Popular in Professional

Business

The Allegory of the Favela: The Multifaceted Effects of Socioeconomic Mobility

University of Pennsylvania Leandro S. Pongeluppe

Architecture

Connecting Cities and Nature

University of Virginia Timothy Beatley

Human Rights Law

Human Rights and Corruption: Problems and Potential of Individualising a Systemic Problem

Max Planck Institute Anne Peters

Finance

Chinese Exchange Rate Policy: Lessons for Global Investors

University of California San Diego Michael Melvin

Law

A statistical approach to law school citation rankings

University of Virginia Joshua Fischman

Education

Firm Performance Pay as Insurance against Promotion Risk

Stockholm School of Economics Alvin Chen

Architecture in Dialogue with an Activated Ground

View more insights in Professional - Architecture

View more figures from University of Adelaide

View the page of Urs Bette

Read the Study

Next in Architecture

Connecting Cities and Nature

Timothy Beatley | University of Virginia

Cities and Rivers

Iñaki N Alday Sanz | Tulane University

Urs Bette explores the role of “unreasonable” thought and behavior in architectural design, focusing on the dynamic relationship between architectural objects and the site they inhabit

Image courtesy of interviewee. October 17, 2024

Log-in or Sign-up to Faculti
Currently viewing this subject insight as a guest. You have insight(s) remaining for this month. Login to view 8000+ figures on the platform.

Generating Workspace...

Export as PDF

This video discusses the author's architectural practice and philosophy, highlighting the significance of dialogue between architectural objects and their sites. Following their experiences at the University of Adelaide and University College London, the author identified a gap in publications about design practitioners' reflective practices. They reject the notion that artistic research is inherently subjective and aim to demonstrate that design can create new knowledge through various processes.

The author emphasizes the importance of play and experimentation in the design process, fostering environments that encourage innovative ideas. They advocate for a balance between subjective creativity and objective justification, asserting that successful architectural projects emerge from a dialogue that includes consideration of site characteristics, user engagement, and emotional resonance.

Through case studies, including a residential project in the Adelaide Hills and the River Torrens footbridge, the author describes processes of bringing objects onto sites to observe reactions and cultivate a meaningful interaction. They argue that architecture must integrate with its context, facilitating a symbiotic relationship between built forms and their environments.

Additionally, the text outlines the challenges posed by conventional architectural practices, emphasizing the need for risk-taking and creative exploration to generate authentic and sustainable designs. By viewing architectural elements as characters with personalities that resonate with users, the author strives to create unique buildings that foster identification, engagement, and emotional connections. Ultimately, the aim is to develop structures that are not merely functional but rich with meaning and capable of ongoing dialogue with their surroundings. The author concludes by underscoring the importance of questioning design norms and advocating for innovative approaches that respond to contemporary challenges in urban environments.

Language:

Export as PDF

Export as PDF
Here are five key points extracted from the video:

1. **Integration of Artistic Research and Design Practice**: The author emphasizes the importance of integrating artistic research into the field of architectural design, arguing that this process is often seen as subjective and not regarded as rigorous scientific inquiry. They believe that designers create new knowledge through reflective practice and that it's crucial to acknowledge and share these processes.

2. **Dialogic Engagement with the Site**: The author describes a method where they actively engage with the site by introducing objects and observing how the site reacts. This interaction fosters a dialogue between the design object and the site, offering insights into how the two can coexist and influence each other in the development of a project.

3. **Challenging Conventional Approaches**: The video highlights a deliberate challenge to conventional architectural practices and evaluation methods. By embracing 'unreasonable' thoughts and behaviors, the author seeks to expand creative possibilities and encourages designers to explore new forms of innovation that emerge through misappropriation and reinterpretation.

4. **Morphological Development and Assessment**: The author outlines a threefold choreography in their design process, moving from field to figure to character. They describe a dual mode of assessment that combines emotional cognition with analytical synthesis, which allows for a deeper exploration of ideas and the incorporation of diverse perspectives into architectural projects.

5. **Cultural and Emotional Connection in Architecture**: The author believes that successful architecture should foster a connection between buildings and their occupants. They advocate for designs that possess a sense of personality and that engage users on multiple levels, allowing for ongoing discoveries and interactions, thus creating a liveable and sustainable architectural environment.

Export as PDF
This video contains a wealth of insights and reflections on architecture, design, and the creative process. Here are some key quotes extracted from the video, highlighting the main themes and ideas presented:

1. **On the gap in design research**:
- "I just thought there's a gap in publications that could serve as an example for design practitioners to engage in this model of reflective practice."

2. **On the nature of artistic research**:
- "Artistic research is regarded as something rather subjective, idiosyncratic, unsuitable for proper scientific research or inquiry."

3. **On the role of designers in generating knowledge**:
- "I disagree that as designers, we are creating new knowledge and there are process and methods involved in this."

4. **On the emergence of ideas**:
- "What really counts are kind of the types of environments that foster the emergence of ideas."

5. **On integrating play with serious inquiry**:
- "I'm interested in how serious play can become the fertile ground for its transition into a factual product."

6. **On the interaction between object and ground**:
- "The aim is to provoke a reaction from the site, which through my readings character of the location."

7. **On the responsive nature of design**:
- "It's about developing empathy with all the protagonists and kind of trying to extract their individual characteristics and then translate those into form and space."

8. **On the transformative nature of architecture**:
- "I just genuinely believe that architecture needs to communicate with its ground."

9. **On challenging conventional design processes**:
- "Unreasonable thought and action challenges definitely challenges the standard decision making."

10. **On the importance of exploring new functions for forms**:
- "The critical part of creativity is of seeing things in new that they were not originally designed for and putting them into new convideo."

11. **On architecture as a performative relationship**:
- "It’s actually about creating a performing relationship, performative relationship between object and ground, where both of them in a way worked together to create the project."

12. **On sustainability in architecture**:
- "I believe that true sustainable architecture is actually created by unique buildings, unique buildings that are... a character of some sorts."

13. **On the interplay of personal and external agendas in design**:
- "The aim of this is to kind of counter my own kind of maybe superficial predisposition."

14. **On the essence of successful buildings**:
- "Successful for me, successful buildings are ones that are based on ideas, ideas that trigger a response or repercussions in the people's kind of minds and souls."

15. **On the evolving nature of design**:
- "There always needs to be a question, a question that does not really have an answer yet really looking at something new."

These quotes encapsulate the author's thoughts on the process of design, the relationships between objects and their environments, the interplay between rational and creative practices, and the quest for meaningful and responsive architecture.

X-TIMESTAMP-MAP=LOCAL:00:00:00.000,MPEGTS:90000

1
00:00:00.000 --> 00:00:02.925
Shortly after I went through the PhD,

2
00:00:03.265 --> 00:00:06.205
we started a similar program at the University of Adelaide,

3
00:00:06.465 --> 00:00:08.525
and similarly there, so

4
00:00:08.525 --> 00:00:11.085
that was then called the Design Research Colloquium.

5
00:00:11.865 --> 00:00:14.845
And during this time, kind of, we were constantly talking

6
00:00:14.865 --> 00:00:17.325
to candidates and we are speaking about kind of

7
00:00:17.325 --> 00:00:19.605
what is this new program and what's it all about?

8
00:00:19.825 --> 00:00:23.445
And in this process, I just thought there's a gap in

9
00:00:23.445 --> 00:00:25.805
publications that could serve as an example

10
00:00:25.905 --> 00:00:29.645
for design practitioners to engage in this model

11
00:00:29.645 --> 00:00:30.765
of reflective practice.

12
00:00:31.065 --> 00:00:34.205
So that led me to design research

13
00:00:34.205 --> 00:00:37.205
and architecture series at the University College of London.

14
00:00:37.385 --> 00:00:41.405
And then I made contact and kind of, we developed a project

15
00:00:41.545 --> 00:00:45.035
or a book out of that at the same time.

16
00:00:45.045 --> 00:00:48.315
While we talk now about kind of, let's say the process of

17
00:00:48.415 --> 00:00:51.435
how knowledge is generated through practice, yes,

18
00:00:51.535 --> 00:00:53.475
I'm also interested in sharing the content

19
00:00:53.505 --> 00:00:55.315
that actually sits in my work.

20
00:00:55.575 --> 00:00:58.755
So what I'm doing. So that's

21
00:00:59.535 --> 00:01:02.225
what is challenging or was challenging there.

22
00:01:02.285 --> 00:01:05.865
Or let's say what interested me was that in my parts

23
00:01:05.865 --> 00:01:07.985
of academia, but also the profession

24
00:01:08.445 --> 00:01:11.385
and of artistic research is regarded as something rather

25
00:01:12.115 --> 00:01:16.315
subjective, idiosyncratic, unsuitable

26
00:01:16.575 --> 00:01:19.395
for proper scientific research or inquiry.

27
00:01:20.665 --> 00:01:22.715
There's a widespread view

28
00:01:22.715 --> 00:01:26.475
that artistic creativity is unreliable, irrational,

29
00:01:27.215 --> 00:01:30.275
and in a way, in some ways not part of the real world.

30
00:01:30.735 --> 00:01:33.355
So, and I disagree with that, right?

31
00:01:33.555 --> 00:01:37.275
I disagree that as designers, we are creating new knowledge

32
00:01:37.275 --> 00:01:40.235
through in the medium itself through design,

33
00:01:41.135 --> 00:01:44.435
and there are process and methods involved in this.

34
00:01:44.655 --> 00:01:48.195
And, and I just wanted to yeah, to make that clear

35
00:01:48.215 --> 00:01:49.995
and acknowledged and acknowledged and,

36
00:01:50.375 --> 00:01:54.195
and talk about what are those processes we all searching

37
00:01:54.195 --> 00:01:57.515
for ideas and what really counts are kind of the types

38
00:01:57.515 --> 00:02:00.435
of environments that foster the emergence of ideas.

39
00:02:01.675 --> 00:02:04.615
And it doesn't really matter whether that is now text-based

40
00:02:04.835 --> 00:02:06.295
or project-based.

41
00:02:06.875 --> 00:02:10.815
And so, particularly now, let's say in the context of ai,

42
00:02:10.825 --> 00:02:14.655
where there is a high heightened interest in the nature

43
00:02:14.715 --> 00:02:15.855
of human creativity

44
00:02:16.195 --> 00:02:20.215
and whether there are consistent processes at play in this.

45
00:02:21.225 --> 00:02:22.525
So I'm interested in

46
00:02:22.585 --> 00:02:25.485
how serious play can become the fertile ground

47
00:02:26.225 --> 00:02:28.245
for its transition into a factual product.

48
00:02:29.105 --> 00:02:32.005
So on one side, kind of relinquishing control

49
00:02:32.585 --> 00:02:36.165
and engaging in seemingly unreasonable actions,

50
00:02:38.035 --> 00:02:39.695
and wondering how

51
00:02:40.555 --> 00:02:44.025
these operations can be tools in fostering the emergence

52
00:02:44.025 --> 00:02:45.585
of new ideas and solutions.

53
00:02:46.855 --> 00:02:48.475
So, and I'm using, in this publication,

54
00:02:48.495 --> 00:02:51.675
I'm using my own architectural practice to illustrate

55
00:02:51.935 --> 00:02:53.995
how an artistic context of discovery

56
00:02:54.615 --> 00:02:58.955
can be productively linked with a consensus based approach

57
00:02:59.025 --> 00:03:00.045
of justification.

58
00:03:00.865 --> 00:03:04.725
So maybe in short, I'm interested in where ideas come from

59
00:03:05.585 --> 00:03:08.565
and kind of exploring that in the context

60
00:03:08.745 --> 00:03:09.925
of architectural work.

61
00:03:10.395 --> 00:03:13.725
Integrating the side is a core question of my practice.

62
00:03:14.625 --> 00:03:16.485
Um, in architecture, there are many ways

63
00:03:16.545 --> 00:03:18.165
to respect local conditions.

64
00:03:18.165 --> 00:03:20.605
There are some people that believe touching the ground

65
00:03:20.675 --> 00:03:23.685
lightly is the right approach, while others try

66
00:03:23.685 --> 00:03:25.965
to emulate kind of local appearances.

67
00:03:26.345 --> 00:03:30.925
Um, my approach, relies on the seemingly

68
00:03:31.745 --> 00:03:33.525
brutal move of confronting

69
00:03:33.705 --> 00:03:35.765
or staging a confront confrontation

70
00:03:35.845 --> 00:03:39.685
between an introduced object and the ground or the site.

71
00:03:40.505 --> 00:03:44.285
The aim is to provoke a reaction from the site, which

72
00:03:44.515 --> 00:03:46.165
through my readings

73
00:03:46.165 --> 00:03:48.405
and interpretation acknowledges the

74
00:03:48.405 --> 00:03:49.845
character of the location.

75
00:03:50.185 --> 00:03:53.405
So it's a bit like bringing something in onto a,

76
00:03:53.515 --> 00:03:58.045
into a location, then observing how that location reacts

77
00:03:58.345 --> 00:03:59.685
to the incoming object,

78
00:04:00.185 --> 00:04:04.005
and then moderating a dialogue between the two

79
00:04:04.155 --> 00:04:07.645
that then in the next phase actually then emerges into a

80
00:04:07.645 --> 00:04:11.445
project that, works between the two object and ground.

81
00:04:11.585 --> 00:04:15.085
So I'm staging a conversation then immersing myself,

82
00:04:15.605 --> 00:04:17.605
empathizing with both object and ground,

83
00:04:18.265 --> 00:04:22.425
and then observe what is happening in the way.

84
00:04:22.605 --> 00:04:26.575
So it's an unfolding dialogue.

85
00:04:26.795 --> 00:04:29.575
Um, and that marks for me the activation of the ground.

86
00:04:29.835 --> 00:04:32.775
And yes, on one side you could say this is highly rational

87
00:04:32.955 --> 00:04:37.015
and, and kind of there's lots of projection, involved.

88
00:04:37.015 --> 00:04:41.015
However, it serves the purpose of me actively engaging

89
00:04:41.285 --> 00:04:43.095
with the site and listening to it.

90
00:04:43.595 --> 00:04:46.775
It then becomes an exchange that's mediated by the designer,

91
00:04:47.475 --> 00:04:50.015
whose yes own projections

92
00:04:50.195 --> 00:04:52.855
and interpretations could become part of the process.

93
00:04:53.075 --> 00:04:56.415
So I'm not kind of taking myself out of this,

94
00:04:56.675 --> 00:04:59.655
I'm also involved, there is not just object and grout,

95
00:04:59.655 --> 00:05:01.775
but there's also the author, architect part of it.

96
00:05:01.775 --> 00:05:04.935
And this is kind of a, a kind of a triptych of, of the,

97
00:05:05.115 --> 00:05:08.825
the three together kind of developing a project.

98
00:05:09.295 --> 00:05:12.825
It's about developing empathy with all the protagonists

99
00:05:13.245 --> 00:05:15.905
and kind of trying to extract their individual

100
00:05:15.905 --> 00:05:18.065
characteristics and then translate those

101
00:05:18.495 --> 00:05:19.505
into form and space.

102
00:05:20.935 --> 00:05:23.435
So the first time I did this,

103
00:05:24.255 --> 00:05:26.675
was when I was engaging in a,

104
00:05:26.745 --> 00:05:29.995
well reside residential project here in the Adelaide Hills.

105
00:05:30.775 --> 00:05:32.075
So this is when I first kind

106
00:05:32.075 --> 00:05:34.115
of consciously engaged in the dialogue

107
00:05:34.225 --> 00:05:35.635
with the ground or the site.

108
00:05:36.215 --> 00:05:37.675
My aim was to listen to the site

109
00:05:38.335 --> 00:05:40.195
and acknowledge its perspectives

110
00:05:40.335 --> 00:05:42.875
and wanted to start a conversation.

111
00:05:42.895 --> 00:05:44.035
And in a way, how do you do that?

112
00:05:44.035 --> 00:05:46.435
You need some sort of topic. So, so I decided

113
00:05:46.495 --> 00:05:49.755
to present the site with an initial object,

114
00:05:49.815 --> 00:05:52.115
and that in this case, clients were in Europe,

115
00:05:52.265 --> 00:05:54.875
they came over, they shipped their stuff in a container.

116
00:05:55.415 --> 00:05:58.865
And I saw that as a sort of a metaphor to bring

117
00:05:58.865 --> 00:06:00.745
that container to the site

118
00:06:00.805 --> 00:06:03.145
and then just see how would the site react.

119
00:06:03.325 --> 00:06:08.285
And then, so this was kind of the initial design object.

120
00:06:08.445 --> 00:06:10.205
I brought it to the site, and then I looked at,

121
00:06:10.545 --> 00:06:12.085
or I asked, what would the site do?

122
00:06:12.265 --> 00:06:15.805
How would it react? And I imagined it's not going

123
00:06:15.805 --> 00:06:18.645
to immediately accept that intruding object.

124
00:06:18.655 --> 00:06:21.645
There might be a rejection, there might be a negotiation,

125
00:06:22.255 --> 00:06:25.525
there might be a agreement, hopefully in the end.

126
00:06:25.665 --> 00:06:28.285
So, and that was then me kind of

127
00:06:28.975 --> 00:06:31.765
first bringing an object in, but then trying to switch roles

128
00:06:31.825 --> 00:06:33.845
and now immersing myself into the ground

129
00:06:33.905 --> 00:06:35.005
and imagining, okay,

130
00:06:35.005 --> 00:06:38.075
if I were the ground, how would I react?

131
00:06:38.095 --> 00:06:40.515
And then started to design from the ground up.

132
00:06:40.535 --> 00:06:42.155
So then there was a move from above

133
00:06:42.155 --> 00:06:43.315
and there was a move from below.

134
00:06:43.335 --> 00:06:47.395
And I kind of iteratively switching between those two roles

135
00:06:47.495 --> 00:06:51.015
and imagining how either would react

136
00:06:51.155 --> 00:06:54.855
and then gradually, yeah, the site pushed back,

137
00:06:55.235 --> 00:06:58.095
but then in between the two spaces were created,

138
00:06:58.435 --> 00:07:01.575
object changed, the in incoming object changed,

139
00:07:01.965 --> 00:07:04.415
then the site altered its reaction,

140
00:07:04.415 --> 00:07:07.135
and eventually the sort of a balance was reached.

141
00:07:07.195 --> 00:07:10.135
And kind of, that's kind of what I'm trying to,

142
00:07:10.365 --> 00:07:12.255
achieve in that relationship.

143
00:07:12.795 --> 00:07:15.295
And then working on another part project

144
00:07:15.525 --> 00:07:19.215
that was the River Torrance footbridge, here next

145
00:07:19.215 --> 00:07:22.815
to the Adelaide Oval, I realized particularly

146
00:07:22.815 --> 00:07:26.865
that I'm not pursuing, let's say a visual,

147
00:07:27.215 --> 00:07:29.065
that this is not a visual style

148
00:07:29.205 --> 00:07:33.035
or a kind of a pursuing a certain idea of,

149
00:07:33.435 --> 00:07:35.475
emulating a context or a relationship

150
00:07:35.475 --> 00:07:37.075
of something being above the other.

151
00:07:37.625 --> 00:07:40.795
It's actually about creating a performing relationship,

152
00:07:40.795 --> 00:07:42.795
performative relationship between object

153
00:07:42.795 --> 00:07:44.875
and ground, where both of them in a way worked

154
00:07:45.075 --> 00:07:46.235
together to create the project.

155
00:07:46.375 --> 00:07:50.715
So there I actually started to, yes, I I started the project

156
00:07:50.825 --> 00:07:54.755
with kind of a whole lot of elements from previous projects,

157
00:07:54.755 --> 00:07:55.835
and they got distilled

158
00:07:55.835 --> 00:07:57.795
and narrowed down to smaller elements,

159
00:07:58.215 --> 00:08:00.395
and eventually an object emerged.

160
00:08:00.395 --> 00:08:03.955
And this object then sat in the river not connecting

161
00:08:04.265 --> 00:08:05.515
both sides at all.

162
00:08:05.575 --> 00:08:07.075
So it wasn't working at all

163
00:08:07.495 --> 00:08:09.795
as a bridge in some form, in some form.

164
00:08:09.975 --> 00:08:14.545
So, but then the, the site itself started

165
00:08:14.605 --> 00:08:16.825
to react and grow towards this object.

166
00:08:16.845 --> 00:08:18.745
And then the two together started

167
00:08:18.805 --> 00:08:20.345
to create the bridge work together.

168
00:08:20.365 --> 00:08:22.105
And then I realized, hey, well now

169
00:08:22.135 --> 00:08:23.745
what in the past happened in a kind

170
00:08:23.745 --> 00:08:25.705
of a vertical vertical relationship.

171
00:08:25.885 --> 00:08:28.025
Now here happens horizontally.

172
00:08:28.045 --> 00:08:30.505
So it's clearly not about a certain hierarchy or,

173
00:08:30.605 --> 00:08:31.665
or visual appeal,

174
00:08:31.725 --> 00:08:35.225
but it's about how can two elements, one, that one

175
00:08:35.225 --> 00:08:36.425
that's brought to the site

176
00:08:36.445 --> 00:08:38.425
and the other one that's coming from the site,

177
00:08:38.885 --> 00:08:40.985
how can they create something

178
00:08:41.305 --> 00:08:42.945
together and create the project?

179
00:08:43.125 --> 00:08:47.255
And yes, immersing myself could be considered

180
00:08:47.255 --> 00:08:48.615
irrational and unreasonable.

181
00:08:49.315 --> 00:08:52.415
Um, and yes, there is a level of projection involved

182
00:08:52.475 --> 00:08:53.575
by myself,

183
00:08:54.075 --> 00:08:56.445
but it definitely serves as the purpose of

184
00:08:57.285 --> 00:08:58.845
actively engaging with the location.

185
00:08:59.805 --> 00:09:03.745
And I also believe that eliminating subjectivity, ambiguity

186
00:09:04.165 --> 00:09:07.945
or irrationality, forecloses whole areas from

187
00:09:07.945 --> 00:09:09.305
where discoveries can come.

188
00:09:09.485 --> 00:09:14.345
So that just kind of being this kind of, this kind of play

189
00:09:14.405 --> 00:09:17.865
of imagining taking on different roles is I

190
00:09:17.865 --> 00:09:18.945
think an important part.

191
00:09:19.955 --> 00:09:22.655
And this also this dual approach, object

192
00:09:22.655 --> 00:09:26.095
and ground then allows me to acknowledge different roles

193
00:09:26.475 --> 00:09:27.895
and thus kind of create a project

194
00:09:27.925 --> 00:09:30.335
that incorporates different positions

195
00:09:30.475 --> 00:09:31.655
within a single project.

196
00:09:31.965 --> 00:09:33.175
Then kind of a hybrid,

197
00:09:33.435 --> 00:09:37.335
an object orientated architecture mixture with landscape.

198
00:09:37.795 --> 00:09:40.845
And the premise is

199
00:09:40.845 --> 00:09:42.845
that the site is not considered a plain canvas,

200
00:09:42.985 --> 00:09:44.565
but a character in its own right.

201
00:09:44.825 --> 00:09:46.965
One with whom a project is negotiated.

202
00:09:47.105 --> 00:09:51.605
And the architecture in a way is a seismograph for the size,

203
00:09:51.715 --> 00:09:53.525
kind of a plotter in the interpreter.

204
00:09:53.925 --> 00:09:57.685
I just genuinely believe that architecture needs

205
00:09:57.745 --> 00:09:59.525
to communicate with its ground.

206
00:10:00.025 --> 00:10:03.205
Um, you can't just pluck something onto a site

207
00:10:03.205 --> 00:10:07.365
and drop it there and ignore its context in surroundings.

208
00:10:07.505 --> 00:10:11.605
So it, I think it's, it's, it's about kind of, that is

209
00:10:11.625 --> 00:10:14.405
for me, a a basic, understanding

210
00:10:14.405 --> 00:10:15.725
because architecture, I mean,

211
00:10:15.865 --> 00:10:19.165
it connects the building connects to, to the street,

212
00:10:19.185 --> 00:10:20.325
the street to the neighborhood,

213
00:10:20.465 --> 00:10:22.365
the neighborhood becomes part of the city.

214
00:10:22.625 --> 00:10:25.885
So you can't isolate architecture from its context.

215
00:10:26.075 --> 00:10:29.245
It's always because we as people, as

216
00:10:29.305 --> 00:10:33.045
as all humans are all beings on this earth, we can nega,

217
00:10:33.065 --> 00:10:36.365
we kind of negotiate our built environment constantly.

218
00:10:36.415 --> 00:10:37.845
We're moving different parts.

219
00:10:37.945 --> 00:10:41.925
And I think having them integrated with another, working

220
00:10:41.955 --> 00:10:43.565
with each other instead of having them

221
00:10:44.125 --> 00:10:48.005
isolated silos is just, I don't know, for me, a natural way

222
00:10:48.005 --> 00:10:52.245
of, operating as an architect emphasizing the role

223
00:10:52.245 --> 00:10:54.165
of the unreasonable in the design process.

224
00:10:54.525 --> 00:10:56.685
I mean, how does it challenge evaluation? Yes.

225
00:10:56.685 --> 00:11:00.365
Well, it depends on which parts of a design you look at.

226
00:11:00.585 --> 00:11:02.045
Um, so it's yes and no.

227
00:11:02.045 --> 00:11:04.845
It depends on, so if you're looking at the process, yes,

228
00:11:04.985 --> 00:11:09.285
we are challenging the unreasonable, does challenge,

229
00:11:09.615 --> 00:11:11.405
local conventions if we look at the end

230
00:11:11.405 --> 00:11:12.645
product, no, it doesn't.

231
00:11:12.865 --> 00:11:16.365
So a design process is packed with constant evaluations.

232
00:11:16.625 --> 00:11:18.885
Um, here unreasonable thought

233
00:11:18.945 --> 00:11:21.205
and action challenges definitely challenges the

234
00:11:21.525 --> 00:11:22.565
standard decision making.

235
00:11:23.225 --> 00:11:27.365
But it also creates a benefit of opening up a range

236
00:11:27.365 --> 00:11:30.725
of possibilities, allowing the designer to see things

237
00:11:30.745 --> 00:11:34.405
and you, and recognize the affordance of form

238
00:11:34.505 --> 00:11:36.805
or unrecognized forms and behaviors.

239
00:11:37.505 --> 00:11:40.565
But at the same time, a project needs to make sense.

240
00:11:40.785 --> 00:11:43.325
No one doubts that, but it only needs

241
00:11:43.345 --> 00:11:45.125
to make sense at the end of the process

242
00:11:45.305 --> 00:11:47.805
and at the end, yes, I think their

243
00:11:48.405 --> 00:11:51.685
conventional event innovation criteria are applied.

244
00:11:52.145 --> 00:11:56.345
So I'm interested in how different instances of

245
00:11:57.305 --> 00:11:58.545
unreasonable sort thoughts

246
00:11:58.545 --> 00:12:00.905
and behavior can contribute to the formation

247
00:12:00.965 --> 00:12:02.465
of intentional work.

248
00:12:03.315 --> 00:12:04.775
The rational

249
00:12:04.915 --> 00:12:07.935
or reasonable aspects of architecture like purpose, meaning

250
00:12:08.735 --> 00:12:10.815
structure and material are not abandoned,

251
00:12:11.395 --> 00:12:13.375
but they're introduced as a second step.

252
00:12:13.995 --> 00:12:16.735
So on one side there is an artistic context of discovery,

253
00:12:16.985 --> 00:12:18.095
let's say unreasonable.

254
00:12:18.475 --> 00:12:22.455
And on the other side, there is a consensus based approach

255
00:12:22.455 --> 00:12:24.415
of justification, the rational part.

256
00:12:24.435 --> 00:12:26.815
And the question is how to link the two of them together

257
00:12:27.925 --> 00:12:31.985
aiming for sense and reason in every step of a design.

258
00:12:32.445 --> 00:12:34.665
Um, I think that keeps us within solutions

259
00:12:34.665 --> 00:12:35.665
that we already know

260
00:12:35.815 --> 00:12:37.905
because we are just afraid to make mistakes.

261
00:12:37.965 --> 00:12:40.785
So if I'm in every step of a design need to make sense

262
00:12:40.785 --> 00:12:44.265
of it, then I, I can only do things that I have done before.

263
00:12:44.585 --> 00:12:48.065
I can only follow either my own steps, footsteps in the,

264
00:12:48.125 --> 00:12:49.865
in the sand before,

265
00:12:50.045 --> 00:12:52.425
or I have to see what other people have done

266
00:12:52.425 --> 00:12:55.545
before that has also been recognized as good and correct.

267
00:12:55.605 --> 00:12:56.625
And then I just do that.

268
00:12:57.835 --> 00:13:01.375
Um, but to get to something new, I think I have

269
00:13:01.375 --> 00:13:03.015
to allow accidents to happen, right?

270
00:13:03.155 --> 00:13:04.575
And or misappropriate things.

271
00:13:04.795 --> 00:13:07.375
And the children are, for instance, they are naturally,

272
00:13:07.885 --> 00:13:10.655
they're naturally misappropriate items when they play.

273
00:13:10.835 --> 00:13:14.975
Uh, and we as adults, we often have lost that ability

274
00:13:15.075 --> 00:13:17.575
to see things differently from what they are supposed

275
00:13:17.575 --> 00:13:20.375
to be doing or what they are supposed to be, right?

276
00:13:21.155 --> 00:13:23.935
And this goes hand in hand with the establishment

277
00:13:23.935 --> 00:13:25.455
of professional bodies where,

278
00:13:25.875 --> 00:13:29.775
and institutions where they protect their modes

279
00:13:29.775 --> 00:13:30.775
of best practice,

280
00:13:30.835 --> 00:13:34.135
but also the area of their expertise that they have.

281
00:13:34.915 --> 00:13:36.295
On one side, yes, this is good

282
00:13:36.295 --> 00:13:39.575
because yes, it's, it's establishes minimum protocols

283
00:13:39.595 --> 00:13:44.155
or standards, quality standards and best practice.

284
00:13:44.155 --> 00:13:48.235
However, it definitely kind of, happens at the cost

285
00:13:48.255 --> 00:13:49.555
of leaps in evolution.

286
00:13:50.135 --> 00:13:51.835
Uh, if we wanna look at progress

287
00:13:51.855 --> 00:13:55.635
and evolution, one has to ask what would happen if, so,

288
00:13:55.685 --> 00:13:57.675
there always needs to be a question, a question

289
00:13:57.675 --> 00:13:59.275
that does not really have an answer

290
00:13:59.335 --> 00:14:01.755
yet really looking at something new

291
00:14:01.815 --> 00:14:04.675
and go, what if we use this for something entirely?

292
00:14:04.905 --> 00:14:06.195
Something entirely else?

293
00:14:06.815 --> 00:14:09.595
And that really, that's an interesting question because,

294
00:14:10.015 --> 00:14:13.315
or, or what I found then is that

295
00:14:15.065 --> 00:14:18.115
many innovations they develop,

296
00:14:18.345 --> 00:14:20.715
they emerge from crossing the boundaries from one

297
00:14:20.745 --> 00:14:22.035
area to another.

298
00:14:22.455 --> 00:14:25.115
So in one area of expertise into another one,

299
00:14:25.115 --> 00:14:28.635
when a particular trade or virtu is kind of served

300
00:14:29.135 --> 00:14:31.875
or used for something,

301
00:14:32.455 --> 00:14:36.215
or serves a purpose for something that it was not designed

302
00:14:36.235 --> 00:14:37.255
for in the first place.

303
00:14:37.835 --> 00:14:42.055
Um, and the evolutionary biologist, Stephen Gold

304
00:14:42.115 --> 00:14:46.815
and ber, they coined the term acceptation for this.

305
00:14:46.875 --> 00:14:50.915
So this process of kind of, you putting some,

306
00:14:50.965 --> 00:14:52.325
using something in one area

307
00:14:52.545 --> 00:14:55.965
and for something it wasn't really designed for,

308
00:14:56.185 --> 00:14:58.645
and an example of this is, for instance, feathers.

309
00:14:58.645 --> 00:15:03.525
Feathers were, originally developed, as

310
00:15:04.355 --> 00:15:05.445
temperature control.

311
00:15:05.475 --> 00:15:08.605
They were, they were covering bodies of earth dwelling

312
00:15:09.645 --> 00:15:11.565
creatures, animals, and only later

313
00:15:12.195 --> 00:15:14.805
they became also useful for flight.

314
00:15:15.955 --> 00:15:18.455
And, and that's an, I think a really important point

315
00:15:18.455 --> 00:15:22.335
because it exemplifies that in evolution.

316
00:15:23.325 --> 00:15:28.005
Um, in evolution, kind of the,

317
00:15:29.435 --> 00:15:31.205
it's the, the Sullivan's dictum

318
00:15:31.385 --> 00:15:35.205
of form follows function is turned around, it exemplifies

319
00:15:35.235 --> 00:15:37.485
that function actually follows form.

320
00:15:38.115 --> 00:15:40.485
Form is first there and,

321
00:15:40.825 --> 00:15:43.725
and then it gets appropriated, and,

322
00:15:43.745 --> 00:15:45.205
and put to use for something.

323
00:15:45.225 --> 00:15:46.685
And I think that's really important

324
00:15:46.705 --> 00:15:48.965
and that's something that designers need

325
00:15:48.965 --> 00:15:53.005
to be entirely aware of, that that is the critical part

326
00:15:53.145 --> 00:15:56.565
of creativity, is of seeing things in new

327
00:15:56.585 --> 00:15:58.685
and using them in a way

328
00:15:58.685 --> 00:16:01.245
that they were not originally designed for

329
00:16:01.245 --> 00:16:02.685
and putting them into new context.

330
00:16:03.545 --> 00:16:07.325
So evolution acknowledges the potency of form

331
00:16:08.325 --> 00:16:10.565
accidental form sure, at one point as a start

332
00:16:10.585 --> 00:16:12.485
and crystallization point of ideas.

333
00:16:12.785 --> 00:16:17.265
And so what interests me in my practice is how

334
00:16:18.615 --> 00:16:19.645
human creativity

335
00:16:19.905 --> 00:16:23.085
or the how the nature of human creativity, how

336
00:16:23.225 --> 00:16:27.165
how in it kind of evolutionary processes can be integrated

337
00:16:27.865 --> 00:16:29.755
and for design.

338
00:16:30.535 --> 00:16:33.595
And that does not really only happen on the side, let's say,

339
00:16:33.595 --> 00:16:35.875
of of mechanical use of objects.

340
00:16:35.905 --> 00:16:38.595
It's also this mis operation also happens in

341
00:16:38.875 --> 00:16:40.035
cultural behaviors.

342
00:16:40.035 --> 00:16:41.755
For instance, I don't know, I dunno if you,

343
00:16:41.815 --> 00:16:44.155
you may remember this, but there was this kind

344
00:16:44.155 --> 00:16:46.155
of famous fight between Mohammed Ali

345
00:16:46.155 --> 00:16:50.235
and George Foreman, where I think in the seventies,

346
00:16:52.735 --> 00:16:56.655
Ali successfully misappropriated expectations,

347
00:16:56.755 --> 00:17:00.055
and transposed behaviors from one discipline into another

348
00:17:00.275 --> 00:17:03.615
and won the fight by not initially fighting a fist fight,

349
00:17:03.635 --> 00:17:06.295
but I think jogging, jogging around foreman

350
00:17:06.475 --> 00:17:07.735
and dancing around him

351
00:17:07.875 --> 00:17:10.575
and rejecting to go into a fist fight.

352
00:17:10.715 --> 00:17:13.735
And he was constantly jogging around him until foreman

353
00:17:14.035 --> 00:17:16.495
or making foreman kind of follow his moves.

354
00:17:16.715 --> 00:17:20.815
And until he was so exhausted, lost his cover

355
00:17:21.275 --> 00:17:23.935
and was dealt in decisive blow,

356
00:17:24.075 --> 00:17:27.255
and Ali was won, Ali won that against all the odds.

357
00:17:27.255 --> 00:17:30.195
So it's about kind of, in a way,

358
00:17:30.195 --> 00:17:32.315
it's about somehow not playing to the rules,

359
00:17:32.535 --> 00:17:36.625
but in the end still with the purpose of, with the intent

360
00:17:36.725 --> 00:17:39.585
of the overall aim, that a certain project,

361
00:17:39.885 --> 00:17:43.905
has the blueprint of my design process that's characterized

362
00:17:44.165 --> 00:17:46.105
by a threefold choreography.

363
00:17:46.295 --> 00:17:51.085
There's a central sequence of events they move from field

364
00:17:51.145 --> 00:17:53.085
to figure to character to project.

365
00:17:54.025 --> 00:17:56.885
And so this is kind of a morphological development.

366
00:17:57.025 --> 00:18:00.765
And then these, this kind of central sequence,

367
00:18:00.765 --> 00:18:02.885
this is subject to different modes of assessment.

368
00:18:03.305 --> 00:18:05.525
Um, one is based on intuitive

369
00:18:05.705 --> 00:18:09.165
and emotive cognition, giving voice to the author

370
00:18:09.305 --> 00:18:11.245
and assessing form as space.

371
00:18:12.045 --> 00:18:16.105
And then the other engages in an intellectual synthesis of

372
00:18:16.105 --> 00:18:20.705
that morphological genesis and assessing form as meaning.

373
00:18:21.735 --> 00:18:24.475
So in this, in this kind of setting

374
00:18:24.575 --> 00:18:26.155
or choreography,

375
00:18:27.155 --> 00:18:29.675
unreasonable behaviors are present in different ways.

376
00:18:29.975 --> 00:18:33.995
On one side, in the first instance, they act as a catalyst,

377
00:18:34.115 --> 00:18:35.515
a catalyst for the design process.

378
00:18:36.135 --> 00:18:37.635
And they're introduced, for instance,

379
00:18:37.655 --> 00:18:40.115
as a three dimensional field of information

380
00:18:40.295 --> 00:18:42.755
or a found object or even a collaboration with,

381
00:18:42.865 --> 00:18:46.795
with another person where kind of input

382
00:18:46.795 --> 00:18:49.835
that is not anticipated is presented to the,

383
00:18:49.975 --> 00:18:51.475
to the design or the architect.

384
00:18:52.335 --> 00:18:56.475
Um, the aim of this is to kind of counter my own kind

385
00:18:56.475 --> 00:18:59.155
of maybe superficial predisposition, just the ways

386
00:18:59.255 --> 00:19:00.355
how I do things right.

387
00:19:00.515 --> 00:19:02.635
I may have certain preferences, preferences,

388
00:19:02.695 --> 00:19:04.195
the way I like to do things.

389
00:19:04.975 --> 00:19:09.595
And working with these irrational outer inputs for myself,

390
00:19:09.935 --> 00:19:12.635
helps me in a way to

391
00:19:13.955 --> 00:19:17.315
strengthen my strength, my strength, sorry, my own position

392
00:19:17.315 --> 00:19:19.315
by having, working through that different material

393
00:19:19.575 --> 00:19:23.795
and constantly reflecting on what is it that I'm doing

394
00:19:23.815 --> 00:19:25.275
and what I'm really aiming for.

395
00:19:26.205 --> 00:19:27.545
So I have to take a position,

396
00:19:28.055 --> 00:19:30.985
otherwise again, I would just be repeating myself.

397
00:19:31.525 --> 00:19:35.425
And then there's a second instance, of rash,

398
00:19:36.025 --> 00:19:40.875
unreasonable behavior or let's say emotive cognition,

399
00:19:41.185 --> 00:19:44.435
that allows hunches to settle and materialize

400
00:19:44.455 --> 00:19:46.635
before a conscious judgment is made.

401
00:19:46.735 --> 00:19:50.155
So I'm now judging the material that's been presented

402
00:19:50.895 --> 00:19:53.905
and looking at it and,

403
00:19:54.085 --> 00:19:56.105
and just work on hunches about what,

404
00:19:56.105 --> 00:19:57.505
what are we doing with them, right?

405
00:19:57.605 --> 00:19:59.545
How I would be operating, what, what kind

406
00:19:59.545 --> 00:20:02.825
of strategic moves, which formal moves I'll be making.

407
00:20:03.725 --> 00:20:07.305
And once a figure has been found in this initial field

408
00:20:07.365 --> 00:20:10.105
of material, I try to emphasize

409
00:20:10.285 --> 00:20:13.345
or with this, with this material, with this object,

410
00:20:13.805 --> 00:20:18.025
and then start this process of bringing this to the side

411
00:20:18.485 --> 00:20:21.785
and then start that conversation of immersing myself

412
00:20:22.535 --> 00:20:24.585
into an object or the ground

413
00:20:25.045 --> 00:20:27.945
and then initiating the conversation

414
00:20:27.945 --> 00:20:30.735
between them in this process.

415
00:20:30.965 --> 00:20:34.175
Sensing a lead affects me, let's say, as a, as a feeling

416
00:20:34.175 --> 00:20:35.215
of joy in the process.

417
00:20:35.315 --> 00:20:39.815
So in a way I judge if something is a good move in a way

418
00:20:39.815 --> 00:20:42.735
that affects me really as a, as a, as a movement,

419
00:20:42.795 --> 00:20:44.255
as a joyful feeling in me.

420
00:20:44.455 --> 00:20:46.575
I just take that as a sort of a litmus test of

421
00:20:47.345 --> 00:20:50.405
the project direction, direct direction and success.

422
00:20:50.865 --> 00:20:53.565
Um, at this stage, I'm really not, I'm not judging,

423
00:20:53.705 --> 00:20:55.205
I'm just going, does it feel right?

424
00:20:55.225 --> 00:20:56.765
Is that good? And I go, yes.

425
00:20:57.225 --> 00:21:00.185
And then I switch process, right?

426
00:21:00.185 --> 00:21:02.745
Then I'm looking at the parallel,

427
00:21:03.445 --> 00:21:05.625
and analytical mode of assessment.

428
00:21:06.315 --> 00:21:08.145
There. I'm now concerned with

429
00:21:09.005 --> 00:21:13.295
testing the conceptual feasibility of what I've done before.

430
00:21:13.715 --> 00:21:16.845
I'm trying to determine purpose

431
00:21:16.945 --> 00:21:19.125
and meaning that is beyond

432
00:21:19.225 --> 00:21:21.645
or valid beyond my own personal agendas.

433
00:21:21.825 --> 00:21:26.165
And, and I'm doing this by kind of creating a frame

434
00:21:26.165 --> 00:21:28.765
of reference, looking at the project from different

435
00:21:28.765 --> 00:21:30.605
perspectives and I, and angles

436
00:21:31.025 --> 00:21:34.765
and, kind of imagining an outside observer looking at

437
00:21:34.765 --> 00:21:38.285
that and imagining how would they make sense of it, right?

438
00:21:38.545 --> 00:21:41.245
And, and I do this through the production of

439
00:21:41.885 --> 00:21:42.965
graphic representations.

440
00:21:43.215 --> 00:21:47.045
Let's say a story book, for instance

441
00:21:47.745 --> 00:21:51.885
is used to validate the previous poetic proposal,

442
00:21:52.225 --> 00:21:55.125
adding it through a different lens, creating an argument,

443
00:21:55.185 --> 00:21:57.405
or you could say creating a thesis of it.

444
00:21:57.745 --> 00:22:01.925
And in this process, gonna, I transfer parameters from

445
00:22:02.445 --> 00:22:04.605
graphic design and film and photography.

446
00:22:04.975 --> 00:22:06.965
These were all areas that I worked in

447
00:22:06.965 --> 00:22:10.245
before I did architecture, in order kind of

448
00:22:10.245 --> 00:22:15.085
to make sense of things that happened per, before.

449
00:22:16.385 --> 00:22:19.805
So in this instance, now I'm trying to kind of establish

450
00:22:20.435 --> 00:22:22.205
form as a signifier of meaning.

451
00:22:24.555 --> 00:22:28.635
So I'm consciously now then iterating

452
00:22:29.985 --> 00:22:33.035
between my own interests in the process, sorry, yes.

453
00:22:33.035 --> 00:22:36.555
In the project and those of other audiences.

454
00:22:36.935 --> 00:22:40.155
And then set up a narrative along which are like the

455
00:22:40.155 --> 00:22:41.515
project to be rolled.

456
00:22:42.335 --> 00:22:46.625
So alternating between these kind of two ways

457
00:22:46.765 --> 00:22:51.265
of assessment, emotive cognition, analytic synthesis kind

458
00:22:51.265 --> 00:22:54.145
of allows me to, let's say incorporate

459
00:22:54.725 --> 00:22:56.905
and assess the entire ontological

460
00:22:56.905 --> 00:22:58.465
bandwidth of design, right?

461
00:22:58.565 --> 00:23:02.685
And also coalesce personal interest

462
00:23:02.755 --> 00:23:06.285
with external agendas, all that within a single project.

463
00:23:07.175 --> 00:23:10.115
And the project continuously oscillates

464
00:23:10.115 --> 00:23:11.875
between these original advancements

465
00:23:11.935 --> 00:23:16.175
and rational steps of justification, trying to make sense

466
00:23:16.355 --> 00:23:18.455
of those different ways of looking at it.

467
00:23:18.995 --> 00:23:22.255
Um, and the ultimate aim of this is

468
00:23:23.545 --> 00:23:26.965
to achieve projects that are based on an idea, projects

469
00:23:26.965 --> 00:23:30.605
that have a cultural and emotional surplus that is embedded

470
00:23:31.305 --> 00:23:34.005
in the form and the space that they create.

471
00:23:34.625 --> 00:23:37.845
For me, the stage opposition between object and ground,

472
00:23:38.345 --> 00:23:40.965
and also that process of iteratively switching

473
00:23:40.965 --> 00:23:42.565
between those two modes of assessment.

474
00:23:43.425 --> 00:23:47.325
Um, I think this endows the object, the ground

475
00:23:47.835 --> 00:23:50.125
with a particular presence or atmosphere.

476
00:23:50.825 --> 00:23:52.165
And, and for me,

477
00:23:54.385 --> 00:23:56.045
I'm interested in author architecture

478
00:23:56.045 --> 00:23:59.365
where personal idio idiosyncrasies translate into buildings

479
00:23:59.595 --> 00:24:01.885
that have a sense of personality and character.

480
00:24:02.185 --> 00:24:06.885
And I believe that this allows for identification,

481
00:24:07.105 --> 00:24:10.045
and enables an active relationship between building

482
00:24:10.225 --> 00:24:12.085
and occupants buildings and users.

483
00:24:13.825 --> 00:24:16.905
I say that truly sustainable architecture

484
00:24:17.565 --> 00:24:21.745
is actually created by unique buildings, unique buildings

485
00:24:21.745 --> 00:24:25.375
that are, that people can identify with and,

486
00:24:25.915 --> 00:24:28.215
and then that are loved for what they are

487
00:24:28.215 --> 00:24:30.335
because they are, let's say, a mate,

488
00:24:30.415 --> 00:24:31.855
a character of some sorts, right?

489
00:24:31.915 --> 00:24:36.415
And then subsequently they are, they are taken care of and

490
00:24:36.755 --> 00:24:39.545
and are not just seen as thing.

491
00:24:40.085 --> 00:24:42.745
And that's kind of in a way I'm really trying to

492
00:24:44.235 --> 00:24:47.425
endow architectural projects with some sort of life.

493
00:24:47.885 --> 00:24:52.085
And if that is, and,

494
00:24:52.225 --> 00:24:55.005
and in some parts, yes, this is kind of part of my kind

495
00:24:55.005 --> 00:24:56.605
of serious play, so to say,

496
00:24:56.605 --> 00:24:59.525
this helps me develop projects and, and go forward.

497
00:25:00.425 --> 00:25:04.285
And so successful for me, successful buildings are ones

498
00:25:04.285 --> 00:25:08.125
that are based on ideas, ideas that trigger

499
00:25:08.885 --> 00:25:11.845
a response or repercussions in the people's kind

500
00:25:11.845 --> 00:25:12.925
of minds and souls.

501
00:25:14.165 --> 00:25:16.335
They propose, they propose an insight

502
00:25:17.375 --> 00:25:20.995
and they engage the user in imagination

503
00:25:21.775 --> 00:25:25.115
and also they also have a sense of discovery to them.

504
00:25:25.295 --> 00:25:26.955
So in a, in a way, similar

505
00:25:27.095 --> 00:25:30.715
to when you venture into the outdoors in a way things are,

506
00:25:31.505 --> 00:25:34.195
sure, generally things are similar.

507
00:25:34.335 --> 00:25:36.075
We know what we encounter in the outdoors,

508
00:25:36.075 --> 00:25:38.555
but they're all slightly different and they change.

509
00:25:38.935 --> 00:25:42.075
And, and in a similar way, I like buildings to be,

510
00:25:42.855 --> 00:25:45.195
to be experienced on multiple levels

511
00:25:45.335 --> 00:25:46.555
and perspective so

512
00:25:46.785 --> 00:25:50.355
that they are not immediately understandable from one view

513
00:25:50.375 --> 00:25:51.555
and from one direction,

514
00:25:51.655 --> 00:25:54.235
but there are kind of have multiple layers to them

515
00:25:54.255 --> 00:25:56.115
and can be read in those multiple layers.

516
00:25:56.375 --> 00:25:57.515
And, and,

517
00:25:58.375 --> 00:26:00.755
and that keeps a certain level of mystery

518
00:26:01.095 --> 00:26:02.395
to them and, and wonder.

519
00:26:02.615 --> 00:26:05.795
And then also allowing, discoveries

520
00:26:05.795 --> 00:26:07.155
to be made again and again.

521
00:26:07.155 --> 00:26:09.395
And that I think keeps the project alive.

522
00:26:10.375 --> 00:26:11.655
I think it shows or is about

523
00:26:11.725 --> 00:26:14.215
that architectural governing institutions,

524
00:26:14.355 --> 00:26:17.255
are either interested in a, in a performative solution

525
00:26:17.835 --> 00:26:20.775
or often merely in visual representations.

526
00:26:21.755 --> 00:26:25.935
And I think yes, we, we need to counter urban sprawl

527
00:26:26.115 --> 00:26:28.615
and the growth of our cities at the fringes

528
00:26:28.615 --> 00:26:29.775
because that goes kind

529
00:26:29.775 --> 00:26:33.135
of eats into natural habitats of other creatures.

530
00:26:33.315 --> 00:26:38.265
And, and instead we need to find

531
00:26:38.285 --> 00:26:41.025
or develop ways or sensitive ways of

532
00:26:42.085 --> 00:26:43.565
inner city densification.

533
00:26:43.865 --> 00:26:46.525
And that needs a discussion

534
00:26:46.625 --> 00:26:48.685
or an understanding of the ground

535
00:26:48.985 --> 00:26:52.405
or the existing fabrics as a ground to work with,

536
00:26:52.515 --> 00:26:53.845
that needs to be acknowledged.

537
00:26:54.665 --> 00:26:58.205
Um, there's a, I dunno, a project, I I worked on

538
00:26:58.235 --> 00:27:01.525
with my colleagues, architects some

539
00:27:03.185 --> 00:27:06.875
or in or the progra,

540
00:27:07.615 --> 00:27:09.275
in, in Austria.

541
00:27:09.455 --> 00:27:12.835
And it shows how urban consolidation policies are

542
00:27:13.835 --> 00:27:17.115
increasingly challenged by kind of the multiple,

543
00:27:18.035 --> 00:27:20.235
custodians that are part of a project.

544
00:27:20.735 --> 00:27:23.155
Um, but that is nothing to avoid.

545
00:27:23.355 --> 00:27:25.515
I mean, it's, it's a beautiful, it's a beautiful thing.

546
00:27:25.655 --> 00:27:29.155
And in this instance, we, it was a competition

547
00:27:29.215 --> 00:27:31.115
and it was kind of aimed to

548
00:27:32.085 --> 00:27:36.675
bring about 4,000 square meters next to a heritage site,

549
00:27:37.065 --> 00:27:38.475
next to the state Opera house

550
00:27:38.495 --> 00:27:41.995
and also next to the kind of UNESCO World Heritage site,

551
00:27:41.995 --> 00:27:44.075
which is the kind of old city center of grants.

552
00:27:44.465 --> 00:27:47.795
Kind of, instead of accepting the initial location, kind of,

553
00:27:47.935 --> 00:27:51.195
we, we kind of spread our design

554
00:27:51.775 --> 00:27:53.755
across four existing buildings.

555
00:27:54.295 --> 00:27:58.355
We realized that kind of the benefit of ignoring the rules

556
00:27:58.695 --> 00:28:02.115
and developed a conceptual approach where the roofs

557
00:28:02.175 --> 00:28:05.595
and of the neighboring buildings were considered ground.

558
00:28:06.135 --> 00:28:09.235
And interestingly kind of,

559
00:28:09.455 --> 00:28:12.595
and that's really to the great val, kind of great,

560
00:28:13.285 --> 00:28:14.435
value to the jury,

561
00:28:14.535 --> 00:28:16.995
but also kind of the, the heritage commission in,

562
00:28:17.155 --> 00:28:20.395
in grants Austria, is that they understood that,

563
00:28:20.865 --> 00:28:23.715
that here it's not about kind of emulating the look

564
00:28:23.715 --> 00:28:24.715
of neighboring buildings,

565
00:28:24.715 --> 00:28:28.395
but really work on a performative relationship between,

566
00:28:30.265 --> 00:28:31.945
a new, a new kind of volume,

567
00:28:32.045 --> 00:28:33.585
new density and what's already there.

568
00:28:33.925 --> 00:28:37.425
And, and kind of spreading a building across those four

569
00:28:39.265 --> 00:28:41.665
existing ones, kind of allowed

570
00:28:41.805 --> 00:28:44.385
to keep the perceived volume for smaller.

571
00:28:45.125 --> 00:28:49.465
It enabled us to keep relevant lines of sight

572
00:28:49.495 --> 00:28:51.225
that could be maintained because we are pushing,

573
00:28:51.275 --> 00:28:54.225
we're pushing our volume into all nooks and crannies between

574
00:28:54.925 --> 00:28:56.825
and on existing buildings.

575
00:28:57.365 --> 00:28:59.545
And interestingly, it also gave the whole

576
00:29:00.335 --> 00:29:01.785
area a new identity.

577
00:29:01.885 --> 00:29:02.905
And I think this is kind of

578
00:29:02.905 --> 00:29:04.905
what also then one won the jury over

579
00:29:04.905 --> 00:29:08.105
because there was a little bit of, bit of a, sorry,

580
00:29:08.105 --> 00:29:11.105
there was a bit of a kind of Dogg breakfast there of kind

581
00:29:11.105 --> 00:29:12.465
of buildings from different areas

582
00:29:12.645 --> 00:29:14.545
and child styles, et cetera.

583
00:29:14.645 --> 00:29:18.145
And, and now the new design operated like a bracket

584
00:29:18.605 --> 00:29:20.875
and pulling them all together

585
00:29:20.935 --> 00:29:23.675
and creating like an overall identity for the place

586
00:29:24.665 --> 00:29:27.735
while at the same time yes, allowing the streetscape still

587
00:29:27.755 --> 00:29:29.495
to kind of allow views up to the sky

588
00:29:29.495 --> 00:29:32.935
and kind of that new connections being not being, being kind

589
00:29:32.935 --> 00:29:35.055
of a, kind of abstracted

590
00:29:35.995 --> 00:29:40.725
and kind of, that is kind of the,

591
00:29:41.005 --> 00:29:42.585
the, let's say a move

592
00:29:42.615 --> 00:29:45.705
that sure happens when you, you take a risk.

593
00:29:45.765 --> 00:29:47.865
And in this instance it, it played out.

594
00:29:48.645 --> 00:29:53.135
Um, it also links, I think, again to the term acceptation

595
00:29:53.135 --> 00:29:55.815
of I meant before where a particular virtue is used

596
00:29:55.835 --> 00:30:00.525
for something it wasn't originally designed for,

597
00:30:02.445 --> 00:30:06.065
in a way using yes, full stop using something,

598
00:30:06.205 --> 00:30:08.465
in a different way or let's say engaging

599
00:30:09.285 --> 00:30:11.745
or interpreting the rules in a different way.

600
00:30:11.765 --> 00:30:15.265
And a similar project, that also illustrate that is the,

601
00:30:15.605 --> 00:30:18.785
my, my extension for the Experimental art foundation

602
00:30:18.785 --> 00:30:19.825
here in Adelaide.

603
00:30:20.045 --> 00:30:22.345
Um, here the brief was for an artist

604
00:30:22.405 --> 00:30:24.945
and residence studio that was an addition

605
00:30:24.945 --> 00:30:26.145
to insisting facility.

606
00:30:26.485 --> 00:30:31.345
And here I noticed the air conditioning units on

607
00:30:31.585 --> 00:30:36.005
neighboring buildings as a prevailing typology.

608
00:30:36.185 --> 00:30:39.085
And I saw these as an opportunity kind of

609
00:30:39.245 --> 00:30:41.685
to satisfy the Adelaide City Council guidelines

610
00:30:41.685 --> 00:30:42.685
for local character.

611
00:30:43.265 --> 00:30:45.285
And so I kind of hardcore acknowledged

612
00:30:45.285 --> 00:30:47.205
that this is a local character.

613
00:30:48.305 --> 00:30:50.645
Um, and I spun thenar the narrative

614
00:30:50.645 --> 00:30:53.285
of an aged air conditioning unit,

615
00:30:53.965 --> 00:30:57.735
approaching the architect and asking for a cosmetic

616
00:30:58.335 --> 00:31:01.015
structural makeover, some sort of structural surgery,

617
00:31:01.795 --> 00:31:05.855
and then drawing on its, let's say utilitarian genes,

618
00:31:06.295 --> 00:31:09.455
existing structures and dissected and alternative figures.

619
00:31:09.595 --> 00:31:12.855
And organizations are projected volumes that initially

620
00:31:13.485 --> 00:31:15.015
were used for condensation

621
00:31:15.075 --> 00:31:17.895
and evaporation now facilitates studio

622
00:31:17.895 --> 00:31:19.295
bedroom and storage space.

623
00:31:20.455 --> 00:31:25.195
And the architecture draws on a tactical deceit, right,

624
00:31:25.555 --> 00:31:27.955
allowing it to be read as either infrastructure

625
00:31:28.095 --> 00:31:31.195
or dwelling depending on the viewer's, perspective.

626
00:31:32.015 --> 00:31:35.355
And in the process of gaining planning approval,

627
00:31:35.855 --> 00:31:39.075
the object disguises itself on one side as a local topology,

628
00:31:39.795 --> 00:31:43.115
allowing it to subvert the local character guidelines at the

629
00:31:43.115 --> 00:31:46.355
same time, allows kind of for human habitation

630
00:31:46.575 --> 00:31:49.235
inside the overall form materiality

631
00:31:49.695 --> 00:31:52.475
and location of the object that denotes infrastructure,

632
00:31:52.925 --> 00:31:55.115
while single elements of it windows

633
00:31:55.415 --> 00:31:57.635
and basrai signify a human measure

634
00:31:58.355 --> 00:32:01.275
creating a dialectical movement between the two readings.

635
00:32:01.495 --> 00:32:04.155
So the final design then amalgamate those two

636
00:32:04.935 --> 00:32:06.155
and provides an identity

637
00:32:06.775 --> 00:32:08.715
for the cultural offerings of the EAF.

638
00:32:09.015 --> 00:32:10.475
So on one side, yes, the project,

639
00:32:11.905 --> 00:32:15.055
let's say the key aspects was identifying air conditioning

640
00:32:15.055 --> 00:32:19.055
units as a prevalent rooftop typology in the Adelaide CBD,

641
00:32:19.585 --> 00:32:22.875
acknowledging the building code by overlay the two

642
00:32:22.975 --> 00:32:25.555
to justify the transformational of a piece of infrastructure

643
00:32:26.105 --> 00:32:27.995
into kind of human habitation.

644
00:32:28.215 --> 00:32:32.515
So, and in terms of now what it says yes, it,

645
00:32:32.695 --> 00:32:36.355
the project engages the public in a dialogue about kind

646
00:32:36.355 --> 00:32:38.915
of in which, in which ways design policies shape

647
00:32:38.985 --> 00:32:39.985
Our cities. And,

648
00:32:39.985 --> 00:32:43.565
by identifying the existing infrastructure

649
00:32:44.225 --> 00:32:45.325
as a local topology,

650
00:32:45.825 --> 00:32:48.285
the project discusses the council guidelines

651
00:32:48.505 --> 00:32:51.405
for design approval processes,

652
00:32:51.865 --> 00:32:55.205
and effectively questions their desire to context,

653
00:32:55.465 --> 00:32:58.285
to contextualize just as a means to steer

654
00:32:58.905 --> 00:33:01.005
an expression rather than a,

655
00:33:01.005 --> 00:33:03.365
per a performance performative relationship.

Bridging Design Research and Reflective Practice

00:00:00 - Shortly after I went through the PhD, we started a similar program at the University of Adelaide, and similarly there, so that was then called the Design Research Colloquium. And during this time, kind of, we were constantly talking to candidates and we are speaking about kind of what is this new program and what's it all about? And in this process, I just thought there's a gap in publications that could serve as an example for design practitioners to engage in this model of reflective practice. So that led me to design research

00:00:37 - And then I made contact and kind of, we developed a project or a book out of that at the same time. While we talk now about kind of, let's say the process of how knowledge is generated through practice, yes, I'm also interested in sharing the content that actually sits in my work. So what I'm doing. So that's what is challenging or was challenging there. Or let's say what interested me was that in my parts

00:01:08 - and of artistic research is regarded as something rather subjective, idiosyncratic, unsuitable for proper scientific research or inquiry. There's a widespread view that artistic creativity is unreliable, irrational, and in a way, in some ways not part of the real world. So, and I disagree with that, right? I disagree that as designers, we are creating new knowledge

Fostering Creativity Through Process and Play

00:01:41 - and there are process and methods involved in this. And, and I just wanted to yeah, to make that clear and acknowledged and acknowledged and, and talk about what are those processes we all searching for ideas and what really counts are kind of the types of environments that foster the emergence of ideas. And it doesn't really matter whether that is now text-based or project-based. And so, particularly now, let's say in the context of ai,

00:02:14 - of human creativity and whether there are consistent processes at play in this. So I'm interested in how serious play can become the fertile ground for its transition into a factual product. So on one side, kind of relinquishing control and engaging in seemingly unreasonable actions, and wondering how these operations can be tools in fostering the emergence

00:02:46 - So, and I'm using, in this publication, I'm using my own architectural practice to illustrate how an artistic context of discovery can be productively linked with a consensus based approach of justification. So maybe in short, I'm interested in where ideas come from and kind of exploring that in the context of architectural work. Integrating the side is a core question of my practice.

Engaging Dialogue Between Object and Site

00:03:16 - to respect local conditions. There are some people that believe touching the ground lightly is the right approach, while others try to emulate kind of local appearances. my approach, relies on the seemingly brutal move of confronting or staging a confront confrontation between an introduced object and the ground or the site. The aim is to provoke a reaction from the site, which through my readings

00:03:48 - character of the location. So it's a bit like bringing something in onto a, into a location, then observing how that location reacts to the incoming object, and then moderating a dialogue between the two that then in the next phase actually then emerges into a project that, works between the two object and ground. So I'm staging a conversation then immersing myself, empathizing with both object and ground,

00:04:22 - So it's an unfolding dialogue. and that marks for me the activation of the ground. And yes, on one side you could say this is highly rational and, and kind of there's lots of projection, involved. However, it serves the purpose of me actively engaging with the site and listening to it. It then becomes an exchange that's mediated by the designer, whose yes own projections

Empathy and Dialogue in Architectural Design

00:04:53 - So I'm not kind of taking myself out of this, I'm also involved, there is not just object and grout, but there's also the author, architect part of it. And this is kind of a, a kind of a triptych of, of the, the three together kind of developing a project. It's about developing empathy with all the protagonists and kind of trying to extract their individual characteristics and then translate those into form and space.

00:05:24 - was when I was engaging in a, well reside residential project here in the Adelaide Hills. So this is when I first kind of consciously engaged in the dialogue with the ground or the site. My aim was to listen to the site and acknowledge its perspectives and wanted to start a conversation. And in a way, how do you do that? You need some sort of topic. So, so I decided to present the site with an initial object, and that in this case, clients were in Europe,

00:05:55 - And I saw that as a sort of a metaphor to bring that container to the site and then just see how would the site react. And then, so this was kind of the initial design object. I brought it to the site, and then I looked at, or I asked, what would the site do? How would it react? And I imagined it's not going to immediately accept that intruding object. There might be a rejection, there might be a negotiation, there might be a agreement, hopefully in the end.

Designing Through Role Reversal: A Dialogue Between Object and Ground

00:06:28 - first bringing an object in, but then trying to switch roles and now immersing myself into the ground and imagining, okay, if I were the ground, how would I react? And then started to design from the ground up. So then there was a move from above and there was a move from below. And I kind of iteratively switching between those two roles and imagining how either would react and then gradually, yeah, the site pushed back, but then in between the two spaces were created,

00:07:01 - then the site altered its reaction, and eventually the sort of a balance was reached. And kind of, that's kind of what I'm trying to, achieve in that relationship. And then working on another part project that was the River Torrance footbridge, here next to the Adelaide Oval, I realized particularly that I'm not pursuing, let's say a visual, that this is not a visual style

00:07:33 - emulating a context or a relationship of something being above the other. It's actually about creating a performing relationship, performative relationship between object and ground, where both of them in a way worked together to create the project. So there I actually started to, yes, I I started the project with kind of a whole lot of elements from previous projects, and they got distilled and narrowed down to smaller elements, and eventually an object emerged.

Creating Harmony: The Dynamic Interaction Between Object and Site

00:08:04 - both sides at all. So it wasn't working at all as a bridge in some form, in some form. So, but then the, the site itself started to react and grow towards this object. And then the two together started to create the bridge work together. And then I realized, hey, well now what in the past happened in a kind of a vertical vertical relationship. Now here happens horizontally. So it's clearly not about a certain hierarchy or,

00:08:31 - but it's about how can two elements, one, that one that's brought to the site and the other one that's coming from the site, how can they create something together and create the project? And yes, immersing myself could be considered irrational and unreasonable. and yes, there is a level of projection involved by myself, but it definitely serves as the purpose of actively engaging with the location. And I also believe that eliminating subjectivity, ambiguity

00:09:07 - where discoveries can come. So that just kind of being this kind of, this kind of play of imagining taking on different roles is I think an important part. And this also this dual approach, object and ground then allows me to acknowledge different roles and thus kind of create a project that incorporates different positions within a single project. Then kind of a hybrid, an object orientated architecture mixture with landscape.

Architecture as Dialogue with Context

00:09:40 - that the site is not considered a plain canvas, but a character in its own right. One with whom a project is negotiated. And the architecture in a way is a seismograph for the size, kind of a plotter in the interpreter. I just genuinely believe that architecture needs to communicate with its ground. you can't just pluck something onto a site and drop it there and ignore its context in surroundings. So it, I think it's, it's, it's about kind of, that is

00:10:14 - because architecture, I mean, it connects the building connects to, to the street, the street to the neighborhood, the neighborhood becomes part of the city. So you can't isolate architecture from its context. It's always because we as people, as as all humans are all beings on this earth, we can nega, we kind of negotiate our built environment constantly. We're moving different parts. And I think having them integrated with another, working

00:10:44 - isolated silos is just, I don't know, for me, a natural way of, operating as an architect emphasizing the role of the unreasonable in the design process. I mean, how does it challenge evaluation? Yes. Well, it depends on which parts of a design you look at. so it's yes and no. It depends on, so if you're looking at the process, yes, we are challenging the unreasonable, does challenge, local conventions if we look at the end product, no, it doesn't.

Balancing Unreason and Reason in Design

00:11:16 - here unreasonable thought and action challenges definitely challenges the standard decision making. But it also creates a benefit of opening up a range of possibilities, allowing the designer to see things and you, and recognize the affordance of form or unrecognized forms and behaviors. But at the same time, a project needs to make sense. No one doubts that, but it only needs

00:11:45 - and at the end, yes, I think their conventional event innovation criteria are applied. So I'm interested in how different instances of unreasonable sort thoughts and behavior can contribute to the formation of intentional work. The rational or reasonable aspects of architecture like purpose, meaning structure and material are not abandoned, but they're introduced as a second step.

00:12:16 - let's say unreasonable. And on the other side, there is a consensus based approach of justification, the rational part. And the question is how to link the two of them together aiming for sense and reason in every step of a design. I think that keeps us within solutions that we already know because we are just afraid to make mistakes. So if I'm in every step of a design need to make sense of it, then I, I can only do things that I have done before.

Embracing Uncertainty: The Role of Play and Misappropriation in Innovation

00:12:48 - in the sand before, or I have to see what other people have done before that has also been recognized as good and correct. And then I just do that. but to get to something new, I think I have to allow accidents to happen, right? And or misappropriate things. And the children are, for instance, they are naturally, they're naturally misappropriate items when they play. and we as adults, we often have lost that ability

00:13:17 - to be doing or what they are supposed to be, right? And this goes hand in hand with the establishment of professional bodies where, and institutions where they protect their modes of best practice, but also the area of their expertise that they have. On one side, yes, this is good because yes, it's, it's establishes minimum protocols or standards, quality standards and best practice. However, it definitely kind of, happens at the cost

00:13:50 - if we wanna look at progress and evolution, one has to ask what would happen if, so, there always needs to be a question, a question that does not really have an answer yet really looking at something new and go, what if we use this for something entirely? Something entirely else? And that really, that's an interesting question because, or, or what I found then is that many innovations they develop,

Acceptation: The Evolution of Purpose and Form

00:14:20 - area to another. So in one area of expertise into another one, when a particular trade or virtu is kind of served or used for something, or serves a purpose for something that it was not designed for in the first place. and the evolutionary biologist, Stephen Gold and ber, they coined the term acceptation for this. So this process of kind of, you putting some,

00:14:52 - and for something it wasn't really designed for, and an example of this is, for instance, feathers. Feathers were, originally developed, as temperature control. They were, they were covering bodies of earth dwelling creatures, animals, and only later they became also useful for flight. And, and that's an, I think a really important point because it exemplifies that in evolution.

00:15:29 - it's the, the Sullivan's dictum of form follows function is turned around, it exemplifies that function actually follows form. Form is first there and, and then it gets appropriated, and, and put to use for something. And I think that's really important and that's something that designers need to be entirely aware of, that that is the critical part of creativity, is of seeing things in new

Redefining Context Through Creativity and Unconventional Strategies

00:15:58 - that they were not originally designed for and putting them into new context. So evolution acknowledges the potency of form accidental form sure, at one point as a start and crystallization point of ideas. And so what interests me in my practice is how human creativity or the how the nature of human creativity, how how in it kind of evolutionary processes can be integrated

00:16:30 - And that does not really only happen on the side, let's say, of of mechanical use of objects. It's also this mis operation also happens in cultural behaviors. For instance, I don't know, I dunno if you, you may remember this, but there was this kind of famous fight between Mohammed Ali and George Foreman, where I think in the seventies, Ali successfully misappropriated expectations, and transposed behaviors from one discipline into another

00:17:03 - but I think jogging, jogging around foreman and dancing around him and rejecting to go into a fist fight. And he was constantly jogging around him until foreman or making foreman kind of follow his moves. And until he was so exhausted, lost his cover and was dealt in decisive blow, and Ali was won, Ali won that against all the odds. So it's about kind of, in a way, it's about somehow not playing to the rules,

Threefold Choreography in Design Processes

00:17:36 - of the overall aim, that a certain project, has the blueprint of my design process that's characterized by a threefold choreography. There's a central sequence of events they move from field to figure to character to project. And so this is kind of a morphological development. And then these, this kind of central sequence, this is subject to different modes of assessment.

00:18:05 - and emotive cognition, giving voice to the author and assessing form as space. And then the other engages in an intellectual synthesis of that morphological genesis and assessing form as meaning. So in this, in this kind of setting or choreography, unreasonable behaviors are present in different ways. On one side, in the first instance, they act as a catalyst,

00:18:36 - And they're introduced, for instance, as a three dimensional field of information or a found object or even a collaboration with, with another person where kind of input that is not anticipated is presented to the, to the design or the architect. the aim of this is to kind of counter my own kind of maybe superficial predisposition, just the ways how I do things right. I may have certain preferences, preferences, the way I like to do things.

Reflections on Creative Process and Judgment

00:19:09 - helps me in a way to strengthen my strength, my strength, sorry, my own position by having, working through that different material and constantly reflecting on what is it that I'm doing and what I'm really aiming for. So I have to take a position, otherwise again, I would just be repeating myself. And then there's a second instance, of rash,

00:19:41 - that allows hunches to settle and materialize before a conscious judgment is made. So I'm now judging the material that's been presented and looking at it and, and just work on hunches about what, what are we doing with them, right? How I would be operating, what, what kind of strategic moves, which formal moves I'll be making. And once a figure has been found in this initial field

00:20:10 - or with this, with this material, with this object, and then start this process of bringing this to the side and then start that conversation of immersing myself into an object or the ground and then initiating the conversation between them in this process. Sensing a lead affects me, let's say, as a, as a feeling of joy in the process. So in a way I judge if something is a good move in a way

Evaluating Project Success through Intuition and Analytical Perspectives

00:20:42 - as a joyful feeling in me. I just take that as a sort of a litmus test of the project direction, direct direction and success. at this stage, I'm really not, I'm not judging, I'm just going, does it feel right? Is that good? And I go, yes. And then I switch process, right? Then I'm looking at the parallel, and analytical mode of assessment. There. I'm now concerned with testing the conceptual feasibility of what I've done before.

00:21:16 - and meaning that is beyond or valid beyond my own personal agendas. And, and I'm doing this by kind of creating a frame of reference, looking at the project from different perspectives and I, and angles and, kind of imagining an outside observer looking at that and imagining how would they make sense of it, right? And, and I do this through the production of graphic representations. Let's say a story book, for instance

00:21:52 - adding it through a different lens, creating an argument, or you could say creating a thesis of it. And in this process, gonna, I transfer parameters from graphic design and film and photography. These were all areas that I worked in before I did architecture, in order kind of to make sense of things that happened per, before. So in this instance, now I'm trying to kind of establish

Balancing Personal Interests and Audience Engagement in Design

00:22:24 - So I'm consciously now then iterating between my own interests in the process, sorry, yes. In the project and those of other audiences. And then set up a narrative along which are like the project to be rolled. So alternating between these kind of two ways of assessment, emotive cognition, analytic synthesis kind

00:22:54 - and assess the entire ontological bandwidth of design, right? And also coalesce personal interest with external agendas, all that within a single project. And the project continuously oscillates between these original advancements and rational steps of justification, trying to make sense of those different ways of looking at it. and the ultimate aim of this is

00:23:26 - that have a cultural and emotional surplus that is embedded in the form and the space that they create. For me, the stage opposition between object and ground, and also that process of iteratively switching between those two modes of assessment. I think this endows the object, the ground with a particular presence or atmosphere. And, and for me,

Architecture with Character: Fostering Connection and Sustainability

00:23:56 - where personal idio idiosyncrasies translate into buildings that have a sense of personality and character. And I believe that this allows for identification, and enables an active relationship between building and occupants buildings and users. I say that truly sustainable architecture is actually created by unique buildings, unique buildings that are, that people can identify with and,

00:24:28 - because they are, let's say, a mate, a character of some sorts, right? And then subsequently they are, they are taken care of and and are not just seen as thing. And that's kind of in a way I'm really trying to endow architectural projects with some sort of life. And if that is, and, and in some parts, yes, this is kind of part of my kind of serious play, so to say,

00:25:00 - And so successful for me, successful buildings are ones that are based on ideas, ideas that trigger a response or repercussions in the people's kind of minds and souls. They propose, they propose an insight and they engage the user in imagination and also they also have a sense of discovery to them. So in a, in a way, similar

Architectural Layers: Engaging Perspectives and Environmental Sensitivity

00:25:31 - sure, generally things are similar. We know what we encounter in the outdoors, but they're all slightly different and they change. And, and in a similar way, I like buildings to be, to be experienced on multiple levels and perspective so that they are not immediately understandable from one view and from one direction, but there are kind of have multiple layers to them and can be read in those multiple layers. And, and,

00:26:01 - to them and, and wonder. And then also allowing, discoveries to be made again and again. And that I think keeps the project alive. I think it shows or is about that architectural governing institutions, are either interested in a, in a performative solution or often merely in visual representations. And I think yes, we, we need to counter urban sprawl and the growth of our cities at the fringes

00:26:29 - of eats into natural habitats of other creatures. And, and instead we need to find or develop ways or sensitive ways of inner city densification. And that needs a discussion or an understanding of the ground or the existing fabrics as a ground to work with, that needs to be acknowledged. there's a, I dunno, a project, I I worked on with my colleagues, architects some

Innovative Urban Consolidation in Austria

00:27:07 - in, in Austria. And it shows how urban consolidation policies are increasingly challenged by kind of the multiple, custodians that are part of a project. but that is nothing to avoid. I mean, it's, it's a beautiful, it's a beautiful thing. And in this instance, we, it was a competition and it was kind of aimed to bring about 4,000 square meters next to a heritage site,

00:27:38 - and also next to the kind of UNESCO World Heritage site, which is the kind of old city center of grants. Kind of, instead of accepting the initial location, kind of, we, we kind of spread our design across four existing buildings. We realized that kind of the benefit of ignoring the rules and developed a conceptual approach where the roofs and of the neighboring buildings were considered ground. And interestingly kind of,

00:28:13 - value to the jury, but also kind of the, the heritage commission in, in grants Austria, is that they understood that, that here it's not about kind of emulating the look of neighboring buildings, but really work on a performative relationship between, a new, a new kind of volume, new density and what's already there. And, and kind of spreading a building across those four existing ones, kind of allowed

Redefining Architectural Identity Through Innovative Design

00:28:45 - It enabled us to keep relevant lines of sight that could be maintained because we are pushing, we're pushing our volume into all nooks and crannies between and on existing buildings. And interestingly, it also gave the whole area a new identity. And I think this is kind of what also then one won the jury over because there was a little bit of, bit of a, sorry, there was a bit of a kind of Dogg breakfast there of kind of buildings from different areas

00:29:14 - And, and now the new design operated like a bracket and pulling them all together and creating like an overall identity for the place while at the same time yes, allowing the streetscape still to kind of allow views up to the sky and kind of that new connections being not being, being kind of a, kind of abstracted and kind of, that is kind of the, the, let's say a move that sure happens when you, you take a risk.

00:29:48 - it also links, I think, again to the term acceptation of I meant before where a particular virtue is used for something it wasn't originally designed for, in a way using yes, full stop using something, in a different way or let's say engaging or interpreting the rules in a different way. And a similar project, that also illustrate that is the, my, my extension for the Experimental art foundation

Reimagining Urban Spaces: Transforming Infrastructure into Artistry

00:30:20 - here the brief was for an artist and residence studio that was an addition to insisting facility. And here I noticed the air conditioning units on neighboring buildings as a prevailing typology. And I saw these as an opportunity kind of to satisfy the Adelaide City Council guidelines for local character. And so I kind of hardcore acknowledged that this is a local character. and I spun thenar the narrative

00:30:53 - approaching the architect and asking for a cosmetic structural makeover, some sort of structural surgery, and then drawing on its, let's say utilitarian genes, existing structures and dissected and alternative figures. And organizations are projected volumes that initially were used for condensation and evaporation now facilitates studio bedroom and storage space. And the architecture draws on a tactical deceit, right,

00:31:28 - or dwelling depending on the viewer's, perspective. And in the process of gaining planning approval, the object disguises itself on one side as a local topology, allowing it to subvert the local character guidelines at the same time, allows kind of for human habitation inside the overall form materiality and location of the object that denotes infrastructure, while single elements of it windows and basrai signify a human measure

Transforming Infrastructure: A Cultural Identity in Design

00:32:01 - So the final design then amalgamate those two and provides an identity for the cultural offerings of the EAF. So on one side, yes, the project, let's say the key aspects was identifying air conditioning units as a prevalent rooftop typology in the Adelaide CBD, acknowledging the building code by overlay the two to justify the transformational of a piece of infrastructure into kind of human habitation. So, and in terms of now what it says yes, it,

00:33:01 - of in which, in which ways design policies shape Our cities. And, by identifying the existing infrastructure as a local topology, the project discusses the council guidelines for design approval processes, and effectively questions their desire to context, to contextualize just as a means to steer an expression rather than a, per a performance performative relationship.

Faculti AI can make mistakes

Research

Policy

Analysis