DESIGN METHODS

(John Christopher Jones, 1970)

AR2211 | Architecture Design Theory
Semester II, 2018-2019
Tubagus M. Aziz Soelaiman
https://www.slideshare.net/Leursism/design-scripts-designing-interactions-with-intentions
https://www.slideshare.net/Leursism/design-scripts-designing-interactions-with-intentions
https://www.slideshare.net/lgalli/jc-jones-design-methods-introduzione-e-note-cdi-lgalli
WHAT IS DESIGN ?
 Many definitions about design:
 Goal-directed problem-solving activities (Archer, 1965)
 Relating products with situation to give satisfactory (Gregory, 1966a)
 The performing of very complicated act of faith (Jones, 1966a)
 The imaginative jump from present facts to future possibilities (Page, 1966)
 A creative activity; it involves bringing into being something new and useful
that has not existed previously (Reswick, 1965)
 Etc.

 Jones’ definition about design:

“Initiate change in man-made things”

THE DEVELOPING DESIGN PROCESS

The Design
Process
The New Disintegrated
Methods
Traditional Reviewed
Methods
TRADITIONAL METHODS

CRAFT DESIGN-BY-
EVOLUTION DRAWING

“This book is a first attempt at understanding and describing the new design
methods that have appeared in response to a world-wide dissatisfaction with
traditional procedures.”
TRADITIONAL METHODS
 Craftsmen do not, and often cannot, draw
their work and neither can they give
adequate reasons for decisions they take.

CRAFT  Craft evolution can produce discordant

feature, it appearance of that the process
EVOLUTION of craft evolution had not yet assimilated
the sudden changes of demand
 The form of craft product is modified by
countless failures and success in process
of trial-and-error over many centuries.

 The essential information generate by craft evolution is :

 The form of the produce is not changed except to correct errors or to
meet new demand, the fragmentary information is store in pattern
 As exact memories, the actions needed to create the traditional shape of
product. These information stores to provide the ‘genetic coding’
 The most important the shape and the reasons of shape are not recorded in
the symbolic and therefore cannot be investigated
TRADITIONAL METHODS

CRAFT
EVOLUTION
 TRADITIONAL METHODS
 Specifying dimension in advance of manufacture
make it possible to split up the production work
into separate pieces which can be made by
different people.
DESIGN-BY-
 This advantage of drawing before making made
possible the planning of things that were too big DRAWING
for a single craftsman to make on his own. Only
when critical dimensions have been fixed in
advance can the works of many craftmen be made
to fit together, the contact between one man’s work
and another’s are specified by standard dimensions.

 The division of labour made possible by scale drawing can be used not only to
increase the size of products but also to increase their rate of production
 The process design-by-drawning can be seen as an accelerated version of craft
evolution with freedom to change several parts at once rather than only one at a
time.
 The principle of deciding the form of the whole before the detail have been
explored out side the mind of the chief designer does work in novel situations for
which the necessary experience cannot be contained within the mind of one person.
TRADITIONAL METHODS

DESIGN-BY-
DRAWING
NEW METHODS FOR MODERN DESIGN?
Design point of view

 Creativity

 Rationality

 Control
THE NEW METHODS REVIEWED
Design point of view

 designer is a black box

 out of which comes the mysterious
 Creativity creative leap

 designer is a glass box

 inside which can be discerned a
 Rationality completely explicable rational
process.

 designer is a self-organizing
 Control system
 capable of finding short cuts
across unknown territory
Designers as Black Boxes

 designer is a black box

 out of which comes the mysterious
creative leap

 designer is a glass box

 inside which can be discerned a
completely explicable rational
process.

 designer is a self-organizing
system
 capable of finding short cuts
across unknown territory
Designers as Black Boxes

 designer is a black box

 out of which comes the mysterious
creative leap

 designer is a glass box

 inside which can be discerned a
• Misterius
completely explicable rational
process.
• Impulsif
• Berdasarkan pengalaman
designer is :a self-organizing
 Keunggulan
system hasil desain variatif
alternatif
Cooper Union building
 capable of finding short cuts
(Thom Mayne Morphosis, 2009)
across unknown territory
Designers as Glass Boxes

 designer is a black box

 out of which comes the mysterious
creative leap

 designer is a glass box

 inside which can be discerned a
completely explicable rational
process.

 designer is a self-organizing
system
 capable of finding short cuts
across unknown territory
 Designers as Glass Boxes

 designer is a black box

 out of which comes the mysterious
• Rasional
creative leap
• Objektif
• Berdasarkan analisis
• Evaluasi nya berdasarkan logis  designer is a glass box
• Berstrategi  inside which can be discerned a
completely explicable rational
Keunggulan : process.
hasil desain lebih pada problem
solving, proses mendesain bisa  designer is a self-organizing
dibagi-bagi system
 capable of finding short cuts
across unknown territory
Designers as Self-Organizing Systems

 designer is a black box

 out of which comes the mysterious
creative leap

 designer is a glass box

 inside which can be discerned a
completely explicable rational
process.

 designer is a self-organizing
system
 capable of finding short cuts
across unknown territory
Designers as Self-Organizing Systems
The purpose of this models is enable to the
designer team to see the degree which
decided produce an acceptable balance
 designer
between is a black
the design, box influenced
the situation
by the design, and the cost of designing.
 out of which comes the mysterious
creative
This is done leapways :
in two
• Through the creation of meta-language of
term which are sufficiently general to
designer
 describe is a glass
relation between box
strategy and the
design situation.
 inside
• Through thewhich can beadiscerned
evaluations model which a
completely
will predict explicable
the likely result ofrational
alternative
process.
strategies yet to be undertaken so that the
most promising can be selected.

 designer is a self-organizing
system
 capable of finding short cuts
across unknown territory
DESIGN PROCESS DISINTEGRATED
 The most common in designing are tree essential stages :
 Analysis as ‘breaking the problem into pieces’
 Synthesis as ‘putting the pieces together in a new way’
 Evaluation as ‘testing to discover consequences of putting the new
arrangement into practice’.
 The three stages not necessarily fit together to form a universal strategy
composed of over more detailed cycles. The three stages are named :

Divergence, Transformation and Convergence

DIVERGENCE TRANSFORMATION CONVERGENCE

Stage 1: DIVERGENCE
 The objectives are unstable and tentative

 The problem boundary is unstable and undefined

 Evaluation is deferred: nothing is disregarded if it seems to be

relevant to the problem however muchit may conflict with
anything else

 The sponsor’s brief is treated as a starting point for

investigation is expected to be revised, or evolved, during
divergent search, and possibly at later stages are well.

 The aim of the designers is deleberately increase their

uncertainty

 One objective of research carried out at this stage is to test the

sensitivity of such importence elemen as sponsor, users,
markets, producers, ect.
Stage 2: TRANSFORMATION
 The main objective is impose, upon the result of divergent search a
pattern that is precise enough to permit convergence to the single
design must eventually be decided upon and fixed in every detail.
Pattern-making is creative of turning a complicated problem into
simple one changing its form and by decidingwhat emphasize and what
to overlook.

 This the stage when objectives, brief and problem boundaries are fix,
when critical variable are identified, when contraints are
recognized,when opportunities are taken and when judgement work will
be based.

 The most importance requirements for a successful traformation are

 Freedom to change sub-goals, in order to find feasible ways of avoiding
major compromises
 The speedwith which the feasibility and contsequences of any particularly
choise of sub-goals can be predicted

 It is the stage when the problem is split up into sub-problems each of

which is judged to capable of solution in series, or in parallel and in
isolation.
Stage 3: CONVERGENCE
 The main objective is to reduce uncertainty as fast as possible and
anything that will help to rule out alternatives that are not worth
investigating is of the greatest help, in which variety-reducing decisions are
taken.

 The objective of the magical transformation stage was somehow or

other, to pattern the problem in such a way that critical sub problem are
anticipated, or avoided, by action at more general level.

 The models used to represent the range of alternatives remaining should

become less abstract and more detailed during convergence.

 One is conventional out-in strategy, such as an architect may employ

when proceeding from the external shape of a building to the arrangement
of rooms within it.
 In-out strategy that architect may employ if he begins with activies, or
with rooms, and works outwards to the external shape
DESIGN STRATEGIES

 Linear
 Cyclic
Design strategies’ are
actions taken by
 Branching
designer, or by planning
team, in order to
 Adaptive
transform an initial brief
into a final design.
 Incrimental
 Random
 Control
Linear and Cyclic Strategies Stage 1

 Linear strategy  Cyclic

strategy Stage 2

Stage 1 Proceed
or return

Stage 3
Stage 2

Proceed
or return

Stage 3
Stage 4
 Branching Strategy

Stage 2a Stage 4

Select Stage 6
Stage 1 Stage 2b Stage 3
4 or 5

Stage 2c Stage 5

Parallel Selection Alternative

Stage Stage Stage
Adaptive and Incremental Strategies
 Adaptive stategy

Decide what Decide what Decide what

Stage 1 is to be Stage 2 is to be Stage 3 is to be

Carry out Carry out Carry out

Stage 1 Stage 2 Stage 3
Outcome Outcome Etc.
of stage 1 of stage 2

 Incrimental strategy
Brief Outcome
Adjust existing solution
Re-asses on existing
to accommodate
solution
modifications

Expire a few minor modifications

Random and Control Strategies
 Random strategy

Select at random a point Identify the solution if

in area of search any, at that point

 Control strategy
Current
Strategy Outcome
So far
New Strategy
Strategy
Control Or
Cotinue Current
Current View of Criteria Strategy
Design problem
DESIGN METHODS IN ACTION
1. Exploring design situation
2. Searching for ideas
3. Exploring problem structure
4. Construction/ prefabricated strategies
5. Evaluation

DIVERGENCE TRANSFORMATION CONVERGENCE

1. Exploring design situation
Key sentences: (pg 193)

 To identify external conditions with which the design

must be compatible
 To find information that can favourabe influence the
designers’ output and that can be obtained without
unacceptable cost and delay
 To find direction in which to search for design
improvement
 To elicit information that is known only to users of the
product or system in question
 To explore behaviour patterns and to predict the
performance limits, of potential users of a new design
 To identify actions that are capable of bringing about
desired changes in situations that are too complicated to
understand
2. Searching for ideas
Key sentences: (pg 273)

 To stimulate a group of people to produce many

ideas quickly (through brainstorming)
 To direct the spontaneous activity of the brain and
the nervous system towards the exploration and
transformation of design problems
 To find new directions of search when the apparent
search space has yielded no wholly acceptable
solution (by removing mental blocks)
 To widen the area of search for solution to design
area.
3. Exploring problem structure
Key sentences: (pg 299)

 To display the pattern of connections between

elements within a design problems
 To identify and to evaluate all of compatible set of
sub-solutions to a design problems
 To find ways of transforming an unsatisfactory
system so as to remove its inherents faults
 To shift the boundary of an unsolved design
problem so that outside resources can be used to
solved it
 To find a radically new design capable of creating
new pattern of behaviour and demand
 To split a design problem into manageable parts
4. Construction/prefabricated strategies
Key sentences: (pg 95)

 To solve design problems with logical certainty

 To increase the rate at which designing and
contruction/ manufacturing organizations learn to
reduce the cost of a product
 To achieve internal compatibility between the
components of a system and external compatibility
between a system and its environment
 To find limits or boundary within which acceptable
solution lie
 To enable everyone concerned with the designing of
a building to influence decision that affected both
the adaptability of its component
5. Evaluation
Key sentences: (pg 361)

 To enable designers to use knowledge of

requirements that have been found to be relevant in
similar situation (through checklist)
 To decide how an acceptable design is to be
recognized (through design criteria)
 To compare a set of alternative designs using a
common scale of measurement
 To describe an acceptable outcome for designing
that has yet to be done
Conclusion:
How to use this book?
 For reflecting your own design

 For understanding (another) architect’s design methods

 Check their projects cases
 Identifying their design stages in each case
 Analyzing their divergence, transformation, and convergence
stages

 Checklist design stages:

a) Exploring design situation,
b) Searching for ideas
c) Exploring problem structure
d) Prefabricated/ construction strategies
e) Evaluation
Ada pertanyaan?
 METODA DESAIN Proses desain
AR 2211 - BUL - KK PERANCANGAN ARSITEKTUR ITB

 Commission of the project: First definition of  Pemahaman

the Problem
 Collection of information  Pengambilan data terkait
 Second definition of the problem  Analisa & Interpretasi
 Definition of objectives  Bagaimana arsitektur yang
harus dihasilkan
 Third definition of the problem  Mempertimbangkan agar
desain dapat diwujudkan

 Development of the design proposal  Mempertimbangkan bentuk,

struktur, kontruksi dan
material
 Organization of production  Menyajikan dalam bentuk
standar gambar dan
penyajian yang diakui
 METODA DESAIN Metoda
AR 2211 - BUL - KK PERANCANGAN ARSITEKTUR ITB

Methods, more than a mechanical technique, are

strategic aids directed at proposing routines that
help to resolve a variety of problems.
They are directed at reducing the time invested in
the design process, and, in general, at rendering it
more efficient and effective. They are not
prefabricated solutions.

Jorge Frascara : Communication Design

 METODA DESAIN Black Box & Glass Box
AR 2211 - BUL - KK PERANCANGAN ARSITEKTUR ITB

The search for a solution should be systematic and

exhaustive, but the steps in that search must involve
a variety of ways of analyzing and formulating the
problem.

These ways include non-rational strategies and

tentative visualizations at the initial stages

Visualizing is another way of studying conditions and

possibilities leading to the solution of the problem.
To facilitate this process, it is indispensable at the
outset to define not how the design must look, but
what the design must do

There is always a need for a creative leap in the

interpretation process, where the designer considers
all the information collected, but does not just
respond to it
 METODA DESAIN Black Box & Glass Box
AR 2211 - BUL - KK PERANCANGAN ARSITEKTUR ITB

Cooper Union building

Thom Mayne Morphosis 2009

AR 2211 - BUL - KK PERANCANGAN ARSITEKTUR ITB

METODA DESAIN