#465 - THE ARCHITECT AS EDITOR
SUMMARY
This week, David and Marina of FAME Architecture & Design discuss the editing process in architecture design. They touched on editing in the creative process, how to know what to edit, the difference between editing and value engineering, teamwork, subjective interests, subtraction and addition, refusing to edit, starting simple vs complex, a client’s role in the editing process, and more. Enjoy!
TIMESTAMPS
(00:00) Editing in the creative process.
(02:47) How to know what to edit out.
(11:02) Difference between editing and value engineering.
“Value engineering often happens further in the design process, and it is based on the budget. But editing in the design process doesn't always have to be related to that. Something can be edited out because it doesn't fit the concept well, or it doesn't make sense with the overall vibe for this project, or because another solution works better. Editing isn’t always about removing things; it could also be refining and tweaking things.” (11:28)
(19:51) Teamwork in architecture.
(23:32) Architect's subjective interests.
“You should be drawn to certain things for your sensibility as a designer to be your own. It’s whatever flavors and colors that make you, you. Having interests and preferences is often not well perceived because it feels like it’s forced onto the design, but at the same time, I feel like it has to be there.” (23:37)
(27:20) Value engineering vs editing.
(34:36) Subtraction vs Addition.
(39:50) A reluctance to edit.
“I don't agree morally with this idea that to produce good architecture, it requires someone to spend $2,000 USD a square foot. There's something fundamentally wrong and flawed about the profession and about that individual's perspective if they demand to have all these add-ons for the architecture to be successful. To me, you lack skill set, and you lack compassion for people who are on a budget.” (45:23)
(47:11) Starting simple or complex.
(56:30) Clients’ role in the editing process.
“Understanding a client's motives is only important to move forward. It does not validate their opinion. The thing that clients should understand is that because you don't like something, it does not mean you're right. Some aspects of houses or buildings are subjective, like they have personal preferences, and that’s fine. I don't think clients think about themselves as contributing to the editing process or being a motive for it. They just say, “I want this thing to be in there, so figure it out or stick it in there.” (58:13)
