I invite you as an architectural designer to unlock the power of 3D to 4D visualization. Going from 3D visualizations to interactive 4D immersive VR experiences of your design projects (with sound) will convey your concept ideas better by making your multi-sensory design interventions come to life in more tangible ways.
What if an architectural environment could change, learn, and adapt to help occupants as they live, work, heal, or play within a given space? Furthermore, what if such an environment allowed visitors to leave their own “mark” within its design fabric, so future occupants could perceive what came before? Such a malleable architectural environment, would work as if it were a fluid sculpture – able to absorb and preserve a “fingerprint” while still being able to respond to current and future needs and goals.
How often do you work to improve your creativity? You see, creativity is like a muscle, and it must be exercised for you to become a quick and smart design thinker and decision-maker. The key is to know how to push yourself into new “creativity zones” where you can learn to shift paradigms, use new tools, unlock new processes, and even find new ways of working with your team.
How can you push your architectural design to help uplift the lives of your occupants in transformational ways? This may call for you to more deeply understand multi-sensory design and emerging technologies, so you can make smarter design decisions while creating environments.
As an environmental designer, it is important to make smart design decisions during your creative process – at all stages. This is where the practice of design fiction can be injected into your process, to help you formulate not just one design solution that you iterate; but a variety of possible solutions that you can compare, test, or explore quickly at the beginning of your concept formulation process.
In history, there have been times when an “unbuildable” concept, only realized on paper, was paradigm shifting – as such concepts served to shift the mindset of the people toward greater innovative possibilities for the future. I still find it fascinating to see these “unbuildable” concept drawings from yesteryear, and then to think about how our current “unbuildable” concepts will impact the future of our present time.
As is typical with the present-time, we are always in the midst of emerging trends. For designers, this means either following the trends or setting new ones by being well ahead of the curve. Environmental design is no different. As advancing technologies like virtual reality lead to augmented realty, or as interactive physical space leads to adaptive physical space, it becomes fascinating (and necessary) to question where these technological developments are heading.
Architectural design in virtual reality takes on many forms: from environmental concept design in films and video games to concept development simulations during the architectural design process. It is fascinating to see how what can be made for the virtual will often find its way into the physical world. For many, the virtual becomes a “playground” for experimentation, exploration, and discovery of new ideas that get translated into the physical world.
The phase during your architectural project when you have the most leverage is during your concept design phase. Ideas, design decisions, and iterative changes made at this stage take less effort, cost, and time. But there is a critical driver behind the concept design phase, and it is your “creative vision”. To empower your creative vision, ask yourself the following questions as you design…
When designing environments, do you adhere to a “one-size-fits-all” approach? Or do you try to personalize your environments for individual building occupants? Many designers use technology to help with the personalization of a design; yet, there is also another approach to consider that, when coupled with technology, can strengthen your design even further. This approach is what I call the “Gradation Method”.
When designing, do you strive to design projects that look like other projects already built? Or do you strive to create a unique and original contribution to the discipline of architecture? If you concentrate on the latter, then you are a step ahead toward finding and leveraging your own uniqueness as an architect – and this uniqueness can give you a significant competitive advantage to help set you apart from your competition.
It is wise not to take your design tools for granted, and to analyze how much they are helping you so you can make necessary adjustments to improve your design process. The following is a question to ask of your most-used design tool(s)…
As an architectural designer, how you think about light can make all the difference in your design’s success. For example, do you work with architectural light as more of a scientist or an artist? This distinction can help you become better at doing both. And when you design environmental light as both a scientist and an artist, your designs will be more fully enjoyed by occupants as they experience the poetics of your built vision.
Yes, a design project can do its part to solve for local challenges, and can even do its part to create new local opportunities. But as designers we must go beyond the local to ask: How can this project give rise to more global solutions and opportunities?
Most recently, I have been working with procedural modeling software to create very forward-thinking conceptual designs. This way of modeling objects, buildings, or even cities is quite interesting as it allows for a more rapid testing, experimentation, and prototyping of ideas. And when procedural modeling integrates sensory design methodologies, opportunity to achieve high level poetics can surface.
Maria Lorena Lehman's book entitled, Adaptive Sensory Environments, is a 2017 Nautilus Book Award Silver Medal Winner in the “Creative Process” category.
I was surprised by the number one question architects asked me during a recent survey I conducted. They wanted to know “Should I ever be completely satisfied with my architectural design project? And how do I know when to be satisfied with it?” These are both very good questions, and they each led me to think even more deeply about my own creative design process. The following is how I think about design project completion and satisfaction.
Achieving a high poetic level within a design will foster a spirit of place if composed properly. In other words, your poetic architectural design can do more than uplift function. It can achieve high poetic synergy by fusing aesthetics, function, and meaning in such a way that occupants will feel one with themselves, with each other, and with their surrounding environment.
As an architect, one of the most beneficial skillsets for you to develop is your ability to create truly innovative designs that your clients love. Over the years, I have heard about the huge challenge architects face as they strive to both innovate their design and “sell” those innovative ideas to their client for approval.
There are times within an architectural design project when digital nature can accomplish goals that actual physical nature cannot. You see, digital nature can be used in three unique ways to enhance an environment that serves to empower the occupant that inhabits its space. The following are three techniques for you to “pull” from physical nature, to create digital nature that presents the “real-thing” in entirely new and innovative ways.