Saturday, July 12, 2008

56. Listen to the little Devil on your shoulder


Imagine for a moment that you were in TV land. There you always have a little devil on one shoulder and a little angel on the other. They represent the good and evil side in all of us. Together the form our reasoning conscience.

Now imagine for a moment that you are a famous architect. That's right. Close your eyes and imagine that for a moment.

Now did you notice something different?

If you noticed that the little angel is gone and only the little devil is left, then you did the exercise correctly. Congrats man! you are one step closer to becoming a Famous Architect.

If not, no problem I will help you get rid of this annoying angel thingy on your shoulder.

The images below are a series of actual scenarios that if followed correctly will allow you to get in touch with the little devil on your shoulder that has helped guided so many famous architects to the top.










Conrad Newel

NOTES ON BECOMING A FAMOUS ARCHITECT
Liberating Minds Since August 2007

Wednesday, July 2, 2008

55. Talk to Tigerman about Ethics

Just recently Metropolis Magazine published this interview with Stanly Tigerman. I think it was probably more explosive than what they expected or perhaps not. This is the type of stuff that sells magazines. I decided to post a selected excerpt of it here not because I agreed with everything. In fact I think a lot of his arguments are implicative of taking a high road that treads on the border of career suicide, especially if you are hellbent on becoming a famous architect. Nevertheless, I think it is worth reading because he successfully illuminates a lot of the ethical cracks in the architectural establishment's celebrity machine i.e. (the schools, magazines, critics etc). The question is; How do you balance ethics in the current equation that includes branding, marketing, starchitecture, and starchitecture hungry dictatorial regimes?



So let’s talk about your idea of architecture as a social response. Why is that such a factor in your design?
I think it’s about being responsible. Architecture is a pursuit that ought to be seen in a more responsible light than it is. And I think that architects ought to be responsible to society in a number of ways and they need to do that for two reasons: number one is that they’re—presumably—human beings, and secondly, if we don’t do it, who the hell is going to?

I see my very good friends Peter Eisenman and Frank Gehry, who are very good architects. They are encouraging—inadvertently or not—as teachers, students to…how do I say… to emulate them. I find that problematic. I come from a generation where people like Harry Cobb—you know who he is, right?—and Paul Rudolph were very good at bringing us as good as we were. They didn’t try to encourage us to design in their image—not that Cobb had an image—nonetheless they produced a panoply of students whose work ranges from the extreme left to the extreme right. It’s an indication of a Socratic posture that can only be seen as admirable. I think things have happened since Paul’s time. Rome is burning.

We have to behave responsibly. That’s what’s fabulous about architecture; it’s like many other things in life. It’s transparent. If you’re interested in marketing and branding, you’ll be known for it. If you’re interested in being perceived as an aesthete, you’ll be known. If you’re socially responsible, you make your own judgments. You, Eva Hagberg. Me, Stanley Tigerman. Everyone else. I think that’s where architecture is at. It’s taken me my whole life to figure that out.

I’m not very smart. It takes a long time to figure this crap out. But I finally did. Do you want to spend a lifetime doing suburban villas for princes and princesses, or do you do something for people who really need what you do? Do you make your own decisions?



So one of the ways you try and change things is by teaching. What’s your plan there?
If you look at an educational curriculum, do you find any courses on ethics? I don’t think so. [EH, internally: My mom teaches ethics.] What you find is a lot of courses on computer technology to make you useful in an office. Is that what education is about? These are interesting questions. You gotta ask them. What about the AIA? You want to look at the website of the AIA ethics clause? When I joined the AIA forty-three years ago you couldn’t displace another architect without letting him know. You couldn’t undercut fees. You couldn’t market, you couldn’t brand. Now you can undercut fees, you can market, you can brand. And the AIA forces it at their conventions by spending tons of time on shit like marketing and branding! I’m asking YOU the questions.

Well….
I mean, why the fuck doesn’t Metropolis branch outside this interview? Spend the bulk of every goddamn issue on these ethical subjects, instead of branding Hariri + Hariri, or Peter, all of whom are very good architects of course. There’s this other side, the crappy architects you guys publish, at least these guys are really good. But I think encouraging signature work in formalistic ways is discouraging to people who are trying to be responsible, say, environmentally. Where were architects in the leadership field? Where were architects when ADA loomed large on the horizon? Were they leaders in terms of sustainability? Absolutely not.

Things didn’t make any sense to me in architecture school. We were shown images, then told, “You won’t understand this for five years but that’s ok.” I thought then when I didn’t get it that it just meant I was stupid. I think now that was an unfortunate way to teach. Why is architectural education so incomprehensible?

It’s to perpetuate a myth. In the same way that people talk in an arcane language. It’s not so that you can understand them, but so they can retain the myth. And architects are no different. You present it as part of a mystique.


From Metropolis Magazine : http://www.metropolismag.com/cda/story.php?artid=3333

Saturday, June 14, 2008

54. Take a lesson from Gage Clemenceau





What is Architecture?

I like to think of architecture as a very precise discipline. Very different from design and very different from sculpture. At the very basic level you have to deal with developing something with an exterior and an interior. Sculpture does not have that problem. I think that is enabling for architects because it gives us something with a very specific disciplinary rigor that we are required to address. So a lot of our work focus on the relationship between the exterior and the interior and how to create openings between them. We use a lot of surface design technologies including Maya, and Alias studio. For instance Alias Studio is used for car design. Car design has a similar problem that architecture has. You never build one thing, you build something that is made of multiple pieces (that looks like one thing) and you need a way to get inside and outside of it.



What is the role of the architect in contemporary society?

In the past, you meet with a client, the client tells you their problems, you solve the problem and you give them a building.

Thats not the role of the architect anymore.

The architect has to come with a very high level of expertise in contemporary design culture, about contemporary technologies, about contemporary materials, and it is the role of the architect to push these boundaries in the service of new forms of interior and exterior research.

Architecture right now is as popular as it has ever been in the past. It was probably started by 911 and the amount of press that was given to architecture in the competition for the development of the World Trade Center.

That generated a lot of interest sin architecture. A lot of people know who Frank Gehry is and who Zaha Hadid is.

The one thing I worry about is that it is becoming more a culture of celebrities and less a culture of the work. There are a lot of interests in the personalities and not the work as much.



What is the role of Social Networking?

It is second only to design.

There should be classes on how to network in architecture school.
There is no training in architecture school that allows you to graduate and know how to go about meeting people and getting work.

There are plenty of classes that tell tell you how to write contracts, how to do billing, how to stamp drawings properly, and how to deal with legal architectural issues.

There are very few classes that tell you how the world works:
How do you go out and meet people?
Networking is by far the most important thing you can learn.
All of our work come in from people going out and talking to each other.
very very few clients just come in from off the street without knowing someone or having seen our work and talked to someone about something.



How important is innovation?

For us it is incredibly important.
Thats were we gravitate. What are the new tools out there?
what are the new software packages out there?
What are the new fabrication technologies out there?
How can they be useful for architecture?
How can we use them to develop new attitudes towards design and new attitudes towards space?

The first thing that we do when we get a resume is look for skills. Part of the responsibility of going to architecture school is being fluent in the most contemporary skills you can pick up. We get a lot of resumes and the first thing we do is flip through their portfolio and see where they are with their skill set. Everyone here though they came from different schools has a level of skill set that were looking for at the time they were hired and thats why they are here.

Competitions are one of the only way to get your self out there.
It's great for young architects to develop their signatures, and their architectural vocabularies. A lot if it is a gamble, It can also be seen as an investment if you get published





from ArchDaily: http://www.archdaily.com/644/ad-interviews-mark-foster-gage-gage-clemenaceau/