scholarly journals Productive Anachronism: Paper Quilling and the Craft of Architectural Representation

2019 ◽  
Author(s):  
Elizabeth M. Keslacy ◽  
Keyword(s):  
Design Process ◽  
Design Problem ◽  
Architectural Design ◽  
Comic Book ◽  
Digital Age ◽  
Fundamental Difference ◽  
Architectural Representation ◽  
Mona Lisa

The materials and techniques that we use to create architectural representations undoubtedly affect how we apprehend the work of architecture being depicted. By analogy, if we consider Leonardo da Vinci’s oil-on-poplar depiction of Lisa Gherardini next to a pencil sketch, a comic-book style half-tone, and a graffiti-based interpretation of the Mona Lisa, it’s clear that each medium maintains its own set of associations, while, at the same time, clearly communicates its content and reference. The medium is not perhaps the whole message, but it is an important component of our experience of images and drawings.It is also true that the choice of a particular mode of drawing during the design process can profoundly shape the object being designed. Any student of architecture can rattle off the implications of choosing Rhino, Sketch-Up, Maya, AutoCad, or Revit to work through an architectural design problem, particularly in terms of the forms and details that each software facilitates easily or with difficulty. Robin Evans’ insights about drawing’s fundamental difference from its content, and yet the agency it maintains in the shaping of that content, turns out to be just as true in the digital age as it was in the era of hand drawing.1 Unfortunately, the professional trend toward hyperreal image-making has meant concealing the drawing’s own construction processes and neutering its space-generating potential. The speculative and uncertain nature of hand-production is sublimated in favor of the glossy render that makes the proposed appear as already-real. The pendulum is already swinging away from this tendency in some academic and professional circles, largely under the banner of the post-digital.2 Despite a return to orthography, collage, and an “illustrated” rather than “rendered” sensibility, the so-called post-digital largely remains stubbornly digital. How, in a world saturated with Instagram-worthy architectural images, can we teach our students to reinvest in a drawing-based design process that is experimental and open-ended? How can drawing itself be reinvigorated both in terms of its representational agency and its abilities to produce new kinds of form and space?

scholarly journals Drawing on an architecture of blindness: A critique of the visual privilege operating in architectural representation

2021 ◽  
Author(s):  
Hannah Walsh
Keyword(s):  
Design Process ◽  
Architectural Design ◽  
Visual Medium ◽  
Alternative Mode ◽  
Architectural Representation ◽  
Shadow Cast ◽  
The Subject ◽  
Physical Elements ◽  
Primary Medium ◽  
Dual Capacity

<p><b>This thesis exhibits the visual medium of architectural representation destabilized and reinterpreted by locating blindness in architecture. What can blind drawing allow architects to see? </b></p> <p>As a primary medium of architectural representation, drawing is an agency through which architecture is conceptualised, developed and disseminated. Conventionally, drawings are generated and perceived through sight: they are visual projections. Such visual privilege reduces the subject of architectural representations to visible, physical elements of buildings, while invisible, and/or intangible aspects of architectural experience often lack consideration in drawing. The architectural design process can be described as the translation of architecture between the mediums of drawing and building. The context of representation describes this translation as shifting from conceptual to conventional drawing types. While the visual privilege constantly operates in both conceptual and conventional drawing, the differences between their visual languages enable them to describe different aspects of architectural experience. The main difference that this thesis explores is the strictly visual vocabulary of conventional drawing, and the ambiguous capacity of conceptual drawing, enabling it to reference both visual and non-visual aspects of architectural experience. </p> <p>This thesis places conceptual and conventional drawing in parallel, aiming to exaggerate their differences on paper, and what they represent in reality, highlighting where and how architecture risks being weakened during a course of translation. The first half challenges the visual privilege through blind drawing as an alternative mode of conceptual drawing, while the second half identifies invisible aspects of architectural experience that cannot be depicted through conventional drawing. In concluding the research, these differences also evidence opportunities offered by the dual capacity of architectural representation, which simultaneously depicts visible (and physical), and invisible (and intangible) elements. For example, a line as a wall, also defines invisible space either side of said wall – perhaps dotted by the warmth of morning sun and cooler patches of shadow cast by window mullions. This thesis addresses a shift away from the ingrained visual privilege thriving in architectural thought. While drawing remains an inevitably visual medium, the design process must consider both visual and non-visual aspects, equally incorporated by an architectural experience. To exploit the dual capacity of representation, such methods of drawing should encourage architects to draw as though they are blind.</p>

scholarly journals Freehand Drawing and Architectural Expression

2021 ◽  
Vol 5 (1) ◽  
Author(s):  
Hanif Budiman ◽  
Ibrahim Numan ◽  
Noor Cholis Idham
Keyword(s):  
Design Process ◽  
Architectural Design ◽  
Descriptive Analysis ◽  
Digital Age ◽  
Qualitative Descriptive ◽  
Design Idea ◽  
Design Ideas ◽  
Important Activity

The aspect of expression is very important in design ideas, amidst the pressure of programming and procedural thoughts nowadays. The expression is a performance that was born from the deepening of a strong identity that makes us further involvement. Freehand drawing is believed to be an important activity that cannot be separated from an architectural design process. Freehand drawing is proven to be an effort that will increase awareness to produce creative thoughts that remain logical. The natural and organic character of a freehand drawing with its flexibility will be able to express the unique value of each design idea. It is very different when compared to the stereotypical technical line of mechanics. This paper aims to discuss the role of freehand drawing in improving the quality of expression during the design process. The discussion was carried out through a qualitative descriptive analysis based on the experience of carrying out freehand drawing courses and several freehand drawing learning and practices. The topic of the role of freehand drawing in the digital age is very strategic because it reminds us of the importance of the role of balance cognition for the design process in general. Keywords: design; expression; freehand drawing; identity.

scholarly journals DESIGNING WITH NATURE- LATERAL THINKING AS A DESIGN STRATEGY FOR FOUNDATION YEAR STUDIO IN BACHELOR OF ARCHITECTURE

2019 ◽  
Vol 27 (2) ◽  
pp. 48-54
Author(s):  
Muhammad Waqas
Keyword(s):  
Design Process ◽  
Design Problem ◽  
Architectural Design ◽  
Design Thinking ◽  
Impulsive System ◽  
Natural Phenomenon ◽  
Teaching Methodology ◽  
Natural Phenomena ◽  
Architecture Education ◽  
Lateral Thinking

The role of educationists is to help students develop quality thinking through self-reflection and discovering. Nature is on top of the index of discovery. This study contains measures for enhancing sensitivity towards nature, with the basic assumption that nature is the primary guide that generates diverse empirical and creative design processes in architecture education. Understanding the importance of nature and environment at beginner level is more effective, as working with nature will become intrinsic part of students’ design thinking. Foundation studio at the Department of Architecture at COMSATS University, Islamabad, serves as junction of art, architecture and nature, which works towards developing the critical thinking process. In order to bring students closer to the goal of inclusion of nature in the core design thinking “Impulsive” teaching methodology was adopted. Lateral thinking, one of the tools of impulsive system of teaching, was carried through in three stages: observation of nature, recording observations in variety of media and correlating observed natural phenomena to solve a given design problem. In this case the design problem was a piece of furniture, using a very thin sheet of steel that had a thickness of sixteen to twenty gauge. The study highlights a studio model by describing one of the experimental processes that was designed to augment originality in architectural design thinking. A specific natural phenomenon that is wind, was focused upon as a natural parameter of this study. The objective of the studio model was to offer students an organic tool for exploring new design possibilities. This helped students to visit and revisit the central idea for multiple interpretations, in order to relate it with architectural design process at any stage of design development. Keywords: Architecture Education, Design Process, Natural Phenomena, Wind, Impulsive System

scholarly journals Drawing on an architecture of blindness: A critique of the visual privilege operating in architectural representation

2021 ◽  
Author(s):  
Hannah Walsh
Keyword(s):  
Design Process ◽  
Architectural Design ◽  
Visual Medium ◽  
Alternative Mode ◽  
Architectural Representation ◽  
Shadow Cast ◽  
The Subject ◽  
Physical Elements ◽  
Primary Medium ◽  
Dual Capacity

<p><b>This thesis exhibits the visual medium of architectural representation destabilized and reinterpreted by locating blindness in architecture. What can blind drawing allow architects to see? </b></p> <p>As a primary medium of architectural representation, drawing is an agency through which architecture is conceptualised, developed and disseminated. Conventionally, drawings are generated and perceived through sight: they are visual projections. Such visual privilege reduces the subject of architectural representations to visible, physical elements of buildings, while invisible, and/or intangible aspects of architectural experience often lack consideration in drawing. The architectural design process can be described as the translation of architecture between the mediums of drawing and building. The context of representation describes this translation as shifting from conceptual to conventional drawing types. While the visual privilege constantly operates in both conceptual and conventional drawing, the differences between their visual languages enable them to describe different aspects of architectural experience. The main difference that this thesis explores is the strictly visual vocabulary of conventional drawing, and the ambiguous capacity of conceptual drawing, enabling it to reference both visual and non-visual aspects of architectural experience. </p> <p>This thesis places conceptual and conventional drawing in parallel, aiming to exaggerate their differences on paper, and what they represent in reality, highlighting where and how architecture risks being weakened during a course of translation. The first half challenges the visual privilege through blind drawing as an alternative mode of conceptual drawing, while the second half identifies invisible aspects of architectural experience that cannot be depicted through conventional drawing. In concluding the research, these differences also evidence opportunities offered by the dual capacity of architectural representation, which simultaneously depicts visible (and physical), and invisible (and intangible) elements. For example, a line as a wall, also defines invisible space either side of said wall – perhaps dotted by the warmth of morning sun and cooler patches of shadow cast by window mullions. This thesis addresses a shift away from the ingrained visual privilege thriving in architectural thought. While drawing remains an inevitably visual medium, the design process must consider both visual and non-visual aspects, equally incorporated by an architectural experience. To exploit the dual capacity of representation, such methods of drawing should encourage architects to draw as though they are blind.</p>

scholarly journals Triple-Helix Structured Model Based on Problem-Knowledge-Solution Co-evolution for Innovative Product Design Process

2020 ◽  
Vol 33 (1) ◽  
Author(s):  
Qian Hui ◽  
Yan Li ◽  
Ye Tao ◽  
Hongwei Liu
Keyword(s):  
Product Design ◽  
Design Process ◽  
Design Problem ◽  
Triple Helix ◽  
Problem Solution ◽  
Innovative Product ◽  
Innovative Design ◽  
Structured Model ◽  
Knowledge Spaces ◽  
Product Design Process

AbstractA design problem with deficient information is generally described as wicked or ill-defined. The information insufficiency leaves designers with loose settings, free environments, and a lack of strict boundaries, which provides them with more opportunities to facilitate innovation. Therefore, to capture the opportunity behind the uncertainty of a design problem, this study models an innovative design as a composite solving process, where the problem is clarified and resolved from fuzziness to satisfying solutions by interplay among design problems, knowledge, and solutions. Additionally, a triple-helix structured model for the innovative product design process is proposed based on the co-evolution of the problem, solution, and knowledge spaces, to provide designers with a distinct design strategy and method for innovative design. The three spaces interact and co-evolve through iterative mappings, including problem structuring, knowledge expansion, and solution generation. The mappings carry the information processing and decision-making activities of the design, and create the path to satisfying solutions. Finally, a case study of a reactor coolant flow distribution device is presented to demonstrate the practicability of this model and the method for innovative product design.

scholarly journals Energy Rating of Buildings to Promote Energy-Conscious Design in Israel

Buildings ◽  
2021 ◽  
Vol 11 (2) ◽  
pp. 59
Author(s):  
Abraham Yezioro ◽  
Isaac Guedi Capeluto
Keyword(s):  
Design Process ◽  
Architectural Design ◽  
Residential Building ◽  
Green Building ◽  
Energy Performance ◽  
Basic Unit ◽  
Design Stage ◽  
Design Decision ◽  
Rating Systems ◽  
New Buildings

Improving the energy efficiency of existing and new buildings is an important step towards achieving more sustainable environments. There are various methods for grading buildings that are required according to regulations in different places for green building certification. However, in new buildings, these rating systems are usually implemented at late design stages due to their complexity and lack of integration in the architectural design process, thus limiting the available options for improving their performance. In this paper, the model ENERGYui used for design and rating buildings in Israel is presented. One of its main advantages is that it can be used at any design stage, including the early ones. It requires information that is available at each stage only, as the additional necessary information is supplemented by the model. In this way, architects can design buildings in a way where they are aware of each design decision and its impact on their energy performance, while testing different design directions. ENERGYui rates the energy performance of each basic unit, as well as the entire building. The use of the model is demonstrated in two different scenarios: an office building in which basic architectural features such as form and orientation are tested from the very beginning, and a residential building in which the intervention focuses on its envelope, highlighting the possibilities of improving their design during the whole design process.

Achieving sustainability through integrating risk management into the architectural design process

2018 ◽  
Vol 16 (1) ◽  
pp. 25-43 ◽  
Author(s):  
Ayman Ahmed Ezzat Othman ◽  
Nermeen Mohamed Amin Abdelwahab
Keyword(s):  
Risk Management ◽  
Literature Review ◽  
Field Study ◽  
Design Process ◽  
Construction Projects ◽  
Architectural Design ◽  
Sustainable Construction ◽  
Content Type ◽  
Scant Attention ◽  
Design Firms

Purpose The purpose of this paper is to develop a framework integrating risk management (RM) into the architectural design process (ADP) as an approach for delivering sustainable construction projects. Design/methodology/approach A research methodology, which consisted of literature review and field study, is designed to accomplish four objectives. First, to provide a comprehensive literature review of the concepts of sustainability, ADP and RM. Second, to present and synthesis the results of two relevant studies focused on identifying, quantifying and classifying the risks associated with ADP; and investigating the perception and application of Egyptian architectural design firms (ADFs) towards integrating RM into ADP as an approach for delivering sustainable construction projects. Third, to develop a framework that integrates RM into ADP towards delivering sustainable construction projects. Finally, to draw conclusions and recommendations to improve the practice of delivering sustainable construction projects among ADFs, construction professionals and governmental authorities. Findings ADP is a fundamental phase of the construction process because the decisions adopted during this phase affect the project performance throughout its life cycle. While RM is widely applied in different sectors of the construction industry, its application in ADP received scant attention in construction literature. The research identified 18 key risks that affect the sustainable delivery of construction projects during ADP. The architect, the client and the project manager are the highest ranked responsible parties for the occurrence of these key risks. The field study highlighted the need to develop a framework to facilitate integrating RM into ADP. Research limitations/implications This paper focused only on the integration of RM into ADP. Originality/value The conducted literature review and field study provided an in-depth understanding of the key risks that affect the sustainable delivery of construction projects during ADP. Through its five stages, the proposed framework is expected to serve as a foundation for integrating RM into ADP as an approach for delivering sustainable projects. This ideology has received scant attention in construction literature. The developed framework represents a synthesis that is novel and creative in thought and adds value to the knowledge in a manner that has not previously occurred.

Buildings with environmental quality management, part 2: Integration of hydronic heating/cooling with thermal mass

2017 ◽  
Vol 41 (5) ◽  
pp. 397-417 ◽  
Author(s):  
A Romanska-Zapala ◽  
M Bomberg ◽  
M Fedorczak-Cisak ◽  
M Furtak ◽  
D Yarbrough ◽  
...  
Keyword(s):  
Control Systems ◽  
Design Process ◽  
Architectural Design ◽  
Integrated Design ◽  
Field Performance ◽  
Functional Materials ◽  
Heating System ◽  
Transient Temperature ◽  
Thermal Mass ◽  
Integrated Design Process

The quest for a sustainable built environment brought dramatic changes to architectural design because of the integrated design process. The integrated design process is the modern way to realize “performance architecture,” that is, design with a view to field performance. Integrated design process permits merging of concepts from passive-house designs, solar engineering, and an integration of the building enclosure with mechanical services. In part 1 of this series, the emergence of many new multi-functional materials was discussed. Yet, current innovation is guided by lessons from history. Thermal mass in heavy masonry buildings allowed periodic heating. The authors postulate integration of a hydronic heating system with the walls and the use of smart temperature control of the heating system to modify and optimize the thermal mass contribution. To use the mass of a building, one must accept transient temperature conditions where the indoor temperature varies but is confined by comfort requirements for both summer and winter conditions. On the other side, resiliency requirements dictate that in the absence of electricity the air temperature does not fall below about 12°C over a period of several hours. This requirement implies that summer cooling will likely be separated from the heating systems and that operation of a low-energy building is heavily dependent on the design of smart control systems. Analysis of control systems provided in this article for earth-to-air heat exchangers and cooling of houses with lightweight walls lead us to the requirements of separation between heating and ventilation and needs for different sources of fresh air. Finally, a new concept emerges.

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