A Traditional Route

The Design-Bid-Build method – also referred to as the traditional consultant / contractor engagement method – is a project delivery process where the client establishes a briefing document for their property or land from the outset that satisfies their project development needs. From here, they engage in other interested parties that can help them deliver on their objectives, namely architects and builders.

The Design-Bid-Build method is a traditional approach to project delivery since it has been tried and tested since the beginning of the building industry, employed with standalone private homes for owner-occupiers right through to small-to-medium commercial and industrial build briefs that are geared towards leasing.

As the name suggests, the process is a sequential one where stages are generally completed one stage at a time. These three primary constituents that makeup the Design-Bid-Build method can be detailed further with the following:

• Design: The design stage, that encompasses a number of professional designers that provide input in order to deliver on the specific project’s objectives and meet regulatory requirements, with the architect being the primary consultant who co-ordinates them all. Since every client’s brief and project is unique, the team of consultants engaged can greatly vary during this stage.
• Bid: The contractor acquisition stage, where documentation that was produced at the design stage is employed by builders to provide accurate proposal estimates to complete and deliver on the specific work. This gives the client competitive costing in the market and informs their considerations before settling on a single construction company.
• Build: The settlement stage, where a contractor is chosen once analysis of the bidder’s proposals has ended, allowing construction of the project to commence as per the agreed terms and conditions.

How a Design-Bid-Build Network Works

There are two primary contractual lines that exist within a Design-Bid-Build project delivery model. These are:

• An agreement for architect services between the architect and the client; and
• An agreement for construction services between the main contractor and the client.

These contractual lines define the legal commitments that both parties owe to each other under contract. For instance, an agreement for architect’s services could include specific deliverables that the architect must furnish within a reasonable time for a reasonable price to the client, who must uphold on their end regular monthly payments to the architect while they are completing their agreed specific deliverables.

In terms of communication lines, these are identical to the contractual lines, where the client has a direct exchange between both the architect and the main contractor. The architect and the main contractor also have a direct communication line, however, they do not enter into a formal binding agreement with one another.

As demonstrated in the diagram above, there are other parties that are involved in the Design-Bid-Build project delivery network that help the primary contractual parties meet their deliverables, such as consultants and subcontractors. These parties and their contractual and communication lines will be explored in more detail via future editorials.

Final Note

Whether or not the Design-Bid-Build project delivery method will be a appropriate fit for the client’s development project will come down to the fundamental consideration of uncertainty and the client’s comfort level towards it. This means that the client needs to clearly understand the risks associated with any project delivery method in order to effectively manage themselves and own any problems that occur along the project’s trajectory. Furthermore, a repeat client who has experience with common risks will be better placed than someone who is engaging in their first development project.

Some of the key risk areas that clients need to consider before committing to one project delivery method are the following:

• Project type
• Project scale
• Development site
• Consultant team engaged
• Programme
• Design complexity, and
• Construction methodologies.

So, like most things in our industry, there are always options available and the same holds true for project procurement. With the aforementioned risk areas in mind, it is the project manager’s job – whether this is the architect or a separate consultant such as a project manager – to help the client navigate the options available to them and understand why one method may be more advantageous than another. We are the experts after all.

Written by Thomas Denhardt – Founder and Creative Director of Archifiller

Quiz

1. What is the Design-Bid-Build project delivery method?
2. What are the two primary contractual lines that exist within a DBB network?
3. What are some key risk areas that a client needs to consider before committing to any project delivery method?

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All About The Sequence

When a construction manager plans to erect a building in accordance with presented plans and specifications, he/she visualises the most practical process for putting together the various parts that constitute the whole building. The same logic should hold true for the architectural detailer. The detailer’s job is to analyse and understand how a particular detail they are draughting will be assembled in practice – step by step – in order to be confident that it is capable of going together smoothly on site. This is referred to as rehearsing the construction sequence.

The act of rehearsing the construction sequence can be useful in exposing many problems that may remain hidden until the building is under construction. This could be problems such as:

• Building components not fitting together easily and cost effectively
• Complex and irregular junctions not being carefully thought-out, resulting in on-site low-quality amendments
• Lack of installation access being accommodated for subcontractors to carry out their work, and even
• inefficiencies in construction resources, where the same building trade may have to revisit the same detail more than twice at different intervals.

By applying this tool to details early on, kinks can be ironed out before they grow into a bigger challenge later on, establishing better ways of achieving the same detail, especially when elaborate assemblies or unfamiliar construction techniques are being employed.

An example of rehearsing the construction sequence could be highlighted with the above image, which is showing a typical single-storey timber-framed house on an in-situ concrete floor slab.

If we took a sectional detail through the external wall-to-floor junction to the left of the image, the rehearsal of the construction sequence in steps would look something like the following:

1. Hazardous substances on site are removed and the land is prepared for construction
2. Excavation works for footings and foundations is undertaken
3. A damp-proof-membrane (DPM) separation layer is laid (to manage ground moisture)
4. Steel reinforcing for the foundation slab edge and floor are laid, while being co-ordinated with a suitable underfloor insulation product
5. Concrete mix for the foundation slab edge is prepared and poured
6. Concrete floor slab mixture is prepared and poured
7. A damp-proof-course (DPC) separation layer is adhered to the slab edge where the timber-framed wall meets the concrete floor (to manage moisture movement between dissimilar materials)
8. Timber-framed wall is erected and bolted into the concrete floor slab edge
9. External sheathing is lined and fixed to the timber-framed wall with suitable fixings, such as screws
10. And so forth……

The sequence that emerges from conducting this simple exercise will inform the manner in which the detail will be considered and put together on site. Thus, the detail drawn for this specific junction and issued for construction to inform the construction manager must imitate this exact sequence. If not, problems will arise.

Application Of The Sequence

If a detailer can habituate to draughting details in the order in which they would be assembled on site, then they are on the right track to unlocking the true potential of this technique. With that being said, here is a non-exhaustive list of how rehearsing the construction sequence can be applied in practice when draughting details:

• Closely inspect what you are drawing – can it be fabricated in a satisfactory manner?
• Consider potential inefficiencies, such as repeated visits by the same trade or an excessive number of separate trades required to construct the detail junction
• Is there sufficient space for a subcontractor to install and fit each element that constitutes the detail, including fixings?
• Is there a high risk of previously completed work being scratched, stained or even damaged by the following trade? If so, how can this be eliminated or minimised?
• Are off-the-shelf tools and simple operations required to achieve the detail?

No matter the scale of the project or the complexity of the design brief, the philosophy behind rehearsing the construction sequence is helpful to all who engage in the skill of detailing.

Final Note

Failing to rehearse a detail as a process rather than an object, is failure in demonstrating attention to the detail to begin with. To become an effective designer of realistic details, you must be self-critical and question what you are draughting. Always simplify.

At the end of the day, rehearsing the construction sequence is to the benefit of everybody involved in achieving the build.

Written by Thomas Denhardt – Founder and Creative Director of Archifiller

Editorial Quiz

1. How should details be rehearsed?
2. What is a typical problem that rehearsing the construction sequence can reveal?
3. What is one manner in which rehearsing the construction sequence can be applied in practice?

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Archifiller

Vertical elements of building form

In part 1, Archifiller brought attention to how horizontal elements of building form can be employed to define fields of architectural space. In part 2 – concerning this editorial – Archifiller will demonstrate to professionals within the architecture community how vertical elements of building form can establish the visual limits of a spatial field, especially those that have been created by horizontal elements.

Unlike horizontal elements, vertical elements have the ability to present themselves as more dominant within our visual field, making them more effective in creating designated spaces for particular purposes. They also – by their very nature – serve as a tool for separating the outside world from the inside habitable world, providing comfort, privacy and a sense of enclosure from within.

With that being said, here are the six vertical elements that you can harness in your design practices when establishing visual limits in your next architectural space commission.

1. Vertical Linear Elements

In order for the human perception to believe that a volume of space is present, it needs a visual cue of distinction in the form of physical edges or corners. This is where the use of vertical linear elements are well placed. They can act as effective tangible markers that reinforce the visual limits of a potential volume of space while simultaneously providing visual and spatial continuity through the very same space.

Vertical linear elements come in many shapes and forms, with the most prevalent of them all being the common column.

Standing vertically on its own in an open non-defined space, a column’s identity is typically non-directional, with the exception being the path that would lead us to its physical position in that space. However, when positioned within a defined volume of space – for example a four-walled room – the column will exert a spatial field of its own, becoming an influential element within that space relative to its positioning.

When a column is paired with another or more, it will create the perfect grounds for visual tension to occur. This tension increases in strength as the number of columns increase, and in turn, strengthens the volume of space that the columns choose to define. Furthermore, the cross-sectional geometry of the vertical linear element – whether circular, square or rectangular in shape – has the power to bring distortional effects to a volume of space, manipulating the manner in which an occupant transitions in and through the same space.

The Pantheon in Rome is a historical application of vertical linear elements being applied in practice to help define its signature portico. Here, the use of a colonnade of large granite Corinthian columns at regular spacing creates an intentional sense of space between the path of approach to the building and the actual progression towards the inner enclosed temple. Circular in profile and large in scale, the columns are strong enough in establishing visual boundaries while still maintaining a sense of flow spatially. In addition to this, the edges of the space that the portico provides are further reinforced visually by an overhead plane – called a pediment – that purposely bears its weight structurally onto the Corinthian columns.

“The height of a single vertical plane has authority over our interpretation of how this element visually describes the space on which it fronts. ” – Archifiller

2. Single Vertical Plane

A single vertical plane is a stronger tool in establishing the visual limits of a space when compared to vertical linear elements since it has the built-in ability to articulate a volume of space on which it fronts. Seeing as a single vertical plane consists of two surfaces – both a front and back – it has the potential to define not one, but two identical fields of space. Alternatively, these fields of space can also be made distinguishable from one another when required with the appointment of contrasting qualities in both surfaces such as their colour, texture and form.

The height of a single vertical plane has the authority over our interpretation of how this element visually describes the space on which it fronts. This degree of authority is determined by our body height and eye level in relation to the element’s height.

A great example of the single vertical plane and the power it can evoke in defining the edges of a volume of space can be shown with The German Pavillion in Barcelona by Mies Van Der Rohe. Here, the use of a full height wall in the form of a single vertical plane is employed in various locations throughout the Pavillion design to front various fields of space on which they face. For instance, an external wall clad in golden onyx is erected to limit the spatial and visual extents of the open outdoor pool space in relation to the site’s greater surroundings.

This technique of space defining is carried on through the interiors of the Pavillion, where the use of a single floor-to-ceiling partition is strategically set to inform a vivid boundary of where the living space starts and ends. Its proximity in relation to other vertical planes, such as the internal window joinery, gives us another visual clue of the type of space assigned through the establishment of contrasting spatial proportions. In addition, this sense of spatial demarcation is visually heightened even further with the application of contrasting horizontal elements in the form of floor treatments.

3. L-Shaped Planes

An L-shaped configuration is where two single vertical planes are brought together, generating a field of space that runs along an invisible diagonal axis. The enclosed corner where the two planes meet is where the visual limits of the spatial field are strongest, creating an inward and introverted field of space. As you travel towards the open end of the configuration where no planes exist, the space becomes weaker in definition, representing an open, extroverted field of space.

If a void in the form of a penetration or an opening is introduced into the enclosed corner that L-shaped configuration defines, then this begins to lessen the spatial field’s inclination towards defining a strong volume of space. In this case, the two vertical planes now become visually read as standalone elements in space, where one can be manipulated to appear dominant over the other.

The Bibliothèque nationale de France (The French National Library) situated in Paris is arranged to symbolically represent in built form four open books with the employment of four L-shaped configurations. Like mentioned above, these L-shaped configurations are multi-purpose in their application, where the four corners programmatically house the collection of items made available for public use while the four open ends simultaneously enclose and bind an open-air communal field of outdoor space. Thus, a combination of spatial needs and uses are formulated through the exploitation of the L-shaped configuration that lends itself expertly to the different nature of these very spaces.

4. Parallel Planes

Unlike an L-shaped configuration that meets at one closed off corner, parallel planes exhibit two open ends through the use of two standalone vertical planes. Their relationship to one another defines a extroverted volume of space in between them, creating a strong directional quality that orients an occupant axially toward both open ends of the configuration.

This conveyance of receptivity along the open ends can be further defined spatially with manipulations of horizontal elements underfoot and overhead. The same is true if this field of space in between is required to be visually extended or suddenly terminated, with the addition of further horizontal and vertical elements put into play.

If there is a need for the directional quality of the space to be eliminated or minimised at some juncture, then the two parallel planes that form the volume of space can have openings introduced into them or a significant differentiation in form, colour or texture can be applied to one of the two parallel planes.

The most common use of parallel planes is in the application of spaces where there is a practical need for circulation and movement, such as public infrastructure. For example, this common streetscape in Venice above has the facades of various buildings acting as the two parallel planes of interest, pulling the pedestrian and vehicular movement in both directions towards the open ends as intended by the master planners. The lack of distractions through horizontal and vertical intrusions further compounds the design intent, allowing the space to flow uninterrupted along its axis.

“The choice behind whether to employ a symmetrical or elongated U-shaped configuration comes down to the use of the space and whether or not the occupant needs to contemplate or move quickly through that space. ” – Archifiller

5. U-Shaped Planes

A U-shaped configuration has a third vertical plane added unlike L-shaped configurations and parallel planes, where the definition of a volume of space is oriented primarily towards the open end of the configuration. It is ambivalent in character, with a stronger definition towards its closed end which dissipates towards the open end.

Similar to parallel planes, a U-shaped configuration can be reinforced visually and spatially with the addition of further vertical and horizontal elements. Also, the U-shaped configuration has the capability to morph into either a square or a rectangle, with the open end in either scenario remaining as the primary face of the spatial field.

The choice behind whether to employ a symmetrical or elongated U-shaped configuration comes down to the use of the space and whether or not the occupant needs to contemplate or move quickly through that space.

With the Piazza del Campidoglio in Rome, the adoption of a U-shaped configuration in the form of three buildings serves to define the edges of a monumental urban space and has its open end addressing the scenic outlook over Rome from its significant elevation above the city as envisaged. Concurrently, this U-shaped configuration also physically terminates the primary means of approach towards the Piazza via the grand stairs that begin at a lower elevation. Furthermore, the equestrian statue of Marcus Aurelius in the center of the Piazza del Campidoglio becomes a focal point within the urban space – like a column in space as aforementioned – highlighting the importance of its placement with this defined field of space.

6. Four Planes: Enclosure

When a fourth vertical plane is added to a U-shaped configuration, we create what is effectively a four-walled enclosure. This congregation of vertical elements is the most typical of them all, creating the boundaries of an introverted field of space through its primary trait of four corners, influencing the greater field of space that surrounds it.

Similar to other vertical elements, a plane out of the four can be chosen as more domineering or made into a feature wall, achieved via differentiating its size, form, surface articulation or by introducing openings within it such as doors and windows.

In reality, four planes come in a variety of building scales, such as a tall-height public atrium space right down to an individual bedroom or closet. Historically, four planes have been exemplified best through their use in defining a spatial field with external walls that is directed inwards towards the activity of worship.

“External walls to a vast extent determine the visual character of a building, whether they are heavy or light, transparent or opaque, or a combination of the two.” – Archifiller

External walls to a vast extent determine the visual character of a building, whether they are heavy or light, transparent or opaque, or a combination of the two. This statement stands true for the Church of Light by Tadao Ando.

Here, the introduction of a white cross in the form of an opening within one of four planes that encloses the church not only symbolises the worship of Christianity, but also orients occupants towards its surface – like a feature – through its ability to manipulate light and amplify its presence in a poorly lit intentional field of space. Additionally, the enclosure isolates this defined field of space visually from any outside distractions in order to make the crucifix the focal point of this space. The result is a sheltered volume of space that displays a uniquely experiential indoor environment that is designed with its worshipers in mind.

And that concludes part 2 – the six vertical elements of building form that can establish the visual limits of a spatial field and be instrumental in the definition of form, space and order. The projects referred to above demonstrate the power behind these vertical elements, and in most cases, how they have been carefully considered and crafted when drawn on a humble piece of paper prior to their placement and erection in practice.

As mentioned in the introduction, this editorial forms part two of a two-part series. To read part one – Architectural Space: Horizontal Elements, please visit the editorial found here.

Written by Thomas Denhardt – Founder and Creative Director of Archifiller

Editorial Quiz

1. What are the six vertical elements of building form that help define the visual limits of architectural space?
2. In order for the human perception to believe that a volume of space is present, what are the two visual cues it requires?
3. Which vertical elements above have a strong axial orientation towards two open ends?
4. Which vertical elements above are the most typical of them all in practice?

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Archifiller

Horizontal elements of building form

Architectural space is born at the intersection of two things: three-dimensional horizontal elements and three-dimensional vertical elements. Without these instruments, a volume of space can simply not exist.

In this two-part series, Archifiller will firstly explain to professionals within the architecture community what qualifies as horizontal elements within building form and how these elements have been leveraged in practice – both historically and recently – to convey specific types of architectural space for varied end purposes.

With that being said, here are the four horizontal elements to bear in mind when engaging in the act of designing architectural space.

1. Base Plate

A base plate is a horizontal plane placed against a contrasting background in order to help define a specific field of space. This contrasting characteristic in the surrounding ground plane could be articulated in the form of colour, tone or texture, allowing the base plate to become a distinctive element on its own while still maintaining a continuous flow of space between the base plate and its surroundings.

A prime application of a base plate being employed in practice is in the context of a large open space where specific zones of smaller space need to be highlighted. Take the common approach towards the front entrance of a home.

As shown in the visual example above, the path of movement towards the front entrance of the home is defined by the use of a tiled walkway acting as the base plate, which is laid in direct contrast to the surrounding lawns that adjoin it. Texture and colour are the strongest indicators of differentiation here, with the edge of spatial demarcation being visually reinforced further by the addition of plantings on the left and an in-situ garden wall on the right.

“However, unlike an elevated base plate, a depressed base plate effectively becomes an isolated field of space, where its edges become the defining factor of its spatial extents and visual impact.” – Archifiller

2. Elevated Base Plate

An elevated base plate is a base plate that is separated from its surrounding ground plane through being raised vertically. This creates vertical surfaces along its distinguishable edges that can adopt similar surface characteristics to its surroundings in order to become an extension of the surrounding space, or it can be articulated separately with a contrast in form, colour or texture.

Unlike a standard base plate, an elevated base plate interrupts the flow of space across it, which is dictated by the degree of elevation applied to it. This characteristic of level change inherent in an elevated base plate allows it to be an explorative horizontal element of form that provides a variety of spatial and visual design possibilities.

The UNESCO World Heritage site of Machu Picchu is a great example of the use of elevated base plates, where polished dry-stone walls become the distinguishable base plate edges as they increase in elevation and stagger vertically up their placement within the mountain ridge. This technique results in a terraced building estate, where each raised space becomes a platform for viewing the greater surrounding natural landscape.

3. Depressed Base Plate

A depressed base plate is a base plate that has been lowered vertically, creating sunken vertical surfaces along its distinguishable edges. Similar to that of an elevated base plate, contrasting qualities can be applied to a depressed base plate to create spatial independence between itself and its surrounding ground plane if required. However, unlike an elevated base plate, a depressed base plate effectively becomes an isolated field of space, where its edges become the defining factor of its spatial extents and visual impact.

“The most typical building examples that personify overhead planes and are manipulated to articulate architectural form are roofs and ceilings.” – Archifiller

The oval amphitheatre of the Colosseum in the city of Rome is cognizant of the effects that depressed base plates can evoke, where a series of them were appointed to create a field of space separate to the rest of Rome for the purposes of holding local entertainment, such as gladiatorial contests, public spectacles and re-enactments of famous battles. Furthermore, the use of depressed base plates and its sunken vertical edges made of travertine limestone, tuff (volcanic rock) and brick-faced concrete helped to cut out any surface-level wind and background noise in the area that may interrupt the delivery of the activity happening within.

4. Overhead Plane

An overhead plane is a horizontal plane that has been raised vertically to the extent that it begins to define a volume of space between itself and the surrounding ground plane that it relates to. Its edges define its boundaries – similar to that of base plates, elevated base plates and depressed base plates – yet, unlike the other previous ground and floor plane manipulations that were reliant on their surroundings, an overhead plane has the ability of its own to define a entire new volume of space.

This volume of space and the extent of its spatial definition can be visually reinforced further by various other elements and techniques, such as turning the edges of the overhead plane downward or by integrating an elevated or depressed base plate beneath its elevation.

The most typical building examples that personify overhead planes and are manipulated to articulate architectural form are roofs and ceilings.

Take the Farnsworth House by Mies Van Der Rohe, where the overhead roof plane not only dictates the scale of the space, but also clearly defines the house’s formalism. The addition of vertical linear elements – such as these regularly spaced posts – helps to support the overhead roof plane structurally while visually establishing the limits of the volume of space created without disrupting the flow of space between the inside and the outside.

So, there you have it – the four horizontal elements of building form that have been employed through design thinking to help define what we know as architectural space today. Through the examples illustrated above, this design technique is evidently an advantageous tool when engaging in your next act of designing architectural space.

As mentioned in the introduction, this editorial forms part one of a two-part series. To read part two – Architectural Space: Vertical Elements, please visit the editorial found here.

Written by Thomas Denhardt – Founder and Creative Director of Archifiller

Editorial Quiz

1. What are the four horizontal elements of building form that help define architectural space?
2. Which horizontal element is dictated by the degree of elevation applied to it?
3. What qualities does contrasting characteristics in a horizontal element achieve?
4. What are roofs and ceilings typical examples of?

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