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HOW ARCHITECTS THINK
KEY WORDS
This was achieved by using an experienced architect and blindfolding him during the act of design. The results achieved clearly indicate that he was able to use mental imagery to assist him in the design.
INDEX:
The purpose of the experiment was to study the role and potential of mental
imagery in the design process, to examine whether mental imagery can enrich
the design process. Also to study the advantages and disadvantages of using,
only mental imagery as a feed back while designing, in absence of other media
viz. sketching.
The previous experiment 1 conducted on product designers established
the fact that mental imagery can be used to do complex modelling tasks and taking
formal design decisions. In comparison to industrial design, architects deal
with much larger volumes and spaces. These spaces cannot be worked from exteriors
only. The study was designed to ascertain the role mental imagery plays while
taking decisions on interior and exterior space simultaneously in absence of
sketching (which is an important tool in architectural design)
The subject chosen for the experiment was an architect in his mid fifties. He has been practising architecture for the past 30 years. We shall refer to him as VS. He was given a problem of designing a motel on a highway for 18 rooms of mixed type with ancillary facilities (see Appendix 1). The problem was supplied in terms of textual material and drawing (details of introduction of problem given later). An architect, amongst the experimenters framed the problem.
The study was done to observe the role of mental imagery in the problem solving. The study uses protocol analysis technique with audio-visual recordings. The design problem and environment was recreated to match the needs of real life design situation as much as possible.
Mental imagery is a personal experience. There are no outward signs, which
a camera can catch consistently. Measures were taken to access this imagery
without being too intensive in the problem solving process. The subject was
made to rely on mental imagery by depriving him of sketching, which offers a
visual and kinaesthetic feedback to the subject.
SEQUENCE AND STAGES OF THE EXPERIMENT
Stage 1
VS was asked to read the design brief supplied to him. The design brief contained textual description of the site, surroundings, topography and functional requirements (from 00:00:00 to 00:02:28*). VS was asked to repeat the requirements and details after memorising them, till he got the content right. The experimenter, (who was well acquainted with the problem), made clarifications and additions on the missing information. This part lasted from 00:02:29 to 00:09:23. He was then supplied with the scaled drawing depicting the site, topography and surroundings. VS had to memorise the drawing & describe the site. The experimenter added the missing information and details. This process was repeated till VS was able to recall all the details of the site. (This part of the stage 1 lasted from 00:09:40 to 00:13:20).
Stage 1 took 13 minutes 20 seconds in totality.
Stage 2
VS was asked to solve the problem blind folded. He had to speak aloud, as he proceeded with the problem solving. He had to retain the eye mask throughout this stage. VS had to rely on his mental imagery, as he could not sketch, to develop his ideas. This stage could be divided further into two sub units viz.
2a) General planning- allocation of spaces, site planning of the building.
(00:14:02 - 00:21:50)
2b) Fine-tuning - Detailing of surface treatment, fixing dimensions, interiors
etc. (00:22:00 - 01:02:36)
During the second stage he discovered some problems (detailed later in this paper) which he solved by altering the decisions taken in the first sub unit. Questions were asked by experimenter to help him details the attributes which he forgot to mention. Some of these details were visualised of but not mentioned and some questions appeared entirely new, which he did not think about.
The whole stage 2 lasted from 00:14:02 - 01:02:36.
Stage 3
The subject was asked to finally describe the idea before the eye-mask was
removed. During this process he again made minor modifications. The process
lasted from 01:03:07 - 01:10:25.
Stage 4
After VS was clear about the design, he was asked to sketch the solution rapidly.
He was instructed to inform of any additions to the sketch made, besides what
he visualised while sketching (he did not add any element besides what he visualised).
The sketching & simultaneous discussion lasted from 01:11:35 to 01:24:26.
Stage 5
After the description he was shown the video recording of the session to comment on where ever he had instances of mental imagery. The process lasted for two hours precisely. (00:00:00 - 2:00:00 replay time)
* - All time stamps are from the play session unless mentioned otherwise.
The paper is based on analysis of the protocols. The experiment was analysed from the point VS had read the textual brief (00:09:23).
Entire session was video recorded which not only contained all the decisions that he took while developing his ideas, but also the final description of his solution, narrated before the eye mask was removed.
Results showed that the features and details he shows in his final sketches were decided during the stage he was wearing a mask. His final description as well as his think aloud referred to all the decision suggesting that VS had worked everything in his images.
There are certain areas in planning, where his approach remained only at a conceptual level or alteration of specific spaces. (E.g. Service area and its overall appearance). He does not go into details of this area in his think aloud protocols nor in his final sketch. He probably treated this as 'routine' matter to be worked out in detail later, but never reached the stage. Thus some areas like kitchen, service yard, general toilet remained as space allocations only.
The experiment was designed in a fashion to ensure that the details are not added while sketching the solution at the end. The description of design solution was video recorded and the verbal record was used to cross check. To ensure that he did not miss any details while sketching the video record of his gestures and verbal description was recorded.
The entire process depicts the non-linearity and incremental nature of the
design process. The process is analysed on the basis of the following factors.
The incremental nature of problem solving was evident throughout the process. Although he was unable to sketch, VS was able to retrieve images later and details, and move ahead. For example he was able to conceive the details about the room first then, moved ahead with other features, then come back to the room and added details.
00:20:20- I am not visualising anything to go on g + 1 up (thinking about mass of the rooms)
00:22:41- Stone wall, Mangalore tile roofs, and lot of wood. I'd like to use glazing...(Visualising general image of the rooms)
00:32:11- Vertical walls are stone and horizontal finished materials (Finalising detail of finishes)
00:34:30- Each unit has a small lawn, sitting space, individual maybe shared for sufficient privacy. (Detailing out landscaping)
00:37:40- There is variation in height, I can have glazing on south side. (Resolving climatic issues)
00:49:34- Windows are same wood only, low sill wooden windows (detailing elevations)
Similarly he handles other spaces like dining hall, entrance lobby and parking.
VS starts the design process by talking about lawn (00:15:13) which was triggered
by the Banyan tree. From here he switches to service areas and kitchens (00:16:00)
and allocation of spaces.
This is quite unlike of the usual hierarchy of planning spaces. He proceeds
forward with the general image of the motel (00:22:17). After he is sure about
the general image he proceeds to detail the rooms and its treatment (00:22:41).
VS then details circulation requirements in the site (00:27:05 - 00:27:42).
He comes back to the room to detail privacy and climatic issues (00:34:30 -
00:35:25) and landscapes. From here he switches back to the site level climatic
control and details high walls, trees etc (00:35:40 - 00:36:11). VS details
the site again for circulation (00:43:46, 00:46:29) then switches back to interiors
(00:49:39, 00:52:05, 00:54:29). These instances suggest the non-linearity in
the design process relying on mental imagery.
Detailing and Aesthetic Issues
Mental imagery can prove a vital tool in dealing with aesthetics and detailing. The rapidity, flexibility and volatile nature helps to handle these issues with much ease than sketching does. Treatments and details can be imagined, modelled and changed at a very high pace. For example, immediately after allocation of spaces he proceeds to develop an image for the whole building. The image emerging in his mind stays the same till the end.
00:21:23 - I am visualising sloping roofs and not flat surfaces...
00:22:12 - Stone wall, Mangalore tile roofs, and lot of wood. I'd like to use glazing...
After resolving the general image, which had fascination for stone and Mangalore
tiles he tries to resolve the interiors. The first image of stone and tiles
influence his details all the time. Even in the treatment of rooms (00:22:41)
dining hall (00:47:40) the stone treatment finds place repeatedly (00:55:00).
Most of these issues are being planned at the grand level as space allocations.
But in some parts he switches back and forth to view from the top (birds eye
view) to resolve issues.
00:38:10 - Roof profile I am visualising is different. Smaller roof but sloping. There is a valley and then there is a corridor to collect rainwater. There is variation in height. I can allow light from the south....
00:57:48 - There are vertical links in corridor, where the changes (in level)
will happen...
When inquired about the interiors of the dining VS responds by
00:47:40 - decorate it with hangings, crafts...
He later informed (in the replay) that these details about interiors were triggered
by an image of high walls of a fort and banners, crafts etc.
It was interesting to watch the decisions being made on the colours and textures of pavement surfaces.
00:50:00 - General areas are red stone...Kota stone for services...would use the same orangish stone, as I've used in Prithvi (previous work) for flooring...
He was also to resolve privacy and related issues at various levels and was clear about the image, although details of placement were not clear many a times.
00:34:30 - Porch (actually a sit out on the backside of room) for sufficient
privacy...lawn can be shared...but porch cannot.
00:36:11 - Add trees to cut the noise...
Here he had trees in mind looking from highway but not clear about how they
will be seen from inside.
Changes In Shape and Form
Mental imagery was used as a potential tool to develop and change built forms
with great ease and speed. VS used it as a part of exploratory moves and reflected
upon them in imagery.
00:19:31- Its not necessary for me to go G+1, I can spread everything on the ground.
00:20:41- I am not going G+1
00:21:13- If some area is left it can go up... no, no I am visualising sloping roofs and not flat surfaces.
While detailing things he could change his initial imagery to suit his new requirements, like he changes from clusters to pair of rooms
00:26:10- Everything has to go inside the plot! My first image of Banyan tree as a part of the lawn has to change. The lawn has to shift more on left-hand side. The service entry will be on the extreme side. The volumes also changes with the enrichment of the design.
00:30:20- What is emerging is "T" and not a rectangle.
VS is also able to visualise sun which do not picture in the site immediately.
00:32:34- You'll get sun on the south side (He evaluated that he will get shadow in the courts, which was conflicting to his initial images)
In the final description he changes his design. While walking towards the building in his imagery he finds the gable of dining hall disturbing and changes the front elevation.
1:05:04- I am visualising an octagonal roof.
One would expect excessive usage of gestures as the subject was blindfolded.
On the contrary the subject except for the initial part of site description
refrains from usage of gestures. (Contrary to the experiments done on Industrial
designers: Athvankar). The gestures are usually limited to talking gestures
and don't have spatial accuracy with them (00:02:50). In fact the subject refrains
from using gestures and sits with the hands folded.
Since only one architect was studied it cannot be generalised.
The subject was biased on certain notions or had pre conceived notions, which affected his thought process. He assumes north to be closer to him (and south away, contrary to standard practice in drawing where north is away from the viewer). This was based on his knowledge of geography (Goa being south of Bombay). He corrects this after viewing the drawing.
He is continuously visualising for the initial part of the experiment that lobby is biggest and reception and dining are attached spaces. This is contrary to the requirements, but goes with his image, which is derived from a five-star hotel (00:08:35)
00:19:50- while assumes setbacks to be of 10m, which is derived from the grid
of 10m X 10m drawn on the drawing supplied.
Unpredictable elements in imagery:
00:47:40 - decorate it with hangings, crafts... (Sketch 5)
He later informed (01:47:28 Replay Time) that these details about interiors
were triggered by an image of high walls of a fort and banners, crafts etc.
The origin of this image was unexplained. It was assumed that stone walls or
previous visits to forts could've triggered these. Another possible bearing
for the use of stone walls could be his previous conservation works in hills
where stone and wood are predominant building materials.
00:58:56- the dining is floating... (plinth is set inside, sketch 4)
VS added in the replay (01:48:00) that he had an image of a swimming pool in
mind which was the basis of this decision.
He could not explain the basis for this imagery. Swimming pool wasn't a part
of the design requirement.
VS is continuously visualising his design in a sunny environment. He continuously refers to light coming in through the windows in the room, across the court and in the dining room.
01:19:33 replay time- It was a sunny day, the stone was already there, greenery...
Mental imagery was used as a potential tool to change forms with great ease and speed. VS used it to change his moves after reflecting upon it.
00:19:31- Its not necessary for me to go G+1, I can spread everything on the ground.
00:20:41- I am not going G+1
00:21:13- If some area is left it can go up... no, no I am visualising sloping roofs and not flat surfaces.
While detailing things he could change his initial imagery to suit his new requirements, like he changes from clusters to pair of rooms (00:39:30). He was also able to modify his decisions when countered with contradicting facts.
VS decided upon many attributes driven by imagery. He sees trees from the highway side but could not place them inside the plot.
00:36:11- my parking is there...plant the trees... to cut down noise.
VS while reacting to this statement in the replay says...
01:09:11 replay time- high walls, large trees & car parked below. From outside I saw the trees. From inside I visualised clean parking without the trees.
He visualises octagonal roof on the dining because he does not like the triangular gable roof.
01:56:14 replay time- initially roof was simple (simple triangular pitched
roof) then realised that there was a lawn in the front, so didn't want a triangular
wall in the front.
Since VS was working with mental imagery he was able to walk though his building, switch viewpoints, move from inside to outside with great ease and take design decisions.
00:37:10 replay time- I am inside the room looking outside at the lawn.
01:09:11 replay time- From outside I saw the trees. From inside I visualised clean parking without the trees.
01:37:40 replay time- I was walking in the corridor & toilet was blocking the view.
01:46:30 replay time- the level differences I saw from top.
He responded to the Banyan tree by placing the lawn around it. Similarly he had images of service areas near the railway track and also,
00:35:40 - Since there is a highway, the trucks passing in the night will be an inconvenience. I'll have a high wall there...
00:36:42 - On the nala side there is no mans land...since my entry is inside
I don't need a wall there...
Design of a motel
Site
Design a motel on the site located on the "Bombay Goa highway" in Chiplun village. The plot is approximately 3000 m2. It is a rectangular site as shown in the attached sheet.
The highway runs along the West Side of the plot. On the eastern side of the
plot a railway track runs parallel to the plot. There are farmlands on the north
side of the plot. On the south there is a fresh water nallah parallel to the
plot. Across the nallah are farmlands. Across the highway on the West Side there
is an industrial belt.
Constraints
1. Material should be locally available.
2. The height of the structure should not exceed g+1.
Climate
Hot humid. Heavy rains during monsoon.
| Guest Areas: Spatial requirements | Area in Sq. M |
| Reception | 15 |
| Lobby to convey the culture & essence of the region. | 30 |
| Double-bedded ac rooms with balcony | 5 X 25 |
| Single bedded ac rooms | 5 X 15 |
| Double-bedded non-ac rooms | 8 X 20 |
| Interaction spaces- lawn courts |
All rooms a have a toilet attached.
| Genreal Areas | Area in Sq. M |
| Kitchen with store | 20 |
| Dining room with bar for all the guests | 100 |
| Parking lot for 20 cars 5 buses | |
| Toilet facility for general visitors | 2 X 20 |
APPENDIX 2
Site Plan provided to the subject
Sketches done by him:
1. Athvankar U.A. Mental Imagery as a design tool. Cybernetics &Systems, vol. 28 No.1, 1997. Initially published in Proceedings of 13th European meeting on Cybernetics & Systems. Ed. Robert Trappe, Austrian Society of Cybernetic Studies & University of Vienna, Austria, April 19 -12, 1996, Vol. II Pages 382-387.
2. Ullman D.G. et.al. The importance of drawing in the mechanical design process. Computers & Graphics vol. 14 no. 2. pp 263-274, 1990
3. Michael E. The form of design process: a protocol analysis study. Design Studies vol. 9 No.2. pp 86-94. 1988.
4. Goldscmidt Gabriela. Serial Sketching: Visual Problem Solving in Designing. Cybernetics & Systems: An international journal, 23:191. Pp 191- 219. 1992
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| [ © Anshuman Singh 2002 | Last Updated- Sunday, 27 April, 2003 18:21 ] |
