RAFA GONZALEZ. DEL CASTILLO on previous comment R. C.
I think a project is not born one way, but several. Almost all started by a geometric path, which may be imposed by a working method learned.
But (I keep saying I think), I think we all have in mind a user who will enjoy and feel comfortable in our project more successful, more than or equal to other existing projects (but for that would project, you would copy and play).
JMS
artists of any kind, produce their works from the perceptions, experiences, memories, reasons or emotions, ie from any motivation that vibrate your personal universe is capable of unleashing the creative process of a new work. For an artist, sculptor, painter, etc, we need some more. Even the communication of the work to others, if it does occur in this case typically occurs anonymously and through that usually called "aesthetic emotion". It is not uncommon for the receiver has a different interpretation or perception of the author but it enriches the work because it reveals hidden aspects that were probably there and that were unknown even for the artist. Until the accident may have their options in these cases.
Architecture part, for me, all these things and we could apply the same thinking but there is a crucial factor as distinct as that ES , THE FACT OF HUMANS live in these places (home, work, training, meeting, entertainment ...)
is not the same and here I begin to answer your questions, take mind and consider the user to convert human beings at the center - the protagonist - of architecture. The project builds and grows from its original intent and does not do well in one case than another. In the first case, human beings are born earlier formulations suitable for other bodies, geometric, fashion, economic or whatever form-building project and the note ( humans for architecture) in second case arises architecture around the complex dimension of human beings, trying to understand and respond to it, from the elementary and physiologically, to all rational considerations, to their perceptions, emotions and deepest sensitivities. ( The architecture for humans).
The Vitra Fire Station Zaha and Sanaa Rolex Center are two important works that have had some luck to see. In the first, in my view, to Zaha cared before other things that the human inhabitants of their areas. In the second, the inhabitant is absolute protagonist of all decisions and project values. Both works are held and you will find reviews for all tastes. As you say, the search for a geometry of success, the approach through mathematical processes or combinatorial or be at a certain current or fashion can be a working method learned at the school but everyone talks about what he believes and I , I doubt many things, I believe in it and so I pass it on. If not how could be a teacher?.
I have made these observations with the advanced course and after seeing many proposals in the classroom and on the blog. This project, could have been different, I put it precisely so that you identified and you involved with an issue so close to you. Hopefully I'm wrong but, so far, I see that closeness and if many "strategies" to use projective geometry and cold as the protagonist.
Then ask
What is a living space and rather "enjoyable"? Is it open? Is it closed? Is it circular? Is it comprehensive? Is it new? Is it inviting? Is it cubic? Is it deformed? Is it ...?
Rafa, there can be no response and I expend recipes dictionary. I try to make you think, turn your thoughts and your sensitivity to build your personality as architects. If you have any recipe not give it, when I did I almost always have regretted it, because it would be my recipe and would not necessarily be yours. I live with my limitations on their backs like everyone else. You you can go further, or so I would like me.
However if I have an answer: The library Siza in Oporto School is an enjoyable space, the H & M showroom in Vitra is an enjoyable space, the Rolex of Sanaa is a enjoyable space are just some prominent examples, but there are thousands and many are in the references of the blog and know. All are made for the enjoyment of human being who runs, who inhabit it. They all feel good. The human scale suitable for each use, proportion, light, outdoor landscape, the interior landscape, materials, colors, textures, sound .... enhancing the character of each proposal.
studying, feeling and trying to understand these examples, many examples come to acquire skills to at least imagine approaching quality solutions. It is not easy but not tell you another way: The writers learn to write by reading teachers. The filmmakers see the movies of teachers, musicians, painters, photographers ... and architects. But as I said in the text, we are not just tasters, but chefs and this requires delving into the processes and the material and understand.
who have not exercised studying and drawing a home or office space is more complicated to get to interesting solutions when dealing with them.
who has not been excited about a landscape, with a ratio, with a light, it is difficult to provide anything like this in their projects.
How do you draw a living space? What is your geometry? What is its volume?
I think there is a plausible answer.
course not! How to do something, a movie, a symphony poem, or a building is a process of searching from some intentions. This attitude of search, watch, produces, in addition to inevitable moments of doubt and even anxiety-encounters and discoveries, the musician quickly notes with his artwork to the music, the poet turns to the emerging role and the architect's words hunting in a drawing, in a model, a doodle or a notation on your notebook. What is a sketch, a sketch? It is the intent of transferring the paper what you have in mind: concepts that are struggling to become images, and when beginning to appear you need to capture, first to remember and then to continue thinking about them and make them evolve with new contributions, new concepts made images .
Before the final sections of plants or Ronchamp or Siza library there was doubt, babbling, drawings of intent, pursuing the idea ... and then more persecution for each definition and eventually every material, every detail, every nuance, to strengthen the intentions in the ultimate reality of the building.
But there is a geometry, a space, volumetric ... to which you may ask.: Is it habitable? Does it meet the needs? Do you enjoy it? Is he comfortable?
So my conclusion is ...
Wait, think, plan, drawing, and then ask questions and criticize if that space is habitable or not.
course Rafa is a geometry, geometry has always been one way or another. And frames and sounds. The question is at what point appear that geometry, these sounds or these frames. Before or after the intentions? The test, or something even stranger coincidence can trigger ideas for the architect (or the musician or film director). That's part of the findings, the vigil. But no such intentions, these goals, why we serve, how to recognize?. The author of film scripts to prepare your say, express better what to say, the musician composes musical phrases or sounds juxtaposed to express a particular feeling. The geometry is INSTRUMENT, and the music sounds like film images. BUT FILM IS NOT NO INTENTION MIX PICTURES, ONE MUSIC, SOUND MIXING OR NO INTENTION MIX BUILDING MATERIALS Geometry or unintentionally.
The confusion is that visible in the film are the images, music are audible sounds, are the words that we heard of the poems and geometries AND MATERIALS what see the buildings. In a fast paced world we read the headlines, the headline news (even called Headlines to the TV news) and images of the magazines. The surface quickly becomes easily and we often forget the content, the deeper reasons.
Others will tell you other things but what I'm trying to say, this is my contribution is that
Haggis YOUR PROJECTS WITH THE INTENT AND that you put MAN IN THE MIDDLE OF ALL OF THEM.
This is an endless conversation to be followed. Keep asking questions. Even If the arguments do not convince you, try thinking about them. A hug. JMS
