>>Culture of the Design Process.. [wABI-sABI].

Previously I have refered to culture within the process of design, particularly that architecture is a pursuit that has the potential to be of high cultural value, and how the design process is vital to why architecture could be viewed in such a way. In these previous blog entries I reflected on architecture being a very singular ‘art form’; a sole person’s response to a design brief. In the blog regarding the Japanese tea ceremony I discussed the Japanese receptiveness towards very individualist modern architecture, the essence of wabi-sabi could be seen as a direct correlation to this. /Illustrated/ /here/ is the potential for a wabi-sabi approach to the development of information technologies which could easily translate into a new process for ‘development’ of the built environment. A design process that adheres to such ideas would by highly user-centric, and constantly refreshing itself to achieve the best outcome for the problem. Though while this may apply to the ideas of wabi-sabi, though I believe built outcomes may have an aesthetic that does not.

/////The box of with internal and external influences/////

But rather than to limit thought to this and expand on a wabi-sabi idea, I believe we would see an increase in the discourse between architecture and other disciplines, and more importantly, a diverse range of other fields that seem incompatible. /Here/ is a presentation on the idea of reciprocity between architecture, animation and art, among other things. The term ‘wabi-sabi’ itself is the fusion of two diverse ideas; it promotes relations between things that may seem incompatible. In my identity+visualization blog entry I told of how I would like a links between architecture and other arts, or at least influence each other. This sort of reciprocity is not visible in buildings such as the sukiya but wabi-sabi ideas, I believe, promote this sort of unusual dialogue between different things.

From this, I considered the reverse of this sort of process; which at a fundamental level could mean a highly collaborative design phase, with all participants on an equal level of importance. As Engel (1964) alluded to, much of society is embracing collective thought which is apparent in web-based collaborative research such as wikipedia or any other wiki. These collaborations are good in my opinion, though the success of such internet communes, I think, exists in the anonymity of the user. The /wiki/ approach works when people see each post as a differing view; a collection of statements and ideas that may be differing, factual or fictional. From here people can judge each post as separate, and form their own opinion. A design process following these frameworks would be haphazard and end up being compromise of ideas; a space containing several posts of ideas and opinion. There would not be a well conceived final product but a fusion of many ideas that ends up effectively being a lowest common denominator. More appropriate would be to see a space as an individual post, not a page.

Once again, the subject returns to the issue of the social perception of what architecture should be, but also more difficult to gauge would be a definitive answer on what architects think concerning the ideas of collaboration and individuality.

Seclusion ###### [Japanese Tea House//Ceremony]

The concept of seclusion in building was a key topic for Engel (1964) as he studied the characteristics of the Japanese tea house and, more broadly, the tea ceremony as on the whole. In previous blogs I have discussed topics with parallels to Engel’s, particularly those relating to creativity and individuality. Engel begins this reading comparing the mentality of the east and the west, particularly the contrast of the two concerning common views towards seclusion, as well as the societal attitude towards individuality (or ego). These factors, Engel says, greatly the influence the built environment, being an embodiment of these attitudes. Where individuality has become less ‘fashionable’ in the west, moments of personal contemplation are highly valued in Japan and the tea ceremony is a symbolic and active means of this.

The tea ceremony is an act which captures the essence of many values held by the Japanese. The tea house, refined through ‘sukiya’ style, is a place to practice the tea ceremony and is a building which essentially imposes a manner of use through its design. Through group discussion, one particular feature of the sukiya tea house was identified as key; the under-sized entrance. The doorway to the tea room is deliberately scaled down, meaning that those who enter must crouch down through the doorway to get in, embarrassing themselves and thus everyone enters the room on an equal social standing.

Though, from this, the question should be asked; is this is forcing a way of interaction on the user, or is it responsive to the buildings cultural needs? Certainly, it is apparent that such tea houses are a successful gauge of Japanese culture and play a significant, singular role. However, this question is not necessarily limited to sukiya, but to be asked of any architect/building. Parallel to such question, are topics covered in #*Architecture of the Twentieth Century*# last semester. Japanese modern architecture was presented, and some discussion was given to the acceptance modern architecture receives in Japan. Particular focus was given to private residences, and how an architect can impose their beliefs and way of living onto someone else. Generally, the Japanese people who had homes designed by people such as Toyo Ito or Kengo Kuma were receptive of their designs, no matter how unusual, and embraced a unique way of living. Evident in my last post is the Japanese deference for cultural influences in building; modern architecture that successfully attempts to maintain bonds with cultural customs. Tadao Ando /describes/ the wabi-sabi ideal as applied, at the most basic of levels, to a building: “The Japanese view of life embraced a simple aesthetic that grew stronger as inessentials were eliminated and trimmed away.” It is humble in materiality, and distinctly unconventional in nature, qualities that could correspond with Ando’s buildings. This examination of the Japanese tea house is important, as the ‘sukiya’ is a good exemplar of a buildings tectonics solely being a response to cultural needs, the wabi-sabi principle is adhered to through materials and form.

_Environmental Influence on Culture_ ‘-‘ *_*

Throughout tutorial discussion, there has significant amount of dialogue devoted to the culture of Queensland, and more specifically Brisbane. It is clear that there is that there are buildings that are appropriate to environment; environmentally/climatic responsive design, and that climate influences greatly lifestyle. Certainly in Queensland it is apparent that climate, and subsequent lifestyles, is indeed the stimulus for architecture. Again, the discussion leads into the examination of the relationship between culture and the physical environment, and in a much broader sense what culture is. Whilst this problematic to define, we can say in the most basic of terms, generally Australia’s is an ‘outdoor’ culture and buildings, such as those counted as Queensland vernacular, fully portray this. Many however don’t, and their lack of social relevance is evident.

Conversely, in /this/ article, Shûji Takashina depicts modern Japanese architecture as being both applicable to Japanese culture and the “universality” of modern architecture. “To take just one example, the open quality of Japanese domestic architecture - not only a practical response to the hot and humid summers but also a manifestation of the close relationship with nature traditionally valued by the Japanese people - is receiving renewed attention in our age of environmental awareness….At the same time, one distinguishing characteristic of Japan’s modern era is the periodic resurgence of traditional elements and values. While this phenomenon is apt to be interpreted as half-baked modernism by Westerners, it should be seen instead as modernism taken in a new direction.”

Criticising architecture, Robin Gibson /declared/ several decades ago that much Australian architecture is becoming decreasingly relevant, citing “the ugliness of bad conscious design". In the post-war period, many buildings were erected all over the world that followed a similar outline; to be both time and economically scarce. I live in a unit block best described as a brick box, and is very inappropriate to climate and the activities we, as occupants, ask of it. There is no verandah or balcony, making an outdoors-focused lifestyle difficult. [Once more however, this discussion is at risk of over-generalizing and classifying behaviours through cultural stereotypes.] In these terms environmental factors among others, depending upon cultural values, are fundamental to the form of a building and thus impacting on its users lifestyles.

….The Cultural Value of Creativity ///////////////////ClassDiscussion

If architecture is indeed an individualist pursuit, what relevance to society does a fantastically creative and original piece of architecture have? Despite the western world appearing to be highly globalised, much importance is still placed upon arts that convey a sense of regionalism; something which a community at large can associate with, simply through cultural prompts. Whilst in the western world, we are essentially subscribed only to modern architecture; a sense of culture could be considered to be lost because of this. Modern architecture is an avenue for creativity, but does this mean that it is not relevant culturally, and that creativity and culture are, in effect, opposites? The longest standing buildings are those that adhere strictly to archetypal cultural forms, meanwhile a twenty-year old concrete box could be knocked down because it is deemed 'unfashionable' by the select few who govern, though both buildings could be equally as non responsive to climate or usage. For instance, in the Treasury building in Brisbane is revered, though many other buildings in Brisbane are ridiculed.

At the same time as this, modernism should not be mindlessly coupled with individuality. Many new forms and ideals have grown from, and because of, modernism, though replication remains. Whilst this could be viewed as departing from culture, it could also be interpreted as a form of cultural evolution. Creativity could be considered as the point where culture begins. Though it is vital to remain attached to the manners and activities of the people and context for which you are designing. As this true creativity and individuality may be very hard to attain, it is extremely important to a culture, and people. In the Fountainhead, Ayn Rand melodramatically writes; ”...That man, the unsubmissive and first, stands in the opening chapter of every legend mankind has recorded about its beginning.”

///////////////////// The key question arising from this discussion is where does individual and creative architecture grasp the imagination of the casual observer?

Wallpaper* person

In Wallpaper* person: Notes on the Behaviour of a New Species, Neil Leach controversially suggests there is a new ‘type’ of person, an insincere person who lives a highly capitalist life of which architecture is merely a small acquisition on their way to a proper life (as defined by the magazine). While it seems unreasonable to derisively categorise a group of people based upon their choice of casual reading, a glance at the content of Wallpaper* gives insight into its content. Rather than explore a topic in depth, the magazine covers, fairly superficially, many topics such as architecture, interiors, fashion, travel, cars, beauty and the food and drinks you should be consuming, among others. Wallpaper* culture is the formation of an idealistic world, made up of nothing more than images and, consequently, false social expectations.

Not only does this apply to much of the western world, Leach says that it is beginning to pervade through architecture, beginning a dangerous progression. An architecture that has lost touch with reality, responding, not to site, but to a new 'reality' made up of photoshopped, counterfeit and overly-glamorous images, is worthless.

Where does architecture fit into western life? Does it mean anything special to employ an architect to design your home?

Identity>Visualization/////+10 Years

My current identity is embodied, briefly, through this highly symbolic, three dimensional collage. I have established a tall, transparent prism in which there are vertically oriented images. The nature of the transparent shell means that I can place within it images representing my current identity as well as my envisaged future. In this sense, the shell acts as a symbol of me, through which montages of influences and beliefs are visible.

//1///2///3//

The shell itself, besides the see-through plastic ‘levels’, contains solid parts of a project from last semester, and imagery of the built environment and nature. This is in an attempt to follow on from some ideas that I developed last semester; that there should be an integration of a structure with its surrounds, in a very literal sense. This project, my first this semester, now features aspects of my most previous project.

/2/ This picture shows the prism in its mode of representing my current identity. Here, I have used images of albums and films that I believe create rich atmosphere and space, something which I would like to achieve through architecture. These influences remain pertinent my identity and I would like to embody these moods within buildings. Each strip of images is stretched out over the height of the box by incorporating each of the images into each other and repetition.

Following on from this is the shell as a visualization of my future identity /3/. This stage is still very much linked to the previous (my current identity), and thus still retains some images of influences from other artistic avenues (film, music). Though now some elements have been added that represent my imagined identity, ten years from now. I have added images exemplary buildings, influences and expected issues of the future, using the same mixing techniques from my current ‘identity’. In this montage are pictures of buildings that I admire, as well as the environment; an important facet of future architecture. But most importantly is a small artwork that represents individuality. I would like to maintain a sense of individuality through architecture, as I believe that it is truly an expression of personal beliefs in response to site. Any creative pursuit is best when conceived by the individual.

/current[left] /10years[right]