F R O M
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Articulating Humanitarian Architecture as a Verb
Jonathan Foulger 10410393 ARC604 Design Prax is + Critical Context Karan August Habit & Habitat
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A BST R ACT I N T RO D U CT I O N 1 . P RO L E M SO LV I N G Processes and Produ cts Understanding Users Prod ucing Space
2 . P RO B L E M P OS I N G Translating Skills Performative Production Par ticipation
3 . T H E RO L E O F T H E A RC H I T ECT E ncountering The Edge Architecture’s Role Dignifying Design
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C O N C LU S I O N BIBLIOGRAPHY F I G U RE L I ST
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ABSTRACT
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An analysis based on pedagogical and spatial theories, which will also take into account the experiences of practitioners in the field, will be used to re-evaluate the role the architect plays. This analysis will drive forward a critical inquiry, generate suggestions for re-evaluating how architecture is articulated in its different roles, and develop a critical understanding of the role the architect plays.
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This dissertation will explore the current role the architect plays within the practice of humanitarian development aid, and question its effectiveness. Through looking at existing projects and examining their intentionality, it will drive towards a distinction of what advances a building from a product to become a process that allows for sustained change.
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INTROINTRODUCTION
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The term humanitarianism is defined as being ‘concerned with or seeking to promote human welfare’,2 and today the term is associated primarily with the work that is undertaken following disaster relief or work that is practised in slums, mostly through the work of Non Governmental Organisations. The use of the term actually extends much further, and as architect Jacques Herzog has stated, ‘a humanitarian view results in a building that is filled with people.’3 1 Architecture for Humanity, Design Like You Give a Damn [2] (New York: Abrams Books, 2012) p.12. 2 Humanitarian, Oxford Dictionaries, <http://www. oxforddictionaries.com/definition/english/humanitarian> [Accessed 29 Nov 2016]. 3 Mairs. J., All Architecture Needs a Humanitarian Approach, Says Jacques Herzog, 2016, <http://www.dezeen.com/2016/02/25/jacques-herzog-de-meuron-all-architecture-humanitarian-approach-blavatnik-school-government-university-of-oxford/> [Accessed 1 Mar 2016].
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INTRODUCTION
Architecture for Humanity’s statement, ‘unless you build it, it doesn’t matter’1 epitomises the current popular approach to the humanitarian aid industry. It implies that the design process in which architects are engaged is dependent, if it is to respond fully to a need, on a plan whose driving force is completion. The ambition to design solutions is inspiring, but the solution does not always present as righteously as expected.
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This discussion will not focus on the grand solutions to worldwide poverty, but instead will examine the ways that western architects practice on a much smaller scale. It will examine the ways that architects today are working individually and the methods and viewpoints which might be most beneficial. There has been much criticism of the work of architects within this field, and often they seem to be doing more harm than good in certain areas.4 Architects are rarely taught the proper skills to work in this manner and are ‘socialized into making personal marks through their own design projects.’5 It becomes more about designing a product, rather than learning to engage in a process dialogue.
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Michel Foucault has suggested that architecture, as a political act, is not something that can liberate or oppress by itself. 6 Architects must consider the methodology of a process rather than defining the product. In order to produce a form of change, practitioners of space must align their intentions with ‘the real practice of people with the exercise of their freedom.’7 4 Linsell. N., ‘Designing Like You Give a Damn About What Exactly? Exploring the Ethics of ‘Humanitarian’ Architecture’, In: XXV World Congress of Architecture, Architecture Otherwhere Proceedings: Durban, 2014, pp610-619. 5 Charlesworth. E., ‘Introduction’ in Humanitarian Architecture ed. by Charlesworth. E., (Oxford: Routledge, 2014) p.8. 6 Foucault. M., ‘Space Knowledge and Power’, in Rethinking Architecture, ed. by Leach. N. (London: Routledge, 1997) p.372. 7 Foucault. M., Quoted in Bonano. C., Lanarca. M. G., Hunter. W., Contested Urbanisms (London: The Bartlett, 2013) p21. FROM PRODUCT TO PROCESS
This is linked to the approach of the design methodology that currently dominates much of what constitutes humanitarian architecture. Based upon a problem-solving approach, designs become stagnant and do not offer up a process for change. Ultimately, it calls for a re-evaluation of the architectâ&#x20AC;&#x2122;s role within this field, and the sense of abandoning authorship in order to promote humanitarian aims. Through a discussion based on the use of spatial and pedagogical theories in a critique of modernday projects, this study will speculate on the best future practice for the humanitarian architect.
INTRODUCTION
Fig. 1: Workers at the Butaro Clinic, Rwanda.
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Figs 2+3: The clinic at Turkana, Kenya by SelgasCano.
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Defining the underlying problems and associations regarding development based on a problem solving design methodology.
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To outline a development conceived as a design solution a specific project will be examined in order to understand the design methodology which allows this: the clinic in Turkana, Kenya built by a group of MIT students following a design from José Selgas and Ignacio Peydro [fig 3]. At first glance the building appears to embed itself well within the context of the local community, and from a design standpoint appears to utilise primitive building techniques that have been ‘reinterpreted through the eyes of a skilled practitioner.’8 Much of the design arose from the limitations of the landscape and utilises steel as the primary building material due to the local wood and clay being susceptible to termites and rain.9
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8 Berlanda. T., ‘Shade of Meaning’, The Architectural Review, March 2015, pp.59-61. 9 Sansom. A., Building in all worlds, 2016 <http:// www.damnmagazine.net/2016/02/12/building-in-allworlds/> [Accessed 3 Mar 2016].
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Fig 4: The clinic.
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Berlanda, 2015, pp.59-61.
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Criticism of the project lies with this use of unconventional material and building methods that are not common to the area, and the initiative based on teaching the students how to design using scarce materials rather than passing the skills onto the actual inhabitants. It highlights a common trend in humanitarian design where the spread of Westerners in search of ‘exotic adventure’ has resulted in a new form of educational colonialism.10 The growing nature of ‘volunteerism’ highlights the spread of a practice that is particularly focused on the present and the finalising of a product without considering an actual long-term plan. While the project was conceived with the intention to respond to a need, and did so in the provision of health care, it highlights a key issue on who stands as the agents for change within these impoverished places and the imperative to develop a dialogue through practice. The clinic highlights that often the design strategy outweighs the potential agency of the people themselves, despite the benefits for the community. It leads to the question of both process and product, and whom they benefit.
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John F.C. Turner explores this notion of responding to a problem by means of the built form by conceiving of the project as either a noun or a verb. The term ‘to house’, for example, as a verb describes a process or activity, but ‘house’ as noun implies a product.11 Architecture as noun implies a catch-all phrase for a practice defined by a lack of vision. However, if the problem can be solved through articulating building as a response to a need via a verb, it implies a continuing process of continued sustainability and change.
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In the case of the clinic and many development projects, the product is often the main goal and the defining factor in success or failure, and is rooted in articulating architecture as a noun. As stated by Hans Skotte ‘real-life success or failure [of a project] is for the people to judge. We can merely assess the architecture of the process’.12 The process in this sense was primarily western based and the work of Cano and the students, and focused on providing a product via the skills of the students; it did not bring anything else. 11 Turner. J. F. C, ‘Housing as a Verb’, in Freedom to Build, ed. by Turner J. F. C, Fichter. R (New York: Collier Macmillan, 1972), p.151. 12 Skotte. H.. quoted in Berlanda. T., 2015, pp.59-61.
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Figs 5,6+7: Design for the clinic centred around a circular centre, based upon traditional gathering spaces.
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Nabeel Hamdi has written about such approaches to design in his book, The Placemaker’s Guide to Building Community. He has likened such a project to a design with ‘considerable technical competence but no intelligence of life’.13 Even if it is unintentional, the architect’s professional ability to ‘unwittingly patronize seems endless’ where what is given through the process of problem- solving and designing is thought to be the most important.14 While this may be a harsh riposte to the good will of the designers, especially with the limitations of the product in mind, the underlying claim is valid concerning the need to redefine the emphasis on process. However, because follow-up to many projects such as this is uncommon, poor solutions are rarely reported,15 resulting in a lack of feedback. 13 Hamdi. N., The Placemaker’s Guide to Building Community (London: Earthscan, 2011) p.23. 14 Hamdi, 2011, p.19. 15 Kennedy. J., ‘Catalytic Approaches to Humanitarian Design’ in Globalizing Architecture/Flows and Disruptions: Papers from the 102nd Annual Meeting of the ACSA, 2014, pp.419-428.
Fig 8: The use of unconventional materials causes the structure to stand out. 18 \
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The issue with projects that claim to be ‘inherently good’ is the implication that any change is wholly positive. The design of the clinic did respond to a need, and there are undoubtedly many positives that arise from building the facility for the community. Yet often the power that is used to design and build is based upon the actions of the architects, and good intentions may ironically build a worse future.16 Many of the design problems arising from this paradigm are simultaneous with the issues practised within the developing world, and many relate to the ‘solution’ approach; and often the practice of ‘do-goodism’ evidences an elitist attitude that ‘denies community voice and agency.’17 Part of the issue is in the approach to users and a problem-solving mentality. Linsell, 2014, pp610-619. Kennedy, 2014, pp.419-428.
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Turner states that decisions made by central bodies on a local scale are ‘bound to implement more or less standardized programs and projects for particular social groups.’ However, if local decisions are made by local people then they ‘must be ordered and supported by institutionalized services which must be open to all, in all places and at all times.’18 This reveals the existence and importance of a dependency practised through a necessary dialogue based on the exchange of skills. Unfortunately, this is not often the case in design methodologies, and issues arise within an approach that seeks to ‘solve a problem.’
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Architects are in a position where they can mediate between human beings and the environment. The creative use of resources and application of skills do signal a hope that some architects will facilitate solutions to conditions experienced by heterogeneous communities.19 However, finding solutions does require a critical evaluation of the working method. 18 Turner. J. F. C, ‘Housing as a Verb’, in Freedom to Build, ed. by Turner J. F. C, Fichter. R (New York: Collier Macmillan, 1972) p.154. 19 Kennedy, 2014, pp.419-428.
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One setback within this way of designing is the approach which tempts to solve the problem itself. The classic view of architectural design is that it has always profited by a ‘problem-solving’ methodology. John Chris Jones describes it as a ‘dead metaphor’ which forgets that design is about ‘realising new possibilities and discovering our reactions to them.’20 Viewing problems as setbacks or obstacles which need to be immediately solved is a negative view that only helps to increase a lack of understanding in the way that people live, and resists the embracing and positive act of participation. Separation is manifested in a citizen/expert divide which promotes the architect as the expert within the field who holds all the necessary skills to progress.
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Fig 9: The standardisation of users can be detrimental through prescriptive programmes. Image: MOM.
20 Jones. C. J., Design Methods (New York: Wiley, 1992) p. xxix.
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Within humanitarianism and in processes of development in impoverished countries, the degrading view of the users as being ‘backward’ automatically reduces the opportunity for difference and a multiplicity of space.21 This encourages a singular viewpoint where the subjectivity of the user is not considered and denying its existence results in the ‘impossible: a world without people.’22 Recognising this multiplicity would grant the user a degree of autonomy, and if we are aiming for a free society we should ‘change perspective and privilege the autonomy of people’ rather than architects.23
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This stems from the issue of not understanding users needs, or what is integral to their culture or habit. Henri Lefebvre states how the terms ‘user’ or ‘inhabitant’ are far too vague and do not designate any one particular person or group.24 Simply delegating one party as the user and the other as the expert resists any form of co-existence, and the notion of a verbal architecture does not lend itself to the dialogue. Hamdi states how the expert architect ‘comes to be seen as a special kind of person, rather than the every person as a special kind of expert.’25 This is a monologue rather than dialogue due to the imposition of diagnoses. 21 Massey. D., ‘Spaces of Politics’ in Human Geography Today ed. by Massey. D, Allen. J, Sarre. P. (Malden, MA: Polity Press, 1990) p.281. 22 Freire. P., The Pedagogy of the Oppressed (London: Penguin Books, 1996). 23 MOM, ‘Architecture as a Critical Exercise’, field, 2008, Vol. 2, p.18. 24 Lefebvre. H., The Production of Space (Oxford: Blackwell, 1991) p.362. 25 Ibid, p.145.
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Lefebvre’s statement that ‘The user’s space is lived – not represented’29 reveals the distinction between the spaces of the architect and the user. The space of the architect is typically seen through the abstracted conceived, which is not lived, and, ultimately, they have no authority over lived space or the formulation of use.30 26 Lefebvre, 1991, p.26. 27 Till. J., Architecture Depends, (Massachusetts: MIT Press, 2013) p.126. 28 Lefebvre, 1991, p.39. 29 Ibid, p.362. 30 Hill. J., Actions in Architecture: Architects and Creative Users (London: Taylor & Francis, 2003) pp.88-89.
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‘(Social) space is a (social) product’,26 and is highlighted by Lefebvre as the essence of the production of space. It both diminishes the fact that space cannot be treated in an abstract manner, and that the act of production is not done through a single person.27 The act of producing space for Lefebvre is done through a spatial triad of perceiving, conceiving and living, highlighting the fact that within spatial production, there exist many differing factors and architecture is only one small part within a great stream of narratives.28
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Fig 10: Development of further structures by Selgas Cano, highlighting the representational space of the architect.
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With the growth and emergence of the ‘global village’ factor, this aspect of representational space is becoming one of the driving forces behind the lack of autonomy and localism within humanitarian development. The social spaces that are produced within many of the modernisation schemes are incredibly broad and seen as a homogenous solution to a problem [fig 10]. The lack of working in the present and understanding the producers of space results in a gentrification of design standardised in eurocentricism.32 The maintenance of the locality is not entirely an issue with these projects, as the development of communication networks allows users to learn about trends in global knowledge and construction processes which can lead to increased understanding of methods.33
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Within architectural development, the perceived (representational) space is the most dominant form of production experienced by people in the west, and is the only way to see what is being done in these places. Photographs and drawings appear in magazines and the internet showing how a new project or initiative has made a difference in the area, but the controlling of this representation means that observers will never see the full picture, and rarely will follow-ups be shown. Lefebvre states that ‘the ‘users’ passively experienced whatever was imposed upon them … or justified by, their representational space.’31
31 Lefebvre, 1991, p.44. 32 Hamdi, 2011, p.25. 33 Elleh. N, ‘Architecure and the Origins of Modernity in Africa’ in Africa – Architecure, Culture, Identity ed. by Holm. M. J, Kallehauge. M. M (Denmark: Louisiana, 2015) pp.224-225.
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The pedagogical relationship between user (student) and architect (teacher) deposits prescribes and domesticates the issue here. Paulo Freire describes this as ‘banking’34 arising from a mechanical task which results in a lack of trust in people and their creative abilities. He states that there must be a literal understanding that rejects this form of education where literacy is a form of cultural action that helps people gain their own agency, and thus allows the self to be a socially constituted agent.35 ‘Banking’ resists dialogue and treats students as ‘objects of assistance’ and isolates their consciousness from the world. The process of design is not to change just one’s surroundings, but to change the way one perceives. For the architect, this is practised through what Jeremy Till describes as the ‘exercising of architectural intelligence rather than the imposition of architectural knowledge.’36 To achieve this involves moving from a problem-solving design methodology towards a problem-posing pedagogy where instead it is the role of the architect to articulate their knowledge verbally in order to create a process rather than a product. 34 35 36
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Freire, 1996, pp.56-65. Mann, 1996, p.173. Till, 2013, p.167.
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Offering a solution based upon problem posing pedagogical design methodologies and participatory exchange to aim toward architecture as a verb.
Figs 13+14: The Opera Village and the Primary School in Gando.
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‘If you think about architecture as a methodology – independent of the outcome, as agnostic from its product – you would see that architecture has a deep culture of synthesis informed by civic values… If you have that capacity, that’s the most valuable capacity of this time in history.’ 37
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This quote by Bruce Mau highlights that to develop a solution not based on defining the product is to welcome a process that is informed by ‘civic values’. Partaking in practice like this can help to reject the stagnant condition that exists currently and allows for a movement into a new wave of practice. 37 Mau. B. quoted in Hyde. R., Future Practice (Oxford: Routledge, 2013) p.29.
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Freire proposes a form of pedagogy that encourages this form of working, known as ‘problem-posing’. Its aim is to engage the student in a form of creative thinking using their historicity as a starting point,38 while the main focus based upon literacy, understanding and engaging in dialogue is done through reciprocity. Freire states how learning to read and write must take place within a community, and one where the teacher draws upon situations present in the lives of the people to produce themes for learning.39
‘[Translation] recognises the other – the composer of the original text – as a centre of meaning apart from oneself. It requires one to discover both the value of the other’s language and the limits of one’s own. Good translation thus proceeds not by the motives of dominance and acquisition, but by respect.’ 40
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Along with the notion of literacy and the action of reciprocity, the theme of translation is key, and it is necessary to conclude with a definition that architects can draw upon when engaging in the cross-language barrier. James Boyd White offers up a clarification:
38 Freire, 1996, p.64. 39 Mann. T., ‘Cultural Studies and Critical Pedagogy’ in Reconstructing Architecture ed. by Dutton. T. A., Mann L. H., (Minneapolis: University of Minnesota Press, 1996) p.173. 40 Boyd White. J., quoted in Harvey. D., Spaces of Hope (Edinburgh: Edinburgh University Press, 2000) p.245.
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Fig 15: Keré’s primary school, Gando.
Francis Keré’s work in Gando, Burkina Faso incorporates this form of translating within design work between the west and developing nations. Keré is originally from the village and gained a large amount of his experience from being educated and working in Berlin. His initial project was the 2001 village primary school [fig. 10] and the success resulted from his local knowledge matched with technical western skills. His ability to translate between the two allowed for the design to be rooted in reciprocity. The project utilised low-tech materials and techniques where ‘Walls are constructed from traditional earth blocks, using local raw materials and basic tools’,41 and Keré updated the methods to a more western standard. This way of working allowed for literacy through teaching in a medium that is familiar and facilitates the problem-posing pedagogy. As stated by Keré: 41 Slessor. C., ‘Primary School by Diébédo Francis Kéré, Gando, Burkina Faso’, 2009, <http://www.architectural-review.com/today/primary-school-by-dibdo-francis-krgando-burkina-faso/8600682.fullarticle> [Accessed 29 Feb 2016].
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‘When I started architecture in my place, people didn’t know the meaning of architects and the word ‘architecture’ doesn’t exist. But the way I use my skills to use architecture make the people proud. People are self-confident and feel that they are so important and are rich. They have the resources; they only don’t know how to use them. It is a wake up call.’ 42
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42 Louisiana Channel, ‘Architecture is a Wake-up Call’ <http://channel.louisiana.dk/video/diebedo-francis-kere-architecture-wake-call-0> [Accessed 29 Feb 2016].
Fig 16: Francis Keré.
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Keré’s School succeeded in acting as a catalyst for growth within the area through allowing for the translation of skills to help people develop what they have at hand. Subsequent extensions have been made to the original building and have helped to pioneer new techniques. As Keré has stated, “Developing Countries cannot be dependent on Europe for their architectural solutions … we must develop our own solutions, and have pride in these.”43 This approach represents a sustained change and resists the practice of architecture as a noun and embraces design as a product of the people through a process. Kere’s skills encourage the people in realising what it is they have and can do on their own with the materials they have at hand. 43 ‘Inspirational Creators: Diébédo Francis Keré, Architect’, WIPO Magazine, 2005, <http://www.wipo.int/ wipo_magazine/en/2005/03/article_0002.html> [accessed 29 Feb 2016].
Fig 17,18+19: Development of the school library using reappropriated pots.
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The school in Gando has seen subsequent developments following on from the primary school, and have allowed the people to make use of the material they have at hand to create something unique. One example in the library extension, where materials that were seen as worthless were reused as primary elements. One of these were clay pots that were cut at the top and bottom and then cast in concrete to make up the roof. This allowed for both light to enter the building and create ventilation that made a space that was comfortable for studying in.44This initiative enabled the people to engage within architecture and make it their own. The primary school was the initial catalyst to the project, and the process carried the ability to pose new solutions to problems [figs 17,18+19].
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This concern for the people and their selfconfidence is what makes Keré’s work so effective. Burkina Faso currently sits within the bottom 20 of GDP per capita,45 and in the rural environments there is little architectural development or innovation. The best way for architecture linked with humanitarianism to succeed is to make people self-confident in the place they live again, and truly to make the places their own. ‘[B]elonging is not just about location, but about meaning and association – the kind that offer a multiplicity for social exchange’46 44 Design Boom ‘Diebedo Francis Kere: Public Library in Gando’, 2012, <http://www.designboom.com/architecture/ diebedo-francis-kere-public-library-in-gando/> [accessed 9 Apr 2016]. 45 As of 2014 Burkina Faso’s GDP Per capita stands at US$ 713.1 <http://data.worldbank.org/indicator/NY.GDP.PCAP. CD?order=wbapi_data_value_2014+wbapi_data_value+wbapi_data_value-last&sort=asc> [accessed 3 Mar 2016]. 46 Hamdi, 2011, p.32.
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The Opera Village project is an example of producing space based upon collaboration between locals and foreigners. As depicted in the 2012 film Crackle of Time, the project shows the collaboration between Keré and Christoph Schlingensief and their engagement with and development of humanitarian architecture through a lens of cultural and artistic movement. It offers an alternative view of the architect and allows for a different force to drive forward the process. Schlingensief, the initiator of the project, stated the aim was to ‘build something which will continue to grow organically … a source of transformation, it will continue to metamorphose and grow new shoots. This building is just the start.’47 Schlingensief was a theatre director without any architectural background and helped to separate the project from the architect/user dialogue by acting as a different type of expert. The reasoning behind the project resonates with the participatory aspect of his theatre work, where the spectator is required to respond actively to the work.48 47 Knistern der Zeit - Christoph Schlingensief und sein Operndorf in Burkina Faso, dir. by Dahrendorf. S. (Berlin: Perfect Shot Films, 2012) [on DVD]. 48 Hegenbart. S., ‘A New Idea of Art: Christoph Schlingensief and the Opera Village Africa’, The White Review, No. 5, August 2012, p.29. Fig 21: Keré and Schlingensief. 38 \
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With narrative and story being the driving force behind the project, it allows for a greater understanding of spatial difference and for the exchange of open politics49 through the act of a performance. Schlingensief’s passion for the use of culture and art as the main catalyst for growth was the central point from which the architecture would develop as a by-product. The film shows Schlingensief working with the members of the community and engaging them through celebrating individuality and their lives through the act of performing; manifest in the theatre as the heart of the project.50 Scenes of the development of the site and the necessary ‘architectural’ business are intercut with how Schlingensief engaged in open dialogue with the people and helped to promote their own voices through artistic expression. Massey, 1990, p.283. Dahrendorf, 2012.
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The success of the project is consequent on the open participation between the European and African cultures and its prevalence throughout the design. Schlingensief was clear in his assessment that there would be a clash of cultures, and recognising this allowed for a more pragmatic approach to working together to complete the first stage of the project.51 Instead of observing the difference between resisting practices, it was embraced through a process.
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It is this quality of performance that allows for autonomy within the users, whereas it is the design of the architecture that acts as a pedagogical device in enabling a celebration and social production of space. The empowerment of the users by Schlingensief generated in them an agency and a lived performance which did not rely on external influences to shape the space through modes of production.
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For the architect, it is a reminder that every line of a drawing should anticipate a future social relationship, which extends out in a manner different to that simply of built form.52 The process embodied in this project ultimately encourages the development of architecture as a verb, where it is produced as a by-product of the actors and their agency as participants working together. 51 Dahrendorf, 2012. 52 Awan. N., Schneider. T., Till. J., Spatial Agency: Other Ways of Doing Architecture (Oxford: Routledge, 2011).
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Figs 22,23+24: Development of the Opera Village Design
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Jonathan Hill outlines three different types of users: the passive, the reactive and the creative. The passive user is one who is predictable and relies on the imposition of external factors; the reactive is one who modifies the characteristics of a space, but is often limited by what has been supplied by the architect; and through performance, the creative user either makes new space or gives a new meaning to an existing one53 through the practising activity. Within the opera village the true temporality of a performance, which is the key driving force of the project, highlights the way that dialogue can be rooted in the present.54 For Freire, literacy only has meaning when it helps people discover that the world is dynamic and changing, and this project accentuates the way that architecture can become a form of expression for a community. 53 54
Hill, 2003, pp27-28. Freire, 1996, p.65.
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Fig 25: The built portions of the Opera Village. It still remains under construction.
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Dialogue, then, is of great importance if the participatory process is to become fully active. As Freire states, for a dialogue to become established there is a need for critical thinking, allowing for a ‘transformation, rather than a static entity’.56 Dialogue insists upon participation and the relationship engaged in must remain within the present. For a true dialogue to provide a long-term change and benefit, architects need to abandon what it means to be an architect. 55 Till. J., ‘The Negotiation of Hope’, in Architecture and Participation ed. by Blundell Jones. P., Petrescu. D., Till. J., (London: Spon Press, 2005) p.33. 56 Freire, 1996, p.73.
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Humanitarian architecture can become transformative through its agency, but this is a rarity and it is unrealistic to think that the world can be changed based on these principles alone. What can be taken from Keré’s work are the ways that architects can look toward a design strategy that serves society better. The way that the architect engages within a participatory process with a knowledge that is sourced from ‘within’, involves the architect projecting him/ herself within the spatial context becoming, as Jeremy Till describes, an ‘activist, working on behalf of and as a dweller.’55
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Abandoning the position of expert, for the architect, must result in becoming what Till terms an ‘expert-citizen’, where ‘the process becomes two-way and expansive because the knowledge of the user-expert is necessary to state the obvious and the commonplace in order to expand the narrowness of vision often found in highly trained people.’57 Working together in this way implies that the transfer of knowledge both transforms the architect and the user, and it must be a two-way change. One issue with this in development is the repeated setback of cross-cultural work and language barriers. Keré’s work is successful because of his localised understanding of the culture and ability to communicate. This is something that western architects will never be able to participate in, and it is naïve to think that they will achieve as great a success. When architects act simply as facilitators and use only their technical knowledge, they ignore the fact that it is their skills that are the instruments. This is not enough for users to develop new spatial visions, and for architects truly to engage in a participatory activity they must reassess what constitutes knowledge and embrace the fact that in doing so they may no longer be seen as an architect.58 They must move toward giving agency to the principle user, so that the individual may act independently of the given constraining structures.59 57 58 59
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Till, 2005, pp.33-34. Ibid, pp.31-31. Awan, Schneider, Till, 2011, p.30.
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The recognition of an edge and the influences generated in varied productions of space and welcomes, not just in participation between the architect and user, but also participation across the edge, is termed cross-discipline. There are different characteristics concerning work with spatial qualities, as shown in the collaboration between Keré and Schlingensief, and this is encompassed in a ‘wider brief, with different drivers other than the building.’61 Key writers in this field include texts such as Future Practice and Spatial Agency62 where the boundaries of what architecture could be are tested. 60 Hill. D., ‘Forward’ in Hyde. R., Future Practice (Oxford: Routledge, 2013) pp.7-15. 61 Ibid, pp.11-12. 62 Hyde, 2013 and Awan, Schneider, Till, 2011.
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How, then, can architects do this and in what way can the architect become a problem-poser rather than a problem solver, and an agent for transformative change? To discuss this is to discuss the future of architecture and its practice, and architects are often the least well placed to see and adjust to the ‘adjacent possibilities’. To properly consider what else architecture could be and expanding the limits, an edge will need to be considered that separates the architects from other spatial practitioners, where those outside may offer alternatives to ‘free [architecture] of its baggage’.60
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26+27: MASSâ&#x20AC;&#x2122;s Clinic in Rwanda.
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Analysing and reinterpriting the role of the western architect and breaking the boundaries of what it means to produce space.
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E N C O U N T E R I N G T H E E D G E
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‘Instead of creating little boxes with different layers to create comfort, if you can do it with a different idea, you can also inspire people. You are bringing society forward; you are doing something for the future of reality. That is the role of architecture.’ 63
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Francis Keré outlines the role that architecture plays in a simple form here, one that allows for the practice of architecture as a process and as a verb. The simple action of creating an inspiration within architecture for people removes the notion of a prescriptive product and allows for the encouragement for people to take up their own agency. It highlights the fact that through architecture as a verb, much more can be accomplished than just a building. 63 ‘Diébédo Francis Kéré: Architecture is About People’, Louisiana Channel, 2015, <https://www.youtube.com/ watch?v=JHCYZQLbGSA> [accessed 18 Mar 2016].
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Today with widespread information technology and data transfer partnered with increasing internet access in developing countries, content is becoming more and more common. Innovations in bringing new tools to areas are increasing, such as a recent initiative which guides the architect in what he/she must do to deliver an experience which facilitates a manipulation of this content. This is developing a ‘design methodology’ for leadership.66 64 65 66
Kennedy, 2014, pp.419-428. Awan, Schneider, Till, 2011, p.50. Mau quoted in Hyde, 2013, pp.37.
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Once it is established that the question of agency lies within the control of the local community, then designers can begin to act more strategically and avoid wasted effort.64 ‘Humanitarian work thus holds up the magnifying glass to the actions of spatial agency, both intensifying its productive potential and spotlighting where it may go wrong.’65 It is clear that there is a fine line in practice between success and failure, and through examining the operations of spatial agency a more refined and relocated focus for spatial production can be determined.
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A cross-disciplinary approach is like piecing together different incremental steps and results in designing, in this context, ‘Like a collage’, as it discovers its own intentions and meanings.67 This design activity does not necessarily produce architecture and, ultimately, does not seek to find an ‘end state’ and does not seek to solve a problem, but rather sets a structure for the expression of creative opportunity, allowing for communication between all forms of spatial producers.68 With the geographies of spatial practice ever increasing, the architectural office is a shrinking polar ice cap among a world of alternative practices, as depicted by Martti Kallaila and Hans Park [fig. 28].
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To move away from a passive user and toward a creative user is not a process that diminishes the position of the architect. When neither the role of the creative user nor that of the architect are seen as superior to each other, it ‘augments‘ their status and skills.69 In many cases, when encouraging a creative user it is necessary for the architect to be there in his role as problemposer and enabler. It is critical that architects involved with humanitarianism begin to practice within these alternative margins, for the longer they resist, the more irrelevant they may become.70 67 Hamdi. N., Housing Without Houses (London: Van Nostrand Reinhold, 1991) pp.105-106. 68 Ibid, pp.105-106. 69 Hill, 2003, p.89. 70 Till, 2013, p.164.
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Fig 28: The shrinking office of the architect by Martti Kallaila and Hans Park.
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Fig 29: Bruce Mauâ&#x20AC;&#x2122;s unpacking of the design process.
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T H E A R C H I T E C T ’ S R O L E
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The MASS Design Group is a practice that works in ways that could be seen as the future for the work of humanitarian development and epitomises the beneficial practices architects can adapt to create a process. At its core is the rejection of the notion that some deserve the full benefit of architecture, while others do not. Their aim is to provide a sense of dignity within communities through the provision of ‘beauty’. In this case, beauty may be something as small as landscaping a fishpond, or uncovering the local resources to make something of great value.71
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The Butaro Hospital in Rwanda was the initial project that helped to epitomise this methodology. MASS worked with the healthcare professional, Paul Farmer to develop the design that allowed the function to perform as well as the form. Their question was: ‘can good design heal?’ 72 The design succeeded in improving health-care architecture, but it also helped to pioneer community development and the progression of this design methodology.
71 ‘TEDCity2.0: Alan Ricks’, TED, 2014, < https://www.youtube.com/watch?v=ISTM8qr374w> [Accessed 5 Apr 2016]. 72 Ibid.
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The design utilised local volcanic stone previously unusable by the local people. Uncovering the resource and engaging in a participatory dialogue helped to develop a method of working with the stone in participation with the local people. It meant that the Rwandan people and western architects were able to take ownership of the final product and partake in a continuing customization and reworking [fig.30]. The idea of the building was reimagined as an opportunity to inspire the imagination of the people and through the act of building and posing problems was worth far more than â&#x20AC;&#x2DC;just giving them a key.â&#x20AC;&#x2122;73 73
Ibid.
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Fig 30: The volcanic stone used on the face of the clinic.
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Rory Hyde states that it is important for mainstream architecture to become involved in the humanitarian movement ‘because of what it can stand to learn from it.’74 Criticisms of the mentality of humanitarian architecture as ‘another way of doing architecture’ that exists on the margins of the praxis highlights an overarching issue with the entire profession,75 and embracing a design methodology that engages with the community, like MASS, can alleviate this. The reciprocity that develops within an exchange of skills, dreams and a passion for architecture is the most important thing that architects can do in this field. Most important within this process is the longevity and understanding of architecture’s effects. MASS state that:
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‘The end of construction is in many ways a beginning. We evaluate the quantitative and qualitative impacts of the design and construction process to prove the value of architecture in improving people’s lives.’ 76
74 Hyde. R., Sending Out an SOS, 2014 <http://architectureau.com/articles/sending-out-an-sos/> [Accessed 5 Apr 2016]. 75 Linsell. N., ‘To Hell With Good Intentions’, Architect’s Journal, 2015, <http://www.architectsjournal.co.uk/ culture/to-hell-with-good-intentions/8678190.article?blocktitle=Culture&contentID=9268> [Accessed 5 Apr 2016]. 76 ‘The Mass Approach: An impact driven model’, 2016, <http://www.massdesigngroup.org/approach/> [Accessed 5 Apr 2016].
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In order to determine the correct solution, the need to be critical within this context is of a great importance. However, it is also invaluable to reckon the consequences which may attend not considering alternatives. MASS works in a variety of different ways and mediums in both the developed and the developing world, and from building design to policy making. It allows for the architect to retain technical knowledge and facilitate the expression of the users through pedagogical actions.
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Fig 31: MASS working to develop a solution.
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Public interest design highlights the fact that everything needs a good designer in order to dignify. The term ‘dignification’, as coined by Farmer, aims to create a statement within the community, based on his idea that ‘the poor deserve the best quality intervention because they’ve been given the least by luck and circumstance.’77 This is highlighted in the approach taken by MASS who seek to give everyone access to good design, however big a project. This sense of public- interest design is not limited just to architects, and the creation of architecture can open up to any discipline.
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Jonathan Hill discusses the ‘illegal architect’ as someone who questions and subverts the established codes and conditions, stating that ‘Anyone wanting to produce architecture should discard the preconceived boundaries of the discipline and learn from architecture wherever it is found, whatever it is made of, whoever it is made by.’78 The notion of everyone as the architect, moving away from the title that is ‘legally protected,’ means that it should be given to any architectural producer. In the same vein, architects should not be afraid to produce in alternative ways. 77 Cary. J., Martin. C.. E., ‘Dignifying Design’, 2012 <http://www.nytimes.com/2012/10/07/opinion/sunday/dignifying-design.html? > [Accessed 5 Apr 2016]. 78 Hill, 2003, pp.153-154.
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Hamdi’s work highlights the ways that architects can use their skills to work with what is already given through making small changes over time and giving agency to those involved.79 He outlines four related sets of action that are vital for good development practice: providing, enabling, and the capacity to adapt and sustain.80 These ideas are important for the creation of a more sustained role, one in which the architect can practice and focus on the humanitarian side of development.
It is unreasonable to think that merely granting people autonomy will be the solution to a problem, and the best public interest design practice places the architect as a mediator, seeking to ‘remove social constraints, freeing the exchange of ideas and technical information. It is intended to strengthen people’s experience … to enhance their autonomy.’82 79 80 81 82
Awan, Schneider, Till, 2011, p.154. Hamdi, 2011, pp.142-152. Ibid, p.152. MOM, 2008, pp.19-20.
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‘When we provide in order to enable, when we enable to adapt or when we provide, enable and adapt in order to sustain, we invoke a way of reasoning and a rationale for work which is anticonvention. It demands a change in process, no less than a change in the logic of project work.’ 81
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Jones suggests that design independent of aims is achievable through the design of ‘modules’ such as words, bricks, nuts and bolts etc., which are adaptive in use and allow the system to extend far further than the designers could consider in any detail.83 This separate design method separates the logic of objects from that of use, for ‘evolution, as far as is known, operates without pre-knowledge of what’s to come, without design.’84
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Mediation through the designing of modules is described by MOM as an interface, acting as ‘something that does not even determine the nature of the mediation it enables’.85 If architects are going to design in a way that dignifies and supports the user, then the designing of these interfaces must enable the user to express their own meaning through the action of using it.86 It highlights the fact that any tool at their disposal can be redefined and tested to find new use. There is always an interpretation that is not expected. This branch of knowledge is known as hermeneutics: the notion that human affairs can be formalized into ‘explicit rules which can and should function as a decision-procedure.’87 83 84 85 86 87
Jones, 1992, p.xxxv. Ibid. MOM, Architecture as a Critical Exercise, p.26. Ibid. Caputo. J., quoted in Till, 2013, p.164.
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Figs 32-33: Development of ‘modules’ such as bricks allow for mediation.
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David Harvey in Spaces of Hope envisions the figure of an Insurgent Architect. He is emphatic that this is a metaphorical figure and not a professional and represents every person who is concerned with the current issues of the temporal and spatial consequences of economic, cultural and political power. ‘The architect shapes and preserves long term social memories and strives to give material form to the longings and desires of individuals and collectives.’88 This idea initiates a new perspective from which to consider the fundamentals of the architect’s purpose.
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Harvey outlines four main tools that architects possess: (1) an explicit spatial cultural practice; (2) a practice fortuitously embedded within power and information; (3) imagination for envisioning alternative futures; and (4) actual spatial and physical action.89 Understanding exactly what it is the architect does will allow greater capacity for cross-discipline practices that encourage expansions of the practice of architecture.
88 89
Harvey, 2000, p.200. Findley, 2005, p.35.
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Out of these four tools, only one is explicitly related to the production of space, and the simplicity of the terms implies flexibility and fluidity. It does not limit practice to one particular tent pole, but rather allows for the architect to be engaged within a huge range of activity. As Dan Hill states: â&#x20AC;&#x2DC;are great buildings and spaces a necessary enabler of new approaches, or simply a by-product of far greater strategies, systems, and local structures?â&#x20AC;&#x2122;90 The potential for architecture is limitless though the correct imagination and any of these tools can be constantly tested and evolved in order to bring new meaning to what it is the architect practices, whoever the architect may be.
Hill, 2013, p.14.
Fig. 34
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90
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L U S I O N Commode Dushimimana, a Rwandan MASS architect, asks ‘Is this all architecture can do, or can it do more? The question for me and every other architect is how can we use architecture to contribute to peace?’91 The practice of architecture contains a huge multiplicity of narratives and strings, with practices like Keré Architecture and the MASS Design Group bringing forward community-driven ideals and working methodologies within the practice of architecture. While these practices may only be working on a micro scale of the issue, they do, however, bring forward practices in which architecture is able to be conceived as a verb, and as a process that moves forward. It allows for problem posing through catalytic development, and helps to bring forward a form of participation that enables the expert-user relationship. This quality is critical for the continuing practice of humanitarian development. 91 ‘TEDCity2.0: Alan Ricks’, TED, 2014, < https://www.youtube.com/watch?v=ISTM8qr374w> [Accessed 5 Apr 2016].
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The question of architecture contributing to peace may seem a somewhat overconfident idea, but imagining the process and looking beyond the realm of the building to its ability to inspire and bring development is something that feels rational. Imagining architecture as so much more helps to frame the architect as much more, and what the skills at hand can bring to the table. For the immediate future, any real change is still a long way off and through changing practice continuously to reveal new design ideas and ways that participation can occur will make steps into the right direction. Humanitarianism often gives architects a bad reputation for designing products, but when the margins of praxis are worked within then maybe the alternative will continue to reveal itself as something tangible.
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B I B L I O G R A P H Y BOOKS Architecture for Humanity, Design Like You Give a Damn [2] (New York: Abrams Books, 2012). Awan. N., Schneider. T., Till. J., Spatial Agency: Other Ways of Doing Architecture (Oxford: Routledge, 2011). Blundell Jones. P., Petrescu. D., Till. J. eds., Architecture and Participation (London: Spon Press, 2005).
BIBLIOGRAPHY
Bonano. C., Lanarca. M. G., Hunter. W., Contested Urbanisms (London: The Bartlett, 2013). Charlesworth. E. ed., Humanitarian Architecture (Oxford: Routledge, 2014). Dutton. T. A., Mann L. H. eds., Reconstructing Architecture ed. by (Minneapolis: University of Minnesota Press, 1996). Freire. P., The Pedagogy of the Oppressed (London: Penguin Books, 1996). Hamdi. N., Housing Without Houses (London: Van Nostrand Reinhold, 1991). Hamdi. N., The Placemakerâ&#x20AC;&#x2122;s Guide to Building Community (London: Earthscan, 2011).
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Harvey. D., Spaces of Hope (Edinburgh: Edinburgh University Press, 2000). Hill. J., Actions in Architecture: Architects and Creative Users (London: Taylor & Francis, 2003). Holm. M. J., Kallehauge. M. M. eds., Africa – Architecure, Culture, Identity ed. by (Denmark: Louisiana, 2015). Hyde. R., Future Practice (Oxford: Routledge, 2013). Jones. C. J., Design Methods (New York: Wiley, 1992). Leach. N. ed., Rethinking Architecture (London: Routledge, 1997). Lefebvre. H., The Production of Space (Oxford: Blackwell, 1991). Massey. D, Allen. J, Sarre. P. eds., Human Geography Today (Malden, MA: Polity Press, 1990). Sachs. W., The Development Dictionary (London: Zed Books, 1996).
Turner J. F. C, Fichter. R. eds., Freedom to Build, (New York: Collier Macmillan, 1972).
ARTICLES Berlanda. T., ‘Shade of Meaning’, The Architectural Review, March 2015.
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Till. J., Architecture Depends, (Massachusetts: MIT Press, 2013).
Hegenbart. S., ‘A New Idea of Art: Christoph Schlingensief and the Opera Village Africa’, The White Review, No. 5, August 2012. Kennedy. J., ‘Catalytic Approaches to Humanitarian Design’
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in Globalizing Architecture/Flows and Disruptions: Papers from the 102nd Annual Meeting of the ACSA, 2014. Linsell. N., ‘Designing Like You Give a Damn - About What Exactly? Exploring the Ethics of ‘Humanitarian’ Architecture’, In: XXV World Congress of Architecture, Architecture Otherwhere Proceedings: Durban, 2014, pp610-619. MOM, ‘Architecture as a Critical Exercise’, field, 2008, Vol. 2.
ONLINE RESOURCES Cary. J., Martin. C.. E.., ‘Dignifying Design’, 2012 <http://www. nytimes.com/2012/10/07/opinion/sunday/dignifying-design. html? > [Accessed 5 Apr 2016]. Design Boom ‘Diebedo Francis Kere: Public Library in Gando’, 2012, <http://www.designboom.com/architecture/ diebedo-francis-kere-public-library-in-gando/> [accessed 9 Apr 2016].
BIBLIOGRAPHY
‘Humanitarian’, Oxford Dictionaries, <http://www.oxforddictionaries.com/definition/english/humanitarian> [Accessed 29 Nov 2016]. Hyde. R., Sending Out an SOS, 2014 <http://architectureau. com/articles/sending-out-an-sos/> [Accessed 5 Apr 2016]. ‘Inspirational Creators: Diébédo Francis Keré, Architect’, WIPO Magazine, 2005, <http://www.wipo.int/wipo_magazine/en/2005/03/article_0002.html> [accessed 29 Feb 2016]. Linsell. N., ‘To Hell With Good Intentions’, Architect’s Journal, 2015, <http://www.architectsjournal.co.uk/culture/to-hellwith-good-intentions/8678190.article?blocktitle=Culture&contentID=9268> [Accessed 5 Apr 2016].
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MASS, ‘The Mass Approach: An impact driven model’, 2016, <http://www.massdesigngroup.org/approach/> [Accessed 5 Apr 2016]. Mairs. J., All Architecture Needs a Humanitarian Approach, Says Jacques Herzog, 2016,<http://www.dezeen. com/2016/02/25/jacques-herzog-de-meuron-all-architecture-humanitarian-approach-blavatnik-school-government-university-of-oxford/> [Accessed 1 Mar 2016]. Sansom. A., Building in all worlds, 2016 <http://www.damnmagazine.net/2016/02/12/building-in-all-worlds/> [Accessed 3 Mar 2016]. Slessor. C., ‘Primary School by Diébédo Francis Kéré, Gando, Burkina Faso’, 2009, <http://www.architectural-review.com/ today/primary-school-by-dibdo-francis-kr-gando-burkina-faso/8600682.fullarticle> [Accessed 29 Feb 2016].
FILM/VIDEO Dahrendorf. S. dir., Knistern der Zeit - Christoph Schlingensief und sein Operndorf in Burkina Faso (Berlin: Perfect Shot Films, 2012) [on DVD].
Louisiana Channel, ‘Diébédo Francis Kéré: Architecture is About People’, , 2015, <https://www.youtube.com/watch?v=JHCYZQLbGSA> [accessed 18 Mar 2016]. TED, ‘TEDCity2.0: Alan Ricks’, 2014, < https://www.youtube.com/watch?v=ISTM8qr374w> [Accessed 5 Apr 2016].
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Louisiana Channel, ‘Architecture is a Wake-up Call’ <http://channel.louisiana.dk/video/diebedo-francis-kere-architecture-wake-call-0> [Accessed 29 Feb 2016].
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Cover Image: (edited by author) http://www.archidatum.com/projects/konokono-vaccination-and-educational-clinic-selgas-cano-and-mit-open-studio-students/ Back Image: Author’s own Fig. 1: http://www.archdaily.com/165892/butaro-hospital-mass-design-group Fig. 2,3+8: (edited by author) http://www.archidatum.com/projects/konokono-vaccination-and-educational-clinic-selgas-cano-and-mit-open-studio-students/ Fig. 4,5,6+7: (edited by author) http://www.architectural-review.com/ today/shade-of-meaning-clinic-in-turkana-kenya-by-selgas-canoignacio-peydro-and-mit-students/8678837.fullarticle Fig. 9: MOM, ‘Architecture as a Critical Exercise’, field, 2008, Vol. 2.
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Fig. 10: http://www.notey.com/blogs/selgascano Fig. 11+12: Author’s own. Fig. 13: Author’s own Fig. 14: (edited by author) http://www.kere-architecture.com/projects/ primary-school-gando/ Fig. 15: (edited by author) h:ttp://www.kere-architecture.com/projects/ school-extension-gando/ Fig. 16: (edited by author) http://www.kere-architecture.com/about/ Fig 17,18 +19 (edited by author): http://www.archdaily.com/262012/ in-progress-school-library-gando-kere-architecture Fig 20: (edited by author) http://www.kere-architecture.com/projects/ school-extension-gando/
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Fig. 21: (edited by author) https://www.idfa.nl/Assets/000004/00000421/scaled/panorama/42197_1.jpg +(edited by author) https://s-media-cache-ak0.pinimg.com/736x/c4/02/c0/ c402c08b7a2acd8deb8e8cf2784680b3.jpg Figs. 22,23+24: (edited by author) http://www.kere-architecture.com/ projects/opera-village/ Fig. 25: (edited by author) http://www.digital-resource.com/top-stories/news-urandir-big-buildings-small-budget-digital-resource.html Fig. 26: (edited by author) http://www.domusweb.it/en/architecture/2011/08/26/butaro-hospital-rwanda.html Fig. 27: (edited by author) https://massdesigngroup.org/2014/09/02/ the-ghc-fellows-visit-butaro-hospital/ Fig. 28: (edited by author) http://helsinkidesignlab.org/blog/new-architects-atlas Fig. 29: (edited by author) http://payload42.cargocollective. com/1/0/25001/3149812/BruceMau_Diagram_700px.jpg Fig. 30+31: (edited by author) http://www.archdaily.com/165892/butaro-hospital-mass-design-group Fig 32: (edited by author) https://www.competitionline.com/upload/ images/6/d/2/8/d/2/4/c/6d28d24cc47e96b6e6c1bc00ce62c9fd_1.jpg
Fig 34: (edited by author) http://www.designboom.com/architecture/ mass-design-group-ilima-primary-school-congo-what-designcan-do-05-27-2015/gallery/image/mass-design-group-ilima-primary-school-african-wildlife-foundation-designboom-2 Conclusion Image: Authorâ&#x20AC;&#x2122;s Own Figue List Image: (edited by author) http://thesegalcenter.org/files/ 2016/02/crackle-of-time.Courtesy-of-Filmgalerie-451.jpg
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Fig 33: Authorâ&#x20AC;&#x2122;s own.
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