The Law, a very long digression into Architecture and Planning, and the significance of Hardware and Software and a hop back into Architecture :P

I wanted to be a lawyer... operative suffix... -ed... :D    Like everyone else - I thought lawyers were cool - with specimens such as Ally Mcbeal, or Tom Cruise in the Firm... etc. etc. Of course it wasn't just a shallow, superficial career option... I really did generously think I had the... uh... powers of reasoning to cut it.

Of course this was well before I went all out into architecture... I told my folks about this thing with the Law... my mom was not so sold - she said that I'll have to pony up the grades to make it into a decent pre-law / law program. Dad on the other hand - in his typical response to non-architecture/design careers for his son - poo-pooed the idea as a product of youthful ignorance.

So I decided to take up Architecture instead - and as so often discussed in my previous blogposts - learned to love and cherish a profession - that in my mind gives me the best opportunity to help change / shape our world into something relatively better.

And as I got more into the nitty-gritty of design - as what usually happens to my peers - I evolved an even bigger ego and quite ignorantly got self-absorbed about the ability and omnipotence of the designer. As Winston Churchill pointed out - and I carelessly paraphrase - We shape our buildings, and our buildings shape us. I was proud about the fact that - not only did we think and imagine things - we produced tangible products. Something that couldn't be said about a profession that I used to aspire to - where lawyers spew out arguments - architects were designing and building real things.

But something interesting happened - the deeper I got into design - the more I realized how innately powerless the designer/architect was with respect to the much broader context in which we all operate in. This conflict is so pervasive in the history of Architectural and Planning discourse that it has birthed the Post-Modern movement in architecture - contrary to the massive tabula-rasa prescriptive change that the Modernists advocated for - Architects fell into the bottomless pit of petty form-making - resigned to being powerless to the real (albeit) harsh demands of the clients - developers - governments - and markets.

This scared the bejeezus out of me -  where does that leave me? An architect not so intent on "form-making" or "trending" or "imagemaking." Sure as hell - at least on a superficial level - I'm the furthest from trendy, fashionable, or imageable. Where does an oldschool, stuck-in-rational functionality, modernist like myself belong in an age where architects are turned by the fates into "make-up artists" for the built environment?

Koolhaas writes so well about this - (although I'm nowhere near this Starchitect's stature) he talks about how powerless he is when dealing with the reality and context of his work.

Then I went into Grad School - and during that short stint - I was rattled from my "architect/designer" frame of mind and was introduced to the concept of strategy and policy. While I was busy thinking about how to compensate for my lack of "form-making" ability - my professors dismantled the whole notion of form-making on an urban level and focused on the various factors that shape our urban environment. In their eyes (probably in everyone else's) - buildings were all the same - boxes.

Where the architect grapples about "puffed-up" mundane issues such as materials, the textures, windows, the "sexiness" of a building, etc. The planner sees numbers, populations, market demand, capital flows, traffic, etc.

That is the difference of architecture/design and urban/city/environmental planning. And as an architect trying to learn about urbanism/urban design - its embarrasing to be the mundane joe stuck at 1:300m while your mentors are busy hovering at 1:10,000m

That's when I realized that at the end of the day - design can only take you so far - hardware is as good as useless without the software to govern and help people use it.

Fast forward to today... with me serving  boyfriend BARops for Patring - seeing just a short segment of what is an entire spectrum of hard slogging in their development as lawyers. I get a glimpse of the software that governs and conducts everything else.

As I start seeing things on the other side of the fence - the more I am humbled as a designer - it puts things in perspective. Removing the blinders of specialization truly opens a whole host of doors into wisdom. While its good to build the professional depth needed to practice competently - it would be a tragic mistake not to build up the breadth of experience and understanding of the plural voices and factors that whirl in the real world's vortex.

It was good to see that - while idealistic "hardware" guys like my peers were learning the ropes - a fresh batch of equally idealistic "software" people were also being concurrently produced. God-willing - with a lot more of these kinds of people - hope is not lost.  

And taking a page from Rem Koolhaas - Maybe that's what separates the good architects from the true visionaries - the ability to see beyond form - into everything else. Its one thing to nit-pick a plan of rooms - its another to question the need for rooms and spaces. As architects - we're starting to see this trend - computers, technology and modern materials and techniques have allowed us to break down the previous cartesian limitations of form making - our more progressive colleagues have explored a multitude of tectonic possibilites - sexy indeed - but I find that the most relevant and interesting work comes from the designers who are able to question and disassemble the premises for doing the work and doing it a specific way.

The frontiers of design no longer lie in the notion of form - but in our ability to break and reassemble the program - the uses - the rules that govern how we work and the reasons for the doing the work.

Now... back to work.

GODSPEED TO PATRING AND ALL THE BARRISTERS! 2 weeks nalang! Todo na to! :D \m/ RAK!



 
  
 

Thoughts on Thesis Projects and why Urbanism

I haven't had the chance to properly articulate my thoughts lately. I've been immersed with schoolwork and the basic business of living - you know... the stuff that a lot of comfortable people tend to take forgranted: laundry, cooking, ironing, etc ad infinitum . But seriously... these things take quite a lot of time... and unless you'd want to end up smelling bad, looking bad and eating nothing but MSG-laden chinese food... you really have to get things done.

The past semester has gone quite fast... I'm thoroughly enmeshed in work - 5 modules of work actually... including dissertation and an extra elective. I have to say that the academic experience has been extremely eye-opening. It has forced me to reassess how I see the practice of architecture and planning in the Philippine context and has made me realise just how badly behind we are from the perspective of thought, discourse and analysis. Notice... I mentioned defficiencies in thought process... not in talent, flair or style. (all of which I think we might have too much off... )

Past experiences has made me a lot more stoic about things I'm very idealistic about. I've learned to just take a lot of things as a fact of life and just as a course of normal business... especially in a small, subsistence economy like the Philippines... I'm better off biting my tongue and just focusing on the task at hand. But I digress... but let me talk about how I got into Urbanism and why I decided to take Urbanism.

When I was in 5th year Architecture, I underwent the same rite-of-passage like everyone else... the Thesis project. Among architecture students ... It is the perennial act of indulging your "designer" ego and finally getting to do forms and buildings you'll probably never be able to do. The usual theme for thesis projects included iconic high-rises, museums, performing arts centres, etc. So anyway... I really did not start from a fixed form or project programme - heck... in fact I didn't know exactly what I'll end up doing... What I was sure of however, was my intent to try solving a something innately close to my heart => parking in UST. Yes... wow pocs... kaganda naman ng thesis mo... parking building.

But then I realised... the lack of parking within UST was just a canary in the mine... it was an indicator of much bigger problems/issues that concerned both the campus and the city of Manila as well. So... to keep it short... I ended up doing a very aesthetically constricted building... because I had to stick to the aesthetic of UST... (which suppressed my pagkadesigner a great deal) and began to focus on the design of public spaces, open spaces and learning spaces... it became an exercise in identifying the problems of a site... and then recommending an urbanistic solution (a building) which also just so happened to have an architectural program or use (a college building). It was - dare I say... different because I did not come in with a megalomaniacal agenda to indulge my ego. I just wanted a parking space.

So anyway... during presentation... I was quite frustrated because I was surrounded by amazingly well rendered, iconic architecture... but then I took it with a grain of salt and just accepted it... in Architecture school... the professors never questioned the intent of the student to design the project... whatever it may be... an airport, a museum for dogs, a pile of dung for that matter... because it was just a fact... they never questioned intent... because professors probably look at students like little kids... "Give them something to play with..."

Thus thesis projects evolve to be exercises in aesthetics... as far as projects were concerned... everything is iconic... everything is grand... everything was an object building. This is the case now... from all the thesis projects I've see on multiply... no one tried to engage the city... no one tried to do something meaningful in terms of solving urban problems... it was status quo... look good=feel good.no one wanted to do a fabric building...  (which incidentally... I did).

Ok... so hindi na ako magbubuhat ng sariling bangko... But now I realise... to not question intent is wrong itself. Unless students and architects learn that buildings are just part of the bigger picture - that of the city... we as architects will end up designing buildings that sit in the middle... iconic yes... but are anti-human... and anti-urban as well.

In a way... the thesis was my introduction into urbanism... except I didn't know what to call it back then. Now... I realise that we architects are both the culprits and the solution to the issues that plague Manila... we just need to reorient our education system to see things differently. We, at some point, have to overcome our preoccupation with form-making... and become problem solvers in the scale of the city. More than the wrapping of the building... we have to learn how to appreciate thoughts, strategies, and concepts to real pressing issues...

<ehem ehem> <end rant>

Enlightenment starts... with the search for a parking slot.

Designers I look up to...

Eero Saarinen - another architect's son... deftly bridged the gap between international-style modernism and modern expressionism... he's brilliant... his work ventured across all scales... from furniture all the way to masterplans... he did flowing sexy lines way before CATIA/CAD, and way before modern industrialized construction methods. He's an idol for me (and for others like me) who take up after our mentor-fathers. He died way too early for his time at 51 years... but despite his relatively short period in the design spotlight, his prolific, masterful work and conscious bent to educate people and cheer the profession continues to echo today.

Architecture critics have questioned his significance mainly because of his short professional life span, but have rediscovered the depth and breadth of his work and writings. At ease both in front of corporate suites and bohemian artists, Eero was the quintessential architect-practitioner-theoretician, who put forward and implemented a lot of his concepts/ideas on context, the figure/ground relationships, technology, etc.

Carlos Arguelles - The quintessential Pinoy Modernist. Sadly, as prolific as he was and as beautiful his buildings are/were. There is virtually no current of discussion among design circles about his work, proof of this is the dearth of photos/articles about him online... yes, although he was hot in the 50s, his gems have survived him and show the early traces of Modern Regionalism that has spread through-out the world as architects/designers from all-over have slowly adapted the International-style Miesian box into something more suited for their respective countries/cultures. The Rizal Theater (as shown) and the Philamlife Building along Taft Avenue are beautiful pieces, with their facade depth, and clarity of structure, both testament to the depth and clarity of thought of the man who designed/worked on both of them. He's as old-school modern as old-school modern gets back here in the Philippines... (although there are a lot of other architects who've had better press with more projects, I'll toss my vote in for the lesser recognized/less talked about dude. The Nakpils, etcs have had their time in the sun.)
















Paul Rudolph - another old-school, mid-period modernist, he rarely gets the props he deserves, mainly because of his late period work, wherein his hardcore, cold, objective bent on work adapted an even more harsh aesthetic, his brutalist period. He got a lot of flack for the Yale Architecture building (not shown) for being too overbearing, dark and dreary, but if you do look back to his early work, especially his Florida Houses, you'll be surprised to see something much lighter, with ingenious circulation/parti and incredible clarity/legibility even at the level of illustrations. He was known among his peers as an incredible illustrator of ideas. Even as his popularity declined because of the neo-classical/ornamental drift of the 70s-80s, he continued to do his thing in Asia, with built/unbuilt projects in HK, Singapore, etc. testament to his belief in architecture as a means of healing and improving cities and their urban/street-level conditions... and even bigger proof of his savvy dealing with all sorts of clients, from the american, artsy designer-house owner, to the cut-throat, competitive asian businessman. He let his work... and his lines do the talking.

Leandro Locsin and Francisco Manosa - ah yes... for Pinoy designers... no explanation needed. Both these men are proponents of Philippine Architecture during their heydays...

Lindy, (Leandro... my parents named me after him) took the cudgels of Filipino Modernism from the likes of Carlos Arguelles and the Nakpil Family and took it several steps further. His talent and intuition for design is amazing. His first key project, the UP Chapel of the Holy Sacrifice, hinted at the creative prowess he had brewing within. His story is one of rare celestial alignment, wherein talent/ability gets fused together with his pedigree/connections, and family wealth. I would like to believe that even if he was handicapped by fate, even if history did not have the Marcoses (see CCP photo at left, etc.) and their megalomaniacal tendencies take over the Philippine design world, Lindy would have done well for himself, because of his talent, savvy and sheer prolific creativity. Indeed, its tough to be named after this dude. But its also an honor to have a semblance of connection (albeit forced) to his existence. (Although... I have another thing to say about that... I'll write about it some other time) He admits to being heavily influenced by 2 names mentioned above (Eero and Paul Rudolph), moreso during his later work as he moved away from his Corbusian modernism, to more expressive, raw, heavy... yet light, brutalist work.

Bobby (Francisco Manosa) I've had the pleasure to work in his office for a summer internship, where I really didn't do much in an architectural sense, but to tell you frankly I learned a lot just by standing around next to the plotter waiting for the prints to finish. He is one of the few local architects who make a strong stand for vernacular architecture. If its architectural modern regionalism that you want... this is as good as it gets for the Philippines. He has stubbornly adhered to and spearheaded the Filipino vernacular language of architecture, fusing together the old Spanish colonial sensibilities, Filipino environment and materials, with American/Western programming/requirements. All of this has cost him, as prospective clients have shied away from his office because of the fear that he would impose his look on their commercial projects. Despite this, he has shown that despite his no-compromise stance, the vernacular language is incredibly adaptable to modern design. He is the tireless, forever throaty-voiced cheerleader for Filipino Architecture. While the academe continues to semantically debate the existence of Filipino Architecture. He's there outside on the ground (not literally of course) running and practicing it, without compromise. He's lost a lot of good people through the years. Partners have migrated, started their own firms (and even got some of his clients and staff) but his influence will always be there. Heck I know... after 3 months working for him. I still get daydreams about bahay-kubo skyscrapers and offices.

At the risk of sounding cheesy, I'll also have to name my dad, Leonardo Poco, as one of the architects I look up to (syempre). He has come a very long way from his roots in Lingayen, Pangasinan. Coming from a family without any design background... from the first generation of farmers/Chinese immigrants from Xiamen, to the second/third generations of educated professionals: accountants, teachers, and more accountants... he blazed the trail for the "artistic" side of the family. (We now have 3 architects in the family)

Early success include the EPROM 1976 International Design Competition, wherein he won the right to represent the Philippines in Canada. The world was a lot larger then, and for a barrio boy to go all the way there through a competition (ok... it was a group competition, but he did lead and push his team to get it done) and stand side-by-side other nationalities, thats no small feat.

His early professional work (like most designers) is a search for bearings, ranging from modern to pomo, I'd have to say his best early work would have to be the Mile Long Building (where we hold office) along Amorsolo St. in Makati. Yes, it is a postmodern reference to the Mile Long Barracks in Corregidor, and yes... the owners/developers (The Rufinos) did have a lot of style/taste to venture into that direction, but its rhythm, simplicity, cleanliness and timelessness are indications of talent brewing within.

My love for architecture is something learned and acquired by watching him ever since my first summers hanging out at his drafting room in his office. Although our professional relationship sometimes resembles the TV Show "American Chopper", wherein the father-sons go through a continuous love-hate-work-deadline relationship, with the staff/team members befuddled as to what to do... I love working with him because it feels great to contribute something that you are really part of, and to learn from a consummate practitioner. Yes, I do get the urge to strike out and go on my own, but timing is everything, and I believe that in this case (as with most Parents and Children who have the same line of work/interests), our fates are truly intertwined. Its been a learning process not just for me, but for him as well, as we both learn to adjust to each other's thought-processes. I'm learning to shut-up and think/draw more, while he's learning to listen.

I'm amazed not just by his work, but more for his innate, patient/yet demanding, mentoring nature. (just ask our team) Impartial to the core, non-controversial unlike Manila's many pr-seeking designers, incredible taskmaster/manager... I'm learning all about the practice from a guy who runs a tight ship. His balanced/well-rounded view on the profession and his personal life (from design to business strategy, real estate, management, work ethic, family life) is something I'm learning as I shift from the studio mindset to the practice set-up.

I believe his best work is still ahead of him, and his best lessons for me and the team are still to come.


Photo credits (right click and view image for addresses/locations)




Postscript...

In my tired haste I forgot to mention a couple more names of designers/architects I really look up to for their work and principles:

Ralph Johnson of Perkins and Will Architects in Chicago - This Walrus-like guy has made quite a name for himself within the established firm of Perkins and Will by pushing their modernist vocabulary forward.

I particularly admire and study his campus plans and school buildings which are expositions of his understanding of context, depth, scale and proportion and unified design. Although he has also done a lot of vertical towers and highrises (like Skybridge, pictured above) his mastery of scale, proportion and detail have shown in both small/horizontal campus work and verticals.


Richard Meier - One of the few architectural monograms we had at home back when I was in grade school was a book on Richard Meier. I used to look at the pictures and study the precision/clean lines he'd do with his buildings. His work takes after Le Corbusier's principles and takes them several steps higher. From his residential work showing a clear, defined parti/flow of spaces from constriction to release; to the masterful weaving of his buildings together with the existing urban fabric, on plan, his work has shown an incredible level of legibility, procession and functionality. Aesthetically, his white boxes aren't the boring boxes of yesteryear, but are actually very playful collages of light, shade, depth and massing. His early work (back in the 60s) such as the Smith house has remained timeless and is testament to the ageless quality of modernism. Of course, he did run through a period of doubt in his aesthetic when the Postmodern wave of eclectic revivals and pastiche design became the cool/in thing in the U.S., but Meier found a safe haven and a fertile ground for his concepts in Europe where his buildings had a strong civic presence that helped weave/stitch together tattered downtowns. His work almost borders on the classical in how he combines traditional concepts on proportion/scale and civic beauty in projects such as the Getty in California, the MoCA in Barcelona and the Jubilee church in Rome.

Sambo Mockbee and Glenn Murcutt - both singular practitioners, The late Sambo founded the Rural Studio and helped bring social consciousness back into the hearts of architects and designers. The program has been heralded in marshalling together good design, sustainable/recycled technologies, architectural education and social work all in one roof.
One piece of little-known trivia about Sambo is that he was part of the team of consultants that came over during the Expo1998 Centennial preparations to help the local group set in motion plans for the celebration.

Pritzker Prize winner Glenn Murcutt is an Australian solo practitioner who has a waitlist of projects because he takes on things one at a time. The award of the Architecture "Nobel" to him was refreshing because it just goes to show that in an era of glitzy and glamorous starchitects, the solo practitioner out in the boondocks can do great work, regardless of the publicity. He has been known for implementing a no-nonsense approach to his work, integrating his clean modernist functional/outback aesthetic with sustainable technologies that allow his buildings to "Touch the Ground Lightly" which is an aboriginal mantra about how man should tread on this world.

Please do let me know if I have inaccuracies... I am writing this off the top of my head... maybe you'd have a few insights and favorite designers yourself too.

Postscript to the 2004 Dreambuilders Competition by ALI

Ah yes... my first post for 2007...

Yep, I've resigned from my corporate job, and rejoined my family's design practice. Things have been hectic since the year started which is why I haven't had the chance to steal a few moments and post anything on this page. I feel very liberated being able to learn and do things at a much faster pace, with a little bit more authority, and to have the chance to focus on something that I really like to do (architecture, versus land development and real-estate).

Also, I've decided to drop the whole corporate gig and try to focus on the church/retreat center we're working on for my high school. Hope to post some of my revised sketches soon. Not to mention... I also have a few sidelines to finish/develop and I have to get myself back into the architectural frame of mind for the board exams this June. Review starts mid feb and I'm afraid that the year-and-a-half I spent in real estate may have taught me things that don't necessarily help prepare me for the boards.

I've realized that after seeing all the layers, the brownosing, the facades, insecurities, inefficiencies/indecisiveness and packaging in it... (not mentioning some of the good parts too... like... uh... I'm sure there are some good parts... like the good people inside the organization, the few mentors from within and the engineers I've worked with onsite.) I might not be a good fit for the corporate world. Yes I know, I can be relatively carinoso and charming/political when I have to be... Its just that, its frustrating to know what needs to be done, but not have the leverage and accountability to be able to do it.

Anyway... they still owe me a commitment. And I'm going to hold them to it. 2 and a half years of waiting for a 2 month apprenticeship position abroad is just proof of the inherent inefficiency within. That competition I won was back in 2004. Its 2007, and they still haven't awarded the prizes. Ganun nalang ba ang mangyayari sa amin? I refuse to be the product of a corporate anniversary photo op. My co-winners/placers and our schools deserve better, especially given the reputation that they've held up to the public.

But the irony of the situation is... I'm not mad about it. Because after seeing how the system works. I'm not surprised that these commitments did not move because it was no longer in their interest to carry through. Boo hoo, out there, in the real world, millions of people are getting shafted at work or in life one way or another, and I'm just another one of them.

I've tried to be extremely patient and classy with dealing with them. My co-winners from Cebu have actually reacted earlier and in a much vocal way. I thought that by being the silent, classy person and taking the high road would induce them to act, besides, they remain to be one of the biggest potential clients for any architectural design firm in the Philippines. I thought that I couldn't harass or pressure them about it because I wouldn't want to irritate a potential client. But I thought wrong. I was negotiating a strong argument from a weak position.

Before joining them, I thought that working with my father will be hell because of the stress, pressure and lack of freedom. I now know better, because after going through things, and having to shelf my emotions, and whatever limited or boundless creativity and abilities I had for the sake of the system in place, anything would be better now. Because here despite the pressure, I am accountable... and I face the challenge and rise to it.

The strong feign weakness, the weak feign strength.

And that will be my last word on that.

If it works, it's obsolete!

IF IT WORKS,
IT’S
OBSOLETE
Marshall McLuhanisms
-thoughts in italics

The story of modern America begins With the discovery of the white man by
The Indians.

Only puny secrets need protection. Big discoveries are protected by public
incredulity.

Whereas convictions depend on speed-ups, justice requires delay.

The nature of people demands that most of them be engaged in the most
frivolous possible activities—like making money.

With telephone and TV it is not so much the message as the sender that is
“sent.”

Money is the poor man’s credit card.

We look at the present through a rear-view mirror. We march backwards into
the future.

Spaceship earth is still operated by railway conductors, just as NASA is
managed by men with Newtonian goals.

Invention is the mother of necessities.

You mean my whole fallacy’s wrong?

Mud sometimes gives the illusion of depth.
So does the glossy sheen/lacquer of beauty...

The car has become the carapace, the protective and aggressive shell, of urban and suburban man.
So true!

Why is it so easy to acquire the solutions of past problems and so difficult to solve current ones?

The trouble with a cheap, specialized education is that you never stop paying for it.

People don’t actually read newspapers. They step into them every morning like a hot bath.

The road is our major architectural form.
Correct! When a developer says that a project is 40 or 50% open space... don't believe it... because chances are, 35% of it is roadway. Same idea goes with the parking lot


Today each of us lives several hundred years in a decade.

Today the business of business is becoming the constant invention of new business.
True! Malls and businesses are in constant reinvention... heck, even Architecture has fallen into the realm of fashion... look no further than Vegas, where modernism is layered onto "obsolete" postmodernism

The price of eternal vigilance is indifference.

News, far more than art, is artifact.

When you are on the phone or on the air, you have no body.

Tomorrow is our permanent address.

All advertising advertises advertising.
And so the dog wags its tail, and chases it at the same time...

The answers are always inside the problem, not outside.

“Camp” is popular because it gives people a sense of reality to see a replay of their lives.

This information is top security. When you have read it, destroy yourself.

The specialist is one who never makes small mistakes while moving toward the grand fallacy.

One of the nicest things about being big is the luxury of thinking little.
In the case of the corporate world... so true... millions of people atrophy wasting their time waiting for their next paycheck... and not using their noodles to do something productive...


Politics offers yesterday’s answers to today’s questions.

The missing link created far more interest than all the chains and explanations of being.

In
big industry new ideas are invited to rear their heads so they can be
clobbered at once. The idea department of a big firm is a sort of lab
for isolating dangerous viruses.
The status quo is 10x lovelier than a big, new, game-changing idea, why? its so much easier... the one who benefits the most from a game-changer, is also the one that is oftentimes marginalized by the status-quo.

When a thing is current, it creates currency.


Food for the mind is like food for the body: the inputs are never the same as the outputs.
Case in point... a lot of educated people, churn out crappy work.


Men
on frontiers, whether of time or space, abandon their previous
identities. Neighborhood gives identity. Frontiers snatch it away.
This is true... and not necessarily negative or positive... people who grow and improve themselves adapt a migrant's mindset... one without firm neighborhoods and unbound by frontiers... the moment you're too confortable... you're not growing anymore...

The future of the book is the blurb.
People don't read anymore... tsk tsk...

The ignorance of how to use new knowledge stockpiles exponentially.

A road is a flattened-out wheel, rolled up in the belly of an airplane.

At the speed of light, policies and political parties yield place to charismatic images.

“I may be wrong, but I’m never in doubt.”

—Copyright © 1986, McLuhan Associates, Ltd.