A framework for Architectural Design — Part 2 of 2
Theme, Atmosphere and Narrative in Architecture
4 Conceptual Design Trajectory
Following a site study and collection of background information, the conceptual design sets the initial trajectory of the project response. The outcome of a project is highly influenced by this trajectory which is why the primary organizing principles must be considered. By establishing a theme, atmosphere, and narrative at the onset of the project, the design can flow along a specific trajectory. The framework for the design process sets forth an intention to set the trajectory but that can be modified and evolved during the design process as new information or discoveries are made. The three elements should not be a rigid constraint to the design process but keystones to guide the process, evolving along with the architecture. The conceptual design then manifests itself when the three elements are brought together harmoniously, and each part combines to create the greater whole.
1. Establish the theme as an idea that will be the soul of the project. The theme should not be overly complex and easily described in a few words. Be simple and use the abstract idea to unify the project through a single design language as well as to spatially form different spaces.
2. For each space and extended thresholds in the design, reveal a desired atmosphere. Deciding what atmosphere relates to the program will aid in developing the design. Atmospheres that generate emotions are often positive but there may be rare cases which want a negative connotation. The following is the beginning list of atmospheres directly related to architecture.
3. Write a narrative for the project which explains how the architecture relates to the site context and history. Explain the geological, climate, ecological, and human history of the site and the way in which occupants will interact and be impacted by the architecture. The narrative, as a concise description of the project, will evolve over the duration of the design process as may the theme and atmospheres when new discoveries are made. It should therefore be repeatedly reflected upon and updated as necessary.
The following three examples demonstrate such a framework applied at different project scales.
4.1 Ontario Park
Ontario Place is a former entertainment venue to the west of downtown Toronto along the lakeshore. It is a series of man-made islands built in the late 1960s and included an amusement park as Ontario’s response to Expo 67 in Montreal. It was promoted by the Province of Ontario through exhibits and was well enjoyed by families in its heyday. Nearly anyone who grew up in Ontario can recall fond memories at it’s water park, children’s play area, amusement rides and concert stage. Recently, declining attendance caused the government to close most of the venues and is facing development threats by Ontario’s provincial governments. This counterproposal imagines the site as a recreational park which represented Ontario’s landscape. The design leveraged the area’s glacial history as a land-forming engine to explore an abstraction of Ontario landscapes. The park represents the majestic bluffs, natural growth forests, tactile lakes and open vistas which define Ontario geography by re-naturalizing a man-made creation. The heritage structures are repurposed as thoughtful cultural centres while the exterior edge along the lakeshore is an exciting zone for active recreation. Through carefully citing each program and creating variable zones of recreation, nature, and cultural history, the park becomes a place to journey through time and space and to experience Ontario’s many landscapes and rich history.
4.2 In-between housing
The In-between housing project revitalizes a neglected Toronto neighbourhood by enabling next-door neighbours’ places to connect in unconventional transition zones. The journey from street-side to home apartment includes social moments and activity in-between programed spaces. The entrance to the site is a covered bridge that creates a compressed space and gateway which expands to the gap between housing blocks, reminiscent of a walking town street on a microscale. The vertical circulation towers bypass social amenities and arrive at each unit’s Japanese genkan style entrance which is an enlarged threshold. Within each unit the space between the LDK and the bedrooms is stretched to include a protected outdoor terrace and adjacent home office. By introducing social elements into each transition zone, the project generates moments of activity within each threshold.
4.3 Gradient of light
The East Harlem Youth Haven is a three-storey community centre and homeless shelter. The façade represents the opportunities and potential of the building for youth to reimagine themselves in a safe environment through ephemeral light and shadow. The façade employs a wavy board-formed concrete panel surface and wooden louvers in front of the windows using recycled and repurposed materials salvaged from the demolition of the site’s previously abandoned school. The undulating shape of the texturized panels changes daily forming a tactile material feeling and capturing warm hues at twilight. By incorporating a strong and soft material palette the façade both welcomes youth in and establishes a sense of protection.
5 Conclusion
The architectural design process is far from linear and comes in ebbs and flows. The intention of the outlined design framework is to propose an origins and design trajectory which follows a path towards an architecture that generates an emotional reaction through a spatial experience and gives meaning to the architecture and occupant through narrative. Architectural theory has been influenced by changing practices, religion, environment, materials, technology, and opinions. It is “the understanding and knowledge of architectural needs, society, life, and space, while design theory is mostly the knowledge and experience of what the architect can conceive and how to carry out architectural practice.”[i] These theories change over time and throughout cultures. The only constant is the intention to create a better world and to enhance people’s lives. Through the creation of experience, emotion, and a memorable sense of being it is hoped that architecture can convey a meaningful message to the world as well as the individual larger than the physical structure itself.
The examination of theme, atmosphere, and narrative as the three critical elements to the design process has established the basis for a method that sets an intended trajectory in the design process. The theme unifies the project through a single design language. The atmospheres elicit emotional reactions through moments in the occupants. The narrative tells a story by acknowledging the site’s history and gives meaning to the architecture by building a relationship to the occupant. These three elements set out at the initial conceptualization of an architectural project can set a design trajectory towards creating a spatial experience with emotional impact. With deliberate design, architecture can focus on the spatial experience and emotions. This will help construct meaningful buildings which improve lives providing enjoyment, comfort, and support both in the public and the private realm. In this way, architecture can hopefully manifest an idea of better living through the shaping of places in which we inhabit.
[i] Zhao, Xiang. Contemporary Japanese Houses . Mulgrave, Victoria: Images Publishing, 2018.
