TIMELESS WAY OF BUILDING:

A N EXAMINATION OF THE UNIVERSAL STEPS

DN T H E D E S I G N P R O C E S S I N A R C H I T E C T U R E

A DISSERTATION PRESENTED

T O T H E UNIVERSITY O F M O R A T U W A

FOR M S C IN A R C H I T E C T U R E

Kc
7? l't'
~7 V • OH

NALAKA CHAMINDA JAYAWEERA

(1997)

T W
71573
Timeless Way Of Building:
AN EXAMINATION OF THE UNIVERSAL STEPS IN THE DESIGN

P R O C E S S IN A R C H I T E C T U R E .
Presented,

on the Twenty Fourth day of June,

One Thousand Nine Hundred and Ninety Seven.

Acknowledgement
The Educational concept of Moratuwa,

" CREATIVITY ARISES FROM WITHIN, FROM THE

INTERNALIZATION OF THE THINKING PROCESS AND NOT

T H R O U G H R E C O U R S E T O E X T E R N A L AGENCIES...",

(The Sri Lanka Architect. September-November ' 9 1 , Page 18)

and one assignment given by the writer of the above quotation himself,

in the first year of my MSc, is related to design processes as an

assignment on Architectural Theory, developed to a research study of

the dissertation. I am extremely grateful to Architect Vidura Sri

Nammuni, one of the year masters of the MSc first year, and the lecturer

in Theory for directing and re-directing the thinking process of mine. T h e

courage and guidance given to m e throughout the research, disciplining

the thinking pattern and comments helped m e to carry on the project

with ease. I a m also grateful to Professor Nimal De Silva, the other Year

Master of the First year, for the encouragement extended to m e in the

completion of the dissertation. Further his philosophy of architecture as

the Leading and Comprehensive approach towards a society helped m e

in the approach of architectural design processes.

In the process of researching for the necessary information for my

dissertation, the prompt response shown by the foreign universities in

supplying m e with the appropriate data gave m e much encouragement.

T h o u g h the universities and their respective Heads of Departments and

relevant officials cannot be mentioned individually, their contribution

towards the achievement of this dissertation is immense and I wish to

thank t h e m sincerely.

' A friend in N E E D is a friend INDEED', Tony Thirulinganathan, has been

my friend in need. I a m deeply grateful to Tony's computer scanning and

printouts, which helped me in the presentation of my dissertation. T h e

printouts, which helped m e in the presentation of my dissertation. T h e

precious time out of his busy schedules, spent in helping my

presentation of the dissertation is invaluable. I extend my sincere thanks

to Tony for the unstinted support given to me.

I wish to thank A n u s h a T h a n g a k o n e for computer graphics and Gamini

Ekanayake for the support given m e in completing this dissertation.

It is with gratitude that I recall the w a y my parents are financing my

University Education in Architecture for the last six years. I wish to thank

t h e m and my two sisters for the encouragement and help given to m e

throughout this course. A very special T h a n k Y o u ' goes to t h e m for

looking after my other responsibilities and giving m e the freedom to

attend to my studies undisturbed.

Finally I must thank all the others w h o helped m e in various capacities in

making the dissertation a success.

Content
Abstract 1

Introduction

Chapter O n e Architecture, Architects and

Architectural Design A p p r o a c h

1.1 Introduction 8

1.2 Definitions of Architecture 8

1.2.1 Architecture as "Spirit' added 'Matter' 9

1.2.2 T h e Expected Role 10

1.3 Architect 11

1.3.1 Architect's Educational Base 11

1.3.2 Thinking Patterns of an Architect 12

1.3.3 Architect's Behavioural Characteristics 13

1.4 The different Schools of Thought in Practice 13

1.4.1 Problem S o l v i n g ' M o d e l 14

1.4.1.1 T h e University of Nottingham 14

1.4.1.2 T h e Chinese University of

Hong Kong 15

1.4.1.3 T h e University of Newcastle 17

1.4.1.4 A n Examination of "Problem

Solving' Model 20

1.4.2 Human-Environmental'Model 21

1.4.2.1 Glasgow School of Art -

T h e Mackintosh School of

Architecture 21

1.4.2.2 University of Virginia 22

 1.4.2.3 A n Examination o f H u m a n

Environment' Model

1.4.3 'Professional'Model

1.4.3.1 University of Washington

1.4.3.2 De Montfort University

1.4.3.3 University of Hawai'i at Manoa

1.4.3.4 A n Examination of

'Professional' Model

1.4.4 'Excellence in Design' Model

1.4.4.1 Harvard University

1.4.4.2 T h e University of Auckland

1.4.4.3 A n Examination o f ' E x c e l l e n c e

in Design' Model

1.4.5 ' C o m m u n i t y Model'

1.4.5.1 University of Hong Kong

1.4.5.2 Yale University

1.4.5.3 Oxford Brookes University

1.4.5.4 A n Examination o f ' C o m m u n i t y

Model'

Chapter T w o T h e History and t h e Development of

Design Methodologies

2.1 Introduction

2.2 Origin of ' A Methodology'

2.2.1 Empiricism

2.2.2 Rationalism
2.3 1960's 39

2.3.1 Dennis Thornley

A Systematic Basis for Teaching 39

2.3.2 J Christopher Jones

A Method of Systematic Design 41

2.3.3 Bruce A r c h e r - 1 9 6 3

Systematic Method for Designers 45

2.3.4 Christopher Alexander - 1 9 6 4

Notes on the Synthesis of Form 47

2.3.5 P H Levin-1966/1967

Decision-Making in Urban Design 51

2.3.6 John Luckman - 1 9 6 7

Analysis of Inter-connected

Decision Areas (AIDA) 52

2.4 1970'S 55

2.4.1 A.R.G Isaac-1971

Approach to Architectural Design 55

2.4.2 Christopher Alexander - 1 9 7 7

A Pattern Language 58

2.4.3 Juan Pablo Bonta - 1 9 7 9

Architecture and its Interpretation 60

2.4.4 Jane D a r k e - 1 9 7 9

Generator-Conjecture-Analysis 62

2.5 1980's 63

2.5.1 Bryan Lawson - 1 9 8 0

How Designers Think 63

2.5.2 Geoffrey Broadbent - 1 9 8 3

A n Environmental Design Process 66

 Chapter Three T h e Timeless W a y 69

3.1 Introduction 70

3.2 A n Examination of Available Models 70

3.2.1 Schools of Thoug hts 70

3.2.2 Theoretical Models 71

3.3 T h e Proposed Model 72

3.3.1 Concept of the Model 72

3.3.2 Framework of the Model 73

3.3.3 Elements of the Model 77

3.3.4 Design Process of the Model 83

3.3.5 Validity of the Model 85

3.4 T h e Universal Steps 86

Chapter Four Conclusion 88

4.1 Introduction 89

4.2 T h e University of Moratuwa Model 89

4.3 Summary 91

>
 Annexes 94

Annexe 1 - T h e University Nottingham 95

1.1 Introduction 95

1.2 Graduate Studies Modules 98

Annexe 2 - T h e Chinese University of Hong Kong

Curriculum 103

Annexe 3 - T h e University of Newcastle 105

3.1 Content 105

3.2 Designs 109

3.3 Submission and

Assessment Network 141

3.4 A s s e s s m e n t Criteria 144

Annexe 4 - University of Virginia

Curriculum 153

Annexe 5 - University Of Washington

Course Listing 158

Annexe 6 - University of Hawai'i at Manoa

Course Descriptions 163

>

Harvard University 170

7.1 Course Content 170

Annexe 7 -
7.2 Courses of Instruction 172

T h e University of Auckland 185

8.1 Degree Course Structure 185

Annexe 8 -
8.2 Paper A i m s and Prescriptions 187
 Annexe 9 - Yale University

Curriculum 199

Annexe 1 0 - Oxford Brookes University 205

10.1 Course Components 205

10.2 Course C o m m e n t Sheet 208

A n n e x e 11 - J Christopher Jones

A Method of Systematic Design 211

A n n e x e 12 - John Luckman

Analysis of Inter-connected

Decision Areas (Al DA) 217

A n n e x e 13 - Christopher Alexander

A Pattern Language 222

A n n e x e 14 - Geoffrey Broadbent

A n Environmental Design Process 234

Bibliography 240

List of Books 241

List of Journals 243

List of University Brochures 245

Abstract
Architecture is defined in many forms. Its a science, as well as a form of art. But
it is not a pure science; as Julien Guadet says -

"Well no, architecture is not a science of numbers, and if it w a s necessary to

prove it, I would prove it in one w o r d , the word art...".
(Elements of Architecture, page 64)

Though it is defined in many forms, at the e n d , architecture always ends up

with physical objects; as Franz Oswald sees it,

" architecture is always oriented toward t w o poles: towards objects for the
purpose of creation; towards creating objects for the purpose of seeing.",
(Elements of Architecture, page xiii)

where it can be sensed and felt. Therefore it is always 'Spirit' added 'Matter'.
This addition of 'Spirit' must have a beginning and an e n d . Architecture and its
learning process has two aspects. T h e first is design teaching methods adopted
by academics in schools of architecture and the second, the theoretical design
models developed by philosophers.

T h e development of the dissertation starts with the definitions of architecture

and the architect. T h e n it comes to different schools of thought, w h e r e the basic
training in this field is given. T h e second stage looks at the development of
theoretical design models and its approaches to designs. T h e third and final
looks into the universality in the design processes through the universality of
design steps.

Architecture is not an 'Element' but an 'Object' that comprises millions of small

elements; as Kenneth Frampton proposes,

"stage sets are a land of Architecture, but architecture is not a stage set.",
(Elements of Architecture, Page x)

in the s a m e manner, the dissertation on 'Timeless W a y of Building: A n

Examination of the Universal Steps in the Design Process in Architecture',
researches into the universality of design steps and processes.
Introduction
Architecture is an art and a science. But it is 'Spirit' added 'Matter'. It is a multi

dimensional and multi disciplined subject. It is adaptable and does not depend

purely on one variable. Therefore it cannot have a single path/process for the

purpose of architectural designing. But all these paths/processes must have a

c o m m o n 'Beginning' and/or a c o m m o n ' E n d ' , as it comes to the end of a three

dimensional form which leads to the possibility of a c o m m o n or Universal

connection to all Design Methods. Therefore, in order to add "Spirit' to the

'Matter', it has many paths/processes with a Universality a m o n g t h e m .

Architecture is a creation by an Architect - another h u m a n being on this

universe. The difference between architects and all the other human

professionals, is the w a y the creation is being done or/and the path adopted or

acquired in the presence of the creation. In order to reflect this complicated

nature of an architect, Vitruvius says -

"Let him be educated, skilful with pencil, instructed in geometry, know m u c h

history, have followed the philosophies with attention, understand music, have

s o m e knowledge of medicine, know the opinions of the theory of heavens.";

(Design in Architecture, Page 4)

this proceeds to an unstructured base for architecture and architects' necessity

to learn and practice of designing. All the subjects are, subjects of a life time.

T h o u g h nobody can learn all these at once, the relationship of these subjects

are very intricate towards designing.

But the way a designer or simply an architect, should work and think, according

to 'Development in Design Methodology', has three steps; they are,

1. T h e establishment of appropriate structures for the

design process;
 2. The development and application of new design

methods, techniques, and procedures; and

3. Reflection on the nature and extent of design

knowledge and its application to design problems.

This dissertation "Timeless W a y of Building: A n Examination of the Universal

Steps in the Design Process in Architecture", will examine the universality of

steps in the design processes. In order to justify the universality it will research

into basically Schools of Thought and Theoretical design models; where it will

identify what may be termed as the steps that are Universal (or Timeless) to all

major methods or processes of architectural design.

T h e flow of the argument is, firstly the examination and analysis of different

schools of thoughts or teaching methods adopted in selected academic

institutions. Secondly to examine and analyze the different models of design

processes developed by other academics and philosophers in order to clarify

the path. In both circumstances at the end of the frame work an analysis is

added respectively and the essence of each will be discussed at later stages.

Thirdly, T h e Timeless Way', concentrates on universality of the design steps

and design processes in all the theoretical models and schools of thought

which were analyzed. T h e universal steps are explained through the proposed

model.

Finally, in the 'Conclusion' the relationship of the University of Moratuwa model

and universal steps in the architectural design process, is also discussed with

the summary.
T h e other major influence and the deciding factor in the architectural designing

- 'Architectural Practice', is not taken as a research component and has not

been discussed at length in the dissertation as it is beyond the scope of the

research. But aspects arising from all the design models in relation to the

'Practice' have been considered and comments made.