Sustainable Design Basics PDF

Sustainable Design Basics Sustainable Design Basics Sharon B. Jaffe Rob Fleming Mark Karlen Saglinda H. Roberts Copyright © 2020 by John Wiley & Sons, Inc. All rights reserved Published by John Wiley & Sons, Inc., Hoboken, New Jersey Published simultaneously in Canada No part of this public...

Sustainable Design Basics Sustainable Design Basics Sharon B. Jaffe Rob Fleming Mark Karlen Saglinda H. Roberts Copyright © 2020 by John Wiley & Sons, Inc. All rights reserved Published by John Wiley & Sons, Inc., Hoboken, New Jersey Published simultaneously in Canada No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, scanning, or otherwise, except as permitted under Section 107 or 108 of the 1976 United States Copyright Act, without either the prior written permission of the Publisher, or authorization through payment of the appropriate per-copy fee to the Copyright Clearance Center, 222 Rosewood Drive, Danvers, MA 01923, (978) 750–8400, fax (978) 646–8600, or on the web at www.copyright.com. 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For general information about our other products and services, please contact our Customer Care Department within the United States at (800) 762–2974, outside the United States at (317) 572–3993 or fax (317) 572–4002. Wiley publishes in a variety of print and electronic formats and by print-on-demand. Some material included with standard print versions of this book may not be included in e-books or in print-on- demand. If this book refers to media such as a CD or DVD that is not included in the version you purchased, you may download this material at http://booksupport.wiley.com. For more information about Wiley products, visit www.wiley.com. Cover design: Wiley Cover Illustrations: Sharon B. Jaffe This book is printed on acid-free paper. Library of Congress Cataloging-in-Publication Data Names: Karlen, Mark, author. | Jaffe, Sharon B., 1958- author. | Fleming, Rob (Robert Michael), author. | Roberts, Saglinda, author. Title: Sustainable design basics / Mark Karlen, Ph.D., AIA, NCIDQ; Sharon B. Jaffe, LEED AP ID + C, IIDA, NCIDQ; Rob Fleming, AIA, LEED AP BD+C; Saglinda H. Roberts, ASID, CID, LEED Green Associate. Description: Hoboken, New Jersey : Wiley, | Includes index. Identifiers: LCCN 2019027145 (print) | LCCN 2019027146 (ebook) | ISBN 9781119443735 (paperback) | ISBN 9781119443803 (adobe pdf) | ISBN 9781119443841 (epub) Subjects: LCSH: Sustainable design—Textbooks. Classification: LCC NK1520 K37. 2020 (print) | LCC NK1520 (ebook) | DDC 745.4—dc23 LC record available at https://lccn.loc.gov/2019027145 LC ebook record available at https://lccn.loc.gov/2019027146 Printed in the United States of America 10 9 8 7 6 5 4 3 2 1 Dedication To my husband, my fellow adventurer, with whom I discovered everything is related to everything, and nature’s delicate balance is both thrilling and vulnerable. No one can do everything, but everyone can do something; and I can make a start. Sharon Jaffe To my family, friends, and colleagues who endured a seemingly never-ending period of intense distraction, and to my co-writers, who endured my amazing ability to ­procrastinate. “Why do something today when it can be done next year” Rob Fleming To my wife for graciously accepting my too frequent distractions created by my writing tasks, and to my students and co-authors who are always a source of inspiration. Mark Karlen To my family, friends and colleagues thank you for your wisdom inspiration and support, and never being tired of hearing “I’m sorry, I can’t, I have to work.” The built environment can be a powerful force for restoration at every level and it is my hope that this book will take us one step closer. Saglinda Roberts v Contents Acknowledgments................................... xiii About the Authors.................................... xv About the Companion Website....................... xvii CHAPTER 1 Why, How, Who, and What.............................. 1 Why Use This Book 1 How to Use This Book 2 Who Should Use This Book 2 What Are the Parameters of This Book 2 Organization 3 Exercises 3 Companion Website 3 CHAPTER 2 Mindset............................................... 5 The Holocene and the Age of Agriculture 6 The Industrial Revolution and the Environment 6 Environmentalism and the Age of Information 7 Realizations of the Historic Sustainability Events Timeline 11 Thinking and Seeing from Multiple Perspectives 13 Integral Sustainable Design 13 viii | Contents The Four Perspectives of Integral Sustainable Design 14 Learning from the Past: General Rules 16 Space and Scale 17 The Integrative Design Process 18 CHAPTER 3 Step 1: Context....................................... 21 The Sustainable Design Basics Methodology: An Overview 21 Step 1: Context 23 Step 1A: Project Information 24 Step 1B: Guiding Principles 26 Step 1C: Macro Context and Micro Context 28 Step 1D: Site Inventory and Analysis 35 CHAPTER 4 Step 2 Pre-Planning................................... 55 Research and Organization 55 Step 2A: Case Study 56 Step 2B: Project Goals 63 Step 2C: Criteria Matrix 67 Step 2D: Relationship Diagrams 73 CHAPTER 5 Step 3: Design........................................ 77 Whole Building Thinking, Systems Thinking 77 3A Preliminary Design 80 CHAPTER 6 Step 3B: Passive Design............................... 117 What Is Passive Design? 117 Key Elements of Passive Design 118 Passive Design Strategies 122 Passive Solar Heating 126 Passive Cooling and Natural Ventilation 134 Water Conservation and Rainwater Harvesting 152 Passive Design Validation 157 CHAPTER 7 Step 3B: Passive Design, Daylighting................... 159 Daylighting 159  Contents | ix CHAPTER 8 Step 3C: Building Envelope............................ 187 What is the Building Envelope? 187 Functions 188 The Building Envelope in the SDB Methodology 189 Building Envelope and Macroclimate 190 Building Structure and the Building Envelope 192 Building Foundations 198 Exterior Wall Assembly 202 Windows 210 Roof Systems 217 Validation, Synergies, and Synthesis of Design 226 CHAPTER 9 Step 3D: Green Materials............................. 229 Basics 229 Evaluation 236 Overarching Objectives 245 Material and Product Resources 248 A Warning about Greenwashing 248 CHAPTER 10 Step 4: Design Resolution............................. 251 Step 4A: Final Design Synthesis 252 Step 4B: Final Design Validation 253 Step 4C: Presenting the Project 261 CHAPTER 11 Demonstration Project............................... 265 Step 1: Context 266 Step 2: Pre-Planning 278 Step 3: Design 286 CHAPTER 12 Beyond the Basics.................................... 323 Active Systems 324 PV Array Sizing and Net-Zero Energy 326 x | Contents CHAPTER 13 Design Resolution.................................... 335 Final Design Synthesis 335 Final Validation 341 Conclusion 349 CHAPTER 14 Demonstration Project: Final Presentation............. 351 Step 1: Project Introduction and Context 352 Step 2: Pre-Planning 354 Conclusion 361 CHAPTER 15 Exercises............................................ 363 Sustainable Building Design Exercises 363 Choice 1: Client Details 365 Choice 2: Site Selection and Macro Climate 370 Choice 3: Macro Context Details 371 Choice 4: New Building or Existing Building 372 Exercises 373 Appendix A: Demonstration Project Program, Climate, and Context Resources 375 Step 1A: Project Introduction 375 Step 1C Macro and Micro Context 378 Step 1D Site Inventory and Analysis 382 Appendix B: Forms and Matrices 387 Appendix C: Energy Modeling Software 419 Notes about Energy and Daylighting Simulation 419 SEFAIRA 421 Rhino Architectural Software 421 Open Studio 422 IES (INTEGRATED ENVIRONMENTAL SOLUTIONS) 423 Equest 424 Revit Green Building Studio by AutoDesk 425 Appendix D: Abbreviations and Acronyms 427  Contents | xi Appendix E: Green Building Standards, Codes and Rating Systems 431 The Role of Codes and Standards 431 The Role of Rating Systems 431 Green Building Standards, Codes and Rating Systems 431 Bibliography......................................... 441 Index.............................................. 449 Acknowledgments Much like the sustainable design process, this textbook, Sustainable Design Basics, and the new methodology it presents is the result of collaborative efforts. We are grateful for the knowledge, insight, talent, and time of all of those who contributed to this process. Special thanks and acknowledgment are due to the following: Thomas Jefferson University. The methodology presented is in large part a response to, and developed for, the use in master’s in sustainable design studio courses at the university. Our students in the master’s in sustainable design program at Thomas Jefferson Uni- versity whose honest and detailed feedback on the SDB methodology, even when less than favorable, helped us evaluate, revise, and refine the methodology presented in this text. Particular thanks to Abhiri Khisty, Jaspreet (JP) Bullar, Surabhi Khand- eria, Rupali Gadagkar, and Shane Clark for their consistent work and positive spirit, Arpita Ganti for her enthusiasm and early SketchUp work and Keaghan Caldwell for his amazing design, SketchUp and Sefaira work. An extra thank you to master’s in sustainable design staff members Savannah Nierintz, and especially Laura Parisi, who was an absolute rock star during her time at the university and in her work to support this book! Teaching colleagues at Thomas Jefferson University have provided insight and support. Rebecca Parish, who produced SDB Revit and AutoCAD drawings. Jeff Zarnoch, who has been consistently supportive. xiii xiv | Acknowledgments James Query, who helped us with topography contours. Frank Sherman, who, with his class, employed the SDB methodology and provided insightful feedback. We have received great support from our professional colleagues including: Lois Brink of The Big SandBox, who provided invaluable site design advice. Re:Vision Architecture, who provided insightful examples of project guiding ­principles. Alkesh Taylor and Stephen Miller from Kitchen Associates, who provided an under- standing of the demonstration project building active HVAC requirements. Early readers of this textbook deserve special thanks. Hannah Rose Mamary, Celia Mamary, Rita Jaffe, and Carolyn Card Sutton each waded through various versions of this textbook providing insightful observations, suggestions, and edits that improved the overall readability, continuity, and structure. Kim Conway Wilson, whose clear-eyed graphic appraisal and illustration skills helped focus and simplify the presentation of complex concepts and images. The team at Wiley publishing saw the value in expanding the successful Basics franchise, from Space Planning Basics, and Lighting Design Basics, into the area of Sustainable Design. Amanda Shettleton, Margaret Cummins, Kalli Schultea, Amy Odum, and the vast support a project of this scale requires, we offer our gratitude and thanks for supporting us through the process. Deficiencies, errors, or ambiguities found in this text, (as surely, we have missed one or two) are the responsibilities of the authors. About the Authors Sharon B Jaffe, LEED AP ID + C, IIDA, NCIDQ. Designer, educator, and sustain- able re-developer specializing in the collaborative development of environmentally sustainable environments. She currently teaches at Thomas J­efferson University in Philadelphia. Rob Fleming, AIA, LEED AP BD+C. Rob Fleming has been teaching, researching, advocating, and practicing sustainability for over 20 years in pursuit of a deeper and more meaningful understanding of sustainability. He is the founding director of and a professor in the master’s in sustainable design program at Thomas Jefferson ­University. Mark Karlen, Ph.D., AIA, NCIDQ Mark Karlen has been practicing, teaching, and writing about interior design and architecture for several decades. He has chaired interior architecture programs at the University of Cincinnati and Pratt Institute. Saglinda H Roberts, IIDA, CID NJ, NCIDQ, LEED Green Associate. Saglinda Roberts is currently an Assistant Professor at Chatham University. She is the founder of a consulting firm which focuses on restorative and holistic sustainable design. She has over 30 years of extensive design experience and has won numerous local and AIA design awards. Passionate about architecture and its ability to transform lives, Saglinda has published several articles on the future of integral sustainable design and presented her research internationally. xv About the Companion Website Don’t forget to visit the companion website for this book: www.wiley.com/go/jaffesustainable. The companion website to this book has a variety of tools, matrices, templates, SketchUp and AutoCAD files not found in the printed text, as well as: PowerPoint files with simple slides that review the materials addressed in the book. Narrated videos that review and augment concepts presented in the text. Simulation and validation assignments which require energy modeling software. xvii  1 Why, How, Who, and What Sustainability does not fit nicely under a single heading; it does not belong to a specific academic discipline or school subject. Nor is it the domain of any one ­sector—environment, education, business, or government. The quest to increase global sustainability involves many aspects of culture and a variety of disciplines that affect the world’s ecology, economics, ethics, and education. Sustainability is an issue beyond a given lifetime or location. It is everybody’s business and involves all aspects of how one lives in the modern world. WHY USE THIS BOOK This text is a basic primer focused on the design process for the sustainable built environment. Buildings that are sustainably constructed and maintained contribute to the repair of the global ecosystem throughout their entire life cycle, while protecting the health and increasing the productivity of building occupants. The design of sustainable buildings requires that the architectural design process evolve into a new framework that promotes a transformation of the built environment globally. This framework must address the local context and apply to the full life cycle of the building. Sustainable buildings are resilient buildings, mitigating damage to the environment and capable of adaptation. They are designed for longevity with low embodied energy requirements. Resilience requires a holistic approach to sustainability that extends to both lifestyle and the community beyond the buildings themselves. Sustainable Design Basics presents design strategies that leverage renewable natural resources and innovative construction techniques to incorporate systems that con- serve energy and resources. However, this book is more than a collection of sustain- able strategies. Sustainable Design Basics is a methodology. 1 2 | Why, How, Who, and What HOW TO USE THIS BOOK This text is an instructional tool that presents both basic technical information and sustainability strategies required for sustainability, and a methodology to facilitate the collection, analysis, and evaluation required to approach a sustainable building project. Sustainable design is inherently a complicated process. It requires an understanding of influencing factors far beyond client preferences, program requirements, and construction methods. For the architect or designer first approaching sustainable building design, it can be overwhelming. For this reason, Sustainable Design Basics (SDB) has simplified the process to its most basic design steps. SDB introduces a step-by-step methodology with a series of matrices and worksheets as decision-making tools, as well as a demonstration project that illustrates each step. The SDB methodology is a working tool intended for use in the design process, not merely a text to be read for information. While an individual learner may use the SDB methodology, it was conceived and is intended for use in a conventional studio classroom setting. WHO SHOULD USE THIS BOOK As a basics book, in the tradition of Space Planning Basics by Mark Karlen and Rob Fleming and Lighting Design Basics by Mark Karlen, Christina Spangler, and James R. Benya, Sustainable Design Basics is directed primarily to intermediate-level (sopho- more or junior levels in a baccalaureate or first professional degree program) interior architecture, interior design, and architecture students. These previous “Basics” books are the inspiration for a precise, easily accessible methodology to address sus- tainable design. However, this particular subject matter asks a lot of the reader. Sustainable design is a far-reaching subject that touches every aspect of design and deals with a wide range of design variables. It is a challenging subject. In breaking down the topic to address basics, a few readers may find some topics too simple and other topics too complicated. Hopefully, the bulk of the text addresses the subject material with an easily accessible, informative, and applicable approach. One of the critical aspects of sustainability is the interrelated nature of global society. That is true for the environment, marketplaces, and education. Readers may come to this text from all parts of the world. With that understanding, the language of this book is direct and straightforward. Complex matters are broken down to smaller basic concepts to avoid, where possible, multilayered, complex theory. The authors are based in the United States, yet the sustainable design principles and practices in this book have global appli- cation. Locations in the United States may dominate the examples and exercises, but the choice of specific site locations was a result of limited time to address an ambitious scope of challenging material and not an effort to exclude other people or countries. WHAT ARE THE PARAMETERS OF THIS BOOK The primary focus of Sustainable Design Basics is design, not technology nor ter- minology. Specifically, the focus is limited to interior architecture, interior design, and architecture. The methodology described applies to both new construction and  Why, How, Who, and What | 3 to renovation of existing buildings. For clarity, this text limits the number of vari- ables with a focus on new construction variables, although renovation and building reuse are vital elements of a sustainable built environment. However, each existing building has unique characteristics of construction, materials, and existing systems, beyond what a basics text can competently address. A site for a building is a complex and worthy topic for sustainable design exploration. Limited by time and textbook length, in-depth exploration of the landscape and the complexities and challenges presented to sustainable designers are beyond the scope of this book. ORGANIZATION Sustainable Design Basics is a step by step, how-to methodology. Sadly, books are by default linear. There is not a “spiraling” option for information in print. While the text flows in a direct linear sequence of information, understand that sustainable design is not a linear process. The sustainable design process is integrated and itera­ tive, frequently looping back to revisit preceding design decisions. EXERCISES The concepts and strategies included in this text have direct application to interior design, interior architecture, and architecture. The exercises that accompany the text follow the step-by-step methodology allowing the reader to do work independently to develop sustainable design skills through project-based learning. A set of undeveloped sites and building “shells” in a variety of geographic locations in the United States provided for exercise project locations each have different geological, climatic, and cultural con- texts. Completing assignments on different sites allows the exploration of the sense of “place” as a fundamental design influence, inspiring different design ideas. A variety of clients, users, and contexts ranging from rural to urban are provided as exercise var- iables. The study of hundreds of projects is possible by mixing and matching exercise variables. Projects can be explored in the studio classroom setting or independently. Users of this text are expected to possess basic knowledge of design, drafting, and planning skills. Many of the exercises require the ability to open and print AutoCAD files or to download and print PDF files. Some of the exercises in Chapter 15 require software. There are also exercises that can be completed, with some variation, without software. Additional software information is available in the appendix and the companion website. COMPANION WEBSITE A companion website to this book (www.wiley.com/go/jaffesustainable) has a variety of tools, matrices, templates, SketchUp, and AutoCAD files not found in the printed text, as well as: PowerPoint files with simple slides that review the materials addressed in the book Narrated videos that review and augment concepts presented in the text Simulation and validation assignments which require energy modeling software  2 Mindset At the most basic level, designers of the built environment create the spaces and places that provide shelter from the elements, and thermal comfort while creating the surroundings of life. The quality of life is dependent upon the work designers, builders, engineers, and architects accomplish daily. It takes a lot of material and energy to construct and operate the buildings, interiors, and landscapes of the world. The use of these materials and energy sources affect the larger environment that humans rely on for fresh air, clean water, light, energy, and food. Such ecosystem services are fundamental to the continuance of civilization into the future. In other words, if society wastes energy and materials, if society carelessly releases pollution into the air and water, if humanity drives animals to extinction and forever alters the climate to produce uninhabitable conditions, humanity threatens its existence. Put bluntly, the current pattern of life on earth is unsustainable. The current distressed state of the planet is a direct result of how people think. Changing how individuals think can change the direction of society’s thinking. With a mindset change, one can begin to imagine a sustainable future. This chapter deals directly with the “why” of sustainable design and the essential mindset for a capable, sustainable designer. Included in this chapter are significant historical events, prominent people, and notable frameworks that support an understanding of sustainability and sustainable design. The remainder of the book is the “what” and “how” of sustainable design, and the step-by-step methodology used to achieve a sustainable design project. First, before delving into the methodology, a bit of historical context is appropriate, a brief journey through history that reveals our changing relationship with nature. Sustainable design focuses on stabilizing the planet, cleaning the water and air, conserving energy resources, expanding renewable energy sources, preserving 5 6 | Mindset biodiversity, and using materials wisely: all to save the planet. If the planet is “saved,” humanity is “saved.” Society may persist in the future—hence the word “sustainable.” However, it is not that simple. An overall holistic approach to sustain- ability must address the many economic, social, and aesthetic dimensions of human existence. Sustainable design is more than just the environment. Sustainable design is a holistic practice. Physical objects, the built environment, and services are designed by responding to the goals and principles of sustainability as viewed from multiple perspectives across space and time. The triple bottom line is a phrase that expresses key concerns of sustainability: Social equity Economic prosperity Ecological protection A fourth sustainability value, beauty, is added to make sustainable buildings more meaningful and more satisfying. THE HOLOCENE AND THE AGE OF AGRICULTURE To see the big picture and understand the threats the world faces, one must look back 12,000 years to the end of the last ice age. Earth entered what is called an interglacial, a period between ice ages when the planet was very warm. The most recent interglacial is called the Holocene. This period of warmth is rare and valuable. The Holocene set the stage for the Age of Agriculture, a population boom, and civ- ilization as it is known today. A few key points to remember: 1. The climate today is a rarity in the context of the four-billion-year history of the planet. 2. Humans have emerged as the dominant species on the planet primarily due to the advantageous conditions of the Holocene. 3. Humans have assumed it is a right to dominate other species and less powerful and less technologically advanced humans in the pursuit of power and resources. THE INDUSTRIAL REVOLUTION AND THE ENVIRONMENT As the agricultural age progressed, humanity continued to benefit from a warm cli- mate and seemingly infinite natural resources. Technological advances continued to advance humanity’s dominion over the environment. It was also a time when the drive for power, profit, and comfort led to the oppression of millions of people through slavery and indefinable levels of environmental destruction. Humanity’s consciousness evolved, leading to great scientific discoveries, insight into how the universe works, and critical social innovations such as labor laws, public education, and democracy. The seeds of today’s environmental and social problems originated during this fantastic time of human achievement. The Western industrial revolution saw the  Mindset | 7 introduction of efficient engines to power industrial production and generate electricity. Industry was powered mainly by coal resulting in air tinged by coal smoke casting a pall across European industrial cities. The pollution of the air with coal smoke became the primary environmental concern in London. In response, the early nineteenth century saw the rise of Romanticism with an emphasis on nature and natural beauty. By the late nineteenth century, the first European nongovernmental environmental organizations (NGOs) came into being in London, focused on miti- gating air pollution. In North America, John Muir, an early environmentalist, urged the government to create a national park to preserve the natural beauty of the Yosemite Valley. The industrial society sparked increasing environmental and social concerns during the Enlightenment and Romantic movements. The industrial revolution ended in what is called the “great acceleration.” This was a period during the twentieth century of rapidly increasing negative impact on the earth’s environment and systems from human activity, consumption of natural resources, and the unintended results of technological progress. “Progress” is a two-sided coin. The post–World War II boom led humanity to previously unequaled technical achievements and unprecedented population growth, yet the presumption of inexhaustible natural resources resulted in undisputable environmental destruction. ENVIRONMENTALISM AND THE AGE OF INFORMATION 1960s By the 1960s some individuals started to understand that the environment was in trouble. Humanity’s very existence was at risk. The world started to study the envi- ronment in many ways, purposefully using scientific methods to prove that there was, in fact, a problem. This understanding was the beginning of environmentalism. The American marine biologist, writer, and ecologist Rachel Carson wrote a book called Silent Spring, which documented the negative impacts of pesticides on the general ecology. She observed that spraying poisonous insecticides that killed crop- damaging bugs also killed the birds that ate the bugs. No birds left to sing prompted the title, “silent spring.” Rachel Carson’s work called for a change in how the world viewed nature and its ecosystems. Her work, along with many others, led to the birth of the environmentalist movement. The American civil rights movement, begun in the mid-1950s and building through the 1960s, heralded a new era of progressive thinking about the global condition of humanity and how social equity in society impacts sustainability. Around the same time a Scottish landscape architect named Ian McHarg wrote a book called Design with Nature, in which he outlined how designers can improve the environment using natural systems through ecological planning. The relationship between urban and natural environments can be synergistic and regenerative when the holistic, living nature of the earth’s systems and humanity’s impact on it are understood. Such understanding can be used to adapt human patterns and process into integrated eco- systems. McHarg’s design approach promoted incorporating the natural world into design projects functionally and aesthetically. He showed that the natural world can, and should, act as a partner and co-designer in the design process. 8 | Mindset McHarg also taught people to think about how the environment of a specific place and time influence their experiences and how broad environmental context influ- ences the design of the built environment. He asserted that projects could and should look different in places with different climates, cultures and geographies. 1970s The 1970s saw the beginning of a response to environmental concerns. Laws were passed to protect the air, water, and endangered species in the United States. The Environmental Protection Agency (EPA) was founded to fight pollution. E.F. Schum- acher, a British economist, examined the economic world, determining that the modern economy was unsustainable with natural resources managed as expend- able income rather than nonrenewable capital. Schumacher presented a philos- ophy based on the appreciation of human needs and limitations in his book Small Is Beautiful: A Study of Economics as if People Mattered. The 1970s also saw the beginning of the growing public awareness that energy sources such as oil, gas, and coal were limited and that these fossil fuels were a significant cul- prit in polluting the air and causing climate change. The release of carbon dioxide, methane, and other gases as a result of burning fossil fuel created a thicker than usual layer of greenhouse gases around the planet. Greenhouse gases trap more heat inside the earth’s atmosphere, causing temperatures to rise higher than typical expectations. 1980s Deindustrialization in the American Midwest resulted in the relocation of much of the industrial manufacturing and its accompanying pollution to China and India. 1987 The United Nations formed the Brundtland Commission in 1987 to address the now obvious need for a new model of development, one that would protect the environ- ment and support a more equitable society, a new way forward that would remediate the negative impacts of the Industrial Revolution and conceive of a new way to think about progress. The commission produced a report, Our Common Future, which sug- gested a new spirit of cooperation. This report expressed the belief that the success or failure of civilization and the planet is a shared goal and responsibility of all nations. The Brundtland Commission proposed a formal definition of sustainable development. “Sustainable development is development that meets the needs of the current genera- tion without compromising the needs of future generations to meet their own needs.”1 This definition clearly articulates indigenous wisdom and traditional knowledge too often ignored in the name of progress: Humankind must care for the earth as stew- ards for future generations. The document demands long-term thinking even when making short-term decisions, such as designing a building. 1 World Commission on Environment and Development, Our Common Future (New York and London: Oxford University Press, 1987), p. 43.  Mindset | 9 1990s By the early 1990s sustainability began to take more definitive shape as people like John Elkington developed new frameworks like the “triple bottom line” for thinking about sustainability, referencing society, environment, and economy as the more alliterative “people, planet, and profit.” Figure 2.0 diagrams the triple bottom line sustainability framework as outlined by John Elkington. The three overlapping sustainability concerns—society, environ- ment, and economy—are only fully realized when all three concerns are addressed. Triple bottom line framework provides an expansive accountability method by which people and organizations can evaluate performance beyond the immediate and direct financial bottom line or profit. Profit, the traditional bottom line for many years, has not accounted for the true project costs. To be sustainable, decisions made by organizations must meet environmental and social bottom lines, not just the economic bottom line. Equal consideration of all three goals by aligning business Society Bearable Equitable Sustainable Environment Viable Economy Figure 2.0 John Elkington’s triple bottom line framework Source: Rob Fleming Economy Society Environment Figure 2.1 Nested triple bottom line diagram Source: Wikipedia; redrawn by Rob Fleming 10 | Mindset thinking with social and environmental considerations achieves greater value, by establishing a clearer pathway toward a sustainable future. The framework of the triple bottom line makes a few assumptions that raise ques- tions. Are all three sectors—the economy, society, and environment—always of equal weight? Can individual sectors be compartmentalized to operate with autonomy? How does an accounting framework deal with the invaluable, irreplace- able aspects of natural resources? While the accountants and politicians may pri- oritize the economy, it is the environment that is the limiting factor. Consider that the economy exists as a construct of society. Society, human beings, cannot exist without the environment. The nested circles of sustainability in Figure 2.1 better reflect the relationship of the economy as a subset of society and the dependence of society on the environment. 1993 In 1993 the design community formally entered into the sustainability movement. Four significant events occurred that fundamentally shaped sustainable design: 1. William McDonough wrote Design, Ecology, Ethics and the Making of Things, commonly known as the Centennial Sermon, which charged the design community to pursue design as an environmental imperative, leading to an ethical foundation for design rather than the more conventional aesthetically driven creative process. 2. Hillary and Bill Clinton “greened” the White House by adding solar panels to the roof and by using “green” practices in the restoration of the building. 3. Susan Maxman became the first female president of the American Institute of Architects, championing sustainability as her platform during the election. 4. The United States Green Building Council was formed in 1993 and developed the LEED Rating System. LEED stands for Leadership in Energy and Environmental Design. This framework for green buildings is used by thousands of designers, engineers, and clients to achieve projects that minimized environmental damage and increased energy efficiency of projects. The race toward a sustainable future was accelerating and most Fortune 500 com- panies, eager to become stewards of the environment, incorporated LEED metrics for green buildings as part of their triple bottom line initiatives. By 2005 thousands of green buildings were constructed all over the world. The green design movement was a success. 2005 In 2005, another series of events occurred signaling society that “greening” was not enough. The environmental problems were bigger and more threatening than previously imagined. The sustaining warm climate of the Holocene had now become hotter, so much so that environmental conditions were changing in dramatic ways. It is not good practice to say that one environmental disaster or another is the result of climate change, but over time, a correlation was starting  Mindset | 11 to become clear: global warming was altering the climate in ways that were not beneficial to humankind. Hurricanes Katrina and Rita destroyed much of New Orleans in Louisiana, demon- strating that the new types of storms would be bigger and more devastating than ever. The city’s infrastructure could not adequately respond to the extensive and widespread damage. As often happens, those most vulnerable, living in econom- ically disadvantaged areas of New Orleans, suffered disproportionately relative to populations with more significant financial resources and living on the high ground of the city. In 2005 gas prices hit all-time highs in the U.S., causing people to think more deeply about limited fossil fuel reserves, long-term adverse life-cycle effects, the wasteful use of energy, and the resulting harm to the environment. 2006 Al Gore’s book An Inconvenient Truth was released and further embedded in the collected psyche of society the link between carbon dioxide emissions and cli- mate change. 2012 Unpredictable weather has become an ongoing, inevitable occurrence. Rising tem- peratures and disastrous weather-related events left little doubt that the effects of global warming were not temporary. Hurricane Sandy and droughts in California further affirmed that reality. The BP oil spill illustrated the dangers of drilling for oil far out to sea; it killed 11 people and inflicted extensive and long-lasting environ- mental destruction upon the Gulf of Mexico. However, at the same time, the renew- able energy movement had reached full steam with installations of wind and solar farms on the rise. 2017 The year 2017 saw further evidence of extreme climate change in the form of a series of cataclysmic hurricanes—Harvey, Jose, Maria, Irma, and Ophelia—that wrought destruction and caused massive upheaval. These hurricanes, along with a shrinking Arctic ice cap, sea level rise, and record high global temperatures, bring us to today’s unsustainable conditions. REALIZATIONS OF THE HISTORIC SUSTAINABILITY EVENTS TIMELINE Today there is a growing realization that the earth is under threat. Changes in cli- mate, the temperature rise, and polluted oceans all indicate that a “business as usual” approach to solving these problems will not work. Humanity’s thinking must change. A famous quote often attributed to Albert Einstein, “We cannot solve 12 | Mindset problems by using the same kind of thinking we used when we created them,” is more appropriate than ever. The mindset of each person, each community, each country, and the world must change. Sustainable design offers a pathway to think and act differently. This framework for design is compelling, as well as very complex. Sustainable design is about interconnection, interdependence, integration, and whole sys- tems thinking. John Muir famously wrote, “When we try to pick out anything by itself, we find it hitched to everything else in the Universe.” Individual “things” (plants, people, communities, watersheds, economies) can’t be fully understood apart from their larger systems. It is vital to think of relationships, connectedness, and context. Systems thinking recognizes that the interrelationships are as important as the individual components themselves. When looking at the whole, systems thinking shifts emphasis from objects to relationships, from structures to process, and from contents to cyclical patterns. In systems thinking, cause and effect focuses on cyclical rather than linear processes and implies an interdependence of objects and their attributes. In this book, Sustainable Design Basics, this way of thinking is called “holistic.” There are “systems” within larger systems. A building sits on the site, the site within the neighborhood, and the neighborhood is a part of the city. The city is within the region and so on. For example, in the ecosystem, air, water, plants, and animals all work together to function. Remove any one element, and the overall system will struggle to survive, and perhaps will even perish. Holistic thinking forms the cornerstone of sustainable design. Without a holistic approach, the built environment’s neg- ative impact on the climate will continue. In architecture and design, this holistic approach is called “whole building design, integrated design, or integrative design.” These terms are often used interchangeably to reference cyclical thinking. A linear mindset follows a direct progression, ordering steps as experienced as unique and separate elements, as diagramed in Figure 2.2. Contrast that with cyclical or holistic thinking diagramed in Figure 2.3, indicating the interrelated and cyclical relation- ship of the sustainable built environment, renewable natural resources, and clear air, energy, and water. Sustainable buildings go beyond addressing a specific building for a specific client. Sustainable design sees each project as connected with the larger environment. Linear Mindset Finite Fossil Fuels Inputs Typical Outputs Wasted Energy and Pollution Built Finite Raw Materials Inputs Outputs Landfills Projects Figure 2.2 A linear mindset Source: Rob Fleming  Mindset | 13 Earth’s Renewable Inp Ea rth Resources ut si nt e o h ot th eS kt Inputs ac ust back into Inputs eB ain the Earth from the Giv able Earth Cyclical Proje Clean Energy, ct Clean Water , Holistic Clean Air and Recycled Mindset Materials Sustainable Built Projects Outputs from the Figure 2.3 Cyclical, holistic mindset Project Source: Rob Fleming THINKING AND SEEING FROM MULTIPLE PERSPECTIVES Sustainable design is a complex process that integrates many disciplines and view- points. One team member will have different priorities for a project than another. One design strategy will leverage specific resources differently than the next. Con- tradictions are an everyday reality in the sustainable design process. To effectively evaluate and determine the appropriate steps in the sustainable design process, it is necessary to address broad issues that move beyond technology and numeric met- rics. The Sustainable Design Basics matrix system organizes each aspect of a project through the four perspectives of performance, systems, culture, and experience, to balance the tangible and intangible concerns of a project. These four perspectives group varied design directives to help evaluate both objective and subjective aspects of a project and identify synergies between them. INTEGRAL SUSTAINABLE DESIGN Integral sustainable design requires the design of buildings with the understanding that sustainability is more than just energy performance and high performing tech- nology. Figure 2.4 presents two diagrams that organize thinking to include both the objective point of view (performance and systems) and the subjective points of view (experience and culture). It is essential to think holistically and consider performance and systems as equals with experience and culture. The two rows each represent individual and collective points of view. All four perspectives are considered simul- taneously in the sustainable design process. The perspectives are evaluated looking inward and looking outward. 14 | Mindset ectives Overall rsp Ho istic Design Pe li Hol sti le tip cD g from Mul esign Experience Peformance Experience Performance Holistic Design Project n Culture Systems Culture Systems ei Se Figure 2.4 Four perspectives: holistic design, looking outward, and looking inward Source: Rob Fleming THE FOUR PERSPECTIVES OF INTEGRAL SUSTAINABLE DESIGN Performance Performance is the perspective that addresses the measurable and describable aspects of the project. It is the quadrant most associated with sustainable design because it deals directly with energy efficiency and reducing the environmental destruction result- ing from fossil fuel consumption. In this book, performance metrics such as energy use intensity (EUI), which is the measure of energy use in a building, and the daylight factor, which is a measure of daylighting in a building, are thoroughly discussed. The performance quadrant deals with amounts of things, and any other readily measurable, observable traits. These include facts and statistics, both analytical and logical. Performance is about building characteristics and functional requirements, all of which can be weighed and measured to assess results. Systems The systems perspective relates to performance in that both are measurable and describable. The systems perspective has an additional trait of interaction. Systems are dynamic, always changing, with hundreds or even thousands of different interactions. Ecology is a system, as is a car engine. One is natural and one is human-made, but they are both systems. These systems are closely associated with sustainable building design: Life cycle systems is consideration of the environmental impact of a product, material, or process, throughout its existence from “cradle to cradle.” The process of extracting, manufacturing, transporting, using, disposing, and reuse of mate- rials all impact the lifecycle of buildings.  Mindset | 15 Passive systems, commonly referred to as “strategies,” include shading, orien- tation, natural ventilation, and daylighting. Passive systems do not require an external power source to function. Active systems use technologies such as heating, ventilation, air-conditioning, plumbing, and transportation, all which require some external power source. Living systems work with biological sciences and nature to support and create the built environment. Green roofs, living walls, living machines, even the natural percolation of stormwater through the earth soil help buildings and sites become more ecologically sustainable. Human systems include all the social organizations, policies, and procedures that govern how humans relate to each other and their buildings. When all of the systems are considered and optimized to work together, building performance is enhanced, leading to measurable energy savings and environmental improvement. Culture The culture perspective addresses the intangible aspects of human behavior in groups. Shared values, shared beliefs, religious rituals, local history, cultural heritage, traditions, and norms are all examples or elements of the culture perspective. The vernacular of local architecture and materials is part of the local history and cultural heritage. Material and form have established traditions that are an outgrowth of the local context, materials, and climate. It is essential to understand the principles and materials incorporated into the vernacular and traditional architecture and how they may apply to current architecture and development. Worldview is the framework that shapes an individual’s or societal perception, inter- pretation, and interaction with the world; it is a vital aspect of the cultural perspec- tive. Worldview defines how society views nature and how people treat each other. The fight for equality in society is endless. It is an ongoing fight for equity in social standing equal pay and treatment of women, better opportunities for people of color, and economic equity in general – the fight for equality parallels and influences the environmental movement. Equity and environmentalism cannot be separated, nor should they be. Empathy is at the core of both environmentalism and equity. The ability to assume the perspective of another person, animal, or nature itself, and begin to operate out of their perspective, is empathy and is the basis of holistic design. Advocate for all, as all deserve equality. Ultimately, a holistic empathetic model of sustainability serves the environment and humanity. Experience What about the perspective of architects and designers, the makers of space and places? What role does aesthetics play in the process? What does aesthetics influence in the sustainable design process? Well, in a word, everything. A green building may help “save the planet” but if it is not desirable for people to use, main- tain, and love, odds are it will not last very long. Buildings and structures that survive through time, despite the significant and historical upheaval, are buildings that are 16 | Mindset loved. Buildings that are loved are renovated time and time again. That is a form of sustainability. The energy required to extract, manufacture, transport, and construct the original building is saved over and over again as the building is reused instead of demolished. Adaptive reuse and historic preservation of the built environment are vital to sustainable design. Traditional building forms that survive over time tend to be aesthetically pleasing. Beauty itself is an attraction. Nature uses beauty as an attractor to encourage reproduction to sustain the species. Designers strive to make cities, landscapes, buildings, interiors, and products beautiful because beauty makes them viable, desired, even cherished. Designers hope their buildings and designs will be perpetuated through time, reimagined, restored, renovated, and reused. One of the essential elements of holistic thinking is the ability to think across time and design with empathy. Unwittingly, designers may make decisions that work well in the short term, only to later find the decision leads to environmental prob- lems. Thinking about how a building looks instead of thinking about the life of the building over time may have a negative environmental impact as a consequence. The diagram in Figure 2.5 represents the understanding and influence of time in holistic thinking. Holistic thinking requires one to think across time to learn from the past and consider the future while making decisions for the present. Careful analysis and selection of building materials can help to limit damage to the environment. Using local building materials limits the negative impact on the planet from the consumption of fossil fuel and the harmful byproducts produced when transporting building materials. Setting ambitious energy and water conservation and efficiency goals are evidence of considerations for generations to come. These goals ask the designer to think about each project’s unique situation and careful conservation of precious resources and the reduction of air pollution levels, which are acts of compassion that will benefit the future. It is vital to integrate the context of the future into building design decisions. LEARNING FROM THE PAST: GENERAL RULES The past has enormous value and can teach designers a lot about sustainable design. The world today is not the first civilization to think about sustainable design. Before the advent of fossil fuels and electricity, designers used “sustainable” strategies, sim- ilar to those previously listed, out of necessity, to make buildings as comfortable as possible. The cliff dwellings of Native Americans are an excellent example of passive solar design: allowing the warm winter sun, low in the sky, to heat the building, while the cliff provided shade from the hot summer sun high in the sky. The cliff dwellings are just one of many examples of indigenous intelligent design and guide- lines that apply to sustainable design. Adages, or truisms, often serve as the starting points for sustainable design projects because they are universal, fundamental, and effective in meeting sustainability goals. Learn Think Figure 2.5 Thinking across time: past, from the holistically Consider the present, and future Source: Rob Fleming PAST PRESENT FUTURE  Mindset | 17 Many examples remind us that there is a lot to learn from historical and vernacular structures about sustainable strategies. Ancient Chinese villages were built to maxi- mize the sun path. Openings on the southern exposure of individual buildings were positioned to allow solar gain in the winter and shading in the summer. Middle Eastern mud structures with thick walls, small openings, and shaded courtyards were ideally suited for their climate. Master builders through time, such as Vitruvius during the first century bce in Rome, Leonardo da Vinci in fifteenth-century Florence, Palladio in sixteenth-century Venice, and Thomas Jefferson in eighteenth-century Virginia all designed buildings to work with the environment. Each of these designer builders looked for that perfect balance between reason and beauty that results in sustainable design. Analyzing vernacular architecture practices of a specific cli- mate and geography is an excellent place to begin investigating viable, sustainable strategies. SPACE AND SCALE In the same way that one thinks across time, one can also think across scales. The catchphrase “Think Globally, Act Locally” is a wonderful axiom for designers. It urges the consideration of global effects of each design decision. Figure 2.6 dia- grams the relationship between local buildings and global impact. Designers must think holistically to understand that the systems designed in a building are “nested” within more extensive systems of the site, neighborhood, city, and beyond. Consider that buildings are responsible for large amounts of CO2 emissions. The impact of CO2 and other greenhouse gases on the environment was mentioned earlier in this chapter. Sustainable design offers an opportunity to begin to reverse the damage to global systems created by local buildings. Think Globally Respond to the Geo-Setting Design Locally Think Figure 2.6 Think across scales Holistically Source: Rob Fleming  18 | Mindset THE INTEGRATIVE DESIGN PROCESS The integrative design process, or holistic design approach, values the contribution of stakeholders, who are the people affected by the design project, including the client, and the people in the neighborhood where the building is located. Each group has a different point of view or position relative to the project design. The various professionals on the design team are also stakeholders. The engineer may prioritize the performance and systems of the project. The landscape architect may focus on the ecological systems of the site, and what kinds of vegetation will thrive in the microclimate. The interior designer may consider the flow of space in that the experience of the building occupants is their predominant concern. Sustainable design values and requires that all of the stakeholders’ concerns be addressed. Integrated building design is, at its heart, a collaborative multidiscipline design pro- cess. It is a manifestation of social equity, and it begins at the very start of a project through occupancy and beyond. Each design decision is explored from varied view- points from the earliest conceptualization throughout the design process. The var- ious design and construction disciplines of the integrated design team, with the input of all the stakeholder participants, evaluate the developing design for cost, quality-of-life, future flexibility, efficiency, overall environmental impact, operational function, productivity, and creativity. Figure 2.7 illustrates the equal input posi- tions of the integrated design team. Unlike the traditional linear development and architecture process, integrated design team members are all participants from the earliest stages of conceptualization throughout the design process. Owner Architect Construction LEGEND Manager Charrette 1 MEP Guiding Principles - Meaning (LL Quadrant) Landscape Architect Engineers Charrette 2 Integral Site Response - Flow (LR Quadrant) Sustainable Neighbors Design Civil & Local Project Engineers Charrette 3 Officials Optimization - Performance - (UR Quadrant) End Users & Ecologist Charrette 4 Building (Nature) Design Dev. - Experience (UL Quadrant) Super Experts, Interior Geo-Exchange Designer Etc. Figure 2.7 Integrated design team Source: Rob Fleming Untitled-2 18 1/30/2020 5:20:02 PM  Mindset | 19 Rating Systems The building and construction industries continue to evolve and develop new rating systems, such as the Living Building Challenge (LBC), Passive House, and the Well Building Standard emerging to tackle sustainable design from different approaches and priorities. LBC applies an ambitious holistic framework that includes regen- eration of the natural environment as one of its goals. Passive House is energy conservation and efficiency-focused as a means to drastically reduce CO2 emissions, and by extension, fight climate change. The Well Building Standard concentrates on human health as an outcome of green building design. All of these green building rating systems along with LEED and other standards and rating systems exist for the simple reason that sustainable design is a complex and challenging process. Green building rating systems help the client, and the design team align the design thinking around specific goals and metrics that will reach a specific level of energy and envi- ronmental performance. This book does not use a specific rating system. Sustainable Design Basics is about teaching a methodology, a process. The SDB process can be used to meet the stan- dards of any of the rating systems. But sustainability is more vital, more fundamental, and ultimately more important than any specific rating system. Rating systems change over time, but the mindset that inspires these rating systems is the mindset that is defined in this book. The methodology set out in Sustainable Design Basics can produce the type of sustainable projects necessary for resource conservation, environmental regeneration, and community resilience, with or without a specific rating system. The focus of Sustainable Design Basics is the built environment. Others are working on sustainable food systems, eco-friendly products, green infrastructure, new business models, and new software packages, all aimed at changing the course of civilization toward a sustainable future. It is vital to change the world’s thinking, methods, and products to restore the planet earth to a point where it can sustain humanity as a species into the future.  3 Step 1: Context Figure 3.0 Sustainable Design Basics, step 1 Source: Sharon B. Jaffe THE SUSTAINABLE DESIGN BASICS METHODOLOGY: AN OVERVIEW Sustainable design is about transforming how people think, how they design, how they build, and how they maintain the built environment. Sustainable design decisions extend beyond functional, spatial, and aesthetic cri- teria to consider the impact to the environment and the local community. Sustain- able design requires designers to think beyond the building itself, and consider the 21 22 | Step 1: Context influence and inspiration a project brings to the broader community and societal concerns. There is a lot to think about in order to design sustainably and holistically. Many things not previously considered warrant close examination. A significant change to the built environment requires the integration and applica- tion of new principles to the traditional systems of architecture and development to facilitate the evolution of outdated conventional thinking to a holistic sustain- able approach. Where to begin? Methodology and Planning Transformation is not easy. Requirements for sustainable buildings have expanded to encompass increasingly complex performance criteria, life cycle, cultural influ- ences, and economic implications. A holistic approach to sustainable building design requires the analysis of a great deal of information. A precise methodology is needed to organize volumes of information, both objective and subjective, in a manner that enables analysis and evaluation of the information relative to stated project prin- ciples and goals. The sustainable design methodology described in this textbook may seem very different from other textbooks. Sustainable design decisions are not autonomous. Each decision will impact and may direct, the next decision. Under- standing the interdependent nature of a building and site as an integrated system is fundamental. Interdependence and interaction are inherent in a global society. Everything is related to everything else. Sustainable design is multidimensional. Optimal sustainability can be achieved by designs that integrate an understanding of the varied aspects of a project as wide-ranging and intimately connected globally. Overall goals of sustainable design Reduce consumption of natural resources: energy, materials, water Preserve environmental quality, ecological systems, and habitat Minimize waste Support a healthy environment Create spaces that support occupant health and well-being Create spaces that support local historical and cultural connections Create adaptable and resilient spaces Create inclusive and equitably distributed space Sustainable Design Basics (SDB) distills the complicated process into a clear step by step methodology comprised of 4 basic steps: Step 1 - Context Step 2 - Pre-planning Step 3 - Design Step 4 - Final validation and presentation  Step 1: Context | 23 Tools of the SDB Step by Step Methodology: The Matrix Sustainable Design Basics present a methodology to support a holistic approach to sustainable design. In addition to traditional pre-planning research, design methods, and techniques, matrices are used to organize, prioritize, analyze, and evaluate criti- cal tangible and intangible information, key design concerns, the stated goals of the design project being undertaken, and strategies used in the sustainable design process. The SDB matrices are tables created with columns and rows that contain a custom- ized collection of instructions and questions to be completed with data, research, files, and other materials to inform the design directives and strategies of the sustain- able design process. As discussed in the previous chapter, sustainability is about much more than saving energy or protecting the environment. Sustainability is a holistic philosophy that acknowledges the interrelated symbiotic relationships between the natural environment, the built environment, and the people who inhabit the world. Throughout the sustainable design process, the four perspectives—performance, systems, culture, and experience— distill and organize key intangible and tangible elements that may influence design decisions. Because the activities of the sustain- able design process often take place over time, the matrix may need to be accessed multiple times as additional information is gathered informing design decisions. STEP 1: CONTEXT A sustainable building design project begins by understanding the project’s context at various scales, over time and through a variety of perspectives. This first phase of a project requires a great deal of information gathering through observation, inquiry, and research to identify factors and reveal challenges and opportunities. Once iden- tified and understood, challenges can be effectively addressed and opportunities leveraged for a successful project. Careful documentation and organization of the gathered information early on is key to easy retrieval later in pre-planning and design phases of the project. Context refers to the external elements of, and surrounding, a specific project location. Context influences both physical and nonphysical design. Roads, build- ings, and land contours are examples of physical elements. Local culture, political, and financial constraints are examples of nonphysical elements. Examining context through the perspectives of performance, systems, culture, and experience ensures identification and holistic examination of assets and resources. Time and Scale Context Context exists at both macro (larger, regional and global) and micro (smaller and local) scales and acknowledges the impact of global issues on the conditions surrounding and inhabiting a specific site. Understanding historical conditions, disasters, and disruptions, as well as the current context, will prepare a project for change that may happen in the future. Context can change over time. A design that anticipates and prepares for inevitable change adds resilience to a sustain- able building project. 24 | Step 1: Context Physical Context Sustainable, restorative, and regenerative efforts all begin within the framework of what exists. The topography of a site, along with changes in grade or level, are key factors in determining the position of the building on the site. Working with the existing topography greatly reduces the need to disrupt the existing grade, soil, veg- etation, and wildlife. Designing in harmony with the climate, topography, flora, and fauna, and understanding how water and air move on and through the site, mini- mizes erosion and disruption of the natural plant life. A design that responds to and utilizes the existing site topography effectively avoids many initial site construction expenses and avoids complicated constructed drainage systems. Philosophical Context Sustainability embraces an integrated, holistic approach to design that acknowl- edges the fundamental, interconnected nature of the world. An efficient building in harmony and balance with both the natural and nearby built environments benefits both the building occupants and the surrounding community. STEP 1A: PROJECT INFORMATION A clear understanding of the client, the client’s goals and project intent, functional requirements, physical parameters of the site including macroclimate and microcli- mate, local zoning, codes, and other regulations are all essential from the very start of a project. Who Is the Client? What Are the Client’s Priorities? A client is the person or organization for whom the designer is working. The client may be the end user or the landlord. Clients may or may not be committed to sustainability as an ethos but will typically have a keen interest in sustainable strategies that reduce operational and maintenance costs. While most clients are budget-conscious regarding initial development and construction costs, they may be unaware of the life-cycle costs. A designer often takes on the role of educator and advocate for sustainable measures. Clients may be unaware of specific environ- mental costs or they may evaluate financial investment based only on initial capital expense. Sustainable strategies may provide both environmental and long-term financial benefits that clients might well embrace once they are fully informed. There is a growing realization that individuals impact the environment and the envi- ronment affects the individual. A healthier sustainable environment may positively affect business productivity. Employees and clients have begun to see and act on sustainability issues on a personal level. Businesses that have begun to acknowledge many practices under- taken in the interest of sustainability have increased productivity and employee satisfaction. Employees and clients are more engaged and have begun to clearly articulate a preference for business practices that align with personal values.  Step 1: Context | 25 Owner/End User: Typically, end users have a keen interest in sustainable strat- egies that impact ongoing operational costs as well as initial development and construction costs. Life-cycle costs, the cost of a material from extraction through the end of its useful life, may also be meaningful to a client. End users may not be aware of life-cycle financial costs and environmental impact of material choices. A less expensive capital cost may have increased operational costs. It is important for designers to understand and educate their clients on the financial and environ- mental costs. These explanations have resonance with end-user clients. Investor: An investor client builds on speculation, often before a tenant is identified, with the expectation of renting space during, or after, construction. The shell of the building is built with the interior lobby and support spaces fully finished. Generally, tenant space is left in a rough, unfinished state to be built out to suit individual tenant requirements and preferences. Tenants are attracted to spaces with a high level of energy efficiency. Building resilience allows a structure to accommodate a variety of tenant types and meet future modifications as tenants come and go, thereby minimizing intensive, costly design changes. Building owners and tenants are beginning to plan for unforeseen events such as natural disaster or infrastructure failure. Marketability and future resilience are motivating factors for investor clients. Tenant: A tenant occupies a building that is owned by a landlord. While the ten- ants do not own the physical building, they may be financially responsible for mak- ing changes to the building shell that are necessary to conduct business. Generally, tenants pay all utilities and are very interested in sustainable strategies that reduce operating expenses. Existing space, structure, systems, and other building restrictions may limit building modifications. Before the design process begins, it is important to understand all limitations of an existing building to determine what sustainable features can be employed. Client Motivation The Mission-Driven Client An organization that has a mission at its core strives to integrate that mission into all aspects of the organization, from day-to-day activities to the buildings and struc- tures in which they operate. For mission-driven clients, a sustainable building design is an extension of that organization’s purpose, especially when the client expects to be the building occupant. The Return on Investment (ROI) Client Social and environmental factors have an impact on the value of a real estate prop- erty. Tenants are often seeking occupancy of certified “green” buildings. Demand is rising for buildings that address an organization’s and its workers’ environmental and social concerns relating to energy, water, waste, sourcing of construction materials, and ongoing material needs. High indoor air quality, occupant comfort, and access to public or alternative means of transportation are requirements for Class A office 26 | Step 1: Context space. Superior building system performance and increased environmental quality are demonstrable selling points when building speculatively before identifying a specific end user or tenant. Resilience is another motivating factor. Building owners are beginning to plan for unexpected natural events and/or tenant requirements. The Tenant Client This client may or may not be committed to sustainability as an ethos but will typically have a keen interest in sustainable strategies that reduce operational and maintenance costs. While the end user or occupant may be budget-conscious regarding initial development and construction costs, life-cycle explanations will have resonance. Client Intention and Expectation The program, or owner project requirements (OPR), details requirements and functional expectations for the project and may include sustainability goals for energy, water, indoor environmental quality, occupant health and wellness, and general durability to success- fully meet an owner’s requirements. A program is developed as part of the project planning process by and with input from the client, owner, end user, contractor, and stakeholders, wherever possible. Ultimately, final approval from the owner or owner’s representative is required. The program establishes baseline criteria for facility function and guidance for all design, performance, and operational decisions. It includes: Project description Project objectives Functional use Spatial requirements and adjacencies Access requirements Equipment and mechanical needs Quality of materials Occupancy requirements Special indoor environmental quality requirements Building rating systems and performance criteria Construction considerations Budget considerations and limitations STEP 1B: GUIDING PRINCIPLES Guiding principles serve as both a foundation and a yardstick that enhance and support the building program information, best practices, and other standards that define project goals. The Oxford dictionary defines a principle as a “fundamental truth” that serves as the foundation for a system of belief, behavior, or a chain of reasoning. Guiding principles allow an organization to express its “fundamental truth” through the design process and the resulting built structure. Established and prioritized with the client and project stakeholders early in the pre-planning process, guiding princi- ples can be thought of as the basic ground rules governing all design decisions. It is appropriate for guiding principles to be aspirational and inspirational, big idea state- ments that reflect and communicate the client’s and the project’s purpose.  Step 1: Context | 27 Useful guiding principles are broad enough to be flexible, yet specific enough to be actionable. An example of a weak guiding principle for a design project is “End world hunger.” It is too broad and not actionable by the design team. An example of a good guiding principle might be “Celebrate the rich cultural heritage of the site.” It is both broad and actionable. “Provide adequate storage space for all building occupants” is an example of a guiding principle that is too specific. While “adequate storage space for all occupants” is not a guiding principle; it is a reasonable desire and a specific requirement of the design program. Organize guiding principles around the four perspectives identified in Chapter 2: 1. Performance: Principles that help frame high performance (function and energy) to support the planet in becoming healthier through design 2. Systems: Principles relevant to ecological systems and technology integration 3. Culture: Principles that promote a shared sense of community and an equitable ethos in the project 4. Experience: Principles that motivate the design team to pursue beauty as expressed through design Guiding principles are communicated in simple, powerful, clear, aspirational, or inspirational short statements. As an example, here is a set of guiding principles from a project recently completed for the Lancaster County Conservancy by Re:Vision Architecture, Philadelphia. Performance perspective Create the healthiest environment imaginable at the urban forest center. Systems perspective Instill an environmental ethic through a safe and fun interactive experience with nature. Be the best example of integrated, holistic sustainability through land con