Вы находитесь на странице: 1из 13

1

0:00:00 --> 0:00:05


Downloaded from ccSubs.com
2
00:00:00 --> 00:00:04
every architects design process is
extremely personal and nuanced
3
00:00:04 --> 00:00:07
for example i have certain tools that I
reach for ritually when i start a new
4
00:00:07 --> 00:00:11
project one is a favorite lead pencil
interval with a lightweight medium-sized
5
00:00:11 --> 00:00:15
barrel and a thinly ridged grip loaded
with a medium weight HP led that's not
6
00:00:15 --> 00:00:16
too soft not too hard
7
00:00:16 --> 00:00:19
it has a broken clip at the top and a
small blue button near my thumb to
8
00:00:19 --> 00:00:20
advance the lead
9
00:00:20 --> 00:00:23
it's with this pencil in hand that I
begin each design visiting the project
10
00:00:23 --> 00:00:27
site writing taking notes and sketching
in a pocket-sized grated sketchbook
11
00:00:27 --> 00:00:31
I take with me a small courted bundle of
prismacolor pencils light cream
12
00:00:31 --> 00:00:36
sky blue make green French gray yellow
ochre and oxide red to fill in the line
13
00:00:36 --> 00:00:39
work of my sketches and suggest order it

has to be this way for me and I know


14
00:00:39 --> 00:00:43
that when I'm armed with these tools the
ideas will flow easily while each
15
00:00:43 --> 00:00:47
architects habits are individual and
idiosyncratic the broader architectural
16
00:00:47 --> 00:00:48
habits we share
17
00:00:48 --> 00:00:52
lay the foundations for good design here
are eight of the many habits that guide
18
00:00:52 --> 00:00:54
successful architects during the design
process
19
00:00:54 --> 00:00:57
number one they tell a good story
20
00:00:57 --> 00:01:02
our memories of places are inherently
linked to stories a home that tells the
21
00:01:02 --> 00:01:06
story of a specific client in a specific
place at a specific time in riches the
22
00:01:06 --> 00:01:08
experience and gives it a reason for
being
23
00:01:08 --> 00:01:11
architects are taught very early in the
in design school to conceptualize
24
00:01:11 --> 00:01:15
projects by inventing a narrative which
is traditionally called a party a party
25
00:01:15 --> 00:01:19
is like a rule book in a way and a good
one allows us to refer back to it when

26
00:01:19 --> 00:01:21
we're stuck wondering what to do next
27
00:01:21 --> 00:01:24
it organizes our thoughts and guides us
in how best to relate the story through
28
00:01:24 --> 00:01:29
our design a narrative can flow from
something specific say a beloved tree to
29
00:01:29 --> 00:01:33
preserve or something more general such
as all rooms must have natural light
30
00:01:33 --> 00:01:36
it can emerge from a client specific
request nothing white please
31
00:01:36 --> 00:01:41
or the shape of a building lot it can
apply to every level of design problem
32
00:01:41 --> 00:01:45
even down to small renovation or
decorating tasks finding the bigger
33
00:01:45 --> 00:01:49
guiding idea in creating a story around
it and use every design decision with
34
00:01:49 --> 00:01:49
meaning
35
00:01:49 --> 00:01:52
number two they take risks
36
00:01:52 --> 00:01:55
taking risks to do something out of the
ordinary as part of any creative field
37
00:01:55 --> 00:01:59
rethink reimagine retool and invent new
ways of doing the same old thing
38
00:01:59 --> 00:02:02
while the laws of physics still apply

even gravity can be challenged


39
00:02:02 --> 00:02:05
this isn't to say that everything
requires innovation or bold action but
40
00:02:05 --> 00:02:08
looking at a problem through a different
lens often reveals interesting solutions
41
00:02:08 --> 00:02:10
that don't rely on standard practice
42
00:02:10 --> 00:02:15
here's one of my favorite designer hacks
for being bold the eight-foot door
43
00:02:15 --> 00:02:19
standard doors are six foot eight inches
tall and three feet wide and roughly
44
00:02:19 --> 00:02:20
correlate to the human form
45
00:02:20 --> 00:02:24
we're used to seeing doors this size
substitute an 8-foot slab and the
46
00:02:24 --> 00:02:28
difference is instantly recognizable
just the active opening this door forces
47
00:02:28 --> 00:02:30
you to sense its weight and a tight
48
00:02:30 --> 00:02:33
sure 8-foot doors are more expensive but
the effect elevates a standard design
49
00:02:33 --> 00:02:37
element from mundane and accepted to
exceptional taller doors can let in more
50
00:02:37 --> 00:02:40
light when glazed and their proportions
can completely or reorient smaller
51

00:02:40 --> 00:02:45


narrow spaces like this hallway making
them seem larger i use them often in
52
00:02:45 --> 00:02:49
spaces with 8-foot ceilings where the
door is open and when the door is open
53
00:02:49 --> 00:02:53
it's as if the entire wall has dissolved
number three they sweat the details
54
00:02:53 --> 00:02:57
at its heart architecture seeks to solve
problems but it's the way we're able to
55
00:02:57 --> 00:02:58
solve those problems
56
00:02:58 --> 00:03:01
the poetry we bring to the solution that
separates the good from the bad
57
00:03:01 --> 00:03:04
it's possible to solve the problem of a
stair guard in many different ways but
58
00:03:04 --> 00:03:06
here the designer has chosen a
minimalist outwardly effortless
59
00:03:06 --> 00:03:09
expression the gray of the thin
stainless steel cables matches that of
60
00:03:09 --> 00:03:12
the concrete stair run and their
attachment is deliberate and considered
61
00:03:12 --> 00:03:16
details matter because they're often the
things were most engaged with on a daily
62
00:03:16 --> 00:03:16
basis
63
00:03:16 --> 00:03:19
this means the means by which we all all

the components come together in a


64
00:03:19 --> 00:03:20
structure are the details
65
00:03:20 --> 00:03:25
creating what architects call a family
of details unifies a project the
66
00:03:25 --> 00:03:27
horizontal patterning of the wood cloud
wall here
67
00:03:27 --> 00:03:30
references the board forum concrete wall
to the left well they're different
68
00:03:30 --> 00:03:32
materials they speak the same language
69
00:03:32 --> 00:03:35
the same can apply to the hardware used
on a project all the doors have bar
70
00:03:35 --> 00:03:38
poles and stainless steel for example
for all the plumbing fixtures are
71
00:03:38 --> 00:03:42
angular and in brushed nickel number
four
72
00:03:42 --> 00:03:46
they simplify the ability to simplify
means to eliminate the unnecessary so
73
00:03:46 --> 00:03:50
that the necessary may speak said
painter Hans Hofmann too often we let
74
00:03:50 --> 00:03:54
complexity act as a proxy for interest
architects our schools and editing down
75
00:03:54 --> 00:03:55
to the essential components
76

00:03:55 --> 00:03:58


if it doesn't have a function its
necessity should be questioned
77
00:03:58 --> 00:04:01
here are just a few areas where
simplifying can make the design stronger
78
00:04:01 --> 00:04:06
simple shapes they usually cost list are
easier to build and look beautifully
79
00:04:06 --> 00:04:10
beautiful unadorned a simple material
palette two or three materials at most
80
00:04:10 --> 00:04:14
devised rules for how each will be used
by varying one materials finish from
81
00:04:14 --> 00:04:20
smooth to rough you can achieve variety
without complexity simple trim or none
82
00:04:20 --> 00:04:26
simple windows choose to window sizes 14
large openings one for small ones leave
83
00:04:26 --> 00:04:29
connections between materials exposed
and expressive concealed joints are
84
00:04:29 --> 00:04:34
usually costly and time intensive to
execute number five they establish order
85
00:04:34 --> 00:04:38
designers prefer applying or ordering
principles to everything at every level
86
00:04:38 --> 00:04:41
naturally the need for order requires
hierarchy which basically means you have
87
00:04:41 --> 00:04:44
to decide what the most important what's
the most important thing and let the
88

00:04:44 --> 00:04:48


other things defer to it when beginning
a new design project i usually evaluate
89
00:04:48 --> 00:04:49
three main things
90
00:04:49 --> 00:04:53
the building site existing or new the
client and the budget the overarching
91
00:04:53 --> 00:04:56
concept is derived from the one that I
searched the strongest pole and I begin
92
00:04:56 --> 00:05:00
crafting a narrative around that force
that's where the ordering begins
93
00:05:00 --> 00:05:04
regardless of the strongest pole it
always circles back to the site where i
94
00:05:04 --> 00:05:08
determine which dominant site features
either the view topography or other
95
00:05:08 --> 00:05:15
structures are most important before
deciding what the building looks like we
96
00:05:15 --> 00:05:17
have to think about order
97
00:05:17 --> 00:05:20
we have to think about and order the
spaces on the site for most public to
98
00:05:20 --> 00:05:23
most private and decide how will arrive
in the sequence of how the spaces will
99
00:05:23 --> 00:05:25
unfold for renovations
100
00:05:25 --> 00:05:28
the ordering principles are often set by
what the existing structure is lacking

101
00:05:28 --> 00:05:33
natural light space connection to the
outdoors etc for some projects I've even
102
00:05:33 --> 00:05:36
gone so far as to develop a rule book to
establish specific modules the grid
103
00:05:36 --> 00:05:39
materials and a guide for adding modules
to the structure in the future
104
00:05:39 --> 00:05:42
the wonderfully illustrated compendium
architecture form space in order by
105
00:05:42 --> 00:05:45
Frank Francis Ching is required reading
for every first-year architecture
106
00:05:45 --> 00:05:48
student and it's one that I still
personally find inspiring
107
00:05:48 --> 00:05:54
especially with respect to order number
six they repeat repeat repeat
108
00:05:54 --> 00:05:58
repetition and architecture is a good
thing , thematic elements repeated again
109
00:05:58 --> 00:06:02
and again help to reinforce our previous
habit of establishing order windows
110
00:06:02 --> 00:06:04
doors columns beams materials
111
00:06:04 --> 00:06:08
these are all part of the natural order
of buildings repetition doesn't have to
112
00:06:08 --> 00:06:09
equate to boring
113

00:06:09 --> 00:06:14


rather it unifies the design repeating
patterns materials grids and proportions
114
00:06:14 --> 00:06:17
are the underpinnings of order the
cardinal rule of repetition is that it
115
00:06:17 --> 00:06:20
takes a minimum of three of anything to
see the benefits if two is good
116
00:06:20 --> 00:06:23
three is better repetition not only
makes sense from an economical
117
00:06:23 --> 00:06:26
standpoint but it provides a reference
point and background against which to
118
00:06:26 --> 00:06:28
highlight the things that we think are
really important
119
00:06:28 --> 00:06:32
laying the groundwork for our next habit
number seven
120
00:06:32 --> 00:06:35
they break the rules the pro
prerequisite to this is the previous
121
00:06:35 --> 00:06:38
habit once we have an established
repeating pattern we can decide where to
122
00:06:38 --> 00:06:38
break the rules
123
00:06:38 --> 00:06:41
imagine a series of windows aligned on
an orderly grid the one window that
124
00:06:41 --> 00:06:45
breaks this set of rules must do so for
a very important and specific reason
125
00:06:45 --> 00:06:49

like a view to a tree canopy or a


distant view with a representative
126
00:06:49 --> 00:06:52
orders the background calculated
rule-breaking is assured to have special
127
00:06:52 --> 00:06:52
meaning
128
00:06:52 --> 00:06:57
it also balances the repetition to keep
it from being stayed and monotonous this
129
00:06:57 --> 00:06:59
stereo illustrates the power of breaking
rules
130
00:06:59 --> 00:07:02
look at the restraint exercise in the
surrounding space traditionally stairs
131
00:07:02 --> 00:07:06
are composed of stringers at the edges
box to risers and some combination of a
132
00:07:06 --> 00:07:07
handrail and guard rail
133
00:07:07 --> 00:07:10
the designer of this stair reconsidered
every one of those assumptions breaking
134
00:07:10 --> 00:07:13
the rules and turning it into a
sculptural object the stair hangs from
135
00:07:13 --> 00:07:16
the upper storey forcing one to observe
the process of moving upward by
136
00:07:16 --> 00:07:21
springing from a heavy concrete plant to
a much lighter stare object the risers
137
00:07:21 --> 00:07:25
are open allowing light and views
through and the plywood stringers double

138
00:07:25 --> 00:07:29
as stare support and guard number eight
139
00:07:29 --> 00:07:33
they engage the senses while the
stunning visuals of the architecture we
140
00:07:33 --> 00:07:35
consume online appeal to our sense of
sight
141
00:07:35 --> 00:07:38
our experience of architecture is
actually quite different we're taught as
142
00:07:38 --> 00:07:42
architects to think about all of our
senses when designing opening a home to
143
00:07:42 --> 00:07:45
a view is as important as shielding it
from unwanted noise or the smell of the
144
00:07:45 --> 00:07:50
ocean or nearby cedar tree architects
consider the difference in feel of cool
145
00:07:50 --> 00:07:55
concrete versus warm wood on one's feet
and the sound rain makes on a metal roof
146
00:07:55 --> 00:08:01
to think about design from an
experiential level often reveals
147
00:08:01 --> 00:08:04
architectural opportunities that make
life in a home or a place much more
148
00:08:04 --> 00:08:08
pleasing good architects and designers
think about light and shadow where the
149
00:08:08 --> 00:08:11
Sun moves throughout the day where the
wind comes from or the sounds of an

150
00:08:11 --> 00:08:13
urban neighborhood and how they can play
along

Вам также может понравиться