Lecture 2 - Site Analysis - Commercial-Institutional Interiors VDIS10009

1. BY
RAMONA
SOLOMON
Lecture
2
Site
Analysis
The
Poten;als
&
Constraints

2.
What
is
involved
in
a
site
analysis?
The
purpose
of
the
site
analysis
is
to
record
and
evaluate
informa;on
on
the
site
and
its
surroundings,
and
to
use
this
evalua;on
in
the
design
response.
Site
analysis
is
more
than
just
collec;ng
informa;on
about
the
site.
The
site
analysis
should
iden;fy
issues
that
will
influence
the
design
of
a
development
in
order
to
make
a
considered
response
to
both
site
opportuni;es
and
constraints,
to
provide
a
good
quality
living
environment,
and
respect,
acknowledge
and
improve
the
character
of
the
area.

3.
The
site
analysis
–
ge3ng
it
right
The
site
analysis
should
provide
the
basis
for
the
design
response.
A
site
analysis
is
not
a
jus;fica;on
for
a
preconceived
design.
A
good
site
analysis
will
be
a
combina;on
of
facts
and
influences
for
development
of
an
appropriate
design
response.

4.
Site
Survey
Start
with
a
site
survey,
documen;ng
the
physical
features
of
the
site
and
surroundings,
no;ng
par;cular
aspects
which
will
be
important
to
acknowledge
in
developing
your
design.
These
could
include
habitable
room
windows,
decks/balconies
or
private
open
space
areas
on
adjacent
sites,
through
to
issues
of
neighbourhood
character
can
influence
your
design
response.

5.
Site
Context
Plan
The
site
context
plan
shows
the
type
of
design
constraints
and
opportuni;es
which
will
drive
an
effec;ve
design
response.
Photographs
and
sketches
can
be
used
to
communicate
the
ideas
and
observa;ons.
Each
site
warrants
its
own
inves;ga;ons.

6.
SITE
ANALYSIS
-­‐
THINGS
TO
CONSIDER
The
site
visit
is
one
of
the
first
things
in
the
design
process.
AQer
the
comple;on
of
a
site
visit,
a
detailed
site
analysis
has
to
be
done
so
as
to
really
grasp
the
features
of
the
site,
which
will
be
very
important
during
the
design.
Here
are
some
of
the
points
one
must
pay
aSen;on
during
the
site
visit
as
well
as
during
the
site
analysis
and
study.

7.
LocaGon
This
is
the
first
thing
that
one
needs
to
look
at.
Where
is
the
site
located?
How
is
the
site
approached?
What
is
the
name
of
the
street,
the
road
etc
on
which
the
site
is
located?
How
far
away
is
the
major
junc;on?

8.
OrientaGon
The
orienta;on
of
the
site
plays
a
very
important
role
in
si;ng
of
the
building.
This,
when
combined
with
the
wind
direc;on
and
sun
path,
would
give
a
good
idea
as
to
how
the
design
should
be
oriented
so
as
to
op;mise
the
design.
The
orienta;on
along
with
the
sunpath
will
also
determine
the
placement
of
rooms
inside
buildings.

9.
Temperature
&
Sun
path
The
sun
path
direc;on
tells
one
which
will
be
the
side
from
which
the
maximum
heat
will
be
coming,
especially
in
the
aQernoons.
In
warmer
climates,
the
design
will
try
to
reduce
the
amount
of
incident
sunlight
so
as
to
reduce
the
heat
intake
to
a
minimum.
The
lesser
surface
area
of
the
building
which
is
exposed
to
the
sun,
lesser
will
be
the
conduc;ve
hea;ng.
In
colder
climates,
the
design
will
try
to
maximise
the
amount
of
sunlight
incident
on
the
building
so
as
to
have
maximum
warmth
as
possible.

10.
Wind
DirecGon
Most
of
the
loca;ons
will
have
a
general
major
direc;on
from
which
the
wind
comes.
However,
this
will
not
always
hold
true
and
will
vary
from
loca;on
to
loca;on.
If
we
are
to
design
a
climatologically
responsive
building,
it
will
be
important
to
consider
the
direc;on
of
the
wind
so
that
it
can
be
channelised
through
the
interiors.
This
will
play
a
major
role
in
placement
&
size
of
openings.

11.
Topography
This
refers
to
the
slope
and
level
of
the
land
–
whether
the
land
is
flat
and
plain,
or
whether
it
is
sloping?
From
a
design
point
of
view,
a
sloping
site
will
be
more
challenging.
If
a
site
is
sloping,
the
exact
slope
can
be
interpreted
from
a
detailed
Contour
map.
The
contour
loca;ons
and
spacing
of
contours
will
play
a
big
role
in
the
si;ng
of
the
building.

12.
Soil
Type
&
CondiGon
Soils
vary
from
place
to
place.
Their
proper;es
also
vary
according
to
the
type
of
soil.
Sandy
soil,
clayey
soil,
laterite
etc,
all
have
different
proper;es,
which
affect
the
design
of
the
building.
This
is
very
important
from
a
structural
point
of
view
while
designing
buildings.
The
safe
load
bearing
capacity
of
the
soil
is
to
be
found
out
aQer
which
the
structural
system
and
the
founda;ons
will
be
designed
accordingly.

13.
VegetaGon
&
Natural
Features
Any
good
design
will
integrate
vegeta;on
into
the
design,
highlight
&
accentuate
it
to
create
a
harmonious
whole.
It
will
consist
of
all
the
trees,
flora
and
fauna
present
on
the
site.
These
should
be
marked
onto
the
site
plan
so
that
it
will
assist
during
the
design
stage.
Along
with
trees
and
vegeta;on,
other
natural
features
like
rock
forma;ons,
swamps,
marshes
etc.
are
also
to
be
iden;fied.

14.
PrecipitaGon
&
Hydrology
The
amount
of
rainfall
that
the
site
receives
and
the
;me
period
during
which
the
rainfall
occurs
are
to
be
inves;gated.
This
is
measured
as
average
annual
rainfall
throughout
the
year.
Hydrology
refers
to
things
related
to
water.
During
the
site
visit,
we
need
to
iden;fy
water
bodies
present
in
and
around
the
site
like
ponds,
lakes,
rivers
etc.
The
loca;on
and
size
of
these
water
bodies
should
be
studied
so
that
they
can
be
integrated
into
the
design
scheme.

15.
Surrounding
Landuses
&
Buildings
One
also
needs
to
pay
aSen;on
to
the
surrounding
landuses
and
building
around
the
site.
If
the
landuses
are
incompa;ble,
it
may
lead
to
crea;on
of
issues
in
the
design.
For
example,
if
there
is
a
school
right
next
to
the
site,
the
noise
disturbance
will
have
to
be
factored
in
while
designing.
Also,
the
height
and
setbacks
of
adjacent
buildings
are
important
in
affec;ng
the
flow
of
air
and
also
sunlight.

16.
Prominent
Vision
lines
/
Visual
linkages
This
becomes
a
very
important
element
in
the
design
process.
The
views
to
the
site
as
well
as
the
views
from
the
site
are
to
be
carefully
considered
while
designing.

17.
Locally
Available
Resources
One
also
needs
to
find
out
what
the
locally
available
resources
are.
What
materials
are
available
in
and
around
the
site,
which
can
be
used
in
the
design.
This
is
especially
relevant
today
when
the
design
has
to
be
as
sustainable
as
possible,
by
reducing
the
transporta;on
energy
&
costs.

18.
Planning
a
site
visit
Site
visits
are
important
in
order
to
get
an
understanding
of
how
the
space
is
used
and
detect
any
maSers
that
are
not
present
in
the
documenta;on.
Ini;al
site
visits
are
generally
carried
out
in
an
occupied
space,
where
staff
operate
their
business
as
usual.
Site
visits
should
be
done
in
a
professional
manner
in
order
to
maximise
the
informa;on
gained
and
to
minimise
disrup;on
on
site.

19.
Survey
the
exisGng
space
Site
visits
are
important
in
order
to
get
an
understanding
of
how
the
space
is
used
and
detect
any
maSers
that
are
not
present
in
the
documenta;on.
Ini;al
site
visits
are
generally
carried
out
in
an
occupied
space,
where
staff
operate
their
business
as
usual.
Site
visits
should
be
done
in
a
professional
manner
in
order
to
maximise
the
informa;on
gained
and
to
minimise
disrup;on
on
site.

20.
The
Tools
of
the
Trade
1.
Pencil
and
Pens
Its
best
to
bring
several.
2.
Laser
Measuring
Unit
Two
clicks
of
a
buSon
give
an
accurate
read
on
the
largest
spans
of
the
space.
3.
A
tape
measure
Nothing
completely
replaces
a
good
old
fashioned
tape
measure.
4.
ExisGng
plan(s)
Its
best
to
have
some
idea
of
the
space
even
before
arriving.
Even
“known”
dimensions
need
to
be
verified
on
site.
5.
Camera
(or,
in
most
cases,
a
phone).
TAKE
MORE
PHOTOS
THAN
YOU
THINK
YOU
NEED.
Photo-­‐documen;ng
the
project
is
an
important
backup
for
the
recorded
measurements

21.
Analyse
the
Brief
and
the
Drawings
Analyse
the
client
brief
together
with
the
site
analysis
before
you
move
on
to
designing
a
concept.
Then
the
designer
provides
a
‘return
brief’,
which
outlines
the
design
concept
and
their
approach.
You
need
to
firstly
comprehend
the
scope
of
the
project
and
the
physical
characteris;cs
of
the
site
before
returning
the
brief.

22.
The
Design
Response
Use
your
site
analysis
as
a
prompt
in
developing
the
design
for
the
site.
The
ques;ons
and
answers
raised
in
the
site
analysis
will
also
provide
a
useful
check
at
the
end
of
the
design
process.
Your
design
response
should
explain
how
the
development
will
relate
to
other
dwellings
on
the
site,
and
to
the
exis;ng
neighbourhood
character.
Key
steps
in
developing
your
design
response:
• Decide
what
features
of
the
site
you
are
able
to
take
advantage
of,
which
enhances
your
development.
• Develop
the
detailed
plans,
taking
into
account
the
implica;ons
from
your
site
analysis.
• Test
your
design
response
against
the
site
analysis.
Have
you
adequately
resolved
the
key
issues?
How?

23.
CASE
STUDY

24.
Koudenburg
&
Elsinga
designed
this
contemporary
office
in
2013
for
JWT,
a
veteran
adver;zing
agency
with
a
youthful
spirit,
located
in
the
bustling
hub
of
Leidse
Square
in
Amsterdam,
the
Netherlands.
The
interior
is
burs;ng
with
eye
candy
from
the
colorful
murals
and
sculptural
furnishings
to
the
quirky,
greenhouse-­‐like
conference
room.
This
seriously
old
adver;sing
network
agency
from
1864
has
a
surprisingly
young
hot
shop
mentality.
JWT
Amsterdam
is
situated
at
Leidse
Square,
one
of
Amsterdam’s
central
hubs
for
restaurants,
theatres,
bars
and
clubs.
JWT
is
housed
inside
the
famous
Hirsch
&
Cie
building,
a
former
luxury
department
store
in
the
heart
of
Amsterdam.
The
Hirsch
&
Cie
building
opened
its
doors
in
1882
and
s;ll
maintains
its
grandeur
to
this
day.
It’s
hard
to
imagine
a
greater
contrast
with
the
new
interior,
right
above
the
Apple
store.

25.
JWT
Amsterdam
aims
to
‘Seriously
Surprise’,
and
it
does,
from
the
moment
you
enter.
Exci;ng
things
lie
in
wait
around
every
corner.
Whether
it’s
the
upside-­‐down
castle
at
recep;on,
the
greenhouse
mee;ng
space
with
huge
plants,
the
architectural
tree
sculptures,
or
the
drawings
from
ar;sts
such
as
the
Dutch
collec;ve
Kamp
Horst
or
the
Norwegian
Anders
Rockum.
It
just
doesn’t
stop.
As
a
visitor
to
the
space
you
want
to
go
and
explore.
Discovering
funky
Skype
units,
Amsterdam
Canal
house
cabinets
or
the
profile
of
Holland’s
greatest
writer,
made
out
of
his
Wiki-­‐page
text.
The
interior
perfectly
reflects
the
agency’s
moSo.

26.
On
being
commissioned,
design
director
Alrik
Koudenburg
teamed
up
with
design-­‐ar;st
RJW
Elsinga.
Together
the
duo
worked
on
crea;ng
a
stunning
space
of
nearly
2000sq
meters,
almost
all
custom-­‐designed.
The
interior
WOW
effect,
is
created
with
graphics,
including
logos
per
department,
a
variety
of
unique
furniture
and
specials
such
as
a
2.6m
high
cardboard
bunny
to
house
the
office’s
many
awards.
Comple;ng
it
are
classics
like
the
Eames,
Friso
Kramer,
lights
by
Louis
Poulsen,
Tom
Dixon
–
and
also
the
fabulous
Moroso
‘SoQ
Wood
sofa’
and
Driade
‘Nemo’
face
chairs.

27.
The
revamped
Amsterdam
agency
is
currently
experiencing
a
major
upsurge,
with
staff
expanding
from
65
to
85
&
beyond.
The
design
duo
explains
how
they
went
about
crea;ng
the
mul;-­‐func;onal
space:
“We
wanted
to
make
work
feel
like
play,
so
we
designed
a
really
diverse
range
of
work
environments.
Open
&
closed,
S
/
M
/
L
with
breakout
spaces
and
touchdown
work
selngs
where
1
/
2
/
4
/
8
or
even
up
to
12
people
can
work
their
magic.
We
didn’t
want
to
apply
a
singular
design-­‐concept
to
the
en;re
space,
as
the
surprise
effect
would
wear
off
too
soon.
Instead,
we
created
a
wild
mix
of
inspiring
experiences
which
–
in
addi;on
to
achieving
the
‘smile’
we
were
aQer
–
complements
and
supports
the
agency’s
approach.
This
diversity
helps
to
create
a
homelike
environment,
which
in
this
case
comes
with
a
grand
café
complete
with
a
chef.
Bon
appé;t”.

28.
JWT
Amsterdam,
lead
by
Ralph
Wisbrun
and
crea;vely
by
Bas
Korsten
completely
reorganized
the
agency
before
their
big
move.
Believing
that
our
complex
world
calls
for
a
new
way
of
working,
they
tore
down
the
tradi;onal
agency
structure
and
built
a
new
one.
With
3
leaner,
meaner
and
more
agile
departments:
Think,
Do
and
Make.

29.
For
‘Think’
Koudenburg
&
Elsinga
created
an
inspira;onal
garden,
where
one
can
wonder
around
and
let
thoughts
flow
freely.
The
space
includes
a
library
and
a
podium
overlooking
the
Leidse
Square.
‘Think’
is
the
place
where
ideas
are
invented
and
plans
made,
based
on
strategy,
technology
and
connec;vity.
—
For
‘Do’
a
city
setup
was
created,
which
func;ons
like
a
busy
beehive
where
JWT
staff
organize
the
idea,
gelng
it
done
with
a
team
of
concept
producers,
online-­‐
/
ac;va;on-­‐
/
and
print
producers.
—
‘Make’
feels
like
a
happy
factory,
being
inside
a
crea;ve
toolbox,
where
digital
craQsmen
and
women
bring
the
ideas
to
life.
It
consists
of
a
studio
for
(online)
design,
visualizing,
film
making,
etcetera.
The
huge
CMYK
colored
robot
cabinets
(2.80m
high)
keep
everything
nice
and
;dy.