Friday, April 06, 2007
Wednesday, March 28, 2007
Concept and Ideas – Part 3
No doubt that many of you will be present for the 4th year presentation tomorrow on Thursday, 29th March 2007. In principle, I would give the students the 'benefit of a doubt' and not make any judgment calls on them until they have proven themselves. Perhaps they will prove us wrong at the very last minute.
I don't intend to speculate too much without any substantial research into this problem but all the studio masters in the 4th year and also our guest panelists during last Interim Crit, in particular Huat Lim and Syed Sobri had commented on how the graphic presentation lacked in quality in terms of showing the ideas and concept.
Many students depended on their oral presentation where they lacked in sketches but we do not want to see finished drawings. We wanted to see the development of ideas. Clearly there was an overall lack of conceptual drawings and studies including the use of precedence studies in their work.
You would expect the students to come to a certain level of communication skill and competence to show how they developed and conceptualized their ideas in the 4th year but how much you looked, you are trying to find a connection which would help you visualize better, and its not there.
Huat Lim did say that this project is difficult and in my opinion the project may be difficult because the design process's stage by stage process was not well adhered to. The students are not well versed at coming up with the massing and concept together, and many of us except Huat Lim, would argue that they lacked manual drawing techniques and they lacked the know-how on how to conceptualize at the earliest stage. Huat Lim said that theoretically a designer should be able to use any medium, be it computer aided design techniques to conceptualize and hence communicate well by visualizing their work to others. I brought forward this suggestion to Encik Bakar from UiTM who had worked with Bryan Lawson on the book 'Design in Mind', where he stated that an 'experienced designer' could probably conceptualize with the computer as he / she has the data (design in mind) to already do so, but the student does not have enough experience hence they are trapped in the mechanics of the computer.
One of the students told me in an email that he was not good at 3 dimensional drawings, and that was his reason for the poor progress in his work. At first I thought it was more on being able to draw perspectives, but later I realized that it was more than that. He was not able to conceptualize even in plan and sections. And we all know that sections are 3 dimensional in how they could work out the ideas on space and form.
Most recent was my discussion with Gary Wong, a part-time studio master in the 4th year, where Gary agreed to the whole issue so far and that the students should have created a massing model on the computer based on the area of the building and then embellished the 3D model manually. Like Megat Ariff suggested (when he worked at ZLG Design) Huat Lim did his design work, by taking the 3D massing model, using just the tip-ex (liquid paper) and a 0.6 bold Artline pen he would then shape the formal and spatial aspects to complete a sketched 3D model of a building. Then Huat would give it to the designer to complete the 3D model in the computer.
I was trained with using the T square and technical pen like many of us teaching at this school. Do we find similar issues in the 2nd and 3rd year of studio as well as the 5th year? Are there areas where we should work in finding more about graphic communication skills with the different studios? And when should we start introducing the term 'concept' in the studio? Can someone share with us whether the term 'concept' was written in your learning outcomes of your studio course proforma?
For the sake of further discussion and arguments, please find the 4th year studio second semester learning outcomes below where we will see ourselves whether its achievable.
For BAES 4276, Advanced Architecture Design II, students will be able to:
1. Discuss and debate on issues pertaining to housing by studying and presenting case studies and literature review on the subject.
2. Formulate and plan within a structured programme the design of a high density housing project with considerable technical integration.
3. Develop and produce an appropriate architectural solution to the requirements of designing a high density housing project by studying and developing the project's brief requirements, producing a comprehensive site analysis, developing the massing of the scheme and appraising the context while respecting the building codes and legislative requirements.
4. Validate the concept proposed by providing a thorough analysis and case study of similar projects, producing reasoned ideas, especially on how to create spaces for communal interaction and creating a sense of place, identity or belonging and also creating a scheme with a holistic approach to the architectural solution by also focusing on the users requirements in their accommodated living units.
5. Critique their own design-work and revise their work in progress throughout the studio programme.
6. Practice and develop the correct communication skills in graphics and oral presentation which is essential to becoming an architect.
I don't intend to speculate too much without any substantial research into this problem but all the studio masters in the 4th year and also our guest panelists during last Interim Crit, in particular Huat Lim and Syed Sobri had commented on how the graphic presentation lacked in quality in terms of showing the ideas and concept.
Many students depended on their oral presentation where they lacked in sketches but we do not want to see finished drawings. We wanted to see the development of ideas. Clearly there was an overall lack of conceptual drawings and studies including the use of precedence studies in their work.
You would expect the students to come to a certain level of communication skill and competence to show how they developed and conceptualized their ideas in the 4th year but how much you looked, you are trying to find a connection which would help you visualize better, and its not there.
Huat Lim did say that this project is difficult and in my opinion the project may be difficult because the design process's stage by stage process was not well adhered to. The students are not well versed at coming up with the massing and concept together, and many of us except Huat Lim, would argue that they lacked manual drawing techniques and they lacked the know-how on how to conceptualize at the earliest stage. Huat Lim said that theoretically a designer should be able to use any medium, be it computer aided design techniques to conceptualize and hence communicate well by visualizing their work to others. I brought forward this suggestion to Encik Bakar from UiTM who had worked with Bryan Lawson on the book 'Design in Mind', where he stated that an 'experienced designer' could probably conceptualize with the computer as he / she has the data (design in mind) to already do so, but the student does not have enough experience hence they are trapped in the mechanics of the computer.
One of the students told me in an email that he was not good at 3 dimensional drawings, and that was his reason for the poor progress in his work. At first I thought it was more on being able to draw perspectives, but later I realized that it was more than that. He was not able to conceptualize even in plan and sections. And we all know that sections are 3 dimensional in how they could work out the ideas on space and form.
Most recent was my discussion with Gary Wong, a part-time studio master in the 4th year, where Gary agreed to the whole issue so far and that the students should have created a massing model on the computer based on the area of the building and then embellished the 3D model manually. Like Megat Ariff suggested (when he worked at ZLG Design) Huat Lim did his design work, by taking the 3D massing model, using just the tip-ex (liquid paper) and a 0.6 bold Artline pen he would then shape the formal and spatial aspects to complete a sketched 3D model of a building. Then Huat would give it to the designer to complete the 3D model in the computer.
I was trained with using the T square and technical pen like many of us teaching at this school. Do we find similar issues in the 2nd and 3rd year of studio as well as the 5th year? Are there areas where we should work in finding more about graphic communication skills with the different studios? And when should we start introducing the term 'concept' in the studio? Can someone share with us whether the term 'concept' was written in your learning outcomes of your studio course proforma?
For the sake of further discussion and arguments, please find the 4th year studio second semester learning outcomes below where we will see ourselves whether its achievable.
For BAES 4276, Advanced Architecture Design II, students will be able to:
1. Discuss and debate on issues pertaining to housing by studying and presenting case studies and literature review on the subject.
2. Formulate and plan within a structured programme the design of a high density housing project with considerable technical integration.
3. Develop and produce an appropriate architectural solution to the requirements of designing a high density housing project by studying and developing the project's brief requirements, producing a comprehensive site analysis, developing the massing of the scheme and appraising the context while respecting the building codes and legislative requirements.
4. Validate the concept proposed by providing a thorough analysis and case study of similar projects, producing reasoned ideas, especially on how to create spaces for communal interaction and creating a sense of place, identity or belonging and also creating a scheme with a holistic approach to the architectural solution by also focusing on the users requirements in their accommodated living units.
5. Critique their own design-work and revise their work in progress throughout the studio programme.
6. Practice and develop the correct communication skills in graphics and oral presentation which is essential to becoming an architect.
(The text above was an email message to the architecture department lecturers.)
Wednesday, February 28, 2007
Concept & Ideas - Part 2 (Shape & Form)
How do we get ideas out? From where will the ideas come out from? If we have a recipe for success, we need a bowl (metaphor) for the ingredients to mix in. And what are the ingredients to make an interesting and success-oriented design? What would make the critics get excited?
The questions asked are pointing towards understanding the process of design, and in particular the shape and form of the design. Imagine, from no shape, to some form, and to a ‘final’ form…hence the title.
However firstly, the designer should be the biggest critic.
In the game of design, a designer should acquire the highest level of learning, which is the ability to judge his or her design. The discerning eye for the good, the bad and the ugly, will give a sense of conviction, a sense of direction and the power to articulate and debate with the designer’s critics.
Secondly, we need to ask whether there is a thing called “Creative Intelligence”? For the studio masters, are we in the business of educating architects? If we are, we are equally in the business of creating and facilitating the environment for creative intelligence to flourish. The other words for "creative" are: original; innovative; resourceful and; ingenious.
Intelligence is to do with the intellect and brain power.We then know that the beginning phases of a creative endeavour is a very important period when all components of the design need to be mixed together, to work with each other, and if that happens quickly in the first few days of the design process, the rhythm and pace of the game (or design process) can be controlled easier. It's all about tactics at the beginning of the process. The strategy to win in the end was envisioned earlier on, but the tactics to win as the design process proceeds, little by little, is what counts the most. Has the designer this skill? This skill to form and shape, and to keep to the ideas and concept in the early design processes.
There is a beginning and an end to every creative endeavour. Will the designer recognize this?Concentration is vital. The designer’s activity may clash with the managing other work activities. When you have many things going on at the same time, concentration will not be easy to achieve. We get distracted easily from the game or what we should be doing, planning and creating chances and putting together the pieces to make things happen.
We need to watch out for the designer who panicked easily. We need to point this out to them. Don't break down. Don't fold. Keep the shape and form of your design by not panicking and by being cool. Keep the original ideas working and not panicked by starting back to square one when you have something already done for weeks. For example, the role of the studio master is to make the students aware of the design process. The studio master is the partner to the students’ success.
In the design process, the designer needs to allow the shape and form to emerge by facilitating all input and discussion. By facilitating, it means that input needs to be processed. If it's useful, use it immediately. By being resourceful, the designer is being creative.There is a game going on in the design process. Control the game. Dictate the game. Win the tactics. However we need to know the opponent.Who is the opponent then? Is it the studio master or the guest critic?Well, they are just there to make the game happen, to “mirror” the designer’s judgment and introspection of the design.Usually we think that our opponent is the ‘other team’ or the critic, but it is actually the designer.
Hence, in a studio-based learning, the designer (student) needs to know him or herself well, the strengths and weaknesses that the designer has and how to act upon them. The realization of the strengths and weaknesses would need to be shown again and again by the studio master in the individual desk crits, group discussion and interim crits.
(This piece was derived from the earlier post. Pic at the top shows a cupcake and a pair of hands with camera phone at Eden Cafe, Amcorp Mall and the pic above shows hand-painted chocolates)
Friday, February 23, 2007
Creative Intelligence - the importance of form and shape
Other words for "creative" are original; innovative; resourceful and; ingenious. Intelligence is to do with the intellect and brain power.
Creative endeavours are not confined to just work of art, craft or architecture. Writing a novel, poem, song or dance are also other forms that emerged from creativity. This is obvious, but what is not obvious is that it takes a lot of creativity to be a successful football team. A team that could be used to win games at the highest level.
Like all creative endeavours be it architecture or football, it will need to have a shape and form to maintain success or achieve what it set out to do.
The beginning phases of a creative endeavour is a very important period when all components of the team or design need to be moulded together, to work with each other, and if that happens quickly in the first five minutes of the game (for a football team) or in the first few days of the design process, the rhythm and pace of the game (or design) can be controlled easier. It's all about tactics at the beginning of the process. The strategy to win in the end was envisioned earlier on, but the tactics to win as the game proceeds, little by little, is what counts the most.
Concentration is vital. When you have many things going on at the same time, concentration will not be easy to achieve. We get distracted easily from the game or what we should be doing, planning and creating chances and putting together the pieces to make things happen.
Liverpool FC did just that when they beat Barcelona FC during a Champion's League match on February 21st 2007. They did not get distracted after they conceded a goal in the 14th minute. The individuals in the team knew that they may lose their concentration at one point (and let in a goal), but the game lasts for 90 minutes, and they can still work at their game during that time. The television commentators only remarked on the "symptoms", by commenting that Barcelona's players were not playing well, but the real insight was that there was a "breakdown in the shape and form" of the Barcelona team. It was irreparable. Liverpool broke Barcelona down, simple as that.
Don't break down. Don't fold. Keep the shape and form by not panicking and by being cool.
In the design process, you need to allow the shape and form to emerge by facilitating all input and discussion. By facilitating, it means that input needs to be processed. If it's useful, use it immediately. By being resourceful, you are being creative.
There is a game going on in the design process. Control the game. Dictate the game. Win the tactics. However we need to know our opponent.
Who is your opponent then? The other football team? Your critic?
They are just there to make the game happen.
Usually we think that our opponent is the other team or the critic, but it is actually we who are the opponent.
Know yourself well and you will win.
Creative endeavours are not confined to just work of art, craft or architecture. Writing a novel, poem, song or dance are also other forms that emerged from creativity. This is obvious, but what is not obvious is that it takes a lot of creativity to be a successful football team. A team that could be used to win games at the highest level.
Like all creative endeavours be it architecture or football, it will need to have a shape and form to maintain success or achieve what it set out to do.
The beginning phases of a creative endeavour is a very important period when all components of the team or design need to be moulded together, to work with each other, and if that happens quickly in the first five minutes of the game (for a football team) or in the first few days of the design process, the rhythm and pace of the game (or design) can be controlled easier. It's all about tactics at the beginning of the process. The strategy to win in the end was envisioned earlier on, but the tactics to win as the game proceeds, little by little, is what counts the most.
Concentration is vital. When you have many things going on at the same time, concentration will not be easy to achieve. We get distracted easily from the game or what we should be doing, planning and creating chances and putting together the pieces to make things happen.
Liverpool FC did just that when they beat Barcelona FC during a Champion's League match on February 21st 2007. They did not get distracted after they conceded a goal in the 14th minute. The individuals in the team knew that they may lose their concentration at one point (and let in a goal), but the game lasts for 90 minutes, and they can still work at their game during that time. The television commentators only remarked on the "symptoms", by commenting that Barcelona's players were not playing well, but the real insight was that there was a "breakdown in the shape and form" of the Barcelona team. It was irreparable. Liverpool broke Barcelona down, simple as that.
Don't break down. Don't fold. Keep the shape and form by not panicking and by being cool.
In the design process, you need to allow the shape and form to emerge by facilitating all input and discussion. By facilitating, it means that input needs to be processed. If it's useful, use it immediately. By being resourceful, you are being creative.
There is a game going on in the design process. Control the game. Dictate the game. Win the tactics. However we need to know our opponent.
Who is your opponent then? The other football team? Your critic?
They are just there to make the game happen.
Usually we think that our opponent is the other team or the critic, but it is actually we who are the opponent.
Know yourself well and you will win.
Wednesday, January 31, 2007
Concept & Ideas - part 1
Is a "concept" the most important thing in a student's studio project? The argument is "no". I mean, it is not the most important thing. Maybe second most important, but not first. Presentation is "king". It all boils down to presenting a concept well in order to be successful.
There is no such thing as a "bad concept". It is subjective. But there are bad and good ideas…
Since a concept is defined as "a broad abstract idea" or is understood by many as many ideas being worked together, thus making a concept, "idea" has to be in there somewhere, in a concept.
The ideas of making a girl or a boy or a flower were from the Creator. And the concepts of a girl, a boy, or a flower are different. There were similar ideas for example in making a boy and a girl, you need them to “think” for one. In other words, they both have brains. And there are many differences as well. Hence they are two different concepts.
A door was created by a human being as an important part of a house. There are certain characteristics prevalent to make a door, such as having a door leaf, a lock or handle etc. The concept of a door has a purpose that is to provide access and be able to be closed to leave out the cold wind and so on. However, different types of doors have different concepts. The sliding door is based on the idea of ease of use and not taking up much space.
Similarly in designing an affordable housing complex, where there are similar characteristics usually found in the technical aspects, such as the road, parking spaces, kindergarten, playground, housing units etc., hence a housing complex is a concept on its own but there could be different concepts from different designers, based on using different ideas.
The argument that I have is that there is no such thing as a "bad concept", but there is such a thing as bad idea/s or good idea/s, and that when we evaluate an affordable housing design's merit, we are evaluating on the ideas. Additionally, we cannot really evaluate a concept because a concept has to be realised (conceived in reality) and you must experience it before you can really evaluate it.
Does this mean that we cannot crit a student's work then, if we cannot experience it for real?
That's a thought! In fact we can merely speculate and give criticism of the student's work based on the speculation that the concept has enough or lack of ideas. If the concept reflected the best possible ways and formation (synthesis) of ideas to make an affordable housing work, then the concept is acceptable.
In the case of the student's evaluation, it is more on how the student presented the ideas and the design, both orally and graphically. The student has to have the ability "to conceive" in his/her mind the realised design. The evaluation is on whether the student can convince the critic that his/her design is poor/average/good/excellent.
The mental manipulation made by the student to come out with the design based on his/her ideas comes from the thinking process, and then drawn, written and coded onto some documentation process (drawings/models).
That is why the critic is important. The evaluation can only be completed with the student presenting his/her work to a critic or a panel of critics. The evaluation is always on the student as a designer.
The designer's competence in designing and presenting is where the grade or mark is based upon. So at the end of the day, the concept of a studio project can only be evaluated with the author/designer's presentation. As oppose to the concept of a building that was built and occupied and where you can experience it yourself. You do not need the creator (designer) to be there to tell you the concept.
That is why a student has to be such a good illustrator or a good draughtsman as well as a designer. The critics love delicious drawings and models. So a good studio designed project has to be beautifully drawn and it is of no use, if the concept is a brilliant one, but it's poorly drawn.
Therefore, my conclusion is that students will always have a problem to present their concepts unless they are really good at presenting both orally and graphically. That is why studio masters have a problem of explaining to students about concepts, especially in the lower years, 1st & 2nd year, and even 3rd year. It is not easy to explain what concepts are. So I hope this essay will help.
Below are definitions of some terms:
"Philosophy" is a set of basic principles or concepts underlying a particular sphere of knowledge (guiding or underlying principles).
"Theory" is a set of circumstances or principles that is hypothetical (hypothetical circumstances).
"Model" is something that is copied or used as the basis for a related idea, process, or system.
"Hypothesis" is a statement that is assumed to be true for the sake of argument; or a tentative explanation for a phenomenon, used as a basis for further investigation.
"Concept" is a broad abstract idea or a guiding general principle, such as one that determines how a person or culture behaves, or how nature, reality, or events are perceived.
"Idea" is a personal opinion or belief (opinion) ; or a thought to be presented as a suggestion (suggestion); or a realization of a possible way of doing something or of something to be done (plan); or a thought about or mental picture of something such as a future or possible event (thought); or a concept that exists in the mind only (concept).
"Intuition" is the state of being aware of or knowing something without having to discover or perceive it, or the ability to do this or immediate knowledge.
There is no such thing as a "bad concept". It is subjective. But there are bad and good ideas…
Since a concept is defined as "a broad abstract idea" or is understood by many as many ideas being worked together, thus making a concept, "idea" has to be in there somewhere, in a concept.
The ideas of making a girl or a boy or a flower were from the Creator. And the concepts of a girl, a boy, or a flower are different. There were similar ideas for example in making a boy and a girl, you need them to “think” for one. In other words, they both have brains. And there are many differences as well. Hence they are two different concepts.
A door was created by a human being as an important part of a house. There are certain characteristics prevalent to make a door, such as having a door leaf, a lock or handle etc. The concept of a door has a purpose that is to provide access and be able to be closed to leave out the cold wind and so on. However, different types of doors have different concepts. The sliding door is based on the idea of ease of use and not taking up much space.
Similarly in designing an affordable housing complex, where there are similar characteristics usually found in the technical aspects, such as the road, parking spaces, kindergarten, playground, housing units etc., hence a housing complex is a concept on its own but there could be different concepts from different designers, based on using different ideas.
The argument that I have is that there is no such thing as a "bad concept", but there is such a thing as bad idea/s or good idea/s, and that when we evaluate an affordable housing design's merit, we are evaluating on the ideas. Additionally, we cannot really evaluate a concept because a concept has to be realised (conceived in reality) and you must experience it before you can really evaluate it.
Does this mean that we cannot crit a student's work then, if we cannot experience it for real?
That's a thought! In fact we can merely speculate and give criticism of the student's work based on the speculation that the concept has enough or lack of ideas. If the concept reflected the best possible ways and formation (synthesis) of ideas to make an affordable housing work, then the concept is acceptable.
In the case of the student's evaluation, it is more on how the student presented the ideas and the design, both orally and graphically. The student has to have the ability "to conceive" in his/her mind the realised design. The evaluation is on whether the student can convince the critic that his/her design is poor/average/good/excellent.
The mental manipulation made by the student to come out with the design based on his/her ideas comes from the thinking process, and then drawn, written and coded onto some documentation process (drawings/models).
That is why the critic is important. The evaluation can only be completed with the student presenting his/her work to a critic or a panel of critics. The evaluation is always on the student as a designer.
The designer's competence in designing and presenting is where the grade or mark is based upon. So at the end of the day, the concept of a studio project can only be evaluated with the author/designer's presentation. As oppose to the concept of a building that was built and occupied and where you can experience it yourself. You do not need the creator (designer) to be there to tell you the concept.
That is why a student has to be such a good illustrator or a good draughtsman as well as a designer. The critics love delicious drawings and models. So a good studio designed project has to be beautifully drawn and it is of no use, if the concept is a brilliant one, but it's poorly drawn.
Therefore, my conclusion is that students will always have a problem to present their concepts unless they are really good at presenting both orally and graphically. That is why studio masters have a problem of explaining to students about concepts, especially in the lower years, 1st & 2nd year, and even 3rd year. It is not easy to explain what concepts are. So I hope this essay will help.
Below are definitions of some terms:
"Philosophy" is a set of basic principles or concepts underlying a particular sphere of knowledge (guiding or underlying principles).
"Theory" is a set of circumstances or principles that is hypothetical (hypothetical circumstances).
"Model" is something that is copied or used as the basis for a related idea, process, or system.
"Hypothesis" is a statement that is assumed to be true for the sake of argument; or a tentative explanation for a phenomenon, used as a basis for further investigation.
"Concept" is a broad abstract idea or a guiding general principle, such as one that determines how a person or culture behaves, or how nature, reality, or events are perceived.
"Idea" is a personal opinion or belief (opinion) ; or a thought to be presented as a suggestion (suggestion); or a realization of a possible way of doing something or of something to be done (plan); or a thought about or mental picture of something such as a future or possible event (thought); or a concept that exists in the mind only (concept).
"Intuition" is the state of being aware of or knowing something without having to discover or perceive it, or the ability to do this or immediate knowledge.
Tuesday, January 16, 2007
Concentrate and Raise Your Game
Believe it or not, in order to succeed, you have to know what game you are playing, how to play it, strategise, concentrate on the finer points and how to control the game and aim for your goals. You cannot afford to be bothered by all the other distractions, your housemate's bad habits and constant complaining, politics, your family problems and their insistence to bother you with it (unless it's serious illness) and other distractions that other people impose on you or you make yourself.
If your competitors are winning, you must not be disheartened and start finding out the winning formula, either by observing your competitors behaviour or how they had won. You need to find out your strengths and work on improving them. At the same time, recognising your weaknesses and deal with them, step by step.
Map out your long-term goals, at least in the next 5 years. Find out how much work it takes to get there and break into manageable pieces and translate into short-term goals or even better, everyday actions that will work towards achieving your long-term goals. So, if you want to be in the Champion's League of Designers, say winning an award with PAM or working with Norman Foster in the UK, you start preparing now. You have nothing to lose.
The only thing is to concentrate and raise your game to another level. Do not be satisfied with mediocrity.
If your competitors are winning, you must not be disheartened and start finding out the winning formula, either by observing your competitors behaviour or how they had won. You need to find out your strengths and work on improving them. At the same time, recognising your weaknesses and deal with them, step by step.
Map out your long-term goals, at least in the next 5 years. Find out how much work it takes to get there and break into manageable pieces and translate into short-term goals or even better, everyday actions that will work towards achieving your long-term goals. So, if you want to be in the Champion's League of Designers, say winning an award with PAM or working with Norman Foster in the UK, you start preparing now. You have nothing to lose.
The only thing is to concentrate and raise your game to another level. Do not be satisfied with mediocrity.
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