This approach is valuable for students tackling a studio-design project without an easily definable client. below right: This brief was developed as the result of a consultation workshop with pupils at Sussex Road School. The designer mapped the narrative of the play on to the site to develop the brief. It is, however, also very exciting when that is being crushed up against by the reality of the client.’
Dann Jessen, East
Sussex Road School: the teacher and pupils’ brief for the architect
Pragmatic
Welcoming space Display areas Friendly reception More private loos Extra toilet for visitors Elegant room for Mr A Huge windows and wide views
Cups of tea
Better organised photocopy room
Space reflecting the vibrancy of the school
More space for Mrs F and Mrs D
Remove clutter Effective storage systems Clear signs Soft furniture Plants
Mrs F and Mrs D facing visitors
Child-friendly storage in Joy’s room
Mosaic
Lots of fish
More children’s work
for adults to see at the
entrance
More room and desk space in the office
Wishlist
Yellow brick road Coloured glass Soothing music Double-storey entrance Mr A on top Extra room Bubbles Visitor room Space for community Buggy shed Delivery storage Fish and plastic fish Baby massage Living room
Sleepovers Kiosk to sell apples A transparent corridor Curvy path or fence Mr A going down the waterslide
Electronic back massage Bubbly lifts and elevators Intercom systems Multi-sensory rooms Baby slide Lights in Mr F’s shed Crystal palace Natural things Wood pebbles
Developing the brief
Outdoor theatre for Hamlet by Anna Beer. The benefits of learning to ask the right questions in a creative way are that the extent and richness of a complex design problem can be discovered and managed as part of the design process. Ergonomic study
Outdoor theatre for King Lear by Ralph Saull. As the interview with East shows, this questioning must be intelligent and productive if it is to succeed, rather than unsettle or undermine the client. This was continued during the construction phase when pupils were invited to brand the timber cladding. The architect’s skills in drawn, verbal and written communication are key to success. Although most clients will provide a brief at the beginning of a project, East’s work is testament to the need for the architect to question and challenge its fundamental aims, nature and scope: does the given brief fail to take advantage of any opportunities or needs? East’s working methods ensure that clients are given the opportunity to learn how to be clients: how the design process works and what their role is within it. In addition, the identity of the actual client must be interrogated: are there any clients or users who have a stake in the project and who should be included in the design process? This ergonomic study of comfort, park etiquette and seating layouts for an outdoor theatre considers the experience of the user. ‘When all opportunities are still open and when we are allowed to look at places and leap ahead in terms of imagination and possibilities: I think that’s a very exciting moment. far right: The process of involving pupils with the changes at their school began during the brief development. The architect should bring creativity to any situation where information is to be gleaned from clients, to ensure that the quality of thought and aspiration for the project remains high.
