"Architecture is a visual art, and the buildings speak for themselves". ~ Julia Morgan
At the core of it all, an architect is a communicator. You my friend, are a creator of meaning.
Spaces are not merely enclosures with no face and no expression. They are a canvas for which the artist (which is you) distills a multitude of contexts and considerations – to provide response that can say a resounding something. Continue reading ARCHI NOTE #1: You are a COMMUNICATOR.
Let’s face it, we all tend to get confused with the different architectural jargon that comes with the territory. And the earlier we make clear sense of it all, the earlier we’ll be producing guided, cohesive work.
I was browsing through a local Architecture Board Exam review group on Facebook the other day, when I noticed a post by Allan, a young and hungry architecture freshman.
He was asking for assistance in clarifying a few terms that he needed to integrate in his current project’s process – namely Design PROCESS, Design CONCEPTS, and Design CONSIDERATIONS.
True enough, it’s easy to understand his dilemma. Chances are, your professors will have you include your take on these three little devils as to how they relate to your project. And understanding the difference as a new designer can be confusing. Heck, I used to mix them up a lot for a good amount of my freshman life.
As you might already have inferred, I gave him my two cents and decided to make a more comprehensive post, for the benefit of many others that might have the same questions.
Without further ado, let’s dissect each of these 3 important terms, and then see how we can understand them better with an easily digestible example. Continue reading “What’s the Difference?” Design PHILOSOPHIES, Design CONCEPTS, and Design CONSIDERATIONS (Q&A #6)
Architecture is learned best through practice.
And when I say practice, I mean hands-on, integrative, and synthesizing work. The kind that makes you take everything you know and piece them together in a meaningful puzzle.
It’s for this reason that reading books day-in and day-out without any application probably won’t give you the best retention and bang-for-your-buck.
The solution? Practice. And make sure you’re in the best environment possible while doing it. The kind that makes you feel the weight of your actions, gives each line purpose, and provides you with mentors that hold you accountable for your output – like an architectural office.
I’m a firm believer that every architecture student should experience working for a firm or sole practice at least once before they graduate.
I spent two summers of my undergrad life as an apprentice, intern (and eventual employee), and they were invaluable learning experiences. The kind that expanded my view of the truths of the practice, and made my succeeding works a whole lot more guided.
But of course, there are lots of things to consider and be aware of when dipping your toes into the workplace. It isn’t all fun and games, and there some very important decisions and attitudes you need to be cognizant of.
This series of posts entitled “The Internship Guide” number things you should be very receptive to, so you can get the most of each and every day.
To start off, let’s talk about the two most common organizational set ups of a typical architectural design office, starting the discourse on which one could be better for you based on your own needs. Continue reading The Internship Guide 1: What Are the 2 Major Kinds of Design Firms?
Last October, I giddily posted about the Designing Guggenheim Helsinki competition, practically jumping up and down on my keyboard.
Check this out first if you aren’t yet aware: Check Out the 1,715 Entries! The Guggenheim Helsinki Design Competition has Rocked the World.
My fervor was justified. After all, the recent architectural slugfest was officially the largest architectural design competition of all-time, grossing 1,715 approved entries. And from this ocean of proposals, the jury and organization were then faced with the daunting task of picking 6 finalists.
And they’ve done it. By Jove, they’ve done it. Continue reading The 6 Guggenheim Helsinki Competition Finalists Have Been Announced!
Q: "How do you feel about the early designs you did as a freshman or sophomore in architecture school? How did they look like?"
It’s a question I’ve been getting often as of late, so I thought I’d semi-formally answer it on the blog.
I chuckle a little bit whenever I’m asked this, because it involves me looking at my own motivations and process at the time, and comparing them to what I know now.
And there is a really big disparity between the two.
Quite simply, I can say now that my approaches back then were flawed, unrestrained, form-centric more than they were occupant-centric, and paradoxically incohesive. They were messy and didn’t consider a lot of things properly.
But that’s fine. Because that’s how a lot of our early works really do end up.
It’s a rite of passage of sorts, especially for this generation of contemporary designers that are giddy to produce iconic forms. (This ain’t all bad. At least it means you aren’t settling for boring architecture.)
It’s normal, and in some ways, needed in order for you to discover how to develop as a budding architect.
Besides, if I were designing the same way today as I was when I was a freshman, then it either means I didn’t need architecture school (yeah, sure), or I didn’t grow at all.
Today I’m going to discuss a few of my earlier design projects, how I worked on them at the time, and what I amusingly saw when I looked back at them. The three are my first two houses, and an archaeological studies center for within the university. Continue reading Don’t Be Discouraged: Why Having A Flawed First Design Project is NORMAL. (Q&A #4)
A common oversight by young architecture students is to pay little attention to the finer strokes of a design’s intent.
The little nuances are definitely important, and add flourish and aptness to the spaces you create. As architects, you’re going to be exposed to a wide spectrum of clients, from various demographics, earning capacities, and levels of luxury.
You’re going to have to find design solutions to cater to their tastes, wants, and budget – from the pragmatic to the super rich. And sometimes, the difference is in something simple – like picking a toilet.
A knowledge of technology is one way that facilitates an apt connection between user and designer – in order to support a lifestyle.
To demonstrate this, we’re going to do a comparison on seemingly one of the most mundane fixtures that architects specify – the humble water closet.
A toilet is a toilet, yes?
Not so fast. Continue reading When A Toilet Costs More Than A HOUSE.
"Our thinking is a pious reception". ~ Ralph Waldo Emerson
Today we’re going to open up your brain and look inside for a bit – in order to realize some very important stuff.
Don’t fret, and don’t run away. This is an exercise in meta-thinking. And as I’ve mentioned in a previous post, meta-thinking is a great tool for gaining meaningful insight about your own design process.
After all, once you understand how your thinking process ticks, you’ll be able to determine your cogs in the system, weed them out, and become a better designer in the process.
This post covers something extremely critical: your motivations.
When you handle your studio projects, who are you really designing for?
In going about your design process, whose face are you picturing with each line? Who is the end goal that your architecture must satisfy? With each little move, each element, each nuance, whose nod of approval are you primarily valuing?
You’ll be surprised at the many possible answers, their implications, and what they say about your own aspirations.
So then – as you look purposely at your finished architectural program, sketch on a napkin, get your hands goey with your sketch model, or manipulate shells and fabrics on Sketchup or Rhino, who is primarily on your mind?
Continue reading The 5 People You Meet in Every Project: Who Are You REALLY Designing For?
What’s in a “room”? A supposedly basic and elementary term for defining a space, you’d think. As architecture students, you’ll be designing a lot of rooms for your projects. Sounds simple enough – group together some blobs and squares to fit the form you want.
But as you’ll find out, doing so isn’t as trivial as most people think.
A good designer knows that a whole lot of careful thought should be put into each space, considering factors that relate to human psyche, anthropometrics, technology, energy-efficiency, cost-efficiency, comfort, beauty, engineering, and a whole lot of other synthesize-able things.
Don’t believe me? Well then, allow me to give you a few examples of things you might consider when designing individual spaces.
This first post will contain some 20 considerations, and succeeding posts will continue this chain – in hopes of providing you with a more holistic checklist while planning out your spaces. Continue reading Pointers for Designing an AWESOME Room – Part 1 (20 Tips)
Today is a short lesson in efficiency – getting the most bang for your buck with regards to your time invested.
Time and effort is precious in architecture school – so knowing where to focus your energy will be valuable in establishing a solid foundation.
And out of all the different skills and courses you’ll be dipping your toes into, there are 4 that I feel you should pay special attention to.
Naturally this meanders into the subjective realm, but these four are the intersection in a cosmic Venn Diagram of all my learning from my mentors’ – which is essentially centuries worth of experience. In other words, by age old wisdom, these are the four aspects that are largely responsible for driving your trajectory forward – both school-wise and career-wise. Continue reading The BIG 4: Aspects of Architectural Education You Just HAVE to Focus On.
(Disclaimer: Many of the examples of this post are as per Philippine Context)
For the most part, defining “good design” is pretty much subjective. Each architect will have his own guiding philosophy on what constitutes an effective proposal- so at least on the conceptual level, debating on merits of styles will be never-ending. However, unless you live in a culturati first world society that likes to live dangerously, you have to be sure that your design is safe and liveable. In order to do this, there are a number of key checks I’ve found to be essential when planning out your design. It’s best to consider these early on, lest you realize you’ve made a critical oversight or code breach too close to your presentation. Or worse – to find out during your deliberations itself while your jury grills you on your fatal flaws. Continue reading 36 Things You MUST Consider When Designing Your Project
ARCHI STUDENT HELP 