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Annex 3 ARC 6989: REFLECTIONS IN ARCHITECTURAL DESIGN Thinking Architecture @ Sheffield. By Francisco Perez This essay wishes to address my design methodologies in the area of architecture, through a series of reflections, based upon my past experience as a professional in Bogota, and my present as a student of The University of Sheffield. The result I hope to achieve in the end is a critical point of view of my process, so that I can begin to reflect on what an architectural design methodology means to me, and what I want to make of it. The structure that I propose to develop the theme of my essay, will start by defining what a design methodology is in my opinion. I will also set up a frame to assess the past and present design methodologies on common grounds. I will continue by giving a glimpse of my background in which I will try to be as straight forward as possible, in this part I will define the design methodology I used during my independent professional practice. I will continue by addressing my learning process and my reflections on architectural design @ the University of Sheffield. At this point I will start to compare both methodologies within the theoretical frame, with the purpose of building a critical point of view of the possibilities and limits of both methodologies. As a conclusion to this essay I will reflect on what I think a the next step could be for me in the future, what I hope this to be is not an absolute truth on how I should continue to practice architecture, but a stepping stone for future thoughts and reflections. THE RULES OF THE GAME As part of my learning process on my MAAD course I have been encouraged both in my studio work and my reflections on architectural design module, to experiment with new ways to approach my designs. The result of this has been a series of tactical approaches within a specific project, which have encouraged me to articulate the design process in different ways. As a result of this I have reflected on what a design methodology means to me, something that I have never properly done, before I came to do my postgraduate at Sheffield. The definition that I have arrived at may not be the absolute truth, but for the time being it will serve as my version of it and as the focus of this essay. “A design methodology integrates a series of tactics or methods in any particular way, to engage in an architectural exercise within the social fabric or context”. The theoretical frame for this essay will be based on my Masters in architectural design (MAAD) course, which consists on reflections in architectural design on a site‐response‐make structure. This frame will allow me to adequately express my past experiences with my present reflections, under a common denominator that will help me relate and compare the differences in my design methodologies. The site‐response‐make structure is referred to in this essay as the key elements in architectural design, and whenever I address this structure to establish
connections between my past and present I will be referring to them in any particular order, not necessarily in the one they are currently stated in. To use this structure I will first open a parenthesis to do a quick dissection as a of what each key element means to me, and what their articulation produces in terms of architectural thinking. The site represents the “stage” or “fabric” in which architecture is set upon, it is not only a physical place, but also it is also an invisible entity that is constructed on what we could call spiritual and scientific energy. It embodies the material elements of the territory it is set in, and the history of the beings that inhabit it. It is strongly connected to the social fabric of human beings and the physical world of the universe; therefore it exists on every level of our imagination and beyond. Having established my understanding of site I only have to add, that whatever design methodology is used to approach a site, the possibilities of defining each one are limitless. My understanding of response constitutes the construction of a critical position towards a site and its features; that enables you to engage in an architectural exercise in a creative way. Why is it important to have a position towards architecture? Like in any game that a child plays, there must be a set of rules that allow the game to take place. Carolyn Butterworth mentioned this concept during a session of reflections in architectural design. The same I believe applies to response, you must allow yourself to have an attitude to engage in an architectural design exercise. Response essentially could be seen as the “soul” of an architectural project and can be constructed and contextualized in any way; it is directly a linked with the design methodology that the architect employs. In my opinion if response is the “soul” and site is the “stage”, make would most certainly be the body. Although not a physical body, as the project at this time may only exist in our representations of it, it is definitely the body of a project waiting to be built. To compliment on this last thought I will like to bring into consideration a quote: “Architectural drawings try to express as accurately as possible the aura of the building in its intended place. But precisely the effort of the portrayal often serves to underline the absence of the actual object” (Peter Zumthor, Thinking Architecture p12). Make brings down to earth the intentions embodied in response, and blends them with site, in my opinion make materializes what response suggest and it is articulated by our design methodology. Finally to close this parenthesis and address the main theme of this essay, I would only like to briefly clarify what I believe the relationship between these key elements is. In my opinion the site‐make‐response relationship is a permanent condition. It exists in every architectural exercise, regardless of its size and who the participants are. The permanent nature of these conditions allows us to explore any architectural project within common grounds. The importance of any of these elements may not be the same in every situation, this is what in my point of view makes every project unique, not only the fact that site is different, but that response and make are different as well.
PAST To start reflecting on my past experiences as an architectural designer, I will first establish a quick background of myself. I have a small architectural practice in Colombia, with two of my classmates from my university. We have been together for five years ever since we graduated, and we have designed different types of projects, however we have focused mainly in housing and office architecture. We have worked in regular “commercial” circumstances that demand deadlines, milestones, budgets, planning and every other factor that determines the nature of the professional practice of architectural design. As a result we have established our own milestones and stages that allow us to be in “control” of the design process. We have become accustomed to a design methodology that may vary from time to time, but that ultimately follows the same tactics and methods when we engage in a design exercise. This tactics I believe are designed to construct a concept on which our designs are based, this concept strengthens our proposal and allows us to be consistent with an intention through out the design process. To elaborate on a generic model of our design methodology and our process I have created a first draft of a diagrammatic version of it, which should be examined at this point (see Fig 1 at the end of this document). Much like a design process, this essay has been elaborated jumping back and forth through out it’s making, I have done this diagram and now I will analyze the methodology that it suggests. The diagram in Figure 1 shows a parallel between a regular client’s process, and our architectural process when approaching a project. The left area of the diagram represents a broad sketch of what the milestones and stages of a design process is, and the right portion refers to the tactics employed in the design methodology, framed within the site‐response‐make structure. The diagram immediately suggests a linear process, which is determined by the architect client relationship (the left area of the diagram). For a project to be successful for a client, there must exist a notion of the proportions of time that the process requires. The client/user then carefully plans his milestones, and allocates his resources to embark on the journey of constructing a project. This planning has a symbiotic relationship with the architect’s design process, where on is completely dependent of the other. In contrast with the relatively clean area on the left, the right portion that represents our process is very busy with the tactics and methods that are used to arrive at the constructed object at the bottom. The fact that our design methodology is a bit “messy”, is a matter of pride for me in the present. Having never questioned myself about our methods of design, I see that our way of carrying out an architectural design doesn’t fall strictly in super sequential order of the left portion of the diagram. We can see that our design methodology is based fundamentally on the development of a concept, which is developed in the response part of the process; thus making the soul of the project the most important role in our methodology. If we look at the site‐response‐make
structure, we can see that make constitute a large amount of the process and the work that goes into developing a project. I believe that this is typical taking into consideration that make is the “body” of the project and that in order for it to become a concrete object an immense amount of energy is required. On the other hand we can see that most of the design methodology moves are made on the sit‐ response section, where the initial understanding of the project and the genesis for creativity occurs. With this in mind, it is this area that seems most affected by the rigidity of the “outer” world’s rhythm. If we reflect on what a design methodology is we can see that in this case the integration of the tactics is being determined by the linear process of the user/client’s needs, thus becoming linear itself. Aside from the distinct complexity that I have found in what I have thought to be a very plain methodology, I have also concluded that what bothers me about our design methodology is not that it is constricted by a parallel linear process dictated by the client and other external factors. What bothers me is the fact that the tactics that we use in understanding site and the methods that are employed to represent a concept, feel linear as well. Baring in mind my definition of a design methodology: “A design methodology integrates a series of tactics or methods in any particular way, to engage in an architectural exercise within the social fabric or context”. I can say that the methods used in my architectural practice fall under a linear integration based upon a graphic representation of a concept and that often the use of scales is restricted to what the “appropriate” timing that traditional architectural practice encourages. I have no doubt that this concept is though out to be in the best interest of the users of the projects in question, however the possibilities that could exist within a project if my methods were not only dictated by traditional thinking could be richer. I have also concluded that in order to strengthen the outcome of my projects, I must also employ alternate ways of integrating the participants of the project. The use of these parallel tactics, will enrich the soul of the project otherwise known as response, making them evident on the body of the project. At this point of my essay I have deliberately stopped, and made the diagram referring to my present understanding of a design methodology and design process. The reason for this is was no other than to preserve my “neutral “critical point of view of my past experience as a designer, as authentic as I could. I will now move to the third part of my essay, where I will try to make critical comparisons and attempt to draw a conclusion, on what I have learned in through the journey. PAST AND PRESENT To start my comparison between the past and present experiences with my design methodologies, and my perception of the design process, I will begin with a quote: “Practicing architecture is asking oneself questions, finding one’s own answers with the help of the teacher, whittling down, finding solutions. Over and over again”. (Peter Zumthor, Thinking Architecture p65. Chapter Teaching Architecture, Learning Architecture). I wanted to begin this chapter with Zumthor’s quote to set the tone on my present experiences at Sheffield. Ever
since I started my MAAD course in the UK, I have been encouraged to reflect on several aspects of the architectural process. Some of these reflections have come in a theoretical form, like discussions and essays within my Reflections in Architectural Design module, and some have come directly from my design process at my studio. This self critical process like Zumthor explains, has become a quest of discovering or re discovering the fun part about the uncertainty of architectural design. Asking myself if the way that I have been practicing architecture in the past was the way I wanted to carry on doing in the future, part of the answers that I have found so far or should I say the new questions, can be seen in the two diagrams I have made in the process of writing this essay. Before I start comparing both methodologies, I would like to clarify that the diagram is consciously made from design methodology examples that I have experienced at Sheffield (my own and others as well), but that like his brother in the past tries to be generic for the purpose of comparison. When we look at figure 2 (see Fig 2 at the end of this document) the first thing that comes to my mind is the convenient simplicity of the site‐response‐make structure, it no longer feels like just a parallel structure to an abstract time line; it has become more of an empty “area”, where multiple connections can be made to construct a design methodology of a unique project. The reason that it has become an empty creative space, is that it now lies framed within the center of importance, is not derived like it is in figure 1 from a parallel series of factors that determine its reach; it is still however framed within the rules of reality. Despite this, much like in a game the possibilities for limitless outcomes, has growth exponentially, when an intermediate structure is proposed. The structure has been a product of a hyper rationalization of some of the themes and tactics that I have worked with in Sheffield. The broad themes have been placed at one side where the client could channel any of his requirements through them at any specific space of time, but on the opposite side the architect could suggest an adequate tactic to engage them. Relationships are established like electric impulses between neurons, and they can be whatever the architects chooses them to be, in the best interest of the project; they can be conventional or unconventional, ordered or disordered, they can be physical, theoretical, social, etc. These connections that are created begin to multiply and form a web that constitutes the design methodology in itself. Like I mentioned in my definition this truly are tactics integrated within a methodology. Metaphorical speaking this structure works like the structure in a bridge, I bridge that has a point A (start of the project) and a point B (the built object). The connections between tactics and themes form a series of beams, the nodes of these beams build the foundations and pillars of the project, and the methodology “casts” the platform on which a project comes into being; stage‐ soul‐body or site‐response‐make. This is not to say that the past methodology didn’t constitute a bridge that promoted a good architectural project, it’s just that the bridge it provided was very similarly constructed for every project, and from time to time it could feel I bit inadequate.
Having said all the positive aspects of the methodology expressed in figure 2, I must also examine what I think has no possibility of being changed. The time frames that are rigorously governed by economics will always exist as part of the rules of the game. This obviously is not a negative aspect, as the presence of it has everything to do with the nature of human beings, from where architecture comes as well. We can see by the three shades of grey I have used, that even thought more articulated, the stages of the design process are well defined. We can also see, much like in figure 1 that the make part of the process, is dominant in time, and requires more energy for more specific conventional tactics. These tactics draw up more of a linear process, in which the architect and other participants may question themselves, and continue to change and evolve the project, moreover like figure one shows a series of backtracking to move forward occur. Fortunately this is also a symbolizes the closer the project is coming into being at this stage, in my opinion this is not a time where you want complete uncertainty; architecture also represents material objects of the real world, which are made for people and are responsible for them. Examining the grey areas for site and response, we see that the methodology is much more chaotic, and that the nurturing of a concept, is more based on the different moves that are made with themes and tactics within a context, than trying to choose one that you believe works for it. This will possibly be more challenging within this methodology, however the journey might be much more interesting. WHAT NEXT? My experience in Sheffield is more coming into its last stretch and as I recognize it, I can’t help to question myself about what this time has meant so far. When I do, I think that the answer lies somewhere along the lines of this essay. My time here has given me a chance to reflect on architecture and myself as a designer, this has ultimately shed some light on the first, and radically questioning the second. With the elaboration of this essay I have concluded that the only way to upgrade yours elf as a designer is to constantly question yourself. However most designers question themselves, so what have I learned here? My time here has convinced me that making a drawing of my reflections is useful, that may be writing an essay will help, or that constructing an object will sooth me. The fact of the matter is that only thinking about your reflections, will bring you very little as you will start to loose some of them over time, but making something of them may stay closer for a longer season. My reflections on my design methodology at Sheffield have helped me understand my process as a designer in a way that my past thoughts couldn’t find. I have become more exited of how I can compliment this methodology in the future. For the time being, I believe that the only way forward is to embrace the journey of design, with these new found thoughts, and never forget to constantly challenge them to avoid falling into architectural recipes rather than methodologies.
Annex 4 Designer Definitions Analytical Designer: This “Breed of Designer” as Jasper van Kuijk puts it, in my opinion is driven not only by the fact that he needs a product in order to provide a solution to an existing problem. He is more interested in the “how” of the problem solving equation. He takes into account the problem at hand and the information around it and designs the method in which to provide a solution. This being true, we must also underline that the Intuitive Designer has to play a role in the early decision making of his Analytical Brother. Despite the Analysis previously done to engage in a method driven creative endeavor, there must be some big assumptions made in some instances for the game to begin. Intuitive Designer: Driven by the eye of the mind the Intuitive Designer navigates by touch, he embarks on the journey well informed of the task at hand, and not necessarily does he relinquish any kind of analysis. However his improvisation as versatile as it is can also find all kinds of solutions. This breed cares a lot about what they are solving and for who, the how in the equation is also important, but it is not viewed as part of the design, it is only viewed as the design process and thus may have a tendency to repeat itself no matter the type of problem being solved. That being said I must also point out that the Intuitive Designer’s fearless decision‐making, and great faith in his decision, is a powerful ally to an overcomplicated method solving for a more straightforward problem. Artistic / Aesthetic Designer: This last one of the kind has often been viewed as a vain character, one that is more focused on how others are going to view his solution that the solution in itself. I only agree with this in partial terms. It is true that some designers are more infatuated with fashion and popularity, than with leaving a lasting impression of the quality of their problem solving abilities. On the other every great designer in my opinion, is with out a doubt a great problem solver and it is also somebody whose work speaks by for him with powerful images that leave long lasting impressions in our minds. This images are not there from my point of view necessarily because the extravagance or the scale of the project, but because of the coherence and the aesthetic quality of the work. And from another point of view the artistic methods for drawing out the “Make” part of a project would come as an invaluable tool for the both of his Designer brothers.
Annex 1: Site Narrative I remember riding my horse with my friend from school on a sunny afternoon just a few seasons back. There were five of us besides the guide that was leading us on the horses, the beast weren’t very agile nor where the horses beneath them. There was just us and the sound of our horses’ hooves clanking a‐ rhythmically on the soft unpaved road. We were on a mix of short gallops and sensible walks around the very bendy road ahead of us. Our destination was unknown, but I knew that we would eventually pass by a very special place, that I have come to know on a very different way. We were strolling through a road surrounded by mountains on the far views of our horizons, they would some times open up when we got to high grounds, and reveal a masterful valley locked away from the not so distant city lights. The mountains in itself acted as a threshold, allowing people coming from the city into the calm and peaceful atmosphere of the valley; people like us that occasionally escaped on the weekends or on an odd weekday from the every day activities of the urban mass. All in all the presence of the mountains shifting with our progress through the roads were not the only ones with a powerful presence on the horizon. The rapid changing sky of the region played a part on our afternoon, with clouds that would jump out of nowhere to block the sun from striking the mountains. These same clouds disappeared in a heartbeat lighting up every shade of green that you could see on the varying landscape, the sky would some times appear intermittent. As our afternoon progressed the roads became a bit smaller and the terrain steeper. The road that we were riding had probably been there for many years, unpaved only used by the suburban residents and natives of the valley; undulated both vertically and horizontally, allowing for far away views to be revealed and also for very closed passages were you saw nothing but a grassy slope on either side of the road. This shades of perception had an effect on our riding, committing all of us to one same spot and marvel at the view of the valley, or divided into groups that just had a chat about life or listened to the music playing from an I‐pod. The road presented us with more than just the way, it presented with a range of spectacles, and we could choose to stop or carry on riding. Further ahead climbing the 3000 meter mountain, we stopped at a house with a small shop, where we gave the horses water, and bought a round of cold beer for ourselves. The shop was nothing more than a garage like space with an old red tiling floor, beer crates for seats and “frog” a popular game that people play while drinking and making small wagers. This nice and small shop by the road was not only ours to enjoy for a quarter of an hour break, a number of the locals being suburban mountain bikers, joggers, or peasants from the region seemed to share the afternoon drink with us, some of them were there before us, and some arrived just before we mounted our horses once more. As the small house on the side of the road disappeared behind us the last charge up to the high point of our journey began, we were exited, but it seemed that our horses shared the feeling, as they sensed the half point of the journey for their return home, and the down hill ride that awaited them once we started making
our way back. This reward pushed our horses for a final charge up the road, almost on a posie riding style. We soon reached the high point of the road ahead of us a think pine forest, the tallest trees with eucalyptus on the area, blocked the pass from the dirt road that we were riding on to a much smaller trail. The guide suggested that we turn around, but I suggested to my friends that we pushed forward as we were arriving to the magnificent site I have come to know through my daily routine. We went through the trees that formed a small barrier for about 2 minutes, before we knew it we found ourselves riding on a slightly inclined slope. The road had disappeared ant we were know on a grassy uphill climb, but not the kind of pasture that you would find in a city park, this grass is more brown in color and is also very long and abundant, not quite a meadow but definitely not your every day blades of green. As we rode the hill the attention of my friends was not on the different surface that we were going through but on the dawn sky, light enough to let us see each other in regular daylight, but also dark enough to allow the city lights and the setting sun to bleach the horizon. When we arrived at the high point of this plateau, we were standing over the edge of the mountain looking down on the vast city of Bogota the very place we have come to escape on this glorious afternoon, 8 million shimmering lights that from a distance feel less intimidating and much more inviting. We marveled at the view and took some pictures of each other for a couple of minutes, this was the high point of our day, the mountain reminded us that it was the threshold between urban and rural realms, just as it did when we started our escape. Clearly the city is a well‐kept secret on of many the few that people know, and one of the few that can bring this two worlds together. We road our horses to what looked like the “second floor” of this two level high plateau, and found ourselves reentering a small trail that was darkened again by pine trees and eucalyptus. This small natural gate announced the start of the second plateau level at this point we have lost sight of the fantastic view of the city that we have marveled at, and had a view of the wonderful plants on the other site of the pine gate, the mountain had exuberant vegetation specially announcing the steeper slopes, just as it knew to grow where nobody could come to. Some of the bushes and small sized trees where very crisp in and delicate, some of them to thick to penetrate. Just a few meters in front of us our horses were exhausted by the heavy climb and demanded some rest, we un mounted and walked no more than two dozen passes and found ourselves in the crest of a mountain, once again discovering the magnificent marriage of the city and the San Rafael reservoir in the middle of the valley; urban and natural, concrete jungle and high altitude forest. Truly a magnificent sight! One last beer that we had carried from the road was the perfect culmination for our assent, lying down admiring the view and chatting with my mates from school, the perfect antidote to the burdens of stress and agitation. All that remained was the way down, but we where in no hurry as we knew that our animals would take us back in a heartbeat, as they sensed the way back to the stables, and for us the journey to the top of the mountain, the shifting skies and the spectacular view was nearly at an end, soon enough it would be time to ride back to reality.