Towards an architecture of explorative divergence: an autoethnographic interrogation of explorative-divergence as a mode of design and practice underpinning the oeuvre of Mathews and Associates Architects

Abstract

A recurring theme in architectural theory is the question of “meaning”. To what purpose do we create architecture? My own personal credo can be defined as an intention to foster a bias for good architecture amongst the public by creating buildings which offer a holistic, embodied experience to which the dweller can relate. Expressed more simply, I care about the quality of the relationship between the public and architecture. I postulate that good architecture can be achieved on the basis of the symbiosis of two core ingredients, namely propositional density and narrative depth. “Propositional density” is a term borrowed from graphic design theory and can be defined as “the relationship between elements of a design and the meaning they convey” (Lidwell, Holden & Butler 2003:190). The theory states that a design is more intriguing and memorable when its elements have layered meanings; when one simple element conveys multiple meanings. In this study the term is used to refer to the complexity (density) of the meanings (propositions) of an architectural element or elements. Propositions can be further distinguished as being surface propositions – the multifunctionality of architectural elements – or deep propositions – the underlying sculptural and cinematic propositions of these elements. “Narrative depth” refers to the attempt to reveal the narratives of sites and cultures by conveying stories through architectural elements, thereby making buildings contextual. One can differentiate between visible and unseen narratives. Visible, or seen narratives, are direct references or representations of the narratives associated with the site. Unseen narratives refer to those representations that can only be understood if the viewer has specific insight. The reading of underlying, unseen narratives depends in part on the personal history and knowledge of the person interacting with the built environment. Perhaps more important than arguing the definition of good architecture is the following: understanding how architects can set about achieving or creating architecture with sufficient propositional density and narrative depth, in order to establish meaningful relationships between dweller and building (i.e. so that people can relate to buildings in such a way that a bias for this kind of architecture is established). The above represents the intention with this practice-based study: to unearth the ‘how’ so that we can reflect on and improve our methods of design and praxis. Explorative divergence can be described as an open-ended, interdisciplinary working method which goes hand in hand with a receptive mindset. Simultaneously, I argue that architecture practices would benefit from dabbling in a wide range of projects (from publishing and running a think tank, to curating art exhibitions and initiating guerrilla projects), as this would enrich the toolset of the practice.

To unearth the characteristics of E-D, as it pertains to the practice of Mathews and Associates Architects, I will focus on three dominant divergencies or core competencies as lenses through which E-D can be understood: • Curation (including composition, judgement and intuition) • Sculpture (referring to aspects like making, form and materiality, texture, material and construction, innovation, and designing for semi-skilled labour) • Cinematic architectural choreography (including investigations into sequence, routes, movement, framing and temporal experience)

These core competencies (which are areas of study in their own right) will be approached ‘as an architect’, and even more specifically, as ‘this architect’ has experienced them through architectural practice. Consequently, the method of inquiry is grounded in an auto-ethnographic exploration of the origins of E-D practice in my upbringing, education, travels and career. An exegesis of early student travel journals will reveal influential buildings and architects that inspired my E-D thinking. The places I experienced, and the discussion of like-minded creatives, will establish the thesis within the discipline of architecture. The style of the thesis is anecdotal, recounting stories to illustrate principles which are supported by academic references. In this manner the characteristics of E-D, as it pertains to the praxis of Mathews and Associates Architects, are defined; thus, a case can be made for the E-D method to produce architecture with high propositional density and narrative depth. Ultimately, I believe this kind of architecture has the greatest potential to allow people to relate to the work, and thereby find meaning in it.

’n Herhalende tema in argitektuurteorie is die vraag na “betekenis”. Met watter doel skep ons argitektuur? My eie persoonlike beleid kan ek omskryf as ’n strewe daarna om by die publiek ’n voorkeur vir goeie argitektuur te kweek deur geboue te skep wat ’n holistiese, beliggaamde ervaring bied waarmee die bewoner kan identifiseer. Eenvoudiger gestel, ek gee om vir die kwaliteit van die verhouding tussen die publiek en argitektuur. Ek is van mening dat goeie argitektuur bereik kan word deur die simbiose van twee kernbestanddele, naamlik proposisionele digtheid en narratiewe diepte. Proposisionele digtheid is ’n term wat uit die grafiese ontwerpteorie ontleen is en verwys na “die verhouding tussen elemente van ’n ontwerp en die betekenis wat hulle oordra” (Lidwell, Holden en Butler 2003:190). Die teorie lui dat ’n ontwerp meer boeiend en onthoubaar is wanneer sy elemente gelaagde betekenisse dra; wanneer een eenvoudige element veelvoudige betekenisse oordra. In hierdie studie verwys die term na die kompleksiteit (digtheid) van die betekenisse (proposisies) van ’n argitektuurelement of -elemente. Proposisies kan verder onderskei word as oppervlakkige proposisies – die multifunksionaliteit van argitektuurelemente – of diep proposisies – die onderliggende beeldhoukundige en filmiese proposisies van hierdie elemente. Narratiewe diepte dui op die poging om die verhale van plekke en kulture te onthul en dié stories deur middel van argitektuurelemente oor te dra om sodoende geboue kontekstueel te maak. ’n Onderskeid kan getref word tussen sigbare en onsigbare narratiewe. Sigbare, of gesiene narratiewe, is direkte verwysings na of representasies van die verhale wat met die plek verbind word. Onsigbare narratiewe verwys na daardie representasies wat slegs verstaan kan word indien die kyker spesifieke insig het. Die lees van onderliggende, onsigbare narratiewe berus deels op die persoonlike geskiedenis en kennis van die persoon wat met die geboude omgewing omgaan. Miskien is die volgende belangriker as ’n debat oor die definisie van goeie argitektuur: om te verstaan hoe argitekte te werk kan gaan om argitektuur te skep met voldoende proposisionele digtheid en narratiewe diepte, ten einde betekenisvolle verhoudinge tussen die bewoner en die gebou te vestig (m.a.w. sodat mense op só ’n wyse met geboue kan omgaan dat ’n voorkeur vir hierdie tipe argitektuur gevestig word). Die bogenoemde vorm die doelwit van hierdie praktykgebaseerde studie: om die “hoe” te ontgin, sodat ons kan reflekteer oor en ons metodes van ontwerp en praktyk kan verbeter. Eksploratiewe divergensie kan beskryf word as ’n oop-einde, interdissiplinêre werkmetode wat hand aan hand gaan met ’n ontvanklike ingesteldheid. Ek voer terselfdertyd aan dat argitektuurpraktyke kan baat vind by betrokkenheid in ’n wye reeks projekte (van publikasie en die bestuur van ’n dinkskrum tot die kuratering van kunsuitstallings en die inisiëring van guerrillaprojekte) aangesien dit die praktyk se gereedskapskis sal aanvul. Om die kenmerke van Ervaringsontwerp (Experiential Design of E-D), soos dit in die praktyk van Mathews and Associates Architects gestalte kry bloot te lê, fokus ek op drie dominante divergensies of kernbevoegdhede as lense waardeur E-D verstaan kan word: • Kuratering (insluitend komposisie, oordeel en intuïsie); • Beeldhoukuns (met verwysing na maakprosesse, vorm en materialiteit, tekstuur, materiaal en konstruksie, innovasie, en ontwerp vir semigeskoolde arbeid); en • Filmiese argitektoniese choreografie (insluitend ondersoeke na volgorde, roetes, beweging, raamwerk en tydelike ervaring). Hierdie kernbevoegdhede (wat elk op sigself ’n studieveld is) word “as ’n argitek” benader en meer spesifiek hoe “hierdie argitek” dit in die argitektoniese praktyk ervaar het. Die ondersoekmetode is gevolglik gegrond op ’n outo-etnografiese verkenning van die oorspronge van E-D-praktyk in my grootwordjare, opvoeding, reise en loopbaan. ’n Eksegese van reisjoernale uit my vroeë studentejare sal aandui watter invloedryke geboue en argitekte my E-D-denke geïnspireer het. Die plekke wat ek ervaar het en die gesprekke met eendersdenkende kreatiewes sal die proefskrif binne die dissipline van die argitektuur plaas. Die styl van die proefskrif is anekdoties, deur stories te vertel om beginsels te illustreer wat met akademiese verwysings ondersteun word. Op hierdie wyse word die kenmerke van E-D gedefinieer soos dit in die praktyk van Mathews and Associates Architects voorkom; daar kan dus aangevoer word dat die E-D-metode argitektuur met hoë proposisionele digtheid en narratiewe diepte kan voortbring. Uiteindelik glo ek dat hierdie soort argitektuur die grootste potensiaal het om mense in staat te stel om met die werk te resoneer en sodoende betekenis daarin te vind.

Sehlooho se hlahang kgafetsa leweng la kaho ke potso ya “moelelo”. Re aha ka morero ofe? Tumelo ya ka ya botho e ka hlaloswa e le boikemisetso ba ho kgothaletsa batho hore ba rate ho haha mehaho e metle ka ho haha mehaho e fanang ka phihlello e akaretsang, e nang le sebopeho seo moahi a ka amanang le sona. Ka mantswe a bonolo, ke tsotella boleng ba kamano pakeng tsa setjhaba le mehaho. Ke dumela hore meralo e metle e ka finyellwa motheong wa ho sebedisana ha dintho tse pedi tsa motheo, e leng ho ba le dipolelo tse ngata le ho ba le botebo bo hlalosang taba. “Propositional density” ke lentswe le nkilweng kgopolong ya moralo wa ditshwantsho mme le ka hlaloswa e le “kamano dipakeng tsa dikarolo tsa moralo le moelelo oo ba o fetisang” (Didwell, Holden & Butler 2003:190). Kgopolo ena e bolela hore moralo o thahasellisa haholwanyane ebile o a hopoleha ha dikarolo tsa wona di ena le moelelo o fapaneng; ha karolo e le nngwe e bonolo e fana ka moelelo o mongata. Diphuputsong tsena lentswe lena le sebedisetswa ho bolela ho rarahana (boima) ba moelelo (ditlhahiso) tsa karolo kapa dikarolo tsa meralo. Ditlhahiso di ka boela tsa kgethollwa e le ditlhahiso tsa bokahodimo ho sebetsa ha dikarolo tse ngata tsa meralo kapa ditlhahiso tse tebileng e le ditlhahiso tsa motheo tsa ditshwantsho le tsa difilimi tsa dikarolo tsena. “Botebo ba ditaba” bo bolela boiteko ba ho senola dipale tsa dibaka le ditso ka ho fetisa dipale ka dikarolo tsa meralo, ka hona ho etsa hore meaho e be le moelelo. Motho a ka kgetholla pakeng tsa ditlaleho tse bonahalang le tse sa bonahaleng. Ditlaleho tse bonahalang, kapa tse bonwang, ke ditshupiso tse tobileng kapa ditlhaloso tsa ditlaleho tse amanang le sebaka seo. Ditlaleho tse sa bonahaleng di bua ka ditshwantsho tseo motho a ka di utlwisisang ha feela a na le temohisiso e kgethehileng. Kgopolo ena e bolela hore moralo o thahasellisa haholwanyane ebile o a hopoleha ha dikarolo tsa wona di ena le moelelo o fapaneng; ha karolo e le nngwe e bonolo e fana ka moelelo o mongata. Phuputsong ena lentswe lena le sebedisetswa ho bolela ho rarahana (boima) ba moelelo (ditlhahiso) tsa karolo kapa dikarolo tsa meralo. Ditlhahiso di ka boela tsa kgethollwa e le ditlhahiso tsa bokahodimo ho sebetsa ha dikarolo tse ngata tsa meralo kapa ditlhahiso tse tebileng ditlhahiso tsa motheo tsa ditshwantsho le tsa difilimi tsa dikarolo tsena. Botebo ba ditaba bo bolela boiteko ba ho senola dintlha mabapi le dibaka le ditso ka ho fetisa dipale ka dikarolo tsa meralo, ka hona ho etsa hore meaho e be le moelelo. Motho a ka kgetholla pakeng tsa ditlaleho tse bonahalang le tse sa bonahaleng. Ditlaleho tse bonahalang, kapa tse bonwang, ke ditshupiso tse tobileng kapa ditlhaloso tsa ditlaleho tse amanang le sebaka seo. Ditlaleho tse sa bonahaleng di bua ka ditshwantsho tseo motho a ka di utlwisisang ha feela a na le temohisiso e kgethehileng. Se boletsweng ka hodimo se emela sepheo sa thuto ena e thehilweng ho mokgwa wa ho etsa dintho: ho senola ‘kamoo’ e le hore re ka nahana le ho ntlafatsa mekgwa ya rona ya ho qapa le ho e sebedisa. Ho fapanyetsana ho hlahlobang ho ka hlaloswa e le mokgwa wa ho sebetsa o bulehileng, o kopanetsweng o tsamayang le monahano wa ho amohela. Ka nako e tshwanang, ke pheha kgang ya hore ditlwaelo tsa meralo di tla rua molemo ka ho kenella mererong e mengata (ho tloha ho phatlalatseng le ho tsamaisa sehlopha sa ho nahana, ho hlophisa dipontsho tsa bonono le ho qala merero ya dikgukguni), kaha sena se tla ruisa disebediswa tsa ditlwaelo. E le ho senola ditshobotsi tsa E-D, jwalokaha e amana le mokgwa wa Mathews le Associates Architects, ke tla tsepamisa maikutlo ho tse tharo tse ka sehloohong diphapano kapa bokgoni e le lense eo ka yona E-D e ka utlwisiswang ka yona: • Curation (ho akarelletsa le ho hlophisa, kahlolo le boitsebelo) • Sculpture (ho bua ka dikarolo tse kang ho aha, foromo le dintho tse bonahalang, botenya, dintho tse bonahalang le kaho, ho rala, le ho qapa bakeng sa basebetsi ba senang tsebo) • cinematic architectural choreography (ho akarelletsa le dipatdisiso ka tatellano, ditsela, motsamao, ho rala le boiphihlelo ba nakwana). Makgabane ana a motheo (ao e leng dibaka tsa thuto ka bowona) di tla nkwa jwaloka ‘makgabane a ho rala’, mme ka ho kgetheha, jwalokaha ‘moradi enwa’ a di bone ka mokgwa wa ho haha. Ka lebaka leo, mokgwa ona wa ho batlisisa o thehilwe ho hlahlobeng ka mokgwa o iketseditseng batho tshimoloho ya mokgwa wa ho ithuta ka ho sebedisa E-D ha ke ntse ke hola, ke ithuta, ke tsamaya le ha ke ntse ke sebetsa. Ho hlahloba dibuka tsa maeto tsa diithuti tsa pele ho nako ho tla senola mehaho e nang le tshusumetso le ditsebi tsa meralo tse ileng tsa susumetsa tsela eo ke neng ke nahana ka yona ka E-D. Dibaka tseo ke di boneng, le dipuisano tsa batho ba bopileng ba nang le maikutlo a tshwanang le a ka, di tla theha thuto ena ka hara thuto ya meralo ya kaho. Mokgwa wa ho ngola lengolo lena ke wa ho pheta dipale, ho pheta dipale ho bontsha melaomotheo e tshehetswang ke ditshupiso tsa thuto. Ka tsela ena ditshobotsi tsa E-D, ha e amana le mokgwa wa Mathews le Associates Architects, di a hlaloswa; ka hona, ho ka etswa kgang ya hore mokgwa wa E-D o hlahise meralo e nang le bongata bo phahameng ba polelo le botebo ba nalane. Qetellong, ke lumela hore mofuta ona wa meralo o na le monyetla o moholo wa ho lumella batho ho amana le mosebetsi, mme ka tsela eo ba fumane moelelo ho wona.

Indikimba eqhubekayo enjulalwazini yezakhiwo ingumbuzo “wencazelo”. Kunganhlosoni uma sakha isakhiwo? Inkolo yami qobo lwami ingachazwa njengenhloso yokuqhuba ukuchemela ezakhiweni ezinhle phakathi komphakathi ngokwakha izakhiwo ezinikeza izimo esisabalele, ezihlanganisa izimo zempilo lapho umhlali engazihlobanisa nakho. Ngokubeka kalula kangcono, nginaka ubunjalo bobudlelwane phakathi komphakathi kanye nezakhiwo. Ngiphakamisa ukuthi izakhiwo ezinhle zingenzeka ngesisekelo sokuhlalisana ndawonye kwezakhi ezinqala ezimbili, nezibizwa ngokuminyana kokuhlongozwayo kanye nobunzulu bokuxoxekayo. “Ukuminyana kokuhlongozwayo” itemu elebolekwe enjulalwazini yohlelo lwemifanekiso futhi lingachazwa “njengobudlelwane phakathi kwezinhlaka zohlelo kanye nencazelo eziyedlulisayo”. Injulalwazi ichaza ukuthi uhlelo lunozungu kakhulu futhi luyakhumbuleka uma izinhlaka zalo zinezincazelo ezingamazinga; lapho uhlaka olulodwa olulula ludlulisa izincazelo eziningana. Kulolu cwaningo itemu lisetshenziswa ukuchaza ubunkimbinkimbi (ukuminyana) kwezincazelo (okuhlongozwayo) kwezinhlaka zezakhiwo noma izinhlaka. Izihlongozo zingaphinde futhi zichazeke njengezihlongozo ezisobala – imisebenzi eminingi yezinhlaka zezakhiwo – noma izihlongozo ezijulile – izihlongozo ezingaphansi kokubaziweyo kanye nokweshashalazi kwalezi zinhlaka. “Ubunzulu bokuxoxwayo” kuchaza umzamo wokuveza izingxoxo zezindawo kanye namasiko ngokwedlulisa izindaba ngezinhlaka zezakhiwo, okusho ukuthi kwenza izakhiwo ziveze izimo. Omunye angehlukanisa phakathi kwezigxoxo ezibonakalayo kanye nezingabonakali. Izinhloso ezibonakalayo, noma ezingabonakali zingukuhlobanisa okuqondile noma izimeleli zezingxoxo ezihlobene nendawo. Izingxoxo ezingabonakali zisho lezo zimeleli ezingaqondakala kuphela uma umbukeli enombono othile. Ukufundeka kwezingxoxo esiyisisekelo, ezingabonakali kuncike kancane emlandweni womuntu kanye nomuntu oxhumana nesimo sesakhiwo. Mhlawumbe okubalulekile kakhulu ngaphezu kokuqakulisa incazelo yesakhiwo esihle yilokhu okulandelayo: ukuqonda ukuthi izakhiwo zihlelwe kanjani ukufezekisa noma ukwakha isakhiwo nokuminyana kokuhlongozwayo okwanele kanye nobunzulu bengxoxo, ukuze kwakheke ubudlelwane obunencazelo phakathi komhlali kanye nesakhiwo (i.e. ukuze abantu bakwazi ukuhlobana nezakhiwo ngendlela yokuthi ukuchema kwalolu hlobo kwesakhiwo kwakheke) okungenhla kumela injongo nocwaningo olwencike ekusebenzisekeni; ukuvundulula u’kanjani’ ukuze zikwazi ukuninga ngakho futhi sithuthukise izindlela zethu zohlaka kanye nokululangazelela. Ukwehlukana okuhlolayo kungachazwa njengendlela evulekile, yemikhakha eyahlukene esebenzayo ehambisana nendlela yokucabanga eyamukelayo. Ngokufanayo, ngiqakulisa ukuthi ukusebenza kwesakhiwo kungazuza ngokuthintathinta emisebenzini esabalele ngezinhlobo (kusuka ekushicileleni kanye nokusebenza amaqoqela ndawonye, kuya ekuhlungeni imibukiso yobuciko kanye nokuqalisa imisebenzi yokushokobeza), njengoba lokhu kungathuthukisa iqoqo lamathuluzi okusebenza. Ukuvundulula izincazelo ze-E-D, njengoba kuqondene nomsebenzi kaMathews namaAssociates Architects, ngizogxila ekwehlukaneni okuthathu okuqhoqhobele noma emakhonweni anqala njengezibuko la i-E-D ingaqondakala khona: • Ukuhlunga (okubalwa ukuqamba, ukwahlulela kanye nomuzwa) • Okubaziwe (okusho izinhlaka ezifana nokwenza, ukuma kanye nezinto ezibonakalayo, isimo sokuklaya, izinto zokusebenza kanye nokwakhiwa, imisebenzi emisha, kanye nokuhlelela abasebenzi abangaqeqeshekile ngokugcwele) • Imigqigqo yokudansa eyambisana nemifanekiso (okubalwa ukuphenya kwesehlakalo, imigudu, ukunyakaza, ukuhlela kanye nesimo sempilo sesikhashana) Lawa makhono anqala (ayizindawo zocwaningo ngokwawo) azobukwa ‘njengesakhiwo’, futhi kakhulukazi, njengoba ’lesi sakhiwo’ sesiwabonile ngomsebenzi wesakhiwo. Okulandela lokho, indlela yophenyo yesekelwe ekuphenyeni kokuzibandakanya okuzenzakalelayo kwemisuka yomsebenzi we-E-D ekukhuleni kwami, emfundweni, ezinkanjeni kanye nasemsebenzini. Ukubeka phambili amajenali ezinkambo zomfundi kuzoveza izakhiwo ezibe nomthelela kanye nezakhiwo ezigqugquzele ukucabanga kwami kwe-E-D. izindawo engizichazile, kanye nezingxoxo zemisebenzi eyakhiwe imiqondo efanayo, kuzokwakha umqulu emnyangweni wezezakhiwo. Isitayela somqulu siphathelene nezindaba, ukubuyekeza izindaba ukukhombisa izimiso ezesekelwe imithombo yezemfundo. Ngale ndlela, izincazelo zendlela ye-E-D, njengoba kumayelana nokuphokophelela kukaMathews namaAssociates Architects, kuchaziwe; okusho ukuthi, indaba isingakhelwa indlela ye-E-D ukukhiqiza isakhiwo esinokuminyana kokuhlongozwayo kanye nobunzulu bokuxoxwayo. Okulandela lapho, ngikholelwa ukuthi lolu hlobo lwesakhiwo lunokuvuleleka okukhulu ukuvumela abantu ukuthi bazihlobanise nomsebenzi, futhi ukuze bathole incazelo kuwona.