Tag Archives: ORIGINALITY

#197: BOOK RELEASE: INFLUENCERS | ARCHITECTURE

December 13, 2024

Book cover (photograph by Anthony Poon)

Of his recent 464-page publication, author Oscar Asensio explains, “At Influencers | Architecture we show the professional careers of the most relevant and influential architects in the world. They offer us their experiences, ideas, knowledge and thoughts . . .”

Book pages 354 and 355 (photograph by Anthony Poon)

Am I an influencer? This new book believes I have some influence that might impact behaviors and attitudes. Published internationally by Linea Editorial in English and Spanish, the author curates and presents groundbreaking architects from around the world: Austria, China, England, Finland, Germany, Italy, Japan, Portugal, Switzerland, and others. Below are edited excerpts from my contributions to this book simply entitled, Influencers | Architecture.

Book pages 356 and 357 (photograph by Anthony Poon)

“It all began with some crayons and cardboard. I was probably five years old. Then, I liked to make things, to dream up a world for my toy soldiers, for my spaceships to race, or where stuffed animals could have thoughtful discussions. Whether paper and scissors, or clay and a knife, whether Lego or wooden blocks, I made cars, planes, rockets, and of course buildings—buildings upon buildings and cities within cities. I imagined civilizations where everyone would be able to be who they are destined to be. As I grew up, I realized there was a station in life, a job for me to pursue such ambitions. Though I must admit, I also wanted to be a musician since childhood. I made my final decision when applying for graduate school: Julliard vs. Harvard’s Graduate School of Design. I chose the latter. Today, I am an architect and fortunately still have space in my life to make music. I could not have done it the other way around, be a concert pianist and run an architecture company.

“An idea can come from anywhere and everywhere, from no one place in particular nor one kind of process. An architectural concept can arrive through a piece of music or work of poetry, perhaps from a conversation with a colleague or the view out of a hotel. I can try brainstorming for days, drawing ideas, and jotting notes endlessly in my sketchbook. Sometimes, a design concept appears, and other times, the obsessive process results in nothing of worth. Or maybe an idea will arrive in my head while driving to a meeting. The point is simply this: Inspiration is elusive, but always there. One just needs to be ready to grab it when it passes by.

Book pages 358 and 359 (photograph by Anthony Poon)

“The currency of social networks is both potent and immeasurable. The art of architecture relies on influences and inspiration, sometimes examined through any number of social media outlets, media/press, and online articles and treatises. The business of architecture relies on exposure, as well clients, consultants, and a community of colleagues—typically powered through social media and networks. The evolution of architecture relies on communication, on the sharing of ideas, testing of concepts, and critical discourse. The success for all of the above are the current venues (not even in existence last decade) created through technology, apps, social media, digital forums, and crowdsourcing—and having a very powerful compact computer in the palm of our hands.

Book pages 362 and 363 (photograph by Anthony Poon)

“Consider architecture as storytelling. Every project should have content—a narrative of concepts that drive the process and its final product. Also, because architecture is communication, know your audience.

“I think it was concert pianist, Rubenstein, who suggested that one should not practice piano too much: Limit your practice time, enjoy your life, and you will have much to express when playing piano. Same thinking applies to architecture.

“Be original. Be remembered. If you do the same thing over and over again, you will always get the same results, of which, most have already been done, or might be boring and forgettable.”

#89: THE ORIGINALITY OF BEING ORIGINAL

September 21, 2018

A bold proposal: Lucas Museum of Narrative Art, Los Angeles, California (rendering from Lucas Museum of Narrative Art)

In the 2004 film, Garden State, Natalie Portman asks Zach Braff, “You know what I do when I feel completely unoriginal?” She then performs a few awkward dance moves accompanied by shrieking and squealing.

Portman states, “I make a noise, or I do something that no one has ever done before, and then I can feel unique, even if it is only for like, a second.”

She proclaims, “You just witnessed a completely original moment.”

Zach Braff and Natalie Portman in Garden State (2004)

I ask this: Is there such a thing as originality, and is there value to being original?

left: Cambridge Center for Visual Arts, Massachusetts, by Le Corbusier, 1963 (photo from lescoulerus.ch); right: Kenneth Cooper House, Orleans, Massachusetts, by Gwathmey Seigel, 1968 (photo from Gwathmey on Twitter)

For the first question, originality is hard to spot. Sometimes we see it and are convinced that we are experiencing something original. Later, we realize that it derivative of something else, or simply part of an evolution of ideas throughout time.

upper: Casa Prieto Lopez, Mexico, by Luis Barragan, 1951 (photo from pinsdaddy.com); lower: Villa Sotogrande, Spain, by Ricardo Legorreta, 2004 (photo by Hector Gazguez)

Additionally, two creators could come up with the same original idea. Having done so independently, we still claim that each person’s idea is indeed original.

To the second question, what value is there in being original? Is there purpose to being novel for novelty’s sake, or being unusual simply for being different? For the most part, being forcefully unique in the creative process has little weight. But here and there, that one innovative idea might be the catalyst that ignites a truly original invention from another innovator, artist or genius. In the arc of evolving ideas, I personally assign value to those that seek to be novel if only to do something different.

As unique and bizarre as the examples below are, one might say that they serve no purpose other than to indulge an architect’s whimsical agenda. On the other hand, these examples do no harm (do they?) and again, they might prompt me to challenge my own creative complacency.

upper left: Cube Houses, Rotterdam, Netherlands (photo by Victor on Unsplash); upper right: Louis Vuitton, London, England (photo from highsnobiety.com); lower left: The Broad, Los Angeles, (photo by Rahul Chakraborty on Unsplash); lower right: Elbphilharmonic Concert Hall, Hamburg, Germany (photo by Wolfgang Weiser from Pixabay)

Additionally, originality has to do with context. Just because one person experiences something as original, does the creation in question automatically win the label of originality? A tree does make a sound in the forest even if no one is listening. Also, you did have a great vacation even if you forgot to Instagram your photos. Similarly, if an unaware person experiences originality, like a child discovering ice cream for the first time, then so be it.

Bust of Ludwig Van Beethoven (photo by Peter from Pixabay)

In regards to context and evolution, Beethoven’s third and final period of composing was so original that it left his colleagues far behind in terms of creativity. In such works as Beethoven’s Late Great Piano Sonatas, no one could understand what the mad composer had written, and the result was the breaking of the linear progression of music evolution. Not only did composers leave Beethoven’s third period of work unstudied until decades later, colleagues like Schubert and Schumann chose to pick up where Beethoven left off in his second period. Because they just didn’t understand what the heck was going on in this third period of original music.

The Shape of Water (2017)

Though last year’s The Shape of Water took home the award for Best Picture, I found the movie an unoriginal creation. Fully packed with weary story clichés and formulaic visual devices, critics everywhere complained of similarities of this Oscar-winning film to 1954’s Creature from the Black Lagoon, 1969’s Let Me Hear You Whisper, and 1984’s Splash, just to name a few. Regardless of being unoriginal accompanied by one legal case of plagiarism, The Shape of Water collected three additional Academy Awards with record-setting 13 nominations, alongside box office accolades.

As I work hard to offer innovative ideas to the world,  perhaps recognition will arrive at my doorstep if I simply discard the pursuit of originality, and instead copy, imitate or steal. (Not serious, of course.)

(I further studied the idea of uniqueness in design and style with my companion essay, It All Sounds the Same to Me.)

© Poon Design Inc.