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The field of architecture focuses on the design and construction of buildings. The work of an architect includes preparing the design and assisting with the construction of houses, apartments, bridges, etc.
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If you’ve designed anything in your life, whether it’s architecture, graphics, interiors, or whatever, you know this feeling where you’ve invested all of your creative efforts into a project. And as it’s wrapping up, you’re puttering about grasping at all the small details and final task, what’s left to be done, not wanting to officially finish it because it means you’ll have to get started on that next project, which is waiting or looming in the background. It’s this strange mix of excitement and dread, the most gratifying and terrifying point in the design timeline. At times like these, doubt starts to creep in, and you start wondering, can I do this all over again? What if that was the last good idea I’ll ever have? Do I still even have what it takes? Will it be good? And then, if it is good, will it be better than the last project if you felt this way in the past or if you’re feeling it right now, you’re not alone. I’m right there with you as I’m getting ready to begin a new project. So in this post, I thought I’d talk about how I deal with this and how I find new ideas.
Arthur Koestler coins a term in his book The Act of Creation, known as by Bisociation. Now he has a very wordy definition of it, but simply put, Bisociation is the linking of two completely separate, unrelated ideas. So how does it work in practice? The design for the Sears Tower in Chicago by Bruce Graham and Fazlur Khan of Skidmore Owings and Merrill is a perfect example.
So there’s a story that the two partners were having lunch together at the Chicago club. They were mulling over design concepts for an office tower, and they were discussing the need for a novel approach for what was to be the tallest building in the world. Structurally, they agreed that a series of tubes with shared walls was an extremely efficient way to support a very tall building. But that approach would also yield a rather bulky mass than the simple steel frames in common use at the time. It said that Graham paused and looked down at the table and his pack of cigarettes, and he grabbed a small bundle of them in his fist, and he proceeded to push and pull them to different heights. At this moment, he realized that if each tube were staggered vertically, both their slenderness and their structural integrity would be preserved. So linking the idea for a skyscraper with a pack of cigarettes, two seemingly unrelated things provided this novel concept for the Sears Tower.
Now Bisociation requires unconventional thinking. Commonly held beliefs and repetitive thought processes will always yield similar results, permutations rather than mutations, variations on a theme rather than some hyper-flexible thought that permits going beyond the expected solutions. Learning to Bisociate challenges the way we’re taught to process the world. Accepting conventions and limitations like the maximum height of a building leads to solutions that incrementally advance previous successes, a more efficient structural steel frame than the previous example’s two concepts. Bisociation destroys previously held limitations while creating and establishing new ones.
Trust the Process
Before Arthur Koestler, there was Graham Wallace in his recipe for creativity, which I especially like and rely on. In his book The Art of Thought, he outlines four stages of creativity, preparation, incubation, Illumination, and verification. The interplay of these stages between conscious and unconscious thought, he contends, and I believe this too, is the process that allows us to produce creative work. So here’s the process he describes:
This stage lays the groundwork, the foundation for the thinking to follow it, collates the questions, seeks to understand the context, and develops an understanding of the problem to focus the efforts of the next three stages. In architecture, this would be like conducting precedent research, understanding the conditions of development, zoning, code regulations, and site analysis.
This stage happens in the unconscious. The previous stage preparation has filled the mind with all this information to process, and the incubation period sets the unconscious mind to work on it. Discovering and forging connections is central to the success of the incubation period, and Wallace suggests that working on multiple problems at once actually increases the odds that the incubation period will be fruitful. This forces the mind away from developing a singular solution into a place where it’s unconsciously investigating several briefs at once. I find the incubation period maddening because I’m nervously awaiting the arrival of the next stage, Illumination.
This is the source of the most anxiety in my creative life. Now, Illumination follows an undefined period of incubation. It’s that beam of light shining down from the clouds upon the patch of earth you’ve never seen before. Quite often, I feel like I’m approaching Illumination only to be pushed back. But when ideas begin to reveal themselves, I know that Illumination is near. Usually, these thoughts, or as Wallace calls them, train association, proceeds another round of ideas that press a little further forward and eventually to the solution.
Lastly, there’s verification, where we test and fine-tune the idea. For some, this is an easier process than others. The unconscious processes that deliver the illuminated concept to the conscious self haven’t done all the necessary calculations to prove the idea is valid or even good. For me, Illumination doesn’t drop a fully formed idea on my desk. I have to work at it, building layer upon layer of trace testing, sketching, and applying physical effort. By contrast, Maya Lin, the architect of the Vietnam War Memorial in Washington, likens her process to laying an egg. The essence of her incubated ideas combines into a singular package that needs very little care or guidance to express her original intent.
Without limits or hard edges, how can we even judge the success of one architectural solution over another? Constraints are necessary for our work to exist, whether they’re economical, developmental, legal, formal, material, client-driven or user-driven, or technological. When I’m talking about constraints, they’re more than just a need for a home or a need for a school. The questions you need to ask are deeper than that. Constraints are opportunities for us to innovate and boundaries to push against. How might you cleverly subvert a constraint like an area or a volume restriction or a stylistic Rousselot restriction? What if you could only use technology to solve your problem? What would that look like? What if I were building this remotely and could use only one material, and it had to be brought in by helicopter?
So you know what they say about goldfish, right? They grow to the size of the tank that they’re in. Well, the same is true for your design work. Set aside eight hours to complete a series of design concepts, and magically you’ll take a workday to complete the task when I’m stuck and looking for inspiration. I like to cut the time I’ve allotted in half. If you’ve dedicated eight working hours to create three concepts now, you only have four. What are you going to have to do differently to accomplish your goal in half the time?
Become an Observer
Ideas are everywhere, but we need to condition ourselves to receive them, pay attention to the things that we’ve missed because you’ve been so busy, focused with your head down on the page in front of you. Zoom out, look at things from a new perspective. I’ll always remember the first day of my high school physics class. Our teacher lit a candle, placed it on the lab bench, and challenged us to write down everything we could about the candle, every physical observation we could think of. So color, shape, height, flame, wick, dripping, wax, all the obvious descriptors. I ran out of ideas in probably less than a minute, along with most of my classmates. So after doing this, we then read aloud our observations and realized that we had recorded the same dozen or so of the most obvious features. That’s it, the teacher says. Then he leaned in and puffed on the flame. And, of course, the flame moves, and wisps of black smoke rise from it. And he says anybody has that observation on their list? And from there, he proceeded to come up with another two dozen or so descriptors, each of which was plainly visible. But all of us had missed them because we weren’t trained to observe. Profound architecture interprets the world for us. How can observing what’s already there make for a better building?
Do the Opposite
Have you ever done this trick where you switch hands while you’re brushing your teeth, try it the next time you’re brushing, switch hands, see how difficult such a simple task is when you completely flip how you’re used to doing it. You have to think about it. Now, with this trick, you do what everyone else isn’t. Design the anti-project. Can the public be private? Up be down, stage be audience, open be closed, expensive swapped for inexpensive, heavy for light. And this is a game you can play on so many different levels, including eliminating all the constraints we spoke about earlier. What would the project look like if I didn’t have to abide by X or Y or take three of your president study solutions and completely invert them?
Subtracting to Solve
Often the best solution is the simplest, the one that involves the fewest moves, the one that’s most pure and the least convoluted. What solution would require no tools to construct? How about the one that children could build? What’s the free solution? What if you were financing it? Would you do it differently? Keep removing variables. A library without books, a theater without screens. What’s the one thing that, if removed, would render everything else pointless?
Steal (Like an Artist)
There is truly nothing new in this world. Understanding this should free you to look to the solutions others have developed before you: Nature, abstraction, art, photography, movies, light people material, Instagram, Pinterest, books, the site, maps, colors, wind, the ocean, tools, movement, emotion, weather, smell, shape, other professionals, other disciplines. Although it’s been done before, it’s never been done by you. And that is one of the most liberating ideas for setting off on a new project. So, where will all this lead? Well, I don’t know. And that’s the fun part, I suppose.