A.1 Volume and geometry

A.1a The volume and geometry of the proposal were designed following the 12 basic rules of composition (on the left), are coherent, and relate well with the context.

A.1b The different volumes of the building are coherent and relate well with each other in proportion, size and shape.

The House on the Hill. Alison Brooks Architects. Winner of the 2021 RIBA House of the Year competition: although the geometry of the extension looks very different from the existing house, it is lower than the roof line, the angles replicate the existing roof angles and the colour palette is taken from the existing building.

A.2 Mathematical coherence

A.2a The proposals follow clear mathematical rules resulting in good proportions.

A.2b Proposals demonstrate how the mathematical ratios or grids used to design the layout and the facades make the design coherent as a whole.

Check this example from Kearns Mancini Architects - Endymion Guesthouse, ICF Builder Awards 2022: there seems to be chaos in the composition with all the windows in different sizes, but they respond to a mathematical rule, which makes them appear as a pattern.

A.3 Form and function

A.3a The external appearance of the proposed building is coherent with its function.

A.3b The relationship between the ground floor functions and the public space is coherent and demonstrates the building use.

In the Ilot Balmoral in Montréal, Canada - by Provencher Roy - geometry and colour are used to create hierarchy, making it very easy to understand where the main entrance is and how the different parts of the building have different functions

A.4 Compositional hierarchy

A.4a The main part of the building is clear, well defined, and dominant; it is the ‘head’ of the design.

A.4b It is easy to withdraw information about the building from it design: its use, its component parts, where the main entrance is located, what parts are more public and which ones are more private.

Vision

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.

All shopfronts in Nottingham will be of high quality, durable and easy to maintain. Shopfronts in historic buildings should be restored to their original design wherever possible. Contemporary shopfronts may be acceptable if carefully designed, respecting the proportions and character of their setting.

12 basic rules of composition

1. Understand the context

The context of a product is the circumstances or setting in which an object is used, and which add to its meaning. The context of Nottingham is the Midlands region, its history, its culture, its identity. The context of a building, is the street and area where it sits, the form and materials, the size and proportions of other building in the vicinity. Design conceived without a full understanding of the context is poor quality design.

2. Create a focal point

Every design must have a core message, something that stands out. The viewer needs to know where to look first. In a building this is normally the front door.

3. Create visual hierarchy

Viewers’ eyes need to follow visual hierarchy arrangements that communicate the relative importance of each part of the place or building. For example, using different materials.

4. Use leading lines or grids

A grid layout helps place elements in a harmonious and visually appealing manner, it makes the work of composing the design a lot simpler.

5. Scale the elements

Another way to indicate the relative importance of elements is to adjust their scale. The most important elements are usually larger or more prominent.

6. Balance the elements

Each element carries a visual weight determined by its size, colour and shape, these need to be balanced to achieve visual harmony. Too much of everything creates clutter.

7. Repeat some elements

We recognise elements that are arranged with a rhythm as a pattern. A small variation in the pattern can add interest and help manage scales.

8. Apply the rule of thirds

When symmetry is not the right solution, divide the space into thirds and place the focal objects in the intersection of the lines.

9. Create contrast

We tend to group similar objects together and differentiate between those that are dissimilar. Contrast can help make some elements stand out.

10. Use negative space

The shape and size of negative spaces (white in a page and walls in a building) are just as important as the positive elements (windows or details).

11. Create a cohesive whole

In a well-composed building, elements tie together to form a whole. All the parts play a role in achieving a sense of unity and cohesion.

12. Align design + functionality

A building becomes more welcoming and the space around it feels safer when we can understand what is happening behind its walls.

In the Monash Woodside Building for Technology and Design in Clayton, Australia - by Grimshaw in collaboration with Monash University - the use of colour and roof heights make some parts of the building stand out, making it clear to interpret which areas might be more public than others.

A.5 Proportions

A.5a A module dimension (Mo) was established and every component of the building was designed as a fraction or multiple of that dimension.

A.5b The module and proportions of the proposals related to the character and architectural composition of the context and/or adjacent buildings.

In this façade of Sunderland City Hall - by FaulknerBrowns Architects - although there are different partitions, all the components are in proportion to each other and in proportion to the whole.

A.6 Scale

A.6a The scale of the proposal is compatible with and respectful of the scale of the context and/or adjacent buildings.

A.6b The appropriate sense of scale is achieved and carefully managed by the splitting volumes clearly into parts that relate to the context.

In the High-rise Multi Unit Housing Arc - by Koichi Takada Architects - the scale of the development is managed by design, continuing the height and colour of the adjacent buildings, setting the tower back from pedestrian view and using the double/triple height arches to indicate a change in scale within the context.

A.7 Colour and texture

A.7a The design has a colour palette that is ‘of its place’ and achieves design in context. The palette is limited to a dominant colour (circa 60%), a secondary colour (circa 30%), and highlights (circa 10%).

A.7b The design as a whole and the materials have a grain/texture that is ‘of its place’ and achieves design in context.

This extension of the Forte di Fortezza on Tirol, Italy - by Charles F, Bloszies Faia - uses context colour and texture with subtlety to let the historic building take centre stage.

A.8 Details

A.8a Details are integral to the fabric of the building and are in proportion with the building as a whole, for example applying the module rule to the design of details.

A.8b There are no detailed elements that can be removed from the building without affecting its architectural integrity; for example, perforated balustrades.

The Oak Park modular housing scheme in Sacramento, California - by Johnsen Schmaling Architects - incorporates colours from the surrounding environment to create detail that is integral to the building design.

Shopfronts Design Code

ASH.1 Composition and proportions

ASH.1a For renovations: demonstrate how historical research evidence informed proposals in terms of size, position, and separation; this applies to glazing, frames, doors and details (see Shopfront Gallery for examples).

ASH.1b For new buildings: demonstrate how the proposals follow the Architectural Integrity principles.

ASH.2 Shop windows

ASH.2a For renovations: retain and conserve historic glass were possible.

ASH.2b For all buildings: use anti-glare or anti-reflective, laminated glazing.

NOT COMPLIANT - Too busy and lacking coordination

ASH.2c Glazing only includes manifestation (see SF4.4) and main logo/business name. Promotions, advertisements and other glazing covering are not permitted unless glazing panels need to be obscured, in which case full specification and details were be submitted for planning approval.

NOT COMPLIANT - External shutter and box

COMPLIANT - Internally fitted see-through

ASH.2d Full specifications and details were submitted for the planning approval of any internal, see-through shutters. External shutters/shutter boxes over glazing/fascia are not permitted under any circumstance.

ASH.2e Any doorways and shop window with a recessed porch can be closed off at night with mesh-like/gate-like security shutters and full specifications and details were submitted for the planning approval.

COMPLIANT - Discreet mesh shutter installed over the porch

COMPLIANT - Discreet frame around porch to insert night time gates

ASH.2f The shop window (glazing and frames) is in character with the local area and the city as a whole. Flat plywood, cladding, metal sheets or similar materials fixed onto the shopfront to shape glazing frames are not permitted under any circumstance.

ASH.3 Technical quality

ASH.3a For renovations: retain and conserve historic details. For new buildings: full materials specifications and details were submitted for planning approval.

ASH.3b The intensity of proposed illumination must not be excessive, it must be carefully designed as an integral part of the design and in character with the area. Full specifications and details of the illumination type/style/intensity/system were submitted for planning approval.

ASH.3c Full specifications and details must be submitted for the planning approval of any external light fittings. Internally illuminated sign boxes, bulky lighting hoods and/or led scrolling signage are not permitted under any circumstance.

ASH.3d All projections (canopies, awnings, signs, etc.) are at 2.2m from the external finished floor level.

ASH.3e Full specifications and details must be submitted for the planning approval of any canopies/awnings. Plastic coated canopies and blinds are not permitted under any circumstance.

ASH.3f All colours used for the design of shopfronts are complimentary to the surroundings. When the business/brand colour is used, it is in combination with other colours contained within the urban landscape palette. If in doubt, please use a colour palette generating app (example) or discuss with your case officer.

ASH.3g Security/alarm fittings have been integrated in the shopfront design, not installed as an add-on.

ASH.4 Accessibility

ASH.4a Door openings are a minimum clear width of 800mm.

ASH.4b Access ramps are in gradients between 1:12 and 1:20.

ASH.4c Door kickplates have been included to protect the door from wheelchairs.

ASH.4d Manifestation to all glazing reaching floor level has been included (in line with Building Regulations K5.2).

ASH.4e Signs a clear and legible, with a contrast ratio of at least 4.5:1. Flat lettering spaced off the fascia can be difficult to read, and are therefore not permitted.

What is Architectural Integrity?

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).

ARCHITECTURE DESIGN CODE