CHARRETTE

I have been experimenting with the use of the charrette as a teaching tool for a while now.  I find that the concept of the charrette can be an effective way to engage students, and at certain times shake up the rhythm of the studio.

First of all, for those who may be unfamiliar with the term, a "charrette" generally refers to any time intensive design activity.  Architects under an intense time deadline will sometimes refer to be 'en charrette' or 'charette-ing'. It is sometimes used synonymously with the term 'all-nighter', although that is not the context in which I am using it here.

The term charrette can also be used to refer to a group planning or design activity.  We have done those types of charrettes here at COD on several occasions, as shown in the image above from the 'Rebulding Together Aurora' charrette we hosted in 2013.  In these instances, the charrette is a valuable tool to get students and design professionals working in a creative and collaborative environment.

The origin of the term charrette is a derivative of the French term meaning "little cart".  As legend has it, during the time of the origin of the Ecole des Beaux Arts, intructors would travel from studio to studio throughout Paris, collecting final assignments on a small horsedrawn cart.  Sometimes, in the panic of a deadline, a student would be know to jump on to the cart while the project was being collected to put the finishing touches on their work of art.  Hence the term 'en charrette', or 'in the cart'.

In the context of my design studio, I am using this term to refer to short, intense, sometimes collaborative, design activities.

I like using charrettes for several reasons.

First, charrettes get students moving.  Whenever I feel that there is a lull in the studio, I consider a charrette to amp up the productivity.  This week I planned a charrette for the first class after spring break, knowing that there would be a significant (post spring break Monday morning) sluggishness in the studio.

 

Second, by increasing the pressure with a short deadline, these activities get students working quickly.  Sometimes, I feel that designing without thinking too much can lead a student to work more intuitively, less formulaic, and thus be more likely to make that ever elusive intuitive leap that is so critical in design.  It is so easy for all of us to get stuck in a design, overthinking every move.  By forcing students to work quickly, there is no time to overthink or get stuck in a design problem.  Obviously this type of quick, intuitive methodology is not always appropriate, given that I want students to have a well considered design solution. It is effective strategically implemented at times when students are already prone to getting stuck in their own designs.

 

This week I tried another variation of this method by having students trade projects, and thus develop a project designed by one of their colleagues.  The students hate this of course, but I like the results.  My goal with this is simple - to get students looking at the work with new eyes, with the intention of revealing design alternatives and potentials.  I find that students are often much more open minded to change, and can more effectively identify areas that need to be developed in someone else's work rather than their own project.  It is human nature after all, that the longer we work on a creative project the more we begin to work with blinders on, failing to recognize opportunities in our own work.  As we invest ourselves more in the creative process it becomes harder and harder to question the work and rethink alternatives.  Students see the critique in other's projects easier than they do in their own work.

 

So on Monday, the first class after spring break, I had my students move one desk to the right, and work on a project that is not their own.  I asked them to identify the key concepts in the work, think about how to communicate these ideas both through writing and drawing, help their peers draw concept diagrams and write concept statements, and ultimately suggest opportunities for development.  The students had 90 minutes to create quick hand drawn boards, and then at the end of the studio we pinned up the work and discussed each student's critique.  We still need to work on graphic communication (perhaps the subject for the next post), but the student to student critiques were excellent. 

And maybe (hopefully) - each student will now be able to return to their own project with a fresh set of eyes and an open mind for developing their work creatively.  Perhaps there will even be some intuitive leaps.

ITERATION (2)

As a follow up to last semester’s post regarding variation in the design process, I had the opportunity yesterday to visit the John Ronan exhibit at the Art Institute of Chicago yesterday which is entitled “Iterations”. 

This is a small but fascinating exhibit that focusses on the design process used by Chicago Architect John Ronan for his work on the 2011 Poetry Foundation building. 

Of interest to me is how Ronan uses an iterative design process within his work to test ideas and explore variations.  Exploring this same theme in my previous blog post last year, when I teaching design I am often challenged to get students to truly explore options and test ideas through the process of making.  I still contend that to become a good designer, one must question, test, explore and invent through a process of iteration.

Ronan illustrates this process brilliantly through a series of process drawings and models on display in this exhibit.

First on display is a series of sketch organizational diagrams which explore options regarding the relationship between garden and major programmatic elements.

Perhaps even more interesting is a series of massing models (10 in total) that were created in a single afternoon design ‘charrette’ – a process intended to quickly flush out ideas.  These models are massing studies that quickly and elegantly explore a whole range of options for organizing and massing this relatively small institutional building.

Ronan uses a similar process to explore a range of options regarding the façade screen, which is one of the more prominent design features in the building.

 

Check out this small, but worthwhile exhibit at the Art Institute before May 4th, 2014

ITERATION

What do I want students to learn in my sophomore design studios?

The most important skills that a student should learn in the early years of architectural studio courses is ‘thinking’ and  ‘process’.  Design is after all, a process of inquiry.

The design process itself can be difficult for students to grasp.  It is different than the way students have been educated their entire lives, where they are taught to follow a series of linear steps that will ultimately lead to a ‘correct’ answer.  Design is not that simple, nor is there just one solution.  Design is a thought process, an intellectual activity that is about creative exploration.  The creative process involves innovation, meaning that you don’t always know where a project is going when you begin.  Because of this, getting students to explore iterations in their work is essential.

The challenge in teaching design is that the design process is non-linear and iterative.

One problem I often see in my studio courses is that students get stuck on an initial idea.  Too often, students resist the idea of truly exploring options and possibilities.  This is likely a result of the time and energy it took to develop the initial idea in the first place.   It is hard to convince a student who has just spent an enormous amount of time developing a project that now is the time to re-think and question everything.  The challenge, however, is that to become a good designer one must ask questions, test options, and explore multiple solutions to a given problem.  Good designers are quick on their feet and must be able to shift their thinking as fluidly as they can shift scales.  Design thinking requires the quick exploration of options. More than often, when a designer allows him or herself to follow a new idea, the result becomes richer and more authentically innovative.

So how do you teach this? 

This past week I tried an experiment in my studio classes.  We are about one month into this semester’s primary design project.  The students have already explored several site planning concepts at 1:30 scale, and have already produced their first building design model at 1:8 scale.  They have all seemingly established a conceptual direction, and I thought maybe this would be a good time to try to shake things up a bit.  So I tried creating an in-class two hour charrette.  The students were asked to develop two entirely new alternatives to their project.  One scheme was to use the already established organizational parti and develop a new massing concept.  The second scheme was to be an entirely new alternative using the previously established design concept.  Students began the class with one scheme, and two hours later had three.  The purpose of this activity was to get students working quickly and intuitively, without thinking too much about the outcome.  Could the work itself reveal new opportunities and potentials within their design?  Can trying something new give new insights into a project?

After the schemes had been developed, I had students pin up their work.  Then in small groups they worked together to identify the strengths and potentials of each scheme, using post-it notes to record their observations.  The idea was that by focusing only on the potentials for each scheme, students would begin to think about how to develop their project, hopefully now incorporating new information  learned from this exercise.

 

What remains to be seen at this point is if this will ultimately work, but so far some initial feedback is promising.  One student mentioned that I had totally screwed him up because now he was “rethinking everything”.  If that is the case then I have done my job.

Light Modulating Wall

I thought I would post a few images of the first studio design project from my Arch 2202 Design II studio this spring semester.  This was a three week warm-up project where students worked in teams to create a light modulating wall.

The intent of the Light Modulating Wall project is to design a wall section that gives an adjacent space a sense of place through the modulation of natural daylight.  Students are challenged to work with light as a ‘medium’ to design a south facing wall section that captures, manipulates and modulates light and its dynamic qualities. The design intent is to create a place that is memorable and has a unique character.  Students work in teams design solutions which create a dialog between architecture and occupant by modulating a poetic interaction with natural daylight.  This project introduces students to the concept of designing in section, as well as addresses detailing and structural topics.  The students’ designs are an exploration of the creation of space using natural daylight to create a unique and memorable experience.

Students in Action

As the summer winds to a close, this will be the last post about the Arch2840: Architecture of Florence and Rome class. I am obviously very lucky to be able to teach this kind of class, and I am truly grateful for the opportunity to teach about and expose students to some of the most important buildings in history.

For me, the most rewarding part of this experience is the opportunity to observe students experiencing architecture firsthand. When I was an architecture student, I had the opportunity myself to study abroad and experience some of these very same buildings. I know how important that primary experience was for me. It changed my views on the world, and has impacted my life ever since. My own travel experiences have forever changed the way I view and understand architecture.

To be able now, as an architect and professor, to pass this experience on to my students is a very positive and rewarding activity. I can only hope that in some small way, I have been able to impact and shape the worldview of my students through this course. I can’t help but be overjoyed at the sight of students in awe at the many amazing places that we visited. It reminds me of how I felt, and still feel, when experiencing great architecture firsthand.

Our students on this trip ranged in ages spanning several generations, from the traditional aged student through more savvy veteran travelers. For some students this was their first time leaving the country. For others it was an opportunity to revisit and reconnect to places that had become memories. I think that all involved in this trip, regardless of their prior travel experience, left with a new and lasting understanding of architecture.

The images here are simply a record of students in action. They are not always great photography, and I have obviously had some issues in editing this post. Some shots are mine, and others are not. What they are collectively, however, is a testament to experiencing place, culture, and architecture through travel.

Ralph, admiring the Medici ceiling

Jane, teaching at the Palazzo Medici

the COD group at Santa Croce

The best part of Italy... the food of course!

Who shrunk Dora?

Taking pictures of people taking pictures...

Lunch, in front of a Renaissance masterpiece

Tyler, hanging out

Jane, stopping to admire the view on the way up the Duomo

Which way to Florence?

The COD group at the Spanish Steps

Andy takes in the view from the Duomo

The COD group at the Colosseum

Ralph at the Colosseum

Andy at the Colosseum

Matt, lurking with his camera

Matt and Cam

Sketching at the Pantheon

Anything it takes to get the shot

Yes, Marge made it up those steps!

Jane, teaching at the Campidoglio

Maybe we did look like toursits?

We should have been kissing the ground after that landing

My classroom in Rome

also lurking with my camera

What do you do while waiting for lunch? We sketch.

Singing in the rain (I might regret this one)

Brilliant! Why didn't I think of this?

Skies at St. Peter's

Here are a few images from the day we visitied St. Peter's Basilica. On the day of our visit, the weather changed frequently, which led to a number of photos with the most amazing skies.