Welcome to Zoom-world Part 2: Running a Zoom Design Studio

Welcome to Zoom-world

So now I have spent the whole week in Zoom-world. I have had so many Zoom back to back meetings and classes it’s been overwhelming. I have seen so many white plaster walls and Ikea supply chained backgrounds. No wonder I dislike all that flat-packing CNC lean construction theory which is aligned with the horrors of Ikea products. Anyway, who wants to shop at Ikea now, and who would want to get their frozen tasteless Lingonberries packs home delivered.

Some people have even been sharing pics of their ugly fish-bowled and caged pets, comfy ugg-boots and fleecy bathrobes. FFS, even Tik Tok has Gucci and Prada and Wolford hashtags. Could you ever trust a middle manager architect who thinks it’s funny to flash their acrylic Ugg-boots in your Zoom screen gaze via their laptop or phone camera.

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My Around the house Ugg boots 

As architects in Zoom-world should aspire to higher aesthetic ideals. As architects, we really should not succumb to displaying the gross creature comforts of our domestic lives to others in Zoom. At the very least, we need to maintain our unique fashion sensibility. We cannot let technology destroy the old traditional ways of the architecture cult. We must all still wear black, cool streetwear and luxury brands.

What kind of background scene should I have? What shade of black should I wear? Where should I position my laptop? What books that demonstrate my in-the-know and amazingly erudite knowledge and erudition should I prop my laptop up with.

I vaguely remember I had Zoom drinks last Friday and it was great. I got smashed on three Vermouths. Vermouth being my current drink of choice.

I have been able to do quite a few things I wouldn’t usually be able to do. Weekly meetings with the tutors. Zoom Q&A sessions with the students and also popped into a studio or two. It’s so much more efficient to set up a Zoom meeting than meet in person. It was all great.

I love Zoom-world after a week of it. Nonetheless, I think a few more things need to be said about running the post-graduate Zoom-world architecture design studio.

1. Zoom-world space

Excellent design tutors will understand the Zoom studio operates in a different scale to the physical studio. We are not looking form a different distance when we are looking at the zoom screen. I think this affords several opportunities for better interactive feedback and criticism. A pdf file on a screen is different from a pdf seen projected from 3 meters away. Zoom-world potentially allows for greater scrutiny of conceptual frameworks, diagrams, sketches and aesthetic details. It’s much harder to hide things thing’s or present a superficial view in zoom-world.

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My kind of studio leaders 

2. Be interactive

Zoom-world studios are best interactive any efforts to sue the zoom polls or chat functions or break out rooms are really going to add to the interactive student experience. Arguably, this will help you will engage the “silent” students, who typically say nothing in the physical studio and coax them out of their shells. But you will need to build in breaks and pauses for students to also the questions. You will also need to decide how you handle private messages during the zoom studio meeting studio participants.

If you can record the studio that’s great. This will help you go back and reflect on the ideas and the work presented. Any excellent design tutor will be thinking about each student and where they are at between zoom sessions.

3. Screen view power

But the normal spatiality of the design studio has now been supplanted. In the physical studio, there is usually a spatial hierarchy where critics and students and observers sit in the same space. This has now been transformed to the screen view, which has different view lines and visual trajectories between participants and within individual screens.

While you may be the studio leader, your “authority” and power, if we can call it that, is now translated through the scale of and the gaze of the screens. It is all about communication, and I suspect that hand gestures might work well within this new screen space.

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Zoom background tryout

4. Short rather than long and boring 

Pecha Kucha’s and short videos from the students should be encouraged. You really want to avoid long monologues. Zoom-world studios will work better in shorter segments. This doesn’t mean, as the design tutor, you are prevented from thinking about things reflectively because of shortened time frames.

I am thinking it means your teaching will be more effective if you think about your student’s work and its development as design over a series of shorter time frames. I am not sure about spending 15 to 30 minutes on a student’s work once a week is going to work in the zoom-world studio. Structuring your program a series of many smaller design tasks might be one way to go.

5. Prepping

I would also encourage your students to prepare and submit their work before the studio session. That way, you can look at it quickly beforehand. Asynchronous learning is vital in a design studio. But as a design tutor, you will need to provide materials that engage the student in this process, and you will need to check-in and make sure the students are involved with the material. Building a shared repository of resources is a good idea. As well as creating a forum for sharing online design practices.

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My laptop book supports 

6. Studio tools 

Utilising the page seriality of pdfs may also be a useful and straightforward way to help students to develop good habits of design iteration. The comment function in Adobe is probably something I would use. I am told that Adobe captivate is good.

Short youtube clips will work well to illustrate things if you share your screen.

7. Watch that gaze 

Some people in the Zoom-studio will select a different view on their laptop. As a studio leader, you probably need to be wary of where your own screen view or gaze falls. This consideration is essential, especially if zoom is recording the session of your own laptop screen. (although I need to check and see how it does this).

9. Camera etiquette 

I think as a Design Studio leader I would insist that everyone be on camera and not hide their camera (unless they have really crap bandwidth). Probably okay to have people turn their audio off but maybe you want to encourage engagement with the central focus of the studio at any given time.

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Zoom background and costume test. 

10. Zoom studio as performance space

I can’t stress this enough; the studio needs to be interactive. If you have fallen into the traps of spending your previous studios doing “research” for weeks, focusing on over every tiny abstract gesture, and berating students over issues of functional pragmatism, then a boring studio is going to be even more annoying in Zoom-world.

Finally 

My intro banter above points to the fact that the Zoom studio is just as much a performance space as a traditional design studio, and this engenders a different kind of spatial performance. You can’t wear your fleecy beige bathrobe or Acrylic South Park tie to the studio. Hence, you need to think about the production values of the zoom studio: backgrounds lighting, camera positioning and sound. Do you have stylish headphones, do you even use them?

Online educators often talk about so-called “blended learning” and then wax lyrical about the necessary IT infrastructures and tools to support that learning doesn’t necessarily mean the studio outcomes will be okay. All very well, but don’t be deceived by those wishing to make the architectural learning into a commodified product. Doing a design studio in Zoom-world is not akin to doing a BIM model. Excellent design teachers will have an in-depth understanding of both design and the available range of teaching technologies and tools. Not just one of these things or the other.

So yes, I am thinking shit studios in graduate architecture schools will be more shit in Zoom and dickhead tutors will still be more dickheaddy in Zoom.

Oh and, as you self-isolate, don’t let your standards of architectural fashion and decorum drop.

Making the jump to Zoom hyperspace Part 1: Running a Zoom design studio

Architecture as a Global System

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But to begin with, my book launch has been cancelled due to Covid-19, so here is a blog instead. Thank you all for your heartfelt good wishes. No point having a book launch if you can’t have a banger of an after-party

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It was going to be an awesome architecture book launch, with all of my low-friends scavenger friends mixing with the grandees; I think we will reconvene in November to celebrate the publication of the book’s first anniversary. You can order the book with a discount with via this NBI_EM_Raisbeck_Architecture_as_a_global_system_DNB230120.

A few people have read the book and tell me its an enjoyable read. I guess if it was a canonical ‘theory” book, you would have to suffer as you read it. I still have some colleagues who think I have written a practice management book. Now that I am isolated in my Covid-19 hermitage, from next week I will be running a book-reading discussion about the book on Zoom for those interested. It will be fun.

How the fuck do you run a studio on ZOOM?

So lots of people have been asking, and I guess it is a thing all over the world in the architecture schools: How the fuck do you run a studio on ZOOM?

Firstly, for many design studio teachers, it’s going to be a work in progress. In the global system of architecture, architects who have focused on being design teachers, rather than being pompous wannabe alpha-privileged warlord architects have been undervalued.

Elite architecture schools don’t invite great design teachers to give glittering public lectures. But hey, it is now time for the great design teachers to kick ass.

As any good architectural design teacher will know: being a great designer or getting excellent marks in the final year or getting lots of A-list publicity for your designs doesn’t necessarily mean you can teach design.

Can you imagine sitting in a design studio with some of those male Pritzker types, or even sitting in a ZOOM design studio in a soup of a Murcutt monologue? Apologies, for all you Glen and Bjarke and Remmie lovers, but many architects now live in ambiguous and challenging times, so maybe for our own professional survival it’s time to call out the BS. One way to start is to value unsung great design teachers more than what we previously have. Imagine listening to the rational and poetic spinnage for 6 hours on zoom.

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Zoom as a Disruptive Medium  

Conversely, if you are already a great studio teacher, jumping into a new medium isn’t necessarily going to mean you are going to be great in the Zoom room. I suspect. Zoom is unforgiving for some teaching techniques and tactics. For example, I think I need to stop shouting on Zoom. That is probably the first thing to bear in mind.

Face to Face studio teaching is now, at least for the interim, dead. Not recognising that in the process of digital and disruptive transformation, you cannot simply cut and paste your Face to Face methods across to the Zoom studio makes you the same as the elite Warlords who have done so much to destroy our discipline.

OK, here are some ideas, and it’s still all work in progress, to help you make the shift to Zoom Hyperspace.

1. IT Infrastructure Health Check

All of you IT excusers who mutter the mantra “I am not so good with IT” All I can say is time to clean up your desktop and start figuring out how to use standard IT applications. This is no time to make excuses.

But you need to have good internet access and good bandwidth, or you will be done for. You need a laptop (preferably) or a functional PC workstation that actually works. So you need to do a quick health check on your primary device. Do you have enough storage, etc.?

Do you have RAM (look it up if you don’t know what this is) on your laptop to use visualisation software? How will you transfer large files?

Likewise, is your phone up to date etc. Have you got your passwords and authentification under control? Do you back up? Do you have your security and virus protection act together? Do you have two-step authentification on your phone?

Are you using or running I-cloud?

Does your workplace or uni have a VPN or an Intranet, do you even know what a VPN is?

All of the above questions may seem simple, but you can’t spend your life mucking around cluelessly with poor computing technique in your Zoom studio.

2. IT applications

You need to make sure you are running the latest version of various apps. Outlook and Zoom, for example. Are your Adobe and AutoDesk apps up to date.

You need to know how to use and switch between the basics: DropBox; Google Drive etc. Again, how will transfer large files. Can you get to and see these things via your phone as well?

3. Communication Apps.

Now, this is the real key, you need to be able to communicate with your students by several channels. A lot of them will already be online using these apps.

Therefore, as well as Zoom studio meetings, you probably need a few other channels of communication with your students. I would set up some sort of group and will this be via text apps like WhatsApp or Signal (ER’s app of choice). There are others. You could use Slack or Yammer.

Check out what your workplace or University prefers to use.

Do you have an Insta page for the studio and a Facebook group page as well? Can students post comments to these? Does your University or workplace have policies around good digital citizenship and culture? How will you manage comments and messages?

Does your University use Canvas or Blackboard as a teaching platform? Are there discussion boards or grouping functions you can employ. Can you use, and do you know how to use the video app Kaltura? Or any video app In my subjects at MSD, we use Kaltura, I can record a video on my laptop and get it out to the students via a Canvas announcement within about 35 minutes.

Maybe you will just use email or text as your secondary communication channel or text.

3. Face to Face on Zoom

In the zoom studios, our thinking is that you really need structure. Yes, structure, structure and structure. You can’t just rock up with your big ego and do a little Tik Tok dance for 6 hours.

How do you fill a three hour, four hours or 6 six-hour slots in zoom? Standard face to face crits is not really going to simply translate across to Zoom. You will need to keep things lively and avoid zoom fatigue.

We are thinking batching works, via students in groups or batches of students. You need to encourage the students to ask questions via zoom or via another app like Slido or Poll Everywhere. For example, a simple, word cloud in Poll Everywhere, can help you prompt great discussions. Both tools allow otherwise shy students to ask questions. Or do this via your chosen chat app.

You can’t expect students to come to the meeting and wait around for 3 hours in Zoom. You can’t see each student individually for twenty minutes that will take too long. But maybe you get them to pre-book in individual consultations with different crit panels and people. Given that everyone all over the world is at home working, or with no work, so it’s a great time to book wonderful guests in.

Architects are great at doing and surviving recessions.

Architects are great at doing and surviving recessions. This is the architectural downturn and recession where design knowledge will emerge in the collectively organised virtual world and not in the fucking BIM model or in the gallery.

Students need to be prepared to present on their laptops. You never want people dithering as the pin-up on walls, Same with Zoom. I reckon to give them a minute to be ready. Kick them out of the room if they dither.

As always, the tone is essential, don’t talk down to the students. Don’t subject them to pompous monologues. Don’t harangue them (my natural tendency). If there is a silence as you wait for them to respond then be confident enough to remain. Questions and interaction in this media are so important.

I think keep the studio flowing and have a few different zoom activities. Here is an example structure that you may like to think about. Adapt as you see fit.

4. Zoom Studio Structure 

1. Use the waiting room function.
2. Don’t admit students in super late (haha).
3. Intro (what are you doing, in that meeting where are you in the overall program or design process).
4. A guest lecture or two keep these to 15- twenty minutes plus questions.
5. An exercise for your groups (even if the work is individual get them into study pairs or groups).
6. Groups report back.
7. Crits in batches (3-4 groups and a break) with strict time protocols.
5 minutes of student presentation.
A few questions from you and the other students 5 minutes
Final discussion 3-5 minutes a few primary points.
8. Last Zoom meeting comments and follow up 5-10 minutes

Follow up with individual students later between classes on the other channels, post some images up to Instagram.

Reconfiguring the culture 

More in Part 2, as we all figure out how to do this. This could be a great way to rejuvenate our design culture. Oh, and if your one of those design tutors, who allows the students to put off designing for half the semester I am not sure that’s going to work in Zoom. And if all your have ever done is studios is teach your life is Makery Spacey 3-Deee Printing Lab stuff I think you will need to set all that up in your home self-isolated workshop.

This is an opportunity for a very different architectural culture to emerge.

Some naughty things you just won’t see at any Architecture School

I got a few responses to the blog last week about architecture schools so I thought I would write a bit more about it. After last week’s blog it made me think about the kind’s of subjects I would like to see in architecture schools.

The broken compact 

When we start to think about what should be taught in Archi-Schools is it still worth thinking about or muttering that age-old question that still seems to get exclaimed by a particular class of architects: “Why don’t they teach them anything useful in Architecture School?” As some of you may know, from reading last week’s in the gutter blog—and a few people did pull me up for using the word twerking– my view about the demise of architecture schools is related to a particular managerialism that has broken the compact between the architecture school’s as communities of practice and architectural practitioners. It’s all about the KPIs these days student income, research funding and research metrics.

Someone said to me that in their architecture school, the managers—who used to be architectural academics until their souls were sucked out—send out emails to everyone saying here are your KPIs; and they just the same KPIs that have been thrown down to them from on high.

The Architecture School as a Community of Practice 

When I was at architectural school, 5,000 million years ago, there were no KPIs, and we were told it didn’t matter how long we took to be at architecture school as long as we left the school having learnt something. I took the ten-year option (the original course was 3 years plus 3 years part-time) someone else I know took the 12-year option. Most took the 8-year option. Nowadays it’s just a quick 5 years.

It was all about developing a unique culture of practice unique to the social milieu and place that the school was situated in. It was about creating and developing a school of architecture; a culture with its own norms, rituals, debates, conversations and narratives of practice. Admittedly the culture that was developed around the school I went to (no prizes for guessing which one) had its own petty rivalries, brutalities, misogynies and power asymmetries. But the outcome was a local architectural culture, centred on a school, that made a contribution to Australian architecture. And yes please: it would be great to critique the darker histories associated with that culture, beyond the hero worship or the slavishness to the “concept,” and examine its various histories in terms of the winners and losers (all the winners seem to have done is plaster the city in green chewing gum, weird hexagons and secret masculinist symbols). But at least it was a culture that could, and can be, be critiqued and was not some banal machine for producing mediocre ideas about our cities for the consumption of architects and clients who don’t want to feel guilty~guilt that will only increase as things keep going as they are (hey, hit me up with another ‘urban futures’ exciting smart city conference).

One arena of thought about architectural education is to think about it in terms of higher level policy issues around the regulation and compliance of the profession. That is a question that always leads to a narrative around the role of the ACCA and the competency standards. Fair enough and perhaps we do need different measures and perhaps we should ask how do we police the providers? Another discussion is emerging around what architects can learn in the pathway years between graduation and architectural registration. Perhaps the pathway should be more structured? Then you can also end up thinking about the scarcity of in-house graduate programmes in practices across the profession (more on that next week maybe).

Syllabus Innovation

But the other area is curriculum and syllabus innovation. Academics, as well as sessional practitioners, are really good at this kind of stuff. Now for some schools developing new subjects just burns up resources and the standard line from many university managers is “why would you do that?” I remember once when a university manager said: “why would you do that” when we suggested maybe we could have a bit of cheese and dips at student function to explain a course. Why change or reform anything? Ok, so I thought rather than getting all bitter and twisted about the dips, I thought I would have a bit of fun and think about the sorts of subjects I would like to see at an architecture school.

A few studio ideas you won’t see in your architecture school:

Intersectional Spaces and Urbanism

It’s incredible to me that no one has actually bothered to look at queer spaces and histories in relation to Urban Space in our cities. A city where queer voices are heard and have power through urbanism. That’s an entirely different and inclusive power dynamic.

Abject Algorithms

I know this sounds contrary. All those parametric facades tricked up by architects working with so-called specialist engineers and facadey experts look, how shall we say it,  oh so sanitised. Algorithmic wet wipes on the modular facades to assuage our carbon emissions guilt. I am pretty interested in how we can deconstruct all of that and look at facades and parametric patterns as conduits of waste matter and the execrable. How did the algorithm become he captive of the shiny luxury good designers? Is it possible to fashion a new politics of form out of the arrogance of star-architect facade algorithms?

Studio Extinction.

I am quite fond of the Extinction Rebellion group. Need I say more, and so I guess I am wondering how architecture is going to respond to the degradation of the earth.

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Outsider Housing

Slums, informal settlements, homeless, squatters, temporary structures, migrant housing, nomad housing meets Ferdinand Cheval and Nek Chand. First nations and frontier housing. The new frontiers being where the trees are being slashed. Of course, I have to get a little dig in and say: When I hear the words affordable housing I usually want to vomit. (maybe someone can do a graph charting “affordable” housing research vs. generational mortgage capabilities).

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Some Subjects you won’t see at your nearby Architecture School:

Design Leadership

Negotiations, theories of leadership, teams and teamwork. How gendered stereotypes of leadership operate. There is a humungous amount of research around leadership, teams and organisations in the social sciences. Architects should maybe try: just a little bit, and engage with this.

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Construction Detailing

This could be such a fun subject. I am thinking water, I am thinking flashings, I am thinking gutters, automotive gaskets, fixings and joints of all kinds. a kind of erotica and poetics of co at ruction details. Who actually knows what Construction Detailing is any more? A subject dealing with the dark and almost lost art of construction details would be great. Imagine having a BIM apparatchik in your office who ACTUALLY knew how to detail.

Consulting for architects

I am kind of thinking something like talking strategic design, and design thinking meets Mckinsey, Bain, BCG and the what was DEGW. The subject would introduce students to the smoke and mirrors hype, knowledge instruments and templates of the management consultants. We architects should be able to develop our own regimes; why should all the consultants get all of the fun. And the money.

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Strategic IT and Architecture

Yep, and I am not talking about just learning those dull software programs. Strategic IT management, Innovation theory, Data Analytics. I mean how do you manage software and think critically about it when you are making software decisions. How do you handle data, how do you collect data, how will architects do data analytics (could be a separate subject) in the future. What are the cycles and loops of innovation in the techno-sphere that architects should learn about? Oh fuck, it would be a subject where architects think about technology, you know like strategically, rather than just lapping it up like it’s some kind of addictive drug.

Of course, I am also thinking of a few seemingly kooky history and theory subjects. But I will keep those ideas up my sleeve as I don’t want to give too much away at the moment. Syllabus Innovation isn’t a bad way to think about our Archi-schools schools: from the bottom up rather than from the KPI top down. The problem with the latter approach is that subject delivery always becomes more important than subject content. I can’t wait to be told my online lectures have low production values.

Surviving the Design Studio: When you choose the wrong design studio and you realise you are just not that into your design tutors, and they aren’t into you.

The title of this blog was my life in every design studio. Anyway, I thought it was time to write something a little more positive and less cynical than in recent weeks. It’s been Design Week in Melbourne this week, and there have been lots of great events, and I would encourage all of you to go along to some of these before it finishes. I will be at this one on Sunday, and it should be an excellent opportunity to have a collaborative discussion about how architects can improve their working conditions and begin to think about labour practices in the profession.

But hey, let’s take it easy this week and talk a bit about design studios and design studio  teaching. Specifically, what should you do if you get that sinking feeling you are in the wrong design studio.

The Wrong Archi-School?

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Image: Simona Castricum 

So, you think you are in the wrong studio. And firstly, and you need to check this, you may actually be at the wrong graduate school of architecture, and if that is the case, it could be worth looking at the latest QS ranking list and seeing where your school falls. Some schools are better than others, and yes arguably the rating methodology is flawed. To say the least.

The ethos and the culture of your current school may not suit you. Especially, if you are different in some way and this clashes with the two extremes of Archi-school’s. These extremes are those with a prevailing cult mentality or those with a lacklustre culture of design mediocrity. I know of one new school of architecture where everyone has been narrowly recruited in the image of the head of school (cult). I think it is relatively predictable that without diversity in the academic cohort the school is doomed from the start (IMHO).

Another friend of mine is teaching at another Archi-school where the students seem to be so lacking in motivation; they are always late for class, and they never turn up on time for studio (lacklustre). Something is seriously wrong with that.

Ok, so let’s assume you are in the right architecture school for you but for whatever reason a few weeks into the semester you realise you are in the WRONG studio.

The Wrong Studio?

This may sound strange, but the best thing you can do when you are in this situation is to stay in the studio. I will try and explain why I think this is the case in more detail below. Firstly, there may be different reasons for thinking that you are in the wrong studio, and some of these reasons require more substantive actions than others.

Dud studio project

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Firstly, despite the lustre and appearance of the studio at the beginning or at the studio presentation, you might realise that it’s a not very interesting project. The site is banal, the brief is simplistic or the tutors love to dampen everything down with prosaic pragmatism.

If the project seems more comfortable than what you have done before, then that is obviously an excellent opportunity to think of ways to make it more complicated and to engage with your tutors at a deeper level. Try and understand the project and understand where your tutor wants to take it. Most tutors will have expectations about what they want from the studio. They don’t expect every student project to be super great, in the sense of looking fabulous at the end of the studio. Most tutors know that there will be people with a range of skills in their studios. But if you can understand what your tutors are passionate about and what ideas they might particularly want to develop in the studio then you can certainly use these to develop your project further. In tandem with your tutors you can help your them explore, to the max, the best ideas for the project even if the studio project seems dull.

Studio project beyond your skill set

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Of course, if you think the project is too hard for you and that’s the reason why you are in the wrong studio. A legitimate reason for this will be if your skills are not up to scratch or they are undeveloped (The bad reason is that you are just lazy). An excellent way to deal with this is to be very analytical about what skills you have and what skills you need going forward (some ideas on how to do this here).

A good design tutor will help you develop your skills and confidence. They will give you the space to do this. Having done your own skills analysis you will then need to figure out which skills you want to work on. Don’t be a dumbass and say: I just want to learn Revit or Rhino. You need to think about the range of skills you need. A good idea is to let your tutor know what it is you think you want to learn. Don’t make your tutors second guess what that is. Too often tutors don’t ask or just try and figure it as the studio proceeds. It’s not until the end of the semester that they actually work out what it is you needed to learn. Another related issue to this is your learning style, and it’s always good to figure this out and let your tutor know how you like to learn.

You realise that your tutor or tutors are a little bit crazy

Yep, this can happen, and it’s more likely to occur in schools where there is a cult mentality or a lack of oversight when tutors are chosen. Ok, don’t panic. Try and look on the humorous side of the situation. Take it easy, as the bad thing about this is that you probably are going to get contradictory messages from the tutors. And they will probably be inconsistent in either the value they put on your work, the advice they give you and even worse the respect they have for you. If you get caught up in the craziness you will end up being on an emotional roller coaster.

I think the best you can do in this situation is to gather around you a group of support critics and friends who can provide you with consistent design advice as you negotiate your way through this. If you can do that and you can gather enough support around yourself, then you should be all right. But it’s a bit like doing two studios at once, as you will need to meet with your friends each week and tell them what your crazy tutors have told you and try and work out your own design priorities. Two studios are better than one and if you survive you will be better off. Best not to worry too much about your marks in that situation.

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No studio friends?

You might find your friends aren’t in the studio. Really? My advice is to find some new friends and quick. Having no friends in the studio is an opportunity to make new friends and especially if the studio involves group work. Too often architecture students are crap at group work, and too often design tutors, even those tutors who insist on group work don’t give students any hints or ideas about how to do the group work.

There are a few fundamental rules of group work that everyone should know. Like assigning roles at the start and understanding everyone’s different working styles and maybe even working out common methods of contact. I guess I worry that architects and Archi students are hopeless at organising teams and teamwork.

The research syndrome.

Most studio participants don’t mind this. Hey, procrastination can’t be all bad. You can put off the hard stuff (actually designing) and talk and drink filtered coffee almost all semester. But it is essential not to go down this path at Archi-School. This used to drive me crazy, and it has a couple of different variants. Basically, it’s when the studio spends like 80% of the time talking and researching and talking and researching and talking and researching and never any ACTUAL designing. If you get stuck in this kind of studio vortex, don’t be sucked in. The sooner you start developing and generating your own design propositions the better. The idea that you have to wait for all available information and ruminate over it before you design the best way to never learn anything about design.

You realise you just not that into your design tutors, and they aren’t into you

Look you don’t have to be. And sometimes it’s hard when your tutors are vainglorious, discriminatory or they excessively foster others through obvious and not so obvious favouritism. But hey that’s architecture, and it’s something we all need to negotiate. But these things are also what we all really need to call out: the self-serving ambition, petty rivalries, profiling, bias and cronyism that is endemic in architecture schools and studios. If you feel bullied or discriminated against get help to call it out.

But again, getting yourself through this morass means you need lots of support, especially if you’re the only intersectional person in the studio and you feel like you have to hide in a corner when everyone else in there seems like they are in some kind of club or a clique. But shit who wants to be in that club anyway.

Make your own club as this is always better.

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In the global architectural system, architecture as a domain of knowledge practice is continuously being eroded, and so many architects have blindly accepted the celebritization (is that a word?) of our discourse. The elite clubs, the secret meetings, and unspoken smarmy clubby masculinities and handshakes. The few stars and the many. Why do we swallow it so readily? Why do our architecture schools mirror that stuff?

For me, celebratory and absurdist vitriol is one way to dismantle all of that. Someone asked me after I told them I was in the process of writing a book if it would be as vitriolic as the blog? I thought that was hilarious (I am just waiting for someone in my small village to say I am flaming down in a bitter and twisted way). However, for regular readers I am sure you will appreciate that the vitriolic tone has been pretty consistent over time. I like to describe this tone and voice as one of celebratory vitriol. After all what else can you do?

Finding your place 

If you get really desperate, you can find your voice in the studio via design tactics of irony, collage, mimicry and absurdity. Take a look at PJ’s work. Is it critique or homage to corporate capitalism. As soon you stop thinking that your mediocre tutors, in their many little mini-celebrity club guises, no longer have power over your design you will actually begin to design. For some of us we are never going to be in the club, we are never going to win the awards or the Archi-School prizes, or hang out with the celebrity architects. We will never have that Archi-pedigree. The architectural celebrities aren’t as fun as the real celebrities and they will only wipe their feet on you anyway, and the pedigreed types will never change the profession. After all, why would they?

Don’t Panic

Above all, and firstly, when you don’t like the design studio, you are in don’t panic. In architecture we don’t always like our clients or the projects we get dealt with and learning how to deal with these things as result of these factors is something we can learn when we hate our design studio.

But more importantly, the best tutors are the ones that will respect you regardless of how you look or your background. The best tutors are the ones who will not have favourites, and they will help you find your voice. These are the design tutors who have respect not only for you but for the future of architecture as well.

Updated March 21 

The Vampire Factor: Are the universities ripping the architecture schools off?

Are the universities ripping the architectures schools of? Sure, the 18-20 architecture schools across the country are not the most significant revenue spinners for the universities. But, those revenues are not insubstantial.

When most people did architecture up until about 2005, there was still a strong connection between the profession and the architecture schools. This connection is still mostly the case today, but the difference then was that the architecture schools largely controlled their destinies. The schools could largely dictate what could be taught and how it was taught. Architecture schools largely controlled the agenda of architectural education. For the most part, there was a close linkage between the Architecture schools, the profession—via the Institute of Architects (genuflect and cross yourself)—and the registration boards.

 

To better understand Australian architectural education, the Australia Accreditation Council of Australia (AACA) is doing a survey of Architectural education in Australia. What is great is that the study is not only for architectural academics but also for the MANY SESSIONAL TUTORS who work in Architecture schools. Yep, let me repeat that it covers issues regarding research, university resources, career pathways, the practice-academic nexus, and what should be taught in Architecture schools. If you teach as sessional or fractional academic you can do it. This is a fantastic initiative and the AACA should be congratulated.

 Take the AACA Survey  

The blurb for the survey is below:

The brief anonymous questionnaire is open to all ongoing and sessional architecture academics and may be found at the following link: https://www.surveymonkey.com/r/5RLYN62

It is a once-in-a-decade opportunity to shape the future of architectural education so please take a moment to make your voice heard! The survey is open until 30 November 2018.

The questionnaire will ask some questions about your teaching career and will seek your views on resourcing, teaching and learning practices, graduate pathways, and the future of architectural education. Participation is completely voluntary. You can read the participant information statement here.

This Architectural Education and the Profession in Australia study is funded by the Architects Accreditation Council of Australia (AACA), the Association of Architecture Schools of Australia and the Australian Institute of Architects, and is being administered by the AACA.

 If you have questions about the research, please feel free to contact AACA Research Director Alex Maroya on 0413 339 394 or email alexmaroya@aaca.org.au.  For occasional updates about the study, please “like” our Facebook page at www.facebook.com/aepstudy.

 This research has National Ethics Approval through the University of Technology Sydney: ETH18-2931N.

 Architecture schools no longer control the agenda. Their voice is mostly diminished within the university sector and of course, as is the habit of the profession, this is exacerbated by an increasingly fragmented professional landscape. In the past, the Architects Institute has not been much of a policy advocate when it comes to Higher Education policy. The Architects Consulting Association and Architeam seemed to be consumed, and perhaps rightly, with more local issues around membership. So who is advocating for architects at a policy level?

With the rise of, diminished federal funding, international student markets, research metrics (architects never really seem to get very many research brownie points), university managerialism (in all of its absurd glory), the architecture schools are not what they could aspire to be.

Are the Universities ripping Architects off?

 

So let’s look at a few numbers. This will help put things into perspective. I have only started working through these and happy to argue the assumptions behind them if you are interested. At the end of each year in Australia, the universities produce given that each graduate pays that is an aggregated revenue assuming each graduate pays around 36K for a place each year. As the recent AACA report stated:

Australia’s architecture schools produced around 1300 graduates from accredited Masters programs in 2017, which is consistent with preceding years.Overall, architecture schools enrolled over 10,000 equivalent full time students in bachelor and masters level architectural study in 2017, collectively bringing approximately $225 million to the university sector.

I think these figures understate the case. So let’s look at a local example.

The Subject Example

So in a subject which is 12.5 point subject out of 100 points per year that is around 4,500 per student in the subject. If I then have 280 students that’s total revenue for the subject of $1,260,000. That is equivalent to a pretty big renovation!

If the semester consumes 30% of my time that has a cost of around $50,000 per semester including all salary on-costs (using a 1.7 multiplier). If the Subject teaching budget, for tutors, is around $81,000 It will then be about $137,000 with salary on costs.

Hence the total salary costs is around $187,000.

Now let’s say that the multiplier for other non-salary on-costs such as overheads etc. (in contracted research projects this might vary between 1.7 and 2.1) is 2.5 we get total expenses of around $467,500.

Bottom line: Then the net gain to the university is, by this calculation, $792,500 a profit margin of 62.8%

The Studio Example

For a studio of 14 students as 6 hour subject with 14 students that is about 9,000 bucks per student. Hence, the revenue is $126,000 per studio. Ok, so let’s say you get 70 bucks an hour for a studio. For a 13 week semester that’s about $5460 bucks. Not a lot of bucks for a small practice. The salary on costs would be $9,282, and the non-salary on costs would bring that up to $23,205.

Bottom line: The net gain to the university for a studio is thus around $102,795 a profit margin of 81.5%.

Again, I am happy to further debate and refine these figures.

How much goes back to architecture as research dollars?

How much of this is going back to architects? This is the Vampire bit. Sure the universities support many small practitioners through sessional teaching. But how much of this is going back into architectural research?

Not a lot at all. When was the last time the Australian Research Council consistently gave anyone grants in architecture? For example, we did not raise any money from the universities for our Architeam project and getting funding for book publishing is also a nightmare.

So, I would urge you to survey as it will help present a united front on how we want to promote and shape Architectural Education into the future. But of course, the universities love architects, and I mean lerv, when they get them to brand the new campus or capital works program. Hey everyone wants that gig, But apart from that, in the meantime, the universities will keep ripping off the architecture schools and give us very little back for architectural research.

Take the Survey

https://www.surveymonkey.com/r/5RLYN62

It won’t be a silver bullet but it will help.

 

Surviving the Design Studio: This is the end; the last things before the design crit.

Last week I had the opportunity to see some student crits in my Archi-schools undergraduate program. I wasn’t sure how I would react to seeing projects from undergrad students and in my dotage there seems to be nothing more appealing than the prospect of prancing around a crit with the tantalising possibility of letting loose with a few well-chosen design criticism barbs. Thankfully, for all concerned including myself, the projects I saw were pretty good all things considered. It was indeed a pity because I still yearn to employ the darker arts of studio criticism and you can read about a few of them here. But it did remind me that in the last weeks of a studio—or even a design competition–there are lots of things architecture students should be doing.

1. Don’t turn back on your concept. Avoid concept-diarrhea

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Developing a concept beyond the pragmatic is an excellent idea. One of the problems many students have in studio is that by the time they do the research, understand the site, procrastinate, do a few half-hearted sketches, have a look at what Remksy, Herzog and de Neuron, MVRDV or Bjarke spark-a-larkles are doing on Insta, then do some more reading, fool around on the internet, procrastinate some more and its like 3 weeks to go and then the panic sets in. Perhaps it might have been better to do some design sketches in week one?

If at that point you don’t have a concept get one. If you do have a concept, don’t lose faith with it. Don’t replace it with another different concept. Concept replacement is usually seen as being desperate, and a reasonable jury will always sniff out projects based on the last-minute rush to finish. You have to run with it and make it connect to all the different aspects of your building that you need to design.

If you have burnt up all your time, the first thing you need to do is remember the concept and try to fashion and explain it in a way that is not merely about a knee-jerk functional reaction to the clients, the brief the studio outline or the site.

At the end of the day critics, everyone will want to see how you have used your concept or conceptual apparatus to fashion your design. Maybe, summarise your concept in one diagram or image and put this on your final print out.

2. Work on your plan. Avoid DLD (dimension-loss-disease)

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As everyone knows I hate plans, and they sued to bore me senseless when I fancied myself as an archi-school student designer. I was more interested in the developing dynamic volumes and three-dimensional architectural language.

And FFS get your scales and your spatial dimensions correct. There is nothing worse than looking at a plan that is full of empty space or the kitchen benches or door openings that are too big or too small. Another aspect of DLD is that some areas are either much bigger or much smaller than what they are supposed to be.

Print, yes actually print out your plans, and get a friend to check them. I am sorry to tell some people this, but plans are about measurement. One old trick is to actually design into your plans cool bathrooms, laundries, kitchens or storage areas. Yes, get those toilets right. If you can do that the whole plan will have more detail and look more convincing to a jury. Get some level of detail into your plan even if it is only visual.

3. Work on and present your sections. Avoid alt-right-angle-sectioning.

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I cannot stress this enough. Yes, I am a section guy. I love those Siza sections which communicate so much about volumes, light, spatial sequences, and the relationship between spaces. After all, a section is in some ways a plan that has been turned on its side. Good sections are of lines that are articulated, a section is a line that has a profile: steps, nibs, thickenings and thinnings, bumps, protrusions and the whole affair is a contoured and shaped image.

There is not building on the planet that has a right-angle where the exterior walls meet the roof. Just spitting out from a digital model, plans, sections and renders without thinking what they are like in reality is not architecture.

4. How is it to walk around your building and what will you see? Avoid unreal-viewpointing.

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Avoid the impossible angles, screwy scaled views, hot air balloon basket views that no user of your design will actually see. Avoid viewpoint unreality.

The worse thing you can do is front up to the crit and have no idea yourself what your building might be like to walk around. Looking at things in the computer is not the same thing. So, you need to walk through it in your mind and not in your computer. What will you see and what will you encounter? If you can produce and present a series of vignettes and views of what it might be like for someone, perhaps as an actual user of your building,

5. Show the context. Avoid render-plopping

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Please, I beg you, I ask you with all my heart, to show the context. Nothing shows archi-school and computer ignorance more than just plopping on a sheet—and I mean plopping in a scatological sense— render as if it is completely isolated from any surrounding urban, material or physical context.

6. Show the design process. Avoid process-voidance

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Bring along all your sketches, preliminary models, have them ready to show the critics. Stick them into some kind of consistent format. I mean how long does to take to do this?

Physical models are excellent. Even if you are running out of time, it’s still good to do a small, simple scaled physical model even if it is tiny. It’s probably worth at least 5 more marks if not more.

7. Get your project timing right. Avoid timing-desperation.

Of course, all the above things might seem like they are going to slow you down or take up too much time. Better to just stay in the model and keep on doing stuff as that will be quicker. But in fact attending to the above issues either partially and or fully will, in the long run, make for a better design and a set of images at the jury end of the process; it will communicate more about your design to a jury.

If you get too desperate about timing, you will screw everything up and end up at a broken printer. Timing is everything, and you need to plan ahead as to how long things will take to do.

I suppose the above is a kind of plea for the importance of design thinking and its associated crafts. Working on a computer model and then just spitting it out into a presentation—extruded plans, oversaturated renders, no sections, Insta-people collaged into all the views, a completely missing context, isn’t really architecture. It is just crap.

Previous blogs along these lines include the following:

Surviving the Design Studio: How to start making architecture with an actual drawing.

Surviving the Design Studio: How to avoid plan reading blindness

Surviving the Design Studio: 7 things to do to hit the ground running.

Surviving the Design Studio: 6 hacks to develop your crap design quickly.

Surviving the Design Studio: Symptoms and cures of design jury anxiety.

Surviving the Design Studio: Getting through the last days before the submission deadline.

 

 

 

Surviving the Design Studio: Making architecture dangerous in the swamplands of design mediocrity.

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Daphnes Spanos Autonomous Waypoint project (above) from Independent Thesis MSD 2016. Rehabilitaing and old modernist resort hotel, this project grappled with the flow of refugees to Greece and Europe from Syria. Numerous critics were aghast that she was even trying to do this. One critic thought she was doing a Manus island detention camp, another couldn’t believe she was doing it at all. I was aghast at the emotional reactions to this admirable and well thought through project that sought to tackle a seemingly dangerous issue. 

Memories of the old school 

Recently, I returned to my architecture school of my architectural birth to look at the final year projects. It reminded me that my architectural education was largely a mix of being self-taught and learning a few things in the actual classes, being bullied by tutors, and stumbling from one design studio disaster to the next. Ironically, even though I now teach it, professional practice was not my best subject, whereas architectural theory was.

I should also add at the time the principal mode of studio criticism seemed to be good-cop bad-cop combined with a large measure of passive aggression. I didn’t talk, but I did observe. Luckily for me one of my design tutors had a, seemingly dangerous, passion for Christ. It was great education to see over the years how that dangerous and unconventional passion manifested itself in a subsequent career and built works.

It’s also best, if I skip over and dont mention, my not so fabulous design marks. Needless to say, I have always been suspicious of people who got the top marks in design. Unless, of course they were in my studio or my own thesis students. Two of which are featured here to illustrate my points.

Autonomous Waypoint_ViewDaphnes Spanos Autonomous Waypoint project from Independent Thesis MSD 2016

 Danger Danger Will Robinson

I think one of the most important things I learnt at architecture school was that architecture needs to be dangerous. I remembered this when I saw the final year projects on the walls of my old architecture school. Not all of these projects were vapidly pragmatic or useful. In almost every one there was a sense of danger, a sense that architecture itself mattered more than logical design thought and functional solutions and techniques. More than a sense of concise, orthodox and well expressed arguments. It reminded me that architecture can still provoke ideas through spatial experience, the way we make sense of the world, questioning aesthetic norms, as well as allowing us to pursue techniques to there most extreme, and often surreal, conclusion. A sense that architecture was about estrangement, evoking worlds, states of being, and memory that exists outside of and in parallel with our everyday lives. Of course, to complicate matters further, and this may come as a shock to some readers, architecture doesn’t always need to be about anything all the time anyway.

Once you get past the naïve swamplands of thinking that architectural design is all about designing solutions to problems it gets more interesting and paradoxically, I think, architecture also becomes more effective. Last year in a design crit I heard a jury member say: I don’t like those materials and the way the project has been drawn it looks “hard and impersonal and repetitive” and hence the implication was that the project itself was hard and maybe should it have been soft? I wonder, what it is with the hard-soft dichotomy anyway, the more I think about that the weirder it gets. Our level of critical discourse and criticism needs to rise above this kind of simplistic determinism and crap dichotomies.

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Above and Below: Priscilla Kwok’s Independent Thesis MSD 2016 drew on the polemic of Superstudio and critiqued the all male culture of innovation spaces. The project was a poetic and thorough critique of current fashions and exclusion in workplace design. 

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Architectural Design needs to be a little polemical and dangerous to be of any use

What should be of concern is that the problem solving ethic, often ignores aesthetics and does little to produce architecture that either provokes our thought or speculates about the future. Even the smallest and most budget restrained project can speculate and provoke us to think.  Being self-satisfied with the baby pap mix of concepts based on simplistic functionality, constructional CNC logic or another “bespoke” policy issue, or social enterprise do-gooding is not enough.

The “urban happiness” push is fine but is it just about making the already privileged comfortable in consciousness and urban lifestyle?  Is it just about trying to organise and mitigate the horrors of neoliberal capitalism: sustainability, green innovation (another apartment building covered in green) and clients with that “awesome” lifestyle. Making the deterministic and causal link between material aesthetics and how a building feels only diminishes our design practice.

So along these lines what follows are no less than six talking points, to help you think about how to make architecture a little more dangerous, and even fun. Plus, I have included a few images of “dangerous” final year projects.

1. Architectural design should create problems

Yes, there are times architects are so caught up in solving immediate design problems for the instantaneous moment that they disregard forget how to create problems. Have architects become too risk averse? Of course, I don’t mean deliberately creating problems related to some technical lack. Like the roof leaks or bits of the building fall down. Creating speculative problems is about the long game; the real game after the project is delivered. For example, architects can choose to design to disrupt. To disturb or distort prevailing urban aesthetic, sustainable or material patterns and orthodoxies. Just doing sustainability isn’t really enough. I hate it when developers get their green on.

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Jing Yi How, Bridging the Edge, RMIT Major Project 2017 Mark Raggatt and Tim Pyke Tutors. 

2. Create architectural images that burn a hole in your brain

Create dangerous architectural images (and I don’t mean pornography). I dislike images that are full of sanitised clarity or have been over saturated with “realistic” colours or filled with bright happy Google people. Create, fuzzy and blurry images, ambiguous images, images that play with perception, images that obscure and confuse us and play with existing regimes of power and media distribution. I am sick of seeing that archetypal housey thing covered in black zinc in my social media feeds.

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Kayden Khoon Yaw Lau, Game-On, RMIT Major Project 2017 Ian Nazareth Tutor. (Above and below).

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3. Make architectural design subversive

In what way does the design subvert or counter a client context, prevailing typology, or economic situation. We need more projects that speak to refugees, migrant labour, gender inequality and LGBTQIA and indigenous people. We need more projects that reference the political contexts that confront us and it is architects who have the spatial, form-making and material tactics to do this. I am not sure the community pop-up barista café design market urban garden is really that political. Sorry.

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Jan See Oi, Abyss in Luxury, RMIT Major Project 2017 John Doyle Tutor. 

4. Foster alternative futures

Architects can really foster debates about the future of our cities and architecture and I don’t just mean debates around making those cites nice, or “great”, or high density or more liveable. Or another thought leader convention full of urban densifiers and city exciters. Architects can also propose experimental futures. Architects can and should have a real discourse around utopia and dystopian outcomes for our cities. I am not sure those renders of endlessy flooded cites, or cities full of windturbines, will do that either.

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Imogen Fry, Regenerated Farms Regenerated Towns Regenerated Nature, RMIT Major Project 2017,  Mauro Baracco Tutor.

5. Architecture should be kind of annoying

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Austynn Machado Hi-Fi Lo-Fi RMIT Major Project 2017,  Paul Minifie Tutor.

Is architecture just about giving the everyday users, or punters, what they want? Maybe people need to bump into architecture more, maybe it needs to be in their faces more, maybe it needs to make them walk through a labyrinth or see different aspects of light than the monochromatic fluorescent and halogen wash we are all living in. Architects should avoid, like the plague, that happy little bright and sunny sustainable community focused apartment development with all the big floor to ceiling windows looking onto the garden.

6. We need more ugly 

In decrying these things I am not wanting to evoke a sentiment of cynicism or bitterness. The tone is probably meant to express a kind of desperation in order to save the discipline of architecture. The images of the final year projects reproduced here suggest a little about my position. I am not suggesting that architects should escape the world and outcast themselves into a zone of isolated hypocrisy or pernury. I am not forgetting architects need to get the fees in. But, intellectual appeasement to the prevailing norms, fashions or about to happen policy problems is not architecture. Nice and safe is not architecture. It only leads to an architecture easily swallowed up by the mass produced business as usual landscape.

We need more ugliness and danger in our aesthetic and critical practice. Maybe naïve art and kitsch is pretty good after all and thankfully the architecture schools are still places where we can experiment. Architecture needs to take us, and be, somewhere else from where we are now. Playing it safe is not going to do that.