Synergistic Competition

This is my entry to the ICONOCLAST Design Competition organized by the LA+ Journal. The competition asked for a redesign of Central Park. Following is the text and the two boards that were submitted: 

In their second public statement the eco-terrorist organization “the Gaians” wholly rejected the parameters of the ICONOCLAST design competition announced by PennDesign’s LA+ Journal, calling it “totally regressive” and “the result of the same unilateral thinking that brought about the ecological crisis humans have created.” The Times received this statement on May 4th, ten days after the ICONOCLAST competition was announced. The Gaians also attached two diagrams and a short explanation of what they are describing as a “Synergistic Competition fit for the 21st Century.” Threatening to take further action against public parks in New York City, the Gaians demanded that Mayor Bill Di Blastoff initiate the new competition immediately. Excerpts of the Gaians’ statement follow:

“In nine stages and over the span of more than three years, our Synergistic Competition will unfold right in front of the public’s eye. Designers will not sit in their exclusive havens of self-congratulatory delusions and impose their will on the world and destroy its nature. This arrogance must stop! All designs will be displayed in Central Park and subjected to public critique, starting with 512 contestants from all backgrounds and specializations. The contestants will explain their designs to the people, who will in turn fulfill their civic duty by voting for their favorite schemes. Public presentations and debates will continue throughout the process to ensure that this competition does not only produce a good design but an entire ecological paradigm shift.”

They continue:

“After each stage, once the people choose the winners, half the contestants will be eliminated. The other half, the winners, will be expected to evolve their designs according to the comments they received from the public, and also incorporate successful ideas presented by other contestants in a process of co-evolution. Frivolous expressions of personal style are unacceptable! As the competition advances, the number of contestants will decline, but the required amount of design details and specificity will increase for those remaining. We recommend that those eliminated join the remaining to produce larger teams capable of meeting the increasing demands of the competition. The plot sizes where the contestants show their designs to the public will also quadruple with each consecutive stage. In the ninth stage of the competition, only two contestants will remain, but their designs will be the result of an evolutionary process that took advantage of the 1,020 potential Central Parks that were not selected. Only this inclusive and collaborative competition process is fit for the 21st century. Down with insular designers!”

Before a House, and After It

SCENE ONE

Abeer and Salim are sitting in their living room, on the top floor of Salim’s parent’s house. They moved in six years ago when they got married. Now, with two children, and a plan to have two more, they are quickly outgrowing the limited space. As a gift, Salim’s father gave them a plot of land in the Abdulla AlSalem neighborhood. They spent the past few weeks looking for the right architect to design their house. Almost every night, before going to bed, they talk about their dream house. This night is not different.

Abeer: Did you talk to the architect you told me about yesterday?

Salim: Yes, I visited his office. We had a long meeting. At first, he didn’t want to take the project.

Abeer: Really, why?

Salim: A long story about how he was too busy with other projects, he didn’t have enough employees, our timeline is too short...etc. When everything else failed, I promised him that if he took the project, I would pay all his fees upfront.

Abeer: Wow, do you think that’s a good idea?

Salim: He is an amazing architect. I told you how many people recommended him. He also showed me some of his designs. They were beautiful, exactly like the classical villas we liked in Europe.

Abeer: Oh, that’s great. Ok, so what happens now?

Salim: I gave him our list of requirements, and I told him where the plot was so he can take a look. He said he will come up with some preliminary ideas and call us in a couple of weeks.

Abeer: This is really happening, isn’t it? We’re going to build our house! I’m so excited!

They were both excited. Abeer just showed it more. They had a strategic corner plot, in a nice neighborhood, and a great architect. What could go wrong?

SCENE TWO

Several weeks had passed since they hired the architect. A couple of meetings with him allowed Abeer and Salim to explain how they imagined their dream house. They realized that articulating exactly what they wanted was harder than they thought.

This is their third meeting with the architect, and the first where the architect had brought drawings of a preliminary design. In their small apartment on top of Salim’s parent’s house, Abeer and Salim sit next to each other on a couch. In front of them, sitting on another couch is the architect. Between the two couches is a coffee table with several rolls of drawings.

The architect unrolls his drawings and begins to speak:

Architect: Let’s imagine the future, fifteen years from now. Your beautiful daughter Sarah is getting married. There is no better place to have the engagement party than in her own home. The reception area in the ground floor is spacious and beautiful. It’s already impeccably decorated, so all you have to do is add a few flower bouquets in the corners.

Your guests arrive through the front door. They are dazzled by the elegant space. Colorful wallpaper. Classical furniture. Intricate wall moldings. You greet them, and take their hand to show them around your house. Through this large opening in the wall [he points to a perspective drawing done with water colors], framed by a white built-in cabinet with gold highlights, you walk to the next room in the reception area.

The decoration here is totally different, but equally beautiful. Everyone is smiling and happy. They can’t wait to see your daughter in her white dress. She is upstairs getting ready of course. The party helpers move back and forth from the reception area to the adjacent kitchen [he points at a floor plan], serving drinks and hors d'oeuvres arranged on silver trays with floral borders.

Here, the architect focuses his attention on Abeer, making eye contact with her and smiling. He can already see that Salim is sold on the design.

Architect: You glide from one unique room to the next, entertaining your many guests. Each room is just the right size to hold around twenty guests, but together, these interconnected reception rooms can host a much larger number. This is the magic of the design. All the rooms are clearly defined, but they open up to each other to make one big space. I’m sure the younger guests would prefer sitting together in one room so they can mischievously whisper their secrets and laugh at the latest jokes. The older guests would want to sit together in another room to catch up with old friends. Each room has enough privacy for a cozy atmosphere, but never loses its connection to the larger party.

Can you almost hear the sounds of the party? Can you feel the excitement, and smell the food? This will go on for a few hours of absolute joy. Then, the big event. [he points to the floor plan] All eyes will be on the spiral staircase. Your daughter slowly makes her way down the steps. She is revealed gradually. First, only her shoes, then the white of the dress, then her arms, then her shoulders, then her face. The room is absolutely still. No one breathes. No one blinks. And the party continues…

The architect leans back. There is moment of silence, as he mentally congratulates himself on his performance, and Abeer and Salim absorb what they just witnessed. They glance from the drawings to the architect, and then to each other.

Salim: Wow, wow! I love it! This is beautiful. Truly perfect. I don’t even know what to say. I just feel very emotional thinking of Sarah’s future. [he turns to Abeer, and points to a perspective showing the spiral staircase] Can you imagine Sarah walking down these steps?

Abeer: Yes, the drawings are beautiful. I love the classical style of the rooms, and I like how each room is different. I just had a few practical questions. The way all the rooms open up to each other would be perfect for a large party, as you described. But what about small gatherings, if its’ just me and a few friends. It would be nice to be able to close one of these rooms to make it more private.

Salim: Hmm, yeah, that would actually make sense.

Architect: I don’t think there is a need for that. [he points at the floor plan] Look at the openings between the rooms. They are not very wide, quite reasonable. It will feel like an enclosed room.

Abeer: I understand. But, for example, some of my friends are hijabis. They would feel more comfortable removing their hijab if there wasn’t an opening in the wall, where Salim or Marzouq, once he grows up, would be able to look through as they enter and exit the house. [she points to the perspective showing the opening framed by the white cabinet] I would think it’s not difficult to add a door in this opening. It is already framed.

Architect: Oh no! That wouldn’t do. A door would totally ruin the effect of free-flowing space. That effect is crucial to the design.

Salim: How about a folding screen that can be extended and contracted depending on the situation?

Architect: To do that, the lovely arch of the opening would have to be replaced with a plain rectangular hole. The house would lose its classical style that you specifically asked for.

Salim: I do think the arch is beautiful. [he turns to Abeer] Is a door really that important? I am sure we can coordinate my entering and exiting the house to suit your schedule.

Architect: Yes, I suggest solving this issue by coordinating your schedules, not with doors. Also, I want to keep us focused on the bigger picture. Getting distracted with small technicalities can easily ruin the architectural quality of the house. Let’s think big. Big occasions. Big parties. Big lives.

Is it so bad to make a few small sacrifices to have the perfect engagement party for your daughter?

The architect says this looking straight at Abeer. This imaginary engagement party, for her currently eight-year-old daughter is starting to annoy her.

Abeer: Well, I am not against making sacrifices. I know a house can’t be perfect. But I also have practical concerns about hosting big events in this space. In such occasions, the men and women would, of course, have separate parties. We might have asked for a European style house, but we are not Europeans [she smiles]. If there is a way to divide the rooms, we would be able to have a private space for men, and a private space for women. [she turns to Salim] Or are you fine with having your daughter partying with the men?

Salim: No, of course not! It goes without saying that the parties would be segregated. [he turns to the architect] Is there a way to do that?

The architect pauses and thinks. He is quickly trying to find the right words to save his design from being meddled with. Abeer used his idea of the daughter’s engagement party against him. He must find another strategy.

Architect: First, I think it would not hurt any of us to be a little more European, don’t you think? [he smiles at Salim, trying to get him back on his side] But anyway, these reception rooms can be used by men or women. That’s for you to decide.

My point is that all elements of this design work together. I have put a lot of effort, not just in designing the main rooms and their decoration, but also on supporting rooms. [he points at the floor plan] Look at how the kitchen connects to this reception room. Look at how the spiral staircase is centered in relation to the front door.

Don’t let the beauty of the house fool you, it works like a Swiss watch [he smiles]. Changing one part would definitely have a negative effect on its functionality. I really only want your long-term comfort.

Salim: All your effort is very much appreciated. Don’t take this as criticism. We are only thinking out loud and having a friendly conversation. We will probably not make any changes to the design. [he turns to Abeer] What do you think?

Abeer: I agree, of course. The design is amazing and beautiful. The issues I bring up are quite small. I am sure we will find simple solutions that keep that design as you intended, and add some practicality to the house.

Abeer thinks she has made her point while being diplomatic, and avoided hurting the architect’s feelings. The architect thinks she is being passive aggressive. He is ready to draw battle lines, counting on Salim’s support. He directs his words to Abeer.

Architect: Your words sound like praise, but their meaning points to the opposite. I have tried to explain how changing one thing in the design, would mean that the house, as a whole, would suffer. Maybe you have not understood me, because I don’t seem to understand you. If you dislike the design please say so openly.

Salim decides to act quickly before things further sour.

Salim: No, no, I am sure she likes the design. It is a spectacular effort. Everyone likes the design.

Abeer: No, not everyone! I only like the parts of the design that work. I definitely don’t like the parts that don’t!

You think you’re so smart for placing the kitchen next to the reception area for easy service, but you seem to have forgotten that we are in Kuwait not Italy. We eat machboos and murabyan, not spaghetti Bolognese. We use a lot of spices, and we cook is large pots. In my daughter’s ‘engagement party’, as you keep saying, my guests might as well sit in the kitchen, because the entire reception area will stink of cooking!

The architect sits silently, regretting his aggressive comments. He thinks he miscalculated his tactics. Salim decides to step in again to calm everyone down.

Salim: Surely, it’s not that bad.

Abeer: Yes it is! Any woman in Kuwait would know that you have to either move the kitchen away from the reception area, or build a greasy outkitchen to do the heavy cooking in.

I also have issues with the spiral staircase. Sure, it looks nice, but I don’t trust it. My children are small, and I am worried they would trip on these irregular steps. I would rather have a simple staircase, a normal one that is safe, than a fancy one that would worry me every time one of us was going up or down...

Architect: Is that all?! It seems you want to change everything! I knew you didn’t actually like the design. I have put all this effort designing an elegant classical house, and you want a ‘normal’ staircase! Why did you hire me if you wanted something ‘normal’?

Abeer: Because we thought you knew what you were doing!

Salim: Ok, Ok. Let’s all calm down. There is no need for this. How about we keep these drawings for a few days to think about them, and then have another meeting to talk some more? I am sure it will all be resolved to everyone’s satisfaction.

Architect: Fine.

Abeer: Fine.

Salim: Great! [his tone is of a teacher addressing a couple of quarreling school children] See how we can all get along? [he holds out his hand for the architect] Come, let me walk to you to the door. Thank you so much for all your effort. I will give you a call tomorrow.

Salim leads the architect down the stairs and out to the front door of the house.

SCENE THREE

It’s later on the same day, around 10 pm. Abeer and Salim had not talked to each other after the meeting with the architect, except in monosyllable sounds. Salim decides to break the ice.

Salim: So... You and the architect seem to be getting along quite nicely. [he smiles] I’m starting to feel jealous.

Abeer: Very funny.

Salim: Seriously though, it didn’t have to get uncivil, did it?

Abeer: He started it.

Salim: You know he’s just trying to design the best house that he can. He’s working hard for us. We should try to work with him.

Abeer: He’s designing the best house for himself, not for us. The house doesn’t fit our lifestyle. It’s beautiful, but unpractical. Anyway, if you want us to meet again, I can do that, but that’s only because you seem to really want him to design our house.

Salim: I do. I believe he’s the right man for the job. I’ll call him tomorrow and set up another meeting. Did you know he had drawings of the first floor bedrooms that he didn’t even get to?

Abeer: Ok, let’s meet him and see the drawings. But don’t expect me to keep my opinions to myself. If I don’t like his design, I’ll make sure he knows.

They both smile, Salim more nervously than Abeer.

SCENE FOUR

They are all back in the living room: The architect, Salim, and Abeer. The children, Sarah and Marzouq, are also there playing on the floor next to their parents. The seating arrangement had changed from the previous meeting. Salim and the architect are sitting on one couch, and Abeer is sitting opposite them on another. Between them is the coffee table with rolled drawings.

Sarah: I want my room to be Purple, because Purple is my favorite color.

Architect: What a coincidence, Purple is my favorite color too! I’ll make sure your room is Purple. [he turns to Marzouq} And what color do you want your room to be?

Marzouq: Green.

Architect: oh, good choice! I like Green too! I have two favorite colors: Purple and Green. Why do you like Green?

Marzouq is too young to know how to answer that question. Nevertheless, he stares at the architect with intense attention, and says what he thinks is an appropriate response.

Marzouq: Green.

The architect continues to gently smile and nod his head in agreement with Marzouq.

Architect: Ok, Green it is. Got it.

Salim: Sarah, take Marzouk and play over there in the corner. We have to talk about important things with this gentleman.

Sarah: Ok.

Sarah gets up, holds her brother’s hand, and confidently drags him to the corner. Marzouq does not want to go, but has no choice. He doesn’t complain though, because he is more confused than distressed.

Salim: So, shall we get to it?

Architect: Yes, I have a few more drawings to show you that I didn’t get to last time.

Abeer: Great, I can’t’ wait to see them!

Both Salim and the architect, caught by surprise by Abeer’s apparent enthusiasm, look up to see if it’s genuine or sarcastic. They can’t figure it out.

The architect unrolls his drawings and carefully organizes them on the table. This time, the arrangement is tricky, because Abeer and Salim are sitting opposite to each other. He hesitates for a second, but ends up orienting most of the drawings towards Abeer, and a couple of perspectives towards Salim. He doesn’t like it, but moves on.

Architect: Let’s imagine the future, five years from now. God willing, you will have two more beautiful children. This house needs to serve your practical needs at that time, and even further into the future. [he looks at Abeer] Isn’t that right Abeer?

Abeer thinks the architect must have rehearsed his speech, including this little gesture.

Abeer: Yes, exactly. I totally agree.

Architect: This design will do exactly that. [he points to the floor plan] There are four main parts to the first floor: a living room with a small kitchenette, the master bedroom, a ‘boys’ wing’, and a ‘girls’ wing’.

Each of the two children’s wings has two bedrooms and a shared bathroom. This way, the boys and girls can have some privacy. All the bedrooms are spacious and have large windows. The children will be able to use these rooms for many years without outgrowing them.

And just as with the reception rooms downstairs, each bedroom will be designed with a different color palette, décor details, and furniture to match. I believe that each child should feel that their room is special to them. Taking ownership of one’s space is an important step in a child’s mental development, helping them grow up to become strong and independent individuals. I will of course consult you before finalizing the color palettes.

Salim: Colors aren’t my strong suit. What do you think Abeer?

Abeer: Sarah said her room should be Purple, and Marzouq wants his to be Green. So we only have to choose for the other two rooms.

Architect: Oh, I was just kidding with the children. We don’t have to stick with what they said. I’m sure we can figure out what is most appropriate.

Abeer: I think if you asked them and they answered, there’s no good reason not to respect their choices. I would go ahead with Purple for Sarah, and Green for Marzouq.

Architect: I was actually thinking of keeping the palette of the private spaces to soft earth tones. I fear a Purple room and a Green room would be too jarring to the eye. [he turns to Salim] What do you think Salim?

Salim does not want to be the tie-breaker. He doesn’t even think the colors of the children’s rooms are important. But both the architect and Abeer are looking at him, expectedly.

Salim: What if we come back to this issue later. Let’s look at the rest of the design, maybe the master bedroom?

Architect: Ok, although we should try to finalize some decisions today for me to be able to move forward with the design.

Abeer: I actually have another issue to discuss concerning the children’s bedrooms. Am I misreading your drawings or are you assuming that our next two children will be a boy and girl? There are two bedrooms in each ‘wing’, is that correct?

Architect: Yes, that is correct. I know we can’t be 100% certain, but it is statistically the most probable outcome. A boy and a girl.

Salim: hmm, yes, statistically...

Abeer: Statistically... “the most probably outcome”?

Architect: Yes, of course, statistically.

Abeer: And what if we have two boys? Will one of the boys stay in the girls’ wing? Or will be change its name to the ‘gender-neutral’ wing? Or maybe the two boys share a bedroom in the boys’ wing, and Sarah gets to have two bedrooms?

Sarah looks up from the corner as she hears her name.

Salim was getting more worried with each of Abeer’s sarcastic questions. He glances at the architect to see how her rhetorical jabs are being received. To his relief, the architect seemed unaffected. He is looking at Abeer with no expression.

Salim: Oh, I’m sure it’s none of these answers Abeer. Maybe, if we have two boys, which is statistically improbable of course, [he points at the plan] we close this door opening to the girls’ wing, and open a door in this wall onto the boys’ wing. That shouldn’t be hard.

The architect is horrified by the suggestion, but tries not to show his emotions. He does not want them to start breaking walls and closing doors as soon as the house is built, completely subverting his intentions.

Architect: oh, no. I don’t think that will be necessary...

Abeer ignores the architect and answers Salim.

Abeer: And what if we have two girls? What walls will you break? And what doors will you close?

We simply cannot assume the genders of our unborn children. You can design a girl’s room for Sarah, a Purple one, and Green boy’s room for Marzouq. The other two rooms must be able to serve a girl or a boy.

Architect: Are you suggesting abandoning the whole concept of the wings? The wings are very important to the design. The two wings are opposing anchors that organize the rest of the space around them. Breaking the coherence of the wings will render the floor plan illegible. It simply won’t do.

This issue can be resolved if you decide to have a little more faith in statistical probability.

Abeer: [clearly getting frustrated] Believe me, if I could determine the gender of my unborn children to allow you to keep you design concept, I would, but I can’t. So it’s not an option. The two extra rooms have to be able to serve a girl or a boy.

Architect: [also getting worked up] I cannot allow the entire concept of the house to be simply discarded because of your lack of faith in statistical probability!

Abeer: My house, my rules! Deal with it!

The architect turns to Salim.

Architect: Whose house is this?!

Salim: It’s our house, all of us. Let’s just calm down. I think the floor plan is quite ingenious. It looks very practical and beautiful. The perspective drawings are very impressive. Let’s leave the issue of the children’s bedrooms for a second. Let’s look at the master bedroom. [he points at a perspective drawing of the room] Look at that! I can imagine having my morning tea in that balcony, and reading the paper.

Abeer: You don’t even drink tea in the morning! And you read the newspaper in the office! Salim, this is the house we will live in with our children, not some imaginary family.

We can move on to another part of the design, but I’m warning you, both of you, I will not change my mind!

Architect: And I will not change mine either! I don’t want to keep moving on without finalizing any decisions. We need to resolve the issue of the children’s wings right now.

Salim, you need to decide, do you want to make a rational decision based on statistical probability, or do you want to scrap the entire design and start from scratch?

Salim: I think both your opinions have value... and I think... that... what if we... hmm I really don’t know.

Abeer: I actually have another issue with the children’s rooms.

Architect: Unbelievable!

Salim: [whispering to himself] God have mercy.

Abeer: Twenty years from now, when Marzouq is old enough to get married, I want us to have space in this house for him to live with his wife and family. Land in Kuwait is so expensive these days, and it’s only going to become more so. I want to make sure that my son has a place he can stay in after getting married, at least for a few years until he finds his own place.

Architect: But we already agreed on not adding a third floor to the house! You said you wanted a reasonably sized two story house. Where do you suggest I add the space you’re talking about?!

Abeer: I don’t know. I’m not the architect. Maybe two of the bedrooms can be closed off, and connected to an external staircase so that they can have their privacy as they enter and exit the house. I’m not sure how to achieve this, but it’s very important to me.

Salim: This does seem like a useful feature, [he turns to the architect] but I’m not sure if it’s possible to integrate in the design.

Architect: It is absolutely not possible! You said you wanted a grand house, with a classical style. Well, grand houses don’t have ugly external staircases hanging form their side, and European classical houses don’t have space for the entire extended family!

You asked me to design one thing, and now you want something else!

Abeer: We are in Kuwait, and in Kuwait, newly married sons often live with their parents. That’s the tradition. I am not inventing anything new! Aren’t Salim and I living in his parents’ house right now?!

Architect: This is absolutely unacceptable! I don’t know if I can work on this project anymore! This meeting isn’t going anywhere, so I will leave. You can keep the drawings for a few days to make your decision. If you still want me to work on the project, then I will only apply minor changes to the design. [he stands] But if you insist on these drastic alterations then I suggest you find another architect!

Abeer: That’s fine with me!

Salim: Ok, ok, let’s stay calm. There’s no reason to take this personally. [he stands and holds out his hand to the architect] Let me walk you to the door. Don’t worry, we’ll think about what you said, and I’m sure we’ll reach a decision that you will like.

Salim and the architect walk out quickly. Abeer remains seated, and looks over at Sarah and Marzouq. Sarah is nervously looking back at her, clearly upset by the loud voices. Marzouq is still playing. Abeer gets up and walks over to comfort Sarah.

SCENE FIVE

The entire family is standing on the edge of the site. The architect is standing next to Salim. A tractor is moving earth from one place to another. Half a dozen workers are being ordered around by a contractor. In his hands are the architect’s drawings.

Architect: [talking to Salim] The basement and foundation work will take a couple of months. Then, you will see your house rising in no time!

Salim: Yes, God willing. Again, I want to thank you for the great work you have done for us. We really appreciate it. And it goes without saying, I want you to keep an eye on the construction work on site. I want everything to be done according to your design and good construction practices.

Architect: Of course, I will visit the site every week, and one of my associates will visit the site more than that.

Salim: That’s good to hear. Thank you.

Architect: Excuse me, I will go speak with the contractor.

Salim: Of course.

The architect walks over to the contractor. Salim and Abeer exchange glances. Sarah is staring at the tractor. Marzouq is counting sidewalk pavements. Salim starts talking to Abeer.

Salim: You look worried.

Abeer: No, I’m just thinking. We’re going to live here for the rest of our lives. It’s an important moment.

Salim: You’re worried about the design, aren’t you?

Abeer: No, I’m not worried. I just hope that you were right about the design, and about trusting him with the house.

Salim: He’s a very good architect.

Abeer: So you say.

Salim: We can still ask him to make some changes to the design if you want. People make changes even after construction starts.

Abeer: No, I’m not doing that anymore. We all said what we wanted to say, and we each made our decision. Now, we are where we are. I’ve moved on. I just hope you were right.

END

Eclectic Histories: Modernism

Hey, what’s the name of the architect who designed the Barcelona Pavilion?

The Spanish guy?

I guess so. He’s the one who wears the round glasses.

Yeah I remember his face. Didn’t he also design the Bauhaus?

I’m sure he did. I’m researching innovative domestic architecture in the first half of the 20th century, and I know he invented the Prairie Style.

Really? Prairie style is so different than the Bauhaus style. He must have invented a new style every Monday morning.

That’s what geniuses do, man. He did Prairie style in America, but when he immigrated to Germany after WWII he worked in the Bauhaus.

Oh, interesting. Is he the one who said, “The crime is in the details”?

I think so.

Cool.

So you don’t remember his name?

No. But you should look up the Domino’s House. It’s very relevant to your research.

That’s the one built on top of a waterfall and all the wall panels are primary colors, right?

Yes. [sneezes]. Excuse me.

Gesamtkunstwerk.

Thanks.

The Good User

A thought experiment:

Two houses sit side by side on a suburban street. They are around the same size and include the same number of rooms hosting the same functions. But they are designed very differently. If a family, having first lived in one of the houses and then in the second, concluded that the design of the second house, unlike the first, made their lives more efficient, helped strengthen their familial bonds, and simply made them happy, which house is better designed?

Assuming we can agree that, at least for this particular family, the design of the second house is clearly superior to the first, let us continue:

Imagine another family, of the same size as the first, and generally having similar spatial needs, also living in both houses for a short time. The difference is that this family fell in love with both houses, claiming that although they are different, the designs of both houses provided them with cherished moments of closeness and everlasting memories of love. Both houses, they passionately insisted, made them happy. If that was the case, which family is the better user of architecture?

I expect this question might not make sense at first, so let me clarify. First, the ‘families’ here represent all users of architecture, especially architects. Second, the word ‘better’ does not refer to a superiority in worth, morality, or intellect, but is based on the belief (my own) that using architecture is a skill (just like designing architecture), and that some are better at it than others. Third, a ‘user’ is understood here in a broad sense that includes physically interacting with buildings, but also the consumption of architectural media including its discourse, imagery, and more.

Back to the thought experiment: I suggest that the second family is the better user of architecture because they were able to extract more value and personal happiness from the houses than the first family. Just like a building that is able to successfully serve more users (not in terms of capacity or size, but in its inclusivity of a wider spectrum of people and their varying needs) is a better building, a user that is able to understand, appreciate, and exploit more architecture is a better user.

This is not a call to abandon criticism or to tolerate mediocrity in design, rather, it is a reminder to be generous, thoughtful, and even kind in our ‘using’ of architecture. Architecture culture is generally negative. Whether in school or in the profession, it is a common occurrence to witness architects who revel in tearing down others’ work, so transparently building their own self-esteem using the wreckage they create. This unhealthy inclination to race one another in pointing out what is lacking is anything but a sign of sophistication. To articulate what is valuable in a design often requires more creativity and perception than to identify the faults. The good architect not only designs good architecture, but is a good user of architecture as well.