Architectural Design 03

AR. MAY MARICAR MERILLES, UAP, RMP, LPT

Instructor
Outline 1. MAJOR PLATE DISCUSSION
A. PRELIM REQUIREMENTS

2. DESIGN PROCESS
3. DESIGN PRIORITIES
4. DESIGN OBJECTIVES
5. CONTEXT
6. SITE SELECTION
7. ACTIVITY PATTERNS
8. ARCHITECTURAL PROGRAMMING

AR. MAY MARICAR MERILLES

MAJOR PLATE

AR. MAY MARICAR MERILLES

Thank you very much

AR. MAY MARICAR MERILLES

AR. MAY MARICAR MERILLES
AR. MAY MARICAR MERILLES
AR. MAY MARICAR MERILLES
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 The Design Process

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Design is the process of solving problems.

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Where to begin?

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Design Process
• Problem Statement
(Client Profile/Interview)
• Programming and analysis
• Concept / Schematic Design
• Design Development
• Evaluation

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Problem Statement/ Client Profile

• What is the nature of the

project? vacation home,
primary residence, rental
home, office, restaurant,
hotel etc.
• Establish a client profile:
a brief statement that
identifies the client,
location, project, purpose,
and extent of work.
• Little detail has yet been
researched

AR. MAY MARICAR MERILLES

Why is the initial meeting so important for both
the designer and the customer?
•Evaluate compatibility (don’t take
every job, may not be
profitable…)

•Does the project fit the firms area

of specialization , is there a
reasonable time frame and does
the firm have the appropriate staff
load to complete the project.

•Client can evaluate firms work.

AR. MAY MARICAR MERILLES

A word about time frame…
• Deadlines are critical in
the design business.
• Penalties may apply.
• Work backwards from
the expected completion
date to set schedule for
each phase.
• If you see the time frame
is not feasible, walk
away or convince them
that the time frame
needs to be longer.

AR. MAY MARICAR MERILLES

DESIGN PRIORITIES
Need
DESIGN PRIORITIES
• To make a successful house,
an architect must help the
client choose his priorities,
as his desires often exceed
what is financially possible.

• But priorities remain a vague

notion for most people until
they see a specific building
design with a price tag.

• Then comes the pruning and

pushing and pulling, ending
with a design that looks as if
it has been through a street
fight.

AR. MAY MARICAR MERILLES

• A matrix diagram clarifies DESIGN PRIORITIES
priorities so that client can
better understand them before

Living Rooms
Circulation
proceeding to building-form

Enclosure

Bedrooms
alternatives.

Kitchen
Entry

Baths
Decks
• The matrix starts with a list of
design issues and a list of
functions.
Comfort
• At each point of relationship in Budget
the matrix, we ask the
importance of this issue to this
function.
Character
Maintenance
• The degree of importance is Energy
indicated by the size of the dot.
Flexibility

AR. MAY MARICAR MERILLES

• When this process has been
DESIGN PRIORITIES
completed for each issue, the

Living Rooms

Circulation
most important issues and

Enclosure
functions (those with the highest

Bedrooms
Kitchen
cumulative degrees of

Entry
Baths
Decks
importance) can be identified
and a hierarchical list of issues
and functions formed.

• When the matrix is

Comfort
reconstructed with issues and
spaces arranged in their order of Character
importance, it is possible to
make some observations about
Budget
critical areas of the design
problem. Flexibility
Energy
Maintenance

AR. MAY MARICAR MERILLES

DESIGN OBJECTIVES
Need
 DESIGN OBJECTIVES
• Analysis of a design problem requires the exploration of the broad set of issues, contexts, and concerns.

• To initiate thinking about the problem, we can adapt a technique used in creative writing that builds a network of verbal associations.
• In order to bring the subconscious mind into action, the standard tabulated lists are replaced by a loose, open-ended method of
notation that lets ideas develop in an organic pattern much like the roots of a tree.

• As a complex network of associations develops, we can begin to identify the most important issues and relationships.

Sunlight
Seclusion
Prestige Nature
Quiet Garden
Dignity Sleep
Peace
Sense of
Hospitality Place
HOME Permanence
Reception Solid
Guests Stability
Family
ENTRANCE Gathering Transition
Entertaining Sharing Refuge Buffer

AR. MAY MARICAR MERILLES

 CONTEXT
Abstraction Applied To Architectural Design
 CONTEXT
• The identification of context variables
helps the designer to set problem
boundaries and places constraints on
the number of design options
available.

• The experienced architect welcomes

these constraints because they help
to focus his attention on the really
viable alternatives.

• Context variables include: Site,

Climate, Zoning or Building
Ordinances, Finances, Time, and
available Construction Technologies.

AR. MAY MARICAR MERILLES

SITE SELECTION
Context
 SITE SELECTION
• A composite graphic display of the
effects of different criteria on site
selection can assist both client and
designer in choosing a site.

• The mapping starts by grouping several

criteria under a few basic headings such
as land availability (which might include
the considerations of cost, opportunity,
or services), geological characteristics,
and zoning.

• Maps are made for each basic heading,

showing the land that meets the
criteria.

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Available Land
 SITE SELECTION
• A composite graphic display of the
effects of different criteria on site
selection can assist both client and
designer in choosing a site.

• The mapping starts by grouping several

criteria under a few basic headings such
as land availability (which might include
the considerations of cost, opportunity,
or services), geological characteristics,
and zoning.

• Maps are made for each basic heading,

showing the land that meets the
criteria.

AR. MAY MARICAR MERILLES

Geological Conditions
 SITE SELECTION
• A composite graphic display of the
effects of different criteria on site
selection can assist both client and
designer in choosing a site.

• The mapping starts by grouping several

criteria under a few basic headings such
as land availability (which might include
the considerations of cost, opportunity,
or services), geological characteristics,
and zoning.

• Maps are made for each basic heading,

showing the land that meets the
criteria.

AR. MAY MARICAR MERILLES

Zoning Restrictions
 SITE SELECTION
• The maps can then be
overlaid to form one
composite map.

• Now the most favorable

sites can be easily
identified and second
choice sites will also be
evident.

Selected Site
Orientation
Problems

AR. MAY MARICAR MERILLES

 SITE SELECTION
• Other useful abstract sketches can present a
more refined view of the action of climate
over time.

• With energy conservation becoming a major

consideration in housing design, we need
more dynamic models of the action of
climatic forces such as wind and sun.

• It is becoming easier to obtain reasonably

accurate statistical data on weather, but the
graphic presentation of this data is what
makes it usable to the designer.

AR. MAY MARICAR MERILLES

 SITE SELECTION
• Although climate is only one of several
contextual elements having impact
upon a design problem, climate
considerations have traditionally been a
dominant factor in architectural design.

• These diagrams can form the basis of a

point of view about the problem that
may be a source of basic design
concepts.

AR. MAY MARICAR MERILLES

ACTIVITY PATTERNS
Context
 ACTIVITY PATTERNS
• When inserting a new
structure within an existing
environmental context, such as
a college campus, current
patterns of pedestrian activity
should be an important
consideration.

• The diagram traces the

dominant patterns of
pedestrian movement and
reflects to some extent their
relative intensity.

AR. MAY MARICAR MERILLES

 FORM
Abstraction Applied To Architectural Design
 FORM • The third set of variables,
Form, is under the control of
the designer.

• In this area he can help the

client make decisions after
the Need and Context
variables have been
identified.

• But remember that the

solution to the design
problem is basically and
agreement between Need,
Context and Form.

• In a sense, all three sets of

variables are flexible until a fit
is achieved.

AR. MAY MARICAR MERILLES

 FORM
• Some designers expect the client’s
program and the context alone to dictate
the solution, but form is equally important
because there are a number of viable
forms that meet specific needs.

• The architect must be as familiar with form

variables as with those of need or context.

• The abstract sketches that follow are used

to build a visual memory of form variables.

AR. MAY MARICAR MERILLES

 FORM
• Some designers expect the client’s
program and the context alone to dictate
the solution, but form is equally important
because there are a number of viable
forms that meet specific needs.

• The architect must be as familiar with form

variables as with those of need or context.

• The abstract sketches that follow are used

to build a visual memory of form variables.

AR. MAY MARICAR MERILLES

 FORM
• Some designers expect the client’s
program and the context alone to dictate
the solution, but form is equally important
because there are a number of viable
forms that meet specific needs.

• The architect must be as familiar with form

variables as with those of need or context.

• The abstract sketches that follow are used

to build a visual memory of form variables.

AR. MAY MARICAR MERILLES

 FORM
• Some designers expect the client’s
program and the context alone to dictate
the solution, but form is equally important
because there are a number of viable
forms that meet specific needs.

• The architect must be as familiar with form

variables as with those of need or context.

• The abstract sketches that follow are used

to build a visual memory of form variables.

AR. MAY MARICAR MERILLES

 FORM
• Some designers expect the client’s
program and the context alone to dictate
the solution, but form is equally important
because there are a number of viable
forms that meet specific needs.

• The architect must be as familiar with form

variables as with those of need or context.

• The abstract sketches that follow are used

to build a visual memory of form variables.

AR. MAY MARICAR MERILLES

SPACE/ORDER
Form
SPACE/ORDER

• Variations of the spatial organization of a house are numerous.

• A few examples are shown here in plan diagrams using a similar drawing style
to facilitate an easy comparison.

AR. •MAYThe walls areMERILLES

MARICAR drawn with heavy lines so the diagrams can emphasize space by
clearly defining solid and void.
SPACE/ORDER
• Furthermore, titles are
given to each
organizational types as an
important aid for easy
recall.

• A range of organizational
types show three-
dimensional options for
spatial order and the
implications for
appearance.

• Structure and materials

are also considered.

AR. MAY MARICAR MERILLES

SCALE/PROPORTION
Form
 SCALE/PROPORTION

• Although the qualities of form can be enjoyed by everyone, architects do not

automatically perceive how the form variables are arranged to achieve a specific
effect.

• In addition to their formal education, most architects spend a lifetime learning

about them.

AR. MAY MARICAR MERILLES

SCALE/PROPORTION

• One effective way of increasing perception is through visual analysis.

• The emphasis of a specific variable such as scale or rhythm in a sketch can be

abstracted out of the context of the building.

• Scale implies a relationship of sizes.

AR. MAY MARICAR MERILLES
SCALE/PROPORTION

• The size of people is the most handy reference for other sizes; this is called human
scale.

• Though it is obvious that all structures cannot be within our scale, we can feel
more comfortable with a large building if certain or its features range in size from
human scale to the overall building.

• Through graphic analysis, we can begin to understand how scale is handled in

AR. MAY MARICAR MERILLES
different buildings.
SCALE/PROPORTION

• The size of people is the most handy reference for other sizes; this is called human
scale.

• Though it is obvious that all structures cannot be within our scale, we can feel
more comfortable with a large building if certain or its features range in size from
human scale to the overall building.

• Through graphic analysis, we can begin to understand how scale is handled in

AR. MAY MARICAR MERILLES
different buildings.
AR. MAY MARICAR MERILLES
SCALE/PROPORTION
• The effect of proportions
on the design of a building
can be represented for
analysis in a similar way.

• Proportion is the
relationship between
dimensions (horizontal-
vertical)

• Through abstraction, the

impact of proportions on
existing building can be
better understood.

AR. MAY MARICAR MERILLES

MASS/BALANCE
Form
MASS/BALANCE

• Anyone who has taken up jogging is well aware of the importance

of mass and balance in human experience.

• We all have a built-in sense of these qualities, causing us to respond

to them in buildings.

• Further, mass and balance are associated with many other feelings
AR. MAY MARICAR MERILLES
such as security and flexibility.
 MASS/BALANCE

• In a building, a sense of mass can convey security or permanence; a sense of airiness can
convey flexibility of freedom.

• Throughout architectural history, many methods have been discovered for varying the
apparent mass of buildings.

• By analyzing buildings that have clear sensations of mass, the use of such formal devices as
horizontality, verticality, and emphasis can be uncovered.
AR. MAY MARICAR MERILLES
MASS/BALANCE
• Walking is a tremendous feat
of balance.

• Much of the enjoyment of

walking, riding a bike, skiing,
and the like is derived from
the tension between stability
and instability.

• We have a finely tuned sense

of balance that carries over
into our visual perception.

• The different ways of

articulating balance in
building design can be also
highlighted through abstract
sketches.

AR. MAY MARICAR MERILLES

REPETITION/RHYTHM
Form
 REPETITION/RHYTHM

• One way of achieving unity in a building is through repetition of parts that are alike, such
as windows or columns.

• Similarity of objects, even if only partial similarity, is a way of emphasizing association.

• Members of the human race are recognized by a number of similar features in spite of the
great diversity in appearance of individuals.

AR. MAY MARICAR MERILLES

REPETITION/RHYTHM • The importance of rhythm in
architecture is based upon
its relationship to the human
rhythms: walking or
breathing, the natural
rhythms: the tide or the
seasons.

• Just as music presents audio

rhythms, architecture
displays visual rhythms.

• In architecture the principle

means of achieving rhythm is
spacing of parts; this is
comparable to the intervals
between beats or notes.

AR. MAY MARICAR MERILLES

 REPETITION/RHYTHM
• The character of visual rhythms in a
building depends on the size of both
the intervals and the parts.

• Two basic types of rhythm can be

identified.

• Staccato rhythm is formed by clear

distinction between intervals and parts,
such as mullions on a curtain wall.

AR. MAY MARICAR MERILLES

 REPETITION/RHYTHM

• Legato rhythm is softer, formed by more subtle transitions between intervals and
parts, as in the curvilinear architecture of Gaudi.

• There are also rhythms distinguishable by patterns of interval of part sizes, as in a

façade by Palladio.

• And there are accelerating or decelerating rhythms, as in the Wolfsberg Center by

Aalto.
AR. MAY MARICAR MERILLES
UNITY/DIVERSITY
Form
• The degree of unity or diversity
UNITY/DIVERSITY
expressed in a building constitutes
another class of form variables.

• The other variables (scale, proportion,

mass, balance, repetition, or rhythm) can
be used to achieve unity or diversity.

• Some of the ways of increasing unity

include: Framing or emphasizing a
border, continuous pattern, modular
grid, use of a single shape which is at the
scale as the building, independence
between the parts and the whole.

AR. MAY MARICAR MERILLES

 UNITY/DIVERSITY
• Diversity can be achieved by planned violation of the
rules of unity: avoiding framing or consistent pattern,
variation of rhythms or modules, multiple grids,
breaking-up dominating Geometry.

• Unity and diversity are not mutually exclusive; it is

possible to overlay them and thereby increase the
intensity of both attributes.

AR. MAY MARICAR MERILLES

HIERARCHY
Form
HIERARCHY

• Conceptual strength and clarity often play an important role in the experience
and use of a building.

• A sense of hierarchy can contribute much to the conceptual presence of

architecture.

• Whether as analysis of existing buildings or as speculation about an emerging

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design, MERILLES
intentions can be highlighted by the use of abstract sketches.
 HIERARCHY

• The sketches present three approaches to

hierarchy: Dominant Size, Central Location, and
Unique Shape.

• As reflected in the second and third examples,

approaches to hierarchy are often combined to
achieve greater impact.

AR. MAY MARICAR MERILLES

 ACTIVITY PATTERNS
• The other diagram shows
nodes or zones that are the
most likely sites of social
interaction. Landmark

• Landmarks are indicated Node

because they often mark sites
of arranged meetings
between individuals.

AR. MAY MARICAR MERILLES

SITE ANALYSIS
Context
 SITE ANALYSIS
• Site features can include macro-
and micro-climates, topography,
natural circulation, views, and
landscaping elements such as
trees, bushes, rocks, or water.

• These site features must be

considered in order to place and
design a house.

• Abstract sketches can uncover

problems and opportunities by
showing the site features
simultaneously.

AR. MAY MARICAR MERILLES

 SITE ANALYSIS
• The illustration used here
focuses on general site
characteristics rather than
on specific details.

• Focusing on generalities
helps the designer to form
a visual memory of the
important site
considerations.

AR. MAY MARICAR MERILLES

 SITE ANALYSIS

• With the aid of these sketches, other perceptions can be

derived, such as wind, privacy buffers, or the best site
for building.

AR. MAY MARICAR MERILLES

 SITE ANALYSIS

• For this recreational house the sun pattern, the ridge of the land, and the summer
breeze suggest the general orientation of the building.

• The existing site entry, disposition of the trees, and the small river to the South set up
the prominent views and basic site circulation.
AR. MAY MARICAR MERILLES
 SITE
• This site analysis can be further
ANALYSIS
extended, taking into account
program area needs to explore
some preliminary alternatives for
building massing.

AR. MAY MARICAR MERILLES

Programming (5 – 15%)
• Information gathering – Research – programming
• Identify and analyze customer needs
• Interviewing customer and end users
• User profile
• Inventory products to be used
• Lifestyle and Function
• Relationships/adjacencies
• Space allocations
• Environmental factors
• Mechanical systems (HVAC)
• Psychological/Sociological
• Economic factors – extremely important
• Building codes
• Design preferences

AR. MAY MARICAR MERILLES

AR. MAY MARICAR MERILLES
Programming is the….
• Most crucial phase of the design process
“Good beginnings make for good endings”

• You must be detailed and precise in your gathering or you will fail in
the end result.

• You will need to analyze the information, prioritize the need and the
wants and if any questions come up, make sure to go back and get
them answered.

• You will write the program and the customer should review it and
approve it before moving to the next phase of the design process.

• FYI: A commercial program is sometime hundreds of pages in

length. It is a document that will be used by the entire design team,
architects, mechanical, structural, electrical engineers, and
designers.

AR. MAY MARICAR MERILLES

Programming is the

AR. MAY MARICAR MERILLES

Commercial Programming
• Budget for renovation, furniture and finishes.
• Style preference, image.
• Existing furniture, artwork and accessories to reuse.
• Field measuring space, locating columns, outlets, network jacks,
thermostats, HVAC returns.
• Photograph existing space, inventory and new space
• Determine codes and safety requirements that need to be met.
(occupancy classifications, occupant loads, egress widths, ADA, etc.)
• Determine the schedule/deadline
• Determine space allotments or standards, adjacencies, privacy
issues storage and filing needs (measure file storage).
• Understand equipment needs, sizes use and location

AR. MAY MARICAR MERILLES

Residential Programming
•Personal Information
• Age, number, gender, size, activities and relationships
of everyone living in the house.

•Stage in the lifecycle : flexible spaces

•Lifestyle
• Hobbies, activities, entertainment, meals, music games,
TV, cooking etc.)

•How long do they plan to live in the house.

AR. MAY MARICAR MERILLES

Residential Programming
• Taste…likes and dislikes of the family. How do you find this
out?
• Functional Goals
• special needs, universal design, media room, home office,
energy efficiency
• Space Requirements:
• How much sq. footage
• Minimum of 300-500 per person
• Equipment Needs:
• TV, cable, video, computers, security system
• Site and orientation
• Restrictions on placement, color, size etc.
• Solar orientation, south windows, fading
• Wind
• View

AR. MAY MARICAR MERILLES

AR. MAY MARICAR MERILLES
 Unless detail is placed into a
structured pattern, it is
rapidly forgotten.

 Detailed material is conserved

in memory by use of
simplified ways of
representing it.

 The obvious corollary is our

necessity to become
graphically “literate”.

 We need to become familiar

with a range of graphic
languages.

AR. MAY MARICAR MERILLES

Matrixes and Bubbles

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AR. MAY MARICAR MERILLES
RELATIONSHIPS
Need
 RELATIONSHIPS
• The Bubble Diagram has become a
familiar tool to architectural designers.

• It can abstract the building program to

conveniently summarize the activities to
be housed and their required
relationships.

• As we have discussed in the last lecture,

bubble diagrams are also easy to
manipulate as the designers moves from
building program to building design.

• As long as the basic rules of the Graphic

Language are followed, these diagrams
permit wide flexibility of thinking.

AR. MAY MARICAR MERILLES

 RELATIONSHIPS

Guest Bedroom
Living Room

Guest Room
• Another type of relationship diagram is

Guest Bath
the Matrix.

Bedrooms
Kitchen
Important Space

Entry

Deck
Bath
• All the functions are listed along two
perpendicular axes and then the
relationship of each function to the other
functions is categorized. Entry
Kitchen
• The advantage of such a matrix is in the
ways it can be read by the designer.
Living Room
• This example demonstrates that the Bedrooms
kitchen is a critical point of relationship
for the whole family and their guests, that
the sleeping areas should be isolated Deck
from each other and from most of the
rest of the house, and that the access to
the guest areas should be controlled.
Bath
Guest Room
Guest Bedroom
Guest Bath
AR. MAY MARICAR MERILLES Isolation
 RELATIONSHIPS

Guest Bedroom
Living Room

Guest Room

Guest Bath
Bedrooms
Kitchen
Important Space

Entry

Deck
Bath
• Although it is true that most of these
observations might be made
intuitively for a house, the matrix
promotes a restructuring of thinking Entry
that can stimulate new insights
regarding needs such as separation or Kitchen
communication, particularly in more
complex buildings.
Living Room
• Finally, the matrix provides a simple Bedrooms
graphic reinforcement of the
designer’s memory as he considers Deck
the building context and form.
Bath
Guest Room
Guest Bedroom
Guest Bath
AR. MAY MARICAR MERILLES Isolation
PHYSICAL BEHAVIOR
Need
 PHYSICAL BEHAVIOR
• Although we might assume that most people use
houses in pretty much the same way (judging
from new housing development design), there are
differences.

• These differences can have a lot to do with the

comfort of a family in a particular house.

AR. MAY MARICAR MERILLES

 PHYSICAL BEHAVIOR

• One way of illustrating the use of a

Log of Spaces house is to make a log of spaces
occupied by different family
members during a typical day.
AR. MAY MARICAR MERILLES
 PHYSICAL BEHAVIOR
• The result may be surprising and
encourage the client to look at housing
in new way.

• There may also be implications for

design priorities, orientation of spaces,
and energy management.

AR. MAY MARICAR MERILLES

 PHYSICAL BEHAVIOR
• Circulation is one of the under-considered
functions inherent in a building program.

• Many of the experiences of a house, its

impact on people, take place as they move
through and between spaces.

AR. MAY MARICAR MERILLES

 PHYSICAL BEHAVIOR
• These are referred to as kinesthetic experiences;
they are dynamic experiences unlike sitting or
standing in one space.

• Some architects have suggested that scenarios of

desired kinesthetic experiences, in a graphic
form, can be very useful to design.

AR. MAY MARICAR MERILLES

PHYSICAL BEHAVIOR
• In its simple form, a
kinesthetic map may use
symbols for different
experiences, but it is also
possible to do key
perspective sketches to
the map and help create a
sense of what is desired.

• Again, such diagrams help

the client and the
designer discuss and think
about the design
problem.
Kinesthetic Map

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Conceptual / Schematic Design
• The formulation of preliminary
broad-based concepts.
• Written concept statement
• Decisions on character, function
and aesthetics
• Matrix: indicates relationships of
spaces
• Bubble diagram
• Block diagrams
• Preliminary Floor plans/ space
plan
• Selecting preliminary color
options
• Preliminary furniture options

AR. MAY MARICAR MERILLES

TRANSFORMATION FROM PROGRAM TO
SCHEMATIC DESIGN

• Starting with the most simplistic model of design process, we

can consider the challenge of handling information “exactly at
the level of abstraction it has” throughout the design process.

• In the following example, the process is in stages of lesser

abstraction from the building program to a schematic design
for a house.
AR. MAY MARICAR MERILLES
TRANSFORMATION FROM PROGRAM TO
SCHEMATIC DESIGN
• The first diagram is an abstraction of the DECK
M/BR
program of the house. B
• The functions and the relationships between
functions are indicated as well as the B.R.
hierarchy of these functions and
relationships. B
DECK
• The major access points are clearly visible. B.R.
• The “bubbles” have no positional significance
DECK
because the program does not contain that
sort of information.
• If the relationship links between functions are L.R.
D.R.
retained, the bubbles can be moved to ENTRY
several different positions without changing
the basic information of the diagram, as in K
the smaller diagrams. MAIN
ACCESS DECK

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TRANSFORMATION FROM PROGRAM TO
SCHEMATIC DESIGN
• The second diagram responds DECK
to site and climate information,
establishing both position and N B M/BR
orientation of functions with
respects to each other and the
BR

DECK
site. B
BR

Zoning Public to Private

• Natural light and heat, views, VIEW
building access, and zoning of

DECK
DECK
functions are also considered. K DR

ENTRY LR

Garden Service Living Garden

AR. MAY MARICAR MERILLES
TRANSFORMATION FROM PROGRAM TO
SCHEMATIC DESIGN
• The third diagram reflects
Most Private
decisions on scale and shape
of the spaces required to
accommodate the
programmed functions.
Private

• Here, consideration is given

to functional needs and a
planning grid.

Semi Public

Public

AR. MAY MARICAR MERILLES

TRANSFORMATION FROM PROGRAM TO
SCHEMATIC DESIGN Quiet
Garden

• In the fourth diagram,

specific structural,
construction, and enclosure
decisions come into play.
Working
Garden

• Sufficient formal definition Open

Garden
has been indicated for the
diagram to be called a
schematic design.
Outdoor
Dining

Entry
Porch
AR. MAY MARICAR MERILLES
TRANSFORMATION FROM PROGRAM TO
SCHEMATIC DESIGN
• This transformation from program to
schematic design is only one of the vast
numbers of paths that could have been
taken.

• By understanding the intent of the

diagrams at each stage, we ensure that
options remain open, rather than lock
into one form too early.

• Most designers will agree that designing

is not a “clean” process; in other words,
it is not automatic, even-paced,
directional, orderly, or rational.

AR. MAY MARICAR MERILLES

TRANSFORMATION FROM PROGRAM TO
SCHEMATIC DESIGN
• We would probably agree that it is
highly personal, discrete while holistic,
sometimes very clear and sometimes
quite obscure, sometimes rapid and
sometimes painfully slow, exciting and
also tedious.

• In short, it is very human rather than

mechanistic.

• And that is why so many of us are so

passionately hooked on designing.

AR. MAY MARICAR MERILLES

Block Plans

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Block Plans

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Schematic
Floor Plan

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Schematic design

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Design Development (30-35%)

•Approval from customer on schematic design has been given.

•Construction Documents
• Floor plan
• Elevations
• Sections
• Furniture and finish plans
• Power and Communication Plans
• Lighting, Reflected Ceiling Plan

•Write Bid Specifications

•FF&E Spec Book

•Work with other professionals

• Electricians
• Structural engineers
• Mechanical engineers

AR. MAY MARICAR MERILLES

Dimensioned Plan

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Reflected Ceiling Plan

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Sections and Elevations

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Finish Schedules

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Design Development Rendering

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Design Development Rendering

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Contract Administration
(5-15%)
• All design decisions become
reality – most rewarding of the
phases.
• Orders are placed.
• General contractor,
subcontractors begin building,
installing products.
• Coordination is critical in order
for subs not to interfere with
each others work.
• Site visits become regular to
check quality and to stay on
schedule.
• Punch list is established.
• Furniture is installed.

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Evaluation
• Follow-up on job to measure the
success of the products specified.
• How effective was the design?
• Did it meet the needs of the
customer?
• Are the products specified holding
up?
• Post Occupancy Evaluation
(POE) provides the professional
designer with the information
needed to evaluate and measure
a successful or unsuccessful
design

AR. MAY MARICAR MERILLES

Thank you very much

AR. MAY MARICAR MERILLES

REFERENCES

CENTER, J. R. (2017). ALE Reviewer.

Ching, F. D. (2015). Architecture Form, Space, and Order Fourth Edition. Jonh Wiley
&Sons, Inc.,Hoboken , New Jersey.
Designers, P. I. (n.d.). Retrieved from https://www.piid.org.ph/index.html
Harwood, B. (1991). Comparing the Standards in Interior Design and Similarities and
Differences. Journal of Interior Design, 5-18.
Narang, K. ( 2018, October 16). Career Spotlight. Retrieved from Mindler blog:
https://www.mindler.com/blog/architecture-vs-interior-design-differences/
The Architecture Act, Republic Act No. 9266 (Congress of the Philippines March 17,
2004).

AR. MAY MARICAR MERILLES