John Marx, AIA is Co-Founder and Chief Artistic Officer of San Francisco based Form4 Architecture. He advocates for including art, philosophy and emotional meaning in the thoughtful making of place through Lyrical Expressionism, and as a balancing act between self-expression and collaboration. While CAO of Form4 he has won over 170 international design awards, and is a 2017 Laureate of the American Prize for Architecture. Marx has lectured and published internationally on the topics of Design, Place-making, Emotional Meaning and Cultural Vibrancy.In 2016 and 2018, he exhibited his work at the Venice Biennale of Architecture in the GAAF exhibition titled “Time-Space-Existence.”
This paper charts the impact of Artificial Intelligence on the profession of architecture.
AI-... more This paper charts the impact of Artificial Intelligence on the profession of architecture.
AI-based design software has the potential to dramatically increase design quality produced by the profession of architecture, it will be especially effective in elevating the average design firm's quality due to three trends that have evolved in the way we design over the past 60 years.
First, we have deepened our reliance on and confidence in language-based conceptualization in design. Second, we have, as a profession, moved with great effort towards collaborative design practice models. Third, there is a greater demand for design that responds to human needs for emotional resonance.
Currently available AI software is particularly strong in supporting these trends in design, and we can reasonably expect future so"ware to be an even more powerful accessory
Why is embracing paradox important within design and architecture?
Embracing paradox means "devel... more Why is embracing paradox important within design and architecture? Embracing paradox means "developing the capacity to conceptualize—and, more important, feel—that they can be taken together holistically: that an 'either/or' relation can instead be held as 'both/and,'" In the context of architectural design, there is considered "a split between a thought process that is linear, logical, verbal, and ultimately pragmatic, and a creative process that is nonlinear, visual, intuitive, and emotional." Pragmatism often takes precedence over processes connected with emotionality in professional settings. What is the impact to our professional cultures, to our creative output, to our ways of being in the world, when emotion is suppressed? This paper explores the consequences of suppressing emotion, as well as strategies to design in a way that is emotionally resonant.
Cyberspace is quickly becoming an alternative place' for everyday economic, cultural, and o... more Cyberspace is quickly becoming an alternative place' for everyday economic, cultural, and other human activities. Yet, Cyberspace designers have not capitalized on the theories, experiences, and practices that have been guiding physical place-making. Rather, they ...
Is there a place for Emotional Meaning in Architecture?
Emotional meaning in architecture occurs ... more Is there a place for Emotional Meaning in Architecture? Emotional meaning in architecture occurs when the elements or the character of a space arouse an emotional response in the user that is meaningful, significant and enduring.
Buildings speak to us and we respond to them. In that silent dialog, we develop a bond that grows within us over time. Yet we have learned to ignore its existence. The rational has won over the subjective in design and something has been missing, a cause of urban alienation. We call this missing piece Emotional Meaning. Our essay articulates the centrality of Emotional Meaning in design and why people and designers should pay attention to it today. Buildings can leverage our affects in unanticipated ways. Our response to them is visceral. It is firmly anchored to our emotional infrastructure. It means something to us. Our argument goes further than its mere acknowledgement: we believe that Emotional Meaning is a primary design objective for that building to be integrated in the symbolic fabric of our individual emotional landscape.
... To facilitate the learning of a digital design process the course follows the following five ... more ... To facilitate the learning of a digital design process the course follows the following five conditions ... sections, one taught by the faculty member and one by a graduate teaching assistant, which ... placed on alternative design forms that seem unique to a digital-based design process ...
... an extension of our physical and temporal existence, offering a common stage for ... location... more ... an extension of our physical and temporal existence, offering a common stage for ... location), and from external characteristics (situation) their relatedness to other sociospatial determinants (economics ... Designers do not control all aspects of a place: while the shape of the ...
The Visual Poem Project is a visual-textual artwork dealing with the broader philosophical choice... more The Visual Poem Project is a visual-textual artwork dealing with the broader philosophical choices architects have to make in their longing for the sublime in architecture. Its unapologetic acknowledgement of the inner world of the individual- either producer or consumer of architecture- is a conscious attempt to bring back the focus on a balanced relationship between the humane and the rational side coexisting in the consciousness of human beings. Because the underpinning of this effort to connect with humankind now and across time is at the forefront of architects' aspirations, the Visual Poem Project aims at striking that chord that will produce resonance in all those who felt the vastness of its argument, and struggle to give clarity to themselves and others. At its core, it is directed to those who love the higher pursuit architecture. Each architect would likely craft distinct sets of visual poems. This particular version reflects the inner world of design architect John Marx.
Towards Abundance: The Delightful Paradoxes of Gender, 2023
Towards Abundance: the Delightful Paradoxes of Gender is a 58-page publication that advocates for... more Towards Abundance: the Delightful Paradoxes of Gender is a 58-page publication that advocates for designers and architects to reconsider a normative masculine tradition in how spaces are conceived and created, a tradition that may feel outdated yet is very much alive in contemporary practice.
Towards Abundance: the Delightful Paradoxes of Gender addresses the subject of gender and architectural design through actively soliciting multiple interpretations from a non-prescriptive, wholly inquisitive and intellectually inclusive perspective. The monograph asks questions and invites readers to interrogate what is suggested by its editorial team of 16 contributors who represent the worlds of design practice, architectural history and theory as well as gender research and journalism.
Topics covered include: Multi-cultural urbanism in the face of placeless and often characterless modernity. The introduction of a more sensual and sensitive placemaking that is welcoming to all. Rethinking the singular maestro-led vision of how architecture is made, The paradox and evolution of vision and collaboration, especially in terms of gender norms. The types and qualities of gender categories. Male violence and normative design practice.
An over-arching theme that resonates throughout the chapters in Towards Abundance: the Delightful Paradoxes of Gender is that of finding a better balance between the rational and the notional. As editor John Jennifer Marx writes, “Imagine, as we look past a culture of binary gender, we might see the beginning of ‘gender expressionism’, of a balance between self-expression and belonging, a celebration of our uniqueness in the context of our commonalities.”
The cover of the monograph is an interpretation of the Three Graces by artist Madelon Vriesendorp who in 1975 co-founded the Dutch architecture studio OMA. Made as a special commission for the publication, Vriesendorp’s work speaks of how, through meaningful change, we can reach a new understanding that is reflected all around us, including the buildings we occupy.
John Marx’s watercolors, first published in the Architectural Review, are a captivating example o... more John Marx’s watercolors, first published in the Architectural Review, are a captivating example of an architect’s way of thinking. Subtle and quiet they are nonetheless compelling works in how they tackle a sense of place, of inhabiting space and time all the while resonating with the core of one’s inner being. There is an existential quality to these watercolors that is rare to be found in this medium that is something akin to the psychologically piercing observational quality of artists like De Chirico or Hopper. As architects strive to communicate their ideas, it is interesting to explore the world of Marx’s watercolors as an example of a humane approach to conveying emotional meaning in relation to our environment. Marx’s subject matter read like “built landscapes” heightening the role of the human-made yet wholly in balance with the natural world. This is a message and sentiment that is perhaps more important than ever to relay to audiences.
Études—The Poetry of Dreams + Other Fragments (ORO Editions, February 2020), by architect John Marx, AIA, features 84 watercolors juxtaposed with 40 short poems that complement the observational and existential qualities of his art. The book’s design, a deep collaboration with graphic artist Jeremy Mende, has been carefully composed to explore the relationship between words and watercolors, thought and emotion, life and art. Marx’s watercolors are a compelling example of how an architect’s thought process informs the visual arts. Subtle and quiet, they are nonetheless captivating works in how they convey notions of place, space, perspective, time, and beauty. Writes Marx: “While the watercolors emphasize emotional content, there is a narrative to each of these paintings—sometimes left intentionally obscure—which invites you to craft your own storyline. In that they all originated as daydreams—of places not in existence, places invented, and sometimes as a collective memory of places—each watercolor is, in a sense, an unwritten poem, which has found expression visually, that invites you to inhabit your dreams.” Marx’s watercolors are examples of a humane approach to conveying emotional meaning in relation to the constructed and natural environments. His chosen subject matter reads as “built landscapes” that heighten the role of the manmade, yet are wholly in balance with the sphere of nature. Intrinsically understanding the sentiment of man and nature is an important point Marx relays to audiences. Unlike metal and concrete, which architects regularly employ to express themselves, watercolor as a method of working has an inherent fragility. Marx’s works celebrate the poetic immediacy ingrained in the medium. The artist’s hand is forever present and acts as a tangible foil to an increasingly virtual world. The paintings and poems are divided into eight distinct sections: moments in time; apertures; absent nature; objects in nature; without intention; approaching abstraction; deconstructing perception; improvisations. Four essays look at the works from different angles: Owen Hopkins, Senior Curator at Sir John Soane’s Museum in London, ponders their place in the canon of painting; Pierluigi Serraino looks at architectural drawings and watercolors from an art historical perspective; Marx explores the subject from the point of view of the creative process; Laura Iloniemi places the watercolors within the context of Modern American painting.
The Absurdity of Beauty advocates for fundamental change in the way architects design, with the i... more The Absurdity of Beauty advocates for fundamental change in the way architects design, with the intention of rebalancing Modernism toward an architecture of abundance, rather than its current focus on an architecture of abstraction. This involves rebalancing the role of emotional meaning in design intent, as well as evaluating the impact of what we create on the public at large. We are responding to the notion that architecture has disengaged with society and is losing its cultural relevance.
This publication was developed with The Architectural Review, which provided an unique platform for critical review, and attracted a number of well-respected authors: Paul Finch, John Marx, Pierluigi Serraino, Catherine Slessor, Sam Lubell, Ian Ritchie, Richard England, Jeremy Melvin, and Jay Merrick. In their essays, each added great value to our thesis by expanding the philosophical basis for our arguments and positing solutions toward creating positive change within the profession.
This paper charts the impact of Artificial Intelligence on the profession of architecture.
AI-... more This paper charts the impact of Artificial Intelligence on the profession of architecture.
AI-based design software has the potential to dramatically increase design quality produced by the profession of architecture, it will be especially effective in elevating the average design firm's quality due to three trends that have evolved in the way we design over the past 60 years.
First, we have deepened our reliance on and confidence in language-based conceptualization in design. Second, we have, as a profession, moved with great effort towards collaborative design practice models. Third, there is a greater demand for design that responds to human needs for emotional resonance.
Currently available AI software is particularly strong in supporting these trends in design, and we can reasonably expect future so"ware to be an even more powerful accessory
Why is embracing paradox important within design and architecture?
Embracing paradox means "devel... more Why is embracing paradox important within design and architecture? Embracing paradox means "developing the capacity to conceptualize—and, more important, feel—that they can be taken together holistically: that an 'either/or' relation can instead be held as 'both/and,'" In the context of architectural design, there is considered "a split between a thought process that is linear, logical, verbal, and ultimately pragmatic, and a creative process that is nonlinear, visual, intuitive, and emotional." Pragmatism often takes precedence over processes connected with emotionality in professional settings. What is the impact to our professional cultures, to our creative output, to our ways of being in the world, when emotion is suppressed? This paper explores the consequences of suppressing emotion, as well as strategies to design in a way that is emotionally resonant.
Cyberspace is quickly becoming an alternative place' for everyday economic, cultural, and o... more Cyberspace is quickly becoming an alternative place' for everyday economic, cultural, and other human activities. Yet, Cyberspace designers have not capitalized on the theories, experiences, and practices that have been guiding physical place-making. Rather, they ...
Is there a place for Emotional Meaning in Architecture?
Emotional meaning in architecture occurs ... more Is there a place for Emotional Meaning in Architecture? Emotional meaning in architecture occurs when the elements or the character of a space arouse an emotional response in the user that is meaningful, significant and enduring.
Buildings speak to us and we respond to them. In that silent dialog, we develop a bond that grows within us over time. Yet we have learned to ignore its existence. The rational has won over the subjective in design and something has been missing, a cause of urban alienation. We call this missing piece Emotional Meaning. Our essay articulates the centrality of Emotional Meaning in design and why people and designers should pay attention to it today. Buildings can leverage our affects in unanticipated ways. Our response to them is visceral. It is firmly anchored to our emotional infrastructure. It means something to us. Our argument goes further than its mere acknowledgement: we believe that Emotional Meaning is a primary design objective for that building to be integrated in the symbolic fabric of our individual emotional landscape.
... To facilitate the learning of a digital design process the course follows the following five ... more ... To facilitate the learning of a digital design process the course follows the following five conditions ... sections, one taught by the faculty member and one by a graduate teaching assistant, which ... placed on alternative design forms that seem unique to a digital-based design process ...
... an extension of our physical and temporal existence, offering a common stage for ... location... more ... an extension of our physical and temporal existence, offering a common stage for ... location), and from external characteristics (situation) their relatedness to other sociospatial determinants (economics ... Designers do not control all aspects of a place: while the shape of the ...
The Visual Poem Project is a visual-textual artwork dealing with the broader philosophical choice... more The Visual Poem Project is a visual-textual artwork dealing with the broader philosophical choices architects have to make in their longing for the sublime in architecture. Its unapologetic acknowledgement of the inner world of the individual- either producer or consumer of architecture- is a conscious attempt to bring back the focus on a balanced relationship between the humane and the rational side coexisting in the consciousness of human beings. Because the underpinning of this effort to connect with humankind now and across time is at the forefront of architects' aspirations, the Visual Poem Project aims at striking that chord that will produce resonance in all those who felt the vastness of its argument, and struggle to give clarity to themselves and others. At its core, it is directed to those who love the higher pursuit architecture. Each architect would likely craft distinct sets of visual poems. This particular version reflects the inner world of design architect John Marx.
Towards Abundance: The Delightful Paradoxes of Gender, 2023
Towards Abundance: the Delightful Paradoxes of Gender is a 58-page publication that advocates for... more Towards Abundance: the Delightful Paradoxes of Gender is a 58-page publication that advocates for designers and architects to reconsider a normative masculine tradition in how spaces are conceived and created, a tradition that may feel outdated yet is very much alive in contemporary practice.
Towards Abundance: the Delightful Paradoxes of Gender addresses the subject of gender and architectural design through actively soliciting multiple interpretations from a non-prescriptive, wholly inquisitive and intellectually inclusive perspective. The monograph asks questions and invites readers to interrogate what is suggested by its editorial team of 16 contributors who represent the worlds of design practice, architectural history and theory as well as gender research and journalism.
Topics covered include: Multi-cultural urbanism in the face of placeless and often characterless modernity. The introduction of a more sensual and sensitive placemaking that is welcoming to all. Rethinking the singular maestro-led vision of how architecture is made, The paradox and evolution of vision and collaboration, especially in terms of gender norms. The types and qualities of gender categories. Male violence and normative design practice.
An over-arching theme that resonates throughout the chapters in Towards Abundance: the Delightful Paradoxes of Gender is that of finding a better balance between the rational and the notional. As editor John Jennifer Marx writes, “Imagine, as we look past a culture of binary gender, we might see the beginning of ‘gender expressionism’, of a balance between self-expression and belonging, a celebration of our uniqueness in the context of our commonalities.”
The cover of the monograph is an interpretation of the Three Graces by artist Madelon Vriesendorp who in 1975 co-founded the Dutch architecture studio OMA. Made as a special commission for the publication, Vriesendorp’s work speaks of how, through meaningful change, we can reach a new understanding that is reflected all around us, including the buildings we occupy.
John Marx’s watercolors, first published in the Architectural Review, are a captivating example o... more John Marx’s watercolors, first published in the Architectural Review, are a captivating example of an architect’s way of thinking. Subtle and quiet they are nonetheless compelling works in how they tackle a sense of place, of inhabiting space and time all the while resonating with the core of one’s inner being. There is an existential quality to these watercolors that is rare to be found in this medium that is something akin to the psychologically piercing observational quality of artists like De Chirico or Hopper. As architects strive to communicate their ideas, it is interesting to explore the world of Marx’s watercolors as an example of a humane approach to conveying emotional meaning in relation to our environment. Marx’s subject matter read like “built landscapes” heightening the role of the human-made yet wholly in balance with the natural world. This is a message and sentiment that is perhaps more important than ever to relay to audiences.
Études—The Poetry of Dreams + Other Fragments (ORO Editions, February 2020), by architect John Marx, AIA, features 84 watercolors juxtaposed with 40 short poems that complement the observational and existential qualities of his art. The book’s design, a deep collaboration with graphic artist Jeremy Mende, has been carefully composed to explore the relationship between words and watercolors, thought and emotion, life and art. Marx’s watercolors are a compelling example of how an architect’s thought process informs the visual arts. Subtle and quiet, they are nonetheless captivating works in how they convey notions of place, space, perspective, time, and beauty. Writes Marx: “While the watercolors emphasize emotional content, there is a narrative to each of these paintings—sometimes left intentionally obscure—which invites you to craft your own storyline. In that they all originated as daydreams—of places not in existence, places invented, and sometimes as a collective memory of places—each watercolor is, in a sense, an unwritten poem, which has found expression visually, that invites you to inhabit your dreams.” Marx’s watercolors are examples of a humane approach to conveying emotional meaning in relation to the constructed and natural environments. His chosen subject matter reads as “built landscapes” that heighten the role of the manmade, yet are wholly in balance with the sphere of nature. Intrinsically understanding the sentiment of man and nature is an important point Marx relays to audiences. Unlike metal and concrete, which architects regularly employ to express themselves, watercolor as a method of working has an inherent fragility. Marx’s works celebrate the poetic immediacy ingrained in the medium. The artist’s hand is forever present and acts as a tangible foil to an increasingly virtual world. The paintings and poems are divided into eight distinct sections: moments in time; apertures; absent nature; objects in nature; without intention; approaching abstraction; deconstructing perception; improvisations. Four essays look at the works from different angles: Owen Hopkins, Senior Curator at Sir John Soane’s Museum in London, ponders their place in the canon of painting; Pierluigi Serraino looks at architectural drawings and watercolors from an art historical perspective; Marx explores the subject from the point of view of the creative process; Laura Iloniemi places the watercolors within the context of Modern American painting.
The Absurdity of Beauty advocates for fundamental change in the way architects design, with the i... more The Absurdity of Beauty advocates for fundamental change in the way architects design, with the intention of rebalancing Modernism toward an architecture of abundance, rather than its current focus on an architecture of abstraction. This involves rebalancing the role of emotional meaning in design intent, as well as evaluating the impact of what we create on the public at large. We are responding to the notion that architecture has disengaged with society and is losing its cultural relevance.
This publication was developed with The Architectural Review, which provided an unique platform for critical review, and attracted a number of well-respected authors: Paul Finch, John Marx, Pierluigi Serraino, Catherine Slessor, Sam Lubell, Ian Ritchie, Richard England, Jeremy Melvin, and Jay Merrick. In their essays, each added great value to our thesis by expanding the philosophical basis for our arguments and positing solutions toward creating positive change within the profession.
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AI-based design software has the potential to dramatically increase design quality produced by the profession of architecture, it will be especially effective in elevating the average design firm's quality due to three trends that have evolved in the way we design over the past 60 years.
First, we have deepened our reliance on and confidence in language-based conceptualization in design.
Second, we have, as a profession, moved with great effort towards collaborative design practice models.
Third, there is a greater demand for design that responds to human needs for emotional resonance.
Currently available AI software is particularly strong in supporting these trends in design, and we can reasonably expect future so"ware to be an even more powerful accessory
Embracing paradox means "developing the capacity to conceptualize—and, more important, feel—that they can be taken together holistically: that an 'either/or' relation can instead be held as 'both/and,'"
In the context of architectural design, there is considered "a split between a thought process that is linear, logical, verbal, and ultimately pragmatic, and a creative process that is nonlinear, visual, intuitive, and emotional."
Pragmatism often takes precedence over processes connected with emotionality in professional settings.
What is the impact to our professional cultures, to our creative output, to our ways of being in the world, when emotion is suppressed?
This paper explores the consequences of suppressing emotion, as well as strategies to design in a way that is emotionally resonant.
Emotional meaning in architecture occurs when the elements or the character of a space arouse an emotional response in the user that is meaningful, significant and enduring.
Buildings speak to us and we respond to them. In that silent dialog, we develop a bond that grows within us over time. Yet we have learned to ignore its existence. The rational has won over the subjective in design and something has been missing, a cause of urban alienation. We call this missing piece Emotional Meaning. Our essay articulates the centrality of Emotional Meaning in design and why people and designers should pay attention to it today. Buildings can leverage our affects in unanticipated ways. Our response to them is visceral. It is firmly anchored to our emotional infrastructure. It means something to us. Our argument goes further than its mere acknowledgement: we believe that Emotional Meaning is a primary design objective for that building to be integrated in the symbolic fabric of our individual emotional landscape.
Towards Abundance: the Delightful Paradoxes of Gender addresses the subject of gender and architectural design through actively soliciting multiple interpretations from a non-prescriptive, wholly inquisitive and intellectually inclusive perspective. The monograph asks questions and invites readers to interrogate what is suggested by its editorial team of 16 contributors who represent the worlds of design practice, architectural history and theory as well as gender research and journalism.
Topics covered include: Multi-cultural urbanism in the face of placeless and often characterless modernity. The introduction of a more sensual and sensitive placemaking that is welcoming to all. Rethinking the singular maestro-led vision of how architecture is made, The paradox and evolution of vision and collaboration, especially in terms of gender norms. The types and qualities of gender categories. Male violence and normative design practice.
An over-arching theme that resonates throughout the chapters in Towards Abundance: the Delightful Paradoxes of Gender is that of finding a better balance between the rational and the notional. As editor John Jennifer Marx writes, “Imagine, as we look past a culture of binary gender, we might see the beginning of ‘gender expressionism’, of a balance between self-expression and belonging, a celebration of our uniqueness in the context of our commonalities.”
The cover of the monograph is an interpretation of the Three Graces by artist Madelon Vriesendorp who in 1975 co-founded the Dutch architecture studio OMA. Made as a special commission for the publication, Vriesendorp’s work speaks of how, through meaningful change, we can reach a new understanding that is reflected all around us, including the buildings we occupy.
As architects strive to communicate their ideas, it is interesting to explore the world of Marx’s watercolors as an example of a humane approach to conveying emotional meaning in relation to our environment. Marx’s subject matter read like “built landscapes” heightening the role of the human-made yet wholly in balance with the natural world. This is a message and sentiment that is perhaps more important than ever to relay to audiences.
Études—The Poetry of Dreams + Other Fragments (ORO Editions, February 2020), by architect John Marx, AIA, features 84 watercolors juxtaposed with 40 short poems that complement the observational and existential qualities of his art. The book’s design, a deep collaboration with graphic artist Jeremy Mende, has been carefully composed to explore the relationship between words and watercolors, thought and emotion, life and art.
Marx’s watercolors are a compelling example of how an architect’s thought process informs the visual arts. Subtle and quiet, they are nonetheless captivating works in how they convey notions of place, space, perspective, time, and beauty.
Writes Marx: “While the watercolors emphasize emotional content, there is a narrative to each of these paintings—sometimes left intentionally obscure—which invites you to craft your own storyline. In that they all originated as daydreams—of places not in existence, places invented, and sometimes as a collective memory of places—each watercolor is, in a sense, an unwritten poem, which has found expression visually, that invites you to inhabit your dreams.”
Marx’s watercolors are examples of a humane approach to conveying emotional meaning in relation to the constructed and natural environments. His chosen subject matter reads as “built landscapes” that heighten the role of the manmade, yet are wholly in balance with the sphere of nature. Intrinsically understanding the sentiment of man and nature is an important point Marx relays to audiences.
Unlike metal and concrete, which architects regularly employ to express themselves, watercolor as a method of working has an inherent fragility. Marx’s works celebrate the poetic immediacy ingrained in the medium. The artist’s hand is forever present and acts as a tangible foil to an increasingly virtual world.
The paintings and poems are divided into eight distinct sections: moments in time; apertures; absent nature; objects in nature; without intention; approaching abstraction; deconstructing perception; improvisations. Four essays look at the works from different angles: Owen Hopkins, Senior Curator at Sir John Soane’s Museum in London, ponders their place in the canon of painting; Pierluigi Serraino looks at architectural drawings and watercolors from an art historical perspective; Marx explores the subject from the point of view of the creative process; Laura Iloniemi places the watercolors within the context of Modern American painting.
This publication was developed with The Architectural Review, which provided an unique platform for critical review, and attracted a number of well-respected authors: Paul Finch, John Marx, Pierluigi Serraino, Catherine Slessor, Sam Lubell, Ian Ritchie, Richard England, Jeremy Melvin, and Jay Merrick. In their essays, each added great value to our thesis by expanding the philosophical basis for our arguments and positing solutions toward creating positive change within the profession.
AI-based design software has the potential to dramatically increase design quality produced by the profession of architecture, it will be especially effective in elevating the average design firm's quality due to three trends that have evolved in the way we design over the past 60 years.
First, we have deepened our reliance on and confidence in language-based conceptualization in design.
Second, we have, as a profession, moved with great effort towards collaborative design practice models.
Third, there is a greater demand for design that responds to human needs for emotional resonance.
Currently available AI software is particularly strong in supporting these trends in design, and we can reasonably expect future so"ware to be an even more powerful accessory
Embracing paradox means "developing the capacity to conceptualize—and, more important, feel—that they can be taken together holistically: that an 'either/or' relation can instead be held as 'both/and,'"
In the context of architectural design, there is considered "a split between a thought process that is linear, logical, verbal, and ultimately pragmatic, and a creative process that is nonlinear, visual, intuitive, and emotional."
Pragmatism often takes precedence over processes connected with emotionality in professional settings.
What is the impact to our professional cultures, to our creative output, to our ways of being in the world, when emotion is suppressed?
This paper explores the consequences of suppressing emotion, as well as strategies to design in a way that is emotionally resonant.
Emotional meaning in architecture occurs when the elements or the character of a space arouse an emotional response in the user that is meaningful, significant and enduring.
Buildings speak to us and we respond to them. In that silent dialog, we develop a bond that grows within us over time. Yet we have learned to ignore its existence. The rational has won over the subjective in design and something has been missing, a cause of urban alienation. We call this missing piece Emotional Meaning. Our essay articulates the centrality of Emotional Meaning in design and why people and designers should pay attention to it today. Buildings can leverage our affects in unanticipated ways. Our response to them is visceral. It is firmly anchored to our emotional infrastructure. It means something to us. Our argument goes further than its mere acknowledgement: we believe that Emotional Meaning is a primary design objective for that building to be integrated in the symbolic fabric of our individual emotional landscape.
Towards Abundance: the Delightful Paradoxes of Gender addresses the subject of gender and architectural design through actively soliciting multiple interpretations from a non-prescriptive, wholly inquisitive and intellectually inclusive perspective. The monograph asks questions and invites readers to interrogate what is suggested by its editorial team of 16 contributors who represent the worlds of design practice, architectural history and theory as well as gender research and journalism.
Topics covered include: Multi-cultural urbanism in the face of placeless and often characterless modernity. The introduction of a more sensual and sensitive placemaking that is welcoming to all. Rethinking the singular maestro-led vision of how architecture is made, The paradox and evolution of vision and collaboration, especially in terms of gender norms. The types and qualities of gender categories. Male violence and normative design practice.
An over-arching theme that resonates throughout the chapters in Towards Abundance: the Delightful Paradoxes of Gender is that of finding a better balance between the rational and the notional. As editor John Jennifer Marx writes, “Imagine, as we look past a culture of binary gender, we might see the beginning of ‘gender expressionism’, of a balance between self-expression and belonging, a celebration of our uniqueness in the context of our commonalities.”
The cover of the monograph is an interpretation of the Three Graces by artist Madelon Vriesendorp who in 1975 co-founded the Dutch architecture studio OMA. Made as a special commission for the publication, Vriesendorp’s work speaks of how, through meaningful change, we can reach a new understanding that is reflected all around us, including the buildings we occupy.
As architects strive to communicate their ideas, it is interesting to explore the world of Marx’s watercolors as an example of a humane approach to conveying emotional meaning in relation to our environment. Marx’s subject matter read like “built landscapes” heightening the role of the human-made yet wholly in balance with the natural world. This is a message and sentiment that is perhaps more important than ever to relay to audiences.
Études—The Poetry of Dreams + Other Fragments (ORO Editions, February 2020), by architect John Marx, AIA, features 84 watercolors juxtaposed with 40 short poems that complement the observational and existential qualities of his art. The book’s design, a deep collaboration with graphic artist Jeremy Mende, has been carefully composed to explore the relationship between words and watercolors, thought and emotion, life and art.
Marx’s watercolors are a compelling example of how an architect’s thought process informs the visual arts. Subtle and quiet, they are nonetheless captivating works in how they convey notions of place, space, perspective, time, and beauty.
Writes Marx: “While the watercolors emphasize emotional content, there is a narrative to each of these paintings—sometimes left intentionally obscure—which invites you to craft your own storyline. In that they all originated as daydreams—of places not in existence, places invented, and sometimes as a collective memory of places—each watercolor is, in a sense, an unwritten poem, which has found expression visually, that invites you to inhabit your dreams.”
Marx’s watercolors are examples of a humane approach to conveying emotional meaning in relation to the constructed and natural environments. His chosen subject matter reads as “built landscapes” that heighten the role of the manmade, yet are wholly in balance with the sphere of nature. Intrinsically understanding the sentiment of man and nature is an important point Marx relays to audiences.
Unlike metal and concrete, which architects regularly employ to express themselves, watercolor as a method of working has an inherent fragility. Marx’s works celebrate the poetic immediacy ingrained in the medium. The artist’s hand is forever present and acts as a tangible foil to an increasingly virtual world.
The paintings and poems are divided into eight distinct sections: moments in time; apertures; absent nature; objects in nature; without intention; approaching abstraction; deconstructing perception; improvisations. Four essays look at the works from different angles: Owen Hopkins, Senior Curator at Sir John Soane’s Museum in London, ponders their place in the canon of painting; Pierluigi Serraino looks at architectural drawings and watercolors from an art historical perspective; Marx explores the subject from the point of view of the creative process; Laura Iloniemi places the watercolors within the context of Modern American painting.
This publication was developed with The Architectural Review, which provided an unique platform for critical review, and attracted a number of well-respected authors: Paul Finch, John Marx, Pierluigi Serraino, Catherine Slessor, Sam Lubell, Ian Ritchie, Richard England, Jeremy Melvin, and Jay Merrick. In their essays, each added great value to our thesis by expanding the philosophical basis for our arguments and positing solutions toward creating positive change within the profession.