Architectural Design Concepts Approaches
Summary of several Architectural Design Concepts Approaches to help students generate design concepts.
كونسيبت التصميم المعمارى
الفكرة المعمارية
طرق مختلفة لمساعدة الطلبة للوصول الى كونسيبت او فكرة التصميم المعمارى
2. 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.
3. Definitions of Concept
• Idea
• Theory
• Notion
• Parti (French)
• Conception
• Opinion
• Abstraction
• Philosophy
• Belief
• Inspiration
• Image
• View
• Intention
• Plan
• Fancy
• Thought
• Impression
• Hypothesis
• Supposition
• … DESIGN
4. 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.
5. 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.
8. Introduction
• Inductive reasoning or inductive logic,
is a type of reasoning which involves
moving from the specific to the
general.
• Deductive reasoning or inductive
logic, is a type of reasoning which
involves moving from the general to
the specific.
Inductive Reasoning from
Specific to General
Deductive Reasoning from
General to Specific
9. 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.
10. FORM &
SPACE
Exterior Form
&
Interior Space
CONTEXT
Site
NEED
Program
ConceptSolution
Site
Climate
Building
Sun
Wind
Topography & Soil
Shape & Dimensions
Surroundings & View
Sand
Forms
Colors
Height
Functions
User
Client
Areas
Relationships
Spaces
Number
Socio-Cultural
Vision
ProportionSize
Scale
Rhythm
Idea
Metaphor
Analogy
Elements Principles
Volumes
Symmetry
Sketches
Drawings
Details
Asymmetry
BalanceTexture
Color
Humidity
Gender
Budget
Schedule
Shapes
Unity
The Concept
Variety
Organization
Material
Models
Renderings
Animations
Structure
Technical
Roads & Access
Temperature
Symbolism
Activities
Equipment
12. 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”.
13. 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
14. Introduction
• The design process works with information and
ideas simultaneously on many levels.
• Designing is a reciprocal action and reflection.
15. 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.
16. 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”.
17. Levels of Expression
The concept should be appeal to both:
• The Normal Layman
• The Professional Specialist
20. Elements of Concept Generation and Expression
Function
Form
Materials
Structure
Lighting
Ventilation
Socio-Cultural
Experiential
Meaning
Philosophy
24. 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)
25. 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)
27. 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.
35. 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.
40. 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.
41. 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'.
42. 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.
43. Design Approach 2 : An Issue Based
Design to solve current problem at site. Difficulty level : Intermediate
44. 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.
45. 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.
46. Design Approach 3: Design Theory & Philosophies
Difficulty level : Intermediate Hard
47. 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.
48. 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
50. 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.
64. E L E M E N T S P R I N C I P L E S
Background Balance
Colour Contrast
Foreground Direction
Form Dominance
Grid Economy
Light Emphasis
Line Fragmentation
Mass Harmony
Material Hierarchy
Path Movement
Plane Order
Point Pattern
Shadow Proportion
Shape Repetition
Solid Rhythm
Space Scale
Structure Symmetry
System Time
Texture Unity
Type Value
Void Variety
76. Cultural Factors
• Historical factors
• Religious factors
• Social factors
• Economic factors
• Political factors
• Functional factors
77. Spatial Relations
The pragmatic space
The perceptual space
The existential space
The cognitive space
The abstract space
78. Qualities of Space
Proportion
Scale
Form
Definition
Color
Texture
Pattern
Enclosure
Light
View
79. 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
80. 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
81. 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
85. 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
90. Structure System
• Bearing walls
Skeleton
Shell and Vault
Space truss
Space frame
Geodesic dome
Tent Structure
Folded plates
Verandel Girders
Verndeal Floors
Tensile Structures
...
91. Arabic/Islamic Design Ideas
• The Courtyard
• The alleyway and the courtyard
• Al Saha
• Al Qasabah
• Al Mafrouka
• The Islamic Star
92. 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
93. 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
94. 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
96. 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
97. The Creative Process
• Accumulate background information and
knowledge
• Mental incubation - doing unrelated things
• Develop several alternatives
• Evaluate and implement
• Not a short process
98. 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
99. 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
100. Developing Creativity
• Left side of brain:
– rational
– linear thought
– mathematical
– controls speech
– analytical
– controls right side of body
101. Developing Creativity (ctd)
• Right side of the brain:
– imaginative
– lateral thought
– creative
– controls left side of body
103. 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.
104. Can We Learn to Be Creative?
Yes!!
By suspending conventional thinking long
enough to consider new and different
alternatives!
106. 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.
108. Elements of Creativity
• Unique (original)
• Valued (useful)
• Intent (purpose)
• Continuance (implementation excellence)
109. 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
110. Barriers to Creativity
• Searching for the one “right”
answer
• Focusing on “being logical”
• Blindly following the rules
• Constantly being practical
• Viewing play as frivolous
111. Barriers to Creativity
(continued)
• Becoming overly specialized
• Avoiding ambiguity
• Fearing looking foolish
• Fearing mistakes and failure
• Believing that “I’m not creative”
112. 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
113. 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
115. 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!!
116. 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
117. Combining ideas from different sources
Visual Imagination, Visual Metaphor, and
Analogy
Expanding the search space
What is Creative Design?