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Potential of Mental Imaging in Architectural Design ProcessAnshuman Singh First Presented and published in the proceedings of IDATER 99 (International Conference of Design and Technology education research and curriculum development) University of Loughborough, Loughborough, UK in August 99. ABSTRACT The purpose of the experiment was to study the role and potential of mental imaging in the architectural design process and to study the use of mental imaging as a feed back while designing, in absence of other media viz. sketching. This experiment is a continuation of experiments conducted on Industrial designers. The experiments conducted with industrial designers indicate that they were able to design well, blindfolded. This experiment studied an architect, to ascertain the role of mental imaging in the architectural design, which is different from industrial design in scale and complexity. This was performed by studying an experienced architect, blindfolded during the act of design. The results achieved clearly indicate that he was able to use mental imaging and his inner resources to assist him in the design process. KEY WORDS
142 words 1.0 INTRODUCTIONThe paper is a case account based on protocol analysis of an architect assigned with the task of designing blindfolded. This is a part of ongoing projects focussing on the role of mental imaging in design behaviour. These experiments were performed on design professionals like architect, industrial designer (Athavankar, 1996), musician and advertising designer. The experiment was designed to study the potential of mental imaging in absence of other media to externalise the thought viz. sketching. To study whether imaging offers benefits as conventional media to serve as display tc react and portrayal of content of design? The complexity, size of spaces, working both in interior and exterior spaces (which are beyond the human gestures) and scale were the unique factors studied. These factors were not so complex in other professions studied earlier. Sketching is known to offer several advantages when designing (over the computerised media) (Ullman, 1990). It offers a way of representing and thus recording decisions. It also serves as a display for the designer to react to (Gabriela, 1992). By preventing the designer from sketching the experiment attempts to explore, if mental imaging can serve the role sketching does? It also explores the nature of imaging experiences. The purpose of the experiment was to study the role and potential of mental imaging in the design process, to examine whether mental imaging can enrich the design process. Also to study the advantages and disadvantages of using only mental imaging as a feed back while designing, in absence of other media viz. sketching. In the previous experiment conducted on product designers (Athvankar, 1996) established .the fact that mental imaging can be used to do complex modelling tasks and taking formal design decisions, in comparison to industrial design, architects deal with much larger volumes and spaces. These spaces cannot be worked from exteriors only. The study was designed to ascertain the role mental imaging plays while taking decisions on interior and exterior space simultaneously in absence of sketching (which is an important tool in architectural design) 2.0 EXPERIMENT AND PROCEDUREThe subject chosen was in mid fifties and has been practising architecture since 30 years (referred as V.S. in the paper). V.S. was trained in traditional ways to design, had been relying on sketching till he started using computers extensively during past 5-7 years. Subject with 30 yr. Of experience was chosen because of his already developed style of design and method to tackle a problem. Years of experience help to develop individuals image bank, which was necessary in this experiment. He was given a problem of designing a motel on a highway with 18 rooms of mixed type with ancillary facilities. The problem was presented as textual material and drawing (details of introduction of problem given in 2.1). An architect, amongst the experimenters framed the problem. The study was done to observe the role of mental imaging in the problem solving. The study uses protocol analysis technique with audio-visual recordings. The design problem and environment was recreated to match the needs of real life design situation as much as possible. Since mental imaging is a personal experience, there are no outward signs, which a camera can catch consistently. Measures were taken to access this imaging without being too intrusive in the problem solving process. The subject was made to rely on mental imaging by depriving him of sketching, which offers a visual and kinaesthetic feedback to the subject. 2.1 SEQUENCE AND STAGES OF THE EXPERIMENT Stage 1: Reading the Design Brief. V. S. was asked to read the design brief supplied to him. The design brief contained textual description of the site, surroundings, topography as well as functional requirements (from 00:00:00 to 00:02:28). V.S. was asked to repeat the requirements and details after memorising them, till he got the content right. The experimenter, (who was well acquainted with the problem), offered clarifications and added the missing information. This part lasted from 00:02:29 to 00:09:23. V. S. was then supplied with the scaled drawing depicting the site, topography and surroundings. V. S. had to memorise the drawing and describe the site again. The experimenter added the missing information and details. This process was repeated till VS was able to recall all the details of the site. (This part of the stage I lasted from 00:09:40 to 00:13:20.) Stage I took 13 minutes 20 seconds in totality. Stage 2: Blindfolded Problem Solving V. S. was asked to wear an eye mask and solve the problem blindfolded. He was asked to speak aloud, as he proceeded with the problem solving. As he could not sketch, V. S. had to rely on his mental imaging to develop his ideas. This stage could be divided further into two sub units viz: 2a) General planning- allocation of spaces, site planning of the building. (00:14:02 - 00:21:50) 2b) Fine-tuning - Detailing of surface treatment, fixing dimensions, interiors etc. (00:22:00 - 01:02:36) During the second stage he discovered some problems (detailed later in this paper), which he solved by altering the decisions taken in the first sub unit. Questions were asked by experimenter to remind him to describe th attributes, which he forgot to mention. Some of these details were visualised of but were not mentioned. Some questions appeared entirely new, which him to look at these aspects. The whole stage 2 lasted from 00:14:02 - 01:02:36. Stage 3: Description of the Final Design Proposal. The subject was asked to finally describe the idea before the eye-mask was removed. During this process he again made minor modifications. The description was intended so that it could be compared to the sketches done in the stage three. The process lasted from 01:03:07 - 01:10:25. Stage 4: Quick Sketching. After V. S. was clear about the design the eye mask was removed and he was asked to sketch the solution rapidly. He was instructed to inform of any new features that he may have added during the act of sketching besides what he visualised (he did not add any element besides what he visualised). The sketching and simultaneous discussion lasted from 01:11:35 to 01:24:26.
Stage 5: Commentary on the replay After the description he was shown the video recording of the session he was asked to comment on where ever he had instances of mental imaging. The process lasted for two hours precisely and was again video recorded. The experimenter also intervened to ask V. S. about his mental imaging experience. (Replay time (RT) 00:00:00 - RT-2:00:00) 2.2 ANALYSIS AND RESULTSThe experiment was designed in a fashion to ensure that the details were not added while sketching the solution at the end. The final description of design solution was video recorded in stage 3 and the verbal record was used to cross check. Results showed that all the ideas, plans, features and details he showed in his final sketches were decided during the stage he was wearing a mask. His final description as well as his verbal protocol referred to all the decision suggesting that VS had worked everything in his images. This confirms with the earlier similar results with Industrial Designer as a subject (Athvankar 1997). There are certain areas in planning, where his approach remained only at a conceptual level or alteration of specific spaces. (E.g. Service area and its overall appearance). He does not go into details of this area in his think aloud protocols nor in his final sketch. He probably treated this as 'routine' matter to be worked out in detail later, but never reached the stage. Thus some areas like kitchen, service yard, general toilet remained as space allocations only. One might expect excessive usage of gestures as the subject was blindfolded. On the contrary the subject except for the initial part of site description refrained from usage of gestures. (This was contrary to the experiments done with Industrial designers: Athvankar, 1997). The gestures were usually limited to talking gestures and did not have spatial accuracy with them (00:02:50). In fact the subject refrained from using gestures and sat with the hands folded. Since only one architect was studied it cannot be generalised. V. S. dealing with the problem started with the broad allocation of spaces over the site, to be detailed later in the due course of session. He continuously switched back and forth to resolve issues, in a non-linear fashion (discussed in detail further in the paper). The verbal record during the design process served as a cue to recall the nature and details of imaging during the play back session. For analysis this relationship was documented as in Table I. Table I Since the area of focus was mental imaging in the design process, the instances where V. S. had occurrence of mental imaging were recorded first. To be correlated with the play sessions later. The data accumulated as in Table I was later analysed for factors as discussed below. 3.0 CREATION OF VIRTUAL DESIGN STUDIO IN THE MINDIn the absence of any externalisation medium viz. sketching V. S. had to rely on mental imaging to serve as a portrayal of his design and as a display to react. The entire design process appeared as if the designer was conceiving 3D building in his mind's eye and kept modifying and shaping it through out. It was almost like working in a virtual design studio. These factors are discussed as follows: 3.1 Modelling of Spaces and Planning: Mental imaging was used as a potential tool to develop and change built forms with great ease and speed. VS used it as a part of exploratory moves and reflected upon them in imaging. Between 00:19:31 and 00:21:13 he decides on the number of stories and the volume of the built form by analysing the space available to him. In the replay session he comments- RT-00:31:08- "Something came to my mind ...a roof like this with mezzanine floor, triangular, with glazing on top." The modelling ideas are much more clear in the later stages of the design. In the final description he changes his design. While walking towards the building in his imaging he finds the gable of dining hall disturbing and thus changes the front elevation. RT-1:56:14- "I realised that there was a lawn in the front and I did not want a triangular wall coming in." V. S. was able to allocate spaces and later change them in his mind as the design developed. When he was reminded of the fact that the service road is in the site he quickly remodelled it. 00:26:10- "Everything has to go inside the plot!!! My first image of Banyan tree as a part of the lawn has to change. The lawn has to shift more on left-hand side. The service entry will be on the extreme side." RT-00:45:10- "I visualised a road from the broader side of the site. It was outside the plot, but when he said inside, a gate came to my mind. Huge large gate of metal." 3.2 3"* Dimension and Detailing of elements: These modifications were not only limited to space allocations, but also to the elements of the built form viz. walls, windows, and roofs and their details. The rapidness, flexibility and volatile nature of mental imaging helps to handle these issues with much ease than sketching does. Treatments and details can be imagined, modelled and changed at a very high pace. For example, immediately after allocation of spaces V. S. proceeds to develop an image for the whole building. The image emerging in his mind stays the same till the end. 00:22:12 - "Stone wall, Mangalore tile roofs, and lot of wood. I'd like to use glazing..." RT-00:34:53- "It was like countryside as in..., sloping roofs, stone walls." After resolving the general image, which showed fascination with the use of stone and Mangalore roof tiles he tries to resolve the interiors. The first image of stone and tiles influence his details all the time. Even in the treatment of bedrooms (00:22:41) dining hall (00:47:40) the stone treatment finds its place repeatedly. 3.3 Presence and walkthroughs: Perhaps one of the most rich experiences mental imaging offered, which sketching cannot, were walk through in the design process. Since VS was working with mental imaging he was able to walk though his building, switch viewpoints, move from inside to outside with great ease and take design decisions. RT-00:37:10 - "I am inside the room looking outside at the lawn." RT-01:09:11 - "From outside I saw the trees. From inside I visualised clean parking without the trees." RT-01:37:40 - "I was walking in the corridor and toilet was blocking the view." RT-01:46:30 - "the level differences I saw from top." He also assumed north to be closer to him (contrary to standard practice in drawing where north is away from the viewer). This was based on his knowledge of geography of the site (Goa being south of Bombay). He corrects this after viewing the drawing. 3.4 VisualJ.safcion of Spaces and their details: The subject was at ease while visualising spaces with decoration and specific lighting conditions. VS was able to visualise and presence of light and noise while visualising the motel and site surroundings. 00:32:34- "You'll get sun on the south side."
Sketch 2: Depicting the site section (Actual size 15 X 6 cm) He evaluated in his mind that there would be conflicted with his initial images (RT-01:00 railway tracks which prompted him to place a side (RT-01:11:24)shadow in the courts, which 00).Also the noise from the high wall on the railway track 3.5 Conceive and view spaces with people: V.S. was able to conceive spaces with people. Usually his imaging experience was in terms of built form but at 00:23:30, while detailing the room and adjoining spaces with privacy as the key factor, he visualised people in the imaging. This presence of people was not reported anywhere else by him in the replay session. RT-00:40:52- "visualise people.couple and child outside with a ball. The woman was wearing a sari."
Sketch 3: Depicting a typical room and surroundings (Actual size 28X25 cm) 4.0 Imaging and Image Bank"Precedents" played a vital role in dealing-with issues related to imaging. Image bank is a very personalised matter, which creates the distinct differences in solutions between individuals. While discussing the lobby he says: 00;47:40 - "decorate it with hangings, crafts... VS later informed (RT-01:47:28) that these details about interiors were triggered by an image of high walls of a fort and banners, crafts etc." The origin of this image was unexplained. It was assumed that stone walls or previous visits to forts could' ve triggered these. Another possible bearing for the use of stone walls could be his previous conservation works in hills where stone and wood are predominant building materials. These imaging driven decisions also had bearing upon the strong notions he had about the site and the geography of the locale. He is continuously visualising for the initial part of the experiment that lobby was biggest and reception and dining were attached spaces. This is contrary to the requirements, but goes with his image, which is derived from a five-star hotel (RT-00:11:41). At 00:19:50 he assumes setbacks of the site to be of 10m, which he admits (RT-00:16:00) to have taken from the 10m X 10m grid drawn on the drawing supplied. There were instances where imaging prompted him to take design decisions e.g.. The Banyan tree prompting him to place a lawn around (RT-00:13:47) and the railway track to place the service block along with it (RT-00:24:10). Although there were other interesting imaging driven decision which could not be explained 00:58:56- "the dining is floating..." VS added in the replay (RT-01:48:00) that he had an image of a swimming pool in mind, which was the basis of this decision. He could not explain the basis for this imaging. Swimming pool wasn't a part of the design requirement.
Sketch 4: depicting the section of dining room wall Actual size 10X6 cm VS was continuously visualising his desiign in a sunny environment. H continuously refers to light coming in through the windows in the room, across the court and in the dining room. 01:19:33 replay time- "it was a sunny day, the stone was already there, greenery...'" The subject later reported (apart from the experiment) that whenever he visualises a window, he starts by visualising a full size window with no wall. He focuses his attention on the light falling in and not on the window. 5.0 SIGNIFICANCE OF THE FINDINGSThe experiments point out the important role mental imaging plays in design thinking, at least when sketching is not used. The findings can be classified in to three parts.
6.0 UNRESOLVED ISSUESSince only one subject was studied the findings cannot be generalised. There is a need to study more subjects in order to establish the results as a rule or a pattern. Thinking aloud may affect the natural flow of thought process or may not actually portray the mind. But this can be considered as the limitation of the experiment as there is no other way to access the image bank. There is a need to find alternative ways of accessing mental imaging of the subject in a less obtrusive way. Younger subjects, not studied here, may yield different results due to difference in image bank, experience and problem solving methodology. 3470 words 7.0 REFERENCE
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