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PAMANTASAN NG COLLEGE OF ARCHITECTURE

LUNGSOD NG MAYNILA AND URBAN PLANNING

ARCHITECTURAL DESIGN
PROBLEM
SEEKING
ALNIE KHAYZER HAYUDINI, RLA, RMP
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Good buildings
don’t just happen.
T h e y a re p l a n n e d t o
look good and
perform well, and
come about when
g o o d a rc h i t e c t s a n d
good clients join in
thoughtful,
cooperative effort.
P ro g r a m m i n g t h e
re q u i re m e n t s o f a
p ro p o s e d b u i l d i n g i s
t h e a rc h i t e c t ’s f i r s t
task, often the most
important.
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PROGRAMMING
concerns five
Collect and
steps Establish
analyze
GOALS
FACTS.

Uncover and
State the Determine
test
PROBLEM NEEDS
CONCEPTS
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The approach is at once simple and

comprehensive; simple enough for the
process to be repeatable for different
building types and comprehensive
enough to cover the wide range of
factors that influence the design of
buildings.

The five-step process can be applied

to most any discipline, such as
banking, engineering, or education;
but when applied specifically to
architecture, it has its proper content,
that is an architectural product
The principle of this process is that a product will have a much better chance of being
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successful if, during the design, the four major considerations are regarded
simultaneously.

These considerations (or design determinants) indicate the types of information

needed to define a comprehensive architectural problem:

FUNCTIO
FORM ECONOMY TIME
N
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Search

PROGRAMMING DESIGN

Programming is a process that leads to the statement of an architectural problem and the
requirements to be met in offering a solution.

Statement of an architectural problem implies problem solving. Although usually identified with
scientific methods, problem solving is a creative effort. There are many different problem-solving
methods, but only those few that emphasize goals and concepts (ends and means) can be
applied to architectural design problems.

The main idea behind programming is that it is the search for sufficient information to clarify, to
understand, and to state the problem.
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PROGRAMMING DESIGN
is ANALYSIS. is SYNTHESIS.

T h e t o t a l d e s i g n p ro c e s s i n c l u d e s t w o s t a g e s : a n a l y s i s a n d s y n t h e s i s . I n
a n a l y s i s , t h e p a r t s o f a d e s i g n p ro b l e m a re s e p a r a t e d a n d i d e n t i f i e d . I n
s y n t h e s i s , t h e p a r t s a re p u t t o g e t h e r t o f o r m a c o h e re n t d e s i g n s o l u t i o n .
T h e d i f f e re n c e b e t w e e n p ro g r a m m i n g a n d d e s i g n i s t h e d i f f e re n c e
between analysis and synthesis.
Creative effort includes
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similar stages: analysis

becomes preparation or
exposure, and
synthesis becomes
illumination or insight. The
total design process is,
indeed, a creative process.

Programming does not inhibit

creativity, it establishes the
considerations, the limits,
and the possibilities of the
design problem. Creativity
thrives when the limits of a
problem are known.
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Separation

PROGRAMMING DESIGN

P ro g r a m m i n g p re c e d e s d e s i g n j u s t a s a n a l y s i s p re c e d e s s y n t h e s i s . T h e
s e p a r a t i o n o f t h e t w o i s i m p e r a t i v e a n d p re v e n t s t r i a l - a n d - e r ro r d e s i g n
alternatives. Separation is central to an understanding of a rational
a rc h i t e c t u r a l p ro c e s s , w h i c h l e a d s t o g o o d b u i l d i n g s a n d s a t i s f i e d c l i e n t s .

E x p e r i e n c e d , c re a t i v e d e s i g n e r s w i t h h o l d j u d g m e n t a n d re s i s t p re c o n c e i v e d
s o l u t i o n s a n d t h e p re s s u re t o s y n t h e s i z e u n t i l a l l t h e i n f o r m a t i o n i s i n . T h e y
re f u s e t o m a k e s k e t c h e s u n t i l t h e y k n o w t h e c l i e n t ’s p ro b l e m . T h e y b e l i e v e i n
t h o ro u g h a n a l y s i s b e f o re s y n t h e s i s . T h e y k n o w t h a t p ro g r a m m i n g i s t h e
p re l u d e t o g o o d d e s i g n , a l t h o u g h i t d o e s n o t g u a r a n t e e i t .
The P a g e 10

Interface

PROGRAMMING DESIGN

The product of programming is a statement of the problem. Stating the problem is the last step
in problem seeking (programming), and it is also the first step in problem solving (design). The
problem statement, then, is the interface between programming and design. It’s the baton in a
relay race. It’s the handoff from programmer to designer. In any case, the problem statement is
one of the most important documents in the chain that is the total project delivery system.
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1. Goals: What does the client want to achieve, and Why?

2. Facts: What do we know? What is given?

3. Concepts: How does the client want to achieve the goals?

4. Needs: How much money and space? What level of quality?

5. Problem: What are the significant conditions affecting the design of the building? What
are the general directions the design should take?
Image from: http://escuelataller.org.ph/the-school/our-skills-workshops/carpentry/
Procedure The five steps, then, are not P a g e 12

inflexibly strict. They usually have no

consistent sequence, nor is the
information scrupulously accurate.

The steps and the information, then,

do not have the rigor or the accuracy
of a mathematical problem.
Programming, therefore, is a
heuristic process and not an
algorithm. As such, even good
programming cannot guarantee
finding the right problem, but it can
reduce the amount of guesswork.
The method is just as good as the
judgment of the people involved.
Working through the steps in P a g e 13

numerical sequence is preferable;

theoretically, this is the logical order.
But, in actual practice, steps may be
taken in a different order or at the
same time— all but the last step.

It usually is necessary to work on the

first four steps simultaneously, cross-
checking among them for the integrity,
usefulness, relevance, and congruence
of information. The fifth step is taken
only after marshaling all the previous
information, extracting, abstracting,
and getting to the very essence of the
problem.
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I t ’s i m p o r t a n t t o s e a rc h f o r a n d f i n d t h e
Whole Problem w h o l e p ro b l e m . To a c c o m p l i s h t h i s , t h e
p ro b l e m m u s t b e i d e n t i f i e d i n t e r m s o f
Function, Form, E c o n o m y, and Ti m e .
Classifying information accordingly
s i m p l i f i e s t h e p ro b l e m w h i l e m a i n t a i n i n g a
c o m p re h e n s i v e a p p ro a c h . A w i d e r a n g e o f
f a c t o r s m a k e s u p t h e w h o l e p ro b l e m , b u t a l l
c a n b e c l a s s i f i e d i n t h e f o u r a re a s t h a t s e r v e
later as design considerations.

To o l i t t l e i n f o r m a t i o n l e a d s t o a p a r t i a l
s t a t e m e n t o f t h e p ro b l e m a n d a p re m a t u re
a n d p a r t i a l d e s i g n s o l u t i o n . T h e a p p ro p r i a t e
a m o u n t o f i n f o r m a t i o n i s b ro a d e n o u g h i n
scope to pertain to the whole design
p ro b l e m , b u t n o t s o b ro a d a s t o p e r t a i n t o
s o m e u n i v e r s a l p ro b l e m .
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Data Clog
P a g e 18

The amount of information received

from a client can be staggering.
Don’t let the flood of information
bother you. One trick is to
determine when the information
will be most useful. Any quantity of
client-furnished information can be
organized for use at the appropriate
phase.

One can assimilate any amount of

information as long as it is pertinent,
meaningful, and well organized for
effective use.
 P ro g r a m m i n g c o n c e r n s Processing and Discarding P a g e 19

t h e p ro c e s s i n g o f r a w
data into useful
information.

R a w d a t a re l a t i n g t o
climate analysis or soil
analysis also becomes
meaningful information
o n l y w h e n a rc h i t e c t u r a l
i m p l i c a t i o n s a re
d e t e r m i n e d . A f t e r t h a t ’s
accomplished, the raw
data can be discarded or
placed in an appendix of
t h e p ro g r a m re p o r t ,
w h e re i t w i l l n o t c a u s e
data clog.
Abstract to the Essence
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Architects are taught to take a holistic
view of the problem, and even to go
beyond the sphere of direct influences
to explore other possibilities.

Architects are also taught to bring

order out of chaos, to establish an
order of importance, to get to the heart
of the matter. Abstracting— distilling—
to the essence must be an essential
talent of the programmer. There must
be a filtering process that brings out
only the major aspects of information.
This is especially true in arriving at the
statement of the
problem.
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Establish Goals

P r o j e c t g o a l s i n d i c a t e w h a t t h e c l i e n t w a n t s t o a c h i e v e , a n d w h y. H o w e v e r, g o a l s
m u s t b e t e s t e d f o r i n t e g r i t y, f o r u s e f u l n e s s , a n d f o r r e l e v a n c e t o t h e a r c h i t e c t u r a l
d e s i g n p r o b l e m . To t e s t t h e m , i t i s n e c e s s a r y t o u n d e r s t a n d t h e p r a c t i c a l r e l a t i o n s h i p
between goals and concepts. If goals indicate what the client wants to achieve,
concepts indicate how the client wants to achieve them. In other words, goals are
implemented through concepts. Goals are the ends. Concepts, the means.

Collect and Analyze Facts

Facts are important only if they are appropriate. Collect only those that might have
a bearing on the problem, and organize them into categories. Seek facts that are
pertinent to the goals and concepts. Massage these facts and figures so that become
useful information. Process them to determine the architectural implications.
U n c o v e r a n d Te s t C o n c e p t s P a g e 22

It is critical to understand the difference between programmatic concepts and design

concepts. Programmatic concepts refer to abstract ideas intended mainly as
functional solutions to clients’ performance problems without regard to the physical
response. On the other hand, design concepts refer to concrete ideas intended as
physical solutions to clients’ architectural problems, this being the physical
response. The key to comprehension is that
programmatic concepts relate to performance problems and design concepts relate to
architectural problems.

Determine Needs

T h e c l i e n t ’s f u n c t i o n a l n e e d s h a v e a d i r e c t b e a r i n g o n s p a c e r e q u i r e m e n t s , w h i c h a r e
generated by people and activities. Allowance must be made for a reasonable
building efficiency as expressed by the relationship of net areas to gross areas.
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Cost Estimate Analysis

It is imperative to establish a realistic budget from the very beginning. Realistic

budgets are predictive and comprehensive. They prevent major surprises. They tend
to include all the anticipated expenditures as line items in a cost estimate analysis.
The architect must look to past experience and published material to derive
predictive parameters.

S t a t i n g t h e P ro b l e m

T h e p ro b l e m s t a t e m e n t s m u s t b e c l e a r a n d c o n c i s e — i n t h e d e s i g n e r ’s
o w n w o r d s s o t h e re i s n o d o u b t t h a t h e o r s h e
u n d e r s t a n d s . T h e p ro b l e m s t a t e m e n t s s h o u l d f o c u s o n t h e o b v i o u s —
w h i c h i s o f t e n o v e r l o o k e d . S t re s s t h e u n i q u e n e s s o f
t h e p ro j e c t .
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Thank you &

*Images used in this presentation is not the property of the presenter.
References:
• Peña, William & Parshall, S. (2001). PROBLEM SEEKING. John Wiley & Sons, Inc. ISBN 0-471-12620 -9.

keep safe.