2A

Schematic Design
introduction

116

narrative

118

activities - core*

128

activities - elective

130

Creating an Alternative System of Proportions

Creating an Alternative Floor Plan

*A maximum of 40 hours of core credit may be earned in this experience area.

exhibits
----

128
129

A Design with a Potential Problem

Self-Sufficient vs. Green Architecture
Reflections
Sustainable Design
Evaluation of Context and Precedent

130
131
132
133
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Schematic Design
Introduction
By completing the activities in this chapter, you will gain an understanding
of the activities involved in schematic design. The following information is
taken from the NCARB IDP Guidelines:
Schematic Design
Minimum Schematic Design Experience: 320 Hours
Definition: Involves the development of graphic and written conceptual
design solutions for owner/clients approval.

2A

Tasks
At the completion of your internship, you should be able to:
Develop design concepts, including site design
Prepare schematic design documents
Apply sustainable design principles
Apply historic preservation principles
Prepare presentation materials (e.g., models, renderings, drawings)
Develop project phasing plans
Knowledge Of/Skill In
3-D modeling
Adaptive reuse of buildings and/or materials
Alternative energy systems and technologies
Architectural history and theory
Basic engineering principles
Building design
Building Information Modeling (BIM) technology
Building systems and their integration
Computer Aided Design and Drafting (CADD)
Conflict resolution
Construction sequencing
Creativity and vision
Critical thinking (e.g., analysis, synthesis, and evaluation of
information)
Design impact on human behavior
Design principles
Designing and delivering presentations
Freehand drawing and design sketching
Graphic communication
Implications of design decisions (e.g., cost, engineering, schedule)
Interpersonal skills (e.g., listening, diplomacy, responsiveness)
Life safety
Manual drafting
Natural and electric lighting (e.g., daylight, solar control, energy
consumption)
Oral and written communications
Problem solving
Site design
Space planning

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resources
Download the current Intern
Development Program (IDP)
guidelines at www.ncarb.
org/Experience-ThroughInternships.aspx.

The American Institute of

Architects. Demkin, Joseph A.,
ed. The Architects Handbook of
Professional Practice. 14th ed.
Hoboken: John Wiley & Sons,
2008.
Chapter 12.2 - Design
Phases
The American Institute of
Architects. Demkin, Joseph A.,
ed. The Architects Handbook of
Professional Practice. 13th ed.
New York: John Wiley & Sons,
2001.
The American Institute of
Architects, The Architecture
Students Handbook of
Professional Practice. 14th ed.
Hoboken: John Wiley & Sons,
2009.
Chapter 7.3 - Design
Phases

Schematic Design
Knowledge Of/Skill In Continued
Spatial visualization and modeling
Sustainable design
Team building, leadership, participation
Universal design (environments usable by everyone regardless of limitations)
Vertical circulation

2A

notes

Take brief notes while reading the narrative and list key resources you used to complete the activities. Note
discussion outcomes from meetings with your supervisor, mentor, or consultants. When finalizing the activity
documentation (PDF), include your notes and the Emerging Professionals Companion activity description.

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Schematic Design
Narrative

2A

Schematic design is the first of the five increments of basic architectural

services defined in most AIA standard forms of agreement between owner
and architect. During schematic design (SD), the architect typically works
with the client and other project team members to explore alternative
concepts for addressing the clients needs. A preferred design direction
is selected for further exploration from these alternatives, and schematic
design typically ends with a presentation of the proposed design including
plans of each floor level, major elevations, outline specifications, a budget
estimate, and other information needed to clearly describe how the design
meets the clients project program and goals. The language used to
define this increment in the standard AIA contract form is quoted in the
accompanying sidebar.
Most of the examples of this process provided in this chapter have been
drawn from interviews with the design principals of firms that won the AIAs
Architecture Firm Award. This award is given annually to firms in which the
continuing collaboration among individuals has been the principal force in
consistently producing distinguished architecture for a period of at least 10
years.

Major Variables Affecting Design

The first step in schematic design is usually identification of major issues

that must be addressedat least at a conceptual level. Although every
project is unique, the following factors generally are the basis for most
project designs:
Program
The program sets out the core of the design problemthe project
objectives and the spaces and functional requirements to be
accommodated. Most programs are unique to a project and client and,
therefore, call for unique solutions.
Codes and Regulations
Regulatory constraints on design have increased steadily. Beginning with
simple safety requirements and minimal land use and light-and-air zoning,
building codes and regulations have grown into a major determinant in
design.
In addition to formal code requirements, a growing number of public
agency approvals influence design in a more subjective, less structured
way. Many owners and their architects must adjust designs to satisfy
community groups, neighbors, and public officials. These design
adjustments are often ad hoc efforts to meet objections or to gain support
rather than direct responses to codified requirements.
Site
The building site, of course, has a major influence on building design. Physical
characteristics (such as size, configuration, topography, and geotechnical

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resources
See Chapter 1A - Programming
for more information on
programming.
See Chapter 2D - Codes and
Regulations for more information
on building codes.
See Chapter 1B - Site and
Building Analysis for more
information on site analysis.
See Chapter 2C - Construction
Cost for more information on
building cost analysis.

Schematic Design
issues), existing structures, environmental factors (views, existing vegetation, climate, solar orientation,
drainage), access, adjacent land uses, and many other site factors become considerations in the final design.
One site consideration that often has a significant effect on building design is the surrounding environment.
Not only does the community context have obvious effects on building configuration, it also frequently
influences the scale, detailing, color, and texture of the final design. A more direct influence on building
design are existing structures to be incorporated into the project. A growing percentage of building design
problems calls for working within the constraints of an existing structure.
AIA Contract Document, Description of Schematic Design
AIA B101, Standard Form of Agreement Between Owner and Architect, describes schematic design as follows:
3.2.1 The Architect shall review the program and other information furnished by the Owner, and shall
review laws, codes, and regulations applicable to the Architects services.
3.2.2 The Architect shall prepare a preliminary evaluation of the Owners program, schedule, budget
for the Cost of the Work, Project site, and the proposed procurement or delivery method and other Initial
Information, each in terms of the other, to ascertain the requirements of the Project. The Architect shall
notify the Owner of (1) any inconsistencies discovered in the information, and (2) other information or
consulting services that may be reasonably needed for the Project.
3.2.3 The Architect shall present its preliminary evaluation to the Owner and shall discuss with
the Owner alternative approaches to design and construction of the Project, including the feasibility
of incorporating environmentally responsible design approaches. The Architect shall reach an
understanding with the Owner regarding the requirements of the Project.
3.2.4 Based on the Projects requirements agreed upon with the Owner, the Architect shall prepare
and present for the Owners approval a preliminary design illustrating the scale and relationship of the
Project components.
3.2.5 Based on the Owners approval of the preliminary design, the Architect shall prepare Schematic
Design Documents for the Owners approval. The Schematic Design Documents shall consist of
drawings and other documents including a site plan, if appropriate, and preliminary building plans,
sections and elevations; and may include some combination of study models, perspective sketches, or
digital modeling. Preliminary selections of major building systems and construction materials shall be
noted on the drawings or described in writing.

2A

Building Technology
Building proportions, as well as choice of materials and systems, are rarely determined arbitrarily and are
only partially based on aesthetic criteria. For example, the floor-to-floor height required to accommodate
structural, mechanical, lighting, and ceiling systems in a cost-effective manner varies significantly from an
apartment house to an office building to a research facility. Similarly, horizontal modules are often set to
achieve maximum layout efficiency; thus, the exterior fenestration of an office building may be based on the
module of a typical office width, while the fenestration of a hotel is based on the module of a typical guest
room. In other cases, the dimensions may be dictated largely by mechanical systems, the technical criteria
of the exterior materials, or the knowledge and preferences of the local construction industry.

notes

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Schematic Design
Cost
The owners budget is often the most-discussed influence on building
design. Since projects generally have limited budgets, cost considerations
regulate almost all decisions, from building size and configuration to
material selection and detailing.

2A

Sustainability
In Chapter 1B - Site and Building Analysis, the study of the site and climate
presented the design team with multiple opportunities for the incorporation
of energy efficient building principles into the project. At the schematic
design phase, the team must begin to formulate which of these principles
should be developed to meet the goals of the owner. A protocol such as
LEED requires certain energy strategies be initiated at this Phase in order
to receive LEED Credits.
Ethics
What conflicts has the design created with the neighbors? With the
community? Who bears the responsibility for researching valid design
alternatives? These questions and other issues can potentially become
significant ethical dilemmas for consideration by the architect and design
team as the schematic design for the project is being developed.
Other Team Members
The design of few projectsand virtually none of any size and
complexityare carried out by a single individual. Many projects require
a team of architects supported by as many as a dozen specialized
consultants. Each of these team members will have some input on the final
design.
The Client
A central ingredient in most successful design projects is a good client.
Some clients have a clear idea of program, budget, and other project
objectives, including the final appearance of a building. Others look to their
architect to help them define the project objectives, as well as to design
a building that meets their goals. In both cases, the effectiveness of the
marriage between client and architect affects key design decisions made
throughout the project. Eero Saarinen expressed the central importance of
good architect-client relations in this suggestion: Lets see if we can make
this guy into a great client.
The above list of factors that affect the design process is far from complete.
Almost every project has a unique set of factors that distinguish it.

Primary Steps In Schematic Design

Despite the range of design opportunities and constraints that architects

face, the schematic design process used by most architects includes the
following activities in one form or another:
1. Analysis
Typically results in a definition of the design problem.
2. Synthesis
Analysis is translated into a project concept.

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resources
As you research and look for
more information on topics
presented in the Emerging
Professionals Companion,
remember that a quick internet
search of keywords can be
incredibly useful to completing
your Activities.

Schematic Design
3. Refinement
The concept is worked into a design solution.
4. Documentation
The design solution is graphically depicted.
Step 1: Analysis
Design begins with analysis. The key objective of this initial step is to identify, analyze, confirm, and organize
the factors that will influence the development of a design concept. Architects typically take the data
gathered and developed during the economic feasibility, programming, and site analysis stages of a project
and organize them for use in building design. These data may be provided by the owner or they may be
developed by the architect in the course of providing pre-design or site analysis services.
Each architect has his or her own approach to analysis. Some of the more common ones are described
here:
Program analysis. Many architects translate the words and numbers in a program statement into
graphic terms, developing charts, bubble diagrams, sketches of design concepts, and even three
dimensional models. These become design tools.

2A

Virtually all experienced architects stress the need to take time to familiarize yourself with the project
program before design work begins. Most architects would prefer to be actively involved in programming,
which they believe is a critical starting point for design. However, even when the owner has prepared
a program before the architect is brought into the project, the architect needs to take time to review
and understand the program and to undertake the series of tasks used to convert the program into
understandable and usable design information.
For example, Charles Gwathmey and Robert Siegel of Gwathmey-Siegel & Associates usually work
with a senior staff member to reach a full understanding of the program and other issues particular
to a project. They diagram (to scale) all the program areas, noting adjacencies, mass, and other
characteristics. Next, they overlay this drawing on the site plan to get a sense of the scale and size
needed to accommodate the building as well as an understanding of its parts.
Site analysis. Important site data are typically diagrammed, organized, and drawn on one or more
copies of the site survey. Some firms may build a site model as well. These efforts yield a common
record of the physical, cultural, and regulatory factors discussed in Chapter 1B - Site and Building
Analysis. When organized in a common scale and format, these data often begin to point the way to a
design solution. No matter how well the data are documented, however, the architect needs to spend
time walking the site. As Roy Solfisburg of Holabird and Root puts it, an important part of the process
involves time for tramping and photographing the site and surrounding community.

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Schematic Design
The site is almost always a major influence on building design.
Romaldo Giurgolas statement that a building should respond both to
the order of the city and the order of the land illustrates the importance
of the site. His view is echoed by nearly all experienced architects.
Since many building design projects must work with or include
existing structures in the final solution, it is essential to establish clear,
accurate documentation of existing conditions, either by converting
existing drawings into base sheets for use in design or by creating new
measured base drawings. In addition to providing basic dimensional
data for design, this step typically identifies existing physical and code
problems.

2A

Zoning and code analysis. Concurrent with the site analysis, many
firms convert zoning and other code issues into graphic form. In
the case of complex urban zoning codes, this may include graphic
representations of the zoning envelopethe height, bulk, setbacks, and
other limits imposed by the code.
When combined with parking and loading requirements, egress
considerations, building area and height limitations, and other code
requirements, this analysis can help the architect begin to shape the
program into a building mass that fits the site. In many cities, zoning and
other code constraints are a major architectural influence. Where land
costs are high, the owner typically wants to fill the maximum allowable
envelope. As Edward Larrabee Barnes noted, however, the architect is
a professional: There are times where maximum exploitation is not the
right course, and the architect must argue for a smaller building.
Budget analysis. The project budget should be analyzed to determine
its implications for building design. Virtually all project budgets are
limited. The architect must make careful use of funds, applying more
funds to those elements of the building that appear most important to
the success of the design solution. This attention to cost may appear
limiting, but in commenting on cost and other constraints Robert Venturi
has observed, The best things happen [in the genesis of a design]
when you have to deal with reality.
The portion of a budget that is discretionary can usually be determined
by an experienced analysis of the budget. Analysis of the budget can
also establish clear guidelines for basic system selection during design.
Consideration of local construction industry practices. Concurrent
with an analysis of the budget, most architects consider the aspects of
local construction industry practice relevant to the design assignment.
This can range from what materials and systems are commonly
available to specific detailing frequently used in the area. Local choices
are typically the most cost-effective for that region, and in many cases
reflect climatic, code, and other local or regional considerations.
Scheduling considerations. The project schedule is more than a
project management tool. At times, it can also be an important factor in

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resources
Kliment, Stephen, ed. Building
Type Basics series by John
Wiley & Sons, 2001 and later.

Schematic Design
design. Major scheduling issues such as phasing, the time it takes to seek variances, and the sequencing
of design decisions to accommodate fast-track delivery can all influence initial consideration of a design
concept.
Identification of architectural precedents. In many firms, an important aspect of the analyses carried
out at the beginning of schematic design is the study of relevant projects that faced similar or related
project issues (e.g., program, site, context, cost, etc.). Architects often familiarize themselves with the
design of such buildings to stimulate solutions for their own design problems. These analyses can also
help a client visualize some design ideas, as long as the owner is reassured the evolving design will not
be just a copy of the precedent.
Step 2: Synthesis
The architects combination of analysis and understanding and response of the data collected above is
the next step in schematic design. The combination of all this into a unified solution is the synthesis that is
the core of concept design. There are many different approaches to this critical step. Lewis Davis of Davis
Brody Bond believes it is very hard to define all the influences that lead to a design: Very few architectsno
matter how consistent their workcan trace all influences. Some are external, such as technology, available
materials, code, etc. Some are internal, such as the architects own education and experience or the building
just seen in Europe.

2A

Some firmsincluding Venturi, Scott Brown and Associates; Holabird & Root; CRS; and Hardy Holzman
Pfeifferfollow approaches that generate and test several alternatives at once. Hugh Hardy notes that
often one proposes extremes or opposite possibilities to test an idea and elicit a response. Many assert the
need for an early idea. The strongest ideas are often the ones developed early, according to Lewis Davis.
There is usually some logic to the process that produces the initial sketches. Edward Larrabee Barnes cites
the evolutionary development of design concepts, There should be no clash of gears between the analysis
phase and design. But there is more than logic at work. In their work and in their writings, nearly all the AIA
Firm Award winners have commented on the importance of the non-rational, non-describable, and poetic in
the creation of a successful building design. At key points, judgment, taste, intuition, and creative talent take
over.
The particular design stimuli, organizing principles, areas of emphasis, and aesthetic vocabulary vary
according to the architect or firm, and the way in which architects synthesize these vary as well. Underlying
this diversity in the way architects approach schematic design, though, are some common tasks. Most firms
begin with analysis of the base data and then work through sketches, talking and thinking until they reach
the level of understanding necessary to form a concept.
Establishing design goals. The client and design team have goals, expressed formally or informally, for
the project. Beyond the first conceptual steps involved in schematic design, the process becomes more
complex. In all but the smallest and simplest projects, subsequent steps involve teamwork.

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Schematic Design
While it is true that most significant works of architecture are developed
under the guidance of a single strong design leader, most projects
have at least 10 team members involved in decision making (architects,
engineers, interior designers, consultants, construction managers,
public agencies, and, of course, clients). Thus, design excellence
results in part from the effective management of a complex team, all
of whose members contribute to the quality of the final result. (Learn
more in Chapter 3D - General Project Management.) It is important
to recognize and deal effectively with the many participants who play
a role in building design. Walter Gropius, a founder of the Architects
Collaborative, described the significance of a coordinated team effort
this way:

2A

The essence . . . [is] . . . to emphasize individual freedom of initiative

instead of authoritative direction by a boss. Synchronizing all individual
efforts by a continuous give and take of its members, a team can raise
its integrated work to a higher potential than the sum of the work of just
as many individuals.
As important as teamwork and leadership from the architect are, the
client is an essential part of the design effort. As Charles Gwathmey
puts it, If you include the client in an understanding of the problem
and how you are responding to it, it makes the solution understandable
instead of a mysterious aesthetic proposition. Issues of taste go away.
During the schematic design phase, the architect and the client usually
meet regularly to evaluate the project concept and discuss design ideas.
Design Teamwork. Aesthetic guidelines for judging design decisions,
and project objectives help establish priorities when tradeoffs must be
made in the design solution. Compromises between budget and quality,
appearance and energy efficiency, and sustainable design goals and
budget limitations, and hundreds of other decisions have to be made
within the context of an understanding of project goals and priorities. As
Paul Kennon of CRS asserts, It is important to have all of the cards on
the table and all of the issues identified.
Developing a parti. Since a design problem can usually be solved
in several ways, another initial concept step is establishing a basic
organization, or parti, for the project. This may be a plan concept,
selection of a geometric form, a decision to mass the building vertically
or horizontally, or use of an organizing element such as a central
mall for the interior spaces. In thinking about this idea, you may want
to note this observation of Edward Larrabee Barnes: It is not just a
case of form following function. Sometimes function follows form. The
interaction is important.
In some cases, a basic design concept may stem from a particular
image or one of the partis commonly used in earlier periods of
architecture. Whatever the underlying principle, it is common for
architects to develop several partis prior to the testing and evaluation
steps that lead to a final concept.

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resources
Miller, Sam F. Design Process:
A Primer for Architectural and
Interior Design. John Wiley &
Sons, 1995.

Schematic Design
Selecting a design vocabulary. Complementing, or even integral to the development of, a parti is the
articulation of a design vocabulary. Architects work from a set of formal or aesthetic ideas that govern
how they synthesize their initial ideas into a complete building design concept. While few firms claim a
specific unchanging vocabulary, architects are, in Lewis Daviss words, like painters . . . . We have a
palette of design elements that we are comfortable with, know how to use, and have found can produce
the best result.
This does not necessarily imply consistency. Paul Kennon noted that some architects develop a
vocabulary and refine it on each project. Others approach each project as a unique problem. They evolve
a vocabulary that may be cruder but which grows from the problem itself.
Creating and evaluating alternatives. Clients and design teams may have slightly different definitions
of what is accomplished in schematic design, and their definitions may vary from project to project.
However, certain objectives and products are commonly agreed upon. The primary objective of
schematic design is to arrive at a clearly defined, feasible concept and to present it in a form that the
client can understand and accept. Secondary objectives are to clarify the project program, explore the
most promising alternative design solutions, and provide a reliable basis for analyzing project cost.

2A

Step 3: Refinement
Often the architect continues to explore two or more alternatives until a consensus is reached with the client
about the preferred design direction. Once this has been set, the design team refines plans, sections, and
elevations to work out the major functional and aesthetic features of the proposed design.
Step 4: Documentation
Communicating design ideas and decisions usually involves a variety of media. Most well-known architects
make extensive use of models, but they also use other common study and presentation techniques. All stress
the need to spend focused time sketching and testing potential ideas to be included in the recommended
design. As Steven Izenour of the former firm Venturi, Rauch, and Scott Brown put it, No matter how good an
architect is, it takes a lot of time. Typical documentation at the end of schematic design can include:
A site plan created during programming or by the architect as a discrete service before schematic
design begins
An updated written and graphic building program
Plans for each level
Elevations
Two or more sections
Outline specifications
A statistical summary of the areas included in the plans as well as a summary of other key
characteristics in relation to the program
A preliminary construction cost estimate
Other illustrative materialsrenderings, models, or drawingsneeded to adequately present the
concept

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Schematic Design

2A

Drawings are typically presented at the smallest scale that can clearly
illustrate the concept (perhaps 1/16 = 10 for larger buildings and 1/4
= 10 for smaller buildings and interiors). Outline specifications give
a general description of the work, indicating the major systems and
material choices for the project but usually providing little detailed product
description. As part of the schematic design work, the architect may agree
to provide energy studies, tenant-related design studies, life-cycle costs,
or value analysis; special renderings; models; brochures; or promotional
materials for the owner. It is also common for the architect to help the client
complete initial land use and code reviews before the design proceeds
to the next phase. Some of these reviews call for services beyond the
architects basic services. Many of these are included as additional
services in AIA Document B101, Standard Form of Agreement Between
Owner and Architect.

Final Approvals

The final step in schematic design is to obtain formal client approval. The
importance of this step cannot be overemphasized. The schematic design
presentation has to be clear enough to gain both the understanding and
the approval of the client. Once this has been obtained, most architects
recommend that each item in the presentation be signed and dated by
the client before design development services begin. While the successful
completion of this project increment typically sets the direction for design
development, it is only the first step in the design process. The AIAs
standard description of the five increments in basic services implies that
the process begins with a clear definition of the clients program. It also
implies that the process can progress in a linear fashion through a series
of steps, each of which results in a more complete definition of design, until
a project is sufficiently detailed to go into documentation for bidding (or
negotiation) and construction.
The reality is not so orderly. Evolving program requirements, budget
realities, increased knowledge of site considerations (such as subsoil
problems), public agency reviews, and many other factors make it
necessary to go back and modify previous steps. Design moves forward,
but rarely in the linear fashion implied by the standard two-phase
description of designschematic design and design development.
Moreover, design rarely ends with completion of design development. Most
architects agree that design choices occur in every step of the process of
planning, designing, and constructing a building.
Written by Bradford Perkins, FAIA, MRAIC, AICP
Bradford Perkins is the founding principal of New York-based Perkins Eastman Architects.
He has been the principal in charge of more than 400 architecture and urban design
projects throughout the United States as well as many others in 20 foreign countries

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resources
Fawcett, A. Peter. Architecture:
Design Notebook. Oxford:
Architectural, 2003.

Schematic Design
notes

Take brief notes while reading the narrative and list key resources you used to complete the activities. Note
discussion outcomes from meetings with your supervisor, mentor, or consultants. When finalizing the activity
documentation (PDF), include your notes and the Emerging Professionals Companion activity description.

2A

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127

Schematic Design
Creating an Alternative System of Proportions
Supplemental Experience for eight (8) Core IDP Hours

In consultation with your supervisor or mentor, choose a completed project to analyze. This activity requires
you to study the composition and proportioning of exterior building elevations elements. Some materials are
a part of the buildings skin and provide shelter from the weather. Other materials are purely decorative
and provide either visual or representational relief or pattern from the body of the building.

2A

Suggested order of elements to study:

1. Focus on the use of materials and consider the relationship of that material with the exterior grade,
various finish floor levels, the corner of the building, the centerline of the building, etc.
2. Study the transition of one material to the next. Why does it occur at that location in the facade?
3. Consider the reason for these materials to be used together in the composition. What factorssuch
as cost, manufacturers recommended or available sizes, codes, and aestheticsled to the final
composition of the elevations?
4. Now look at the form of the building. Is the building symmetrical? Is it organized in the classical
manner of base-shaft-cap or is there some other organizing parti? What influences created the
overall form? What is the style or history of the building (if applicable)?
5. Next look at how changes in the vertical plane are used to create shade and shadow. How is the
elevation oriented to the sun and what are the reasons why the Architect oriented the building on the
site?

Activity - Core
Using the final schematic design phase elevations, record in sketch form the factors that influenced the
following design elements:
Major exterior materials and their location
Record the major exterior element proportions
Measure window and door dimensions and placement in the elevations
Record the masonry unit or other exterior cladding material sizes. Is it a jumbo size?
Record any pattern used in the exterior materials
After analyzing the exterior elements, devise an alternative system of proportions for the front facade and
one side. Explain in 400 to 500 words, the issues the alternative system would raise (e.g., cost, code,
material availability, and so on). Write 100 to 200 words about what inspired the new solution.
Why do you consider your design to be an improvement over the original design? What changes would
you make to the original material selections? How does this change the style of the original design? Does
your design cost more or less to construct than the original design? How about availability of materials you
have chosen? Would this design require the structure of the building to be altered? Is there an existing
building or architect that provided the inspiration for your design?
Share your work with your IDP supervisor or mentor and make suggested changes. Document the final
version as a PDF.

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Schematic Design
Creating an Alternative Floor Plan

Supplemental Experience for eight (8) Core IDP Hours

Every floor plan is driven by the requirements of the building program, number of total occupants, the type
of occupancy, intended use of a space or spaces, code requirements including circulation and exiting, and
the creative nature of architectural design. Other considerations are structure, mechanical systems, furniture
size and placement, and cost. All of these demands must be organized into a floor plan that is efficient,
meets code, and satisfies the aesthetics of the design problem.

Activity - Core
In sketch form, analyze the schematic floor plans of the project you selected for the Activity Creating an
Alternative System of Proportions OR select a different project to be studied. Respond to the following:
Note the major design ideas incorporated in the plans.
Make a list of the major project objectives and program goals.
Determine how well the plans meet these goals.
Calculate the occupant load of your floor plan.
Speak to the original project architect or designer if possible about the program and design
generators that were incorporated into the floor plan.
Calculate the percentage of circulation space required compared to the overall gross square
footage of your floor plan.
Calculate the percentage of your floor area dedicated to the mechanical and electrical rooms.
Consider the reason for their location.

2A

If a single story building: How many exits are there and what is their relative location to the front entry and
each other? How many spaces or rooms must a visitor travel through to arrive at the main space or room
from the front entrance? Is this a single or mixed use building?
If a multi-story building: How many sets of stairs and their location relative to each other? Where is the
elevator(s) located? Where are windows located? What are the fire safety features of the floor plan?
Also in sketch form, develop an alternative floor plan that fulfills the same goals. Evaluate the alternative
against the same list of project objectives and program goals by considering the following:
Did your alternate floor plan use more, less, or the same floor area as the original design?
If less, what areas or functions were you able to make more efficient?
If more, what issues required you to use more space?
How does your plan improve the original design?
Share your work with your IDP supervisor or mentor and make suggested changes. Document the final
version as a PDF.

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Schematic Design
A Design with a Potential Problem

Supplemental Experience for eight (8) Elective IDP Hours

In this scenario, you are working on the design of a new elementary school in upstate New York. Due to a
tight budget, the client has directed that the exterior envelope be kept very simple. You use this directive to
propose a very modern building with simple but attractive detailing. Two essential elements of the design are
a flat roof (low slope roof) and skylights over the main entries and in several other spaces.
In the meeting where you present the first schematic concepts, a school board member asks, Dont flat
roofs and skylights leak? You answer, If its properly detailed, installed, and maintained, a flat roofeven
one with skylightsshould perform as well as any other roof.

2A

After the meeting, one of the older members of the design team says to you, No one will remember the if
properly detailed, installed, and maintained caveat. Flat roofs and skylights tend to leak more often than
roofs with positive drainage and few penetrations. When a leak starts, its often very difficult to determine
whos at fault.
You find this comment sobering. Except for this one question, the school boards response to the design was
positive. Should you change the design because something that should be avoidable might happen?
Consider the following questions: Are there materials in a standard skylight assembly that should be avoided
in cold climates? Are there special features available to enhance the performance of the skylight? Does
the type of flat roof membrane system affect the design and performance of the skylight with regards to
expansion and contraction? Are there special flashings available for this situation? What type of alternate
roof system will you consider? Is there a cost impact to the budget using this roof system?

Activity - Elective
Consult your supervisor, mentor or other experienced architects on their experience low-slope roofs and
skylights. Record lessons learned in sketch format.
Review manufacturers literature and conduct an internet search for information on leaking related to lowslope roofs and skylights.
Based on your research, write a response to the school board members question. If you determine
the proposed design solution is the correct approach for the project, prepare appropriate sketches and
citations of articles to illustrate your conclusions and to demonstrate how the potential for leaks can be
minimized. If you determine the proposed design may be too risky (be sure to include consideration of
the local climate), prepare sketches of an alternate roof plan that will provide benefits similar to that of the
original design.
Share your work with your IDP supervisor or mentor and make suggested changes. Document the final
version as a PDF.

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Schematic Design
Self-Sufficient vs. Green Architecture

Supplemental Experience for eight (8) Elective IDP Hours

In this scenario, your client is a well-known and committed advocate for green design in the San Francisco
Bay Area and an owner of a solar hot water and photovoltaic panel manufacturing company. Your firm is
known for being able to design state of the art, self-sustaining houses that do not require power from the
utility grid.
This client has invited you to design a house that will be 100% self-sufficient with regards to electrical
power and hot water needs. The client is expecting you to showcase his panels by providing all or part of
the energy needs in the design using the panels. He does realize that providing all of the energy using only
these roof panels may be a very difficult goal to obtain and is willing to consider other forms of alternative
energy generation technology to power the house as long as the outside power grid is not required.
Early calculations of the required power and hot water requirements for the project leads you to the idea
that your design can rely solely on a mix of photovoltaic and solar panels that are to be roof mounted. The
panels will have a low profile that will be integrated into the design and oriented to maximize the generation
of power and hot water for the house.

2A

The site has a moderate slope down of 6 to 8 percent from the north to the south. The prevailing wind is
from the northwest.
You begin the design and while on-site checking some field conditions you notice that the entire west and
southern property lines are covered with 8 to 10 foot high redwood trees. Within 10 years these trees will
grow to a height of 25 to 30 feet and in the afternoon will shade most of the roof you had planned for the
house. These trees will continue to grow and live well beyond the life of any house you plan.
Do you carry out the design knowing this? Do you cut down the trees knowing that they provide cooling in
summer, absorb carbon dioxide, and are a habitat for wildlife? Or does the fact that the panels will provide
a greater reduction of the carbon dioxide emissions govern? Are there other technologies available to help
power the house? Is it possible to mitigate the potential impact the trees have on the house? How do you
balance the self-sufficient requirements of the program with other issues of sustainability?

Activity - Elective
Write a letter to the client describing the reasons for your course of action using one of the following
options:
OPTION 1: You decide to proceed with the original design relying on the photovoltaic and hot water
panels, as designed. At the end of 10 year growth period for the trees, determine what options you
have to maintain the clients requirement of a self-sufficient house.
OPTION 2: You decide you cannot cut any of the trees but will rethink the basis of the design and
plan for future tree growth now. Determine what options are available to you to meet the clients
original program.
Share your work with your IDP supervisor or mentor and make suggested changes. Document the final
version as a PDF.

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Schematic Design
Reflections

Supplemental Experience for eight (8) Elective IDP Hours

In this scenario, you are working with one of the largest financial institutions in the country on a high rise
building that will be the flagship for their banking operations on the West Coast. The site is located on a
busy corner with heavy vehicle and pedestrian traffic in the financial area of downtown Los Angeles. Most of
the neighbors are well known banks and other corporations and all have adopted the stylized architecture of
southern California using reflective glass curtain wall that begins at ground level and is extruded vertically.
Your client has made it clear that the architecture of this building will also use this reflective glass curtain
wall feature to create the look and blend in with the surrounding buildings.

2A

You proceed with the design and as you study the site conditions and design of the building, you begin to
understand that during certain times in the morning and afternoon, the reflective glass from the surrounding
buildings create a bright crossfire of reflected sunlight at the intersection in front of the building. Your building
design is only going to contribute to the problem and perhaps create a blinding and potentially dangerous
condition for drivers and pedestrians in the area. You express these concerns to your client but they are
indifferent to the problems you present and state Its public property anyway, and not our problem and want
you to continue with the development of the design, as is.
What are the options to using glass curtain wall? What is the potential liability if you proceed with the
reflective glass? Is there a way to continue to use the reflective glass in the design without contributing to
the reflected sunlight problem? How do change the attitude of your client?

Activity - Elective
Please reference the following source:
Professional Liability and other insurance information from The AIA Trust, www.theaiatrust.org

Contact the insurance agent who provides professional liability coverage for your firm or if unavailable,
work with someone knowledgeable about professional liability coverage. Discuss the potential claims
from motorists or pedestrians who could be injured using the walks and streets in front of the building site.
Record these answers.
Draw the building profile and show the geometry of the solar angles at summer and winter solstice for the
latitude at Los Angeles. Show how you would redesign the exterior skin of the building at the first 5 stories
to reduce the reflected sunlight onto the adjacent sidewalk and street intersection in front of the building.
Consider and record alternate optional design features, geometries or materials that could be used to filter,
block or change the reflected sunlight of the building curtain wall to the surrounding area.
Share your work with your IDP supervisor or mentor and make suggested changes. Document the final
version as a PDF.

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Schematic Design
Sustainable Design

Supplemental Experience for eight (8) Elective IDP Hours

In this scenario, one of your firms clients is interested in developing a LEED-certified project, incorporating
sustainable design concepts. While the client discusses the matter with some degree of certainty, client
representatives indicate they do not really know what is involved in the LEED certification process, nor
are they sure exactly how sustainable design will affect the design, construction, or cost of their project.
The client asks your firm to develop a checklist of what will be entailed if they decide to proceed with
development of a green building.

Activity - Elective
Please reference the following sources:
The Architects Handbook of Professional Practice, 14th ed. Chapters 12.7 and 12.8
Green Building Costs and Financial Benefits, Gregory H. Kats. (PDF)

2A

Research what sustainability or building green means to an architects design process and prepare
a summary report assessing what is involved in achieving LEED certification and how design and
construction may be affected. Develop the checklist that has been requested by the client.
Start your study by downloading and assembling reference materials from the following resources or from
links suggested by them:
AIA Committee on the Environment: www.aia.org/cote
U.S. Green Building Council: www.usgbc.org/LEED
In preparing your report, follow these steps:
Develop an understanding of the basic philosophy of sustainable design, and summarize in the
report.
Research and note the different levels of LEED certification (Certified, Silver, Gold, and Platinum).
Review the LEED project checklist available from the USGBC web site to put this information in
perspective.
Review each major area of sustainability espoused by the U.S. Green Building Council (e.g.,
site, water efficiency, materials and resources, etc.). In your report, cite examples of how these
categories might influence an architects building design.
Your report should address the following questions:
Why is sustainable design important in todays society?
How will the design of the building be affected by the level of certification the client chooses to
pursue?
Impact on construction of the building.
Impact on the cost of the building.
Address the cost/benefit equation related to sustainability or LEED certification.
Share your work with your IDP supervisor or mentor and make suggested changes. Document the final
version as a PDF.

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Schematic Design
Evaluation of Context and Precedent

Supplemental Experience for eight (8) Elective IDP Hours

Use the same project you selected for the Activity Creating an Alternative System of Proportions OR choose
a different project that is local to research the activities listed below.
Some projects are highly dependent on the surrounding community to help create a design vocabulary or
palette from which the architect can use to create a design. Other architects may study this data and choose
to reject the vocabulary and create a building that is developed on an entirely different set of values.

2A

This activity is designed to study the site area and record the type of design vocabulary you find in the
community and relate those values back to the building.

Activity - Elective
Study the site and prepare a photo essay that illustrates the features of the project site, the immediate
area, and the community that have influenced the final design of the selected building.
Mount your photos on a board or develop a digital board presentation. Write a project report of 600 to
800 words that addresses what these issues are and why you think the architect was influenced by them.
Select a minimum of the 3 most important influences. (Note: You may include more than 3 issues, if you
deem it important to your thesis.)
If your building was influenced by the style of a historic or non-local prominent building, add this building to
your photo essay and record your reasons for linking the building to your project.
Consider the following:
Local structures used for comparable or related purposes.
Materials commonly used in the area.
Elements of the immediate area that could be incorporated or reflected in the final design, such
as important site features (e.g., topography, views, adjacent structures, points of access, mature
vegetation, etc.)
What is the height and density found on the site and in the surrounding area? Style of architecture? What
is the average age of the buildings found here? What impact does the required property setbacks have
on the buildings function or form? Does the project fit in with the surrounding community or does the
building stand in contrast? What problem was the architect trying to solve?
Share your work with your IDP supervisor or mentor and make suggested changes. Document the final
version as a PDF.

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Schematic Design
notes

Take brief notes while reading the narrative and list key resources you used to complete the activities. Note
discussion outcomes from meetings with your supervisor, mentor, or consultants. When finalizing the activity
documentation (PDF), include your notes and the Emerging Professionals Companion activity description.

2A

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Schematic Design

2A

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