Shimon Matkowski
Partner, Chief Architect at Blank Architects
This essay captures my vision of how an architect should work to achieve the set goals.
I call this six-dimensional design. Each dimension is a separate challenge. Each part should be considered on an equal basis with the others, and only in combination with each other will they allow you to create a complete project.
The three basic dimensions are X, Y and Z.
The next three dimensions are:
Construction, Engineering, Safety
Investment, Legislation, Object Life
Emotions
X, Y, Z
An architect is generally viewed as a master of space. He better than other people understands the form of things, how and where they come from.
So it's easy for any architect to work with and control the three basic dimensions. The architect owns the tools for the layout and presentation of space.
The limitations of software, paper, pencil, and even a 3D printer affect the imagination and misunderstand the idea.
For example, 2D and 3D CAD programs (Autodesk AutoCad and Revit) are very helpful in the design process, but also allow specialists to be inattentive, trusting the result to a computer program. The first is just a computer version of paper and pencil, the second is a 3D program, here you can look through the model and see the space that you are creating.
There is no doubt that these tools are useful. But new technologies also need to be looked at critically, as habits and ways of solving problems come with them, which then become the "rule", make it difficult to look at the design process with a fresh eye. There is a feeling that the software can do everything for the architect. But how can a computer think? He is just a tool, like a hammer or a rake, only more complex.
Often graphics prevail on their own, turning into a bunch of lines or objects in space without real meaning. Three-dimensional modeling is all the more risky because it smooths out contradictions - at first glance, it seems that everything was done well.
We have well-drawn lines, great graphics. Then the third dimension appears and it turns out that the wall is under the beam, and the passage is already 2 meters. (Another typical mistake in modeling: the absence in the model of perception of ergonomics of space "for a person", which gives an understanding of the correct scale).
Then engineering systems, interior design are added - all this must be placed in a space without collisions at intersections, which again leads to another check by a person. Thus, everything needs to be checked.
The above leads to one important conclusion. Each line is subsequently verified by reality. Every inaccuracy is a problem that stops construction and costs extra money. The money that the one who made a mistake will pay.
The purpose of this section is to draw your attention to the fact that software is nothing more than a tool and that a smart architect will never use it to come up with something. He will use his head.
Construction, engineering, safety
Let's say you drew a great shape, great design. The shape needs bones and a nervous system.
Understanding how a building is constructed is essential in order to guide your project from the first concept to implementation. If you forget about the various "forces" acting on the building, ideas will be destroyed by the mathematics of engineers. You will have to revise and polish your wonderful ideas over and over again, in the end you get just the right project, but the main idea of the architect will be lost. The structure defines the "bones" of the building. The bones help him withstand various "forces" and weather. As an architect, you must also remember that weightless materials do not exist, and people do not fly. If you forget which function is located in one or another part of the building, then you will come across additional volumetric elements that violate the functionality of the object and visual harmony.
The main parts of the structure are simple: columns, beams, floors. The architect needs to be mindful of the dimensions of the base elements. I'm not saying that you need to immediately define everything down to the centimeter, but having common ideas will avoid surprises. You should be aware that it is impossible to make a heavy duty 10m cantilever without special support structures. A more advanced understanding of construction involves understanding the direction of the principal stresses in a structure, as well as how concrete, steel, and wood work together. Do not forget that the building is made of materials with physical properties - among other things, the architect must pay special attention to the thermal expansion of the elements. The best way is to discuss your ideas with the design engineer - he can help develop them.
There is no "living building" without technical premises. It is necessary to provide a place for them.
TO engineering communications should be treated with the same respect as the design. They are, of course, more flexible and mobile than heavy concrete, but they have a much stronger effect on the lives of the people inside - on the guests of your building.
Engineering systems affect how people feel inside your building. People see, smell, breathe. They sometimes need to go to the toilet and shower. Sometimes they need to use technology, call a taxi or send an e-mail.
You need to imagine the basic steps for each zone and then explain the task to the engineer, thus providing the required functionality. Engineering communications are the nervous system of a building - they provide a connection between various technical means and the end user. The architect must not only take into account the needs of the people, but also research and know the basic dimensions of the technical premises, without which the building cannot exist. You must find a place for them.
Emergency activities (the most likely of which is fire) are also very important to the project. In fact, most of the maximum building parameters are not calculated for daily needs, but for emergencies. This has a profound effect on architecture, engineering and design. You draw corridors for the maximum number of people, in case of evacuation - under normal conditions this will never be useful, but it has a strong impact on your design. Starting from the concept stage, it is important to consider all the main escape routes and sections of the building that are resistant to fires / earthquakes. There are various ways to meet these requirements, but any architect must consider the limitations of security rules and the threats they pose to the overall geometry of the building.
Investments, legislation, object life
The client's investment is something that most architects don't even want to hear about. They argue that this factor limits good ideas. For the client, good design is what will bring him prestige and income. The aesthetics of a project is easy to control: you see if the project is good or bad. Understanding a client's investment is not as easy for an architect, but it should be understood. You must understand the client's investment principle in order to design a building that you can then build. Every time you draw a line, it costs money. Sometimes $ 2, sometimes $ 10 million. You need to remember how much your drawn lines are worth. Of course, not the price of each item individually, but the order of prices. Then, during the design process, you will not have to change the noble rusticated facade for cheap sandwich panels.
Understanding the construction budget is just part of the money issue. The second part is just as important - but often the designers forget about it - they come, do their job, and leave. The correct approach is to work out the cost of the subsequent functioning of the building together with the client. A competent project should take into account operating costs and consumables. The lower the cost, the better. Any project is optimized - this is a common practice, and the worse the project, the more you have to change. And of course, the main fault here is the architect, since he is the main person in the project.
In addition to money, a major challenge is the need to examine the legal restrictions imposed by local and federal authorities, as well as the documentation provided by the customer. The client needs to be presented with an analysis of all constraints, possible actions and benefits to the concept. Some of the restrictions, if you understand them, can be discussed with the authorities and adjusted: leading the design process, minimizing damage to the concept is also the architect's task. At the design and even construction stage, the impact of legal restrictions can be optimized, but this should always take place in the presence of the architect, only he can assess possible changes.
The architect must also look to the future. He must be able to estimate the expected life of the building and its duration. When will you need to change the facades, make repairs? Will the image of the building be relevant and modern in 5, 10, 25, 50 years? What will it take for the client to maintain the main idea while enhancing their real estate investment with small intrusions that support the architect's main message? Otherwise, your project - even if it looks good - risks being distorted beyond recognition, your solution will disappear. This applies not only to the facades, but also to the function, and even the materials from which the building is built.
Emotions
An architect creates for people. It is about people that he should think first of all. People should never walk past your building without feeling any feelings. Use your imagination, shape the emotions you want to evoke. Imagine yourself inside your building. What do you see, where can you go, what to do; what behavior do you foresee?
By changing space, change people.
In order to create a good piece of architecture, you must understand how your building will affect people and the entire surrounding area (which is especially important when you are designing next to historic buildings). In other words, how your building will change people. You need to be guided not only by obvious measurements: all of the above are tools for influencing people. The architect decides which proportions to use and how; but in my opinion, all these factors must be taken into account. A common mistake of architects is to think that people will only admire geometric schemes and some kind of lighting effects, for example.
Conclusion
You have a variety of tools to achieve the desired effect. You can use them based on your ideas. Remember, an architect is trusted a lot. It's a big responsibility, but it also gives you the power to change. Change the world and people. Think with your head, do not lose this trust.
Shimon Matkowski
Partner, Chief Architect, and Head of Design Quality at Blank architects
