Design Methodology

Contents :

1. Introduction 2
1.1 Research Objective
1.2 Research Question
1.3 Motivation
1.4 Methodology
1.5 Limitation And Scope

2. Layout of a design process in Architecture 4

2.1 Nature of a design process
2.2 Nature of solving a design problem
2.3 Traditional vision about the design process
2.3.1 First Dimension - Sequential stages
2.3.2 Second Dimension - Decision making process
2.4 Practical models

3. Balance between conscious and unconscious activities 8

3.1 Rational model
3.2 Intuitive model
3.3 Link between rational and intuitive model

4. Chapters 10
4.1 Defining parameters for gathering knowledge 10
before commencing the design process
4.2 Define parameters for site analysis 12
4.3 Understanding area brief 15
4.4 Concept Inspiration : How to develop a design
concept in architecture? 19
4.5 Proceed : How to mould the concept into functional entity 29
4.6 How to incorporate service infrastructure
during design process? 35
4.7 Verify the structural capability 44
4.8 How to incorporate sustainable design
techniques in initial design concept? 49

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1. INTRODUCTION
Design is seen to be a strategic problem solving which utilizes creative ability along with
arts and science to generate apt solutions to problem situations. These problems can be
solved in many different ways and each way is co-related to conscious and subconscious
thinking of the designer; however, they go through a pattern or sequence of steps for
achieving their designs from conception to completion. This methodology critically
analyze, evaluate, compare, and propose alternative methods for creative problem
solving. Each architect uses his own conceptual frameworks that can assist in setting
boundaries and framing reasonable objectives.

1.1 AIM :

Frame a strategic thinking and the design process in architecture.

1.2 RESEARCH QUESTION :

1. What is the schematic layout of a design process in Architecture?

2. How to strategize for the problem solving?
3. How to strike balance between conscious and unconscious intellectual activities for
sustainable design development?

1.3 MOTIVATION :

'Fear of blank canvas'

When I begin with a painting; I have a concept in mind. I want to put it on the white
screen but there is something which doesn't let my brush move. It's perfection. It's the
child's voice to make something grand and authentic. I get baffled by so many
constraints in my mind such as what colours to use? How deep the hue should be? Which
type of stroke should I use? Where should I make a contrast?

How to begin?

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1.4 METHODOLOGY :

Chapters :

 Define parameters for gathering knowledge before beginning with the design
process
 Define parameters for site analysis
 Understanding area brief
 Concept Inspiration : How to develop a design concept in architecture?
 Proceed : How to mould the concept into functional entity
 How to incorporate service infrastructure during design process?
 Verify the structural capability
 How to incorporate sustainable design techniques in initial design concept?

1.5 LIMITATIONS AND SCOPE

This dissertation is limited to scale of designing a building complex. The dissertation doesn't
provide approach to design towns or urban scale projects.
This dissertation is limited to academic level examples as aid to the discussion.

Scope of this paper diverse in both unconscious activities and conscious activities.

2. LAYOUT OF A DESIGN PROCESS

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The final product of the of the design process depends on three primary operations:

 Gathering information: information that conveys how to organize, analyze and pick
a design approach. Such information should be seen as a whole.
 Testing: Relating the gathered information to architect's capabilities.
 Evaluation process: judgment on the appropriateness of these decisions to the
problem of design.

The Design process is a very complex process which contains two types of intellectual
activities:
Unconscious intellectual activities: which related to the designer’s intellectual and
creative abilities?

Conscious intellectual activities: This related to the designer's rationality and logical
abilities.

2.1 NATURE OF SOLVING A DESIGN PROBLEM

There are various complexities involved in a design problem and to solve a design
problem one needs problem solving strategies and need to put creative efforts to reach
a solution (Information Methods For Design & Construction,1980):

The quality of the design problem may be pre-determined. This information gives path
to specific solution.
The nature of the above information and surrounding physical environment.
Capacity, expertise and self knowledge of the designer, which focuses on the creative
side.
Other factors involved in the design process (owner, user, and specialized agencies).
2.2 TRADITIONAL VISION OF DESIGN PROCESS

The Royal British Institute of Architecture one of the educational institutions, described the
design process as a "two-dimensional process" : The first dimension (the sequential stages
of design process) and The second dimension (the decision-making process).

2.2.1. The First Dimension (The Sequential Stages of Design Process)

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Identifying the problem and put the program down to the implementation phase of the
project. The architect's views regarding the stages of the design process varies and the
following is some architectural models for the design process stages and sequence:

Asimov's Model 1962: He divided the steps and stages which the architectural design
process passes through into (RIBA handbook, 1973): Primary Needs, Feasibility Study,
Preliminary Design, Detailed Design, Planning for Production, Planning for distribution,
Consumption Planning, and Project Delivery.

RIBA’s Model: Royal Institute of British Architecture decided and stated that the design
process consists of twelve steps which categorized into four main stages (RIBA, 1967):

- Briefing (Inception - Feasibility Study)

- Sketch Planning (Outline Proposal - Scheme Design)

- Working Drawing (Detailed Design - Production Of Information - Bill Of Quantities - Tender

Action)

- Site Operation (Project Planning - Operation On Site – Completion - Feed Back)

diagram concludes and presents a review of some architects and theorists opinions
about design process stages.

2.1.2 The Second Dimension (The Decision-Making Process)

A horizontal formulation of the decision-making process with repeated courses which

occur within each stage of the architectural design processes (analysis, synthesis,
evaluation, and decision-making).
Archer’s Model: He determined the decision making process into some steps: (Brief –
Programming - Data Collection – Analysis - Synthesis – Development - Communication –
Solution).

Laseau’s Model: He determined the decision making process into six sequential steps
(Laseau, Paul, 1982): (Problem Definition - Information Gathering - Developing Alternatives
– Evaluating Alternatives - Solution Selection – Communication). (table2) concludes and
presents a review of some architects and theorists opinions about decision -making during
design process stages.
2.2 Practical models for design methodology

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(Dr. Eman Sabry Abdellatif Abo Wardah et al, 2016) presented in a paper, a review of
design processes of famous architects through analyzing their knowledge backgrounds,
analyzing their inspiration sources, understanding their development tools and displaying
the final results.

The data produced by them is formulated below.

Architect Knowledge Inspiration Development Final Results

Background Sources Tools
Frank Ghery Canadian Sculptors and Scribbling a Morphological
American Painters sketch - New forms in a
architect, he floor plan – wonderful
belongs to the Strategies composition
Modern
architecture
Schools.

Zaha Hadid Iraqi British Nature Digital Sculpted

architect - Sculpture techniques and buildings

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 American artwork and Advanced appear like a
Architecture Organic Sculptural mystical object.
schools - architecture techniques. Express fluidity,
following Le velocity and
Corbusier and lightness.
Frank Lloyd
Wright schools in
architecture.
Toyo Ito Japanese Natural forms Digital Branching
Architecture and structures, techniques and design - Tree
schools - Islamic patterns, Sculptural Buildings -
following Le organic design, techniques and Façade as
Corbusier and and Tree models. structure that
Oscar Neimeyer structure. directly
styles in expresses the
architecture. flow of force.
Peter Zumthor Swiss architect – Lifting building Physical model Branching
following Le PILOTIS, to allow to represents design - Tree
corbusier's style a sequence of the initial phase Buildings -
in architecture - green areas of the project. Façade as
Five points of and free structure that
architecture - movement of directly
conservation pedestrians. expresses the
architecture. flow of force.

3. Balance between conscious and unconscious activities

Conscious activities relates to the designer's intellectual and creative abilities.
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Unconscious activities relates to the designer's rationality and logical abilities.
This leads to two approaches (Information Methods For Design & construction, 1980) :
3.1 The Rational Model:

This approach is based on the fact that the design process is a logical process and can
be explained, it depends on analyzing all the design problems and attitudes to a group of
minor problems and initial molecules that are easily analyzed to basic components and
solving each part separately, and then assemble These molecules once again well to
create the best solutions.

3.2 The Intuitive Model:

represents the development of the patterns language penned by Christopher Alexander ,
so that they become more flexible and tailored creative thought of the designer, which
he described as Black Box, where the more creative ideas inside the mind of the designer,
involuntary way inside the dark box containing the stock of knowledge and previous
experience of the designer.
3.3 Balance between rational and intuitive model

The Design process is a very complex process which contains two types of intellectual
activities: Unconscious and Conscious intellectual activities.

How to combine and compose out of the conscious and unconscious activities.

Designing is a process formed from three main phases: knowledge, Developing Tools
and Invention.

Designing Method for the famous Contemporary Architects consists from 3 main stages:

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- First phase: Knowledge : Knowledge is the foundation for all designing process. We
architects and designers are obliged to be informed about everything that was designed
in the past and on a daily basis.

- Second Phase: Developing Tools : to analyze buildings and “Understand” them. Tools
that will help us cope with the abundance of architectural information.

- Third Phase: Invention: Once we develop our tools, it will lead us to realize our design
idea, our “invention” and get a high quality and creative architecture. New architectural
language and conception of space was developed.

The following diagram Reflects processes of “conscious and unconscious” inspiration

among Architecture.

Summary: A foremost general approach satisfying the above notions towards an

architectural design process would be to gather knowledge about the project and
analyse the inventory of 'To-dos'. Once the knowledge is attained, tools have to be
developed accordingly to act on it. Inspiration could be derived from existing and
relevant buildings, architectural styles and nature. The developing tools and inspiration
has to act together to form an invention that is our design concept.

The knowledge background and inspirations displays the texture of design which can be
seen in different design process models of famous architects formulated above.

4.Chapters
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4.1 Defining parameters for gathering knowledge before commencing the design
process

All architecture begins with a concept. A concept is an abstract idea that underpins
one's project. To an architect, the concept is what distinguishes a work of architecture
from mere building.

The basic purpose of architecture is to seek solutions to a problem. The apprehension we

have determines which problems question we ask that will determine which problems our
architectural problem will solve. Developing a concept allows one to convert the
apprehensions into concrete guidance for the entire design process. Choosing a starting
point for your design can be intimidating and an early stumbling block for any designer at
any skill level. The concept shouldn't be rigorous; the more malleable it is, the better as the
project progresses concepts moulds itself accordingly. most architecture arise as a result
of many smaller concepts working together as a part of larger concept.

There may be organizational concepts, material concepts, functional, or structural or

formal.

Before we can develop a concept we first have to understand the practical constraints
of the project in order to form questions which lead to design.

Design process initiates with gathering of knowledge and then analysing and assessing
the same within the given parameters.

Primarily this consists three types of information :

The knowledge we require can be full filled primarily by three types of information

 Site information
 Client information
 Building typology

Site information/ Site analysis :

Includes the gathering details as per the following criteria which is mainly the
geographical features, history and culture, economics and citizenship details.

 local climate
 prevailing winds

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  soil type
 neighbouring built
 vegetation
 building context
 history
 culture
 special liabilities
 opportunities
 legal framework(zoning)

Client Information :

Client Information helps us to understand the vision and purpose of the client for the
particular building. An architect should understand their budget, personality traits and
organisational politics which might occur in the team in order to develop concept in
alignment with client's vision.

The client and building type together is what an architect calls a program (Area Brief).

 Program (Area brief) includes :

 Detailed accounting of all the spaces the building will contain
 Detailed list of rooms/spaces
 Sizes

Typology Information :

The third type of information is the building typology. What is the function of the building?
Is it a museum? or a school? or a residence?

To learn about the building typology, one has to analyse any notable or relevant
information of historical precedence. The essential problems that were faced by these
type of structures are grasped. Understanding the history of archetype allows one to
approach a problem from a fresh perspective. Once the architect understands the
typology once he sees the opportunity of any problem solving by recruiting things
differently.

For an unfamiliar building typology, the building precedents have to be researched and
the information obtained has to be used for underlying framework for development of the
program (Area brief).
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  type of building
 precedent study
 what problems we are trying to solve

All of this necessary information has to be collected for every single project. Once all the
information is gathered, it has to be processed into a useable form. This inventory can also
serve as the progenitor for the design concept - our seed idea. And rather than shunting
creativity these constraints often incite the design process.

The site analysis is more readily translated to a physical diagram to give clarity to the
thoughts regarding the concept.

4.2.Defining Parameters For Site Analysis

The site visit is one of the first things in the design process. After the completion of a site
visit, a detailed site analysis has to be done so as to really grasp the features of the site,
which will play a crucial role during the design. Here are some of the points one must pay
attention during the site visit as well as during the site analysis and study.

Location

While describing the location one must find out where the site is located and what is the
approach. The name of road or street and distance from junctions is also important.

Orientation

knowing more about the orientation helps an architect to judge the sun path and wind
direction which will help to orient the design and optimise the usage of sun and wind to
maintain temperature and height of the building.

For instance, in a warm tropical climate, the bedrooms will be placed such that they are
not facing the west or the south.

Temperature & Sun path

The entire temperature range is determined and fluctuation determined by knowing the
daily average temperature and monthly average temperature of the area. This
information has a great impact on the design as it will guide one to reduce the amount of
direct sunlight in warm climates to reduce heating.

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In colder climates, the design will try to maximise the amount of sunlight incident on the
building so as to have maximum warmth as possible.

Wind direction

Most of the locations will have a general major direction from which the wind comes.
Consider the direction of the wind so that it can be channelized through the interiors. This
will play a major role in placement & size of openings.

The thing to be remembered is that the wind direction may vary from place to place
inside the site itself and thus have to be checked from a few different places especially if
it is a large site.

Soil type & condition

This is very important from a structural point of view while designing buildings. The safe
load bearing capacity of the soil is to be found out after which the structural system and
the foundations will be designed accordingly.

Sandy, clayey and laterite soils have different properties which affect design. For example
the Black cotton soil for example, is perfectly normal when in a dry state. However, as
soon as it comes in contact with water, it starts to expand, which will have a very adverse
effect on any building designed on it. Thus, it is important to be aware of these
characteristics to avoid problems in future.

Topography

Topography refers to the slope and level of the land – whether the land is flat and plain,
or whether it is sloping? From a design point of view, a sloping site will be more
challenging. If a site is sloping, the exact slope can be interpreted from a detailed
Contour map. The contour locations and spacing of contours will play a big role in the
sitting of the building. It is always better to design buildings along with the contours,
integrating it into the design to reduce unnecessary cutting and filling of soil.

Also, during the site visit, it is important to check out the stability of the slopes – whether
the slopes are solid enough to permit construction on it.

Vegetation & natural features

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The vegetation will consist of all the trees, flora and fauna present on the site. marking
onto the site plan during the design stage itself. Along with the location, diameter or
spread of the branches, heights are to be measured. Different trees have different
characteristics – the spread of leaves, the speed of growth, the spread of roots, falling of
leaves, water requirement, soil nourishment etc, Also play a major role in the design by
highlighting, accentuating and harmonising design.

Along with trees and vegetation, other natural features like rock formations, swamps,
marshes etc. are also to be considered in design.

Precipitation & Hydrology

The amount and time period of rainfall is to be found out and this average annual
precipitation is calculated for good design.
The study the water drainage pattern in the site - whether it stagnates, or if it flows
following the natural slope, this has to be analysed to incorporate in the design.
The Relative Humidity of the place also has to be found out to determine the moisture
content in the atmosphere. Cross circulation of wind at the body level is a must for
comfort in places with relative high humidity.

During the site visit, one needs to identify water bodies present in and around the site like
ponds, lakes, rivers etc. The presence of water can lead to reduction in the overall
temperatures. And add to the moisture content in the atmosphere. The water body
should be integrated into site map.

The water table is another very important feature in any site study. This refers to the level
below the soil at which water is present. For areas close to water bodies, the water table
may be very shallow. A shallow water table will affect the stability of foundations and
additional precautions will have to be taken.

Infrastructure facilities

This refers to the services present in the location. The major things to be considered are
the water supply, drainage connection, waste disposal, electricity supply etc. These are
important while planning the zoning in the site.

Surrounding land uses & buildings

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One also needs to pay attention to the surrounding land uses and building around the
site. If the land uses are incompatible, it may lead to creation of issues in the design. For
example, if there is a school right next to the site, the noise disturbance will have to be
factored in while designing. Too tall building readily blocks the flow of wind and sunlight.

Prominent Vision lines / Visual linkages

This becomes a very important element in the design process. The views to the site as well
as the views from the site are to be carefully considered while designing.
Locally available resources
One should consider locally available resources and materials available at and around
the site, which can be used in the design. This is especially relevant today when the
design has to be as sustainable as possible, by reducing the transportation energy
& costs.

4.3 Understanding Area Brief

Budget is inter related with the size of the project.

There is no sense in beginning any design work until the client is aware of the rough cost of
the work which at this stage is directly tied to their wish list of spaces and the sizes of those
spaces.

After the programming exercise is done. The relative size of spaces can be diagrammed
on the site plan as zoning.

For an unfamiliar building typology, the building precedents have to be researched and
the information obtained has to be used for underlying framework for development of the
program (Area brief) . This could also be the launching point of the concept.

What is F.A.R ?

FAR is calculated by a simple formula - total covered area of all floors divided by the plot
area. Suppose the builder has got a plot of 1,000 sq m and the permissible FAR, according
to development plans, is 1.5. He is allowed to construct a building on 1,500 sq mt of this
plot. It is the ratio of the total floor area in the building compared with the total plot area.
The constructed area would include the basic structure, walls, staircase or lobby space.

FAR may be different in various cities, municipality, locality or even depending upon the
nature of land- industrial, residential, commercial, algricultural or non-agricultural. This is
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because the organic growth pattern, population dynamics and construction activities
varies from city to city. Much depends on governmental regulations.

What is Floor Area Ratio

FAR value in Indian cities

The maximum FAR value in Indian cities doesn’t exceed 2.5. Even within one city, it is not
necessary that the same value is applicable to all areas.

What it means for a developer

FAR is one of the key determinants for development in the country. A low FAR, as is
considered in the case of India is a deterrent to construction. The rapid urbanisation has
already put pressure on the limited land resources, especially in Delhi. Extra FAR would
help developers with extra space and in meeting the demand and supply gap.

An increased FAR means one can build more, sell more and thus prices of projects could
go down. However, this alone cannot cut down prices and it needs to be used
judiciously, not abused.

But when is FAR violation noticed?

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The violation comes to notice only when the developer takes the completion certificate
from the concerned development authority. Sometimes illegal flats may also get
registered with the revenue department because completion certificate is not a
mandatory document for registration of apartments.

Common misconceptions

Going vertical is impossible if FAR value is low

An adequate FAR value will help in sustainability. Adequate open space is the need of
the day especially in the case of a natural disaster like earthquake. Dense living means
you are furthering the risk.

Higher the FAR value, lower is the property value

Increasing the FAR may reduce the per capita cost on development infrastructure.

Prices of flats are not dependent on FAR value alone.

Increase in FAR means land values may also go up since buildable space increases.

In the absence of higher FAR values, developmental projects suffer

When town planners determine FAR values, they do consider the health of our
development projects as well. There is no hindrance to development even if the projects
are based a little away from where the bulk of the population lives.

Lower FAR values means less employment opportunities

The construction agency employs a sizeable population. The industry as a whole also
contributes almost 8 per cent to the GDP. However, the cost of negligence could be
disastrous. Maintaining equilibrium between sustained, planned growth and development
is important.

Sample area brief

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Area Brief for far 4 private development housing
Site Area : 20 hectares (approx)

Density : 200 DU/hectare DU: Dwelling Unit

Total no. of DU: 4000 1 Hectare:10,000sq.m

@ 4.5 person/ DU= 4000 * 4.5 = 18000

Areas for Commercial and Public Buildings:

1) Primary School : 4000 m2

2) Sec. School : 12000m2
3) Religious Buildings : 520 m2
4) Banquet Hall : 4000 m2
5) Electrical Sub Station : 80 m2
6) Local Shopping Centre : 3000 m2
7) Service Market : 1000 m2
8) Informal Market : 100 m2
9) Taxi Stand : 40 m2
10) Sewage Treatment Plant : 50 m2
11) Coaching Centre : 400 m2
12) Dispensary : 800 m2
Total area for above mentioned built = 25990 m2

Ground Coverage : 50% i.e. 1 hectare = 1,00,000 m2

Ground Area left for Housing = 1,00,000-25990 = 74010 m2

Max Height of G+14

Housing FAR = 4
Therefore, Total Super Area= 4 * 2,00,000 m2 = 8,00,000

Area Required for Housing based on Requirements

Unit Area % of Units No. of Units

150 20 800

120 30 1200

90 35 1400
50 15 600

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Therefore, Total Built up Area Required for Housing = 4,20,000 m2

Total Super Area = 4,20,000 + 15% for services

=4,20,000 + 63,000 = 483000 m2

Area left from FAR= 8,00,000- 4,83,000 = 3,17,000 m2

This Area can be used for commercial areas

4.4 Concept Inspiration: How to develop a design concept in architecture?

The site

Buildings interpret their surroundings and reformulate them in a way architect can react to
views light topography historical features vegetation and others structures. A building
concept in a rural setting, it establishes a dialogue between natural and manmade; in
urban and sub urban contexts, it's a boundary between what one can design and what
one cannot can editorialize this relationship: will it oppose nature or the local surroundings
or compliment it? Will it disregard it or adapt to it? will it impose order on it or will it assume
a different order?

The site informs the organisation of public and private spaces. How one arrives and moves
from the public gathering of spaces to more private sleeping. It shapes the location of
windows which would be towards the sun to catch sunlight.

The Client

The client is the major force driving the concept. Not only from an aesthetic point of view,
but also programmatically. The client provides financial framework for realizing the
architecture. A good architect artfully addresses a client's need.

A design concept is to divide public and private spaces and then take a position on their
relationships. From here one can diagram their concept and iterate it.

The Narrative

The built space and how he would interact to people.

Materials

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 Architects often use raw materials of the building as their starting point for the design
process.

Structural concepts

Conceptual structural design is about structural design aiming for more than solely
carrying loads; it is about carrying loads in ways that, in addition to being structurally
sound, appear meaningful, beautiful or otherwise interesting. Applied on work across the
professions of architecture and structural engineering, the term conceptual structural
design is about developing structures that unite structural functionality and visual form into
a meaningful and interesting whole.

Manifesto

Design is a composition of elements. Elements can be compromised as point, line, form,

shape, texture and colour. A designer apply design principles such as balance, proximity,
alignment, repetition, contrast, space and datum on the design elements to make a
composition. Manifesto is the brochure of design principles the architect is going to apply
over the design problem.

Sample manifesto :

TEN PRINCIPLES FOR GOOD DESIGN

Dieter Rams
1. Good design is innovative.

2. Good design makes a product useful.

3. Good design is aesthetic.

4. Good design makes a product understandable.

5. Good design is unobtrusive.

6. Good design is honest.

7. Good design is long-lasting.

8. Good design is thorough down to the last detail.

9. Good design is environmentally friendly.

10. Good design is as little design as possible.

Disrupt typology
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Having researched the building typology, how can one disrupt long held beliefs or
organizational layout. It is called thinking out of the box. For example : Big's power plant

BIG's Amager Bakke Waste-to-Energy Plant, which is currently under construction in

Copenhagen, will blow rings of smoke and feature a 31,000-square-metre ski slope on its
roof.

"One of the things that I love about architecture is that it is the art and science of turning
fiction into fact," "Right now you can say it's a science-fiction idea to have a power plant
with smoke rings and ski slopes, but in three years they will ski on their power plants in
Denmark."

Bjrake Ingels

BIG'S Waste To Energy Plant - Disrupt typology

Form

Design is a composition of elements. Elements can be compromised as point, line, form,

shape, texture and colour. A designer applies design principles such as balance,
proximity, alignment, repetition, contrast, space and datum on the design elements to
make a composition.

Form is the shape and structure of something as distinguished from its material. Form
characterizes the structure's shape, texture, size, position, colour, orientation, visual inertia.

Form can be moulded into a more interesting or harmonious 3-D composition. To work on
a form of an architectural structure it's an approach to take a basic shape and then
transform it. (Form Space and Order, 1979)

Transformation of form

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  Dimensional transformation
 Subtractive transformation
 Additive transformation

Dimensional transformation

Transforming a form by altering it's one or more dimension keeping the nature of the form
same. For example transforming a cube into a cuboids

Dimensional Transformation

Subtractive transformation

A form can be transformed by subtracting some of the volume of the form. The form may
or may not retain its initial identity depending on the extent of subtraction

Subtractive Transformation

Additive transformation

A form can be transformed by adding additional elements to its volume. The nature and
identity of the transformed form depends on the relative shapes and relative sizes.

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Additive Transformation

Centralized form

A number of secondary forms clustered around a dominant central parent form

Centralized Form

Linear form

A series of forms arranged sequentially in a row

Linear form
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Radial form

A composition of linear forms extending outwards from a central form in a radial manner.

Radial Form

Clustered form

A collection of forms grouped together by proximity or sharing of similar visual trait

Grid form

A set of modular forms regulated in a three dimensional grid.

Grid Form

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Form can be inspired by an existing entity as in the case bird nest inspired by a nest and
lotus temple inspired by a flower.

HOW TO FIND IDEAS?

When mental state is facing saturation to find ideas it’s best to pick up what you have
and compose it.

Bisociation

Arthur Koestler - the art of creation

The pattern underlying the creative act is the perceiving of a situation or idea, L in two self
consistent but habitually incompatible frames of reference, M1 and M2. The event L, in
which the two intersect, is made to vibrate simultaneously on two different wavelengths,
as it were. While this unusual situation lasts, L is not merely linked to one association
context but bisociated with two

- arthur koestler

In simple terms - bisociation is linking of two completely separate, unrelated ideas.

Bisociation

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The design for sears tower in chicago by Bruce Graham and Fazlur Khan of skidmore
owings and merill is a perfect example

There is a story that the two partners were having lunch together at the Chicago club they were mulling over design
concepts for an office tower and they were discussing the need for novel approach for what was to be the tallest
building in the world. Structurally they agreed that a series of tubes with shared walls was an extremely efficient way to
support a very tall building, but that approach would also yield a rather bulky mass as compared with the simple steel
frames in common use at the time. It is said that Graham Paused and looked at the table at his pack of cigarettes and
he grabbed a small bundle of them in his fist and he proceeded to push and pull them to different heights. In this
moment, he realized that if each tube were staggered vertically both their slenderness. In this moment, he realized that
if each tube were staggered vertically both slenderness and their structural integrity would be preserved.

Sears Tower Form

Linking the idea for a skyscraper with a pack of cigarettes - two seemingly unrelated
things - provided this novel concept for the Sears Tower.

Sears Tower

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Now, bisociation requires unconventional thinking.

commonly held beliefs and repetitive thought processes will always yield similar results :

Permutations

Permutations rather than mutations, variations on a theme rather than some hyper-flexible
thought that permits going beyond the expected solutions. Accepting conventions and
limitations like the maximum height of a building leads to solutions that incrementally
advance previous successes: a more efficient structural steel frame rather than the tube
concept in the previous example. Bisociation destructs previously held limitations while
creating and establishing new ones.

There are four stages of creativity (The Art Of Thought,1926):

 Preparation
 Incubation
 Illumination
 Verification

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The interplay of these stages, between conscious and unconscious thought - he contends
- the process that allows us to produce creative work. So here's the process he describes.

Preparation : This stage lays the ground work, the foundation for thinking to follow. It
collates the questions, seeks to understand the context, and to develop an understanding
of the problem in order to focus the efforts of the next three stages.

In architecture, this would be like conducting precedent research, understanding the

conditions of development, the zoning, code regulations, and site analysis.

Incubation : This stage happens in the unconscious. In the previous stage, preparation,
has filled the mind with all this information to process and the incubation period sets the
unconscious mind to work on it. Discovering and forging connections is central to the
success of incubation period and Wallas actually suggests that working on multiple
problems at once actually increases the odds that the incubation period will be fruitful.
This forces the mind away from developing a singular solution into a place where it's
unconsciously investigating several briefs at once.

Illumination : This stage is the source of the most anxiety in my creative life. Now,
illumination follows an undefined period of incubation. It's the beam of light shining down
from the clouds upon the patch of earth you have never seen before. Quite often, I feel
like I am approaching illumination only to be pushed back. But, when ideas begin to
reveal themselves I know that illumination is near. Usually these thoughts, or as Wallace
calls them, trains of association - precede another round of ideas that press a little further
forward and eventually to the solution.

Verification : In this stage we test and fine-tune the idea. For some, this is an easier process
than others. The unconscious processes that deliver the illuminated concept to the
conscious-self haven't done all of the calculations necessary to prove the idea is valid or
even good. Illumination doesn't drop a fully formed idea on the desk. One have to work
at it building layer upon layer of trace, testing and sketching and applying physical effort.

By contrast, Maya Lin, the architect of Vietnam War Memorial in Washington, likens her
process to that of laying an egg. The essence of her incubated ideas combines into a
singular package that needs very little care or guidance to express her original intent.

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Invented deadlines

Goldfish grow to the size of the tank they are in. well, the same is true for design work. Set
aside eight hours to complete a series of design concept and it will take a work day to
complete the task. When I'm stuck and looking for inspiration, I like to cut the time I have
allotted in half.

Become an observer

Ideas are everywhere, but one needs to condition themselves to receive them. Attention
should be paid to the things that have been missed because of mind being so focused
down on the page in front of you. zoom out; look at things from a new perspective.

Subtracting to solve

Take three of your precedent study solutions and completely invert them. often the best
solution is the simplest, the one that involves the fewest moves, the one that's most pure,
and the least convoluted.

4.5 Proceed : How to mould the concept into functional entity ?

THE NEXT BIG STEP

The first step in making the concept real is to sketch a floor plan and then give that plan a
three dimensional form. A floor plan is a quick way of describing the hierarchy and
relationship of spaces and it begins fixing their real physical dimensions and shapes.
Throughout the design process architects must continually consider the design in both the
plan and the sectional or volumetric view. It is easier to begin with sketching a plan and
then make a three dimensional view either in model form or by sketching.

The Form ( order )

There are many ideas that we must then edit into coherent primitive building. To get here,
the best general area on the site to build and the approximate size of the structure. This is
tied to the client's needs and their budget.

From this point, rough sketching has to be done to over the site plan for allocating spaces
where they make sense. This stage is called bubble diagram. The bubbles represent the
rough size of the rooms and each has specific adjacency requirements. For example in a
3BHK apartment flat, the master bedroom will want a dressing area and a bathroom

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nearby. The living room wants to be near the dinning and kitchen and so forth. The
building footprint among smaller simple building volumes positioned on the site has to be
divided. The public and private spaces have to be divided and located then circulation
pathways are traced that link the two together. Sample bubble diagram :

After having the basic plans layout done, decision making of form is proceeded.

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Circulation

If the circulation is disoriented it would cause considerable mental stress to the user. A
person must be able to explain any given address within the building, to any other person,
who does not know his way around, in one sentence.

Circulation of the structure is highly influenced by the functionality of the architecture of

the built.

An approach :

(Pattern Language, 1977)

Zoning : Identify functional zones or realms. There might be a very nested system of realms

characterise the first and largest of these realms as the entire complex.

Each realm has a main circulation space, which opens up directly from the entrance to
the realm.

The entrances to any realm open directly off the circulation space of the next larger
realm.

Layout very large buildings and collection of small buildings so that one reaches a given
point inside by passing through a sequence of realms, each marked by a gateway and
becoming smaller and smaller, as one passes from each one, through a gateway to the
next. choose the realms so that each one can be easily named, so that you can tell a
person where to go, simply by telling which realm to go to.

Form

When we speak about form we are referring to not only to building's shape but also to its
size, the scale, its colour, and texture; basically, all the visual qualities of an object.

Form has a direct relationship to space in that it influences exterior and interior rooms.
Form is perhaps the most obvious and outward expression of our perception of
architecture. In many ways form is like an icon it's how one imagines a building, for
example dome is an iconic architectural form.

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The way building looks is known to architects as its formal language and much like
developing a concept, creating one isn't a singular act. The way architects choose to
design a building's form and how it shapes space is very personal (unconscious level).

In addition to function, form can be developed as a response to context for example the
climate, the site conditions, local constraints as well as the cultural context or local
building traditions. Form could be a result of the building size, how big or small it is and also
the results of the materials we choose to make it from. For example the laws of physics
would tell that a steel and glass structure must have different formal properties than of a
concrete structure.

Accentuating Form

A building cannot be a human building unless it is a complex of still smaller buildings or

smaller parts which manifest its own internal social facts. (Pattern Language,1977)

Functionality of a space is defined by the activities done by the social institutions and
building shapes itself by sufficing the needs of these social institutions.

In case of monolithic buildings, personal interaction is lost and people interact in a factory
like mechanical culture.

Translate the building program into a building complex, whose parts compliments the
actual social facts of the situation.

Even a small building, a house for example, can be conceived as a "building complex"
perhaps part of it is higher than the rest with wings and an adjoining cottage.

Accentuating Complex

An approach

(Pattern Language, 1979)

A complex of buildings with no centre is like a man without head. For any collection of
buildings, decide which building in the group houses the most essential function as a
human institution. Then form this building as the main building, with a central position,
higher roof.

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Symbolism by form

A building's form is an important signifier of what it is and what we can expect it to be in a

given context. For example a cathedral has a distinctive form.

The massive scale and size of the cathedral and its spire were its intentional cues that
conveyed the idea of power of churches in the society. This was made manifest in the
architecture through an intentional distortion of the building's form and scale.

This was made manifest in architecture through an intentional distortion of the building's
form and scale. It was designed to display power and to make people feel insignificant
while standing at the nave. Likewise the spire was designed to be visible from all parts of
town; it was the architecture's form that made the abstract concept real.

Its walls were made of stone, the properties of which were required structural support and
lateral bracing and thus the buttress was deployed to resist the tendency for the walls to
bow outward; a material and a formal idea. One might disagree whether these were the
appropriate materials to use, or the proper scale, but the conceptual ideas quite
obviously influenced the shape and formal language of the architecture.

How to work on form during an architectural design process?

An approach :

There is a danger in fixing a building's form to early in the design process. It can short
circuit a deeper exploration of ideas and potential relationships. One way to resist this is
by using only the loosest of building forms to represent form in a model. Use blocks made
of thermocol and orient them in compositions as an aid to visualisation of primitive forms.
These rough blocks can be overlaid on sketched plan ideas to suggest how spaces can
be related to each other and they're anonymous enough to be interpreted into many
different formal directions as you develop the design.

It's likely to fall into a process of making highly expressive idiosyncratic form making.
However crafting beautiful objects while ignoring the tectonics or the physical experience
of space i.e. how it actually feels to be there doesn't necessarily make good architecture.

To help one avoid designing only the form or image of a building and prioritizing it above
utility or function; it is required to imagine the experience of a place. Narrate in terms of
quality of light, or arrival, or the soundscape, or the proportion of it to the subject, to the
landscape or other structures, or smells even. Thinking about a building's materials and
33
relationship to natural light sets it in real human terms and it imbues the work with
meaning and a sensory experience beyond our sense of sight. One might layout paths of
travel on site.

Begin with the arrival and then the entry. Consider how one moves through a place. Can
the architecture enhance the experience or enrich it? Is it abrupt, or calming, disorienting
or deceptive. uplifting? Constricting, sheltering or open? Exposed? Think about the scale
of spaces, compression and release, darkness and light. Think about scale of spaces,
compression or release, darkness and light.

We can achieve some fairly complex and interesting spatial relationships from the spaces
these individuals forms create between them.

Practical language :

Each option the architect explore has financial implication for the client. A good
architect would test only a few safe options rather than trying infinite different options.

An approach :

Present the client three options

1. Expected or obvious approach
To propose what the client is expecting.
2. Unexpected
One is a solution they wouldn't ever expect
3. Hybrid
Somewhere in between the first two.
No matter what one chooses, after presenting some revising would be advised.

In early design process, sketches are approximation of spaces but once you assign some
real spatial dimensions, you would quickly find all you have sketched is not reasonable.
Early design works results in more ideas than you will be able or want to use.

Good designers like writers know that first draft is always terrible. First drafts must be edited.

 What are the ideas that are energizing the design?

 Which ones will you draw to the fore and make more clear?
 Editing your design is all about clarity. What aren't you saying clearly enough?

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An approach :

 Place a fresh layer of trace on the plan and begin diagramming.

 can you diagram it at all?
 Is the circulation clear?
 Is the entry clear?
 Are the spaces in the right locations?
 Are they roughly the right size of what you're trying to achieve?
 What doesn't make sense?
 What can the concept we chose tell us about how we want to edit the plan and
the model?

You can't possibly process all of the information you need to in the first round of revisions.
Every design undergoes dozens of iterations before landing at the plan building and
during construction, things will continue to change.

4.6 How to incorporate service infrastructure during design process?

How to incorporate underground parking

Conceptual layout of parking is made while working on the design concept. A bubble
diagram for ground floor is developed. A gird is taken up with columns of apt thickness at
the intersections. The grid is usually of size 6m x 8m. Entry and exit ramps of the car parking
are noted while considering the transit roads around and inside the site. With the bubble
diagram as a layer above the parking plan, cores, service shafts, staircases, fire exits are
marked. It also have to be ensured that none of the above should obstruct the transit of
cars in the basement.

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36
37
38
Shielded parking
Large parking structures full of cars are inhuman and dead buildings - no one wants to see
them or walk by them. At the same time, if one is driving, the entrance to a parking
structure is essentially the main entrance to the building- and it needs to be visible.

On ground level, the shield is especially critical. Shops are useful since they generate their
own pedestrian scale immediately. And since the need for parking often goes hand in
hand with commercial development, shops are often very feasible economically. In Paris,
many of the most charming and beautiful apartment houses are arranged around
courtyards, which permit parking inside, away from the street. There are few enough cars
so that they don't destroy the courtyard, for the houses; and the street is left free of
parked cars entirely. There is also a need for the driver to be able to spot the parking
structure quickly and see how it is connected to the building he his headed for.

Parking, which is specifically for the use of visitors, must be clearly marked as an important
entrance - a gate. While you are parking your car you must be able to see the exit from
the parking area which will lead you into the building. This will let you search for the
closest spots, and will mean that you don't have to walk around searching for the exit.

Put all large parking lots, or parking garages, behind some kind of natural wall, so that the
cars and parking structures cannot be seen from outside. The wall which surrounds the
cars may be a building, connected houses, or housing hills, earth berms, or shops.

Make the entrance to the parking lot a natural gateway to the building which it serves,
and place it so that you can easily see the main entrance to the building from the
entrance to the parking.

How to compose service cores and plan fire escape routes ?

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1. Design Guidelines for Fire Escape Staircase
a) Fire Rated Door: The Staircase should be equipped with a 120 minute rated fire
entry door and this door shall open into the staircase.
b) Widths and Dimensions: Fire escape staircase should be 1 m wide for residential
buildings, 1.5 m wide for hostels and educational buildings and 2 m wide for
hospitals and assembly buildings; and the tread should be 250-300 mm while riser
should be 150 mm.
c) Pressurisation: All internal staircases should be positively pressurised (forcible air
pressure) by using fans etc. to prevent the entry of smoke from other parts of the
buildings (air passes from the staircase into internal parts of the building) and no
service shaft should pass through it.
d) Ventilation: Any building having an area of more than 500 m2 per floor requires
two staircases and at least one of them should be ventilated directly to the outside
air on an external wall because in an enclosed staircase, any smoke that escapes
into it will cause smoke logging and reduce light in exit as well as cause inhalations
of fumes.
e) Segregation: The staircase leading from the higher floor to the ground floor and the
staircase coming from basement should be segregated so that fire from basement
should not reach to the ground floor. Eventually there should be two doors- one for
the basement evacuees and one for ground floor exit.
Fire Escape Travel Distances

It is the maximum distance that a person needs to travel to reach the fire escape
staircase or ramp in case of a fire in any building: the distance is from the farthest
corners of any room through a door, passage or any other obstruction to the way of
the fire escape staircase. Some Escape Distances:
(i) Residential, Education and Institutional Buildings: 22.5 m
(ii) Business, Mercantile or Assembly Buildings: 30 m
(iii) Industrial Buildings: 45 m
If a building has sprinkler system of protection, the fire escape travel distances given
above are increased by 50 % for each category and if it is a basement, these
distances are usually halved.

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Refuge Areas

1. What is a refuge area?

The purpose of a refuge area is to allow people on higher floors to reach a position of
safety on the upper floors itself, if the vertical means of escape are blocked or
ineffective. The occupants of the refuge area are then evacuated by fire brigade
staffs through special recovery vehicles that can reach higher heights.

2. Design Considerations for Refuge Area:

a) It should be a secure place where fire should not reach and so its entry should be
with a 60 min fire rated door.
b) The periphery of the building facing the refuge area should have 230 mm
brickwork or non-combustible construction.
c) A Refuge area should be provided for a building with more than 24 m height i.e. a
building with more than 7-8 floors.
Fire Escape Lifts (High Rise Buildings)

Fire Lift is a recue purpose lift with a fireman switch and fire resistant doors. It works like any
other normal lift but takes up power form DC i.e. a backup mode.

Requirements for Fire Lifts:

a) Max number of lifts in one lift bank = 4.

b) One fire lift should be provided 1200 m2 area of buildings.
c) Lift lobby should have self closing smoke stop door with 30 min fire rating.
d) In case the lift opens into the basement, lift well should be adequately pressurised.
Requirements of Basements

The access to the basement shall be either from the main or alternate staircase
providing access and exit from higher floors.
Basements should not be used for kitchens, workshops, assembly spaces, storage if
inflammable oil or for installation of electrical Substation.
The basement shall be partitioned and in no case compartment shall be more than
500 sq m. and less than 50 sq m. area except parking.
Drive-way around buildings and Service shafts

1. Drive-way: the drive-way width should be atleast 4.5-6 m and there should be no
parking from the driveway towards to the building.
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2. Service shafts: all service shafts shall be sealed at each floor levels to prevent the
vertical spreading of fire and smoke.
AHU Shutoff

The air condoning system or air handling unit (AHU) should be switched off during a fire
because the return air allows air from any other area under fire to spread to another:
since an AHU feeds a no. of rooms, a fire in any room cases heat to be taken from the
room and then routed to AHU, from where it is again dispersed into all rooms causing
the spread of fire to all the other rooms.
Thus the AHU needs to be shut off. It is automatically switched off electrically by the fire
detection system. But if the AHU is serving only one space, say a Hall, then it does not
need to be tripped because there is no risk of spreading of fire to other rooms, except
for the AHU room itself. Some inferences:
(a) Air conditioned rooms should have windows and ventilators to vent out smoke.
(b) No duct should feed more than 2 floors: to prevent floor-to-floor fire spread.
(c) Automatic smoke venting should be provided in large halls.
Fire Control Room

A Fire Control Room of 4 x 4 m should be provided on the ground floor of a high-rise or

multi-storey building as close to the entrance as possible for easy accessibility in case
of the mis-happening event of a fire.
The Control Rooms Houses the following:
(i) Fire Control Panel
(ii) Public Addressable System
(iii) Fire Extinguishers.
Fire Hose Cabinet (FHC)

A cabinet housing a fire hose reel, pipes and high pressure water valves for emergency
use during a fire; to cool it down by hydrant is called a fire hose cabinet or FHC.
It measures 1200 mm X 600 mm in plan and it is a red coloured metal cabinet with a
glass front. In case of the emergency the glass front is broken; the hose reel is unrolled
and plugged to the water valves which splash water to cool down the fire.
It should be readily accessible during the fire with minimum distance from the fire
prone areas and can be recessed in wall or clear wall mounted.

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Requirements for Building Design for Fire Safety

1. The level of combustible materials in a building to be reduced to the minimum.

2. There should be adequate fire escape staircases & fire lifts with min escape distances.
3. These Survival and Escape routes should be obstruction free.
4. All floors and vertical Shafts should be segregated all floors.
5. Special measures to be taken for basements: for smoke extraction & occupant
evacuation.
6. All areas of the building should be adequately ventilated.
7. All Electrical Installations should be kept a little away from the building and should not
interfere with the fire protection systems,
8. Installation of active fire protection systems according to design guidelines.
Design Guidelines for Fire Protection Systems (Detection and Suppression)

1. Purpose of the System (detect/suppress).

2. Protection goals of the owner.
3. Type of occupancy that needs to be protected.
4. Type, quality and quantity of the material present.
5. Required response time.
6. Area by area analysis of the building and its content in the form of results which one
wants to see.
7. Complete understanding/description of system operation including compatibility of all
the equipments that are interconnected.
Fire Safety Guidelines for Housing Systems

1. Determine type of fire protection system required.

2. Allocate the space required for the equipments.
3. Integrate the entire fire services requirement.
4. Various ways of selecting systems:
(i) Fire safety is not mandatorily required in plotted housing as per law.
(ii) British law says any building having more than 20 occupants should have a
smoke detector.
5. Hose reels, hydrants, sprinklers etc are mandatory in all public buildings & basements.
6. Other requirements include: underground water storage tank with a diesel pump near
it, an electrical booster pump, fire control room and smoke controller.

43
7. Space requirement for a plant room (that consists of the above) is a must.
8. A fire escape plan is a must for every public building
4.7 Verify the structural capability
How to verify column sizes and column spacing?

As the span increases thickness of columns and beams would increase. Maximum span
noticed is 12m and minimum is said to be 4m for feasibility. Overhead room decreases as
the span increases.

The column layout depends on the design.

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4.8 How to incorporate sustainable design techniques in initial design concept?

Whether we want to play with light or retain heat or make the spaces cool. Whether we
want to add green roof or green garden. It all comes around to our site constraints. The
temperature, the view, the wind etc. Once the site constraints are noted, sustainable
techniques are selected and added to the design when the form and functionality of the
built is being decided.

Sustainable Architecture Techniques

Sustainable architecture is designing buildings to comply with the principles of social,

economic and ecological sustainability. These buildings also resist negative environmental
impacts throughout their lifespan.

There are numerous sustainable techniques that can be applied to make a building more
green and energy efficient but to pick one. It depends on the site, typology of project,
budget, scale of project and focus of design. (Simplicable.com)

Blue Roof Carbon Concrete

Daylighting Deep Water Cooling

District Heating Embodied Energy

Environmental Issues Garden Kitchen

Green Roof Green Walls

Light Pollution Light Shelves

Light Tube Lightness

Mixed Use Architecture Passive Design

Passive Design Quality Of Life

Rain Gardens Rainwater Harvesting

Shipping Container Architecture Smart Glass

Soft Engineering Sunlight Transport

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Sustainability Sustainable Design

Sustainable Lighting Tall Wood

Urban Density Urban Design

Urban Heat Islands Vertical Farming

Walkability

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47
 References :

Form, space and order by Francis D.K. Ching

U.S.A.P study material

www.manifestoproject.it

https://en.wikipedia.org/wiki/Floor_area_ratio

http://www.firstinarchitecture.co.uk/how-to-carry-out-the-best-site-analysis-in-the-class/

www.sciencedirect.com

https://simplicable.com/

http://www.mace.manchester.ac.uk/project/research/structures/strucfire/Design/Metho
dology/presentation.htm

Pattern language by Christopher Alexander

30x40 design workshop

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