Conceptualization Techniques in Architectural Design

Group 2/ARCH12S2

Conceptualization
Conceptualization techniques are essential in design to help architects generate and refine
ideas, establish a clear design direction, and communicate their vision effectively.

Some common conceptualization techniques used in architectural design:

1. Brainstorming - to generate a wide range of ideas and concepts; can be structured or
unstructured, allowing for the free flow of ideas without immediate criticism,
2. Sketching & freehand drawing - to explore different design possibilities & forms rapidly.
3. Scale models & digital modeling
4. Moodboards - to compile images, materials, textures, colors, and other visual elements; to
convey the intended
Atmosphere and aesthetic of the design.
5. Site analysis - topography, climate, & surrounding context ld helps in design decisioning
6. Conceptual narratives - stories that describe the design concept like inspiration
7. Analogy & metaphor - to develop unique design ideas, draw inspiration from unrelated fields,
objects, or concepts and use analogies & metaphors.
8. Client & user input - to ensure that the design aligns with their need, preferences, &
expectations
9. Sustainability principles - consider energy, efficiency, material selection, & environmental
impact
10. Critique & feedback - geek feedback & critique from peers or professors to refine & improve

These techniques can be used individually or in combination, depending on the project's

complexity & specific requirements the key is to promote creativity & explore multiple design
possibilities.

Architectural Design Philosophy

Before addressing considerations dealing directly with building projects, there are some broader
concerns which form a context for understanding architectural conceptualization. These are the
1) the general philosophy and life values of the designer; 2) the design philosophy of the
designer; and 3) the view of the problem by the designer Presented with a specific design
project.

1. General Philosophy and Life Values of the Designer

Some psychological categories that combine to influence the formation of a design philosophy
and which affect the making of design decisions are: a) motivation and interest; b) enhancement
of self-image; c) dependence on or independence of outside reinforcement of self-worth; d)
expansion of one's sphere of influence; e) concern for fellow man; f) immediate and deferred
goals; g) conservation of what is scarce and valued; h) quest for simplification; and i) the
material and the spiritual.The designer's posture with respect to these and other issues combine
to form his general life view.

2. Design Philosophy of the Designer

The designer, through his training and experience, has usually developed a design philosophy -
a set of postures or values about a design which he relies upon for making form in building
design. Whether articulated on a conscious level or not, these views of design which the
designer possesses, profoundly affect his work. His design activity takes place within and is, in
a sense, governed by these basic values about design.
Within a design philosophy, there is usually room for many design methods, processess and
building solutions, all of which are consistent with the designer's context of values. Because of
his basic tendencies, however, the designer often gravitates toward some of these more than
others.
The designer's general posture about design almost always includes attitudes and values about
a range of issues that are closer to design activity. These notions that are held by the designer
have direct impact on specific projects. The values of impact on specific projects. The values of
the designer regarding these sub- categories of design philosophy provide a mosaic of him as a
maker of buildings. The more sub-categories he uses to describe his view of the design, the
more complete the mosaic. Listed here are some of the issues about which the designer may
hold values:
■ artistic
■ conscious
■ rational
■ sequential

3. View of the Problem by the Designer Presented with a Specific Design Project
The way that the designer perceives, understands, and describes the project occurs within the
framework of his life values and design views. Different designers will "see the problem"
differently. The designer's perceptions about the project at those early stages before planning
formally begins, will be some of the most important thinking that he does in the entire planning
process. This is the area of the design conceptualization at the most general level. The
designing that comes later will be done within the context of this early thinking. There are
several judgements that the designer makes about the project that, together, constitute his view
of it. These are:
• Whether the project calls for an architectural solution (whether it is in his province to satisfy the
needs);
• What the limits of the project are: What are the project edges in terms of the designer's
responsibility?
• What the categories of concern are within the project that the designer will use as a checklist.
This include function, space, geometry, context, enclosure, systems, economic, and human
factors.
• Where the designer should concentrate his design efforts on his perceptions of the problem
essence and its unique characteristics.
• What the physical elements to be manipulated are within each of the issue categories.
Design Considerations

2. Space
Space, in every sense of the word, is one of the most influential aspects of the analysis stage in
design problem solving. Before you actually design a space for people to behave in, it makes a
great deal of sense to be aware of how they behave to begin with. Knowing what activities,
conditions, and people you are planning for, you should be able to use your time and effort
constructively and in a worthwhile fashion.

(a) Examples of Tailored Space

(B) Examples of Anonymous Space

Physical Space
It is easier to design for people's physical needs than to provide for their social and
psychological needs. Because physical characteristics are a measurable commodity. You can
measure, for example, how high storage can be placed in a kitchen by finding out how high a
person of average height can comfortably reach. You can measure the furnishings that are
being put in a space, add in the area needed for easy human movement, and learn the
appropriate size for that space. Everything is concrete. You don't have to analyze people's
feelings about proper kitchen countertop height, for example. Most of these standards for
building are already determined for you.

Sensory Perceptions and Space

There are other forms of physical space too. In addition to the need for a certain amount of area
around each person, everyone requires visual space: a place to rest the eyes. People prefer to
rest their eyes away from other people. Indeed it is a form of obtaining privacy for which you do
not need to be alone. Just as you would not want a stranger to stare at you, neither would you
want to stare at him for any length of time. For both people, the feelings this activity can create
may be undesirable, for reasons we are not always aware. Even when the space an individual
has is physically large enough and visually accommodating, noise can disturb people and give
them a feeling of inadequate space. In addition, it diminishes the auditory sense itself. At less
at a severe level, it can provoke anxiety and feelings of insecurity in people who are continually
subjected to this uncontrollable aspect of the environment. Certain types of noise such as white
noise are all right. People can habituate themselves to sounds that are regular and of low
intensity. But exposure to intermittent, high-intensity sounds for a long period of time may cause
either physical or psychological damage.
Sensory Perceptions
• Nose - olfactory (air pollution, carbon monoxide, factory nuisances, smogs)
• Ear-auditory (noise)- acoustical refinement
• Eyes - visual - judicious proper colors of light

3. Geometry
Appearance of the Structure
Architecture does not necessarily result from the development of a functional building that is
based only upon the importance of use of materials. The various units of the structure may be
correctly related to each other, but the proportions of the different volumes could be so
inharmonious that only ugliness and confusion would exist. It is necessary that a building be
organized for appearance. The plan and the resultant masses, volumes, surfaces, and details
should be developed according to the rules of composition. The principles of composition may
be applied alike to the two-dimensional plans and surfaces or to the three-dimensional volumes.

4. Context
Response to Context
Understanding the context of a site is key to enabling the designer to weave the new design in
with the existing fabric of the site. It allows us to understand the existing opportunities, or
problems in a site, and make informed decisions on how to respond to our findings. This
response could be that the designed building reflects the surrounding context and is designed to
be in sympathy, or perhaps to turn away or eliminate certain unwanted site conditions.

The envelope of a building is not merely a set of two-dimensional exterior surfaces, it is a

transition space, a theatre where the interaction between the outdoor forces and indoor
conditions can be watched. Some of these interactions include the ways in which sun and
daylight are admitted or redirected to the interior, the channeling of breezes and sounds, and
the deflection of rain. The transition space, which forms the envelope, is a place where people
indoors experience something of what the outdoors is like at the moment, and where people
outside get a glimpse of the functions within.
At entries, where there is a space created in the transition from one environment to another, a
person will be most aware of the difference between outdoors and indoors.
Environmental planning is the whole essence of architecture. We plan people's indoor
environment. A person's relationship to the site is also necessarily the subject of planning.
Neighbor's are important. Much consideration is due to other people and to the buildings that
adjoin any project. Finally, nature has long since given us an environment

Historic architectural design reacted to its environment without reliance on mechanical

assistance which, in those early times was not available. These design considerations included:
• Siting and Orientation - the relation of the building to the land, the sun and the wind.
• Building shape - the less skin, the less exposure.
• Nature of the Envelope - fenestration, insulation, thermal mass, wall shading, color, and
reflectivity, openings, and penetrations.

5. Enclosure
From an architectural science perspective, enclosure represents a necessary but insufficient
condition for effective moderation of the environment. For buildings to achieve acceptable,
preferably optimal performance from their envelopes or skins, the principles underlying their
performance must be clearly understood. Equally as important, the architectural design intent
must be sufficiently declarative to guide the selection and manipulation of enclosure elements
so that aesthetics are harmonized with sustainability criteria for both the building envelope and
the whole building system.The degree of enclosure of a space, as determined by the
configuration of its defining elements and the pattern of its openings, has a significant impact on
our perception of the orientation and the overall form of the space.

6. Systems
Building Systems
The designer should be well-versed with HVAC, Heating, Ventilating, Airconditioning systems,
as well as vertical transportation which include elevators and escalators. He should also be well
acquainted with Electrical Systems, wiring, lighting and communication and
signal systems. In here, the plumbing and sanitary control is included. With the proper
knowledge of these systems, the designer can properly locate the machines, raceways, wirings,
motors, generators and the like in its proper places. This will greatly affect the Design Concepts
of the designer from the start of conceptualizing the project.

Architectural Systems
As for Architectural systems, it is important to start with the USER. This is called the user-
oriented conceptual planning wherein the designer shall recognize the user's characteristics and
constraints. Determine their needs, create a place for the user to perform whatever tasks he or
she expects to do. The following steps are suggested in conceptualizing an architectural
system:
• Define and examine the needs of the total user population.
• Examine and define the various tasks that each of the users has to perform. Determine what
these tasks imply in terms of space, environmental control, supporting furnishings, and utilities.
• Explore the interactive as well as the isolative needs of the various users and their
furnishings and equipment. Examine alternative
arrangements to determine the most convenient organization of people, furnishings, spaces,
buildings, etc.
• Create an enclosure for the most effective alternative and add appropriate partitioning to
provide desired environmental control. privacy and security.
• Select an appropriate site that will accomodate the building defined and locate, position, and
arrange the buildings with respect to appropriate site and building access.

7. Economic Considerations
The economical aspect of building represents a nonphysical structural consideration that, in final
analysis, must also be considered important. Cost considerations are in certain ways a
constraint to creative design. But this need not be so. If something is known of the relationship
between structural and constructive design options and the cost of implementation, it is
reasonable to believe that creativity can be enhanced.
Ease of Maintenance
Too often the question of ease of maintenance does not come up when key architectural
configuration decisions are being made. In spite of this traditional attitude, all facilities have to
be maintained, and by human beings. The following key maintenance functions should be part
of any design concept trade-off analysis.
• Daily housekeeping cleaning floors, walkways, windows, walts, ceilings, etc.
• Periodic inspection and repair; inspecting and repairing windows, roofs, walls and woodwork,
hot water heaters, plumbing,
etc.
• Periodic REFURBISHMENT: repainting exterior and interior surfaces; replacing roofs,
replacing plumbing fixtures, etc.
。Landscaping maintenance: watering lawns and shrubs, removing trash, etc.

Economy of Materials
Correct specifications of materials for the type of structure is important. For instance, a cheaper
cost of material for a low cost house and a more expensive material for a luxurious type of
house.

8. Human Factors
Socio Cultural Variables
It is important to recognize that people with different cultural backgrounds view architectural
features differently. Some of the more important differences to evaluate are:
• Attitude towards privacy
• Family structure
• The role of women in some cultural groups. women are isolated, in others, the distinction
relates entirely to functional factors (ex: the mother-child relationship); and in still others,
completely nonsegregated attitudes prevail
• Recreational patterns
• Shopping habits
• Job patterns
• Technological experience

Psychological Considerations
The Architect is usually concerned about whether the user will be attracted by the design of the
community, home, building, or other structural edifice-not only when it is first observed but also
if it is occupied over a long period of time. The adjustment between descriptors will be different
types of architectural systems.
Individuals perceive their relationships with others in terms of the distance between themselves
and the people they can see.
• Public - areas where the individual has freedom of access, but not of action.
• Social areas where the regular participants have regular freedom of behavior and a sense of
control over the area
• Personal - areas where social gatherings may occur
• Intimate area immediately surrounding the individual's body. This area is most private and
inviolate to the individual

Human Needs
The most important human needs that affect the design of buildings are:
• Belonging - knowing that you call a place yours and no one else's
• Personalization - being able to demonstrate your creativity in identifying some place as yours
• Privacy - having a place to go to or a method by which you can obtain time to yourself
• Control - a mastery over your life and environment.

Sensory Influences
In addition to physical and psychological dimensions, space also has tactile auditory olfactory
and thermal characteristics that influence how we feel and what we do with these five aspects if
coordinated in a right way will elevate the overall of any given space.

Types of Evolution

1. Analogy
An analogy is more like a simile. A similarity between like features of two things, on which a
comparison may be based. Analogy is a cognitive process of transferring information from a
particular subject (the analogue or source) to another particular subject (the target), and a
linguistic expression corresponding to such a process.

•superficial analogy: to take the same shape of something without any change. (direct)
• structural analogy: to make a
structure of building from a shape or something.
• holistic analogy: combination of both.

2. Metaphor
A metaphor is more like an allegory. A metaphor is an implicit simile, while analogy is an explicit
one. Put differently, a metaphor is literally false, while an analogy is literally true. Metaphors
need a bit more imagination to interpret, while analogies are readily apparent.

The process of transformation of intangible or abstract aspects into physical or visual image is
known as the process of "Metaphoric Process".

The most successful metaphoric process is probably Notre Dame du Haute-Ron champ Chapel,
built by Le Corbusier in France in 1955. The architectural form of the chapel begins the idea of a
ship, but the viewers could interpret it in many different ways such as a crab, a hat or a bird.

3. Abstraction
A design approach in which architectural forms are simplified, reduced, or refined to their
essential and fundamental elements
Involves the removal of irrelevant details and complexities, allowing the core concept or idea to
shine through.

Different types of architectural abstraction:

Geometry - simplifying architectural forms into basic geometric shapes
Human -to inform the design spaces that enhance user experience
Cultural - symbols, motifs, traditions