Peer Design Critique: Yoshimichi Okubo

A First Attempt at Design

I have known Yoshimichi Okubo for quite some time in my stay at Benilde, and I have found him to be a very good person, very Japanese in his roots, and very true. Now shall I have the chance to peek inside his designing psyche through the manfestations of his architecture.

From talking to him, I found that he values environmental issues clouding the minds of today’s society, and henceforth takes on a Life Philosophy that values the equality of nature and man, of caring for the environment. Venturing within his Japanese roots, he hold dear a Design Philosophy, influenced greatly by the Zen Minimalist style, that aims to put his stakeholders in a relaxed, secured and trouble-free state.

His views on Life and Design will account for the criteria I shall use to critique his project.

The rest of criteria will be based from all the THEDES2 modules taken up throughout the term, as well as how effectively he addresses the requirements of the stakeholders.

The rationale of Yoshi’s form finding method is explained in brief here:

“Aggressive” is the main concept inserted into his design.

His initial form finding process was progressive – it involved a rectilinear shape rotating upward as it “climaxed” into the form of a cantilever. His second form developed because of the addition of client considerations; which resulted in a bigger, more random (too random even, as told by other sources) shape. So this prompted another form re-development, which went back to designing with progression, with increasing lateral aggression. Then the form finding process took a huge reformation with the incorporation of the Minimalist Zen style, which manifested mainly through the hallways and the honest design approach.

Form finding boards. The development starts from the upper left down to the lower right.

In studying his form finding process, which progressed from the order: symbolic – wave, Iconic – philippine flag, expressionist – aggression, it can be seen that the forms are not interconnected. In fact there is a disconnection between the forms, as if they seem to be entirely different forms altogether.

The integrating and translation of the form finding requirements were not linear and progressive in execution, hence the final form takes on a form that is plain and boxy. Aggression, being defined by the designer himself as confident and overpowering,  is not seen in the final form. From being dynamic and pointed, progressive and overpowering, containing developing forms that climax to cantilevers, the final product then became linear, rigid, and plain.

This rationale of the designing architect behind removing the sharp pointed lines that translated into aggression was because the designer wanted to remove the unnecessary elements of the design, yet the flaw in that idea is that necessity can be justified by many means. He did not remove the unnecessary; he removed instead the necessity to defend his design. In turn, what was supposed to be the application of the results of the form finding process became a disregard of it.

In the aspect of considering the clients however, the designer did consider the stakeholder’s love for gardens and need for tranquility by providing water features and gardens. As well, the architecture is indeed responsive to the site for it utilizes entire area wherein volumes are spread around.

However, the interior space is too enclosed for client’s intent on being close to nature.

One design solution could have been to create semi-enclosed spaces and add trellises or brise soleils to shield client from direct sunlight yet provide access to nature.

The design is isolated and it does not respect natural settings; it goes in discord with the Design Philosophy of respect for man and nature, for respect for something means acknowledgement of it. The design does not in any way acknowledge the true point of entry, via the river (as opposed to the current point of entry which is through my Studio’s lot) nor famous landmarks such as the widely famous Bomok-Ok falls. The presence of fences and walls do not help as well, they isolate even further the stakeholder from the natural views and does not promote the architecture – it hides it. Of course the rationale for this would be for security reasons, but this could have been addressed by adding behavioral deterrents such as CCTV cameras and or alarms.

In terms of behavioral circuits and creating spaces for them appropriately, especially about the clients taking in visitors continually, there must be a large congregational space to hold in visitors.

In the model however, a 40sq.m room is too small to hold in 10 visitors comfortably at one time.

Floor plan view of the entire project.

Considering that their ceiling is spatially low that it promotes crowding. Likewise, the glass above the living space  –  which according to Yoshi, was added for aesthetic purpose – implyingly limits ceiling height, which promotes the spacial sense of crowding. Yet ironically, the office space, which usually accommodates only a few people, has a far bigger and higher ceiling space than the more congregational living area which has far less ceiling space.

This project has been successful in creating a space that is tranquil and secure for it’s stakeholder. Like any project, it has its strengths and weaknesses, yet this does not in any way demote the skill of the Designer, in fact it will hone the skill, for it serves as a reminder of how much can still be done to improve as a designer and how much one can still grow and improve.

Truly a Mall of Asia

International design does not necessarily equate to better design

panoramic view of the entire Mall of Asia complex

Mall of Asia foutain at night. (c) Hermie, taken from http://1day-at-a-time.blogspot.com/

The SM Mall of Asia, designed by the international firm Architectonica, is the second largest mall in the Philippines, the third largest shopping mall in Asia and the fourth, according to Forbes’ World’s 10 Largest Shopping Malls, largest shopping mall in the world. But is it’s size, given justice by it’s efficiency? Does the mall’s architecture, work efficiently for the culture it houses? Let us examine this one by one.

First, parking. Every mall needs parking. One the size of MOA entails huge parking spaces. The parking buildings of the complex are efficient, in themselves. They eliminate your job of looking for parking because green and red lighted sensors tell you if there is free parking space.

Parking lot of the Mall Complex. Photo by Hermie, taken from http://1day-at-a-time.blogspot.com/

The problem of efficiency lies with the traffic study of the people as they move through the huge complex. Many get lost. Myself, who has quite a poor sense of direction, gets lost quite easily. They should have assumed their stakeholders – the public – contain members, tourists, elderly, people who easily get lost like me, who do not know where to go, which if they had then that would have resulted in roaming the mall without fear of getting lost. The almost symmetrical plan of the mall doesn’t do much help; in fact because of its symmetrical plan do you fail to distinguish where you are. This should have been supplemented at least, by traffic study signage that will solve your problems for you, but even this is not supplemented. It is as if the stakeholders and architects want you to get lost, want you to not know in which wing you parked car in so you’ll stay longer.

Map of the Mall of Asia.

This design failure poses as a public safety concern, for when lost inside the mall and a fire or incident occurs, you are subject to the whims of where the crowds take you. Where the crowds pass through however, there is the presence of staircases and fire exits. It can be a cause for concern only, in the event of a fire and 100,000 people all attempt to squeeze in through twelve flights of fire exits, where some of the passageways do not look too wide.

The climate of the Philippines consists of wet and dry phases, and design of building does not utilize that climactic context. In strolling outside the air-conditioned spaces, it is too warm. The design of the building does not incorporate wind tunnels and it’s orientation does not promote wind flow. The direction of the breeze of air in the morning approaches from the bottom right side of the building, and the building’s response, seems to be an utter unresponsiveness to the wind. You hardly feel air reaching you. The breeze that hits the building during the evening and late afternoon comes from the bay; the entire upper side of the building. Again the building’s response does not utilize the wind to flow through the building and remove stagnant air, which the mall is full of. This design flaw should have been supplemented by cooling fans, but there is a huge lack of them, and what happens is that people stay inside since it is more comfortable. More people inside means crowding. During rainy season, people have said that they cannot cross the walkway bridge to the bay because it did nothing to shelter the people crossing.  This is because the architects failed to realize that that rains in this part of Asia are angled, unlike what their used to. So rain enters walkways and floods the insides. A design solution would have been to expand walkway so as to add setback from rain or to add rain guards; they could have done all this while utilizing the wind via wind tunneling of the sea breeze directly.

site plan of Mall of Asia

If the firm had looked into heritage architecture, the building would have been more suited to our environment simply because heritage architecture is perfect for this climate. The Mall of Asia clearly has no respect for heritage. It’s design presents a total divergence from Philippine heritage – not enough adequate ventilation, unspacious floor plan that PROMOTES crowding. Maybe this is due to the fact that Arqitectonica is an international firm, they did not realize the uniqueness of the site and its culture, yet this is inexcusable. Being an international firm they should have all the more taken the time to understand the climate and context to which the building could have been shaped from. MOA seems like a generic building that it can be placed anywhere in any congested city in the world.

Activity analysis wise, the architects failed to take into account the multiple entrances people and tourists, who do not know what to expect, take when visiting the mall. How so? By simple lack of multiple areas for inquiry such as concierge and info areas. I was shocked to know that there is only one information center in the entire Mall of Asia complex. That is an utter fail. Just as the mall itself becomes so disorienting, you are not even provided with people who you can ask about where to go. Even in first arrival and first activity, Arqitectonica failed to consider the initial experience of the expectant visitor. It really  is as if they want us to get lost in an attempt to naturally have us stay longer and purchase more.

Map of the interior. The red "i" which stands for the information booth, is the only one inside the entire complex. Good luck finding your way around.

Also, There is the presence of colorful, unusual looking chairs that do not harmonize with the surrounding architecture, as if they were dropped there by accident. Of who chose to integrate those chairs/melted benches, it does not matter, what matters is that the Architects failed to consider that in traversing a vast expanse of stores and walking the entire complex, mallgoers will become exhausted psychologically and physically. They failed to provide ample seating and rest areas throughout the complex properly for a vast multitude of people, and so intervention was done by other sources, by possibly even the stakeholder itself.

Filipinos love to go to the mall together with the entire family, to spend quality time and take pictures, and of course, eat. I love food courts but I love myself enough not to crawl my way through the food court at the Mall of Asia just to get an Iced Tea. It is always assumed in Philippine cultural society that we are people who love to eat, and will spend money and time in fast food chains and restaurants, therefore, it is safe to assume to expect large gatherings of different social classes of all walks of life in places such as fast food chains the entire day, seven days a week. In the creation of Arqitectonica, however, this cultural leaning is not at all respected, nor considered. The fast food chain above the skating rink in Moa, is always crowded – spatially, experientially, visually – and it becomes, instead of a pleasant place to dine and chat with loved ones, a stressful, loud place where you battle for sound supremacy with others to ask your friend to pass you the ketchup. This is a huge failure in part of the architects for considering the massive intersections of activity in a place so well loved by Filipinos such as the fast food court. The irony here is, the skating rink, a space that holds far fewer people, is given a ceiling space three times higher than that of the fast food chain.

excessive crowding at the food court. An everyday thing. Photo creedits to Carol G.

Another flaw is that the architects failed to realize that Filipinos – especially the women – are people who love to use the toilet not only for utility, but for ceremony(i.e. make up.) It was surprising to note that the nearest toilet from the food court was a store block away and that the next one is down the other end of the mall.

The toilets are in the blue oversized symbols. Toilets are far from the food court.

From the daily observation of the flow of traffic, the architects did not realize, or did not expect, the amount of people to be at a staggering 200,000 heads everyday. This comes from a lack of study of the building’s home culture and its tendency to go the mall, sometimes, for the sake of being there. So what happens? Crowding. Excessive crowding.

A daily occurence: large crowds of people around the skating rink (c)www.philippines-travel-guide.com/

Personally I am someone who despises large crowds, and in MOA it feels as though my privacy is next to nill, which is why MOA is not my favorite place to hang out. What’s more is that the low ceilings do not help alleviate the claustrophobism at all, but increases that spatial sense exponentially.

A swarm of people inside the mall. Imagine being part of the crowd. Photo credits to Hilda Rivera

The only places that have high ceilings is the front main entrances: the building welcomes you and impresses you with its largeness, only for you to find out that its largeness ends as you go inside.

Main entrance hall of the mall

It is truly a Mall of Asia, in that it is so generic that it can be picked up and planted anywhere in Asia and name it with the country it’s sitting on. The thing is, it should have been the Mall of the Philippines to work.

Probing with an Architectural Eye – The Salk Institute

The relationship between Architecture and human behavior

Louis Kahn.

A name that by now, needs no introduction.

But for the sake of some, for a brief introduction, Louis Kahn is an immensely brilliant Architect whose works are monumental beyond modernism.One of the Great masterpieces of Architecture done by this man is the Salk Institute.The Institute commissioned by Jonas Salk in the 1960’s was trusted upon Louis Kahn in expectation of a space that will suit both aspiring and professional researchers.

A brief description of the Architectural elements by the Institute itself, “Kahn’s creation consists of two mirror-image structures that flank a grand courtyard. Each building is six stories tall. Three floors contain laboratories and the three levels above the laboratory floors provide access to utilities. Protruding into the courtyard are separate towers that provide space for individual professorial studies. The towers at the east end of the buildings contain heating, ventilating, and other support systems. At the west end are six floors of offices overlooking the ocean. Together, there are 29 separate structures joined together to form the Institute.”

Upon hearing the words Institute and research Facility, Instant memories of their impressions form, Cold, not usually responsive to the environment with not much conversation going on between them. Cramped rooms and spaces in attempt to maximize the  space, and of course the block-like, volumetric façade.

In a few words, the ordinary facility was ways about the research, rarely, if never, about the researcher. It focused on the equipment, rather than the people behind the equipment.

“From the very beginning he was after symmetry, order, geometric clarity, primitive power, enormous weight, as much as he could get.” – Vincent Scully

The Salk Institute, at first look, is not at all your expectation of a regular Institute. It does not have any of the intimidating, traditional elements of an Institution. It is clearly responsive, the volumes are thoughtfully scattered out. Open, honest, it takes into account the sense of arrival of the visitor. Not the usual institution.

In terms of privacy, which is paramount in activities that require a lot of thought like research, the Institute successfully provides the right amount of accessibility – unobstructed views of the ocean, entire panorama – as well as the right amount of privacy; each scientist is given her own study space. The private spaces are secluded yet accessible. From the point of view of the quarters of the researchers which is on third floor, there is an increased sense of privacy without the sacrifice of  accessibility. There is Indirect access, a well-planned balance of accessibility and privacy. The personal space of each researcher’s quarters is  Semi-Private in zoning.

Space bubbles are invisible but present occurrence seen throughout all species, in all living things. A more complex form of it is the Veneroi Tesselation It is nature’s way of ensuring physical safety, health and happiness. Space bubbles for mobile creatures, are determined by factors such as location, climate, mood and circumstance. Generally thinkers, more specifically the stakeholders of the Salk Institute, require fewer disturbances and more concentration in their line of work, therefor they require higher space bubble, higher levels of privacy.

Scientists have a culture for being logical and yet creatively illogical to be able to discover the mysteries of the universe. Einstein can definitely vouch for that. Generally the scientific community comprises  (dominantly) right brain thinkers, technical minds who earn their living thinking and calculating and discovering. This means, behaviorally, to accomplish these tasks well, needs an environment that provides a platform for them to do all that – a peaceful, quiet, clean environment conducive to contemplation, reflection, brain activity, calculation and thinking.

One of the most prominent features of the Institute is the long straight water feature, apparently a fountain by the end, that runs through the entire courtyard.What is so astounding about this water, is what it does to the people who experience it.

For one, upon walking close to or near the beginning of the feature, which is inevitable, one is automatically compelled to come and stand in the center of the water feature, even without the need for anyone’s telling them to. It is successful in a sense that it automatically sets the spatial experience; effectively harnessing the natural inclination for humans to achieve equilibrium – spatial, visual, sensory equilibrium – that once in that particular spot, balance and harmony, symmetry, proportion, monoism, just some the things about it, is achieved.

When there is no fountain and what is left is only an open space , one, especially a visitor, would not feel spatially comfortable to walk through that large courtyard because it seems to make one feel very exposed and vulnerable. The water feature visually and spatially separated the space, making it visually smaller and more importantly, perceptually more private. One would be more comfortable to walk through it as a result.

Another function the feature has is that it successfully Implies privacy also people inside, the main people the Institute was built for, when looking out to the ocean from their rooms above. It separates the entire complex into two spaces, emphasizing the mirrorimage-like design of the building Scientists, and two distinct territories. In the point of view of the researchers above, it creates a visual boundary, an implied territoriality for the inhabitant, therefore an increase in sense of privacy and space bubble. It is brilliantly conceptualized.

Conversely, if there is no fountain, scientists will feel that their own windows are the spatial limits, the limit of the boundary of his territory because of vastness – and therefore public-ness – of the courtyard. Subconsciously the researchers would feel spatially cramped. Adding a simple structure, a simple line, changed the perception of space and territoriality immediately and in a huge, huge way. Absolutely Brilliant. I just do not know of whether this was intentional or not.

Scientists are continually on this cycle of learning to discovery to learning again. They are continually reaching for the unknown, attempting to grasp knowledge that is still beyond them. In this eternal process of discovery and reaching new heights, currently they understand that there is so much more to know, so much more to reach for. In the profession they are in, they aspire to reach for that currently unreachable knowledge – which is why they are scientists. These are, in many words, an understanding of what the stakeholders aspire. The Salk Institute effectively represents, symbolizes, poetically presents the aspiration to “reach for the unreachable” of the stakeholders.

The main materials used in the building comprised mostly of bare Concrete.  The entire façade is only concrete, and effect is spatial and visual massiveness and monumentality, which subconsciously implies permanence and stability.

His used of concrete is Monoistic. Follow through in Color and texture. Monoism in contemporary art, implies Peace, Coherence, Consistency. All architectural elements are consistent in providing an effective environment for discovery through providing visual peace and quietness, allowing the mind to function more.
Going back again to the water feature. The effect it generates within its inhabitants is a positive behavioral pattern. Since the water feature compels you to position yourself there and have a look at it, you will see the symbolic representation of the fountain as your straightforward direction, your yearning to reach for – which is what the fountain looks like its doing , trying to reaching into the beautiful horizon – into the Great and amazing beyond.

This water feature, taken together with the entire building, in all its utter simplicity, validates the reason of the scientist for being just as he is – a scientist. It touches on the most primitive motivations of its stakeholders successfully. It, in more spiritual terms, solidifies their place in the world. The overall form the the Salk Institute gives them and their line of work a sense of permanence. The Salk Institute architecture is humanized, connects with the deepest and most basic desires of the stakeholders, which encourages positive demeanor and motivation for what they do. It amplifies what is already there. Its conceptualization is absolutely Brilliant. The building has influenced their performance in a very positive way.

Proof of this, in a recent article dated at June 2011,
“Salk Institute scientist garners international esteem on two continents. Dr. Fred “Rusty” Gage recognized with multiple international honors and awards.” Many of the scientists trained there become leaders in scientific discovery later on. Architecture silently, but powerfully, influences behavior and demeanor.

Overall, the environment brilliantly meets the stakeholder’s functional, humanistic and aesthetic needs while becoming a powerful art form that so poetically embodies the culture it is designed for.

WORDPRESS

WORDPRESS

A Collective Identity Crisis

The state of Philippine Architecture

I have noticed so far that in all my study of Architecture, many, if not almost all of the Architects we have discussed are those that do not come close to reside where I live. Most are in Europe, in the US, or in Japan. Why is that? What is so wrong with us that we do not gain any World Recognition – or any recognition – for what we do in Architecture? We’re known for being Domestic Helpers, we are known for being great Singers, great Japayuki stars, but Architects? Not much.

As for the Greats, of any field, like that of Desmond Tutu, Mother Teresa, and even those in Architecture, that of Louis Kahn, Rem Koolhas, and many others, all have one thing in common: They are clear about what they want, both in Life and in Architecture.

Despite the diversity, they all have a clear cut view of what they create and how it affects the world around them. It might be perhaps die to many factors: their education, their life experiences, their unique cultural identity that has in some way formed their design preferences.

Us Filipinos, on the other hand, do not know what we want in Architecture both as a collective and as individuals. Charice Pengpengco knew that she wanted to be known for her singing. Arnel Pineda and Apple Diyap and Lea Salonga knew the direction they were heading to. But what of our Philippine Architects? It seems only a handful stand out: the biggest names – Maniosa, Locsin, Calma. I noticed that all of them have what foreign starchitects also have: a clear direction, a clear picture of what they want Architecture to be.

Our architecture inevitably reflects that lost cultural and individual identity. We are at a loss of figuring out Who We Are, and thus at a loss of figuring out the direction of what our Architecture will reflect.

But in many ways, it cannot be helped. By virtue of our history we are so disparate as a nation: geographically, politically, culturally, socially, educationally, our Architecture likewise takes on that form.

Philippine Architecture is so disconnected from Who We Really Are because we ourselves do not know what we want to be. We are a culture that absorbs, rather than being a culture that shares, that expresses. We do not have our on identity because we adapt to the identities of other cultures. Some, many, even swear that there is no such thing as Heritage Philippine Architecture (a Bahay Kubo,maybe.) Some would say that Modern Philippine Architecture is but a deteriorating remnant of what was the Brutalist Marcos Era, those filthy buildings that rig the Metro Manila Skyline.

On saying what is wrong with Philippine Architecture depends first on what we think is right. What do we think is the right kind of Architecture? That answer will vary as much as the people who attempt to answer that question.

On a more general take on things however, from the buildings much celebrated anywhere, it seems that the right Architecture is the clearest expression of the Architect’s message, the Culture’s identity, the Era of which it was built. Aside from sheer genius and discipline, creating an effective translator between the abstract to the concrete through Architecture requires good – no, very good – education. Even from personal experience, I have found that very good education is a powerful, if not sometimes a determinant, of the level of success of a professional, especially in a specialized field such as Architecture. The standards are that which the International community celebrates, these are standards that have shown the man’s highest ability to express and create Art through Method and Science.

And these standards would not have been so if the Starchitects celebrated were not trained the modern way, the most forward, most progressive way. If Zaha Hadid, Rem Koolhas or Peter Zumthor were to study here in some of what we call the “best” architectural schools, well then it would be obvious that their lives would have taken a totally different course.

Where is this going? To the direction it wants and should head to. If we want to equal those abroad, to equal their strong sense of direction and purpose, both in Life and in Architecture, we must first start with the foundations of Great Architecture – a strong sense of Cultural Identity, which starts with Good Education, something we lack in our Architecture Schools. Beyond that however, with good education already intact, it is more likely that one talent will rise above the rest. And in knowing what is modern, means constantly staying updated, constantly changing. We can use our Filipino skill of Adaptability in a more positive and productive way, and it’s time we did.

The question is not so much of what is wrong with Filipino Architecture in itself, but what is wrong with the culture from which its Architecture springs.

The Metallic eye-turner of San Francisco – The San Francisco Federal Building

Bad Boy goes Green

It is different from the surrounding context of its environment. Modern. Open. Different. Industrial. Those are the first words that resound I my mind as I take my first look at Thom Mayne’s San Francisco Federal Building. On why everyone was making a big fuss out of a seemingly simple looking building, I was at first wondering with utter curiosity. That building? It wasn’t exactly as striking as that of Zaha Hadid’s or Foster’s extremely radical works, so what was all the fuss about? I soon found out in astonishment that its beauty lay in the way it molded all those who moved within its spaces, and soon enough I was making an equally big fuss about it.

In an interview with Thom Mayne being asked about how he derived the form of the building, he said so directly, “We don’t approach a building through the look, it is the result of a series of questions and this was so clear, because we had a problem that was very defined. Like all new objects, you have to come to understand and know it and understand how it operates to appreciate it.”

The buildings form is thus derived from the deconstruction of a myriad of things, therefor it is safe to say that the building almost takes on a Form follows Function philosophy, as evident also by the building’s straightforward, purposeful yet very industrial-looking façade.

From this more so, it is then quite evident that there is no Icon this building was based from. There was only a concept that governs it, which is “resistance,” but there is no icon that governed its form, for an icon was not needed to dictate the building’s form; the social, political, environmental, contextual, economical and technological considerations of the project was rich enough to govern the form of the edifice. This form finding method of Thom Mayne is one I find so intelligent and rich for not only does it go in line with all the requirements of a government building, it pushes the envelope of innovative Architecture to a new level we must all strive to reach, both within and beyond the Architectural Industry.

Through research, I saw that the form of Thom Mayne’s building was governed primarily by a myriad of  contextual aspects, and one of the most powerful of those aspects is the social and cultural context.  Thom Mayne made sure that he would highlight the context of people talking to people, the very human, very engaging aspect of Architecture. He even made sure of promoting green living by having people exercise through the Elevator’s system of skipping every 3 floors. Some would say its a blessing while most say otherwise. It is I believe successful in conveying the message of health is wealth. In this project it was evident that he was constantly looking for spaces to increase social interaction. He created spaces that allowed people to have chance meetings more often, as seen in large areas where junctions are inevitable and people will “accidentally” run into each other, even while being in different floors. He totally respected man’s need to socialize and communicate with one another in the midst of pursuing their primary objective of accomplishing work, whilst at the same time, he continued with this theme of openness in a type of  building  that usually seals itself so much in favor of post-911 security measures.

Thom Mayne compared the style of spacing in the Federal Building to another building he always had his meetings, and noted how each time he was inside that building, he could never catch a glance of the outside world, simply because the spacing of that building was arranged so that it maximizes space while increasing privacy, therefore being so closed off… not a very good place for a claustrophobic to be in, yet it is the most common of office building lay-outs.

Looking at Thom Mayne’s building, in context to the conventional archetype of office buildings which use cubic, very closed spaces to separate the workers inside, it is evident that he went against this context, it is evident that he challenged this context by putting into consideration the idea of openness architecturally in a successful attempt to stimulate a constant flow of ideas, a free flow of interaction that takes place in a space that usually advocates secrecy. He challenged and even won against the context of the generic building, showing that generic doesn’t always work the best. The inside of the building therefor looks almost like an art studio than a government space, with the less compartmentalized  individual office spaces and more open areas for conferencing.

Thom Mayne mentioned in an interview that, “the city itself is an asset,” meaning he made sure that people could have access to fantastic views of the city and the bay anytime during the day while enhancing comfort inside by harnessing the air flow that passes through the building. By virtue of the context of the surroundings he harnessed the natural elements to benefit the participants inside in the long run. He has achieved in the Federal Building, the respect towards nature many (future) Architects, including myself, dream to accomplish with such intelligence.

Aesthetically, the building seems to go out of context, for even by the opinions of passersby, they describe the building as being very daring, very different from the surrounding buildings, sort of an eye-turner. Yet the fascinating thing is Thom Mayne did not intend to go out of context, nor did he deliberately try to invent a new archetype. He himself felt that he never made anything new, but simply followed the most basic aspects of the context of the project. The building stood out because the ideations that governed the building stood out. He listened, and listened well, and understood the flow of how things worked; the people, the collective culture and all, and simply followed that flow through in his building. Didn’t, innovate anything, it’s quite alright to express modesty for him, he’s Thom Mayne. But then again, he is right. Respecting the flow of the fabrics, the basic and instinctive flow of The System within a project is something not many Architects take strongly into consideration, and so he has succeeded once again in helping the rest of the Architectural world at least catch a glimpse of the light, the possibility of how things could be for the better.

Technologically, he has used already available elements and resources into his building; steel, glass, elevators, all that. But what he innovated was how those elements came together to suit new and much more functional spaces and promote environmental sensitivity, protection and the cutting of energy consumption. He used steel as a diffuser of light and as a skin of the building, a sort of industrial version of semi-permeated skin-like blinds, where in certain parts of the day you can see a thick bulky steel mass while on other hours, you can catch site of the contours of the skeletal frame within. This dynamic play of steel and the reinvention, redefinition and now, because of his, even the expansion of its supposed “normal” use is something yet unseen, practically anywhere. I guess he beats Hadid and Foster in that aspect. He carefully considered the present wind and light patterns, and shaped vertical glass-louvers in a way that they lead the wind entering through the building, while maintaining the availability of natural light all throughout the building. Quite amazing, and looks like quite a pleasant place to be in.

Then again, no building is perfect, and this holds true for Thom Mayne’s building. If there’s such a thing as too green, perhaps some would call it that. Workers say that the light that comes in from the outside can be too much, and thus it gets too bright and too hot inside.

Honestly I could relate the contextual considerations this building had into my very own Design school which is the SDA, the school of Design and Arts School.  A few aspects that both have in common and took into consideration the use or un-usage of air-conditioning, the harnessing of natural light and airflow to save a huge amount of energy consumption, the use of steel as a major aspect of the façade in construction and the respect for the fabric systems present within the project context.

Thom Mayne has succeeded so much so in conveying a message of promoting the green idea of living, through Architecture, through the San Francisco Federal Building. In the social aspect of it all Thom Mayne used Architecture as a vernacular; redefining everything – use of space, materials, social fabric –  to allow us to rethink and maybe even redefine our own social and technological fabric and see the possibility of changing for the better in all aspects, be it in health, in social interaction, in environment. It is something we should all strive to achieve as Architects and in my case, a soon-to-be-Architect.

The Evolution of a Life-long Ideal

A realization of what could be.

Architecture is an artform that is absolutely inescapable. It makes up for 99% of what we take in visually.

I have always taken my surroundings for granted. Be it natural and artificial. I used to think that anything with walls was Architecture. Architecture for one, which  I now realize is one the major major sciences that mostly drive my everyday existence without my being aware of it, is may I say it, the one thing I took most for granted. I have never realized its power and enormity until fairly recently. I see now that Architecture is more than simply part of a definition as being an art and science, a delicate balance of form and function. I now see it as a vehicle to communicate and express humanity, like any artform, and at the same time manipulate and determine its ebb and flow. Its conceptualization and ultimate creation is but cyclical: it stems from an infinite spring of human knowledge and inspiration, and leads back to it in the process of creation.

Going back to basics, Architecture is a body of knowledge that does a myriad of things: to inspire, to educate, to communicate, but ultimately I think what it does best is that it represents.

It represents humanity’s evolution: from the time cavemen created lean-tos evolving to the time the Romans built the colloseum to the time St. Peter’s Basilica was constructed to now, the era the SDA as constructed. Architecture of represents the growth, the evolution of our thoughts, our ideas, our emotions. It represents Who We Were, Who We Are and Who We Are Becoming, both in individual and collective conciousness. How we see it, not merely look at it, will determine it’s Beauty.

Beauty, I now understand, is merely a Human Concept, an intellectual idea, that is unique to each person, and because of the nature of its subjectivity, each person’s unique “taste” merits a respect and understanding. Yet in respecting an aesthetic is knowing what I believe is beautiful.

I grew up in multi-cultural environment: my roots were Middle Eastern, Filipino and Spanish, the style in which we were raised was a fusion of both Western and Eastern ideals, and I grew up studying in a Filipino – Chinese school.

It was only now (literally now) that I realized the impact of all these experiences, especially the latter to my aesthetic ideal. Studying in a Filipino-Chinese school meant reading, writing, and speaking Chinese, and I realized that constant exposure to characters molded a preference for the curves of calligraphy, curves that flow irregularly in many directions but ultimately balance in a harmony seen when the characters are taken as a whole.

This has further solidified my belief that Architecture and Design in general, represents Who We Are, and reflects our visual experiences, and their forms thus as endless and diverse as the beings who inhabit and measure their beauty.

Though honestly, I do not have yet a clear distinct architectural style in mind, because for one, I cannot know myself without first knowing What I Am Not. And in line with that, for me to be able to clearly represent myself through creation, I need to first know myself. This is all honesty has been the greatest mystery to me because I am still in this ever continuing this process of self-discovery, which I believe will last a lifetime. Even since the first ADESPRN class when Mr. Banaag asked us what we want our architecture to project, I found myself at a loss of the possibilities and options that question raised.

However, during my Aestheta class the concept of sublime came about… that inimitable, incomparable feeling of humility you get when you are so awe-stricken by what you see. I see it as this indescribable connection to the divine, this spirituality, this fleeting moment you know that you are sort of “One” with the universe, that human ability can be so incredible that you experience Divinity through Human creation.

This sprirtuality was evident in Louis Kahn’s Salk Institute. It quietly celebrates the already present That was the moment I realized that Architecture can be used as a tool to elicit a spiritual state of mind.

I have experienced this moment before, sometimes in the most ordinary of times. They say that when you die, depending on how you were, you will experience this sublimity eternally.  Now I want to experience that feeling even before that time comes. This time how I will make that happen will be through Architecture. This time it will be through a controlled and deliberate attempt to inspire this feeling, if not in myself then in others. I want others to experience this feeling of knowing that humanity is but a derivative of divinity, that the spring of creativity and spirituality is accessible to all, that they are even part of this divinity, dare I say it. I want my architecture to be able to be one with the Divine, represent humanity in its spirituality. I want my architecture to elicit the Sublime. This feeling of Sublime, this Connection with the One, with the All, with God, if you would call it that, is my criteria for basing my designs, which I know is very ambitious and may take years to achieve… but I can try.

What I will look for in my design is already clear, but as to what ideal and definite architectural style and design will that criteria work around, very honestly speaking I have yet to find out. For I know that ideals will change as we do. They are a manifestation of what we believe to be an ideal reality.

My Aesthetic Judgment of the SDA Building

To the layman, the aesthetic beauty of a building is measured by a simple criterion; the building’s initial impression on him. The overall impression it generates within him, be it positive or negative, will determine his aesthetic view.  Try and test it. As you walk through, say, the street of Pablo Ocampo, go and ask a passerby on his personal aesthetic take on the building located on 950, towering 14 storeys high above him. Ask enough of them, and you will be very amused to note the variety of mixed opinions on their judgment of the edifice. When you ask why they hold such aesthetic views, their answers more or less suggest a reliance on gut feel rather than reason.

Not that gut feel of judging architecture – or any other artform, for that matter –  is less superior nor is wrong, it is in fact, one of the primary tools in which to measure aesthetic value. However, as a studied critic of Art and Architecture it is important to use an intellectual process governed by a structured criterion to give body to the gut feel as well as critique and ultimately measure the aesthetic value of an art form. In this case, that art form is the De La Salle-College of Saint Benilde, School of Design and Arts Building.

(c) Mithril Cloud - en.wikipedia.org(c) metropolis.blogspot.com

The School of Design and Arts Building, or the SDA, envisioned as a home, an academic complex for a new generation of Filipino artists and designers,was commissioned in 2004 to the Lor Calma Design and Associates firm, with Mr. Eduardo Calma spearheading the project as the Design Principal until its opening in 2007. The design process of the SDA was structured upon the mission and vision of the college, a learner-centered institution that recognizes diversity by addressing various needs, interests and cultures. The design, therefor, of the SDA was poised to follow a Design Objective that is to firstly, house students of an arts school and cater to each course’s needs, and is to secondly, inspire students to think outside the normal conventions of creativity, to think, both figuratively and literally, outside the box, then is to lastly, communicate to all who sets sight on it that the SDA is part of an institution that is learner-centered.

That building is part of the school I am currently enrolled in, taking up Architecture. That is the building I come to and live in every day. I spend more time in it than anywhere else, and all that’s left for me now is to is bring my nighties and pillows, sleep over and call it a home.

Philosophical heavyweight Edmund Burke stated that beauty can be found through the senses, while philosophical cruiserweight John Locke asserted that knowledge comes via sensory experience, dependent on evidence observable by the senses. Both ideas dictate simply that judgment is done via the medium of the human experience of art. It is by these criteria that we judge and give the building its aesthetic value.

This building, much like any other form of Architecture, is an art form requiring differing levels of appreciation, experienced by our body’s senses. The first, the most fleeting and yet most distant level of appreciation experienced happens upon seeing the outer shell, the exterior entirety of the building. Yet this appreciation, taken more in-depth, is done so through two different points of view: one far from the edifice, and one close to it. The second level of appreciation is experienced upon entering the edifice and experiencing the spatial interiors of the building – the lobby, the spaces, the walls, the louvers, the temperature – both the architectural and natural elements, of a building with our bodily senses. The third and most intimate level of appreciating a building, comes upon experiencing the movable elements within the built environment; chairs, tables.

Let us explore the first level of appreciation of Architecture. From afar, with the entire structure in plain view, my impression of the modernist design of the SDA building as a whole, is ugly. It is not Far-ogenic. For by virtue of the classical principles of design, which dictates that an object is beautiful if and only if its form follows the principles of symmetry, order, balance and placement, scale and proportion, the SDA fails miserably.

 

(c) Mithril Cloud

Being that as it may, I still highly respect the architect for having the boldness, conviction and trust in self to push on with such an avante-garde and very anti-contextual design.

It is a whole other story though, if you view it closer and experience the building from a nearer, not to mention more angled, point of view. It is less ugly. In fact it is almost beautiful. It is Near-ogenic, even. The angled lines of the cantilevered theater are very… theatrical in nature. They suggest a dynamism in movement and motion, inspired from the very culture of modern youth it was designed to house. Psychologically, this dynamism inspires creativity and imagination within all those who experience it in such intimate closeness. The largeness of the protruding mass also subliminally inspires a fear and concern that such a heavy element can protrude safely. Apparently, the closer the experience of it, the more exciting the building becomes.

Thankfully, that excitement has a consistent follow-through as you experience next, the Architecture at a more intimate level as you move deeper within its shell. The excitement and delight the undulating spaces present on the high ceiling as well as the largeness of the space causes you to experience adds to the sensory appeal of the building, which in turn adds to its aesthetic value, as explained by Immanuel Kant and David Hume’s philosophies that dictate that delight is the result when pleasure arises from sensation. Furthermore, a delightful experience becomes beautiful when this feeling of pleasure is the product of reflective contemplation. It seems the lobby acts as a teaser of what’s in store as you move deeper into further experiencing the architecture.

Astounding to know as you walk through the halls of each floor is how each floor design caters to the needs of a specific course. Each floor is specially designed for unique courses, unique enough that no two hallways, no two classrooms are the same.

Common elements present on all floors are the angular bent walls, the positive and negative spaces of lines present yet different in each turn of the eye, and the large hallways of every floor double as an exhibition space. The SDA doubles as a museum that houses art done by in-house artists. Functionally, the architect took into account the wind direction of the site and utilized it to form natural ventilation within the building, rendering it cool and breezy -very pleasurable- throughout the day.

Going through the day, passing through the hallways, it will be inevitable to catch sight of the intricate shadowplay cast during different hours of the day by the smartly designed louvers. Of whether or not this was intentional, I do not know. I do know this was meant to be yet another source of stimulation for the senses and creativity, as per the building’s Design Objective.

Deeper yet into the experience of the building, as you go through the day moving in and out through the classrooms, you observe, that although every classroom is designed differently, catering to different course’s specific needs, one function stands common: each is designed to fuel creativity and inspire via the uniqueness of each classroom’s architectural folds, present in the walls and the ceiling.

By Kantian principle, a delightful experience becomes beautiful when this feeling of pleasure is the product of reflection.

Reflect I did. These three observations are truly feasts for the visual senses. As well, they go in line with the Design Objective of the building, which is to house students of an arts school and cater to each course’s needs, to inspire creativity and encourage learning, and by accomplishing both, they go in line with the third objective which is to communicate to all that the SDA is part of an institution that is learner-centered.  This greatly increases the building’s aesthetic value. Taken to totality, now, it is beautiful.

Much, much more is yet to be said about the full spectrum of both grand and subtle experiences you will have moving through the spaces of the SDA building. After almost one year of being there, I still have not gotten the full sense of its huge entirety experientially, but I have experienced enough of it to give it an aesthetic evaluation by using Edmund Burke, John Locke and Immanuel Kant’s aesthetic criteria.

At first glance of the entire structure, it is ugly. But as you experience it more fully and more intimately, it grows on you, and before you know it, it is beautiful.

But for you to really know this, you need to see this for yourself because only sensory experience will truly solidify this aesthetic evaluation.

(c) Mithril Cloud – en.wikipedia.org

(c) Mithril Cloud

(c) metropolis.blogspot.com

My Aesthetic Judgement of Bicolano Cuisine

Two summers ago my family and I have had the good fortune of visiting Bicol for vacation. We did the usual things: visited the Cagsawa ruins, bought Pili nut pasalubongs, tried activities like the Zipline, swam with the Whale Sharks, and of course tried and tested the Bicol region’s delicious cuisine.

Then, I must admit, I didn’t know how to properly appreciate art, much less Culinary Arts. I thought the value of art was made on a level made purely on looks, on outward first impressions. This held true even in the Culinary Arts. I thought food was measured only on how good it tasted, and the best tasting cuisine, as dictated by society, was from the French, “haute-cuisine” so to speak, and so in eating the Culinary gifts of Bicol, my then preconditioned bias led me to fail to appreciate Bicolano cuisine in all it’s entirety.

Coming back from there again last week, to mostly the same places ( sadly excluding for the Whale shark  adventure), to the same people, to the same food, to the same provincial life, I realize that nothing about it really, has changed. Like any provincial region of the Philippines, life moves in this constant circle of working, sleeping, and the occasional drinking. What has changed though, is my awareness of the experience. I realized that it was my perception that changed, or rather, grew. Studying Aestheta has, even at its very least, shown me how to view the world more critically, in a sense that you are aware of the world and with that awareness, you deconstruct and form your own perspective of it.

Bicol provided us a platform to test that; to test everything we have learned throughout the term about judging art, in the form of a varied culinary experience. Edmund Burke said that Beauty can be found through the senses, while Immanuel Kant and David Hume’s philosophies dictate that delight is the result when pleasure arises from sensation. What’s more, something delightful becomes beautiful when this feeling of pleasure is the product of reflective contemplation.

Two years ago, after eating the well-known and highly sought-after Bicol express, all I could remember about the experience was the dish having more spice and less sauce than the ones usually cooked in Manila.  Coming back a second time, now armed with an acute sense of sensory awareness and criticality, I noted a whole lot more from the experience.  As evidenced by our own day to day experience of it, Culinary Arts involves the use of all the senses to enjoy a meal. As Edmund Burke said, Beauty is determined through the use of the senses. And so with that philosophy do I critique Bicolano food. Now I observed that the Sinilihan still had less sauce, was more flesh in color the sauce seemed to coagulate more than the Sinilihan in Manila. According to an American Proverb, truly one must not judge something based on outer appearance, for the seemingly harmless, even peaceful look of the Bicol Express betrays its actual strength in taste. The aroma of the dish was filled with an appetizing mix of coconut milk, or gata, and of onion and beef. By the smell alone it would be easy to forget that one of the primary ingredients of Bicol Express is Chili, since you could not smell the chili. Upon first bite, you immediately behold the taste of the Coconut milk and an explosion of the juices of the diced beef around your mouth. As you chew, the spiciness of the chili begins to make itself known, like a soft introduction to such a strong flavor that lingers on in your mouth, until it strength makes you reach for the glass of water in your attempt to douse the spicy flames. David Hume and Immanuel Kant’s philosophies dictate that delight is the result when pleasure arises from sensation, and the dish provided me with that culinary pleasure from its overall look, its smell and it’s taste; sweetness of the sauce and juiciness of the beef, while at the same time, giving a tasteful experience of the pain of spice. The Bicol express has been a gastronomic oxymoronic experience. To my personal experience it is Ugly Beautiful in its sensual totality. It was a bittersweet, or should I say a Spicysweet experience, given that that I am not one who derives pleasure from the thrill of a spicy meal yet derives pleasure from the thrills of savoring good Bicolano food.

(c)Betty-soundbound.ph
Another Bicolano culinary delight I had the pleasure of trying was their Laing or Pinangat. This dish for me falls into my aesthetic judgement of it being Ugly Beautiful, being that way by the criterion of judging with all the senses.  Aesthetically, Laing isn’t appetizing, at all.  With it’s dark green vegetables sautéed together with coconut milk, it resembles an already chewed and spitted back out seaweed viand. 

(c) MackyDoza – mackydoza.tumblr.com

Take a whiff of it and the aroma will remind you of the ocean (I have no idea why.) In terms of gastronomic deliciousness, it has become my favorite for it had truly been a delight to my sense of taste. Once in your mouth, you will immediately savor the very prevalent taste of Coconut milk then how well the tastes of the taro leaves, chilies, garlic and coconut milk blend to form a mixture close (but not quite) enough to be akin to the Sublime, as defined by Immanuel Kant as the experience that consists in a feeling of the superiority of our own power of reason which is infinite, incomparable, incalculable, immeasurable and inimitable.

(c) Nadine Seballos

Two years ago I did not have the pleasure of trying the Bicol Region’s Pili Nut. This second visit allowed me that privilege. Once I did, I wish I had done so two years ago. It was absolutely a feast for the senses, with the Pili nut’s texture and taste, being so tender and mildly nutty, and I believe it to be far more superior than the Almond. Because of it’s ever growing popularity, the Pili nut has been used as a primary ingredient in many candies local to the region.

The Pilinut tart is one of the many candies made out of Pili Nut. Inhaling its aroma, you would find that it has a very earthy and smelled of course, primarily of Pili nuts. Upon first bite you would be expecting an explosion of flavor. But your expectations are not met. Instead, in all its uniqueness, the flavor comes as you continue on savoring. Its like separate voices of a chorale with each unique voice, gives a unique body of texture and quality that slowly emerges as you savor from the initial flavorless gritty texture of the tart, progressing to the the sugary sweetness of the coating, to the distinct taste and slightly rubbery texture of Pili Nut all merging into one like a musical composition merging in harmony.

More than immensely enjoying Bicol and all the activities done therewith, I have come to appreciate more and have really enjoyed, overall, the Culinary delights of this part of the Philippines, in all its own uniqueness, in its very own Bicol style.

The Meaning of Art

Sometime in our life, we may find ourselves asked by another to answer: What is art?

Art in itself is so broad that defining it at it’s more fundamental sense will only, for someone at my current level as a student, give it decent justice.

It is essentially, one integral part of Life. We live immersed in it, whether or not we are aware of that. Art is so close to our day-to-day experience that we no longer real-ize it’s presence. Why is that so? Art encompasses all forms of aesthetics. All forms. From the bed we get up from to the shirt we wear to the breakfast plate we eat on to the car we ride on to the houses we pass by to the faces of the people we see everyday to this post you’re reading! It is everywhere. Almost every man-made form of expression is but a derivative of Art. It’s mere presence in our personal experiences is proof of how integrated and immersed we are with it. It can also be surmised that Art is the physical outcome of the human desire to express, which is by observation, an inherent need within all of us to capture and express ideologies and emotions in forms tangible and concrete. My personal definition or “manifesto,” if you will, of Art in one sentence:

Art is the outward manifestation of inward inspiration.

Inspiration is expressed in many forms by beings holding many different perspectives, across time within evolving cultures holding constantly changing philosophies. Art is but a derivative of, might I say it, Divine Inspiration. Inspiration is the ultimate Source, the fuel, that drives the process and eventual creation of Art forms; objects, places found from the simplest of things like an empty soda can to the most complex of technology like Automobiles. Art is the medium between the Abstract and Concrete. It is as well, from these same external objects that we draw again our inspiration, suffice to say that Artistic endeavors never stop. So long as there are people will Art continue to manifest itself in all forms. It truly is Manifested Inspiration.

It is in this light that the relevance of Art reveals itself. Art has become the form of media by which Human History – the emotional, intellectual, philosophical and cultural ideas of a specific time and era – is preserved. It is through Art that we learn of cultures past, of the ideas that held together and brought down a specific society. It is through Art that we learn of History. Having an understanding of Art, and therefor of History and Humanity can we, more importantly, use it’s philosophies to better understand our own; and eventually incorporate that knowledge in the Lifelong Process of  finding ourselves and discovering Who We Are.

In the concrete Philippine Societal Setting, let’s take an example. The (now unused) 5-Peso Bill had Emilio Aguinaldo’s face printed on it. The mere fact of his face being printed there – which is a form of Graphic Art- is a strong reminder of that specific part of our nation’s history; the specific events, as well as the political and socio-economic thoughts that had helped shape our Cultural Identity today. All that is emblazoned in the form of a portrait in a 5-peso bill we almost never take the time to review, contemplate and appreciate.

What more of the depth and History present in other forms of arts both obvious and subtle, present in our tangible everyday reality? What more of the literary works, movies,  paintings, songs of old and new, dances, sculptures and cuisines, more so of past forms of Art bordering from the very beginnings of human civilization until today’s society across all parts of the globe? Yes, intense.

Art preserves the thoughts of yesterday, reflects the thoughts of today, and provides a canvas for the ideas of tomorrow.

That is it’s power.