTRUCTION
CD
DRAWINGS
▪ By now we have a final design. We can begin preparing
construction drawings/blueprints, notes, and technical
specifications necessary for bidding, construction, and permit
application.
▪ Duration: usually 8-12 weeks
▪ In this phase, we deliver
▫ Floor plans fully annotated
▫ All dimensions
▫ Room, wall, door, and window identification
▫ Section and detail indicators
▫ General notes and detailed notes
▫ Exterior elevations fully annotated
▫ All building sections required for construction
▫ Wall sections at all conditions
▫ Details fully annotated
▫ Structural plans, details, and notes
▫ Plumbing plans, schedules, details, and notes
▫ HVAC plans, schedules, details, and notes
▫ Electrical power and lighting plans, schedules, details, and9
notes
ADDITIONAL PROCESS
BUILDING PERMIT PHASE
▪ At this point, the architect must
submit the permit set of drawings
as part of a larger permit
application.
▪ The city or county reviews the
submittals for structural integrity
and adherence to zoning laws and
building codes.
▪ Duration: usually 12-24 weeks
(varies widely)
BIDDING AND NEGOTIATION
PHASE
▪ If the building is a design-build
project that is designed and built by
the same firm, there is no need to
field bids from construction
contractors.
▪ If no contractor comes pre-
attached, the client and the
architect interview contractors and
solicit competitive bids.
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▪ Duration: usually 3-6 weeks
CONSTRUCTION
CA
ADMINISTRATION PHASE
▪ Finally, the construction is underway.
▪ During this phase, we will build as per the
design intent. Also if there are any changes,
we discuss changes and options with the
owner.
▪ It ensure that alterations are compatible
with owner’s vision for the project.
▪ This is the last phase and at the end of this
phase, a project is ready for the
use/occupancy.
▪ Duration: concurrent with constructi on ti
meframe 11
THE PROCESS SHOULD INVOLVE THE
FOLLOWING STEPS :
1. ASSEMBLE THE TEAM 3. BUDGET AND COST CONTROL

• At the outset of the project there should be

• critical to all the success of any project.
a scheduling or at least a tentative assembly
of efficient architects and consultant who
identify the project's scope and purpose.

2. CLEAR COMUNICATION 4. STAYING IN TRACK

• The communication should be • Hold regularly-scheduled job

always available for any enquiry of progress meetings with the Owner’s
the different involves, especially for Representative and contractors.
the owner or their representative/s. 12
ARCHITECTURAL FEES

1. Schematic Design 15% of

Architectural Fees
2. Design Development 20% of
Architectural Fees
3. Construction Documents
40% of Architectural Fees
4. Bidding 5% of Architectural
Fees
5. Construction Observation
20% of Architectural Fees 13
ARCHITECTURAL PROGRAMMING

▪ The process of managing information so that the

right kind of information is available at the right
stage of the design process and the best possible
decisions can be made in shaping the outcome of
the building designs.
▪ Two main areas of concern:
▫ Analysis of the existing state ;
▫ Projection of what the future state should be
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PROGRAM DOCUMENT
EXISTING STATE FUTURE STATE

• The setting cultural, social, political, • Mission

historical and economic • Goals
• Physical Conditions/ Site data • Performance Requirements
• Geography and climate • Concepts
• Archaeology and geology
• Client user profile
• Demography, organizations
• Needs and behavior constraints
• Legal, Financial and technical
• Market

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PARTS OF AN ISSUE-BASED PROGRAM

▪ ISSUE – any matter, concern, question, topic or situation

that demands a design in order for a building project to be
successful for its clients and users.
▫ Checklist of Issues :
▫ Audibility
▫ Behavioral settings
▫ Circulations
▫ Comfort
▫ Convenience
▫ Durability 16
PARTS OF AN ISSUE-BASED PROGRAM

▪ FACTS - this are objective, specific and verifiable by some

observation.
CONTEXT SITE USERS
Cultural Climate and Air quality Activities
Demographic Geography and hydrology Age Group
Economical ethical Geology Anthropometrics
Political Social Topography vegetation Organizations
Facilities and Utilities Disabilities
Access, Visual and Resources Perceptual Abilities
Codes Personalities
Roles
Values

17
PARTS OF AN ISSUE-BASED PROGRAM

▪ VALUES- different building types require different design

responses for the same issues based upon the values of
different users and the needs of different activities.

▪ GOALS - a statement of intention.

▫ PROJECT GOAL - goals that relate only to the outcome of the
project.
▫ MISSION STATEMENTS - the overall purpose
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PARTS OF AN ISSUE-BASED PROGRAM

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PARTS OF AN ISSUE-BASED PROGRAM

▪ PERFORMANCE REQUIREMENT- a statement about the

measurable level of function that a designed object, building,
or place must provide for a good to be met.

EXAMPLE :

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PARTS OF AN ISSUE-BASED PROGRAM

▪ CONCEPT- a statement of an ideal set of relationships among

several of the elements under an architect’s control.
▫ THE REQUIRED STATE PROGRAM :
▫ Design Philosophy
▫ Overall Concepts
▫ First ideas about building morphology
▫ The Concept Breakdown
▫ The Translation Guidelines

21
DESIGN STAGES

BASED ANALYSIS SYNTHESIS

INITIATION: Problem PREPARATION: Collection Proposal-making: synthesis,
Identification and analysis of information bringing together a variety of
considerations

DESIGN
EVALUATION
ITERATION:Cycles, Feedback The finer details
of how materials will relate to one another,
Based on goals, This development will
connections between elements, will all be
proceed through to technical design,
considered at this stage, as the design is
as the finer details are established.
prepared for construction. 22
ARCHITECTURAL DESIGN
METHODOLOGIES
▪ Systematic method of problem solving
▪ Builds upon the concept by helping to make the best
use of the design tools acquired in creativity
▪ Involves a systematic breakdown of a body of
knowledge into its workable parts

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ARCHITECTURAL DESIGN PARADIGM

1. PRESTATEMENT 2. PROBLEM STATEMENT

▪ This is a statement ▪ you don’t write the problem until after you
of the problem that have determined the problem. First proceed
you, the designer to step 3 and gather “information” and then
will have to resolve. you can state the true problem.

3. INFORMATION -
▪ At this stage you meet the people involved in the project, observed them, talk to
them, and sometimes get to know them.
▪ Record all of the information you will eventually use from:
▪ Literature
▪ Experienced Persons 24
▪ Observation
ARCHITECTURAL DESIGN PARADIGM

4.ANALYSIS 5. SYNTHESIS
▪ After completion ▪ The conceptualization of your project’s solution
of information in a graphic manner
search, you can
begin to analyze
your data. 6. EVALUATION
▪ The evaluation of a project may take place at different
▪ This is a “think times.
stage” and so do ▪ To evaluate a project before it is constructed, ask
not conceptualize yourself questions similar in style to those examples
the total solution listed below:
here.
▪ 1. Does the space accommodate twenty six students in both
physically active and sedentary activities?
▪ 2. Is the space flexible?
▪ 3. Does the space contain a variety of teaching aids and areas?
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▪ 4. Are outside destructions minimal?
7 MAJOR ARCHITECTURAL SERVICES

1. Pre-Design Services
2. Design Services
3. Specialized Allied Services
4. Construction Services
5. Post Construction Services
6. Comprehensive Architectural Services
7. Design-Build Services
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Pre-Design Services

▪ Economic Feasibility Studies

▪ Project Financing
▪ Architectural Programming
▪ Investigating, identifying and documenting the needs of the
client for use in the design of the project
▪ Promotional Services
▪ Site Utilization and Land-Use Studies
▪ Space/Management Studies
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ARCHITECTURAL
RESEARCH
▪ Related Literature
▪ Interview/ Consult with
Experienced Persons
▪ Observation

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THINK STAGE

▪ Compartmentalizing
the problem + solutions
▪ Partials solutions
▪ Combine solutions

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 THINK STAGE
CONCEPTUALIZATION

▪ In a graphic manner
▪ All drawings, sketches,
verbal descriptions,
models, other visuals
that relate to the
project belong here

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 THINK DESIGN
ARCHITECT’S STAGE
SERVICES

Regular Services
1. Schematic Design Phase
2. Design Development Phase
3. Contract Documents Phase
and
4. Construction Phase

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2.0 ARCHITECTURAL DESIGN
CONCEPTUALIZATION AND
TECHNIQUES
“ Architectural production
is a process that includes
the stages of thinking,
designing and drafting.
This process starts with
the development of a
“concept”
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WHAT IS CONCEPT?
▪ an abstract idea a plan or intention
an idea or invention to help sell or
publicize a commodity idea,
notion, theory, conviction,
opinion.
▪ Architectural concepts are the
designers way of responding to
the design situation presented to
them. They are a means of
translating the non-physical
design problem into the physical
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building product
WHAT IS ARCHITECTURAL CONCEPT ?

▪ Architectural concept is used to help

generate a response to a given design based
scenario, by addressing the projects brief,
context, restrictions, issues, use and
structural requirements.
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 ARCHITECTURAL CONCEPTS

DESIGN PROBLEM DESIGN SOLUTION

BIG IDEA FUNCTIONAL ZONING
BASIC FRAMEWORK ARCHITECTURAL SPACE
CIRCULATION & BUILDING
PRIMARY ORGANIZER FORM
RESPONSE TO CONTEXT
BUILDING ENVELOPE
ECONOMY 36
WHERE DO ARCHITECTURAL CONCEPT COME FROM ?

▪ Site
▪ Program (Functional Reqt.)
▪ Socio-Cultural Aspect
▪ Technologies and Materials
▪ Methods
▪ Influence and Philosophies
▪ Users
▪ Movement ,Spaces and Form
▪ Emotions
▪ Precedent Research
37
DIFFERENT APPROACHES TO DESIGN CONCEPT

▪ There are several areas the designer may focus on at the early stages of
design that will begin to inform the concept and direction. These areas may be
drawn upon throughout the project, weaved into one another, as the project
develops.

▪ The approaches is categorized as follows :

▫ Functional
▫ Material
▫ Contextual
▫ Conceptual
▫ Formal
▫ Collaborative
▫ Philosophical 38
FUNCTIONAL

▪ Should we approach the design with

function at the forefront of our minds?
▪ Does the project have more necessity for
the functional elements rather than the
aesthetic appearance of the building?
▪ There are certainly some types of buildings
that we would make function high up on
our priority list

39
MATERIAL

▪ We may approach our design looking at the

materials of the structure as part of our
early architectural concepts.
▪ By focusing on a specific material, we will
be naturally led towards particular forms of
construction, thus creating a type of
appearance organically

40
CONTEXTUAL

▪ A contextual approach to our concept

will look at the context of the site and
surroundings, the historical features
of the area, the people that occupy
the area.
▪ A contextual approach to a design
does not always mean it will sit
harmoniously in its surroundings.

41
CONCEPTUAL

▪ A conceptual approach to a design is

looking at the idea of conceptual
architecture.
▪ This suggests that every part of the
project is about the concept. The sole
focus of the design is about the idea,
rather than a combination of
approaches and processes.
▪ Conceptual architecture is sometimes
never built, but rather designed as a
form of thought provocation,
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exploration of ideas.
FORMAL

▪ A formal approach to design looks at

drawing on the formal language of
architecture to develop a concept.

▪ We look to architecture from the

classical period to inform our
approach to developing the formal
rules of our design.

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COLLABORATIVE

▪ Most projects can be considered to be

collaborative. Whether there is a large
design team working on the different
aspects of the building, there is also
the client, stakeholders, engineers,
surveyors, contractors and many
more people involved in the design

44
PHILOSOPHICAL

▪ Another approach to architectural

concepts is to consider your design
philosophy.
▪ This is a set of values you use to
inform your design. The values could
be the life values of the designer, or
could be a reflection of the design
brief or context of the site, or indeed a
combination of all three.
45
WHERE DO ARCHITECTURAL CONCEPT COME FROM ?

▪ A “concept” starts to take “form”by including the

“functions”attached to it.Then, this “form”is further
shaped “structurally” and “materially”.
▪ Finally, the form is realized in three dimensions by
taking care of the sound related (acoustics),light
related (illumination) and spatial considerations.

46
 EXTERIOR EXPRESSION INTERIOR EXPERIENCE

GUGGENHEIM MUSEUM

47
LEVELS OF EXPRESSION S

• The concept should appeal both to :

• Normal Layman
• Professional Specialist

48
Can you design without a
concept?
And why do I need to go
through all the trouble?

49
Importance of Design Concept

▪ You may design without a concept, but you

need a concept because :
▫ It gives depth and meaning to your work (the more
innovative and coherent the concept the more
interesting work is.)
▫ Concepts open the door for more related ideas, it
makes you think and research (the richer the concept
means a richer building)
▫ Concepts distinguish architects.
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Where to start in doing your
architectural concept?
You cannot begin to generate a
concept until you understand the
projects brief, site and context, and
so this should be your first point of
call and the starting point to
gathering all of the projects
required parameters.
This includes site analysis, design
brief appraisal, building typology
appraisal, archetype appraisal,
precedent studies and so on.
HOW TO CREATE AN ARCHITECTURAL
CONCEPT ?

▪ Four areas are summarized :

▫ Site Analysis
▫ Design Brief
▫ Building typology
▫ Project Narrative

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53
How to communicate
with your concept

Multiple tools can be used to

express your idea, such as:
• Drawings
• Conceptual models
• Text

Using of different materials, colors,

or methods might help you
understand better what you are
doing, hence, expressing your
concept
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 Page 19

DIAGRAMS
drawing of geometric
shapes to show different
relationships within any
given space

55
 P a g e 20

PARTI
a type of diagram that
serves as a general idea to
figure out a building’s
program or layout, usually
in the form of quick
sketches or 3D models

56
 P a g e 21

PARTI
a type of diagram that
serves as a general idea to
figure out a building’s
program or layout, usually
in the form of quick
sketches or 3D models

57
MORPHOLOGY
the study of forms of things

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 P a g e 23

MORPHOLOGY
the study of forms of things

59
Conceptual models
can be used to
express:

• Layers (vertical,
horizontal, or rotated
planes)
• Outer shell
• Circulation
• Materials & colors
• Construction issues
• Coherency with
topography
• Any idea

60
ANALOGY
An analogy is more like a simile, a
similarity between like features of two Face HouseP a,g e

things, on which a comparison may be Kyoto, Japan

based. A cognitive process of
transferring information from particular
subject (source) to another subject
(target).

• superficial analogy – to take the same

shape of something without any
changes
• structural analogy – to make a
structure of building from a shape of
something
• holistic analogy – combination of Piano House,
61
both Huainan City,
China
 Page 26

METAPHOR

A metaphor is more like an allegory. A

metaphor is an implicit simile, while
analogy is an explicit one. Put
differently, a metaphor is literally false,
while an analogy is literally true.
M etaphors need a bit more imagination
to interpret, while analogies are readily
apparent.

The process of transformation of

intangible or abstract aspects into
physical or visual image is known as the
“Metaphoric Process”.
62

Notre Dame du Haut, Ronchamp, France

CONCEPTUALIZATION TECHNIQUES OF
ARCHITECTURAL DESIGN

▪ Traditionally architectural concepts have been the designer’s

way of responding to the design situation presented in the
program.
▪ Some general categories under which the concerns and
issues of a building may be listed and addressed in design
are:
▫ Functional Zoning
▫ Architectural Space
▫ Circulation and Building Form
▫ Response to Context
▫ Building Envelope
63
CONTEXTS FOR CONCEPT GETTING
1.VALUES 2. DESIGN PHILOSOPHY

- General philosophy and life

- A set of postures or values about design which he relies upon for making form in
building design.
values of the designer.
• Motivation and interest
• Enhancement of self-image 3. VIEW/PERCEPTION
• Dependence on or
independence of outside - The way the designer perceives, understands and describes the project/ design problem.
reinforcement of self-worth • Does the project call for an architectural solution?
• Concern for fellow man • Project limits in terms of the designer’s responsibility?
• Immediate and deferred goals • Design: essence + uniqueness of the problem
• Conservation of what is • Physical limits/ opportunities
scarce and valued • Design checklist includes:
• Quest for simplification
o
o FUNCTION
SPACE
• The material and the spiritual o
o GEOMETRY
CONTEXT
o
o ENCLOSURE
SYSTEMS 64
o
o ECONOMIC
HUMAN FACTORS
EXAMPLES OF
BUILDINGS
St. Andrew Parish Church, Makati
Leandro Locsin, 1968
UP Chapel, Quezon City
Leandro Locsin, 1955
Bank of China, Hongkong, IM Pei
HSBC Honkong HQ, 1985, Norman Foster
Basílica y Templo Expiatorio de la Sagrada Familia
Barcelona, Antoni Gaudí, 1883+
Reichstag Dome, Berlin
Sir Norman Foster, 1999
London City Hall, London
Sir Norman Foster, 2002
Swiss Re London Headquarters
Sir Norman Foster, 2004
 P a g e 27

Baha’iSydney
LotusOpera House,
Temple, New Sydney,
DelhiAustralia
India
 P a g e 27

Sydney Opera House, Sydney, Australia

 P a g e 28

L’Hemisfèric is one of the structures within

the City of Arts and Sciences in Valencia,
Spain.
 P a g e 29

Samuel Beckett Bridge, Dublin, Ireland

WHAT IS
CREATIVITY ?

77
3 ESSENTIALS TO DEVELOPMENT
OF CREATIVE SKILLS

▪ IDEATION

▪ IDEA QUANTITY

▪ IMAGINEERING
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What is a CREATIVE
PROCESS?

• An accumulated
background information
and knowledge
• Mental incubation or
doing unrelated things
• Developing several
alternatives or solutions
• Being able to evaluate
and implement
• It is not a short process 79
Types of creativity

• INVENTION – the creation

of a complete new product
• EXTENSION – expansion
of an existing product or
service
• SYNTHESIS – combining
several products or
services into something
unique
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 P a g e 14

IMAGINATION HOLISTIC THINKING INTUITION

ARTS RHYTHM

logic
sequencing
linear thinking nonverbal cues
mathematics feelings
facts visualization
thinking in words daydreaming

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 CREATIVITY AND
INNOVATION

▪ Creativity is the ability to

develop new ideas and to
discover new ways of looking
at problems. While
INNOVATION is the ability to
apply creative solutions to
problems or opportunities to
enhance or enrich

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 ELEMENTS CONTINUOUS
UNIQUE
(original) OF (excellence in
implementation)
CREATIVITY

VALUED INTENT
(useful) (having purpose)

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 The CREATIVE PROCESS P a g e 17

PREPARATION TRANSFORMATION ILLUMINATION IM PLEMENTATION

INVESTIGATION INCUBATION VERIFICATION

THANKS!
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