THE PROCESS OF SPACE ORGANIZATION

The difference between the architecture of today and that of yesterday is profound and
significant. It is the result of a new approach made possible by changing social conditions and
advances in Technological contributions. Architecture no longer belongs to the past, but instead
to the present and future. In the past, there was no freedom in planning since the designers only
think of superficial details. The inflexibility say, of the Renaissance exterior exerted a definite
influence on interior arrangements. The regular spacing of symmetrical windows dictated the
location of walls which separated important rooms.

SPATIAL - relating to or occupying space.

SPATIAL - relating to or occupying space.

Spatial organization in architecture is fundamental in creating a composition as it brings

together different shapes and forms and provides a cohesive structure to the design. The
interlocking spatial relationship is the ultimate result of the overlapping of two volumes and the
output of shared space

The patterns of spatial structure can be classified into three types: contiguous structure
discrete structure and integrated structure that combine both.

Contiguous structure means two structures that share a common wall or floor.

Discrete structure- a set of distinct elements on which certain operations are defined.
Integrated structure is a comprehensive holistic approach to design which brings together
specialization usually considered separately. It attempts to take into consideration all the factors
and modulations necessary to a decision making process.
SPACE TO SPACE RELATIONSHIPS
1. SPACE WITHIN A SPACE
A large space can have a smaller space within its volume and of the two larger space helps in
defining the boundaries for the smaller space inside it.

With a big open plan it might be interesting

to think about the interior architecture of
the room and create a space within a
space. There are numerous advantages to
such a concept. Obviously, it helps to
clearly divide the room for different
functions. It can also provide a focal point
and add interest to an open space. What
we love most about this example is how
they use a different material for the outer
walls and this contrast really enhances the
feeling of a room within a room.

2. INTERLOCKING SPACE
The interlocking spatial relationship is the ultimate result of the overlapping of two volumes
and the output of shared space.
CONCEPT: INTERLOCKING SPACES
 The spatial fields overlap the volume of another space.
 When two spaces interlock each retains its identity and definition as a space.
 The interlocking portion of the two volumes can be shared equally by each plane
 The interlocking portion can develop its own integrity as a space that serves to link the two
original spaces
 One space flows into the larger volume space of which also becomes part of the outdoors

INSPIRATION: WEAVE BASKETS

South Africa is famous for its tightly woven Zulu baskets. These hand woven African baskets
are a true art form and are functional, beautiful and decorative as well as a testament to fine
weaving skills. Zulu baskets are considered some of the most collectable baskets in the world.
Master Zulu weavers are published and collected worldwide. Weaving can be a personal activity,
but usually it is a social activity, with all women in a given community collecting and preparing
materials and weaving as a group, talking and having a good time. This penthouse is a
representation of a weave basket, a true form of art, functional, beautiful, a prized
collectable item, a space of gathering for personal activity and social activity where a
group can talk and have a good time. Every space interlocks with each other the same way a
weave basket is tightly woven by hand, clearly defining the weaving skill.
METHODOLOGY
In order to Identify a problem. solving it through analysis, and then evaluating the solution; there
should be an 0 R GA N I ZA Tl 0 N. This process can help you save time, make better use of
your time and know what you do with your time ... It can also tell you what you should be doing.

Methodology or the systematic method of problem solving, builds upon the concept by
helping to make the best use of the design tools acquired in creativity. Methodology involves the
systematic breakdown of a body of knowledge into its workable parts. When faced with a
complex, multifaceted problem, a methodical person will solve that problem methodically, or in
steps. He or she will dissect and attack the problem in a logical order. This is similar to eating
food one piece at a time and not swallowing the whole piece at once.

DESIGN METHODS AND DESIGN TOOLS

The Design fields thrive on problems. It takes many forms and pervades many professions, and
it is from· some of these professions, particularly science and engineering that designers have
adopted much of their systematic methodology. But why use a method when solving a
design problem, especially since people in design are supposed to be creative and
unconfined in their thought.

In the important concept of creativity, there was a word "lmagineering" which means that you
let your imagination soar and then engineer it back to reality, and achieve a [Link]
Brainstorm without recording your thoughts can be a waste of time. You may forget
some valuable ideas. Challenges that you undertake are complex, no matter how simple
they at first may appear to be. It is worthwhile to investigate all aspects of them so that
you know their scope and your actual goals.

DESIGN TOOLS
1. Restatement
This is a statement of the problem that you, the designer will have to resolve. It may take the
form of your initial contact with the client, in which you learn what he or she thinks should be
done. However, sometimes what the client perceives as being the problem, in fact, may
not really be the problem.

Example : Client says "we don't have enough room for all of our good students." All we need
from you is a regular room for the kids to learn in- 30 desks, chairs, and a blackboard. Just tell
us where to put this room, order the furniture for it, and we'll do it.

2. Problem Statement
Although this is the second item on the list, you don't write the problem statement until after you
have determined the problem. First proceed to step 3 and gather "information" and then you can
state the true problem.

Example: The school needs a space in which low-achieving students will feel motivated to learn
and investigate . It should be away from unnecessary environmental distractions but near the
other classrooms and students. The area should support a variety of classroom activities,
including lectures, group discussions, and physical activity. Flexibility is highly desirable.

3. Information
This is the exhaustible stage at which you uncover all of the details that relate to your problem.
This is the point at which you do the research: reading, observing and scrutinizing. At the stage
you meet the people involved in the project, observe them, talk to them, and sometimes, get to
know them. Record all of the information you will eventually use from:

a. Literature: record, document. and preserve all information that you discover from written
materials books, magazines, etc.
b. Experienced persons: ask verbally or unite anyone who can provide information to help
your cause.
c. Observation: Your own personal observation of the present situation is essential
in personalizing and validating your data. It provides you with intimate views of what your
problem entails. Personally observing individuals, corporations and the subtle differences in
projects, will enrich your information data .
Examples:
1. Good colors for concentration are pastel yellow, pink, green and blue.
2. Small group discussions and lectures will occur in the space.
3. Outside distractions, such as noise, are undesirable.
4. Twenty-six students will be accommodated.
5. Carpeting will help cut down on noise.
6. Strong contrasts of colors will enliven the space.
7. Free space will add flexibility for furnishings and classroom activities.
8. The atmosphere must be conducive to learning.
9. The students are usually unmotivated toward learning.
10. Special Teaching aids are necessary to attain student interest.

4. Analysis
After completion of information search. You can begin to analyze your data. This is a 'Think
Stage" and so do not conceptualize the total solution here. You should be thinking about the
situation-in parts (Methodically), which you can later arrange into the order that you determine to
be best.

Getting back to the solution of the problem, remember to approach it in stages, a little at a time.
Begin by looking back at the information you collected. Pull out several items that are related
and form them into a group. This will become a "partial solution", which is actually the solution to
one part of your problem.

After itemizing all information, search for all commonalities. Find several items in the list that
seem to be similar in some way. Then compose a unifying statement that incorporates these
individual statements to form the partial solution. Continue this process until you feel you have
formulated a solution for every aspect of your problem.

Next, on the partial solutions, look again for commodities and call them "combined solutions",
which are actually verbal description of the final decision you have made for a major aspect of
that problem, if the problem entails more than one part. If it does not, then the combined
solution will be the final project solution but only verbally.

Example:
Partial Solutions
1. Carpeting should be placed where lectures occur so that the space will be quieter.
2. Strong color contrasts should be used where discussions will occur.
3. Audiovisual aids should be placed where the entire class can benefit from them.
4. Audiovisual aids that can be operated individually by each student should be provided.

5. Synthesis
Combined Solutions
Two classroom sections will be created: one for small group discussions will utilize contrasting
color schemes; a lecture space will be painted a pastel color. For acoustical purposes, the entire
space will be carpeted. Venetian blinds, allowing for light and visual control of the outside
surroundings, will be installed at the windows. Audiovisual aids and other teaching aids will be
available throughout the space for individual and group use.

The conceptualization of your project's solution in a graphic manner. Now you can make your
visual materials and show what the final product will be. This is the point at which you actually
layout spaces, select furnishings, finishing and construction materials.

Examples:
All drawings, sketches, verbal descriptions, models, or other visuals that relate to the project
belong here.

6. Evaluation
The evaluation of a project may take place at different times. You may do it after the project has
been finished and has been in use for a while. By visiting the space then, you can very
effectively judge your result and make whatever changes are necessary. This technique is a
good one, because it allows you to change unsatisfactory aspects of the design. However there
is an extra expense to you.
The alternative is to check your design before the actual construction of the project. This type of
evaluation consists of a series of questions that you ask yourself, based on what you set out to
accomplish. In each project, there are specific objectives that you must satisfy. Ask yourself
questions based upon these objects. Should you answer " NO" to any of the questions, go back
and see what you can do to change your answer to a "YES". All yes answers will more than
likely mean that your solution will basically work. You should aim to minimize the number of
major changes that could occur due to oversight. To evaluate a project before it is constructed,
ask yourself questions similar in style to those examples listed below:

1. Does the space accommodate twenty six students in both physically active and sedentary [not
physically active] activities?
2. Is the space flexible?
3. Does the space contain a variety of teaching aids and areas?
4. Are outside destructions minimal?

In any given locality the height of buildings/ structures shall be governed by the following factors:

a. Population density: Consider both the present and projected density in the area.

b. Building bulk: For a given volume of buildings/structures, that which has.a lesser area of
ground coverage may be built higher than that of greater area of ground coverage.

c . Widths of streets: Provide for adequate light and ventilation and accessibility.

[Link] conditions and parking/loading requirements: Provide effective control of traffic and
adequate parking/loading facilities.

e. Provisions of land use plans and zoning ordinances.

f . Geological conditions: Consider soil characteristics, location in relation to fault lines and earth
quake belts and proximity of volcanoes.

g. Hydrological conditions: Consider the water table at the site and distance to waterways and
shorelines.

h. Meteorological Conditions: Consider the frequency and intensity of destructive typhoon

prevailing wind direction, relative humidity, amount of precipitation and the prevailing ambient.

i. Environmental conditions: Provide effective control of air, noise and thermal pollution. Promote
growth of vegetation. Optimize natural light and ventilation.

j. Availability and capacity of public utility/service systems: Consider the availability and
adequacy of electric power, potable and non potable water supply, drainage and sewerage,
transportation and communications facilities.

BUILDING /Design PROCESS

Successful! Conservation techniques have three aims:

1. To make the client both aware of conservation as one of many needs and willing to provide
the money to satisfy it.
2. To create a similar awareness in tr.e designer to include conservation as a design
consideration.
3. To ensure that the builder capably incorporates these determinations into the final structure.