Far Eastern University 2nd Semester SY 2021 - 2022

Institute of Architecture and Fine Arts

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Design Translation

Guide Questions:

1. What are the qualitative and quantitative requirements in a project?

2. How do we determine what spaces we need, where we locate them, how much area we need, and what
furniture and fixtures to include in a design project?
3. What is the critical first step for an architect to accomplish before the design phase?
4. What forms the backbone and foundation of a design project?

Architectural Programming and Design Conceptualization

Architectural Programming

Architectural programming can be defined as the research and decision-making process that helps to identify the
scope of work to be designed and performed.

“Project analysis involves identifying requirements, constraints, limitations, and conditions. The identification of these
items is generally referred to as project programming. Pat Guthrie, writing in The Interior Designer’s Portable
Handbook, states “programming is a process leading to the statement of an architectural problem and the
requirements to be met in offering a solution” (2004). As Pena et al. write in Problem Seeking: An Architectural
Programming Primer, programming has been referred to as “problem seeking,” while the actual project design has
been referred to as “problem solving” (1987). Residential programming requires a careful analysis of all project
criteria and constraints, as well as research into site conditions and local zoning and codes, and often results in
written lists, problem statements, and basic diagrams” (Mitton and Nystuen, 2007).

Sample architectural programming

Image source: Mitton and Nystuen (2007)
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“Diagrams are used to bring quantitative and qualitative information together with visual information so that the
designer can understand and synthesize it more easily. It could be said that diagrams aid the designer in the
movement from the analysis to the synthesis phases of a project, or stated another way, diagrams can serve as a
bridge between programming and preliminary project design” (ibid).

Quantitative space requirements

Source: Ar. Gregoria Mercado

Qualitative space requirements

Source: Ar. Gregoria Mercado

“One type of diagram, commonly used as designers begin the preliminary design of residential projects, is known
as the bubble diagram. These diagrams serve to visually represent project adjacency requirements and can also
represent very rough proportional information. For example, client requirements for an addition that adds a painting
studio, with a small bathroom, that is attached to the house through a gallerylike space with a separate entrance
could be represented with a bubble diagram in which the bubbles represent not only room locations and adjacencies
but rough proportional information as well” (ibid).

“Generally, designers create many bubble diagrams as a means of generating multiple ideas. Later, the diagrams
are reviewed and evaluated. They may be shown to the client for evaluation, and on some occasions, another round
of diagrams is generated, while in other instances, the designer begins more refined project planning based on a
successful diagram or a series of diagrams. Other diagrams and images may be employed as well, including

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sketches and doodles drawn by the designer to represent some visual imagery suggested in programming or client
interviews” (ibid).

Sample bubble diagram

Image source: https://www.lcfisher-architect.com/process

Design Considerations

Design considerations pertain to the factors or criteria which a designer takes into account in the development of a
project. These considerations define the project by both limiting a certain parameter and/or setting a standard. For
example, when a client has a limited budget, this constraint automatically becomes a design consideration since it
will affect how the architect specifies certain building materials, determines the construction floor area, etc. Special
client requirements such as when they specify a particular preference to an architectural style are also design
considerations because these will have an impact to the overall design.

Other examples of design considerations can also be those that are found on site that the architect needs to deal
with. If one has to build on a steep terrain, this immediately becomes a major consideration because it will define
how the building will be integrated on such topography (whether on stilts, adapt a multi-level design, do cut-and-fill
strategy, etc.). Legal considerations such as existing laws or context-specific local ordinances are also design
considerations as these might restrict some design parameters.

There are many considerations for a single project. When listing these, prioritize those that are major down to the
least prominent.

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Design Strategy

Simply put, design strategy is the approach in the development of the design. This is a skillful method in providing a
solution to an architectural problem and/or address major design considerations. For example, when a client has a
limited budget and wishes to have a small house temporarily but will have to expand later on, one possible strategy
here would be to consider “progressive construction” – that is to design for spaces which can easily be extended
later on.

Design Philosophy

Design philosophy is your overall belief and/or perception of architecture in general. In other words, this is your
expression as a designer which encapsulates how you experience design and how it should manifest. Design
philosophy is not project-specific (unlike design concept) but it will somehow reflect how your designs will look like.
For example, starchitect Frank Gehry’s design philosophy is, “Life is chaotic. Buildings should reflect it.” This is
manifested in his affinity with the deconstructivist style.

Frank Gehry’s design philosophy as manifested in one of his works, the Guggenheim Museum
Bilbao in Spain
Image source: https://blog.proto.io/10-of-the-best-design-philosophies-of-all-time/
Design Concept

According to RSHP Architect (2020), [design concept] […] requires that the architect grapples with the real issues
of form and bulk, scale and mass and the generic appearance of a building within its surrounding urban context,
resolving and encapsulating the principles of the scheme. [Design concept] implies an idea, or range of ideas,
a development approach, a guiding concept and a design intent. It resolves the issue of 'what' and 'how much' and
begins to set the stage for understanding 'how'. [Design concept] explores the resolution of the brief, implied or set
out in the feasibility and assessment stage. The conceptual approach places the quantum
of development intelligently on the site.

Simply put, the design concept is the main thought of a project conveying its features, inspiration, strategies,
reasons, intentions, among others. A design concept can be expressed as a written statement, sketches with
annotations, or a combination of both.

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“[Design concept] is seldom a 'Eureka!' moment where a single idea pops into the head which resolves everything.
It is virtually always a series of iterative explorations, a testing of ideas, resulting in a satisfactory resolution of often
conflicting criteria, whether aesthetic, organizational, technical, financial, social or contextual. A successful concept
design is one that fulfils most of the criteria that the client, the architect and the team judge to be important” (RSHP
Architect, 2020).

Sample design concept presented through sketches

Image source: https://archidialog.com/tag/eliinbars-sketch-book-2012/page/4/

Sample design concept presented through sketches

Image source: https://www.pinterest.ph/pin/320459329705381977/

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Practice

Architectural programming for a simple structure:

• Setting the Goal
• Collecting and Analyzing the Facts
• Testing Concepts
• Determining Needs
• Formulating the Statement of the Problem
• Using Qualitative and Quantitative Tools
o Space Adjacency Matrix
o Bubble Diagram
o Activity Flow and Movement Patterns

Student Assessment

Formative Assessment 4: Schematic design

References

Mitton, M. and Nystuen, C. (2007). Residential interior design: A guide to planning spaces. John Wiley & Sons.
Pena, W. and Parshall, S.A. (2012). Problem seeking: An architectural programming primer, 5th ed. New Jersey:
John Wiley & Sons.
Van der Voordt, D.J.M. and Wegen. Architecture in use: An Introduction to the programming, design and
evaluation of buildings. Oxford: Linacre House.

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Module 5: Design Conceptualization and Planning
Module Overview
The module will introduce and discuss the approaches to initial site analysis and be further translated to Space programming,
adjacency matrix and bubble diagrams which are vital in conceptualizing floor plans and site development plans.
Module Coverage
The module will be covered for a duration of 2 week/s according to the timeline.
Module Objective
The module aims to help the student discuss the site analysis and be further translated to Space programming, adjacency matrix
and bubble diagrams which are vital in conceptualizing floor plans and site development plans.
Module Learning Outcomes
By the end of this module the student should be able to:

• Explore the Site Analysis as a crucial tool as basis for design and planning.
• Create feasibilities according to the space programming according to user, furniture, circulation and other activities.
• Learn to apply the use of bubble diagram ad line plans as part of schematic design of a structure
Module Interdependencies
This module serves as a prerequisite to the Module 6. Space Planning
Module Learning Materials
Under this module the students are provided with the following materials:

• Lecture Copy
• Presentation Slides
• Supplementary Imageries and Videos
• Drawing/drafting instruments –Pencil, pens, eraser, erasing shield, paper, illustration board, etc.
• Other materials deemed necessary for the course
Additional Readings and Materials
Students may refer to the given lectures under this module. Nevertheless, should the student want to study beyond the
given materials, they may refer to the books listed in the reference list.
Module Output-base Work
To complete any output-based work, the student shall refer to the course outline and as well as the Learning Management
System (Canvas) to see the corresponding assessments.
References

• Ching, F. D. (2014). Architecture: Form, space, and order. John Wiley & Sons.
• Radford, A. (2000). Games and learning about form in architecture. Automation in Construction, 9(4), 379-385.
• Pearson, M. P., & Richards, C. (Eds.). (2003). Architecture and order: approaches to social space. Routledge.
• Hillenbrand, R. (1994). Islamic architecture: Form, function, and meaning. Columbia University Press. Giedion, S.
(1967). Space, time and architecture: the growth of a new tradition. Harvard University Press.
• Haslegrave, C. and Pheasant, S. (2015) Bodyspace: Anthropometry, Ergonomics and Design of Work, 3rd edition.
• After Pheasant, S. T. (1987). Ergonomics: Standards and Guidelines for Designers, PP 7317, London: British
Standards Institution.
• Di Mari, A. (2014). Conditional Design. An Introduction to Elemental Architecture. Uitgeverij Bis.
Week 11: Design Conceptualization and planning
LECTURE 1: Introduction to Site Analysis
Site Analysis

• The process of studying the contextual forces that influence how we might situate a building, lay out and orient its
spaces, shape, and articulate its enclosure, and establish its relationship to the landscape. Any site survey begins with
the gathering of the physical site data.
Site Factor

• ‘consider the implications of the proposed physical

context-building site..
Different Site Factors to consider

• Lot profile
o Size or Area
o Dimension
o Lot type
o Zoning
• Developmental Controls
o Setbacks
o Existing easements
o Rights of Way
• Space
o Area or Volume of the Building
o Site amenities required
o Future expansion
• Geographical Factors
o Topography
o Soil
o Vegetation
o Water Features
• Climatic Factors
o Sun
o Wind
o Rainfall
o Temperature
• Circulation
o Public roadways and transit stop
o Pedestrian circulation
o Vehicular circulation
• Sensory Factors
o Views and Vista
o Noise
o Cultural and historical resources
o Neighborhood character
Space programming
Used for determining the sizes of the rooms, based on the parameters of the users. This involves minor area computation,
determining the standard sizes of the furniture or the area occupied by each user based on their activity. Also, circulation must
not be neglected in the computation of the spaces.

• Quick Computation Using furniture and user area method

o Required area for Living Room with 40% room circulation = [Area of large sofa (in sq. m.) + (Area of small
sofa (in sq. m.) x 2) + Area of Center Table] x 1.40

• Quick computation using area parameter method

o Required area for office space with 30% circulation = [No. of users x user parameter (area per user in sq.m.
including furniture)] x 1.30
o Area per user can also be determined from Sec 807 of the National Building Code of the Philippines (2004).
o For example, for office buildings, PD 1096 requires a minimum air volume of 12.00 cubic meter per person,
and you have a ceiling height of 2.40 m, divide the air space by the ceiling height to get the “approximate”
user parameter that will be multiplied to the number of users in the space, thus 14.00 cu m. / 2.40 m will give
us an area of 5.00 sq. m. per user.

• Determining space size can also be done manually by using the plan dimensions of furniture/fixture.

Application to Design Architectural Programming

• Group the spaces contained within each storey.

• Sort the spaces according to function
• Amenities: Optional, yet Beneficial
• Facilities: Main Spaces
• Services: Support Spaces
• Utilities: MEPFS
• Compute for the Total Floor Area of Each Storey
• Total Floor Area of Each Storey < Most Stringent AMBF
• Compute for the Total Floor Area of the Entire Building
• Total Area of the Entire Building < TGFA
• Deduct the Floor Areas of the Spaces excluded in the GFA
• Remaining Total Floor Area < GFA
• GFA excludes:
• Parking areas, driveways, services, and utilities
• Vertical penetrations
• Uncovered areas for helipads, AC cooling towers, ACCU balconies, overhead water tanks, roof decks,
laundry areas and cages, swimming pools, Jacuzzis, terraces, gardens, courts or plazas, balconies more
than 10 square meters, fire escape structures, and the like
Architecture begins with an Idea or a Concept
1. Determine the preferences of the user
2. Analyze the project location and determine the existing site conditions.
3. Determine the design limitations based on existing laws for development.
• PD 1096: National Building Code of the Philippines
• RA 9514: Fire Code of the Philippines
• BP 344: Accessibility Law
4. Analyze the needs and wants of the user for the project.
5. Formulate a concept.
6. Enumerate the spaces for the building/project
• Required Facilities
• Necessary Services
• Applicable Utilities
• Attractive Accessories and Amenities
7. Conduct and Architectural Programming for your design to support your concept
• Space Interrelationship Matrix
• Bubble Diagram
• Space Programming
• Attractive Accessories and Amenities
8. Apply the concepts in your design

Space Interrelationship Matrix

Shows the relationship of the project required. This matrix shows that some spaces may be adjacent to each other but are not
directly accessible from each other, while other spaces are directly accessible to each other. Other spaces have no relationship
to one another.
 Bubble Diagram
Shows space accessibility and patterns Defines the arrangement of spaces for the structure. Must show the relationship of the access
of each level of the building. Access points towards the building must properly be indicated. Each line and arrows matter in presenting
your bubble diagram.

Bubble Diagram Enclosed spaces adjacent and directly accessible to one another

Bubble Diagram Enclosed spaces accessible to one another, but are not adjacent with each other

Enclosed spaces adjacent to one another, but are not connected nor accessible to one another
Enclosed spaces placed inside a larger space, in which the smaller space can be accessed from the larger space.

Enclosed spaces placed inside a larger space, in which the smaller space cannot be accessed from the larger space.

Open or partially enclosed small space placed inside an enclosed large space, in which the smaller space is presented with a
different line type to indicate that it is not fully enclosed.

Enclosed spaces connected to a common space.

 Far Eastern University 2nd Semester SY 2021 - 2022
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Module 2 How Architectural Programming and Design Concepts Affect Your Translation

• Process and Considerations in Architectural Programming

• Architectural Styles for Residential Buildings in the Philippines
• Concepts and Case Studies

Process and Considerations in Architectural Programming

Guide Questions:

1. How do we determine what the client wants to achieve, and why? What do we know? What is given?
2. What are the significant conditions affecting the design of the building?
3. What are the general directions the design should take?

Architectural Programming Process

Adapted from Pena and Parshall, 2012. Problem seeking: An architectural programming primer, 5th ed. pp. 14 – 17.

Architectural programming can be defined as the research and decision-making process that helps to identify the
scope of work to be designed and performed. The steps in programming include:

(1) Establishing Goals

(2) Collecting and Analyzing Facts

(3) Uncovering and Testing Concepts

(4) Determining Needs, and

(5) Stating the Problem

The first three steps are primarily the search for pertinent information. The fourth is a feasibility test. The last step is
distilling what has been found. Curiously enough, the steps are alternately qualitative and quantitative. Goals,
concepts, and the problem statement are essentially qualitative. Facts and needs are essentially quantitative.

Programming is based on a combination of interviews and work sessions. Interviews are used for asking questions
and collecting data, particularly during the first three steps. Work sessions are used to verify information and to
stimulate client decisions— particularly during the fourth step.

The five steps pose these questions:

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?

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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?

The five steps are not inflexibly strict. They usually have no consistent sequence; nor is the information scrupulously
accurate. For example, a 10,000-student university, a 300-bed hospital, and a 25-student classroom are only
nominal rather than actual sizes. Information sources are not always reliable, and predictive capabilities may be
limited.

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 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 is frequently necessary,
for example, to start with a given list of spaces and a budget (fourth step) before asking about Goals, Facts, and
Concepts (first, second, and third steps). 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 marshalling all the previous information, extracting, abstracting, and getting to the
very essence of the problem.

Architectural Programming Considerations

Adapted from Pena and Parshall, 2012. Problem seeking: An architectural programming primer, 5th ed. pp. 18 – 23.

It is important to search for and find the whole problem. To accomplish this, the problem must be identified in terms
of Function, Form, Economy, and Time. Classifying information accordingly simplifies the problem while maintaining
a comprehensive approach. A wide range of factors makes up the whole problem, but all can be classified in the
four areas that serve later as design considerations.

The whole problem, Pena and Parshall, 2012

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Too little information leads to a partial statement of the problem and a premature and partial design solution. The
appropriate amount of information is broad enough in scope to pertain to the whole design problem, but not so broad
as to pertain to some universal problem. As the Spanish proverb states: “He who grasps too much, squeezes little.”
Grasp only what you can manage and what will be useful to the designer.

As a professor might say, “Before you answer individual questions, be sure to look at the whole examination.”
Designers should look at the whole problem before starting to solve any of its parts. How can a designer who does
not have a clear understanding of the whole problem come up with a comprehensive solution?

Four Considerations

Four considerations
Source: Pena and Parshall, 2012

Take a closer look at Function, Form, Economy, and Time. There are three key words to each consideration:

Function implies “what’s going to happen in the building.” It concerns activities, relationship of spaces, and people—
their number and characteristics. Key words are: (1) people, (2) activities, and (3) relationships.

Form relates to the site, the physical environment (psychological, too), and the quality of space and construction.
Form is what you will see and feel. It’s “what is there now” and “what will be there.” Key words are (4) site, (5)
environment, and (6) quality.

Economy concerns the initial budget and quality of construction, but also may include consideration of operating
and life-cycle costs. Key words are: (7) initial budget, (8) operating costs, and (9) life-cycle costs.

Time has three classifications—past, present, and future—which deal with the influences of history, the inevitability
of changes from the present, and projections into the future. Key words are: (10) past, (11) present, and (12) future.

Use the four considerations to guide you at each step during programming. By establishing a systematic set of
relationships between the steps in problem seeking and these considerations, between process and content, a
comprehensive approach is assured. The interweaving of steps and considerations forms a framework for
information covering the whole problem.

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All four considerations interact at each step. This interaction provides a framework for classifying and documenting
information. The classification qualities inherent in this framework are particularly useful in preventing information
clogs when dealing with massive quantities of information. The categories are broad enough to classify the many
bits of information gathered during programming without nitpicking and indecision.

The framework can be used as a checklist for missing information. As such, the orderly display of information on a
wall becomes a good visual scoreboard. One glance at a wall display of graphic analysis material can spot what is
missing and needs to be documented.

Programmatic and Design Concepts

Adapted from Pena and Parshall, 2012. Problem seeking: An architectural programming primer, 5th ed. pp. 52 – 65.

It is critical to understand the difference between programmatic concepts and design concepts, which is very
difficult for some people to grasp.

Programmatic concepts refer to abstract ideas intended mainly as functional solutions to clients’ performance
problems without regard to the physical response. Conversely, 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.

The difference between programmatic concepts and design concepts is illustrated in these examples:
Convertibility is a programmatic concept; a corresponding design concept is a folding door. Shelter is a
programmatic concept; a corresponding design concept is a roof.

Abstract ideas are required. Ideas must be kept in a pliable, vague form until the designer jells them into a physical
solution. It’s really best if design can wait until all the information is available. Should the client prescribe
independent, concrete ideas or three-dimensional design concepts, the designer would have difficulty in
articulating solid-form solutions into an integrated whole.

Such is the case when a house client drops on your desk a big scrapbook full of magazine clippings representing a
parade of actual design solutions—a Dutch kitchen, a French Provincial dining room, a Japanese living room,
together with a Shangri-La porch. The scrapbook is the nemesis of the experienced programmer, yet it can be
used as a means to seek the problems behind the solutions.

There are 24 programmatic concepts that seem to crop up on nearly every project, regardless of the building
types—housing, hospitals, schools, shopping centers, or factories. The next series of diagrams explains briefly
these recurring concepts. The programmer will find them useful by testing to see whether they are applicable to his
or her current project.

1. Priority

The concept of priority evokes questions regarding the order of importance, such as relative position, size, and
social value. This concept reflects how to accomplish a goal based on a ranking of values. For example, “to place
a higher value on pedestrian traffic than on vehicular traffic” may relate to the precedence in traffic flow.

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2. Hierarchy

The concept of hierarchy is related to a goal about the exercise of authority and is expressed in symbols of
authority. For example, the goal “to maintain the traditional hierarchy of military rank” may be implemented by the
concept of a hierarchy of office sizes.

3. Character

The concept of character is based on a goal concerning the image the client wants to project in terms of values
and the generic nature of the project.

4. Density

A goal for efficient land or space use, a goal for high degrees of interaction, or a goal to respond to harsh climatic
conditions may lead to the appropriate degree of density—low, medium, or high.

5. Service Grouping

Should services be centralized of decentralized? Test the many services as being best centralized or best
decentralized. Should the heating system be centralized or decentralized? The library? Dining? Storage? And
many other services? Evaluate the gains and risks to simulate client decisions. But remember, each distinct
service will be centralized or decentralized for a definite reason—to implement a specific goal.

6. Activity Grouping

Should activities be integrated or compartmentalized? A family of closely related activities would indicate
integration to promote interaction, while the need for some kinds and degrees of privacy or security would indicate
compartmentalization.

7. People Grouping

Look for concepts derived from the physical, social, and emotional characteristics of people—as individuals, in
small groups, and in large groups. If a client wants to preserve the identity of individuals while in a large mass of
people, ask what size grouping would implement this goal. Look to the functional organization, not to the
organizational chart, which merely indicates pecking order.

8. Home Base

Home base is related to the idea of territoriality, an easily defined place where a person can maintain his or her
individuality. While this concept applies to a wide range of functional settings—for example, a high school or
manufacturing plant—recently, many organizations have recommended new settings for office work. These
officing concepts are described in the following pages as on-premise or off-premise work settings.

9. Relationships

The correct interrelation of spaces promotes efficiencies and effectiveness of people and their activities. This
concept of functional affinities is the most common programmatic concept.

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10. Communications

A goal to promote the effective exchange of information or ideas in an organization may call for networks or
patterns of communication: Who communicates with whom? How? How often?

11. Neighbors

Is there a goal for sociability? Will the project be completely independent, or is there a mutual desire to be
interdependent, to cooperate with neighbors?

12. Accessibility

Can first-time visitors find where to enter the project? The concept of accessibility also applies to provisions for the
handicapped, beyond signs and symbols. Do we need single or multiple entrances?

13. Separated Flow

A goal for segregation may relate to people (such as prisoners and the public), to automobiles (such as campus
traffic and urban traffic), and to people and automobiles (such as pedestrian traffic and automobile traffic). For
example, separate traffic lanes with barriers, such as walls, separate floors, and space.

14. Mixed Flow

Common social spaces, such as town squares or building lobbies, are designed for multidirectional, multipurpose
traffic — or mixed flow. This concept may be apropos if the goal is to promote chance and planned encounters.

15. Sequential Flow

The progression of people (as in a museum) and things (as in a factory) must be carefully planned. A flowchart
diagram will communicate this concept of sequential flow much easier than words will.

16. Orientation

Provide a bearing—a point of reference within a building, a campus, or a city. Relating periodically to a space,
thing, or structure can prevent a feeling of being lost.

17. Flexibility

The concept of flexibility is quite often misunderstood. To some, it means that the building can accommodate
growth through expansion. To others, it means that the building can allow for changes in function through the
conversion of spaces. To still others, it means that the building provides the most for the money through
multifunction spaces. Actually, flexibility covers all three—expansibility, convertibility, and versatility.

18. Tolerance

This concept may well add space to the program. Is a particular space tailored precisely for a static activity, or is it
provided with a loose fit for a dynamic activity—one likely to change?

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19. Safety

Which major ideas will implement the goal for life safety? Look to codes and safety precautions for form-giving
ideas.

20. Security Controls

The degree of security control varies depending on the value of the potential loss—minimum, medium, or
maximum. These controls are used to protect property and to guide personnel movement.

21. Energy Conservation

There are two general ways to lead to energy-efficient buildings: (1) keep heated area to a minimum by making
use of conditioned, but nonheated, outside space, such as exterior corridors; and (2) keep heat- flow to a minimum
with insulation, correct orientation to sun and wind, compactness, sun controls, wind controls, and reflective
surfaces.

22. Environmental Controls

What controls for air temperature, light, and sound will be required to provide comfort for people inside and outside
the building? Look to the climate and sun angle analysis for answers.

23. Phasing

Will phasing of construction be required to complete the project on a time-and-cost schedule if the project proved
infeasible in the initial analysis? Will the urgency for the occupancy date determine the need for concurrent
scheduling, or allow for linear scheduling?

24. Cost Control

This concept is intended as a search for economy ideas that will lead to a realistic preview of costs and a balanced
budget to meet the extent of available funds.

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