Graphical communication must respond to these variations in approach and the architect must use all of their skills to represent the qualities of their design and do it justice. An interest in the human condition also underpinned much of the discussion. Reading this book in isolation, without also being immersed in the activity of designing, would be like learning to play the piano by correspondence course and without an instrument. There is no one right way to prioritise this: an architectural concept can begin with the design of a light fitting and end with the roof or vice versa. Studio-based projects place less emphasis on the construction phase, but it is possible to explore this aspect of architecture in the studio, such as the example below, to help develop a design project and design skills. It enables you to gain invaluable feedback on your proposals while still in the process of designing the overall project. Communicate with a level of graphic quality and detail that would enable a third party to make the piece without further instruction. Conclusion
The interviews with the five architectural practices in Chapter 3 reveal some of the values and approaches that they share. If there is enough scope within the project, the process can be taken further:
3 Make an instruction booklet describing how to make the piece. The interviews, illustrated examples of work and the techniques sections will allow you to ‘learn by example’ and ‘learn by doing’ as you would in the design studio. 1 Design a prototype element to be found within the proposed project. 2 Make the element or part-element, preferably using the actual materials proposed. It depends on the requirements of each project and the sensibility of the architect. Threads linking their own work were picked up and sense made of them. This could be a door handle, a piece of furniture, a window or even a new material. They all have ambitions for their projects that go beyond the apparent scope of the initial brief and they look beyond their own immediate discipline into areas as diverse as art practice, politics, craft, music, material science, philosophy, literature and theatre. Instinctive moves were analysed and understood by the architects. Where possible, mysteries surrounding the learning and activities of architectural design have been unravelled or, at the very least, the reasons for their existence explained. Collaborative ways of working with people both inside and outside the construction industry and the use of working methods from other disciplines nourish the work of each architect. Patterns were established and interrogated. This provides valuable experience in preparing drawings that can be read by a contractor and will also enable you to think through the process from inception to completion. The precise nature of this emphasis varies, but each new project forms the next step in the overall development of a practice’s pursuit of meaning in their work. Each architect spoke with great skill to communicate complex ideas.
