Lecture (2)

Traditional Water Resources

Surface Water: (Rivers and Fresh Water Lakes)
Divide

a a

Str
eam
Precepitation
m
rea
St

b
b
R

Section a-a Watershed

Lake
Precepitation Ri
River ve
r

Str
R

eam
b
Section b-b
Groundwater : (Phreatic and Confined Aquifers)

Patm

Shallow W ell

Aquifer B

Pheratic Confined Leaky Artesian Confined

Leaky
Recharge
area

Ground Surface Perched Water

Flowing
Well
Piezometric Surface (B)
Piezometric Surface (C)

Sea
Water Table
Leakage
Aquifer A
Interface

Aquifer B
Leakage Sea
Water
Interface
Aquifer C
 ,
safety, the different external actions (gravity loads, cli-
matic loads, etc.)
• Environmental requirements, necessary for achieving
sustainability, and in accordance with these, durability
requirements, that is, satisfying the specified require-
ments throughout the life of the structure
Some of the unwarranted assumptions1 and
way that they are not restricting the innovations and
liberal thinking.
• The computers should become the slave of engineers
not the other way around, especially for conceptual
design. They should not imprison the minds of engi-
neers from Imagineering getting bogged down by com-
puter modeling. Computers should be mere tools of
engineers to free them from the drudgery of computa-

Printed by [Special Products: All Wiley Journals FF - 156.217.234.033 - /doi/epdf/10.1002/suco.202000399] at [25/06/2021].

preconceived notions that challenge the sound concep- tion. But they should not become the source of
tual design are: inspiration.

• Everybody knows that (steel plate g

crete girders, cast in place concrete ESIG N ; AR T
nomical structure for this location.
• Let us use the same design as we
ture earlier. hether structural con-
• The enabling structures are readily has been argued that
contractor and contractor is conve Salginatobel, Christian
ogy as such repeat the form. 1) are classical art and
• Regionally steel structure or concre ineering.
ular as such we will adopt the same eived and built were
• We have always done this way and ,” and “visionary” and
• We have not done in the past as suc views at that point of
• In any case, cost will differentiate f art is to challenge the
form, materials and technology as . When the time-tested
so called conceptual design. full way, the human
• Architects are nuisance in achievi rs much beyond wear-
structures, they do not understand experience to be ter-
ing and their structures are not c
avoid them in conceiving a structur eve aesthetics are also
“Form Follows Forces”
We are at our disposal today, t Follows Functions” of
codes that are the condensed extract ivan who was an archi-
knowledge available on Big Data, the of 'Form Follows Func-
2
tion and analysis ability for any c of view where the
advanced computers, very high streng should be consistent
rials with huge options and variety of e of bridges “Form Fol-
gies and equipment for construction. Despite these lows Forces” means the structural dimensioning of mem-
advancements, we see ugly looking, unsustainable and bers just to cater for internal forces where the force flow
ill-conceived structures all around. Some of the reasons is reflected in appearance or the form itself. Here we are
for ill conception are: dealing with statics, equilibrium, flexure, mechanical
properties of materials etc., which is a scientific process.
• Education system of structural engineers; presently there Science is a method of doing things. It “is the orga-
is no connect between university education and the pro- nized, systematic enterprise that gathers knowledge about
fessional structural engineers. There has to be system of the world and condenses the knowledge into testable laws
professional structural engineer mentoring the students and principles”3 There are five 'diagnostic features. The
at university so that they can succeed professionally. first is the repeatability of research results, preferably by
• Lot of research is going on in the world labs of univer- independent investigators. The second is a reporting of
sities and the knowledge is gathered. Again, there has research as simply and elegantly as possible. Third, scien-
to be system that the knowledge acquired in the uni- tific findings are subject to universally accepted and
versity laboratories are passed on to professional struc- unambiguous scales of measurement. Fourth, scientific
tural engineers, codes, and standards. research stimulates new learning and new knowledge.
HEGGADE 2209

Printed by [Special Products: All Wiley Journals FF - 156.217.234.033 - /doi/epdf/10.1002/suco.202000399] at [25/06/2021].

FIGURE 1 Roebling's B Schlaich's Signature Bridge

Finally, science is c and idea validation. In artistic settings, the

connected and proved c is a value in itself and validation is not that
Thus, there seem to In contrast to Science, Art (like Beauty) is in
that conceptual design is the beholder and it is accepted that works of
the artistic and scientific ceive subjective interpretation.
to be some commonalitie ific creativity has to be in a system of domain
of rules and procedures like mathematics, the-
• Both are creative proc laws (for example Hooke's law) etc. and not
thetic thinking and ge d by personal feelings or opinions in consider-
• “Visual thinking” and representing facts. It is very objective being
are the essential part ly detached and impartial.
• Both share sensitivit representation of the “four hats of creation”
criteria for “beauty” m in Figure 2 to Maillart's Salginatobel)6 is very
• Artists as well as sci nderstanding the conceptual design vis-à-vis sci-
social interactions; they pre er o n r a ora o- ence a art. The upper half represents the “search for
ries or studios. truth” whereas lower half represents “problem solving”.
• The labor and inspiration of science as well as art Left half represents the strength of drawing skills, sketch-
depends largely on nature and natural world. ing and imagining visual world on the basis of strong
observation of nature. The right half represents the
It is not surprising that the notable figures like strength in mathematical ability. As we can see in the
Leonardo da Vinci, Galileo, and Michelangelo who con- Figure 2, Salginatobel Bridge follows the principle of
tributed during Renaissance period were artists as well as “Form Follows Forces” which gives the efficiency and
scientists. Throughout the Renaissance, art and science economy of the bridge. The design and construction of any
continued to develop and interact. In particular, the sev- bridge including engineering has to be a scientific process
enteenth century represented a time and place where sci- whether bad or good which is a truth (Reality). But the
entific inquiry became so pervasive that science and art other truth is that the design and engineering, efficiency of
were inseparable. the structure by “Form Follows Forces” alone cannot ren-
Art as well as science is a creative process5 culminat- der the artistic elegance to the bridge. There has to be
ing in truth (Reality) and the process involves idea some qualitative and subjective attributes to “take the
2210
science to the level of structural art”. In addition, these days
the sustainability aspects need to be incorporated in the
conceptual design for the sake of posterity.
3 | PROCESS OF CONCEPTUAL
DESIGN
3.1 | History of conceptual design
Historically, there is no evidence of scientific process
being evolved for conceptual design. In general, the
FIGURE 2 “Four hats of creation” by R Gold (redrawn with
the conceptual design of Maillart's Salginatobel)
FIGURE 3 Symposium on conceptual design of structures
HEGGADE
term “concepts” were being used loosely. Almost three
decades ago, Billington7 introduced the terms effi-
ciency, economy ,and elegance as a theme of approach
to bridge design and promoted it as a conceptual
design approach to the numerous anonymous, too fre-
quent ugly utility structures based on mere technical
and economic criteria.
Thus, there was a longstanding concern by profes-
sionals to address the issue of conceptual design. An
Printed by [Special Products: All Wiley Journals FF - 156.217.234.033 - /doi/epdf/10.1002/suco.202000399] at [25/06/2021].
international symposium (Figure 3) on conceptual design
organized at the University of Stuttgart by Prof. Jörg
Schlaich in 1996 was probably the first event of this kind
to address the issue. The theme stated below in the pro-
logue summarizes the state of the art of conceptual
design at that time which is not very different even on
the day.
“The overall quality of many structures
today leaves much to be desired. The rapid
technological progress does not reflect ade-
quately in their variety, beauty and sensitiv-
ity. Too often, structural engineers neglect
the creative conceptual design phase by
repeating standard designs and not suffi-
ciently contributing with [their] own ideas to
the fruitful collaboration with architects.
Engineers thus often waste the chance to
create building culture.”
HEGGADE
Though the symposium was a great success with
some of the renowned designers of the time, could not
come to a conclusion as to the definition of conceptual
design.
Under the Design chapter, a section was introduced
in fib model code for concrete structures 2010 on concep-
tual design. In the background paper Sound engineering
through conceptual design according to the fib Model
Code 2010 by H. Corres-Peiretti, published in fib journal 8
Structural Concrete 14 (2013), No. 2, it is explained that
Jean François Klein at a meeting of fib Special Activity
Group 5, New Model Code, in Lausanne, proposed a flow
chart (Fig re 4) as a basis for introducing the process of
conceptual design into the new Model Code 2010.
Recently in September 2019 an International fib sym-
posium on conceptual design (2019) of structures under
the scientific chair of Dr Hugo Corres Pieretti was orga-
nized in Madrid where some of the renowned structural
engineers and architects delivered key note lectures and
brainstormed on the theme.
FIGURE 4 Methodological flow chart for conceptual design
(Source: fib model code 2010)
2211
The fib has constituted a task group TG 10.1 for the
preparation of model code 2020 and the work is in pro-
gress. In the task group meetings held in Tokyo on 13 to
14th December 2019, Dr Hugo Corres and Dr Akio
Kasuga made presentations proposing improvisation in
the methodology flow chart for conceptual design imbib-
ing some of the conclusions of fib symposium at Madrid
including sustainability aspects.
Printed by [Special Products: All Wiley Journals FF - 156.217.234.033 - /doi/epdf/10.1002/suco.202000399] at [25/06/2021].
ss
chart (Figure 5)
ructure in Tokyo
while deliberating on structural sustainability in concep-
tual design. The conceptual design is a part of overall
design process of a structure and ends by providing out-
put as the basis for detailed design. In fact, the design
basis report (DBR) and departmental project report
(DPR) should logically be the output of conceptual design
that is meant to be used as an input for detailed design.
Structural sustainability is most important aspect of
conceptual design.Dr Kasuga goes on to define structural
sustainability as:
• Is the way of thinking to recall creativity.
• Is mostly considered to solve constraints in conceptual
design.
• Can deal with three aspects of sustainability.
• Solutions can be defined as performance requirements
and verified.
• Solutions derive optimized structures which lead to
sustainable performance of the object during its life
time including construction and demolition.
• Makes structure elegant.
Dr Hugo Corres10 presented an improvised model of
methodological flow chart (Figure 6) of conceptual design
in Tokyo on the basis of Madrid symposium where inspi-
ration, data collection, creativity and materialization got
incorporated in the model. After this incorporation, the
model has a striking resemblance to R Gold's creativity
model (Figure 2) of “Four hats of creation”.
The constraints like external input, service criteria
and performance requirements for conceptual design is
well understood and to a large extent practiced and also
specified and codified. The external input and service
criteria generally are:
• Accelerated construction
• Low environmental impact
• Minimum cost
Water Quality:
- Salinity
- Soil Permeability
- Toxicity
The emphasis here on water salinity

Fresh less than

Brakish in Between Saline Greeter than
TDS=1000-1500 ppm
or equal to 30,000 ppm

TDS (Total dissolved Solids)

Parts per million (ppm)
1 mmhos = 640 ppm
 Water Transport (Conveyance)

Irrigation Canals

BANK BANK
D Free Board
BERM BERM AGR. LAND
WATER LEVEL

t:1 Side
BED
Slope

Water Disposal
Agricultural Drains
BANK BANK
2:1
AGR. LAND BERM BERM AGR. LAND

WATER LEVEL 3:2

3:2
BED
Irrigation Water Delivery System: (Distribution System)
al Lake
Can
d ary
e con
or S
Br.
Escape Regulator
P.S. or Pumping Station

Series of
falls, culvert, Main Drain
and P.S.
Syphon
Tail Escape Escape Aqueduct & Intermediate Escape

- Canals and drains

- Bridges

Main canal
- Dams
Roadw
ay
- Barrages/regulators
Culvert e
Culvert Bridge Bridg
Bridge

Village
- Culvert
t men
Embank

- Aqueduct
al
h Can
in
Levee or

h Dra
al
h Can

Branc

- Syphon
Branc
Branc

d
Heaulator
Reg
- Tail escape
canal
Barrage Main
& Lock Head
Regulator - P.S.
Dam and Spillway

Reservoir
Lake

CANAL CANAL
DRAIN