1. Theory of Architecture 2: Manuals
Architectural Design Process and Methodologies
The question of the actual design process and methodology of design is more confusing when dealing with
architectural design because architectural design more often involves in a team work.
Before, most architects are considered more of an artist; they can design but was not able to explain or defends
the need to add a significant amount of funds for the particular design. In today’s architectural trends, there are
set of rules and guidelines to be followed that could affect or help in making a design.
The process should involve the following step. [TSSF Inc.]
1.
Assemble the team – As stated above the architectural design involves a team of people. At the outset of
the project there should be a scheduling or at least a tentative assembly of efficient architects and
consultant who identify the project’s scope and purpose. There should be a project’s team leader who
holds the overall responsibility and identifying the right person/s in their fields.
2.
Clear Communication – As again stated before, the design part involves a team. The communication
should be always available for any enquiry of the different involves, especially for the owner or their
representative/s. The Project Architect coordinates regular meetings to design staff, specialists and the
Owner’s representative.
3.
Budget and Cost Control - Cost control is critical to the success of any project. This is true not only for
initial construction, but also when considering the cost of operation. The project’s budget is developed
during the schematic design phase. It’s monitored and updated during the design development phase,
and finally confirmed during the preparation of construction documents. The Architect performs
construction cost estimating, which involves confirming current unit costs for materials and equipment
with contractors and suppliers.
4.
Staying on Track - Hold regularly-scheduled job progress meetings with the Owner’s Representative and
contractors. These meetings help establish and maintain good communication, assure smooth progress
and result in the project’s timely completion.
Methodology [The LaBICHE ARCHITECTURAL GROUP, INC., http://www.labiche.com/methodology.html]
The Development Process
Schematic Design
- Review of program with Client
- Preliminary design concepts
- Landscape consultant input
- Presentation of design concepts to Owner
- Owner review and input
- Schematic design finalized
Design Development
- Preliminary design of building systems with consulting engineers
- Presentation of design development to Owner

2. - Review of project cost estimate with Owner
- Owner review and input
- Design finalized
Construction Documents
- Working drawings and specifications production
- Owner review
Bidding & Negotiations
- Competitive bidding
- Bid evaluation
- Contract awarded
Construction
- Construction begins with on-site construction observation
- Substantial completion
- Owner occupancy
- One-year building review by Architect
Biophilic Design
The interiors of the first Optimum Performance Home aredesigned using the concept of Biophilia: the human need
fornature. I have defined and discussed biophilic design in previousarticles in Ultimate Home Design as an
importantapproach to creating environments that enhance our physicaland psychological health and well being by
providing fordirect and indirect experiences with nature. The argument forbiophilic design is compelling. Research
indicates that weneed to experience and interact with nature as a central partof our lives to enjoy a variety of
benefits including improvedphysical skills, concentration and memory; increased productivity;relief from stress and
mental fatigue; as well asenhanced aesthetic and spiritual experiences.
Biophilic design is an excellent (and natural) way to meetthe challenges of combining sustainable, universal
designqualities with the technologies of a “digital home” in a lifeenhancing,aesthetically pleasing environment.
This approachrepresents the new design paradigm that seeks to createenvironments that are healthy for the
planet and for people ofall ages by understanding our deeply rooted human-natureconnection. Because biophilic
design is based upon the universal,inherent needs we have as human beings to experiencenature as a vital part of
our lives, it is essential to integratebiophilic design attributes into all aspects of the designfrom site to structure to
interiors.
Biophilic design attributes are elements and qualities of thephysical environment that connect us to the physical,
psychological,and cognitive benefits resulting from direct experienceswith nature. Dynamic natural light and
ventilation,access to open and/or moving water, frequent opportunitiesfor spontaneous interaction with nature,
sensory connectionswith nature, and the use of fundamental natural forms andlocal natural materials are biophilic
design attributes that providephysical links with nature in the home. Symbolic links thatappeal to our genetically
based affiliation and association withnature and the essential sense of meaning we attribute to thenatural world
are also important biophilic design attributes.
They include concepts of environmental complexity and order,a sense of mystery, and prospect and refuge
(strategic viewingconditions from a position of safety and security). Thesephysical and symbolic attributes were
discussed in-depth asthey applied to the first Optimum Performance Home in theJuly/August 2006 issue of
Ultimate Home Design (Issue 4)and they will be illustrated and discussed further in future articlesas the home is
completed.
Quality Over Quantity

3. A complimentary aesthetic approach to biophilic design isthe design principle described by architect and author
ofTheNot So Big House series of books and contributor to UltimateHome Design Sarah Susanka as “quality over
quantity.” Thisdesign principle embraces the sustainable idea of reducingresource and energy use by designing a
smaller overall “footprint”for the home (i.e. fewer square feet). It also emphasizesthe need to fully inhabit our
homes by designing flexible,adaptable spaces rich in detail and meaning so that nospace is wasted, no space is
unused, and all spaces arespecial.
Susanka provides guidelines to achieve a smaller-is-betterdesign that include biophilic design attributes such
asdynamic, natural light and visually/physically connecting interiorspaces to exterior spaces. The intimate
experience of ourhomes is greatly enhanced by combining biophilic designattributes with this quality-overquantity approach. The interiorsof the first Optimum Performance Home are designed withintricate details
inspired by and similar to those found innature that fascinate us and connect us with the larger world.
Privacy Needs
Unless we design smaller homes with careful consideration,they often fail to provide for the diverse privacy
requirementsa family has over time. Privacy, the ability to controlhow much and what types of interactions we
have with others,is central to achieving a high quality of life. People of all ages,all backgrounds, and all cultures
require privacy to maintainphysical and emotional well-being. But achieving privacy it isnot a factor of square feet;
it is a factor of good design.
The book I co-authored, Designing For Privacy AndRelated Needs, discusses the diverse needs for privacy
weexperience in all environments, including our homes andthroughout the stages of life. Our privacy needs indeed
dochange as we age. Therefore, any universal home designmust be responsive to these changes. But because we
tendto equate the ability to achieve privacy with more space, wealso tend to equate larger homes with more
rooms as beingmore private. The reality usually is: more space is simply morespace, and often these voluminous
spaces actually provideless privacy than well-designed smaller spaces.Designing for privacy requires interior
features that 1) providespatial hierarchy (a sequence of spaces that progressfrom less to more private; 2) create
circulation paths thatconnect but do not pass directly through private spaces; 3)delineate “thresholds” (places of
transition) between publicand more private spaces; 4) provide stimulus shelters (placesto retreat such as alcoves
and window seats within largerrooms; and 5) design opportunities for prospect and refuge (avantage point from
which to view your surroundings relativelyunobserved). These interior features subtly but effectively
provideadaptable, flexible conditions for privacy that are integratedseamlessly into the overall design of the first
OptimumPerformance Home.
The Process
Once the functional design concepts and aestheticapproaches have been fully defined, the process of designingthe
interiors becomes a focused effort involving many individuals.
Designing the interiors of any home is a collaborativeprocess between the interior designers, other design
professionalsinvolved with the project, and the homeowners. But,as qualified, experienced interior designers
know, the interiorsare not a separate element of the home, but rather an integratedcomponent of the entire
exterior/interior environment ofwhich the home is a part. Creating a successful interior environmentfor a
sustainable, universally accessible, technologicallyinnovative home requires research and education aboutproducts
and processes as well as an integrated designapproach. It also requires a commitment to a changed andenhanced
lifestyle.
Determining Owner Needs And Requirements
The challenge is to develop interiors that incorporate thehomeowners’ functional and aesthetic requirements
while alsoallowing them to fully experience the enhanced lifestyle oftheir high performance home. For the first
OptimumPerformance Home, this challenge involves meeting the multifunctionalrequirements of an environment
that serves as afamily gathering place, home office, state-of-the-art home theatre,and intimate retreat––all within
a series of sustainable,healthy, adaptable, supportive, and beautiful spaces in astunning Pacific Coast natural
setting.

4. Research And Education (Products, Processes,Technology)
The process begins with research and education.
Sustainable products, processes, and technologies arechanging and advancing rapidly––as are universal designand
home technology products and processes. To be betterinformed about these changes and innovations,
homeownersand their design professionals should attend some of therelated design industry conferences,
seminars, and workshopsheld each year throughout the United States andCanada. For example, a wealth of
sustainable design information is now available to everyone from the United StatesGreen Building Council's
gigantic annual GreenBuild internationalconference, to local and state sustainable design conferences,to
workshops and seminars offered by colleges anduniversities.
Some sustainable design events are directed specificallyto design professionals, while others cater more to the
generalpublic. The annual West Coast Green conference in SanFrancisco is the largest residential green building
event in thecountry, combining three days of professional level trainingcourses, seminars, and networking for
design and buildingprofessionals with a full day for the general public includingentry level training and keynote
speakers. As a designer, Ihave found the USGBC’s annual GreenBuild conference andthe annual EnvironDesign
conference to be excellent sourcesfor design professionals. Optimum Performance homeowner,Gary Reber
suggests also the National Green BuildingConference, The Green Building Conference, GreenBuildExpo, Pacific
Coast Builder’s Show (PCBC), Solar Power2007, the Sustainable Living Fair, AltBuild, SolFest, and theNational
Association of Home Builders Building for Boomers &Beyond: 50+ Housing Symposium.
Numerous magazines, newsletters, and books for designprofessionals provide in-depth, state-of-the-art
informationabout sustainable and universal design, and home technologies.The United States Green Building
Council’s Web site:www.usgbc.org provides excellent information on all aspectsof green design and building––
from new commercial constructionto homes, including access to the LEED suite of ratingsystems. The Center for
Universal Design (CUD) is aresearch center that provides information, technical assistanceon most aspects of
universal design. CUD evaluates,develops, and promotes accessible and universal design inhousing, commercial
and public facilities, outdoor environments,and products. Their Web site is www.design.ncsu.edu/cud/index.htm.
A must attend conference and trade show isthe Custom Electronics Design and Installation Association(CEDIA)
Expo and CEDIA Lifestyles Expo, where one canlearn about leading-edge home electronics and electronicsystem
integration.
Integration With Other Design Professionals
Successful sustainable design rarely is achieved by usingthe conventional, sequential relay-race model for design
andconstruction in which each design professional does his orher part of the work and then passes it off to the
next designprofessional. This traditional process of design and constructionisolates professionals from each other,
from the interdependentdetails, and from the larger goals of the project.Because every aspect of a building effects,
and is affectedby, every other aspect, the approach to the design must behighly collaborative and multidisciplinary.
The term “integrated design” refers to a design processthat brings together all key members of the project team
towork together across disciplines throughout the process frombeginning to end. The goal of this process is to
achieve highperformancebuildings that provide multiple synergetic benefitsat a lower cost. Participation from all
design and constructionspecialties including architecture, engineering, lightingdesign, electronic lifestyle, interior
design, landscape design,and construction is essential to the success of an integrateddesign approach. When all
key players work together at keypoints in the design process, each part of the design is evaluatedfrom multiple
perspectives producing more efficient andeffective design solutions.
Integrated design ensures that all decisions about the interiorsthat affect the interiors of a sustainable home are
neveran afterthought but rather are central to the overall design.The result is a beautiful, comfortable, energy and
resourceefficient, healthy, life enhancing home for the entire span ofthe homeowners’ lives.

5. Value of Interior Design [US Army Corps of Engineers,
http://www.wbdg.org/ccb/ARMYCOE/COEDG/dg_1110_3_122.pdf]
We all expect a facility to be functional and maintainable.Achieving coordination of the building interior
andfurnishings, meeting human ergonomic and psychologicalneeds, and providing optimum aesthetic effect
areidentifiable and attainable goals for every interior designproject.People's reactions to interior environments are
critical to thesuccess of every facility type. These reactions were firstidentified in healthcare facilities, where color,
texture,lighting,furnishings, and finishes all contribute to creatingan environment which supports patient recovery
and wellbeing.Training, maintenance, laboratories, logistic support,medical,administrative, residential, morale,
welfare andrecreation facilities all have unique functional and aestheticrequirements. When these requirements
are satisfied,workers, residents, and customers react positively, takepride in their contributions and in the facility,
and performto their maximum potential.Why should you insist on comprehensive interior design inyour facilities?
-
To improve the morale and increase the productivity ofthe people in your facility.
To use your space and financial resources in the mostcost effective manner.
To assure the health, safety and welfare of facilityoccupants.
To project a professional image of your organization.
To provide appropriate and maintainable buildingmaterials, finishes, furniture, and furnishings.
Artistic aspects and self-expression
It is characterized by a belief that individual self-expression—or one’s inner spiritual self and creative imagination,
inner resources and intuition—should be utilised and/or be the base used when designing. These sentiments are
closely linked to a number of artistic values found in movements like Expressionism and the Avant-garde art. Thus,
this design value is closely related to abstract forms and expression, personal creative liberty, elitism and being
ahead of the rest of society.
The spirit of the time design value
This design value is based on the conception that every age has a certain spirit or set of shared attitudes that
should be utilised when designing. The Spirit of the Times denotes the intellectual and cultural climate of a
particular era, which can be linked to an experience of a certain worldview, sense of taste, collectiveconsciousness
and unconsciousness. Thus “form expression” which can be found, to some extent in the “air” of a given time and
each generation, should generate an aesthetic style that expresses the uniqueness related to that time.
The structural, functional and material honesty design value
Structural Honesty is linked to the notion that a structure shall display its “true” purpose and not be decorative
etc. Functional honesty is linked to the idea that a building or product form shall be shaped on the basis of its
intended function, often known as “form follows function”. Material honesty implies that materials should be used
and selected on the bases of their properties, and that the characteristics of a material should influence the form it
is used for. Thus, a material must not be used as a substitute for another material as this subverts the materials
“true” properties and it is “cheating” the spectator.
The simplicity and minimalism design value
This design value is based on the idea that simple forms, i.e. aesthetics without considerable ornaments, simple
geometry, smooth surfaces etc., represents forms which are both truer to “real” art and represents “folk” wisdom.
This design value implies that the more cultivated a person becomes, the more decoration disappears. In addition,
it is linked to the notion that simple forms will free people from the everyday clutter, thus contribute to tranquillity
and restfulness.

6. The nature and organic design value
This design value is based on the idea that nature (i.e. all sorts of living organisms, numerical laws etc.) can provide
inspiration, functional clues and aesthetic forms that architects and industrial designers should use as a basis for
designs. Designs based on this value tend to be characterized by free-flowing curves, asymmetrical lines and
expressive forms. This design value can be summed up in “form follows flow” or “of the hill” as oppose to “on the
hill”.
The classic, traditional and vernacular aesthetics design value
This value is based on a belief that a building and product should be designed from timeless principles that
transcend particular designers, cultures and climates. Implicit in this design value is the notion that if these forms
are used, the public will appreciate a structure’s timeless beauty and understand immediately how to use a given
building or product. This design value is also linked to regional differences i.e. varying climate etc. and folklore
cultures, which creates distinctive aesthetical expressions.
The regionalism design value
This design value is based on the belief that building—and to some degree products—should be designed in
accordance with the particular characteristics of a specific place. In addition, it is linked to the aim of achieving
[20]
visual harmony between a building and its surroundings, as well as achieving continuity in a given area. In other
words, it strives to create a connection between past and present forms of building. Finally, this value is also often
related to preserving and creating regional and national identity.
SOCIAL DESIGN VALUES
Many architects and industrial designers have a strong motivation to serve the public good and the needs of the
user population. Moreover, social awareness and social values within architecture and design reflect, to some
degree, the emphasis these values are given in society at large.
It should be noted that social values can have an aesthetical impact, but these aspects will not be explored as the
main aesthetical impact found in design has been covered in the previous sections. Social design values are at
times in conflict with other design values. This type of conflict can manifest itself between different design
movements, but it can also be the cause of conflicts within a given design movement. It can be argued that
conflicts between social values and other design values often represent the continuing debate between
Rationalism and Romanticism commonly found within architecture and industrial design.
The Social Design Values category consisting of four design values.
The social change design value
This design value can be described as a commitment to change society for the better through architecture and
industrial design. This design value is closely connected and associated with political movements and subsequent
building programs. Architects and industrial designers that are committed to the design value of social change
often see their work as a tool for transforming the built environment and those who live in it.
The consultation and participation design value
This design value is based on a belief that it is beneficial to involve stakeholders in the design process. This value is
connected to a belief that user involvement leads to:

7. 1.
2.
3.
Meeting social needs and an effective use of resources.
Influencing in the design process as well as awareness of the consequences etc.
Providing relevant and up-to-date information for designers.
The crime prevention design value
This design value is based on the belief that the built environment can be manipulated to reduce crime levels,
which is attempted accomplished through three main strategies that are:
1.
2.
3.
Defensible space.
Crime prevention through environmental design.
Situational crime prevention.
The 'Third world' design value
This is based on an eagerness to help developing countries through architecture and design (i.e. a response to the
needs of the poor and destitute within the Third World).This design value implies that social and economic
circumstances found in the Third World necessitate the development of special solutions, which are distinct from
what the same architects and industrial designers would recommend for the developed world.
ENVIRONMENTAL DESIGN VALUES
[citation
The 20th century has been marked by the re-emergence of environmental values within Western societies.
needed]
Concern for the environment is not new and can be found to a varying degree throughout history, and it is
rooted in a number of perspectives including the aim of managing the ecosystems for sustained resource yields
(sustainable development), and the idea that everything in nature has an intrinsic value (nature protection and
preservation). Generally behind these types of thinking are the concepts of stewardship and that the present
[18][38]
generation owes duties to generations not yet born.
Environmental problems and challenges found in the 19th and 20th centuries led to a development where
[according
environmental values became important in some sections of Western societies. It is therefore not surprising
to whom?]
that these values can also be found among individual architects and industrial designers. The focus on
environmental design has been marked with the rediscovery and further development of many “ancient” skills and
[citation needed]
techniques.
In addition, new technology that approaches environmental concerns is also an important
characteristic of the environmental approach found among architects and industrial designers. These rather
different approaches to environmental building and product technology can be illustrated with the development of
environmental high-tech architecture, and the more “traditional” environmental movement within is ecological
[39]
based architecture.
Environmental technology, along with new environmental values, have affected development in cities across the
world. Many cities have started to formulate and introduce "eco-regulations concerning renewable resources,
[39]
energy consumption, sick buildings, smart buildings, recycled materials, and sustainability". This may not be
[39]
surprising, as about 50% of all energy consumption in Europe and 60% in the US is building-related. However,
environmental concerns are not restricted to energy consumption; environmental concerns take on a number of
perspectives generally, which are reflected in the focus found among architects and industrial designers.
The environmental design values category consists of three design values.
Green and sustainability

8. This value is based on a belief that a sustainable and/or environmentally friendly building approach is beneficial to
users, society and future generations. Key concepts within this design value are: energy conservation, resource
management, recycling, cradle-to-cradle, toxic free materials etc.
Re-use and modification
This is based on a belief that existing buildings, and to some degree products, can be continuously used through
updates. Within this value there are two separate schools of thought with regards to aesthetics: one camp focuses
on new elements that are sublimated to an overall aesthetic, and the other advocates for aesthetical contrast,
dichotomy and even dissonance between the old and the new.
Health
This design value is based on the belief that the built environment can contribute to ensuring a healthy living
environment. Built into this design value, are principles like: buildings should be freestanding; sites need to be
distributed to maximize the amount of sunlight that reaches individual structures. Similarly, there is an emphasis
on health based construction and reduction of toxic emissions through selection of appropriate materials.
TRADITIONAL DESIGN VALUES
Within both architecture and industrial design there is a long tradition of being both inspired by and re-use design
elements of existing buildings and products. This is the case even if many architects and industrial designers argue
that they are primarily using their creativity to create new and novel design solutions. Some architects and
industrial designers have openly led themselves be inspired by existing building and products traditions, and have
even used this inspiration as the main base for their designs solutions.
This design tradition has a considerable history, which can be indicated in many of the labels associated with this
tradition; this includes labels such as Classicism, Vernacular, Restoration and Preservation etc. In addition, as
indicated in the previous section “Classic, Traditional and Vernacular aesthetics”, an important element of this
tradition is to re-use and be inspired by already existing aesthetical elements and styles. However, the traditional
approach also implies other aspects such as functional aspects, preserving existing building traditions as well as
individual buildings and products.
The Traditional Design Values category, consisting of three distinct values.
The tradition based design value
This relies on a belief that traditional “designs” are the preferred typology and template for buildings and
products, because they “create” timeless and “functional” designs. Within this design value there are three main
strategies:
1.
2.
3.
Critical traditionalist/regionalist i.e. interpreting the traditional typologies and templates and applying
them in an abstracted modern vocabulary.
Revivalists i.e. adhering to the most literal traditional form.
Contextualists who use historical forms when the surroundings “demands” it.
The design value of restoration and preservation
This is based on a commitment to preserve the best of buildings and products for future generations. This design
value tends to represent restoring a building or product to its initial design and is usually rooted in three
perspectives. These are:

9. 1.
2.
3.
An archaeological perspective (i.e. preserving buildings and products of historical interest).
An artistic perspective i.e. a desire to preserve something of beauty.
A social perspective (i.e. a desire to hold on to the familiar and reassuring).
The vernacular design value
This value is based on a belief that a simple life and its design, closely linked to nature, are superior to that of
modernity. The design value of Vernacular includes key concept such as:
1.
2.
3.
4.
Reinvigorating tradition (i.e. evoking the vernacular).
Reinventing tradition i.e. the search for new paradigms.
Extending tradition i.e. using the vernacular in a modified manner.
Reinterpreting tradition i.e. the use of contemporary idioms.
GENDER BASED DESIGN VALUES
This design values is closely linked to the feminist movement and theory developed within the 19th and 20th
centuries. Design values based on gender are related to three tenets found in architecture and industrial design,
which are:
1.
2.
3.
Gender differences related to critique and reconstruction of architectural practice and history.
The struggle for equal access to training, jobs and recognition in architecture and design.
The focus on gender based theories for the built environment, the architectural discourse, and cultural
value systems.
Designers that adhere to the Design values based on gender typically have a focus on creating buildings that do not
have the same barriers that children, parents and the elderly experience in much of the built environment. It also
implies a focus on aesthetics that are deemed to be more 'feminine' than the 'masculine' aesthetics often created
by male designers.
THE ECONOMY DESIGN VALUE
Many architects and industrial designers often dread the financial and business side of architecture and industrial
design practice, as their focus is often geared towards achieving successful design quality rather than achieving
successful economic expectations.
This is the basis for a design value that can be characterised as 'voluntarism' or 'charrette ethos'. This value is
commonly found among practising architects and designers. The 'volunteer' value is founded in the belief that
good architecture and design requires commitment beyond the prearranged time, accountant’s budget, and
normal hours. Implicit in the 'volunteer' value are elements of the following claim present:
1.
2.
3.
Best design works comes from offices or individual designers which are willing to put in overtime
(sometimes unpaid) for the sake of the design outcome.
Good architecture and design is rarely possible within fees offered by clients.
Architects and designers should care enough about buildings or products to uphold high design standards
regardless of the payment offered.
The 'volunteer' design value can be seen as a reaction to and a rejection of the client’s influence and control over
the design project.

10. THE NOVEL DESIGNVALUE
It is common within contemporary architecture and industrial design to find emphasis on creating novel design
solutions. This emphasis is often accompanied by an equally common lack of emphasis on studying of the
appropriateness of any already existing design solution.
The novel design value has historical roots dating back to early design movements such as Modernism, with is
emphasis on “starting from zero”. The celebration of original and novel design solutions is, by many designers and
design scholars, considered one of the main aspects of architecture and design. This design value is often
manifested through the working methods of designers. Some architects and designers with their emphasis on the
“big idea” will have a tendency to cling to major design ideas and themes, even if these themes and ideas are faced
with insurmountable challenges. However, the emphasis on design novelty is also associated with progress and
new design solutions that, without this emphasis, would not see the light of day.
The design value of novelty is not generally accepted within either architecture or design. This is indicated by the
debate in architecture, focusing on whether buildings should harmonize with the surroundings in that they are
situated in or not. Equally is the debate where architecture should be based on traditional topology and design
styles i.e. classical and vernacular base architecture or if it should be an expression of its time. The same issues are
indicated within the industrial design domain where it has been debated if retro design should be accepted or not
as good design.
MATHEMATIC AND SCIENTIFIC DESIGN VALUES
A movement to base architectural design on scientific and mathematical understanding started with the early work
of Christopher Alexander in the 1960s, Notes on the synthesis of form. Other contributors joined in, especially in
investigations of form on the urban scale, which resulted in important developments such as Bill Hillier's Space
syntax and Michael Batty's work on Spatial analysis. In architecture, the four-volume work The Nature of Order by
Alexander summarizes his most recent results. An alternative architectural theory based on scientific laws, as for
example A Theory of Architecture is now competing with purely aesthetic theories most common in architectural
academia. This entire body of work can be seen as balancing and often questioning design movements that rely
primarily upon aesthetics and novelty. At the same time, the scientific results that determine this approach in fact
verify traditional and vernacular traditions in a way that purely historical appreciation cannot.
Social and environmental issues are given a new explanation, drawing upon biological phenomena and the
interactivity of groups and individuals with their built environment. The new discipline of biophilia developed by E.
O. Wilson plays a major role in explaining the human need for intimate contact with natural forms and living
beings. This insight into the connection between human beings and the biological environment provides a new
understanding for the need for ecological design. An extension of the biophilic phenomenon into artificial
environments suggests a corresponding need for built structures that embody the same precepts as biological
structures. These mathematical qualities include fractal forms, scaling, multiple symmetries, etc.. Applications and
extensions of Wilson's original idea are now carried out by Stephen R. Kellert in the Biophilia hypothesis, and in by
Nikos Salingaros and others in the book "Biophilic Design".
Design and public policy
GOVERNMENT POLICY ON ARCHITECTURE 2009 - 2015
SEE THIS SITE:

11. http://www.ahg.gov.ie/en/Publications/HeritagePublications/ArchitecturalPolicyPublications/Gov%20Policy%20on
%20Arch.pdf
DESIGN DIPLOMACY: ARCHITECTURE’S RELATIONSHIP WITH PUBLIC POLICY [RICHARD SWETT, FAIA,
http://www.di.net/articles/design-diplomacy-architectures-relationship-with-public-policy/]
By expanding “design” from its aesthetic sense to incorporate people, society and quality of life issues, we shift the
paradigm of architecture from the design of buildings to influencing the “design” process for solving problems in
society.
Upon my arrival in Denmark as the U.S. Ambassador two years ago, I quickly came to appreciate the Danish ideal
evident in this country’s long-standing mix of good architecture, design and public policy. For nearly a decade prior
to my posting here I have sought to build a bridge between architecture and public policy in the United States. My
first impression of Denmark made me believe that I had finally come to a country where the bridge was already
standing.
As only the thirteenth architect to serve in the United States Congress and the only one of the twentieth century, I
came to Denmark believing that the influence of design on public policy had been cultivated through the successful
engagement of architects in the public arena. I quickly inquired about the long list of architects serving as elected
public officials and was surprised to find that the profession is just as reticent about running for public office here
as it is in the United States. However, here there is much more influence exerted by the profession through other
means. Relationships between government officials and designers are more prevalent. The profession has, in the
past, taken specific stands on social policy that have influenced legislative policy makers. Still, little is known about
the relationship between design and public policy.
The interplay of public policy and architecture needs to be examined in order to gain a better understanding of
the dynamics of a successful society. The inherent connection between design and public policy is rarely
discussed, if at all.
I have been very privileged to wear many hats during my career as an architect and public servant. My
architectural training has served me well throughout my working life. In private practice, it has enhanced and
informed my abilities to provide constructive service to my clients and constituents, beginning with nongovernmental organizations and citizens’ groups. The practice of architecture continues to enhance and inform my
career, where I have served the public as Congressman from New Hampshire and now as I serve my nation as
Ambassador to Denmark. As a matter of fact, architecture played a role in my public service career right from the
start. My first congressional campaign slogan was, “Every House needs a good architect.”
Throughout, I have witnessed and participated in the maze of complex systems, governmental regulations,
professional disciplines, special interest groups, grass-roots community organizations and big businesses, all
seeking to impact our “built environment.” I have found that there are few people well equipped to sort through
the cacophony of competitive interests in a constructive way that ultimately achieves harmony. By virtue of our
training, skills and perspective, architects should play that role, but, sadly, we rarely do.
From this morass of conflict, architects are expected to create sound structures of lasting value; works of art, if you
will. These forms we create are more than art, however. They must function as protective machines providing
order and place while they elevate the human condition, both spiritually and literally. And, as you all know, this is
easier, much easier, said than done. But that IS what we architects are committed to do-it is the central mission of
our profession.
Daunting as this architectural mission is, the truth is that in today’s world it is no longer enough. We must be
prepared to do more. Because of our singular focus on aesthetic design without regard to social design, because

12. we have turned our noses up at the more “mundane” or administrative aspects of our profession, and because we
have narrowed our leadership responsibilities to avoid liability rather than expand them to gain influence, we have
seen our roles as leading visionaries in society follow a diminishing path. It is time to change our perspective.
The title of this article, “Design Diplomacy: Public Policy and the Practice of Architecture,” may have intrigued
and even confused many of you.But let me explain what I mean by “Design Diplomacy.” By expanding “design”
from its limited aesthetic sense and broadening it to incorporate people, society and quality of life issues, we shift
the traditional paradigm of architecture from the design of buildings to influencing the “design” process for solving
problems in society (or public policy formation). The creative process of architects is a constructive, inclusive
process—therefore more diplomatic than the aggressive and adversarial methods of engagement in politics.
Hence, “Design Diplomacy: Public Policy and the Practice of Architecture.” Architects are essential contributors,
even the actual shapers, of the environment in which we live. Yet they have always seemed to be supporting
actors at best or bit players at worst, in the various dramas unfolding on society’s main stage. It is time to take a
fresh look at our profession and the role it plays in today’s world. So it seems logical to start off with a new
definition and an outline of a few key topics and terms:
1. The “Global Village” & “Globalization”
2. The “New Economy”
3. Knowledge Management & High Technology
4. Management of the Environment & Energy Resources
5. Accountability and Responsibility to the Local Community
6. LEADERSHIP
Perhaps not all of these topics seem, at first blush, to interface with the world of architecture and design, but they
most certainly should.
“The Global Village” and its recently coined noun, “Globalization,” has become a common catch phrase. But it fails
to capture an inevitable but very unpredictable development of our global community: the creation of community
infrastructure. Examples can be found all around us. Witness the Öresund Bridge in Copenhagen. The engineering
feat of a sixteen-mile span of suspension bridge and tunnel is changing much more than the cultural and
commercial lives in this city and Malmö across the sound in Sweden. This is the final piece of the transportation
network that connects all of Europe. Now it is possible to truck goods and raw materials across all of Europe, all
the way to the remotest parts of Northern and Eastern Europe and the vast terrain of the former Soviet Union.
This bridge physically links the developed world with remote societies largely detached from the technology and
prosperity we so often take for granted.
This brings me to the “New Economy.” What does this sound-bite mean, especially for architects? As old
paradigms are shifting, being redefined or being demolished altogether, how do we as a profession adapt? How do
we remain in command of our established role while modern society is morphing around us? The traditional chain
of command, where information is passed down in smaller and smaller increments, has been turned on its head.
Now huge amounts of data are collected and transferred to the small group of decision-makers at the top. Already
now, and more so in the near future, vast numbers of individuals will have access to information on choices in life
no longer limited by their immediate, physical surroundings. These are opportunities created by this new surge of
information. They will no longer have to travel in order to work, to shop or to educate themselves. We will have
more and more of the planet’s economies vesting greater and greater resources into the development and
expansion of global intellectual property. Where does the architect figure in this?

13. One example I can give where architects have already begun to play a role in helping to create the “New Economy”
is the United States’ Intermodal Surface Transportation Act of 1992. Originally known as the “Highway Bill,”
architects fought hard to expand the requirements of this legislation to do more than provide highway engineering
and construction. Issues of sustainability and the creation of livable communities through social design were
addressed. Architects and planners were made a part of the process so that “best use scenarios” would be
examined prior to the creation of a new highway. Interconnections between transportation systems, or
“intermodal points” enhanced the use of rail, air and sea transportation networks in conjunction with the
highways-not separate from them.
Let me quote a passage from Understanding Media: The Extensions of Mankind published nearly 40 years ago by
Marshall McLuhan:
“To reward and to make celebrities of artists can...be a way of ignoring their prophetic work, and preventing its
timely use for survival. The artist is any man in any field, scientific or humanistic, who grasps the implications of his
actions and of the new knowledge in his own time. He is the man of integral awareness. The artist can correct the
sense ratios before the blow of new technology has numbed conscious procedures. He can correct them before
numbness and subliminal groping and reaction sets in. If this is true, how is it possible to present the matter to
those who are in the position to do something about it?”
Good Question! Obviously, before an answer can be formulated, the architectural profession must first take
stock. The issue of knowledge management is broad and critical. How do we manage our knowledge? How do we
employ high technology? How do we apply this ever-increasing body of knowledge to the task at hand? How do we
communicate amongst ourselves? How do we communicate to the public at large, beyond the physical reality of
the buildings we construct? How can we match our skills and demonstrate our value to society as effectively as
those youngsters, the I.T. whiz-kids, who are now the highest paid professionals (many of whom are leaving our
profession), cutting across all levels of socio-economic and cultural barriers?
Perhaps the answer lies in our accountability and responsibility to our communities. Not just to the international
community of architects, but to those in our home communities. This is an area unconsidered and under-valued by
our profession. But of course, we are not alone in this. We stand to learn a great deal from our colleagues in public
service on this account.
The profession of Politics has a negative reputation in the public’s mind thanks to the glaring mistakes of some
of its high-flyers. And so too does architecture when it becomes party to grave political misconceptions. To drop
some infamous examples I offer Albert Speer’s Berlin or Brasilia, the utopian capital gone monumentally wrong.
These are the worst-case scenarios realized out of grandiose political schemes met with equal fervor by likeminded architects.
Examples of integrated artistic, social and environmental harmony created by architects who have served both
their calling and the needs of society are harder to recall. They are not glamorous like the skyscrapers of
corporate power nor are they the permanent reminders of empire building like the Roman Coliseum or the Great
Wall of China. Pierre l’Enfant’s well-designed new capital of the United States, Washington, D.C. survives as an
evolving example of a good base for comprehensive city planning. Even Strøget (or The Walking Street) of
Copenhagen or the urban garden of Tivoli can be considered successfully harmonic examples.
But what we can see here in Denmark are design ideals played out on broader and better, more integrated
levels that transcend the traditional “top-down” approach. In the design of managed communities for senior
citizens, in the day-care centers for Danish children, in the sensitively-restored period architecture and in the
planned post-war suburban communities integrated into the rolling hills of the Danish landscape, Denmark
provides a stellar example of a truly integrated and societal approach to architecture and public policy. Danish
architects are as famous for their buildings of international acclaim as they are for their dining room chairs and
their desk lamps. No design task is too small or inconsequential. All aspects of the design of a civilized life’s

14. accouterments, from the shelter we need to the implements for feeding ourselves, are treated with the same high
standards of design integrity and respect.
The awareness of architecture’s role in managing our precious natural resources and the responsibility to design
the built environment with efficient energy use and conservation in mind are now universal. But making it a
social, political and economic priority has led to a world-class role for the Danish industrial and architectural design
community. The architects of the world should take note.
This holistic approach forms the bedrock of a subtle, sustained leadership. It means taking many, many things
into consideration. It involves combining the complex relationships architects must achieve to create their work
while constructing purposeful physical structures with an inherent use of our environment.
We are in an increasingly interdependent world in which not only commerce, but also professions and national
interests overlap more and more. Despite occasional adversarial conflict in the arenas of trade, politics and special
interest groups, it is interesting to note that architects remain one of the few academic professions still held in
high regard by the public. Yet, the profession is losing market share. I would even go so far as to say it is losing
touch with the environment, in which we not only live, but also are so integral in creating and managing.
This interplay between the practice of architecture and public policy is at the crux of these questions. Architects
have not adequately participated in the public policy debate in a way that I wholeheartedly believe would be so
beneficial to our profession and to the public at large.
By our very nature, architects are constructive, cooperative and creative problem solvers and as such, have
splendid leadership qualities to offer. Likewise, public policy can only evolve and mature if architects better use
their integrated creative skills to have a greater say in local, national and even international governmental affairs. I
am not criticizing or downplaying the accomplishments of the profession in the public arena. Nor do I wish to
diminish the very important role of design in our profession. I only suggest that architecture is made up of much
more than just the aesthetics of design, and that we must consider a broader set of issues and set new objectives
for participation in public life. Five years ago Herbert Muschamp wrote for The New York Times, a “Fleeting
Homage to an Architect Who only Dreams:”
“The realization of an architectural design isn’t purely a technical matter. It also has a cultural dimension....I’m
thinking, for example, of an artist like Christo, who regards the process of realizing as an essential part of his art.
When Christo wraps up a monument, like the Berlin Reichstag building, the project’s meaning is partly drawn from
the involvement of public officials and private citizens in its creation. Architects draw on that level of meaning as a
matter of a course. It is not only the public use of buildings that makes architecture a social art, it is also the
architect’s engagement with clients, communities, contractors and others whose participation is required to alter
the material world. If architects can fully gratify their creativity on paper, they are squandering the opportunity
they have to activate the creativity of others.”
We could only benefit by the effort of participation in public life and through it the activation of the creativity of
the public.
Thomas Jefferson, an architect of great skill and sensitivity and an unparalleled politician, played a pivotal role
in designing the blueprint of the American democratic system. In doing so, he effectively realized the confluence
of the arts, democratic politics and morality. In a letter to James Madison written in 1785, he wrote,
“I am enthusiastic on the subject of the arts. But it is an enthusiasm of which I am not ashamed, as its object is to
improve the taste of my countrymen, to increase their reputation, to reconcile them to the rest of the world, and
to procure them praise.”

15. There are great opportunities, as so nobly expressed by Jefferson, for our profession to seize. How many
architects hold senior government positions charged with Housing and Urban Affairs, Culture, Transportation and
Environmental Management? How many architects are politically active and practically involved in their local and
national governments?
Buildings have been designed and built, but beyond that, what is the legacy of leadership that architects have
left for societies? Will gated communities cut off from their neighbors be the future? Will glass and marble towers
be gracefully integrated into their surroundings or alienate themselves from the very blocks on which they are
located? The fact is too many architects are seriously marginalized, and I would go so far as to say, intentionally
isolated, from the political process that determines the zoning, funding and the complex social and legal
regulations that control the building of our shared environment. This subject needs to be confronted, debated and
discussed in detail.
Yet, we need to do more. Well-known Austrian architect Hans Hollein, when recently asked, “Do you ever wish you
had been only a fine artist?” responded,
“I would have a much more comfortable life just sitting in a studio in the country. But I wanted to be involved in
building in the city; I wanted to contribute to daily life with all its idiosyncrasies and difficulties.”
During the recent conference, we concluded by assisting in the design of a blueprint that will frame the future
influence of our profession beyond the limitations of bricks and mortar. Such a plan suggests that our fellow
architects take up leadership roles in order to balance the tectonic, economic and political aspects of city/state
planning more consciously.
Thomas Jefferson also wrote in 1785:
“I am proud to be an architect and don’t propose we go out and tear down any buildings. I do propose, however,
we tear down some of the myths and misperceptions that architects have about public policy and vice versa.”
Activity Analysis and linkages for efficiency in shelter
Please see the following link for the resources:
1.
2.
3.
4.
BUILDING
LINKAGES
FOR
COMPETITIVE
AND
RESPONSIBLE
ENTREPRENEURSHIP:
https://unido.org/fileadmin/user_media/Services/PSD/CSR/Building_Linkages_for_Competitive_and_Res
ponsible_Entrepreneurship.pdf
GREEN
ARCHITECTURE:
ENVIRONMENTAL
CONCEPTS
OF
ARCHITECTURAL
DESIGN:
http://www.slideshare.net/ditzgarobo/philippine-ddays-intro-to-green-architecture
ARCHITECTURAL THEORIES OF DESIGN : http://www.scribd.com/doc/80579364/Architectural-Theories-ofDesign
ARCHITURE IN THE PHILIPPINES – FILIPINO BUILDING A CROSS-CULTURAL CONTEXT:
http://www.scribd.com/doc/80950174/Architecture-in-the-Philippines-Filipino-Building-in-a-CrossCultural-Context
Environmental concepts of Architectural Design

16. Please see this site: http://www.scribd.com/doc/20563539/Environmental-Concept-of-Design-and-EnergyConservation-Theory-of-Architecture
Architecture of the well-tempered Environment [6205 Environmental Technologies
http://isites.harvard.edu/fs/docs/icb.topic256758.files/L01.EnvironmentalConcepts.pdf ]
in
Buildings,
Roger Benham, Architecture of the weel-tempered environment (1984)
Book on the historical development that lead to the separation of the ‘building structure’ from the ‘plant’
and the resulting relationship between the architect and t consultant engineer.
Environmental Building Concept
What is the use of a house if you don’t have a tolerable planet to put it on? {Henry David Thoreau}
All design aspects that influence a building’s indoor environmental conditions, i.e. how the building
maintains adequate thermal, visual, and acoustic conditions for the building occupants, as well as its
resulting environmental footprint.
Figure 9: An extreme closeup view of the desktop,
upon which a plan view of the contextual
environment for the design task has been laid out.
7. Scaling and Simultaneous Multiple Scales
While creating and experiencing a design at full scale is anexpected goal for an immersive design system, it is not
usually the best sole environment for architectural design because it is often necessary to understand and develop
thedesign at multiple scales. Our virtual design environmentsupports simultaneous multiscale viewing so that
conceptualmodels can be designed and observed at any scale, typicallyranging from the scale of an architectural
model - a foot ortwo across - up to actual size.
Simultaneous multiple scales are supported so that aproject can be designed, for example, at a relatively
smallscale while simultaneously being inhabited or observed atfull scale, or vice versa, with modifications made to
themodel at one scale appearing simultaneously at the other. Forexample, one may want to model an entry way at
full scalewhile simultaneously being able to view the design at a scalethat allows understanding the relationship of
the entry wayto the whole house and the surrounding site. In future research we intend to explore the effects of
body sense whiledesigning at different scales and the perceptual advantagesof working at multiple scales
simultaneously.

17. Figure 10: A series of images demonstrating of the use of multiple scales in the context of designing
a display system for the interior courtyard of the Architecture building. Interactive design can take
place either at the desk or out in space.
Figure 11: In this image, the model has been scaled to fit
in place on the building plan laid out on the desk.
8. Future Work
We have several developments presently underway that weexpect to incorporate into our system in the near
future:
1) We are working on implementing a browser 3 within the space in order to allow access to standard html
documents, either locally or over the web. We would like to enable images/videos/documents/library
objects/environments to be drag/dropped directly from the browser into the model. A browser could also
permit access to a variety of JAVA applications, such as simple paint programs and analysis tools, that
could be useful in supporting a rich design environment.
2) We presently have a standalone "Virtual Graffiti" sketching tool for drawing on surfaces within a virtual
environment using tracker output. We intend to make that drawing tool available within the virtual design
environment together with the ability to export the resulting images.
3) Images and videos brought into the environment are presently not supported in stereo. Future
development will allow for stereo pair images and videos to be placed within the environment. This will
include stereo images of the"snapshots" created within the environment and images used to create the
overall environment. We anticipate the possibility of creating "virtual holograms", constructed from
multiple superimposed images selectively viewed in a position dependent manner.
4) Presently all images and videos come into the virtual environment through the spinning drum provided
with the kiosk. We will be adding a "DesignStation" folder for images and videos to be placed directly into
the DesignStation,where they can be further arranged by the designer.

18. Our overall goal is to develop a virtual environment thatempowers designers. We intend to refine our system by
observing how design is done in the existing virtual design environment and developing new approaches to meet
perceivedneeds. To this end we will be making the system and thespace available both to a number of different
architecturaldesign studios in the professional architectural graduate program at the University of Minnesota and
for use in selecteddesign projects undertaken by local architecture and interiordesign firms. Design sessions will be
videotaped and the design process critiqued together with the designer.
Although our virtual design environment is being developed with the specific needs of architectural conceptual
design in mind, we anticipate that this kind of environmentcould find wider use as well. It could be alternatively
thoughtof as a working environment for the spatial manipulation andcreation of images, with the necessary
supporting geometrictools. We hope that our future research will involve a widervariety of faculty and researchers
who would like to "design"spatially distributed information spaces.
Energy Conservation and the Design Process
An Energy Conservation Architectural Design Tool for WarmClimate (LTV):The tool development and testing.
[Richard
Hyde
and
AldomarPedrini,
http://www.thedaylightsite.com/filebank/An%20energy%20conservation%20architectural%20design%20tool%20f
or%20warm%20clima%20.pdf]
The use of design tools in architectural design is common place. Yet, in recent years the need has arisen to provide
design tools to assist with the evaluating the energy usage of buildings. A number of tools are available for this
type of work. Unfortunately, many of these tools are inappropriate for integration in the architectural design
process. The research described here reports development work on lighting, thermal and ventilation tool for use at
the conceptual stage in the design process. The main contention is that this type of tool is crucial to effective
passive low-energy design as it is difficult to integrate energy saving feature at later stages in the design process.
Part of this work has necessitated a critique of the concept of the passive strategies for non-domestic buildings; this
is an important element in assessing the energy contribution of the external environment to the building.
INTRODUCTION
Research work has been underway to develop a design tool for assessing the environmental impacts of
nondomestic buildings. In this case energy -use is taken as an indicator of environmental impact.
This tool is called the Lighting Thermal and Ventilation (LTV) architectural design tool (1). It models the
energyconsequences of using climate responsive design strategies in the building design. Yet the question arises as
tothe form this tool should take for it to be most effective for giving architects feedback of the consequences of
thebuilding design on energy consumption. It is argued here that the key to this question lies in the design
process.It is widely acknowledged that ‘the best opportunity for improving a building’s energy performance occurs
earlyin the design process when basic decisions are made (2).’
Moreover, the penalty for not addressing climatic responsive design issues early in the process is
that‘opportunity will be lost to make significant savings by relatively simple adjustments to the design.
Increasinglysophisticated or costly efforts are needed to save energy (2).

19. A number of phases can be determined; the phase that is of most interest is the conceptual design stage
wherebasic climatic responsive strategies are used. In large commercial non-domestic buildings this involves
theconceptual layout and thermal zoning of the building.
Thermal zoning is a key concept in assessing the thermal response of the building. It is the relation of the
spatialorganization of the building to the exposure to environmental factors. Thermal zoning is the subdivision
ofspaces inside the building that have varying thermal temperatures. Zones vary with orientation and with
exposureto environmental conditions. A common nomenclature in cool climates is to use two main zones, the
passiveand non-passive (active) zone. ‘Passive zones can be day lit and naturally ventilated and make use of solar
gain forheating. Non-passive zones have to be artificially lit and ventilated (3). The importance of this description is
thatpassive zones use less energy due the use of natural energy than non-passive zones, which use man-made
energyie, electrical energy. Therefore a basic climate responsive planning stage at the conceptual stage is to make
thispassive zone as large as possible to reduce energy consumption.
The extent of the passive zone is deemed to be twice the ceiling height for cool climates and gives a depth of 6mas
seen in Figure 1 (3).
At present little work has been carried out to determine the nature of the passive and non-passive zone for
warmclimates. It may be larger for warm climates due to higher levels of day lighting (4).
This is further complicated by the need for shading which can reduce day lighting to minimize thermal gains
fordirect sunlight. This paper examines these issues from a theoretically and experimentally stand point. The
firstpart includes a theoretical discussion of climate responsive design strategies to determine the concepts for
zoningin warm climates; the second describes experimental work to establish the dimensions of the passive zone.
Figure 1 Passive active zone concept
Part 1: Climate responsive design strategies
A review of the passive, low energy design principles used in non-domestic buildings revealed the followingfactors
important in warm climates. These are framed as design strategies that can be used by architects to reduceenergy
consumption. .
For the purpose of the study these strategies are used as variables that can be manipulated in a work-back
process.This involves generating a number of possible design scenarios an architect may take and find the
energyconsequences. Architects tend to evaluate design concepts in terms of the plan and section of the building.
A hierarchy is found in the decision making process which relates to priorities designers have in the designprocess.
For convenience, first order decisions are those that relate more to the planning decisions whilst secondorder are
those in the section.

20. Planning Strategies
Plan / Room Depth
Service Spaces Zoning
Function Zoning
Thermal Zoning
Façade Strategies
Ceiling Height
Orientation
Window Area and Position
Thermal Defense
Solar Shading and Light Guiding
Natural Lighting
Table 1: The climate responsive design strategies
Service Strategies
Air conditioning
Electric Lighting
Natural Ventilation
Second order decisions examine relationship between solar shading lighting and energy consumption
wasexamined. This is called the solar design strategy. It is common practice for buildings in warm climates toapply
this strategy in favour of reducing thermal loads through the façade by over shading. Yet this can meanhigher
electrical lighting consumption. The loss of natural light is also a reduction of amenity to users.
Earlier models have recognized the significance of the effect of natural light on reducing electrical consumption(5,
6) but there has been little work into examining this relationship for subtropical and tropical climates.
Theoutcomes of this work show optimum shading and window wall ratios for these design variables (7).
In the study reported here the first order involved study of the planning strategiesused to improve
energyefficiencies. Previous work has established that considerable savings in energy use can be achieved by
planningthe building to achieve optimum plan depths, environmental zoning of spaces, ceiling height and
orientation.This is an important area for saving energy, 30% savings inenergy use can be achieved by using this
strategyalone (Hyde R.A. 1997).
To assist architects in assessing the energy consequences of planning decisions the concept of the passive zonehas
been developed (Baker and Steemers 1996). This concept has been developed for warm climates but not relatedto
tropical or subtropical climates. Work on this deficiency has led to a more complex model to acknowledge theneed
for shading to buildings to accommodate high solar gain in these climates (Hyde 1999 forthcoming). In thismodel a
variety of zones can be established both inside and outside the building from the line of enclosure tocontrol the
external climate. These are:
Figure 2:
Thermal zoning in section
External zones:
1. Environmental zone: micro climate of the site
2. Buffer zone: microclimate created by the building
Internal zones:
1. Enclosure zone: internal climate, immediately adjacent to the line of enclosure
2. Passive zone: the area defined in plan to receive a significant contribution from the external environmentfor
heating, lighting and ventilation. The convention is to use a dimension equal to twice the ceilingheight to define
the extent of this zone from the façade
3. Non-passive zone: the area defined in plan and which receives an insignificant contributionfrom theexternal
environment for heating, lighting and ventilation.

21. For quantitative assessment the crucial design variables can be related to the passive zone and therefore to this
enda study using series of computer simulation exercises were carried out using DOE 2. It is acknowledged that
thequalitative variables concerning lighting or other factors are not addressed in this study i.e. factors such as
glare.
The main aim of the study was to examine the extent of the passive zone for warm climates. A ‘rule of thumb’has
been established for cool climates. The extent of the passive zone is function of room depth and the ceilingheight,
where the passive zone is seen as twice the ceiling height. Thus for a ceiling height of 3meters, thepassive zone
extends 6 meters to towards the interior, at 90 degrees from the façade.
Part 2: Discussion
The extent of the passive zone is controlled by two main sets of factors:
1. The room depth that is the depth from facade
2. The solar design strategy, the level of transparency in the facade to provide daylighting
Figure 1: Daylighting control
Figure 2: Shadow angle definition.
Figure 3 – Analysis of
the window location on
facade
The defaults for the test cell are shown below
Characteristics
Size
Value
Dimensions: width = 10m, ceiling height = 3m, variable depth

22. Weather
Operational Schedule
Lights
Daylight Control
Work plane height
Reflectance
Window
Envelope properties
Air conditioning
Brisbane TRY
Lights and air conditioning working between 8 am and 6 pm
320 Lux in work plane, with light power density equal 10 W/m
electric lights are either off, one third-on, two third on or fully-on
Height from floor: 0.765m
Wall: 0.5; floor: 0.2; ceiling: 0.8
Window width = 10m (frame width 0.051m), single clear glazing 3mm,
light transmission 0.898, U-factor (center of glass) = 6.31 W/m/°C;
windowfront facade: 10 m.
No shading was provided to the window
Walls, floor and roof thermally insulated
Packaged, EER (energy efficiency ratio) = 2.638 W (cooling)/W
(consumption); cooling set-point: 22°C
Table 1 - Characteristics of the test cell
Results
The results of this test cell are plotted in Figure 4. Energy optimum consumption is shown for varying roomdepths,
also the optimum window wall ratio.
Figure 4 Optimum energy
consumption and window wall
ratios (WWR) for different room
depths
The following observations can be made:
1.
Without shading to the windows the optimum WWR is between 10 to 30 percent. Thus, for a northerly
facade, small windows between 3 and 9m2 in area for every 10 meters of linear length are appropriate.
2.
As the room depth is increased, the larger window wall ratio of 30 percent is appropriate; as the depth is
reduced a smaller ratio of 10 percent is appropriate.
3.
The optimum room depth is 8 meters with lowest consumption using a 10 percent WWR.

23. Figure 5 – Annual consumption per area for different room depths
Figure 6 – Annual consumption per area for different room depths
Part 2 Discussion
From these results it is clear that the assumptions concerning the size of the passive zone found in
Europeanclimates is different for subtropical climates such as Brisbane. The higher levels of solar gain and
availability ofdaylighting means that the optimum plan depth can be increase to 8 meters with a lower wall to
window glazingratio. In this study shading was not considered although the method for assessing this has been
developed. Furtherwork has been carried out to assess optimum shading, window wall ratios and plan depth (8).
Furthermore a more subtle definition of the passive zone emerges which is more dynamic, related to
sectionalinformation rather than plan information. In this conception rather than try and make hard definitions of
zoning,it seems appropriate to use this type of information for making strategic design decisions.

24. Figure 7 Graphical tool for
assessing thermal zoning
strategies
Further outcome of this work is that it is possible to use this information in a number of ways. The
earlierdefinitions of the passive zone are aimed at providing a method of assessing plans to give information
regardingtotal energy use of the design. The contention here is this information is particularly useful for bench
markingpurposes. Benchmark figures for building types can be set and optimum design variables selected to meet
thebenchmark. Thus the benchmark for northern orientated facades may be 30 kWh/m2. A range of window
wallratios and rooms are therefore available to meet this standard. This gives boundaries in which the designer
canwork. This flexibility can begin to intellectualize the design process so that choices available to designer can
beclearly indicated and the consequences of choices articulated.
Additional information can also be obtained from the graphs, which enables the selection of optimum windowwall
ratios for room depths or visa versa. This assists with the design of particular zones of the buildings.
Somepreliminary work has been carried out with regard to this issue. It is clear that this information can be
integratedinto a graphical tool, which gives visual information of the consequences of selections made by
designers asshown in Figure 7.
http://www1.eere.energy.gov/femp/pdfs/25807.pdf
http://www.thedaylightsite.com/filebank/An%20energy%20conservation%20architectural%20design%20tool%20f
or%20warm%20clima%20.pdf
http://www.slideshare.net/Aarongrt/energyconservingdesigndetails

25. http://www.weebly.com/
http://en.wikipedia.org/wiki/Escalator