Nottingham City Council expects applicants to submit proposals that are designed with architectural integrity; architects often call it ‘the DNA of a building’. This means that buildings are formed by following a set of rules that result in a clear, balanced proposal where each part has a function/rational, and where all the parts are related to each other to form a coherent whole.

IN SIMPLER TERMS:

A model that helps explain this refers to comparing a building with a human body, where each organ has a function and a reason to exist, several organs form systems (e.g. digestive system), tissue and other systems then connect all the pieces together (e.g. the circulatory system carries cells/particles from organ to organ). Each organ has an identity of its own, the system that joins them is different to the organs but helps the parts come together logically and functionally to form a body.

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On the left, the figure shows an analogy between the human body and a hotel, the form, size and identity of each part of the building responds to the function. All parts are connected by the communal areas. The different functions require different room dimensions and shapes, and they link to the core part of the building in relation to their required privacy level.

In the image below, the different systems that serve the building are compared to the systems of a human body. The brain could be compared to an IT room and the heart to plant room where energy is stored/emitted. The structure could be the skeleton of the building, its shape and composition is there to allow the organs to function and to protect them from damage. The skin covers the body separating the systems from the environment, just as the walls, roofs and floors (build-up parts) separate the rooms from the environment in a building.

A building that works coherently, as a human body does, has architectural integrity.

When ‘decorations’ are added to the building after its DNA is defined, these will appear as last minute add-ons that do not belong to the integrity of the building, just as we use make up and accessories decorate our bodies. When items are added to the DNA of a building, these look artificial.

architectural integrity in 8 steps

This section shows one possible way to achieve architectural integrity. Although the process below is not the only method available, it can help inexperienced architects and designers who are used to addressing building design as technological exercises.

Architecture does both: technology and art. A confident architect would craft a piece of high tech to achieve three key goals: Functionality, Durability and Delight (Beauty).

1. Volume and geometry respond to context

The easiest way to respond to the context is to begin with whole-site volume, and craft it as a sculptor would do with a piece of marble, taking bits off to ensure the new piece fits in nicely in the setting. Of course, this is more critical in Conservation Areas and when historic buildings (designated or not) are in the vicinity of the proposal, but this method is more likely to result in schemes that would be acceptable from a planning perspective.

Below, is an example of a proposed building (in the middle - darker shading) that was crafted in response to its setting. The volume was reduced at the rear and it gradually lowered near the existing terrace houses to avoid overviewing and overshadowing.

In this example, volume crafting strategies ensure that the new proposal can act as a ‘bridge’ between two different uses and scales, therefore blending in and joining up the contrasting existing buildings.

The gap between different uses prevents any noise issues and allows the houses to be appreciated in their scale. The façade was brought forward to the building line of the residential buildings, and it was treated with a module that replicates the rhythm of the adjacent façades. To the left, the proposal followed the building line of the retail units, and replicated their mansard roofs.

2. Mathematics always rule

Following mathematical rules is crucial to achieving a balanced, coherent design, especially when the building is formed by various volumes or parts.

Creating a grid on the site plan and projecting it to the elevations to guide the design is a good compositional method. This grid must not be confused with the structural grid that marks the position of columns, that will come in later; this grid is more like the the one artists draw on canvas to copy shapes accurately.

Following clear mathematical rules makes it easier to achieve buildings of good proportions. To make the whole design coherent, it helps using a ‘master dimension’ and fractions of it to compose the whole building. For example: Master dimension: 6m; Secondary: 6/2 = 3m; Tertiary: 6/4 = 1.5m, and so on.

Below is an example of how to use compositional grid systems to design facades. Note how the contemporary building respects the adjacent historic one. Even when the materials might differ, as long as they are high quality, once the composition is in character, the building can reflect it’s time and place confidently.

This is how it works:

A - Some symmetry is picked up in the window arrangement.

B - The separation between windows is not the same, but it responds to the mathematical grid of the adjacent building (Contemporary separation = 1/2 Historic separation).

C - The dominant heights of the composition are maintained despite the floor to ceiling heights in the new building being different.

D - The windows are the same dimension and the 1/3 partition is repeated in the top section of the contemporary windows.

E - A decent gap is created by setting back the elevation - respecting the grid system - to create a visual detachment that allows the historic building (and its symmetry) to be appreciated fully. This is often called ‘articulation’.

3. Form and function should align

It is important to chose a master dimension that will result in a functional layout/space. For example, for residential uses, the 7m rule might be useful to produce good size rooms.

If the building has different functions, it might be appropriate to have different master dimensions for each zone, in which case, relating those two master dimensions mathematically will ensure the coherence of the whole, for example: Master Dimension Residential A: 6m; Master Dimension Commercial B: 9m (1.5 x 6m)

This diagram shows how scales can be managed within the same mathematical rules, with the residential block using a module of 6m and the adjacent retail block using a 9m module.

This house in ***kitanyuugura, Japan*** - by **takeru shoji architects** **- shows how buildings become adapted by its users (see retrofitted awning) when form does not provide what’s needed for the building to function well.**

4. Hierarchy brings clarity

It is crucial to know from the outset, which will be the main part of the building and which will be the complementary or subsidiary parts. The main part needs to be clear and strong, defined and dominant, it is the ‘head’ of the design. When we see a person, we tend to look at the face first, the main façade of a building will be that part that makes it recognisable. From the main façade, we should be able to withdraw information about the building as we do when we see a human face: what is it about?, what age is it? what’s its identity? is it introvert/private or extrovert/public?…

This residential apartments block in Lake Maggiore, Italy - by Archea Associati - uses lack of detail/colour/texture to highlight the access zone.

5. Proportions matter

It is often difficult to point at what it is that makes a building look good but intuitively, we know when buildings feel ‘right’, this is because they are proportioned. Good proportions are more easily achieved when designers apply a clear measuring system that establishes mathematical relationships between the parts. This traditional approach to designing ‘in proportion’ can help rationalise façades, making buildings more legible and easier to interpret.

Contemporary architecture is designed using decimal metric systems, as opposed to the historic imperial approach. This needs to be considered when designing new façades next to historic buildings to ensure proposals are in proportion with their setting and that they are sympathetic to neighbouring buildings. For this reason, it is good practice to understand the proportions of adjacent buildings and to fully consider the whole streetscape proportions before arriving at a proposal.

The simplest way to work with proportions is to remember how the classical orders work and to take that ethos into contemporary design. Note a Tuscan column is 5 modules tall and a Corinthian is 9). Setting a multiple of 1m as the module dimension (Mo), for example 5m, and working with fractions of that module, is a simple way to design in proportion. The diagram below shows two examples.

**This contemporary house in Vancouver - by** **Leckie Studio Architecture + Design** **- has been designed in perfect proportion.**

6. Scale is key

The sense of scale can be managed by the splitting volumes into parts and making those parts and the whole relate to its context. One building might have a façade onto a main road and another onto a residential street, in that case it might be logical to use larger composition grids for the main façade and smaller for the residential façade, as shown in the graphics below.

In order to resolve elevations in context successfully, it is important to understand the scale of the surrounding environment. It is possible - and desirable - to add contemporary buildings to historic setting with great success, but it is not easy, a high level of skills is required. A safe way to achieve elevational design in context is by adopting the design grid and the proportions of adjacent buildings, as shown in point 2 above.

7. Colour and texture in context

Texture and details should be there for a reason. Large, tall volumes will be seen from far away and not so much from pedestrian viewpoints. This means that fine details, such as perforated pattern claddings or textured brick walls, will not be visible from the distance. In this case, it would be better to add detail on the ground floor (and zones more visible at close range), creating texture for the larger, higher parts of the building by designing the facades as a pattern, for example.

The use of colour is critical to defining the DNA of a building. After finding a colour palette that is ‘of its place’ to achieve design in context, the colour choice should be reduced, ideally to 3 or 4 colours, using those in a ratio of 60% dominant, 30% secondary and 10% highlights.

This is Cheapside looking towards Victoria Street, in Nottingham. On the right of the image, 6 squares show 6 of the dominant colours picked from the street palette.

8. Details are not decorations

A common mistake is to add detail, colour and texture at a last minute in a design stage, often in response to planning comments. This type of measure can cause more harm than good because details are best conceived at the outset and as part of the concept design. Details should be integral to the fabric of the building and must be in proportion, using the dimensions of the design grid (see 2 above).