2019 Metode Perancangan - Design Frameworks [PDF]

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DESIGN FRAMEWORKS



MK. METO DE PERANC . ARSITEKTU R



DA184303 Week 12th



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REVEALING METHODS IN ARCHITECTURAL DESIGN



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PATTERN-BASED



FORCE-BASED



• The composition of the interior volumes • From small elements to final building and through the application of rulesets • The use of past projects (Typology)



• Focuses on systems thinking • Negotiation of complex forces conceptualized as pressures, assets, constraints, and flows. • Objects are parts of a system, not the sum of their parts



CONCEPT-BASED • Creation of a central idea • Analogy, metaphor and theory of character • Concept; the source of the original idea, inside or outside architecture



PATTERN-BASED FRAMEWORK • The first rational architectural design method was produced by Jean-NicolasLouis Durand (1760–1834) • What was significant about Durand’s textbook was that it addressed architecture as an issue of design rather than a set of construction details and practices. • Understanding architecture not as the building, but as the thought process that creates the building, was a critical shift



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PAT T E R N - B A S E D F R A M E WO R K



• Étienne-Louis Boullée (1728– 1799), Durand’s teacher • “What is Architecture? Shall I join Vitruvius in defining it as the art of building? Indeed, no, for there is a flagrant error in this definition. Vitruvius mistakes the effect for the cause. In order to execute, it is first necessary to conceive”



• Boullée stressed that architecture was not an object to be constructed but a type of thought that had its effect in building The Hôtel Alexandre or Hôtel Soult, rue de la Ville l'Évêque, Paris (1763–1766)



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“T he rise of m ethodology in architectural design w as paralleled w ith an understanding that d e sign w a s a b o u t in te n tio n a lity that created form rather than form by itself.”



Philip Plowright (2014) Revealing Architectural Design



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PAT T E R N - B A S E D F R A M E WO R K



• As a rational approach, Durand focused on the tools available to the designer, avoiding any difficult translation between desires that were outside of architecture and beyond interpretation of those desires into an architectural language. • Durand’s method: the idea of composition and the application of known patterns of spatial use to dominate through the application of rules-of-thumb • He believed that architecture was to be pursued from small elements to final building and through the application of rulesets



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J.N.L Durand – Precis des leçons d’Architecture (1802–5) vol 1 pt 2 plates 10–11



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OVERVIEW FRAMING OF DURAND’S ARCHITECTURAL DESIGN METHOD



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DURAND’S COMPOSITIONAL METHOD FOR ARRANGING BUILDING ELEMENTS INTO PARTS



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GENERIC FRAMEWORK OF A PATTERN-B ASED DESIGN PROCESS INCLUDING THINKING STYLES



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PATTERN-BASED FRAMEWORK • A framework focusing on pattern application then limits the tool selection as well as structuring how decisions would be made and what type of information would be available to the designer. • Composition and typological approaches allow the designer to work by prioritizing formal information, limiting attention on cultural and social use of space. • Patterns and typology also became the core of a postmodern approach to urban design, used by New Urbanism and developed by the theoretical discussions of Raphel Monao, Anthony Vidler, Alan Colquhoun, Aldo Rossi, and Colin Rowe.



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U R B A N M A S S I N G T Y P O L O G I E S F O R M A J O R E U RO P E A N C I T I E S



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PATTERN-BASED FRAMEWORK • The use of patterns and rulesets as a primary organizational focus for a method has, though, gone out of vogue in contemporary architectural practices • Instead, there are two other major frameworks that frequently occur today, each with long historical foundations. • They are more acceptable in our present cultural climate because these two sets of working methods align more closely with the values we hold for how design should operate. • It is important to remember that these values are culturally constructed – they are real because they are accepted by a large number of people, not because they have any connection to a universal or fundamental truth.



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FORCE-BASED FRAMEWORK • The force-based framework focuses on systems thinking and the negotiation of complex forces conceptualized as pressures, assets, constraints, and flows. • The point of the framework is to make those forces accessible and ordered so a designer can act upon them. • Systems thinking avoids the construction of pre-existing rules and sees the design of the physical environment as the result of forces and the application of principles.



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FORCE-BASED FRAMEWORK • Can be seen as a series of forces which have attributes, qualities, and preferred arrangements: • Built environment, • Our social interactions, • Our natural environment, • Our financial structures, and • Our bodies in space



• Depending on what we wish to do, those forces can be seen either as beneficial to the process (an asset) or as an obstacle to the final proposal (a constraint) • Negotiating relationships between forces in a system is seen as the way that decisions can be made and the best way to access information that is relevant to the design proposal.



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Yasuhiro Yamashita Atelier Tekuto;



► Slant plane restrictions on a small site showing allowable building envelope (adapted from Tokyo zoning floor area ratio shape control on lots)



◀ A refined architectural response to Tokyo zoning regulations and site restrictions: the Reflection of Mineral House



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FORCE-BASED FRAMEWORK



• Eugène-Emmanuel Viollet-leDuc (1814–1879) • Example of Force-based framework: Histoire d’une maison (The Story of a House; or How to Build a House) • Viollet-le-Duc’s approach introduced the idea of systems thinking. This was accomplished by considering human activities and environmental events as pressures or forces interconnected in an environment



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V I O L L E T- L E - D U C ’ S A R C H I T E C T U R A L M E T H O D F O R D E V E L O P I N G A R C H I T E C T U R E F RO M S I T E A N D S O C I A L F O R C E S



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G EN ERIC FRAM EWO RK O F A FO RC E-B ASED D E S I G N P RO C E S S I N C L U D I N G T H I N K I N G S T Y L E S



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FORCE-BASED FRAMEWORK • The arrangement of the building programme was constructed through a complex relationship between spatial need, traditional use, social patterns, climatic conditions, sequencing of procession, public– private relationships, and environmental qualities such as light, wind, and exposure • Forces, as a basis for architectural design, are also behind Louis Sullivan’s mantra of form follows function • ‘Form follows function’ can be rephrased as function is a force or pressure that shapes form to make it a little clearer



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FORCE-BASED FRAMEWORK • Applications of the force-based framework in the work of many critical practices: • OMA and its various offshoots – including • REX, • Foreign Office Architects, • MVRDV, • WorkAC, • MASS Studies, • Studio Gang, and • BIG –



• Use research and analysis to determine significant constraints and assets. • The content generated is then explored and resolved in order to produce radical but rational innovation in their design work.



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FORCE-BASED FRAMEWORK • Many designers who approach their work using force-based methods tend to believe that design is a problem-solving process and that it is simply the resolution of conflicting forces • However, problem-solving does not produce a framework for architectural design, even though the idea of ‘solving problems’ is well embedded in the attitudes of designers • Approaching architectural design strictly as an activity of problemsolving is sometimes dangerous as this attitude has a tendency overly to reduce or limit the complexity of the environment • There are aspects of problem-solving in force-based methods which have to do with identification of conditions, setting up relationships, minimizing conflicts, and maximizing positive aspects. • These can inform the design proposal but should not replace the active role of the designer or the priorities of the method.



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CONCEPT-BASED FRAMEWORK • Concept-based, using a framing idea as a way of organizing a coherent architectural response. • It is probably the most prevalent, least documented, most discussed (both negatively and positively), and one of the hardest to do successfully if aiming for depth and enrichment through architectural syntax • Methods generated from a concept-based framework use metaphors, analogies, questions, and the ‘big idea’ • The concept-based framework revolves, then, around the creation of a central idea which is used to organize the parts of a design proposal. All aspects of the design are then judged against, and should reinforce, the central idea. • The central concept is so persistent in architectural design that it is difficult to know the source of the original idea.



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CONCEPT-BASED FRAMEWORK



Architectural theory pre-1850 • Vitruvius defines proportions of buildings in terms of an analogy with the human body • Francecso Di Giorgio (1439–1502), Filarete (1400– 1469) and Andrea ’Palladio’ di Pietro della Gondola (1508–1580)



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Architectural theory post-1850 • Relationships between civilization and nature as a source of meaning • Architectural design intentions then became the machine, with its promise of efficiency, reason, order, health, cleanliness, and progress



CONCEPT-BASED FRAMEWORK 1. Analogy, as a way of conceptualizing an overall approach towards architectural design. • Analogy, as a type of metaphor, has never been a method • As an external framing device, analogy is used as a way of seeing architecture’s place in the world



2. Character, The belief that architecture should express something beyond its own physical nature as developed through the French theory of character and codified into architecture with the use of the parti. • Through architectural theory, the design of buildings became about expressive qualities and more closely aligned with techniques of poetry, literature, and theatre. • The concept of character became institutionalized into architectural education through the École des Beaux-Arts of the early 1800s through the use of the parti, or ‘what characterizes a building”



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DIAGRAM OF EDGAR ALLAN POE’S METHOD OF CONSTRUCTING A POEM



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C O N C E P T -B A SE D FR A M E W O R K • Issues with concept as a method is the location of the source material. • Whether the original source for the design proposal is found inside or outside architecture • Inside: If the concept is gesture of massing, an idea for circulation, or a simplified formal composition, then there is little issue with using the source material to help arrange the parts of the project. • Outside: If seeking a radical or innovative proposal, designers can attempt to borrow from an outside source which is not architectural, something in another domain of knowledge, as this increases the potential for novelty and innovation. • The structure and operation of metaphors, and variation of analogy, is based on domain-to-domain mapping



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G E N E R I C F R A M E W O R K O F A C O N C E P T- B A S E D D E S I G N P RO C E S S I N C L U D I N G D O M A I N T R A N S F E R A N D THINKING STYLES



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C O N C E P T -B A SE D FR A M E W O R K • In order to be successful, the method needs to use the concept to create a final proposal that has a high degree of relevance and significance to its context – be it cultural, social, or formal. • In any case, the results are judged based on how meaning and expression are transferred from the concept through the material of architecture – its interpretation and operation. This isn’t easy to do well.



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“E arly a ttitu d e s a n d va lu e s held by the designer, w hether p e r so n a l o r cu ltu ra l in or igin, a re critica l for shaping the content that is found in the final proposal”



Philip Plowright (2014) Revealing Architectural Design



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“In fact, it is absolutely com m on and necessar y to approac h a design process w ith a d e sign fra m ew o rk , a se t o f b ia se s, and a va lu e syste m .”



Philip Plowright (2014) Revealing Architectural Design



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“The ability to make good decisions is ultimately based on the sensitivity of a designer or design team to read context, p riorities, and terrain in order to connect them to a design framework. A method can help encourage good decision -making by c learly defining cr iter ia of success , but it cannot m ake this happen.”



Philip Plowright (2014) Revealing Architectural Design



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SEE YOU NEXT TIME



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