Teaching Architecture + Design.

Ideas grow from sparks to embers to flames. So do people. To teach is to witness and nurture both. Seeing that light turn on inside someone is in all ways illuminating and just a little bit magic.

This generation’s student learns everything via YouTube.

How can we make education more accessible?

Rethinking Architectural Pedagogy, Engagement & Inclusion.

Selected Briefs

Architectural Design & Architectural Methods

Written for the Bachelor of Architecture, Curtin University.

Urban Acu-puncture

First Year x Design 2

Student exemplars: Dane Walker & William Davis

Jamie Lerner's Urban Acupuncture posits that like the body, where diseases may be cured by the prick of a needle, the scars and dead spaces of an ailing city can be stimulated and revitalised with thoughtful interventions. In this studio, students were challenged to create their own architectural acupuncture that responds to the needs of our city. In combing through the Perth CBD, students found ailing sites in need of spatial intervention.

The client was the city and the users were its many varied inhabitants. While the acupuncture may be small, its inherent connection to the people and place renders its impact large. In the second phase of this project, students looked to Peter Zumthor's Atmospheres and developed the Space, Form, Structure and Material of their scheme to resonate with experiential quality. The carefully composed evocative drawings and perspectives are the manifestation of their attempt to repair the torn urban fabric of the city, through small yet highly considered moments of architecture.

 

Digital Literacy

First Year x Methods 2

Student exemplars: Samarah Siddique & Peter Pupovac

Methods 2 is focused on learning and applying industry-standard tools to transform design concepts into intelligent visual and physical products to communicate ideas clearly. This unit focuses on analysis, technical proficiency and visual communication. The understanding of architectural and conceptual communication is initially achieved by Case Study analysis, and is then applied via personal interpretation expressed through evocative and experiential drawings, including sections and perspectives.

In this Unit, students also learned how to articulate and communicate architectural and design concepts visually in weekly software-centred workshops. These workshops include the development of basic skills in AutoCAD, Illustrator, Sketchup, Photoshop and lnDesign which will were used to explore design possibilities using architectural drawing, sketching, diagramming, collage, perspective-making, etc. The skills used in this unit form the foundation of the students' skills in architectural communication and will continue to play a role in their iteration and improvement as designers and visual thinkers.

 

Residential Design

Second Year x Design 3

Unit Coordinator A.Prof Francesco Mancini (campus) Chris Mewburn (online).

Student exemplars: Dion Cotterle & Vittoriano Vicaretti

This Unit is around the forming of spatial ideas in response to a problem of inhabitation. The scope is to enable learning about Architecture through a design process which focuses on reflective thinking about precedents and creative making to generate an architecture project at a concept level. In this Unit, students conceive of "The suburban house as a private dwelling and as the generator of collective space." The core of their design problem is the idea that a basic set of architecture type-forms have been successfully and permanently accommodating human inhabitation in time.

What does the term "type" mean in Architecture? How does a form-type morph from location to location, from time to time? What is their relationship with diverse places and cultures? How do people experience, shape, occupy and share them? How is it possible to reinterpret these traditional formal patterns to produce sustainable Architecture today? In this Unit, students explored and responded to these questions via critical interrogation of spatial and building typologies, producing weekly iterations of a single dwelling project that were subject to discussion and critique.

 

Material Literacy

Second Year x Methods 3

Student exemplars: Fernando Pizzani & William Davis

The aim of methods 3 is two-fold. Students learn and apply advanced digital modelling skills in the software rhino 3d, as well as engage and experiment deeply with materials at 1: 1 scale through physical making. Juhani Pallasmaa's Eyes of the Skin argues that some of the most powerful architectural spaces are felt more than they are seen; that texture, lustre, reflection, hardness, colour, transparency, warmth, patina and so on are all qualities we interpret through our physical interaction with material. Understanding this haptic dialogue, is paramount to understanding architecture itself. In methods 3, students developed their own series of haptic dialogues; surfaces that beckon to be touched, surfaces that tell us where to look, surfaces that solve problems, surfaces that change with time, surfaces that are infinitely detailed, surfaces that are wondrous ... And more.

The understanding of surfaces and the haptic sense was initially achieved by self-directed material research and analysis. It was then applied via through constructing unique surfaces and material textures, first in digital form, and then ultimately in 1 :1 scale using 3D machining tools. In this unit, students learned how to model complex surfaces while developing skills in rhino 3D, grasshopper and 3D digital fabrication workflows.

 

The Dark Hotel

Third Year x Design 6

Unit Coordinator: Justin Owen,

Dark Hotel Cluster Tutor: Chris Mewburn.

Student exemplars: Haydn Lawson, Stephanie Castleden & Jarrod Northey

How can we gather the astronomical in the local and day-to-day to explore the potential in space?

The task for this Unit was to design objects and relationships, buildings and then detailed experiences that mediate between people's visions of the Earth and the Skies above ... We emphasised the architectural investigative process rather than the curated, 'Money Shot': to focus on exploration rather than presentation.

Students were invited to explore intrigue, story and a potential for conversations between pre and post-colonial Cosmologies and ways of measuring the land and the sky: and, by extension, humans.

Working with the Perth Observatory and guest lectures from, amongst others, Julian Gitsham of Hassell London, Project Lead for the First Light Visitor's Centre at Jodrell Bank Radio Observatory and Peter Wheeler from the International Centre for Radio-Astronomy Research, the students were asked to explore visiting, foraging, sleeping and experiencing the site and purpose of the Perth Observatory in the hills above the Perth Coastal Plain.

We asked the students to focus on process in their design work and to consider that as enough: to consider the sketch, virtual-world building through iterative endeavour, the chosen and considered moment arrested and incorporated into a body of work as the stuff of architecture.

 

Future Literacy

Third Year x Methods 3A

Student exemplars: Group 1 Jai Coker and Sunny Rogers. Group 2 (Film), Charles Manning, Timothy McMahon & Daniel Fudge.

Future Literacy is a highly speculative unit, where students look to the future and study methodologies that are at the cutting edge of global architectural practice. This year we speculated in two realms: the latest technology in architectural visualisation, including software used by billion-dollar film and game companies; and the architecture of power and governance in 2074.

Students embarked on an introspective journey studying the captivating architectural scenes that resonated most with them, using Leon Van Schaik's Spatial Intelligence as a guide. They learned and applied advanced architectural visualisation techniques to create the most immersive and captivating experience possible. Finally, they speculated critically on the role architecture might play in the future of power and governance in an international architecture competition scenario, with a film as their final output.

 
 

I’m the water, you’re the wind. Let’s see where this boat goes!

Teaching architecture is inherently odd. In other educations, an instructor teaches something, you learn it, then you prove that you learned it by doing something. In Architecture, you have to do something before the learning starts. You get a brief, then you do something, then you’ll get some feedback, and then after a few cycles of this, you might learn.

As teachers of architecture, we have to remind ourselves of this reversal of education; our students must do first, learn second, rather than the typical learn first, do second. This isn’t a problem, in fact it breeds genuine creativity and resourcefulness, however, we must be more fluid in our position to foster positive outcomes. We need to provide some guidance before the doing starts. Just enough to get them moving.

Instead of being the boat and insisting the students are the wind and they have to work to push you (and their project) somewhere, why not be the water? Yes, the students still need to push the boat, but we can add some current to get them moving, turbulence to test their resolve, waves to test their design integrity, and a vast array of resources to help them reach an unthinkable destination.

I would like to acknowledge the extraordinary effort on behalf of the students whose work is published here. They each have it within them to achieve great things in architecture and design. Thank you all for allowing me to share your outstanding work and for your significant contribution to our collective intelligence.