How architects incorporate ESD criteria into the design process

This paper will seek to answer; "How do architects in Victoria incorporate Ecologically Sustainable Development (ESD) criteria into the design process?" For the purpose of this paper, "Ecologically Sustainable Development" is defined in line with the judging criteria used by the Royal Australian Institute of Architects for the 'Sustainable Architecture Award'. The RAIA states that (Maddison, 2003 p.7), "the goal of sustainable architecture is to achieve development that improves the total quality of life, in a way that maintains the processes on which life depends. The project assessment covers ecologically sustainable development and energy efficient design:' By researching exemplary building projects that have been awarded a Victorian Sustainable Architecture Award, this paper will enlighten a design methodology for the pursuit of excellence in ecologically sustainable development. Key elements in the design process will be determined by comparing and analysing the processes of different architectural practices. This will be achieved through the study of published literature on the award winning designs, qualitative analysis of interviews with the architects who designed the selected projects and quantitative analysis of questionnaires completed by the architects.

The ethics of sustainable housing design : the dilemma for practising architects

Globally wc arc grappling with the concept of sustainability. What does it mean and how should we respond to ensure that the planet's current ecosystems survive? Architects are in the 'front line' because of the impact of buildings on resource use and waste generation. Most definitions of sustainability are unhelpful because of their wordiness, lack of detail or ambiguity. Others distort the concept of sustainability to allow business-as-usual (i.e., unsustainable) activity to continue. Using one particular model of sustainability, this paper explores the ethical dilemma faced by architects in the residential sector when confronted by a client who wants a house that is clearly unsustainable. The paper begins with definitions of sustainability and ethics; then the literature examining sustainable architecture is reviewed for possible solutions to the dilemma. Two indicators are suggested to make a broad-brush assessment of sustainability. Finally, some practical options for the practising architect are suggested.

Architects and their clients : relationships analysis using habitus theory

The nature and quality of hte architect relationship is critical fror project success yet its managment remains problematic.  This interdisciplinary study draws theory from sociology to further our understanding of this built environment industry problem.  The concept of habitus, developed by french sociologist Bourdieu, helps to demystify the architect-client relationship and explain the underlaying cause of conflicts between architects and clients.  Habitus theory explains that the nature of architecture as a specialised activity places architects within an architectural habitus, distinguishing architects from clients who are not trained as professional architects.

Colourful language: researching architects' knowledge and use of colour

The development of architectural materials and technology is transforming the colour palettes and identities of cities by juxtaposing or replacing vernacular colours with global and often contextually meaningless colours. As Built Environment designers have significant roles in determining city colourscapes, it might be expected that th ese professionals have considerable knowledge. However, there is largely an absence of colour training in the majority of built environment degree programs. While colour has been studied in a broad range of disciplines, very few studies have focussed on architecture and even less on colour in architectural education. This paper reports on the early findings of research into what informs architect’s understanding and use of colour. Data was analysed from a survey of 33 practicing architects, academics and postgraduate students from Melbourne, Australia. The findings indicate that built environment designers see the need for increasing their colour knowledge. In line with previous studies, there was no evidence of correlations between gender and age, but findings suggest cultural differences in the level of colour education depending on country of architectural study. The wider research that this study is a part of ultimately aims to inform education around the use of colour in the built environment.

Comparing climate based daylight modelling with daylight factor assessment - implications for architects

This paper investigates two different daylight metrics, the commonly used daylight factor (DF) and the new IES approved climate based daylight modelling method (CBDM) IES LM-83-12 in comparison, with regards to their impact on the overall energy demand for heating, cooling and lighting as well as the optimum resulting window size. The assessment has been performed for a typical cellular office room in the climate of Athens, Greece. Different window to floor areas have been compared and the variations have been tested with and without an external overhang for North and South orientation and with an internal roller blind for the assessment of the Spatial Daylight Autonomy. The daylight factor (DF) assessment gives satisfactory results for almost all configurations. The IES LM-83-12 metric requires two criteria to be met, the Spatial Daylight Autonomy (sDA) and the Annual Sunlight Exposure (ASE). While the requirements for Spatial Daylight Autonomy are met for most configurations, the requirements for the Annual Sunlight Exposure are only met on the North façade.

Émigré architects and the Australian architecture establishment

The scholarship of émigré architects that arrived in Australia in the period between 1930 and 1960 has focused on developing an understanding of individual architects and their particular contribution to the discipline and profession integral to a dominant architectural historiography. Examination of how architects together form movements, aesthetic affinities, and attitudes about architecture generates an understanding of the collective dimension of the discipline, and the complexities of architectural production. Significant to the capacity of the individual émigrés architects were the opportunities gained firstly, through the network of the architecture profession and institution, and secondly with one another. On arrival, except for migrants from Britain, many émigrés faced a difficult path of migration and struggled to gain registration and thus employment in the architectural profession. What were the relationships between émigré architects and architecture’s institutional infrastructure – the institute, the university, and the profession? And how did this affect their experience of migration and resettlement, as well as their capacity for architectural production?

The etymology of a colourful design language: How do we determine what informs architect’s colour choices?

The development of materials and visualization technology is transforming the colour palettes of cities. As architects have significant roles in determining the appearance of buildings that contribute to city colourscapes, it might be expected that they have considerable colour knowledge. However, there is largely an absence of colour training in built environment education outside of interior design, meaning architects are likely making colour choices based on practical rather than theoretical knowledge. This prompts the question: what informs the architect’s colour choices? While colour has been studied in a broad range of disciplines, few studies have focussed on the built environment and even fewer on how and why built environment designers choose colours. This article explains the origins and development of a framework for understanding factors that influence architects’ uses of colour. The framework has informed a national survey in Australia to determine how personal and educational experiences have affected the use of colour.

Kerstin Thompson Architects : exploring affect in interior's sticky design process

Physical things influence emotions and feelings and can contribute to our sense that buildings and rooms are appropriately designed for their purposes. The sense of appropriateness extends, and is often noticed, through the pre-emotive effect of a structure’s shapes and dimensions. In interior discourse the relationship between the physical and pre-emotive is indicated with various terms (such as “affect”) and the design process of achieving appropriateness in objects and affect can be termed “stickiness”. In this paper we extend Sara Ahmed’s characterization of affect as a sticky connective element, which allows objects and ideas to generate attachments with us. And we ask, how can we understand interior practices and design processes through the concept of affect – as sticky? We explore this question first by discussing affect’s stickiness, and second, by an empirical study of the design process of Kerstin Thompson’s Monash University Museum of Art. The specific project involves alternating design methods that Thompson uses: an intuitive hunch-driven process, and a more defined literary-driven process. Our interest is to consider how she shifts from one to the other so we can better understand interior practice and its design process through the concept of affect. Finally, we conclude by addressing how the study of affect contributes to our understanding of interior practice and its design process, and more significantly, how, in exchange, might interior practice offer to recent theories of affect. Interior practice as changeable, spatio-temporal and material processes offer potentially fertile ground to explore affect as mediating layer, bridging human and non-human forces.