Architectural Design Values - Wikipedia, The Free Encyclopedia

8/13/2019 Architectural Design Values - Wikipedia, The Free Encyclopedia

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5/14/13 Architectural design values - Wikipedia, the free encyclopedia

en.wikipedia.org/wiki/Architectural_design_values

Architectural design valuesFrom Wikipedia, the free encyclopedia

Architectural design valuesmake up an important part of what influences architects and designers when theymake their design decisions. However, architects and designers are not always influenced by the same values andintentions. Valueand intentions differ between different architectural movements. It also differs between differentschools of architecture and schools of design as well as among individual architects and designers.[1]

The differences in values and intentions are directly linked to the pluralism in design outcomes that exist withinarchitecture and design. It is also a big contributing factor as to how an architect or designer operates in his/herrelation to clients.

Different design values tend to have a considerable history and can be found in numerous design movements. Theinfluence that each design value has had on design movements and individual designers has varied throughouthistory.

Contents

1 Aesthetic design values1.1 Artistic aspects and self-expression1.2 The spirit of the time design value1.3 The structural, functional and material honesty design value1.4 The simplicity and minimalism design value1.5 The nature and organic design value1.6 The classic, traditional and vernacular aesthetics design value

1.7 The regionalism design value2 Social design values

2.1 The social change design value2.2 The consultation and participation design value2.3 The crime prevention design value2.4 The'Third world' design value

3 Environmental design values3.1 Green and sustainability3.2 Re-use and modification

3.3 Health4 Traditional design values4.1 The tradition based design value4.2 The design value of restoration and preservation4.3 The vernacular design value

5 Gender-based design values6 The economic design value7 The novel design value8 Mathematical and Scientific Design Values9 See also
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en.wikipedia.org/wiki/Architectural_design_values 2

10 Further reading11 References

Aesthetic design values

The expansion of architectural and industrial design ideas and vocabularies which took place during the last centuryhas created a diverse aesthetic reality within these two domains. This pluralistic and diverse aesthetic reality hastypically been created within different architectural and industrial design movements such as: Modernism,Postmodernism, Deconstructivism, Post-structuralism, Neoclassicism, New Expressionism, Supermodernismetc.[2][3][4]All of these aesthetic realities represent a number of divergent aesthetic values, in addition to differencein general values and theories found within these movements.[4]Some of the stylistic distinctions found in thesediverse aesthetic realities reflects profound differences in design values and thinking,[4]but this is not the case for astylistic distinctions, as some stylistic distinctions builds on similar thinking and values.

These aesthetic values and their diverse aesthetic expressions are to some degree a reflection of the developmentthat has taken place in the art community. In addition, more general changes have taken place in Western societiesdue to technological development, new economic realities, political changes etc. However, these diverse aestheticexpressions are also a reflection of individual architects and industrial designers personal expression, based ondesigners tendency to experiment with form, materials, and ornament to create new aesthetic styles and aestheticvocabulary. Changes in aesthetic styles and expressions have been, and still are, both synchronic and diachronic, adifferent aesthetic styles are produced and promoted simultaneously.[4]

A number of values which cannot be classified as aesthetic design values have influenced the development of theaesthetic reality, as well as contributed to the pluralistic aesthetic reality which characterises contemporaryarchitecture and industrial design.

Aesthetic Design Values, contains seven values.

Artistic aspects and self-expression

It is characterised by a belief that individual self-expressionor ones inner spiritual self and creative imagination,inner resources and intuitionshould be utilised and/or be the base used when designing.[5]These sentiments areclosely linked to a number of artistic values found in movements like Expressionism and the Avant-garde art. [6][7]

Thus, this design value is closely related to abstract forms and expression, personal creative liberty, elitism andbeing 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 shouldbe utilised when designing. The Spirit of the Times denotes the intellectual and cultural climate of a particular era,[8

which can be linked to an experience of a certain worldview, sense of taste, collective consciousness andunconsciousness.[5]Thus form expression which can be found, to some extent in the air of a given time andeach generation, should generate an aesthetic style that expresses the uniqueness related to that time.[9]

The structural, functional and material honesty design value
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Structural Honesty is linked to the notion that a structure shall display its true purpose and not be decorativeetc.[9]Functional honesty is linked to the idea that a building or product form shall be shaped on the basis of itsintended function, often known as form follows function. Material honesty implies that materials should be usedand selected on the bases of their properties,[10]and that the characteristics of a material should influence the formit is used for.[11]Thus, a material must not be used as a substitute for another material as this subverts the materialstrue properties and it is cheating the spectator.[12]

The simplicity and minimalism design value

This design value is based on the idea that simple forms, i.e. aesthetics without considerable ornaments, simplegeometry, smooth surfaces etc., represents forms which are both truer to real art and represents folkwisdom.[13][14]This design value implies that the more cultivated a person becomes, the more decorationdisappears. In addition, it is linked to the notion that simple forms will free people from the everyday clutter, thuscontribute to tranquillity and restfulness.[15]

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 provideinspiration, functional clues and aesthetic forms that architects and industrial designers should use as a basis fordesigns.[16][17]Designs based on this value tend to be characterized by free-flowing curves, asymmetrical lines andexpressive forms. This design value can be summed up in form follows flow or of the hill as oppose to on thehill.[17]

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.[5]

Implicit in this design value is the notion that if these formsare used, the public will appreciate a structures timeless beauty and understand immediately how to use a givenbuilding or product.[18]This design value is also linked to regional differences i.e. varying climate etc. and folklorecultures, which creates distinctive aesthetical expressions.[19]

The regionalism design value

This design value is based on the belief that buildingand to some degree productsshould be designed inaccordance with the particular characteristics of a specific place.[19]In addition, it is linked to the aim of achievingvisual harmony between a building and its surroundings, as well as achieving continuity in a given area.[20]In otherwords, it strives to create a connection between past and present forms of building. Finally, this value is also oftenrelated to preserving and creating regional and national identity.[21]

Social design values

Many architects and industrial designers have a strong motivation to serve the public good and the needs of the usepopulation.[22]Moreover, social awareness and social values within architecture and design reflect, to some degrethe emphasis these values are given in society at large.
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It should be noted that social values can have an aesthetical impact, but these aspects will not be explored as themain aesthetical impact found in design has been covered in the previous sections. Social design values are at timein conflict with other design values. This type of conflict can manifest itself between different design movements, buit can also be the cause of conflicts within a given design movement. It can be argued that conflicts between socialvalues and other design values often represent the continuing debate between Rationalism and Romanticismcommonly found within architecture and industrial design.[23]

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 andindustrial design.[24][25]This design value is closely connected and associated with political movements andsubsequent building programs.[26]Architects and industrial designers that are committed to the design value ofsocial change often see their work as a tool for transforming the built environment and those who live in it.[27]

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.[27]This valuis connected to a belief that user involvement leads to:

1. Meeting social needs and an effective use of resources.[27]

2. Influencing in the design process as well as awareness of the consequences etc.[27][28]

3. Providing relevant and up-to-date information for designers.[27][29]

The crime prevention design value

This design value is based on the belief that the built environment can be manipulated to reduce crime levels, [30]

which is attempted accomplished through three main strategies that are:

1. Defensible space.[31][32]

2. Crime prevention through environmental design.[32]

3. Situational crime prevention.[32][33]

The 'Third world' design value

This is based on an eagerness to help developing countries through architecture and design (i.e. a response to theneeds of the poor and destitute within the Third World).[34][35]This design value implies that social and economiccircumstances found in the Third World necessitate the development of special solutions, which are distinct fromwhat the same architects and industrial designers would recommend for the developed world.[36][37]

Environmental design values
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The 20th century has been marked by the re-emergence of environmental values within Westernsocieties.[citation needed]Concern for the environment is not new and can be found to a varying degree throughouhistory, and it is rooted in a number of perspectives including the aim of managing the ecosystems for sustainedresource 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 thepresent generation owes duties to generations not yet born.[18][38]

Environmental problems and challenges found in the 19th and 20th centuries led to a development whereenvironmental values became important in some sections of Western societies. It is therefore not surprising thatthese values can also be found among individual architects and industrial designers. The focus on environmentaldesign has been marked with the rediscovery and further development of many ancient skills andtechniques.[citation needed]In addition, new technology that approaches environmental concerns is also animportant characteristic of the environmental approach found among architects and industrial designers. Theserather different approaches to environmental building and product technology can be illustrated with thedevelopment of environmental high-tech architecture, and the more traditional environmental movement within isecological based architecture.[39]

Environmental technology, along with new environmental values, have affected development in cities across theworld. Many cities have started to formulate and introduce "eco-regulations concerning renewable resources,energy consumption, sick buildings, smart buildings, recycled materials, and sustainability".[39]This may not besurprising, as about 50% of all energy consumption in Europe and 60% in the US is building-related.[39]Howeverenvironmental 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

This value is based on a belief that a sustainable and/or environmentally friendly building approach is beneficial tousers, society and future generations.[40]Key concepts within this design value are: energy conservation, resourcemanagement, recycling, cradle-to-cradle, toxic free materials etc.[18][41][42][43]

Re-use and modification

This is based on a belief that existing buildings, and to some degree products, can be continuously used throughupdates.[44]Within this value there are two separate schools of thought with regards to aesthetics: one campfocuses 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.[45]

Health

This design value is based on the belief that the built environment can contribute to ensuring a healthy livingenvironment.[46][47]Built into this design value, are principles like: buildings should be freestanding; sites need to bdistributed to maximize the amount of sunlight that reaches individual structures.[46]Similarly, there is an emphasison health based construction and reduction of toxic emissions through selection of appropriate materials. [48]
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Traditional design values

Within both architecture and industrial design there is a long tradition of being both inspired by and re-use designelements of existing buildings and products. This is the case even if many architects and industrial designers arguethat they are primarily using their creativity to create new and novel design solutions. Some architects and industriadesigners have openly led themselves be inspired by existing building and products traditions, and have even usedthis 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 thistradition; this includes labels such as Classicism, Vernacular, Restoration and Preservation etc. In addition, asindicated in the previous section Classic, Traditional and Vernacular aesthetics, an important element of thistradition is to re-use and be inspired by already existing aesthetical elements and styles. However, the traditionalapproach also implies other aspects such as functional aspects, preserving existing building traditions as well asindividual 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.[49]Within this design value there are three main strategies

1. Critical traditionalist/regionalist i.e. interpreting the traditional typologies and templates and applying them in

an abstracted modern vocabulary.[50]

2. Revivalists i.e. adhering to the most literal traditional form.[50]

3. Contextualists who use historical forms when the surroundings demands it.[50]

The design value of restoration and preservation

This is based on a commitment to preserve the best of buildings and products for future generations.[45][51]Thisdesign value tends to represent restoring a building or product to its initial design and is usually rooted in three

perspectives.[52]These are:

1. An archaeological perspective (i.e. preserving buildings and products of historical interest).[51]

2. An artistic perspective i.e. a desire to preserve something of beauty.[51]

3. A social perspective (i.e. a desire to hold on to the familiar and reassuring).[51]

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 ofmodernity.[53][54]The design value of Vernacular includes key concept such as:

1. Reinvigorating tradition (i.e. evoking the vernacular).2. Reinventing tradition i.e. the search for new paradigms.3. Extending tradition i.e. using the vernacular in a modified manner.

4. Reinterpreting tradition i.e. the use of contemporary idioms.[55]
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Gender-based design values

This design values is closely linked to the feminist movement and theory developed within the 19th and 20thcenturies.[56][57]Design values based on gender are related to three tenets found in architecture and industrialdesign,[58]which are:

1. Gender differences related to critique and reconstruction of architectural practice and history.[59]

2. The struggle for equal access to training, jobs and recognition in architecture and design.[59]3. The focus on gender based theories for the built environment, the architectural discourse, and cultural value

systems.[59]

Designers that adhere to the Design values based on gender typically have a focus on creating buildings that do nohave the same barriers that children, parents and the elderly experience in much of the built environment.[57]It alsoimplies a focus on aesthetics that are deemed to be more 'feminine' than the 'masculine' aesthetics often created bymale designers.

The economic design valueMany architects and industrial designers often dread the financial and business side of architecture and industrialdesign practice, as their focus is often geared towards achieving successful design quality rather than achievingsuccessful economic expectations.[60][61]

This is the basis for a design value that can be characterised as 'voluntarism' or 'charrette ethos'. [62]This value iscommonly found among practising architects and designers. The 'volunteer' value is founded in the belief that goodarchitecture and design requires commitment beyond the prearranged time, accountants budget, and normalhours.[63]Implicit in the 'volunteer' value are elements of the following claim present:

1. Best design works comes from offices or individual designers which are willing to put in overtime (sometime

unpaid) for the sake of the design outcome.[63]

2. Good architecture and design is rarely possible within fees offered by clients.[63]

3. Architects and designers should care enough about buildings or products to uphold high design standards

regardless of the payment offered.[63]

The 'volunteer' design value can be seen as a reaction to and a rejection of the clients influence and control overthe design project.

The novel design value

It is common within contemporary architecture and industrial design to find emphasis on creating novel designsolutions. This emphasis is often accompanied by an equally common lack of emphasis on studying of theappropriateness of any already existing design solution.[64]

The novel design value has historical roots dating back to early design movements such as Modernism, with isemphasis on starting from zero.[65]The celebration of original and novel design solutions is, by many designersand design scholars, considered one of the main aspects of architecture and design. This design value is often
http://en.wikipedia.org/wiki/Architectural_design_values#cite_note-65http://en.wikipedia.org/wiki/Modernismhttp://en.wikipedia.org/wiki/Architectural_design_values#cite_note-64http://en.wikipedia.org/wiki/Architectural_design_values#cite_note-CUFF-63http://en.wikipedia.org/wiki/Architectural_design_values#cite_note-CUFF-63http://en.wikipedia.org/wiki/Architectural_design_values#cite_note-CUFF-63http://en.wikipedia.org/wiki/Architectural_design_values#cite_note-CUFF-63http://en.wikipedia.org/wiki/Architectural_design_values#cite_note-62http://en.wikipedia.org/wiki/Architectural_design_values#cite_note-61http://en.wikipedia.org/wiki/Architectural_design_values#cite_note-60http://en.wikipedia.org/wiki/Architectural_design_values#cite_note-WEISMAN-57http://en.wikipedia.org/wiki/Architectural_design_values#cite_note-MORTON-59http://en.wikipedia.org/wiki/Architectural_design_values#cite_note-MORTON-59http://en.wikipedia.org/wiki/Architectural_design_values#cite_note-MORTON-59http://en.wikipedia.org/wiki/Architectural_design_values#cite_note-58http://en.wikipedia.org/wiki/Architectural_design_values#cite_note-WEISMAN-57http://en.wikipedia.org/wiki/Architectural_design_values#cite_note-56


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manifested through the working methods of designers. Some architects and designers with their emphasis on thebig idea will have a tendency to cling to major design ideas and themes, even if these themes and ideas are faced

with insurmountable challenges.[66][67][68]However, the emphasis on design novelty is also associated withprogress 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 thedebate in architecture, focusing on whether buildings should harmonize with the surroundings in that they aresituated in or not.[69]Equally is the debate where architecture should be based on traditional topology and designstyles i.e. classical and vernacular base architecture or if it should be an expression of its time. The same issues areindicated within the industrial design domain where it has been debated if retro design should be accepted or not agood design.

Mathematical and Scientific Design Values

A movement to base architectural design on scientific and mathematical understanding started with the early workof Christopher Alexander in the 1960s, Notes on the synthesis of form. Other contributors joined in, especially ininvestigations 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 bAlexander summarizes his most recent results. An alternative architectural theory based on scientific laws, as forexample A Theory of Architecture is now competing with purely aesthetic theories most common in architecturalacademia. 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 factverify 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 theinteractivity 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 understandinfor the need for ecological design. An extension of the biophilic phenomenon into artificial environments suggests acorresponding need for built structures that embody the same precepts as biological structures. These mathematicaqualities include fractal forms, scaling, multiple symmetries, etc.. Applications and extensions of Wilson's originalidea are now carried out by Stephen R. Kellert in the Biophilia hypothesis, and in by Nikos Salingaros and others the book "Biophilic Design".

See also

Architectural designerArchitecture for HumanityDigital morphogenesisGreen buildingLow-energy house

Passive coolingPassive housePassive solar building designSustainable architecture

Further reading
http://en.wikipedia.org/wiki/Sustainable_architecturehttp://en.wikipedia.org/wiki/Passive_solar_building_designhttp://en.wikipedia.org/wiki/Passive_househttp://en.wikipedia.org/wiki/Passive_coolinghttp://en.wikipedia.org/wiki/Low-energy_househttp://en.wikipedia.org/wiki/Green_buildinghttp://en.wikipedia.org/wiki/Digital_morphogenesishttp://en.wikipedia.org/wiki/Architecture_for_Humanityhttp://en.wikipedia.org/wiki/Architectural_designerhttp://en.wikipedia.org/wiki/Nikos_Salingaroshttp://en.wikipedia.org/wiki/Biophilia_hypothesishttp://en.wikipedia.org/wiki/E._O._Wilsonhttp://en.wikipedia.org/wiki/Biophilia_hypothesishttp://en.wikipedia.org/wiki/A_Theory_of_Architecturehttp://en.wikipedia.org/wiki/The_Nature_of_Orderhttp://en.wikipedia.org/wiki/Spatial_analysishttp://en.wikipedia.org/wiki/Space_syntaxhttp://en.wikipedia.org/wiki/Notes_on_the_synthesis_of_formhttp://en.wikipedia.org/wiki/Christopher_Alexanderhttp://en.wikipedia.org/wiki/Architectural_design_values#cite_note-69http://en.wikipedia.org/wiki/Architectural_design_values#cite_note-68http://en.wikipedia.org/wiki/Architectural_design_values#cite_note-67http://en.wikipedia.org/wiki/Architectural_design_values#cite_note-66


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Bartlett School of Planning, University College London.A bibliography of design value for TheCommission for Architecture and the Built Environment

(http://www.cabe.org.uk/AssetLibrary/2205.pdf)Holm, Ivar (2006).Ideas and Beliefs in Architecture and Industrial design: How attitudes,orientations, and underlying assumptions shape the built environment. Oslo School of Architecture anDesign. ISBN 82-547-0174-1.[2](http://www.aho.no/Global/Dokumenter/Forskning/Avhandlinger/Holm_Ideas_and_Beliefs.pdf)

BIOPHILIC DESIGN: THE THEORY, SCIENCE AND PRACTICE OF BRINGING BUILDINGS TOLIFE, edited by Stephen R. Kellert, Judith Heerwagen, and Martin Mador (John Wiley, New York, 2008)ISBN 978-0-470-16334-4LERA, S. G. (1980).Designers' values and the evaluation of designs. PhD thesis, Department of DesigResearch. London, Royal College of Art. [3] (http://www.eclipse-research.co.uk/Academic%20journals/Lera-PhD-thesis.pdf)THOMPSON, I. H. (2000).Ecology, community and delight: sources of values in landscapearchitecture. London, E & FN Spon. ISBN 0-419-25150-2.

References

1. ^Holm, Ivar (2006).Ideas and Beliefs in Architecture and Industrial design: How attitudes, orientations, andunderlying assumptions shape the built environment. Oslo School of Architecture and Design. ISBN 82-547-01741.[1] (http://www.aho.no/Global/Dokumenter/Forskning/Avhandlinger/Holm_Ideas_and_Beliefs.pdf)

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