“CONCEPTS” IN THE PROCESS OF DESIGNING THE VOID IN THE FORM

Şamlıoğlu, Tülay 1; Kuloğlu, Nilgün 2

Karadeniz Technical University, Department of Architecture

INTRODUCTION

The design product, which is to be obtained by the criticism of the elements of architectural
activity and by applying them to the indicators of architecture, is attained as the result of the
design method (Aksoy, 1987). Architectural design is a process that requires questioning the
environment-space relations, includes designer-user-visual user relationships, involves the
coordination of design and engineering information and becoming partners with other arts
and fields of science. The designing process starts with thinking and comes to an end with
the product after going through several stages.

Until the design transforms into the product, this process can be managed in various ways by
the designer. Broadbent says that the architect follows four different paths when shaping the
3-D form. He points out that these are pragmatic, typological, analogical and canonical
approaches (Broadbent, 1978; Usta, 1994).

The designer sometimes shapes the product by directing this process according to certain
concepts. These concepts that provide a starting point may usually have iconic or symbolic
meanings. Conceptual studies of this kind are the ones in which the product symbolizes the
concept or directs the thought around it.
In this study, the handling of the design process -that is acquired by basing the voids
shaped on the form to a concept - is examined.

1. FORM and VOID

FORM

Form means “biçim-şekil” (TDK, Turkish Dictionary, 2010). According to various definitions;
 “together with the required usage conditions, it is an objectified model of thoughts
regarding the physical, spiritual and symbolical sides of life” (Hasol, 2002),
 “plastic and graphical expression of a certain theme in concrete arts” Wrong, 1972),
 “general order of the object and the void” (Hasol, 2002), it can be defined physically
and/or conceptually (Şamlıoğlu 2010).
In the field of philosophy, “form” means shape and is etymologically defined as follows:
“Indicating any being by separating it from its environment and everything else by cutting it
(“biçmek” and “kesmek”) from its border (Hançerlioğlu, 2005; Şamlıoğlu, 2010).

The decision of form depends on a number of factors, criteria and limitations affecting
architectural design. In addition to a lot of determinants like the aims of the investment,
functional requirements, user trends, land and environment data, technology, financial
sources, standards, construction rules, etc also to the knowledge, culture, skill, world view,
values, goal and psychology of the architect play a big role on the choice of form (Onat,
1995; Şamlıoğlu, 2010).

Form and its changes in architecture tell us the historical process of architecture. Depending
on the differentiations in their lives people presented changing shapes in different processes
in the sense of architecture (Usta, 1994). Changes in ways of living, in society’s sociological
and cultural structure affected architecture, thus, form. That’s why form is a kind of language
telling about the era and society, culture and art, man and thought. Today form incorporates
a lot of items like its designer’s identity, ideas and any image or concept that he wants to
project, in addition to the design decisions and functional requirements.

In the process of design different paths can be followed to shape the form. One of these
paths is that the designer identifies a concept and designs the form around it. This way, the
form can reflect an idea or any symbol.

VOID

Literally, void means

 "cavity, hole, uncovered place"
 "Space which doesn't contain any substance" (Hançerlioğlu, 2005)
 In English it means "void, nullity and cavity" (URL–6, 2009).

As a summary, void means cavity, hole, nullity, uncovered place, disconnectedness, that
which doesn't contain any objects etc. Void is a concept which is perceived in large
dimensions like "infinity, nothingness" or "limitlessness". Architectural void is a concept
perceived depending on "human scale", which is limited and has "architectural"
specifications.

Various authors express the relationship between space and void as (Şamlıoğlu, 2010):
  "a three dimensional space surrounding us"
 "an architecturally shaped space"
 Space in which we live, which separates human from the natural environment" (Zevi,
1990; Rassmussen, 2000; Kuban, 2010; Gülmez, 1996).

Voids in form add value to space in a number of ways, like court, entrance, terrace which are
spatial possibilities that are being offered to the inner and outer space user; and façade
voids, urban voids, voids that empower the perception, which are visual possibilities offered -
also- to the user. Structures with large voids which are valuable in terms of urban vista,
orientation, passage and entrance can also be found (Şamlıoğlu, 2010).

2. CONCEPTUALIZATION and CONCEPT

2.1 Conceptualization

Cogitation caused by expression; organizing main elements of objects and events into a
concept is called conceptualization (Hançerlioğlu, 1993). Conceptualization is giving meaning
to every behavior, fact, sound, and indicator or being able to detect and recognize their
meanings (Gençosmanoğlu, 2001). Concepts that are made as a result of conceptualization
are lingual expressions based on the common properties of objects, shapes, facts, states
and movements on the world in the frame of a generalization and abstraction (Akşan, 1982).

The main way to ease the solution of the design problem starts with analyzing concepts
regarding the problem. One of the most important steps to take in this way is
conceptualization. Conceptualization, in which thought (notion) points to a concept or the
abstract transforms to concrete in one single language, is an important method that gives
way to thought and thus to design. İnceoğlu emphasizes that conceptualization is an
abstraction and that concepts have a relationship with the culture they are in. According to
İnceoğlu, conceptual thought can be explained as "extensive thought not on the basis of
objects, but on the basis of common properties of objects" (İnceoğlu, 2004). Yılmaz points
out that a good and creative conceptualization must draw attention to creations, relationships
and qualities that haven't been seen thus far (Yılmaz, 2010).

Smith's strategy as one of the design methods has five stages: Formulation of the design
agenda, waiting, conceptualization, development and evaluation. The feature that sticks out
among these methods is "raising the creative activity which is carried out unconsciously to
the level of consciousness or forcing the unproductive mind"; this strategy "emerges at the
stage of conceptualization" (Gençosmanoğlu, 2001;Aksoy, 1987; Smith, 1979).

Actually conceptualization is a kind of abstraction. It is the summation of expressing a

thought in an image, symbol or language. In architecture, the design process can be handled
with studies based on concept production. In studies based on concept production, as the
designer reveals his/her product there can be a starting point for a concept, image or
substantial design (Asasoğlu, Kuloğlu, Öksüz, Cordan, 2002). The product is created with
regard to this start and the method is called conceptualization.

In the design process the designer creates his/her design product with the conceptualization
method by abstracting any image, idea or fact he/she thought of. While creating this product
the designer can create voids in the form because of functional or ideational reasons.
Though these voids most of the time may include semantic concerns, they may also provide
answers to functional motives. As a summary, some voids in the structure form can be
designed inside of conceptual motives.

2.2 Concept

Literally the word concept has the following meanings:

 "The abstract and general design or an object or thought in mind, purport, notion…"
 "General design which covers objects' or facts' common properties and gathers them
under one common name, purport, antonym, notion." (TDK, Turkish Dictionary,
2010).

In concept-based studies handling and interpretation of concept can be similar or different.

Researchers can explain and classify this situation according to their context. For example:
 According to Yılmaz, concept is needed in a lot of studies because concept is like the
second best summary of concrete reality (Yılmaz, 2010);
 Hançerlioğlu, on the other hand, claims that it is a general object grasped by objective
impression and thought, through the operation of abstraction ( Hançerlioğlu, 1993);
 Gür says, "Concept is a bodiless structure but comes into being in objects. Hegel
called figures as 'belongings of the concept'. Concepts are created as figures in
consciousness and they become images" (Gür, 2000);
 According to Enç, concept is an abstract thought encompassing any object or fact's
basic elements and feature (Hançerlioğlu, 1993).
In logic, concept is described as the way of projecting the objective reality in human brain.
Hançerlioğlu says that a very complex process is followed in order to create a concept from a
sensory projection. In this process a lot of momentary operations like abstractions,
comparisons, solutions, consolidations and generalizations happen (Gençosmanoğlu, 2001).

Various thoughts have been expressed and discussions have been made on concept. Most
of the time concepts are like some kind of a summary of thought; they allow the expression
to be understood and told more easily and they can change and develop in time. They may
look like a single word although they are not; they accompany us in our lives as products of
creations of the human brain.

Some designs that started as concept-focused are being shaped with voids by their
designers. These voids sometimes take part in mass impacts and sometimes they are
created just by exterior impacts. On one hand the aim is to project the concept, on the other
hand, it is to create attention grabbing voids in the form. These voids created when shaping
the form in the scope of this concept are called "Conceptual Voids" (Şamlıoğlu, 2010).

3. CONCEPTUAL VOIDS

The voids in the form have been subjected to various studies but semantically they haven't
been opened to discussion explicitly. In a study where voids are classified semantically and
physically, conceptual voids are one of the sub-titles of the study (Şamlıoğlu, 2010).
According to this study the designer can form the void he/she created in the direction of a
certain abstract or concrete concept during the design of the structure. The void in the
structure can be evaluated functionally or ideationally under other titles too. But the
underlying aim of designing is the concept that forms the structure design (Şamlıoğlu, 2010).

It is possible to say that the conceptual voids in this context, point to a fact, state and concept.
These kinds of voids may have been formed in order to reveal a main idea. This is mentioned
most of the time by the designer of the structure. Sometimes, the effect made by the void can
be conceptualized by visual users or critics (Şamlıoğlu, Kuloğlu, 2009).

In the creation of forms and -dependently- conceptual voids the designing process is
approached via conceptualization. Thus, the process is approached by the designer as an
abstraction of an idea, an image or any other thing. In this study which aims the discussion of
this process on samples, structures that are thought to harbor conceptual voids and the aims
and visions of the designer in this process are discussed. Ten different examples for
Conceptual Voids are shown on Table 1.

Table 1. Conceptual Voids

KAVRAMSAL BOŞLUKLAR

Church of Light City Hall of Murcia Simmons Hall The Whale Hotel Unique

La casa Inodoro H.D. Heartquarters K. Bottle House CR Technology Beijing Stadium

3.1 Discussion of the Design Process in Terms of Conceptual Voids

It has been pointed out before, that conceptual voids are designs containing voids which
designers create around a concept or thought. Among the examples Simmons Hall-MIT, The
Whale and Annex to The City Hall Of Murcia have been chosen to explain the designer's
prominent approaches in detail.

Table 2. Simmons Hall- MIT, Steven Holl

SİMMONS HALL - MIT

CONCEPT: Porosity

According to Steven Holl the following concepts play a role in structure design:
 Isotropic and visible porosity. Additionally, in design, voids in the form and positions of
the voids are very important.
Pores, the sponge-like form of the structure and urban space design ideas on micro level are
prominent thoughts that are effective in structure design. The voids created by slices cut
away from the whole, add movement to the mass of the structure while formless voids have
been created with spongy pores inside. When explaining the positions of these big holes,
Steven Holl pointed out that they were positioned with a concern of not blocking off the views
of neighboring buildings (Şamlıoğlu 2010).

Table 3. The Whale, Frits Van Dongen-CIE

THE WHALE

CONCEPT: Whale

The primarily effective concepts for the designers of The Whale are as follows:
 the whale form with which the structure form is abstracted, along with mass voids like
entrance, court and surface voids that will fulfill certain functional motives… As the name
implies, during the design of "The Whale" home complex the concept has been abstracted
and the design has been finalized keeping also functions in mind.

"The Whale" gave the Amsterdam harbor area an iconic status with its scale, different form
and zinc exterior elements. The structure is in contrast with the surrounding settlements with
lesser stories and almost gives one the impression of a meteor falling from the sky. The big
space in the middle has been approached as a court and thus, homes have been allowed to
benefit from sun light, air and the view. At the same time, the entrance void and the broken-
line-form of the structure resembles the movement of a whale (Şamlıoğlu, 2010).
Table 4. Annex To The City Hall Of Murcia, Rafael Moneo
ANNEX TO THE CITY HALL OF MURCIA

CONCEPT: Note

Rafael Moneo focused on one concept while designing the structure:

 notes… During the design of the structure exterior and column system Moneo created almost
a musical piece and designed the locations of the column systems and voids accordingly.

The building's exterior is the most important part of this structure. Rafael Moneo's all effort is
to create a composition with the notes, i.e. in a sense, he stresses that his whole effort is to
compose the structure. The design is a melody of his dialogue with his environment. Moneo
thinks about a musical note to break the order of the columns and the symmetry of glass
balconies, designs the exterior voids this way and the favorite structure of the city emerges
(Şamlıoğlu, 2010).

Table 5. Church of Light, Tadao Ando

CHURCH OF LIGHT

CONCEPT: Light & Cross

In Ando's design the following concept has been effective particularly:
 the light cross… Tadao Ando increased the impact he wanted to create in his church with a
cross in the form in the exterior void which bears a meaningful value.

The shining cross at the end of the nave while dominating the interior space also has a
symbolic meaning in terms of the exterior. The cross' dominance of the space is
extraordinary. Being created by Ando, this structure pulls on the light and the power of the
space (Şamlıoğlu, 2010). According to Ando light has a spectacular effect when it falls on the
dark background. The designer has limited the natural elements with light. Ando aimed to
abstract the nature to its final limits and at the same time to purify the architecture. Changes
in the light that is reflected by the cross have the purpose of reminding the relationship
between humans and the nature (Ando, 2000).

Table 6. CR Land Guanganmen Green Technology Showroom, Vector Architects

CR LAND GUANGANMEN GREEN TECHNOLOGY SHOWROOM

CONCEPT: Impermanence

In the design the most effective concept is:

 impermanence… While aiming for this concept for the structure that is going to be publicly
open for a limited time frame, they also referred to concepts like transformation and
ecology.
The project is going to be used for three years and it has been designed with the aim of
offering different perspectives focusing on the "impermanence” concept. The project's
features are:
1. Minimal effect of the structure on the landscape design
2. Minimal effect expected by pedestrian traffic
3. Ease of demolition after the usage and recycling of the construction site (Şamlıoğlu,
2010).

The structure is long and contains voids. Especially the large void seen at the entrance
serves either as an entrance or a passage. With minimal exterior voids and the large
embracing entrance void created in this design which integrates with nature, the concept of
structure has been attempted to be emphasized. For structures with dense voids like this the
"demolition and recycle" is going to be performed more easily.

CONCLUSIONS AND DISCUSSIONS

Today, during design process management a lot of designers work with the ideational
approaches in addition to the primarily functional requirements. These most of the time
appear before us as concepts. Taking a look at the samples discussed in the study, concepts
mostly range from a thought to a symbol, from any living creature to an idea. The product
emerges with the integration of these attitudes of the designers with functional requirements
like view, light, position, exterior, entrance and court. In this process some designers create
the form with voids and thus, "void" stands out as the priority concept projecting the main
idea.

"Conceptualization" is being used as a method in the design process and the process is
experienced by creating "concepts". The ideational theme of the product can sometimes get
ahead of the function or the form. This method which can be described as "designing with
the concept" or "conceptual design" can be said to be one of the frequently preferred
design methods. In conceptual studies where thought is on the foreground compared to the
form, the most important point is to ideally reflect the concept which is intended to be
emphasized. During the conceptual design process "void" is one of the prominent elements
in the shaping of the form. When designing structures with voids, the designers acquire the
concept they want to express with the help of the "void". This can be porosity as expressed
in Steven Holl's Simmons Hall structure or can stand out as a void containing symbolical
meanings like in Ando's Church of Light.
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REFERENCES OF TABLE

Table 1:
http://www.galinsky.com/buildings/churchoflight/index.htm, 2010
http://www.galinsky.com/buildings/murciacityhall/index.htm, 2010
http://arquitecturamodelo.blogspot.com/2008_11_01_archive.html, 2010
http://designcrave.com/2010-04-02/harley-davidson-headquarters-in-australia-
by-tony-owen-partners/, 2010
http://www.archdaily.com/7952/klein-bottle-house-mcbride-charles-ryan/, 2010
http://www.worldbuildingsdirectory.com/project.cfm?id=140, 2010
http://tecnologiayarquitectura.blogspot.com/2007/10/la-casa-inodoro.html,
2010
http://www.mimoa.eu/projects/Brazil/S%E3o%20Paulo/Hotel%20Unique, 2010

Table 2:
http://www.arkitera.com/v1/proje/stevenholl/, 2009
http://web.mit.edu/cre/i/mit-simmons-hall_1_w1200px.jpg, 2009
http://transienttravels.com/wp-content/uploads/2009/03/p1030345-1024x 768.jpg, 2009
http://www.stevenholl.com/project-detail.php?type=educational&id= 47&page=0, 2009

Table 3:
http://www1.cie.nl/projects/projects---partners/frits-van-dongen/the-whale,-amsterdam.aspx, 2009

Table 4:
http://www.galinsky.com/buildings/murciacityhall/index.htm, 2010

Table 5:
http://www.flickr.com/photos/24149168@N06/favorites/page4/,2010

Table 6:
http://simbiosisgroup.net/2008/12/04/cr-land-guanganmen-green-technology-showroom-vector-
architecture-china/,2010
http://inhabitat.com/green-technology-showroom-by-vector-architects/,2010