ARCHITECTURAL DESIGN PROCESS AND

METHODOLOGIES
AN ARCHITECTURAL METHODOLOGY IS A SYSTEM OF PRINCIPLES AND
METHODS FOR DESIGNING AND CONSTRUCTING ENTERPRISE ARCHITECTURES. IT IS
USED TO GUIDE THE DEVELOPMENT PROCESS AND ENSURE THAT THE FINAL
PRODUCT MEETS THE
ORGANISATION’S SPECIFIC NEEDS.

THE TERM “METHODOLOGY” CAN BE

USED IN DIFFERENT WAYS, SO IT’S
IMPORTANT TO UNDERSTAND WHAT
WE MEAN BY IT IN THIS CONTEXT. IN
SOFTWARE ENGINEERING, A
METHODOLOGY IS OFTEN
ASSOCIATED WITH A PARTICULAR
APPROACH TO DESIGNING AND
BUILDING SOFTWARE APPLICATIONS.

FOR EXAMPLE, THERE ARE WELL-KNOWN METHODOLOGIES SUCH AS AGILE,

DEVOPS, AND WATERFALL. IN ENTERPRISE ARCHITECTURE, THE TERM
METHODOLOGY IS USED IN A MORE GENERAL SENSE TO REFER TO THE OVERALL
SYSTEM THAT AN ORGANISATION USES.

THERE ARE MANY DIFFERENT TYPES OF ARCHITECTURAL METHODOLOGIES, EACH

WITH ITS STRENGTHS AND WEAKNESSES. THE SELECTION OF AN APPROPRIATE
METHODOLOGY IS CRITICAL TO THE SUCCESS OF ANY ENTERPRISE ARCHITECTURE
INITIATIVE.

THE MAIN DRAWBACKS OF THIS PROCESS ARE:

- EACH STEP IS HANDLED INDEPENDENTLY WITH NO OVERALL VIEW, IT IS

THEREFORE DIFFICULT TO REACH AN OVERALL OPTIMIZED DESIGN
- DESIGNERS RESPONSIBLE FOR A STEP DO NOT NORMALLY COMMUNICATE
WITH DESIGNERS OF OTHER STEPS (ESPECIALLY IF STEPS ARE NOT
ADJACENT) SINCE THE PROCESS DOES NOT REQUIRE THIS
- IT IS VERY INEFFICIENT FROM A TIME OPTIMIZATION POINT OF VIEW BECAUSE
THE PROCESS IS SEQUENTIAL, AND ONE STEP IS STARTED ONLY WHEN THE
PREVIOUS IS COMPLETED
- PROBLEMS ARISING IN ONE STEP ARE ‘TAKEN AS THEY COME’ AND
DESIGNERS TRY FIX THEM WITHIN THEY KNOWLEDGE AREAS AND WITHOUT
 CHALLENGING CONSTRAINTS, THIS RESULTS TYPICALLY IN DELAYS AND COST
INCREASES
- INITIAL STEPS DECISIONS HEAVILY HINDER INNOVATION IN SUBSEQUENT
STEPS, SINCE IT IS EXTREMELY DIFFICULT AND EXPENSIVE TO MAKE
CHANGES TO AN ALREADY FROZEN DESIGN STEP

FROM A CAE USAGE POINT OF VIEW. WE NOTE THAT CAE IS TYPICALLY USED ONLY IN
SOME STEPS AND IN A SEQUENTIAL WAY AND THEREFORE NOT EXPLOITING THE
FULL POTENTIAL OFFERED. FOR EXAMPLE, PLM SYSTEM IS NOT USED TO DESIGN
AND MAINTAIN 3D DOCUMENTATION OF PRODUCTION TOOLS. 2D DRAWINGS ARE
PREFERRED MEAN OF EXCHANGE BETWEEN STEPS THIS SLOWS DOWN
SIGNIFICANTLY SIMULATION CAPABILITIES WHERE GOOD QUALITY 3D GEOMETRIES
ARE INSTEAD NEEDED.

AN ARCHITECTURAL METHODOLOGY IS A SYSTEM OF PRINCIPLES AND

METHODS FOR DESIGNING AND
BUILDING SAID ARCHITECTURE. THE
SELECTION OF AN APPROPRIATE
METHODOLOGY IS CRITICAL TO THE
SUCCESS OF ANY ENTERPRISE
ARCHITECTURE INITIATIVE.

METHODOLOGIES HELP
ORGANIZATIONS TO STANDARDIZE
THEIR APPROACH TO DESIGNING AND
IMPLEMENTING ARCHITECTURES,
WHICH CAN IMPROVE THE EFFICIENCY
AND QUALITY OF THE DEVELOPMENT
PROCESS. A GOOD METHODOLOGY
ALSO ENABLES DIFFERENT
ARCHITECTS TO SHARE THEIR WORK
AND MAKES IT EASIER FOR OTHERS TO
REVIEW AND UNDERSTAND THE
ARCHITECTURE.
CONCEPTUALIZATION TECHNIQUES IN ARCHITECTURAL DESIGN
IN ARCHITECTURE, A DESIGN CONCEPT IS WHAT THE DESIGNER FEELS AND
THINKS OF WHEN THEY CONNECT TO THEIR DESIGN. IT IS WHAT THE USER OR
VISITOR MOVING THROUGH THE FINISHED STRUCTURE AND SPACES FEELS, THINKS
AND EXPERIENCES ON THEIR JOURNEY. IT IS NOT ONE THING THAT CREATES A
CONCEPT. IT IS NOT THE
MATERIALS, THE LAYOUT
OF SPACES, THE
ACTIVITIES, THE PEOPLE,
OR THE SITE. IT IS THE
COMBINATION OF EVERY
ASPECT OF THE PROJECT
COMING TOGETHER IN
PARTICULAR WAYS TO
CREATE SOMETHING
DIFFERENT AND UNIQUE.

DESIGNING AND
BUILDING A HOME OR
PLANNING AND
CONSTRUCTING A SPACE
FOR A NEW OR GROWING
BUSINESS IS A COMPLEX
TASK. ONE WAY TO MAKE A COMPLEX TASK SEEM MORE MANAGEABLE IS TO BREAK
IT UP INTO SMALLER TASKS, AND ARCHITECTS APPLY A SIMILAR STRATEGY TO THE
DESIGN AND CONSTRUCTION PROCESS. THE AMERICAN INSTITUTE OF ARCHITECTS
(AIA) DEFINES FIVE PHASES OF ARCHITECTURE THAT ARE COMMONLY REFERRED TO
THROUGHOUT THE INDUSTRY: SCHEMATIC DESIGN, DESIGN DEVELOPMENT,
CONTRACT DOCUMENTS, BIDDING, CONTRACT ADMINISTRATION. 

SCHEMATIC DESIGN

IN THIS PHASE, WE
BEGIN THE PROCESS OF
TRANSLATING THE
PROGRAM INTO AN
EFFICIENT BUILDING
DESIGN. THIS IS WHEN WE
START EXPLORING DESIGN
CONCEPTS; IT IS THE TIME
FOR TESTING OPTIONS
AND GETTING A GENERAL
IDEA OF THE LOOK AND FEEL. THE FLOOR PLANS AND SHAPE OF THE PROJECT WILL
BEGIN TO TAKE FORM, BUT THE SPECIFICS ABOUT MATERIALS AND DETAILS WILL
COME LATER. THE SCHEMATIC DESIGN PHASE INCLUDES SEVERAL MEETINGS
WHERE WE PRESENT IDEAS TO OUR CLIENTS USING IMAGES OF OTHER PROJECTS,
HAND SKETCHES, AND MODELS TO HELP VISUALIZE THE SIZE, SHAPE, AND
RELATIONSHIP OF SPACES TO EACH OTHER. WE LISTEN AND OBSERVE YOUR
REACTIONS, THEN REFINE THE IDEAS ACCORDING TO YOUR FEEDBACK UNTIL WE
REACH AN AGREED UPON DESIGN DIRECTION TO DEVELOP FURTHER IN THE
FOLLOWING PHASES.  CLIENTS CAN EXPECT TO BE QUITE ENGAGED THROUGHOUT
THIS PHASE AND TO BE ASKED FOR APPROVAL OF THE SCHEMATIC DESIGN BEFORE
WORK PROCEEDS. MAKE SURE TO LET YOUR DESIGN PROFESSIONAL KNOW IF YOU
DON’T UNDERSTAND SOMETHING AND TAKE THE TIME NECESSARY TO GIVE
THOUGHTFUL FEEDBACK. IT IS ALWAYS POSSIBLE TO MAKE CHANGES LATER, BUT IT
IS EASIEST DURING THIS PHASE WHEN THE DESIGN IS MOST FLUID.

DESIGN DEVELOPMENT

DURING DESIGN DEVELOPMENT, WE ADVANCE THE DESIGN SIGNIFICANTLY

BASED ON THE FLOOR PLAN AND EXTERIOR CONCEPT APPROVED IN THE PREVIOUS
PHASE. THE FIRST PRIORITY OF THIS PHASE IS TO DEFINE AND DEVELOP ALL THE
IMPORTANT ASPECTS OF THE PROJECT AND PRODUCE A SET OF DRAWINGS AND
OUTLINE SPECIFICATION TO SHOW POTENTIAL CONTRACTORS FOR PRELIMINARY
COST ESTIMATING. IF
ADJUSTMENTS ARE
NECESSARY TO BRING THE
PROJECT SCOPE IN LINE
WITH THE CONSTRUCTION
BUDGET, IT IS MOST
EFFICIENT TO DO THIS
SOONER THAN LATER.
ONCE WE KNOW WE ARE
ON TRACK, WE WILL TALK
MORE SPECIFICALLY
ABOUT THE INTERIOR AND EXTERIOR MATERIALS AND FUNCTIONALITY. AS WE DIAL
IN THE LAYOUT OF THE INDOOR AND OUTDOOR SPACES WE WILL REFINE THE
WINDOW AND DOOR PLACEMENTS AND MAKE ADJUSTMENTS TO THE BUILDING
FORM. THIS PHASE IS USUALLY WHEN OUR CLIENTS FEEL THE PROJECT COMING TO
LIFE AND IT BECOMES POSSIBLE TO SEE THEMSELVES IN THE NEW SPACE. BY THE
END OF THE DESIGN DEVELOPMENT PHASE, THE BUILDING EXTERIOR WILL BE MORE
FULLY DESIGNED, THE INTERIOR LAYOUT COMPLETED, DIMENSIONS OF ALL SPACES
FINALIZED, AND MOST MATERIALS SELECTED. A STRUCTURAL ENGINEER WILL BE
ADDED TO THE TEAM, AND CONSULTANTS FOR HVAC, PLUMBING, AND ELECTRICAL
SYSTEMS MAY BE NEEDED DEPENDING ON THE COMPLEXITY OF THE PROJECT. THE
DELIVERABLE WILL BE A MORE DETAILED SET OF DRAWINGS THAT COMMUNICATES
THE OVERALL LAYOUT AND VOLUME OF THE BUILDING OR SPACE, ALL SIGNIFICANT
EQUIPMENT, AND THE TYPE OF MATERIAL OR FINISH FOR EVERY SURFACE OF THE
PROJECT. 
CONTRACT DOCUMENTS

IN THIS PHASE WE DEVELOP THE DESIGN DRAWINGS INTO A THOROUGH AND

PRECISE SET OF CONSTRUCTION DOCUMENTS. THESE DRAWINGS AND
SPECIFICATIONS HAVE ALL OF THE DETAILS, DIMENSIONS, AND NOTES NECESSARY
TO COMMUNICATE THE ENTIRE DESIGN INTENT TO THE BUILDER. WE SHOW HOW
THE BUILDING COMPONENTS SHOULD BE CONNECTED, SPECIFY ALL OF THE
MATERIALS, FINISHES, FIXTURES, EQUIPMENT, AND APPLIANCES TO BE INSTALLED,
AND COORDINATE OUR DRAWINGS WITH THE STRUCTURAL ENGINEER’S AND ANY
OTHER CONSULTANT DRAWINGS. THE CONSTRUCTION DOCUMENTS PHASE OFTEN
REQUIRES THE MOST TIME, WHICH CAN SURPRISE CLIENTS BECAUSE THE DESIGN
SEEMS COMPLETE AFTER DESIGN DEVELOPMENT. HOWEVER, THIS IS A CRITICAL
STEP IN THE PROCESS OF SUCCESSFULLY AND ACCURATELY EXECUTING THE
DESIGN YOU HAVE INVESTED IN. EARLY IN THIS PHASE THERE MAY STILL BE
OPTIONS ON THE TABLE FOR SOME OF THE ITEMS TO BE SPECIFIED. CLIENTS
SHOULD BE PREPARED TO MAKE DECISIONS DURING THIS PHASE. IT IS OUR JOB TO
MAKE RECOMMENDATIONS AND EDUCATE YOU ABOUT THE OPTIONS, BUT
ULTIMATELY YOU WILL BE THE ONE OCCUPYING AND MAINTAINING THE HOME OR
BUILDING AND YOU HAVE THE FINAL SAY.
DESIGN CONCERNS IN DOING ARCHITECTURAL CONCEPT
CONCEPT DESIGN (OR OUTLINE DESIGN) REQUIRES THAT THE ARCHITECT GRAPPLES
WITH THE REAL ISSUES OF FORM AND BULK, SCALE AND MASS AND THE
GENERIC APPEARANCE OF A BUILDING WITHIN ITS SURROUNDING URBAN CONTEXT,
RESOLVING AND ENCAPSULATING THE PRINCIPLES OF THE
SCHEME. CONCEPT DESIGN IMPLIES AN IDEA, OR RANGE OF IDEAS,
A DEVELOPMENT APPROACH, A GUIDING CONCEPT AND A DESIGN INTENT. IT
RESOLVES THE ISSUE OF 'WHAT' AND 'HOW MUCH' AND BEGINS TO SET THE STAGE
FOR UNDERSTANDING 'HOW'. CONCEPT DESIGN EXPLORES THE RESOLUTION OF
THE BRIEF, IMPLIED OR SET OUT IN THE FEASIBILITY AND ASSESSMENT STAGE. THE
CONCEPTUAL APPROACH PLACES THE QUANTUM OF DEVELOPMENT INTELLIGENTLY
ON THE SITE.

IT IS VITAL THAT THE ARCHITECT AND THE CLIENT AGREE

THE OBJECTIVES AND OUTCOMES OF THE CONCEPT DESIGN PROCESS IN
ADVANCE. CONCEPT DESIGN CAN BE SIMPLY A SERIES OF SKETCHES, IDEAS AND
EXPLORATIONS, OR IT CAN GO INTO CONSIDERABLE DEPTH,
INCLUDING DESIGN ILLUSTRATIONS,
INDICATIVE PLANS, SECTIONS AND ELEVATIONS AND 3D MODELS OF
A DEVELOPMENT APPROACH.

CONCEPT DESIGN CAN ALSO BE AN ITERATIVE PROCESS WHERE, THROUGH A

SERIES OF DESIGN MEETINGS, THE ARCHITECT MODIFIES THE CONCEPT, ADJUSTING
AND NARROWING DOWN A BROAD-BRUSH APPROACH TOWARDS A MORE PRECISE,
WELL-ILLUSTRATED CONCEPT, CAPABLE OF BEING MEANINGFULLY DISCUSSED, NOT
ONLY WITH THE CLIENT, BUT ALSO WITH EXTERNAL
PARTNERS, PLANNERS, ENGINEERS AND OTHER INTERESTED PARTIES.

AS A RESULT, THE ARCHITECT'S TIME COMMITMENT OFTEN GETS STRETCHED

TRYING TO SATISFY A CLIENT'S EVOLVING REQUESTS AS THEY BETTER
UNDERSTAND THEIR OWN PROJECT AND THE ARCHITECTURAL CONCEPT. THIS IS
WHY IT IS SO IMPORTANT THAT BOTH THE CLIENT AND
THE ARCHITECT UNDERSTAND AND AGREE THE DELIVERABLES REQUIRED,
THE WORK INVOLVED AND THE FEES AND OTHER COSTS THAT WILL BE CHARGED.

CONCEPT DESIGN IS SELDOM A 'EUREKA!' MOMENT WHERE A SINGLE IDEA POPS

INTO THE HEAD WHICH RESOLVES EVERYTHING. IT IS VIRTUALLY ALWAYS A SERIES
OF ITERATIVE EXPLORATIONS, A TESTING OF IDEAS, RESULTING IN A
SATISFACTORY RESOLUTION OF OFTEN CONFLICTING CRITERIA,
WHETHER AESTHETIC, ORGANISATIONAL, TECHNICAL, FINANCIAL, SOCIAL OR
CONTEXTUAL. A SUCCESSFUL CONCEPT DESIGN IS ONE THAT FULFILS MOST OF THE
CRITERIA THAT THE CLIENT, THE ARCHITECT AND THE TEAM JUDGE TO BE
IMPORTANT.
A CONCEPT DESIGN MAY BE SUMMARISED IN A FEW SIMPLE SKETCHES - BUT
THOSE SKETCHES WILL HAVE IMPLICIT BEHIND THEM MUCH
PRIORITISATION, EVALUATION, TEAM AND CLIENT DISCUSSION AND DECISIONS.
SYNTHESISING CONCEPT DESIGN PROPOSALS IS A CREATIVE PROCESS. EARLIER
THERE WAS A PROBLEM TO BE SOLVED AND A POSSIBLE DIAGRAMMATIC APPROACH,
NOW A POSSIBLE SOLUTION OR DESIGN DIRECTION EXISTS; A CONCEPT HAS BEEN
CAPTURED, SO THE PROJECT IS ABLE TO MOVE FORWARD.

IT IS HERE THAT THE PLAN FORM, VOLUMETRY, ARCHITECTURE AND OVERALL

SHAPE OF THE BUILDING IS SET, NOT IN GREAT DETAIL, BUT CAPTURED IN ESSENCE.
THE CONCEPT DESIGN SHOULD ENCAPSULATE THE SPIRIT, FORM,
PRINCIPAL AESTHETIC AND TECHNICAL PRINCIPLES OF THE
OVERALL PROJECT WITHIN ITS URBAN CONTEXT , THE REAL CONSTRAINTS OF
ITS SITE AND LOCAL LEGISLATION.

FROM THIS CONCEPT DESIGN, THERE IS SUFFICIENT INFORMATION, EITHER

DESCRIBED OR IMPLICIT, TO PREPARE A GENERIC COST OVERVIEW BASED
ON FLOOR AREAS, USE TYPES, LIKELY FORMS OF CONSTRUCTION, FACADE
TREATMENTS, PARKING, ACCESS, BUILDING PERFORMANCE CRITERIA AND
TECHNICAL SYSTEMS. CONCEPTS FOR EXTERNAL SITE TREATMENTS
AND LANDSCAPE MAY ALSO BE INCLUDED.

WITH THE RECENT INCREASE IN EMPHASIS ON EARLY PUBLIC PARTICIPATION IN

THE DESIGN PROCESS, THE MATERIAL GENERATED MAY ALSO SERVE AS THE BASIS
FOR INFORMAL COMMUNITY CONSULTATIONS. CONSULTATIONS MAY BE ORGANISED
BY THE CLIENT AND ARCHITECTURAL TEAM IN COORDINATION WITH THE LOCAL
AUTHORITY, AND PROVIDE VALUABLE FEEDBACK PRIOR TO THE
FORMAL PUBLIC SCRUTINY OF A PLANNING APPLICATION.

CONCEPT DESIGN CAN BE UNDERTAKEN ON A TIME-CHARGE BASIS, AS A

FIXED FEE OR AS PART OF A FULL ARCHITECTURAL SERVICES CONTRACT. IN EACH
CASE THE FEE BASIS SHOULD BE AGREED WITH THE CLIENT BEFORE COMMITTING
TO SIGNIFICANT AMOUNTS OF WORK. ARCHITECTS ARE OFTEN ASKED TO PREPARE
A CONCEPT FOR NO FEE ON THE UNDERSTANDING THAT THEY WILL
BE NOMINATED AS THE ARCHITECT LATER IF THE CONCEPT IS ACCEPTED AND
PURSUED. THIS SHOULD BE RESISTED. CONCEPT DESIGN IS A
VALUABLE SERVICE AND SHOULD BE PROPERLY REMUNERATED.
3 ESSENTIALS TO DEVELOPMENT OF CREATIVE SKILLS
THE ESSENTIAL REQUIREMENTS OF A GOOD PRODUCT DESIGN ARE LISTED AS
FOLLOWS: PRODUCT MUST OPTIMALLY PERFORM ITS MAIN FUNCTION (TASK). IT
MUST BE EASY TO REPAIR AT A LOW REPAIR COST. IT MUST BE VERY RELIABLE TO
USE.

1. IDEATION

–IS A CREATIVE PROCESS WHERE DESIGNERS GENERATE IDEAS IN SESSIONS

(E.G., BRAINSTORMING, WORST POSSIBLE IDEA). IT IS THE THIRD STAGE IN THE
DESIGN THINKING PROCESS. PARTICIPANTS GATHER WITH OPEN MINDS TO
PRODUCE AS MANY IDEAS AS THEY CAN TO ADDRESS A PROBLEM STATEMENT IN A
FACILITATED, JUDGMENT-FREE ENVIRONMENT.

2 IDEA QUANTITY

– MEANS THAT THE PERSON WHO IS CAPABLE OF PRODUCING THE LARGEST

NUMBER OF IDEAS PER UNIT OF TIME HAS THE GREATEST CHANCE OF PRODUCING
THE TRULY SIGNIFICANT ONE. IN OTHER WORDS, THE ODDS OF YOUR COMING UP
WITH A REALLY CREATIVE IDEA ARE BEST IF YOU HAVE A LOT OF IDEAS FROM WHICH
TO SELECT

3 IMAGINEERING

–IMAGINEERING IS A PORTMANTEAU WORD WHICH COMBINES IMAGINATION

AND ENGINEERING. THE TERM IS MOST OFTEN ASSOCIATED WITH THE DISNEY
CORPORATION, WHICH MAINTAINS AN ENORMOUS STAFF OF IMAGINEERS TO DESIGN
NEW RIDES, RESORTS, WATER PARKS, HOTELS, THEME PARKS, BRANDED CRUISE
SHIPS, AND OTHER DISNEY REAL ESTATE HOLDINGS.

BE CAREFUL TO PROCEED IN THIS ORDER. IN OTHER WORDS, DON'T CONFINE

YOURSELF TO REALITY AND ALL OF ITS CONSTRAIN BEFORE YOU BEGIN THINKING
OF IDEAS. THINK
OUTLANDISHLY,
ORGINALLY, AND
RECKLESSLY AT FIRST.
THE LONGER YOU
SPEND THINKING OF
IDEAS, THE MORE APT
YOU ARE TO PRODUCE
A REALLY WILD ONE.
ARCHITECTURAL DESIGN CONCEPTS WITH THEIR ARCHITECTS

IN ARCHITECTURE, A DESIGN CONCEPT IS WHAT THE DESIGNER FEELS AND

THINKS OF WHEN THEY CONNECT TO THEIR DESIGN. IT IS WHAT THE USER OR
VISITOR MOVING THROUGH THE FINISHED STRUCTURE AND SPACES FEELS, THINKS
AND EXPERIENCES ON THEIR JOURNEY.

ANTONI GAUDI - THE CATALIN MODERNIST

GAUDÍ SPENT HIS ENTIRE LIFE AS AN ARCHITECT IN BARCELONA, WHERE WE
CAN WITNESS ALL OF HIS PROJECTS, THE
MOST FAMOUS OF WHICH IS LA SAGRADA
FAMILIA CATHEDRAL THAT IS STILL UNDER
CONSTRUCTION. GAUDÍ INITIALLY WORKED
IN THE SAME OLD VICTORIAN STYLE, BUT
LATER HE DEVELOPED HIS OWN STYLE,
COMPOSING HIS WORKS WHERE HE WOULD
AMALGAMATE GEOMETRIC MASSES AND
WOULD DECORATE THE SURFACES WITH
PATTERNED BRICK OR STONE, BRIGHT
CERAMIC TILES AND FLORAL METALWORK.
HIS STYLE WAS A CLUBBED VERSION OF
BAROQUE, GOTHIC, MOORISH AND
VICTORIAN ELEMENTS. IN MANY OF HIS
WORKS, NATURE HAS A GREAT INFLUENCE
BE IT THE TREE-LIKE COLUMNS TAKING UP
THE MASSIVE INTERIOR OF HIS CHURCH OR
THE UNDULATING FACADE OF THE
APARTMENT BLOCK KNOWN AS THE CASA
MILLA. GAUDÍ CAN BE EASILY CALLED THE
PIONEER WITH HIS OWN STYLE AND IS
INFLUENTIAL TO EVERY ARCHITECT TILL THIS
DATE.

FRANK LLOYD WRIGHT - BELIEVER OF FREE ARCHITECTURE

 BEING A 20TH-
CENTURY ARCHITECT,
HIS MIDWESTERN
UPBRINGING SHAPED
HIS SENSIBILITY
TOWARDS DESIGN.
INSPIRED BY THE
SUBSIDED BUILDINGS
THAT WERE SPRINKLED
ON THE AMERICAN
PLAINS, WRIGHT
DEVELOPED A UNIQUE
STYLE THAT SUITED THE
SPACE CALLED THE
PRAIRIE STYLE. THE
FORM AND PATTERN OF
PRAIRIE STYLE HOUSES CREATED A DRAMATIC SHIFT IN DESIGN FROM THE
TRADITIONAL VICTORIAN HOUSES. CHARACTERIZED BY DRAMATIC HORIZONTAL
LINES AND MASSES, THE PRAIRIE BUILDINGS WERE PERFECT FOR AMERICAN
INDIGNITY. HIS MOST FAMOUS BUILDING IS THE FALLING WATER HOUSE WHICH
COMPRISES OF STACKED RECTANGULAR BALCONIES THAT SEEM TO FLOAT OVER
THE NATURAL WATERFALL INCORPORATED INTO THE HOUSE. HE EVEN HAD A GREAT
RELATIONSHIP WITH BUILDINGS IN CHICAGO. MOREOVER, ONE MORE SHIFT IN HIS
STYLE WAS LATER SEEN IN THE DESIGN OF GUGGENHEIM MUSEUM WHERE HE USED
CLEAN AND BOLD CURVES IN THE DESIGN.

MIES VAN DER ROHE - LESS IS MORE

FAMOUS FOR HIS SAYING “LESS IS MORE,” GERMAN ARCHITECT MIES VAN DER
ROHE DISROBED ALL SORTS OF ORNAMENTATIONS FROM ARCHITECTURE AND
PAVED WAY TO
ELEMENTAL GEOMETRIC
FORMS, COMMONLY
CALLED AS MINIMALISM.
HE WAS FAMOUS FOR
WORKING WITH
MATERIALS SUCH AS
STEEL AND GLASS
WHICH GAVE HIS
BUILDINGS A SKIN AND
BONE SORT OF A LOOK.
MIES’S DESIGN
PHILOSOPHY WAS
FUNDAMENTALIST AND
ONE OF THE FORCES
BEHIND HIS USE OF GLASS WAS THE CONCEPT OF FLUID SPACE. HE BELIEVED THAT
ARCHITECTURE SHOULD INCORPORATE A CONTINUOUS FLOW OF SPACE, BANISHING
THE GAP BETWEEN INTERIOR AND EXTERIOR. THE BARCELONA PAVILION, BUILT TO
HOUSE GERMANY’S EXHIBIT IS ONE OF HIS MOST INFLUENTIAL WORKS WHERE
MOVABLE GLASS AND MARBLE PARTITIONS ALLOWED THE SPACE TO BE SEEN AS
SUPPLE AND INDIVIDUALISTIC COMPARED TO THE STRUCTURE ITSELF.

IEOH MING PEI - THE PRAGMATIC ARTIST

IEOH MING PEI IS ONE OF THE MOST ACKNOWLEDGED AND CREATIVE
ARCHITECTS OF OUR TIME. PEI HAS DESIGNED SOME OF THE MOST ICONIC
BUILDINGS AROUND THE
WORLD. THE MOST
COMMON
CHARACTERISTICS OF HIS
STYLE INCLUDE
RECTILINEAR FORMS;
LIGHT, TAUT PLANE
SURFACES STRIPPED OF
ORNAMENTATION AND
DECORATION; OPEN
INTERIOR SPACES; AND A
VISUALLY WEIGHTLESS
QUALITY REFLECTED BY
THE CANTILEVER
CONSTRUCTION. HE MAINLY
WORKS GLASS AND STEEL, WITH A COMBINATION OF LESS VISIBLE REINFORCED
CONCRETE. HIS MAIN CONCERN WHILE THE BUILDING IS ALWAYS THE
SURROUNDINGS IN WHICH HIS BUILDING HAS TO BE BUILT. HIS FAMOUS BUILDING
THE LOUVRE IS AN ICONIC PIECE OF DESIGN.

ZAHA HADID - THE DECONSTRUCTIVIST

HADID WAS THE FIRST WOMAN ARCHITECT TO WIN THE PRITZKER PRIZE IN
1994. HARD TO STAND UP IN A MALE-DOMINATED PROFESSION SHE LEARNED
EXTRAORDINARY
WAYS TO BREAK THE
STEREOTYPE. SHE
LEARNED ABOUT
ABSTRACT ART AND
ARCHITECTURE AT
THE ARCHITECTURAL
ASSOCIATION IN
LONDON. THERE, SHE
FOUND INGENUITY IN
IRREGULAR FORMS. HADID’S STUDIO WAS KNOWN TO USE THE PHOTOCOPIER IN
CREATIVE WAYS TO BEND LINES AND CREATE NEW SHAPES BEFORE SOFTWARE
COULD DO THAT FOR THEM. NATURAL SHAPES ARE A SOURCE OF INSPIRATION IN A
LOT OF WORKS SHE HAS DONE. HER FAMOUS WORKS INCLUDE THE HEYDAR ALIYEV
CENTER IN BAKU.HER BUILDINGS MOSTLY GIVE THE IMPRESSION OF
FRAGMENTATION OF THE CONSTRUCTED BUILDING.

REFERENCE:

https://www.informpros.com.au/architectural-methodologies-explained/#:~:text=Let's%20get
%20started.-,What%20is%20an%20architectural%20methodology%3F,meets%20the
%20organisation's%20specific%20needs.

https://images.app.goo.gl/o93pDnsR1QspAKnA6
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https://www.firstinarchitecture.co.uk/how-to-develop-architectural-concepts/#:~:text=A
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https://www.designingbuildings.co.uk/wiki/Concept_architectural_design#:~:text=Concept
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https://www.planndesign.com/articles/3093-5-most-popular-architects-and-their-styles]