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Theory of architecture 2

1. Theory of Architecture 2: Manuals Architectural Design Process and Methodologies The question of
the actual design process and methodology of design is more confusing when dealing with architectural
design because architectural design more often involves in a team work. Before, most architects are
considered more of an artist; they can design but was not able to explain or defends the need to add a
significant amount of funds for the particular design. In today’s architectural trends, there are set of
rules and guidelines to be followed that could affect or help in making a design. The process should
involve the following step. [TSSF Inc.] 1. Assemble the team – As stated above the architectural design
involves a team of people. At the outset of the project there should be a scheduling or at least a
tentative assembly of efficient architects and consultant who identify the project’s scope and purpose.
There should be a project’s team leader who holds the overall responsibility and identifying the right
person/s in their fields. 2. Clear Communication – As again stated before, the design part involves a
team. The communication should be always available for any enquiry of the different involves, especially
for the owner or their representative/s. The Project Architect coordinates regular meetings to design
staff, specialists and the Owner’s representative. 3. Budget and Cost Control - Cost control is critical to
the success of any project. This is true not only for initial construction, but also when considering the
cost of operation. The project’s budget is developed during the schematic design phase. It’s monitored
and updated during the design development phase, and finally confirmed during the preparation of
construction documents. The Architect performs construction cost estimating, which involves confirming
current unit costs for materials and equipment with contractors and suppliers. 4. Staying on Track - Hold
regularly-scheduled job progress meetings with the Owner’s Representative and contractors. These
meetings help establish and maintain good communication, assure smooth progress and result in the
project’s timely completion. Methodology [The LaBICHE ARCHITECTURAL GROUP, INC.,
http://www.labiche.com/methodology.html] The Development Process Schematic Design - Review of
program with Client - Preliminary design concepts - Landscape consultant input - Presentation of design
concepts to Owner - Owner review and input - Schematic design finalized Design Development -
Preliminary design of building systems with consulting engineers - Presentation of design development
to Owner
2. - Review of project cost estimate with Owner - Owner review and input - Design finalized Construction
Documents - Working drawings and specifications production - Owner review Bidding & Negotiations -
Competitive bidding - Bid evaluation - Contract awarded Construction - Construction begins with on-site
construction observation - Substantial completion - Owner occupancy - One-year building review by
Architect Biophilic Design The interiors of the first Optimum Performance Home aredesigned using the
concept of Biophilia: the human need fornature. I have defined and discussed biophilic design in
previousarticles in Ultimate Home Design as an importantapproach to creating environments that
enhance our physicaland psychological health and well being by providing fordirect and indirect
experiences with nature. The argument forbiophilic design is compelling. Research indicates that
weneed to experience and interact with nature as a central partof our lives to enjoy a variety of benefits
including improvedphysical skills, concentration and memory; increased productivity;relief from stress
and mental fatigue; as well asenhanced aesthetic and spiritual experiences. Biophilic design is an
excellent (and natural) way to meetthe challenges of combining sustainable, universal designqualities
with the technologies of a “digital home” in a lifeenhancing,aesthetically pleasing environment. This
approachrepresents the new design paradigm that seeks to createenvironments that are healthy for the
planet and for people ofall ages by understanding our deeply rooted human-natureconnection. Because
biophilic design is based upon the universal,inherent needs we have as human beings to
experiencenature as a vital part of our lives, it is essential to integratebiophilic design attributes into all
aspects of the designfrom site to structure to interiors. Biophilic design attributes are elements and
qualities of thephysical environment that connect us to the physical, psychological,and cognitive
benefits resulting from direct experienceswith nature. Dynamic natural light and ventilation,access to
open and/or moving water, frequent opportunitiesfor spontaneous interaction with nature, sensory
connectionswith nature, and the use of fundamental natural forms andlocal natural materials are
biophilic design attributes that providephysical links with nature in the home. Symbolic links thatappeal
to our genetically based affiliation and association withnature and the essential sense of meaning we
attribute to thenatural world are also important biophilic design attributes. They include concepts of
environmental complexity and order,a sense of mystery, and prospect and refuge (strategic
viewingconditions from a position of safety and security). Thesephysical and symbolic attributes were
discussed in-depth asthey applied to the first Optimum Performance Home in theJuly/August 2006 issue
of Ultimate Home Design (Issue 4)and they will be illustrated and discussed further in future articlesas
the home is completed. Quality Over Quantity

3. A complimentary aesthetic approach to biophilic design isthe design principle described by architect
and author ofTheNot So Big House series of books and contributor to UltimateHome Design Sarah
Susanka as “quality over quantity.” Thisdesign principle embraces the sustainable idea of
reducingresource and energy use by designing a smaller overall “footprint”for the home (i.e. fewer
square feet). It also emphasizesthe need to fully inhabit our homes by designing flexible,adaptable
spaces rich in detail and meaning so that nospace is wasted, no space is unused, and all spaces
arespecial. Susanka provides guidelines to achieve a smaller-is-betterdesign that include biophilic design
attributes such asdynamic, natural light and visually/physically connecting interiorspaces to exterior
spaces. The intimate experience of ourhomes is greatly enhanced by combining biophilic
designattributes with this quality-overquantity approach. The interiorsof the first Optimum Performance
Home are designed withintricate details inspired by and similar to those found innature that fascinate us
and connect us with the larger world. Privacy Needs Unless we design smaller homes with careful
consideration,they often fail to provide for the diverse privacy requirementsa family has over time.
Privacy, the ability to controlhow much and what types of interactions we have with others,is central to
achieving a high quality of life. People of all ages,all backgrounds, and all cultures require privacy to
maintainphysical and emotional well-being. But achieving privacy it isnot a factor of square feet; it is a
factor of good design. The book I co-authored, Designing For Privacy AndRelated Needs, discusses the
diverse needs for privacy weexperience in all environments, including our homes andthroughout the
stages of life. Our privacy needs indeed dochange as we age. Therefore, any universal home designmust
be responsive to these changes. But because we tendto equate the ability to achieve privacy with more
space, wealso tend to equate larger homes with more rooms as beingmore private. The reality usually is:
more space is simply morespace, and often these voluminous spaces actually provideless privacy than
well-designed smaller spaces.Designing for privacy requires interior features that 1) providespatial
hierarchy (a sequence of spaces that progressfrom less to more private; 2) create circulation paths
thatconnect but do not pass directly through private spaces; 3)delineate “thresholds” (places of
transition) between publicand more private spaces; 4) provide stimulus shelters (placesto retreat such
as alcoves and window seats within largerrooms; and 5) design opportunities for prospect and refuge
(avantage point from which to view your surroundings relativelyunobserved). These interior features
subtly but effectively provideadaptable, flexible conditions for privacy that are integratedseamlessly into
the overall design of the first OptimumPerformance Home. The Process Once the functional design
concepts and aestheticapproaches have been fully defined, the process of designingthe interiors
becomes a focused effort involving many individuals. Designing the interiors of any home is a
collaborativeprocess between the interior designers, other design professionalsinvolved with the
project, and the homeowners. But,as qualified, experienced interior designers know, the interiorsare
not a separate element of the home, but rather an integratedcomponent of the entire exterior/interior
environment ofwhich the home is a part. Creating a successful interior environmentfor a sustainable,
universally accessible, technologicallyinnovative home requires research and education aboutproducts
and processes as well as an integrated designapproach. It also requires a commitment to a changed
andenhanced lifestyle. Determining Owner Needs And Requirements The challenge is to develop
interiors that incorporate thehomeowners’ functional and aesthetic requirements while alsoallowing
them to fully experience the enhanced lifestyle oftheir high performance home. For the first
OptimumPerformance Home, this challenge involves meeting the multifunctionalrequirements of an
environment that serves as afamily gathering place, home office, state-of-the-art home theatre,and
intimate retreat––all within a series of sustainable,healthy, adaptable, supportive, and beautiful spaces
in astunning Pacific Coast natural setting.

4. Research And Education (Products, Processes,Technology) The process begins with research and
education. Sustainable products, processes, and technologies arechanging and advancing rapidly––as
are universal designand home technology products and processes. To be betterinformed about these
changes and innovations, homeownersand their design professionals should attend some of therelated
design industry conferences, seminars, and workshopsheld each year throughout the United States
andCanada. For example, a wealth of sustainable design information is now available to everyone from
the United StatesGreen Building Council's gigantic annual GreenBuild internationalconference, to local
and state sustainable design conferences,to workshops and seminars offered by colleges
anduniversities. Some sustainable design events are directed specificallyto design professionals, while
others cater more to the generalpublic. The annual West Coast Green conference in SanFrancisco is the
largest residential green building event in thecountry, combining three days of professional level
trainingcourses, seminars, and networking for design and buildingprofessionals with a full day for the
general public includingentry level training and keynote speakers. As a designer, Ihave found the
USGBC’s annual GreenBuild conference andthe annual EnvironDesign conference to be excellent
sourcesfor design professionals. Optimum Performance homeowner,Gary Reber suggests also the
National Green BuildingConference, The Green Building Conference, GreenBuildExpo, Pacific Coast
Builder’s Show (PCBC), Solar Power2007, the Sustainable Living Fair, AltBuild, SolFest, and theNational
Association of Home Builders Building for Boomers &Beyond: 50+ Housing Symposium. Numerous
magazines, newsletters, and books for designprofessionals provide in-depth, state-of-the-art
informationabout sustainable and universal design, and home technologies.The United States Green
Building Council’s Web site:www.usgbc.org provides excellent information on all aspectsof green design
and building–– from new commercial constructionto homes, including access to the LEED suite of
ratingsystems. The Center for Universal Design (CUD) is aresearch center that provides information,
technical assistanceon most aspects of universal design. CUD evaluates,develops, and promotes
accessible and universal design inhousing, commercial and public facilities, outdoor environments,and
products. Their Web site is www.design.ncsu.edu/cud/index.htm. A must attend conference and trade
show isthe Custom Electronics Design and Installation Association(CEDIA) Expo and CEDIA Lifestyles
Expo, where one canlearn about leading-edge home electronics and electronicsystem integration.
Integration With Other Design Professionals Successful sustainable design rarely is achieved by usingthe
conventional, sequential relay-race model for design andconstruction in which each design professional
does his orher part of the work and then passes it off to the next designprofessional. This traditional
process of design and constructionisolates professionals from each other, from the
interdependentdetails, and from the larger goals of the project.Because every aspect of a building
effects, and is affectedby, every other aspect, the approach to the design must behighly collaborative
and multidisciplinary. The term “integrated design” refers to a design processthat brings together all key
members of the project team towork together across disciplines throughout the process frombeginning
to end. The goal of this process is to achieve highperformancebuildings that provide multiple synergetic
benefitsat a lower cost. Participation from all design and constructionspecialties including architecture,
engineering, lightingdesign, electronic lifestyle, interior design, landscape design,and construction is
essential to the success of an integrateddesign approach. When all key players work together at
keypoints in the design process, each part of the design is evaluatedfrom multiple perspectives
producing more efficient andeffective design solutions. Integrated design ensures that all decisions
about the interiorsthat affect the interiors of a sustainable home are neveran afterthought but rather
are central to the overall design.The result is a beautiful, comfortable, energy and resourceefficient,
healthy, life enhancing home for the entire span ofthe homeowners’ lives.

5. Value of Interior Design [US Army Corps of Engineers,

http://www.wbdg.org/ccb/ARMYCOE/COEDG/dg_1110_3_122.pdf] We all expect a facility to be
functional and maintainable.Achieving coordination of the building interior andfurnishings, meeting
human ergonomic and psychologicalneeds, and providing optimum aesthetic effect areidentifiable and
attainable goals for every interior designproject.People's reactions to interior environments are critical
to thesuccess of every facility type. These reactions were firstidentified in healthcare facilities, where
color, texture,lighting,furnishings, and finishes all contribute to creatingan environment which supports
patient recovery and wellbeing.Training, maintenance, laboratories, logistic
support,medical,administrative, residential, morale, welfare andrecreation facilities all have unique
functional and aestheticrequirements. When these requirements are satisfied,workers, residents, and
customers react positively, takepride in their contributions and in the facility, and performto their
maximum potential.Why should you insist on comprehensive interior design inyour facilities? - To
improve the morale and increase the productivity ofthe people in your facility. To use your space and
financial resources in the mostcost effective manner. To assure the health, safety and welfare of
facilityoccupants. To project a professional image of your organization. To provide appropriate and
maintainable buildingmaterials, finishes, furniture, and furnishings. Artistic aspects and self-expression It
is characterized by a belief that individual self-expression—or one’s inner spiritual self and creative
imagination, inner resources and intuition—should be utilised and/or be the base used when designing.
These sentiments are closely linked to a number of artistic values found in movements like
Expressionism and the Avant-garde art. Thus, this design value is closely related to abstract forms and
expression, personal creative liberty, elitism and being ahead of the rest of society. The spirit of the time
design value This design value is based on the conception that every age has a certain spirit or set of
shared attitudes that should be utilised when designing. The Spirit of the Times denotes the intellectual
and cultural climate of a particular era, which can be linked to an experience of a certain worldview,
sense of taste, collectiveconsciousness and unconsciousness. Thus “form expression” which can be
found, to some extent in the “air” of a given time and each generation, should generate an aesthetic
style that expresses the uniqueness related to that time. The structural, functional and material honesty
design value Structural Honesty is linked to the notion that a structure shall display its “true” purpose
and not be decorative etc. Functional honesty is linked to the idea that a building or product form shall
be shaped on the basis of its intended function, often known as “form follows function”. Material
honesty implies that materials should be used and selected on the bases of their properties, and that
the characteristics of a material should influence the form it is used for. Thus, a material must not be
used as a substitute for another material as this subverts the materials “true” properties and it is
“cheating” the spectator. The simplicity and minimalism design value This design value is based on the
idea that simple forms, i.e. aesthetics without considerable ornaments, simple geometry, smooth
surfaces etc., represents forms which are both truer to “real” art and represents “folk” wisdom. This
design value implies that the more cultivated a person becomes, the more decoration disappears. In
addition, it is linked to the notion that simple forms will free people from the everyday clutter, thus
contribute to tranquillity and restfulness.

6. The nature and organic design value This design value is based on the idea that nature (i.e. all sorts of
living organisms, numerical laws etc.) can provide inspiration, functional clues and aesthetic forms that
architects and industrial designers should use as a basis for designs. Designs based on this value tend to
be characterized by free-flowing curves, asymmetrical lines and expressive forms. This design value can
be summed up in “form follows flow” or “of the hill” as oppose to “on the hill”. The classic, traditional
and vernacular aesthetics design value This value is based on a belief that a building and product should
be designed from timeless principles that transcend particular designers, cultures and climates. Implicit
in this design value is the notion that if these forms are used, the public will appreciate a structure’s
timeless beauty and understand immediately how to use a given building or product. This design value is
also linked to regional differences i.e. varying climate etc. and folklore cultures, which creates distinctive
aesthetical expressions. The regionalism design value This design value is based on the belief that
building—and to some degree products—should be designed in accordance with the particular
characteristics of a specific place. In addition, it is linked to the aim of achieving [20] visual harmony
between a building and its surroundings, as well as achieving continuity in a given area. In other words,
it strives to create a connection between past and present forms of building. Finally, this value is also
often related to preserving and creating regional and national identity. SOCIAL DESIGN VALUES Many
architects and industrial designers have a strong motivation to serve the public good and the needs of
the user population. Moreover, social awareness and social values within architecture and design
reflect, to some degree, the emphasis these values are given in society at large. It should be noted that
social values can have an aesthetical impact, but these aspects will not be explored as the main
aesthetical impact found in design has been covered in the previous sections. Social design values are at
times in conflict with other design values. This type of conflict can manifest itself between different
design movements, but it can also be the cause of conflicts within a given design movement. It can be
argued that conflicts between social values and other design values often represent the continuing
debate between Rationalism and Romanticism commonly found within architecture and industrial
design. The Social Design Values category consisting of four design values. The social change design
value This design value can be described as a commitment to change society for the better through
architecture and industrial design. This design value is closely connected and associated with political
movements and subsequent building programs. Architects and industrial designers that are committed
to the design value of social change often see their work as a tool for transforming the built
environment and those who live in it. The consultation and participation design value This design value
is based on a belief that it is beneficial to involve stakeholders in the design process. This value is
connected to a belief that user involvement leads to:

7. 1. 2. 3. Meeting social needs and an effective use of resources. Influencing in the design process as
well as awareness of the consequences etc. Providing relevant and up-to-date information for designers.
The crime prevention design value This design value is based on the belief that the built environment
can be manipulated to reduce crime levels, which is attempted accomplished through three main
strategies that are: 1. 2. 3. Defensible space. Crime prevention through environmental design.
Situational crime prevention. The 'Third world' design value This is based on an eagerness to help
developing countries through architecture and design (i.e. a response to the needs of the poor and
destitute within the Third World).This design value implies that social and economic circumstances
found in the Third World necessitate the development of special solutions, which are distinct from what
the same architects and industrial designers would recommend for the developed world.
ENVIRONMENTAL DESIGN VALUES [citation The 20th century has been marked by the re-emergence of
environmental values within Western societies. needed] Concern for the environment is not new and
can be found to a varying degree throughout history, and it is rooted in a number of perspectives
including the aim of managing the ecosystems for sustained resource yields (sustainable development),
and the idea that everything in nature has an intrinsic value (nature protection and preservation).
Generally behind these types of thinking are the concepts of stewardship and that the present [18][38]
generation owes duties to generations not yet born. Environmental problems and challenges found in
the 19th and 20th centuries led to a development where [according environmental values became
important in some sections of Western societies. It is therefore not surprising to whom?] that these
values can also be found among individual architects and industrial designers. The focus on
environmental design has been marked with the rediscovery and further development of many
“ancient” skills and [citation needed] techniques. In addition, new technology that approaches
environmental concerns is also an important characteristic of the environmental approach found among
architects and industrial designers. These rather different approaches to environmental building and
product technology can be illustrated with the development of environmental high-tech architecture,
and the more “traditional” environmental movement within is ecological [39] based architecture.
Environmental technology, along with new environmental values, have affected development in cities
across the world. Many cities have started to formulate and introduce "eco-regulations concerning
renewable resources, [39] energy consumption, sick buildings, smart buildings, recycled materials, and
sustainability". This may not be [39] surprising, as about 50% of all energy consumption in Europe and
60% in the US is building-related. However, environmental concerns are not restricted to energy
consumption; environmental concerns take on a number of perspectives generally, which are reflected
in the focus found among architects and industrial designers. The environmental design values category
consists of three design values. Green and sustainability

8. This value is based on a belief that a sustainable and/or environmentally friendly building approach is
beneficial to users, society and future generations. Key concepts within this design value are: energy
conservation, resource management, recycling, cradle-to-cradle, toxic free materials etc. Re-use and
modification This is based on a belief that existing buildings, and to some degree products, can be
continuously used through updates. Within this value there are two separate schools of thought with
regards to aesthetics: one camp focuses on new elements that are sublimated to an overall aesthetic,
and the other advocates for aesthetical contrast, dichotomy and even dissonance between the old and
the new. Health This design value is based on the belief that the built environment can contribute to
ensuring a healthy living environment. Built into this design value, are principles like: buildings should be
freestanding; sites need to be distributed to maximize the amount of sunlight that reaches individual
structures. Similarly, there is an emphasis on health based construction and reduction of toxic emissions
through selection of appropriate materials. TRADITIONAL DESIGN VALUES Within both architecture and
industrial design there is a long tradition of being both inspired by and re-use design elements of
existing buildings and products. This is the case even if many architects and industrial designers argue
that they are primarily using their creativity to create new and novel design solutions. Some architects
and industrial designers have openly led themselves be inspired by existing building and products
traditions, and have even used this inspiration as the main base for their designs solutions. This design
tradition has a considerable history, which can be indicated in many of the labels associated with this
tradition; this includes labels such as Classicism, Vernacular, Restoration and Preservation etc. In
addition, as indicated in the previous section “Classic, Traditional and Vernacular aesthetics”, an
important element of this tradition is to re-use and be inspired by already existing aesthetical elements
and styles. However, the traditional approach also implies other aspects such as functional aspects,
preserving existing building traditions as well as individual buildings and products. The Traditional Design
Values category, consisting of three distinct values. The tradition based design value This relies on a
belief that traditional “designs” are the preferred typology and template for buildings and products,
because they “create” timeless and “functional” designs. Within this design value there are three main
strategies: 1. 2. 3. Critical traditionalist/regionalist i.e. interpreting the traditional typologies and
templates and applying them in an abstracted modern vocabulary. Revivalists i.e. adhering to the most
literal traditional form. Contextualists who use historical forms when the surroundings “demands” it.
The design value of restoration and preservation This is based on a commitment to preserve the best of
buildings and products for future generations. This design value tends to represent restoring a building
or product to its initial design and is usually rooted in three perspectives. These are:

9. 1. 2. 3. An archaeological perspective (i.e. preserving buildings and products of historical interest). An

artistic perspective i.e. a desire to preserve something of beauty. A social perspective (i.e. a desire to
hold on to the familiar and reassuring). The vernacular design value This value is based on a belief that a
simple life and its design, closely linked to nature, are superior to that of modernity. The design value of
Vernacular includes key concept such as: 1. 2. 3. 4. Reinvigorating tradition (i.e. evoking the vernacular).
Reinventing tradition i.e. the search for new paradigms. Extending tradition i.e. using the vernacular in a
modified manner. Reinterpreting tradition i.e. the use of contemporary idioms. GENDER BASED DESIGN
VALUES This design values is closely linked to the feminist movement and theory developed within the
19th and 20th centuries. Design values based on gender are related to three tenets found in
architecture and industrial design, which are: 1. 2. 3. Gender differences related to critique and
reconstruction of architectural practice and history. The struggle for equal access to training, jobs and
recognition in architecture and design. The focus on gender based theories for the built environment,
the architectural discourse, and cultural value systems. Designers that adhere to the Design values
based on gender typically have a focus on creating buildings that do not have the same barriers that
children, parents and the elderly experience in much of the built environment. It also implies a focus on
aesthetics that are deemed to be more 'feminine' than the 'masculine' aesthetics often created by male
designers. THE ECONOMY DESIGN VALUE Many architects and industrial designers often dread the
financial and business side of architecture and industrial design practice, as their focus is often geared
towards achieving successful design quality rather than achieving successful economic expectations. This
is the basis for a design value that can be characterised as 'voluntarism' or 'charrette ethos'. This value is
commonly found among practising architects and designers. The 'volunteer' value is founded in the
belief that good architecture and design requires commitment beyond the prearranged time,
accountant’s budget, and normal hours. Implicit in the 'volunteer' value are elements of the following
claim present: 1. 2. 3. Best design works comes from offices or individual designers which are willing to
put in overtime (sometimes unpaid) for the sake of the design outcome. Good architecture and design is
rarely possible within fees offered by clients. Architects and designers should care enough about
buildings or products to uphold high design standards regardless of the payment offered. The 'volunteer'
design value can be seen as a reaction to and a rejection of the client’s influence and control over the
design project.

10. THE NOVEL DESIGNVALUE It is common within contemporary architecture and industrial design to
find emphasis on creating novel design solutions. This emphasis is often accompanied by an equally
common lack of emphasis on studying of the appropriateness of any already existing design solution.
The novel design value has historical roots dating back to early design movements such as Modernism,
with is emphasis on “starting from zero”. The celebration of original and novel design solutions is, by
many designers and design scholars, considered one of the main aspects of architecture and design. This
design value is often manifested through the working methods of designers. Some architects and
designers with their emphasis on the “big idea” will have a tendency to cling to major design ideas and
themes, even if these themes and ideas are faced with insurmountable challenges. However, the
emphasis on design novelty is also associated with progress and new design solutions that, without this
emphasis, would not see the light of day. The design value of novelty is not generally accepted within
either architecture or design. This is indicated by the debate in architecture, focusing on whether
buildings should harmonize with the surroundings in that they are situated in or not. Equally is the
debate where architecture should be based on traditional topology and design styles i.e. classical and
vernacular base architecture or if it should be an expression of its time. The same issues are indicated
within the industrial design domain where it has been debated if retro design should be accepted or not
as good design. MATHEMATIC AND SCIENTIFIC DESIGN VALUES A movement to base architectural design
on scientific and mathematical understanding started with the early work of Christopher Alexander in
the 1960s, Notes on the synthesis of form. Other contributors joined in, especially in investigations of
form on the urban scale, which resulted in important developments such as Bill Hillier's Space syntax
and Michael Batty's work on Spatial analysis. In architecture, the four-volume work The Nature of Order
by Alexander summarizes his most recent results. An alternative architectural theory based on scientific
laws, as for example A Theory of Architecture is now competing with purely aesthetic theories most
common in architectural academia. This entire body of work can be seen as balancing and often
questioning design movements that rely primarily upon aesthetics and novelty. At the same time, the
scientific results that determine this approach in fact verify traditional and vernacular traditions in a way
that purely historical appreciation cannot. Social and environmental issues are given a new explanation,
drawing upon biological phenomena and the interactivity of groups and individuals with their built
environment. The new discipline of biophilia developed by E. O. Wilson plays a major role in explaining
the human need for intimate contact with natural forms and living beings. This insight into the
connection between human beings and the biological environment provides a new understanding for
the need for ecological design. An extension of the biophilic phenomenon into artificial environments
suggests a corresponding need for built structures that embody the same precepts as biological
structures. These mathematical qualities include fractal forms, scaling, multiple symmetries, etc..
Applications and extensions of Wilson's original idea are now carried out by Stephen R. Kellert in the
Biophilia hypothesis, and in by Nikos Salingaros and others in the book "Biophilic Design". Design and
public policy GOVERNMENT POLICY ON ARCHITECTURE 2009 - 2015 SEE THIS SITE:
11. http://www.ahg.gov.ie/en/Publications/HeritagePublications/ArchitecturalPolicyPublications/Gov
%20Policy%20on %20Arch.pdf DESIGN DIPLOMACY: ARCHITECTURE’S RELATIONSHIP WITH PUBLIC
POLICY [RICHARD SWETT, FAIA, http://www.di.net/articles/design-diplomacy-architectures-relationship-
with-public-policy/] By expanding “design” from its aesthetic sense to incorporate people, society and
quality of life issues, we shift the paradigm of architecture from the design of buildings to influencing the
“design” process for solving problems in society. Upon my arrival in Denmark as the U.S. Ambassador
two years ago, I quickly came to appreciate the Danish ideal evident in this country’s long-standing mix
of good architecture, design and public policy. For nearly a decade prior to my posting here I have
sought to build a bridge between architecture and public policy in the United States. My first impression
of Denmark made me believe that I had finally come to a country where the bridge was already
standing. As only the thirteenth architect to serve in the United States Congress and the only one of the
twentieth century, I came to Denmark believing that the influence of design on public policy had been
cultivated through the successful engagement of architects in the public arena. I quickly inquired about
the long list of architects serving as elected public officials and was surprised to find that the profession
is just as reticent about running for public office here as it is in the United States. However, here there is
much more influence exerted by the profession through other means. Relationships between
government officials and designers are more prevalent. The profession has, in the past, taken specific
stands on social policy that have influenced legislative policy makers. Still, little is known about the
relationship between design and public policy. The interplay of public policy and architecture needs to
be examined in order to gain a better understanding of the dynamics of a successful society. The
inherent connection between design and public policy is rarely discussed, if at all. I have been very
privileged to wear many hats during my career as an architect and public servant. My architectural
training has served me well throughout my working life. In private practice, it has enhanced and
informed my abilities to provide constructive service to my clients and constituents, beginning with
nongovernmental organizations and citizens’ groups. The practice of architecture continues to enhance
and inform my career, where I have served the public as Congressman from New Hampshire and now as
I serve my nation as Ambassador to Denmark. As a matter of fact, architecture played a role in my public
service career right from the start. My first congressional campaign slogan was, “Every House needs a
good architect.” Throughout, I have witnessed and participated in the maze of complex systems,
governmental regulations, professional disciplines, special interest groups, grass-roots community
organizations and big businesses, all seeking to impact our “built environment.” I have found that there
are few people well equipped to sort through the cacophony of competitive interests in a constructive
way that ultimately achieves harmony. By virtue of our training, skills and perspective, architects should
play that role, but, sadly, we rarely do. From this morass of conflict, architects are expected to create
sound structures of lasting value; works of art, if you will. These forms we create are more than art,
however. They must function as protective machines providing order and place while they elevate the
human condition, both spiritually and literally. And, as you all know, this is easier, much easier, said than
done. But that IS what we architects are committed to do-it is the central mission of our profession.
Daunting as this architectural mission is, the truth is that in today’s world it is no longer enough. We
must be prepared to do more. Because of our singular focus on aesthetic design without regard to social
design, because
12. we have turned our noses up at the more “mundane” or administrative aspects of our profession,
and because we have narrowed our leadership responsibilities to avoid liability rather than expand them
to gain influence, we have seen our roles as leading visionaries in society follow a diminishing path. It is
time to change our perspective. The title of this article, “Design Diplomacy: Public Policy and the Practice
of Architecture,” may have intrigued and even confused many of you.But let me explain what I mean by
“Design Diplomacy.” By expanding “design” from its limited aesthetic sense and broadening it to
incorporate people, society and quality of life issues, we shift the traditional paradigm of architecture
from the design of buildings to influencing the “design” process for solving problems in society (or public
policy formation). The creative process of architects is a constructive, inclusive process—therefore more
diplomatic than the aggressive and adversarial methods of engagement in politics. Hence, “Design
Diplomacy: Public Policy and the Practice of Architecture.” Architects are essential contributors, even
the actual shapers, of the environment in which we live. Yet they have always seemed to be supporting
actors at best or bit players at worst, in the various dramas unfolding on society’s main stage. It is time
to take a fresh look at our profession and the role it plays in today’s world. So it seems logical to start off
with a new definition and an outline of a few key topics and terms: 1. The “Global Village” &
“Globalization” 2. The “New Economy” 3. Knowledge Management & High Technology 4. Management
of the Environment & Energy Resources 5. Accountability and Responsibility to the Local Community 6.
LEADERSHIP Perhaps not all of these topics seem, at first blush, to interface with the world of
architecture and design, but they most certainly should. “The Global Village” and its recently coined
noun, “Globalization,” has become a common catch phrase. But it fails to capture an inevitable but very
unpredictable development of our global community: the creation of community infrastructure.
Examples can be found all around us. Witness the Öresund Bridge in Copenhagen. The engineering feat
of a sixteen-mile span of suspension bridge and tunnel is changing much more than the cultural and
commercial lives in this city and Malmö across the sound in Sweden. This is the final piece of the
transportation network that connects all of Europe. Now it is possible to truck goods and raw materials
across all of Europe, all the way to the remotest parts of Northern and Eastern Europe and the vast
terrain of the former Soviet Union. This bridge physically links the developed world with remote
societies largely detached from the technology and prosperity we so often take for granted. This brings
me to the “New Economy.” What does this sound-bite mean, especially for architects? As old paradigms
are shifting, being redefined or being demolished altogether, how do we as a profession adapt? How do
we remain in command of our established role while modern society is morphing around us? The
traditional chain of command, where information is passed down in smaller and smaller increments, has
been turned on its head. Now huge amounts of data are collected and transferred to the small group of
decision-makers at the top. Already now, and more so in the near future, vast numbers of individuals
will have access to information on choices in life no longer limited by their immediate, physical
surroundings. These are opportunities created by this new surge of information. They will no longer
have to travel in order to work, to shop or to educate themselves. We will have more and more of the
planet’s economies vesting greater and greater resources into the development and expansion of global
intellectual property. Where does the architect figure in this?

13. One example I can give where architects have already begun to play a role in helping to create the
“New Economy” is the United States’ Intermodal Surface Transportation Act of 1992. Originally known
as the “Highway Bill,” architects fought hard to expand the requirements of this legislation to do more
than provide highway engineering and construction. Issues of sustainability and the creation of livable
communities through social design were addressed. Architects and planners were made a part of the
process so that “best use scenarios” would be examined prior to the creation of a new highway.
Interconnections between transportation systems, or “intermodal points” enhanced the use of rail, air
and sea transportation networks in conjunction with the highways-not separate from them. Let me
quote a passage from Understanding Media: The Extensions of Mankind published nearly 40 years ago
by Marshall McLuhan: “To reward and to make celebrities of artists can...be a way of ignoring their
prophetic work, and preventing its timely use for survival. The artist is any man in any field, scientific or
humanistic, who grasps the implications of his actions and of the new knowledge in his own time. He is
the man of integral awareness. The artist can correct the sense ratios before the blow of new
technology has numbed conscious procedures. He can correct them before numbness and subliminal
groping and reaction sets in. If this is true, how is it possible to present the matter to those who are in
the position to do something about it?” Good Question! Obviously, before an answer can be formulated,
the architectural profession must first take stock. The issue of knowledge management is broad and
critical. How do we manage our knowledge? How do we employ high technology? How do we apply this
ever-increasing body of knowledge to the task at hand? How do we communicate amongst ourselves?
How do we communicate to the public at large, beyond the physical reality of the buildings we
construct? How can we match our skills and demonstrate our value to society as effectively as those
youngsters, the I.T. whiz-kids, who are now the highest paid professionals (many of whom are leaving
our profession), cutting across all levels of socio-economic and cultural barriers? Perhaps the answer lies
in our accountability and responsibility to our communities. Not just to the international community of
architects, but to those in our home communities. This is an area unconsidered and under-valued by our
profession. But of course, we are not alone in this. We stand to learn a great deal from our colleagues in
public service on this account. The profession of Politics has a negative reputation in the public’s mind
thanks to the glaring mistakes of some of its high-flyers. And so too does architecture when it becomes
party to grave political misconceptions. To drop some infamous examples I offer Albert Speer’s Berlin or
Brasilia, the utopian capital gone monumentally wrong. These are the worst-case scenarios realized out
of grandiose political schemes met with equal fervor by likeminded architects. Examples of integrated
artistic, social and environmental harmony created by architects who have served both their calling and
the needs of society are harder to recall. They are not glamorous like the skyscrapers of corporate
power nor are they the permanent reminders of empire building like the Roman Coliseum or the Great
Wall of China. Pierre l’Enfant’s well-designed new capital of the United States, Washington, D.C. survives
as an evolving example of a good base for comprehensive city planning. Even Strøget (or The Walking
Street) of Copenhagen or the urban garden of Tivoli can be considered successfully harmonic examples.
But what we can see here in Denmark are design ideals played out on broader and better, more
integrated levels that transcend the traditional “top-down” approach. In the design of managed
communities for senior citizens, in the day-care centers for Danish children, in the sensitively-restored
period architecture and in the planned post-war suburban communities integrated into the rolling hills
of the Danish landscape, Denmark provides a stellar example of a truly integrated and societal approach
to architecture and public policy. Danish architects are as famous for their buildings of international
acclaim as they are for their dining room chairs and their desk lamps. No design task is too small or
inconsequential. All aspects of the design of a civilized life’s

14. accouterments, from the shelter we need to the implements for feeding ourselves, are treated with
the same high standards of design integrity and respect. The awareness of architecture’s role in
managing our precious natural resources and the responsibility to design the built environment with
efficient energy use and conservation in mind are now universal. But making it a social, political and
economic priority has led to a world-class role for the Danish industrial and architectural design
community. The architects of the world should take note. This holistic approach forms the bedrock of a
subtle, sustained leadership. It means taking many, many things into consideration. It involves
combining the complex relationships architects must achieve to create their work while constructing
purposeful physical structures with an inherent use of our environment. We are in an increasingly
interdependent world in which not only commerce, but also professions and national interests overlap
more and more. Despite occasional adversarial conflict in the arenas of trade, politics and special
interest groups, it is interesting to note that architects remain one of the few academic professions still
held in high regard by the public. Yet, the profession is losing market share. I would even go so far as to
say it is losing touch with the environment, in which we not only live, but also are so integral in creating
and managing. This interplay between the practice of architecture and public policy is at the crux of
these questions. Architects have not adequately participated in the public policy debate in a way that I
wholeheartedly believe would be so beneficial to our profession and to the public at large. By our very
nature, architects are constructive, cooperative and creative problem solvers and as such, have splendid
leadership qualities to offer. Likewise, public policy can only evolve and mature if architects better use
their integrated creative skills to have a greater say in local, national and even international
governmental affairs. I am not criticizing or downplaying the accomplishments of the profession in the
public arena. Nor do I wish to diminish the very important role of design in our profession. I only suggest
that architecture is made up of much more than just the aesthetics of design, and that we must consider
a broader set of issues and set new objectives for participation in public life. Five years ago Herbert
Muschamp wrote for The New York Times, a “Fleeting Homage to an Architect Who only Dreams:” “The
realization of an architectural design isn’t purely a technical matter. It also has a cultural dimension....I’m
thinking, for example, of an artist like Christo, who regards the process of realizing as an essential part of
his art. When Christo wraps up a monument, like the Berlin Reichstag building, the project’s meaning is
partly drawn from the involvement of public officials and private citizens in its creation. Architects draw
on that level of meaning as a matter of a course. It is not only the public use of buildings that makes
architecture a social art, it is also the architect’s engagement with clients, communities, contractors and
others whose participation is required to alter the material world. If architects can fully gratify their
creativity on paper, they are squandering the opportunity they have to activate the creativity of others.”
We could only benefit by the effort of participation in public life and through it the activation of the
creativity of the public. Thomas Jefferson, an architect of great skill and sensitivity and an unparalleled
politician, played a pivotal role in designing the blueprint of the American democratic system. In doing
so, he effectively realized the confluence of the arts, democratic politics and morality. In a letter to
James Madison written in 1785, he wrote, “I am enthusiastic on the subject of the arts. But it is an
enthusiasm of which I am not ashamed, as its object is to improve the taste of my countrymen, to
increase their reputation, to reconcile them to the rest of the world, and to procure them praise.”

15. There are great opportunities, as so nobly expressed by Jefferson, for our profession to seize. How
many architects hold senior government positions charged with Housing and Urban Affairs, Culture,
Transportation and Environmental Management? How many architects are politically active and
practically involved in their local and national governments? Buildings have been designed and built, but
beyond that, what is the legacy of leadership that architects have left for societies? Will gated
communities cut off from their neighbors be the future? Will glass and marble towers be gracefully
integrated into their surroundings or alienate themselves from the very blocks on which they are
located? The fact is too many architects are seriously marginalized, and I would go so far as to say,
intentionally isolated, from the political process that determines the zoning, funding and the complex
social and legal regulations that control the building of our shared environment. This subject needs to be
confronted, debated and discussed in detail. Yet, we need to do more. Well-known Austrian architect
Hans Hollein, when recently asked, “Do you ever wish you had been only a fine artist?” responded, “I
would have a much more comfortable life just sitting in a studio in the country. But I wanted to be
involved in building in the city; I wanted to contribute to daily life with all its idiosyncrasies and
difficulties.” During the recent conference, we concluded by assisting in the design of a blueprint that
will frame the future influence of our profession beyond the limitations of bricks and mortar. Such a plan
suggests that our fellow architects take up leadership roles in order to balance the tectonic, economic
and political aspects of city/state planning more consciously. Thomas Jefferson also wrote in 1785: “I am
proud to be an architect and don’t propose we go out and tear down any buildings. I do propose,
however, we tear down some of the myths and misperceptions that architects have about public policy
and vice versa.” Activity Analysis and linkages for efficiency in shelter Please see the following link for
the resources: 1. 2. 3. 4. BUILDING LINKAGES FOR COMPETITIVE AND RESPONSIBLE ENTREPRENEURSHIP:
https://unido.org/fileadmin/user_media/Services/PSD/CSR/Building_Linkages_for_Competitive_and_Re
s ponsible_Entrepreneurship.pdf GREEN ARCHITECTURE: ENVIRONMENTAL CONCEPTS OF
ARCHITECTURAL DESIGN: http://www.slideshare.net/ditzgarobo/philippine-ddays-intro-to-green-
architecture ARCHITECTURAL THEORIES OF DESIGN :
http://www.scribd.com/doc/80579364/Architectural-Theories-ofDesign ARCHITURE IN THE PHILIPPINES
– FILIPINO BUILDING A CROSS-CULTURAL CONTEXT:
http://www.scribd.com/doc/80950174/Architecture-in-the-Philippines-Filipino-Building-in-a-
CrossCultural-Context Environmental concepts of Architectural Design

16. Please see this site: http://www.scribd.com/doc/20563539/Environmental-Concept-of-Design-and-

EnergyConservation-Theory-of-Architecture Architecture of the well-tempered Environment [6205
Environmental Technologies
http://isites.harvard.edu/fs/docs/icb.topic256758.files/L01.EnvironmentalConcepts.pdf ] in Buildings,
Roger Benham, Architecture of the weel-tempered environment (1984) Book on the historical
development that lead to the separation of the ‘building structure’ from the ‘plant’ and the resulting
relationship between the architect and t consultant engineer. Environmental Building Concept What is
the use of a house if you don’t have a tolerable planet to put it on? {Henry David Thoreau} All design
aspects that influence a building’s indoor environmental conditions, i.e. how the building maintains
adequate thermal, visual, and acoustic conditions for the building occupants, as well as its resulting
environmental footprint. Figure 9: An extreme closeup view of the desktop, upon which a plan view of
the contextual environment for the design task has been laid out. 7. Scaling and Simultaneous Multiple
Scales While creating and experiencing a design at full scale is anexpected goal for an immersive design
system, it is not usually the best sole environment for architectural design because it is often necessary
to understand and develop thedesign at multiple scales. Our virtual design environmentsupports
simultaneous multiscale viewing so that conceptualmodels can be designed and observed at any scale,
typicallyranging from the scale of an architectural model - a foot ortwo across - up to actual size.
Simultaneous multiple scales are supported so that aproject can be designed, for example, at a relatively
smallscale while simultaneously being inhabited or observed atfull scale, or vice versa, with
modifications made to themodel at one scale appearing simultaneously at the other. Forexample, one
may want to model an entry way at full scalewhile simultaneously being able to view the design at a
scalethat allows understanding the relationship of the entry wayto the whole house and the surrounding
site. In future research we intend to explore the effects of body sense whiledesigning at different scales
and the perceptual advantagesof working at multiple scales simultaneously.

17. Figure 10: A series of images demonstrating of the use of multiple scales in the context of designing
a display system for the interior courtyard of the Architecture building. Interactive design can take place
either at the desk or out in space. Figure 11: In this image, the model has been scaled to fit in place on
the building plan laid out on the desk. 8. Future Work We have several developments presently
underway that weexpect to incorporate into our system in the near future: 1) We are working on
implementing a browser 3 within the space in order to allow access to standard html documents, either
locally or over the web. We would like to enable images/videos/documents/library
objects/environments to be drag/dropped directly from the browser into the model. A browser could
also permit access to a variety of JAVA applications, such as simple paint programs and analysis tools,
that could be useful in supporting a rich design environment. 2) We presently have a standalone "Virtual
Graffiti" sketching tool for drawing on surfaces within a virtual environment using tracker output. We
intend to make that drawing tool available within the virtual design environment together with the
ability to export the resulting images. 3) Images and videos brought into the environment are presently
not supported in stereo. Future development will allow for stereo pair images and videos to be placed
within the environment. This will include stereo images of the"snapshots" created within the
environment and images used to create the overall environment. We anticipate the possibility of
creating "virtual holograms", constructed from multiple superimposed images selectively viewed in a
position dependent manner. 4) Presently all images and videos come into the virtual environment
through the spinning drum provided with the kiosk. We will be adding a "DesignStation" folder for
images and videos to be placed directly into the DesignStation,where they can be further arranged by
the designer.

18. Our overall goal is to develop a virtual environment thatempowers designers. We intend to refine
our system by observing how design is done in the existing virtual design environment and developing
new approaches to meet perceivedneeds. To this end we will be making the system and thespace
available both to a number of different architecturaldesign studios in the professional architectural
graduate program at the University of Minnesota and for use in selecteddesign projects undertaken by
local architecture and interiordesign firms. Design sessions will be videotaped and the design process
critiqued together with the designer. Although our virtual design environment is being developed with
the specific needs of architectural conceptual design in mind, we anticipate that this kind of
environmentcould find wider use as well. It could be alternatively thoughtof as a working environment
for the spatial manipulation andcreation of images, with the necessary supporting geometrictools. We
hope that our future research will involve a widervariety of faculty and researchers who would like to
"design"spatially distributed information spaces. Energy Conservation and the Design Process An Energy
Conservation Architectural Design Tool for WarmClimate (LTV):The tool development and testing.
[Richard Hyde and AldomarPedrini, http://www.thedaylightsite.com/filebank/An%20energy
%20conservation%20architectural%20design%20tool%20f or%20warm%20clima%20.pdf] The use of
design tools in architectural design is common place. Yet, in recent years the need has arisen to provide
design tools to assist with the evaluating the energy usage of buildings. A number of tools are available
for this type of work. Unfortunately, many of these tools are inappropriate for integration in the
architectural design process. The research described here reports development work on lighting,
thermal and ventilation tool for use at the conceptual stage in the design process. The main contention
is that this type of tool is crucial to effective passive low-energy design as it is difficult to integrate
energy saving feature at later stages in the design process. Part of this work has necessitated a critique
of the concept of the passive strategies for non-domestic buildings; this is an important element in
assessing the energy contribution of the external environment to the building. INTRODUCTION Research
work has been underway to develop a design tool for assessing the environmental impacts of
nondomestic buildings. In this case energy -use is taken as an indicator of environmental impact. This
tool is called the Lighting Thermal and Ventilation (LTV) architectural design tool (1). It models the
energyconsequences of using climate responsive design strategies in the building design. Yet the
question arises as tothe form this tool should take for it to be most effective for giving architects
feedback of the consequences of thebuilding design on energy consumption. It is argued here that the
key to this question lies in the design process.It is widely acknowledged that ‘the best opportunity for
improving a building’s energy performance occurs earlyin the design process when basic decisions are
made (2).’ Moreover, the penalty for not addressing climatic responsive design issues early in the
process is that‘opportunity will be lost to make significant savings by relatively simple adjustments to
the design. Increasinglysophisticated or costly efforts are needed to save energy (2).

19. A number of phases can be determined; the phase that is of most interest is the conceptual design
stage wherebasic climatic responsive strategies are used. In large commercial non-domestic buildings
this involves theconceptual layout and thermal zoning of the building. Thermal zoning is a key concept in
assessing the thermal response of the building. It is the relation of the spatialorganization of the building
to the exposure to environmental factors. Thermal zoning is the subdivision ofspaces inside the building
that have varying thermal temperatures. Zones vary with orientation and with exposureto
environmental conditions. A common nomenclature in cool climates is to use two main zones, the
passiveand non-passive (active) zone. ‘Passive zones can be day lit and naturally ventilated and make
use of solar gain forheating. Non-passive zones have to be artificially lit and ventilated (3). The
importance of this description is thatpassive zones use less energy due the use of natural energy than
non-passive zones, which use man-made energyie, electrical energy. Therefore a basic climate
responsive planning stage at the conceptual stage is to make thispassive zone as large as possible to
reduce energy consumption. The extent of the passive zone is deemed to be twice the ceiling height for
cool climates and gives a depth of 6mas seen in Figure 1 (3). At present little work has been carried out
to determine the nature of the passive and non-passive zone for warmclimates. It may be larger for
warm climates due to higher levels of day lighting (4). This is further complicated by the need for
shading which can reduce day lighting to minimize thermal gains fordirect sunlight. This paper examines
these issues from a theoretically and experimentally stand point. The firstpart includes a theoretical
discussion of climate responsive design strategies to determine the concepts for zoningin warm
climates; the second describes experimental work to establish the dimensions of the passive zone.
Figure 1 Passive active zone concept Part 1: Climate responsive design strategies A review of the passive,
low energy design principles used in non-domestic buildings revealed the followingfactors important in
warm climates. These are framed as design strategies that can be used by architects to reduceenergy
consumption. . For the purpose of the study these strategies are used as variables that can be
manipulated in a work-back process.This involves generating a number of possible design scenarios an
architect may take and find the energyconsequences. Architects tend to evaluate design concepts in
terms of the plan and section of the building. A hierarchy is found in the decision making process which
relates to priorities designers have in the designprocess. For convenience, first order decisions are those
that relate more to the planning decisions whilst secondorder are those in the section.

20. Planning Strategies Plan / Room Depth Service Spaces Zoning Function Zoning Thermal Zoning
Façade Strategies Ceiling Height Orientation Window Area and Position Thermal Defense Solar Shading
and Light Guiding Natural Lighting Table 1: The climate responsive design strategies Service Strategies
Air conditioning Electric Lighting Natural Ventilation Second order decisions examine relationship
between solar shading lighting and energy consumption wasexamined. This is called the solar design
strategy. It is common practice for buildings in warm climates toapply this strategy in favour of reducing
thermal loads through the façade by over shading. Yet this can meanhigher electrical lighting
consumption. The loss of natural light is also a reduction of amenity to users. Earlier models have
recognized the significance of the effect of natural light on reducing electrical consumption(5, 6) but
there has been little work into examining this relationship for subtropical and tropical climates.
Theoutcomes of this work show optimum shading and window wall ratios for these design variables (7).
In the study reported here the first order involved study of the planning strategiesused to improve
energyefficiencies. Previous work has established that considerable savings in energy use can be
achieved by planningthe building to achieve optimum plan depths, environmental zoning of spaces,
ceiling height and orientation.This is an important area for saving energy, 30% savings inenergy use can
be achieved by using this strategyalone (Hyde R.A. 1997). To assist architects in assessing the energy
consequences of planning decisions the concept of the passive zonehas been developed (Baker and
Steemers 1996). This concept has been developed for warm climates but not relatedto tropical or
subtropical climates. Work on this deficiency has led to a more complex model to acknowledge theneed
for shading to buildings to accommodate high solar gain in these climates (Hyde 1999 forthcoming). In
thismodel a variety of zones can be established both inside and outside the building from the line of
enclosure tocontrol the external climate. These are: Figure 2: Thermal zoning in section External zones:
1. Environmental zone: micro climate of the site 2. Buffer zone: microclimate created by the building
Internal zones: 1. Enclosure zone: internal climate, immediately adjacent to the line of enclosure 2.
Passive zone: the area defined in plan to receive a significant contribution from the external
environmentfor heating, lighting and ventilation. The convention is to use a dimension equal to twice
the ceilingheight to define the extent of this zone from the façade 3. Non-passive zone: the area defined
in plan and which receives an insignificant contributionfrom theexternal environment for heating,
lighting and ventilation.

21. For quantitative assessment the crucial design variables can be related to the passive zone and
therefore to this enda study using series of computer simulation exercises were carried out using DOE 2.
It is acknowledged that thequalitative variables concerning lighting or other factors are not addressed in
this study i.e. factors such as glare. The main aim of the study was to examine the extent of the passive
zone for warm climates. A ‘rule of thumb’has been established for cool climates. The extent of the
passive zone is function of room depth and the ceilingheight, where the passive zone is seen as twice
the ceiling height. Thus for a ceiling height of 3meters, thepassive zone extends 6 meters to towards the
interior, at 90 degrees from the façade. Part 2: Discussion The extent of the passive zone is controlled by
two main sets of factors: 1. The room depth that is the depth from facade 2. The solar design strategy,
the level of transparency in the facade to provide daylighting Figure 1: Daylighting control Figure 2:
Shadow angle definition. Figure 3 – Analysis of the window location on facade The defaults for the test
cell are shown below Characteristics Size Value Dimensions: width = 10m, ceiling height = 3m, variable
depth

22. Weather Operational Schedule Lights Daylight Control Work plane height Reflectance Window
Envelope properties Air conditioning Brisbane TRY Lights and air conditioning working between 8 am
and 6 pm 320 Lux in work plane, with light power density equal 10 W/m electric lights are either off, one
third-on, two third on or fully-on Height from floor: 0.765m Wall: 0.5; floor: 0.2; ceiling: 0.8 Window
width = 10m (frame width 0.051m), single clear glazing 3mm, light transmission 0.898, U-factor (center
of glass) = 6.31 W/m/°C; windowfront facade: 10 m. No shading was provided to the window Walls, floor
and roof thermally insulated Packaged, EER (energy efficiency ratio) = 2.638 W (cooling)/W
(consumption); cooling set-point: 22°C Table 1 - Characteristics of the test cell Results The results of this
test cell are plotted in Figure 4. Energy optimum consumption is shown for varying roomdepths, also the
optimum window wall ratio. Figure 4 Optimum energy consumption and window wall ratios (WWR) for
different room depths The following observations can be made: 1. Without shading to the windows the
optimum WWR is between 10 to 30 percent. Thus, for a northerly facade, small windows between 3 and
9m2 in area for every 10 meters of linear length are appropriate. 2. As the room depth is increased, the
larger window wall ratio of 30 percent is appropriate; as the depth is reduced a smaller ratio of 10
percent is appropriate. 3. The optimum room depth is 8 meters with lowest consumption using a 10
percent WWR.

23. Figure 5 – Annual consumption per area for different room depths Figure 6 – Annual consumption
per area for different room depths Part 2 Discussion From these results it is clear that the assumptions
concerning the size of the passive zone found in Europeanclimates is different for subtropical climates
such as Brisbane. The higher levels of solar gain and availability ofdaylighting means that the optimum
plan depth can be increase to 8 meters with a lower wall to window glazingratio. In this study shading
was not considered although the method for assessing this has been developed. Furtherwork has been
carried out to assess optimum shading, window wall ratios and plan depth (8). Furthermore a more
subtle definition of the passive zone emerges which is more dynamic, related to sectionalinformation
rather than plan information. In this conception rather than try and make hard definitions of zoning,it
seems appropriate to use this type of information for making strategic design decisions.

24. Figure 7 Graphical tool for assessing thermal zoning strategies Further outcome of this work is that it
is possible to use this information in a number of ways. The earlierdefinitions of the passive zone are
aimed at providing a method of assessing plans to give information regardingtotal energy use of the
design. The contention here is this information is particularly useful for bench markingpurposes.
Benchmark figures for building types can be set and optimum design variables selected to meet
thebenchmark. Thus the benchmark for northern orientated facades may be 30 kWh/m2. A range of
window wallratios and rooms are therefore available to meet this standard. This gives boundaries in
which the designer canwork. This flexibility can begin to intellectualize the design process so that
choices available to designer can beclearly indicated and the consequences of choices articulated.
Additional information can also be obtained from the graphs, which enables the selection of optimum
windowwall ratios for room depths or visa versa. This assists with the design of particular zones of the
buildings. Somepreliminary work has been carried out with regard to this issue. It is clear that this
information can be integratedinto a graphical tool, which gives visual information of the consequences
of selections made by designers asshown in Figure 7.
http://www1.eere.energy.gov/femp/pdfs/25807.pdf http://www.thedaylightsite.com/filebank/An
%20energy%20conservation%20architectural%20design%20tool%20f or%20warm%20clima%20.pdf
http://www.slideshare.net/Aarongrt/energyconservingdesigndetails

25. http://www.weebly.com/ http://en.wikipedia.org/wiki/Escalator

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