Transcripts
1. Introduction: Hello, and welcome to my class. My name is Ana Marcu. I'm a licensed architect. In this class, I'd like to teach you how to think like an architect. Now, you might be asking yourself, "Why should you learn to think like an architect?" I believe that, as we start out in life, we have a clear field of vision, but as we progress, we lean more and more into the profession we choose. Our field of vision starts to become tinted as if we were wearing a certain pair of glasses. We seem to focus more and more on the things our work revolves around and develop patterns of thinking that we use over and over again in the way we solve problems or come up with ideas, or even how we deal with everyday things. We're not really aware of them until we see other people approach a similar kind of problem. I have no doubt that the way a car engineer and a fashion designer approach grocery shopping is very different. I have no doubt that the same fashion designer and car engineer would approach problem-solving, creating new ideas, and even how they go about making things very differently. This is where the opportunity lies because if a fashion designer make clothes like a mechanic or a mechanic approach engines like a fashion designer, we would be looking at some very original creations. If we got to peek through the glasses of a different profession, a new layer of originality would be added to our own creative process and problem-solving abilities. For example, when I watched astrophysicist Neil deGrasse Tyson talk about how he questions new information like a scientist made me recalibrate how objectively I look at the world. Or when I heard the videographer Peter McKinnon talk about his creative process made me question how much room for spontaneity I left in my classes. Or when I listen to how Jeff Goodby Rich Silverstein started their own advertising agency made me question my own resourcefulness in making and sharing my ideas. There's a lot of value in understanding how other professions do things. In this class, I'm going to talk about how the world looks like through my glasses, how I approach creativity, design, and problem-solving, and share with you some techniques that I have learned along the way, which have served me both inside and outside my professional career. I hope that by the end of the class, there will be a new shade of color in your glasses and your creative and problem-solving process will be so much better for it. Are you ready? Let's start the class.
2. Class Project: Welcome to the class project. I made this class a little different in that it doesn't have just one class project, but actually, six smaller assignments that you will find at the end of each of the following lessons. Each of the assignments are important for internalizing the ideas discussed in the lesson, and so I encourage you to take your time and do all of them. If you have questions about the assignments or you want my feedback and support, I encourage you to share the results of the exercises in the class project and resources section.
3. Curiosity: In the year 2000, at the ripe old age of 18, I joined the architecture university. Although I had to take a decision about my professional career at such an early age, it was probably one of the best decisions of my life. Architecture opens your mind to a lot of interesting fields like psychology, history, design and science. It's also a gateway for math and physics, but they were never really my favorite. It draws together some of the most creative people you will ever meet. Being in the architecture school is one of the biggest funs I've ever had. What you do not realize though, at the moment when you join the architecture university, is that you will not be learning the ropes of a 9-5 job you'll be doing in the future. You are practically part of a life-changing program because joining the architecture school completely changes how you look at the world. For example, going on vacation as an architect is rarely about lying on the beach sipping pinacolada. More often than our partners would like to, is about looking at historic buildings and discovering unusual corners of the city designed by obscure architects and urban planners. In restaurants, you don't just look at your partner. You look at the lighting, at the floor tiles, at the carpentry details, at the upholstery or some unique decor. You make a small catalog in your head about which project it might be a good fit for. The things you look at the world around you becomes a library of inspiration and information for you every day. I remember in an early exercise I was doing in preparation for architecture school. A drawing teacher I was working with, asked me to draw the inside of the subway train. How many times have you been in the subway? If you live in a big city, probably every day, if not a couple of times a week. At least I was at the time, so technically, I should have known what a subway train looks like. I realized in my efforts to draw it that I had no idea what the subway train looks like. Yet here I was trying to draw something from memory that I have spent all this time avoiding to look at. The first lesson that I learned that I wish to pass over to you is to be curious about the world around you. I don't mean just look at it, but really try to understand why the things around you are made the way they are. If you want to design the world around you, you have to start by understanding the world around you. You have to be able to break it apart and put it back together again in your mind. If you understand why something looks the way it does, or how it's parts relate to each other, it will be conserved to memory forever. How do you start to break things apart in your mind? You have to ask questions regarding the design of the items around you. If like me, you might find yourself in the subway. You might ask yourself, why are seats placed in groups of two or four? What color are the seats? What material? Why did they choose that color or material? Where are the holding bars placed in relationship to the seats? Where are the windows located? Can you open them? What is the shape of the train? Does it have carts or is it one big tube? By asking questions, you start to understand more about the kind of problems those designers were facing. In the case of the subways, this could be a packing problem. How can you design a train that will be able to carry a large amount of people? There is an accessibility problem. How can people who have difficulties walking find a seat? There is aerodynamic problem. What shape should the train be in order to get to the next station in the least amount of time? Being curious about the world around you will unlock a world of knowledge for you, which you as a designer or an architect can later use for your projects. But even if you're not a designer or an architect, the idea of breaking things apart conceptually in order to understand how they're made has served me passed my line of work. For example, before I started my own business, I looked at many similar other businesses and tried to break them apart conceptually and understand how they work. How does their marketing lead to their sales funnel? What does the website layout look like? Why is it structured that way? What are they hoping their customers would look at? Or when I started to create these online classes which require a wealth of knowledge that I as an architect know nothing about. I had to watch a lot of classes and break them apart in my head, I had to ask myself questions. Like, what does a good class look like? How is it structured? Why is it structured that way? What is the structure of the intro video? How do lessons start? How do they end? What does the background look like? Because English is not my native language, I've even looked at how engaging teachers speak, and I broke that apart. By now I hope you understand what I mean about getting curious about the world around you and breaking things apart in your head. For the exercise of this lesson, I would like you to break something conceptually and tell me how it works. Why does it look like that? How do the parts relate to the whole element? How do they relate to each other? What is the underlying framework? You can break apart a piece of art or a novel or a concept you are trying to understand. You might make use of sketching and sketch one item from your surroundings. If you can sketch over a photograph. The point of this exercise is not for you to sketch better. If you do, that's marvelous. But try to identify as much as you can about the thinking behind the items you look at. Let your eye look at each curve, shape, texture and try to make little annotations on it about its dimensions. The relationship of the parts between them, the choice of material, maybe the reasoning why it might look like that. What was the designer thinking? What problem was she trying to solve? When you're finished, share your results in the class project.
4. Creativity: In this lesson, I'd like to explain how you can turn your curiosity into creativity. Now that you have a few sketches of items, you start to essentially build a library of ideas. This library can be more than sketches. It's photos, little nodes, Pinterest boards, surface materials like wood or ceramic tiles. Anything that helps your creative process really, libraries have a structure. They group their items by topic in order to be able to find them again. As an architect as we will later seeing this class I rely heavily on all sorts of libraries and the library of ideas is just the beginning of the journey for an architect or a creative person in one of the first libraries that you will need. Now some of you creative people out there might say that, so much structuring of information in libraries might be constraining for creativity. That creativity needs no structure or that structure is the antithesis of creativity. If you think about it, architecture is essentially the organization of space. Architecture is one of those professions that require you to sharpen both your ability to organize elements and to be creative because often the result of your creative process as an architect is a well organized space that fulfill certain requirements. What I have learned from architecture is that some degree of structure is actually supportive of your creativity. How might that work for you? Think about the last time you wanted to cook something special, you couldn't find your favorite pan and proceeded to spend 10 minutes looking for it or the time you had to turn a drawer upside down because you couldn't find your favorite pen. Every time you spend time looking for a tool, a pan, a piece of paper, an idea, you lose focus away from your creative process. The advantage of structuring your items in libraries is that it reduces the mental and digital clutter that stops you from creating things. All that cataloging, library building, list making helps you save time on minute tasks like looking for tools or ideas and just make space in your head to just focus on your creativity. For example, Elizabeth Gilbert, a writer and best selling author of the novel Eat, Pray, Love says that before she ever starts a book, she does extensive research on the period and types of people she bases her novel on. She takes notes on little cards and then she catalogs these cards on topics and then she puts all these cards in the box. When she starts the book, she takes out this little note cards one by one out of the box, then places the used ones in another box. For her creative process, she relies on a very good organization of notes. Organization is not just specific to architects but other creative people use it to, so it's good to make an idea library or resource. For many years, I've had a little notebook with me and simply writing an idea down or making a little sketch has had the power to cement the idea in my head. For example, is one of my trips at the Museum of Applied Arts in Vienna, I found a beautiful chair made of curved wood, I have seen this chair in many Viennese cafes and I was very curious to learn about its history. It turns out that the chair was designed and developed by a man called Michelle Tony. Michelle Tony was a very skilled carpenter who lived in the middle of the 19th century and was experimenting with bending wood on the steam. He developed a system of steam bent veneers for which he made complete chairs that were light and curvilinear. He presented his work at the great exhibition of London in 1851, and he was a huge success, building his career in the stratosphere. This brilliant idea that you can bend wood under steam to create the elegant, light, sturdy, and relatively cheap pieces of furniture was really interesting to me and I save this idea in a notebook. It was there for about three to four years, not knowing what to do with it until I reached the end of my studies at the Technical University of Vienna and I was looking for a topic for my master's thesis. I wanted to make something with my hands, I wanted to make something. I developed a concept for a self supporting structure made from a three millimeter cardboard that would be able to cover a lot of surface, use very little material and would make as little waste as possible. This is where my notes about the chair came to use. I've asked myself, what if I could bend cardboard in the same way Tony could bend wood? What if I took Tony's idea of softening the wood under steam and use it to soften the fiber of the cardboard, would it work? It did. I've created curved cardboard elements by tanking them into hot water mixed with textile hardener, which would then tried it into a specific shape. The elements were combined to create the modules of different shapes, joined together by a nuts and bolts. To recap, start capturing ideas, create a system or a library for all the creative elements you use in your creative process, so you can easily find them should you need them. For the project of this lesson, I want you to show me your library of ideas. Your stack of photos, notes, sketches, collections of items, and highlight the structure, the categories, and the reasoning behind it. I want to see your pans sorted by size, your camera gear sorted by type, your Pinterest board, your note boxes. Make a photo or your library of ideas and share it in the class project and resources section.
5. Empathy: One day, I got into a relatively empty bus, and as we came to the bus stop, an elderly gentleman was waiting for us. He looked well put together. His clothes were neatly ironed, and his jacket was smart. He was walking on a cane, and his legs looked a little shaky. Now, I have to say that the buses are quite low and close to the ground in Vienna. Maybe the height difference between the bus and the sidewalk is 10 centimeters, a very low step difference, but still for people who have trouble walking, it may look like a gigantic step difference. As the doors open, I watched him as he was getting ready to get on the bus. I could see that he was feeling a little nervous because his legs look a bit shakier than before. I was watching his feet fearing tragedy about to happen. Then it happened, the entire bus tilted in the direction of the sidewalk. Now, the step difference between the bus and the sidewalk was like two centimeters. What did just happen? My eyes popped out of their sockets. It was like the bus just lifted one of its hips, and was saying, "Come on in old man." I looked around and was imagining that the rest of the passengers will be seated like this, like in a Monty Python sketch or something, but quite amazingly, they didn't. The inclination of the bus was rather imperceptible to the rest of the people in the bus. Suffice to say, it made a world of difference to the old man for whom standing with both feet on the ground was clearly a challenge, standing on just one would have been quite difficult, possibly a disaster. Even if me and the other people in the bus would have to sit tilted for a couple of seconds, I think we would have gladly done it. Design when yielded correctly, has the power to create significant change in the society, but in order to do that, the designer needs to feel a great amount of empathy for the people she's designing for. When people talk about the moment when they fell in love with someone, they often talk about the small insignificant gesture of empathy or kindness that made them feel special, important, and connected to that person. Imagine living in spaces and cities that didn't frustrate you but made you feel important, supported, maybe even loved. What difference would that make to the quality of your life, and how you treat other people? That is truly the power of designing with empathy. I believe that good design can preserve that magical quality of kindness. It makes us feel smart by not overwhelming us with thick instruction manuals, when it makes us feel important or special by not forgetting our special needs. Charles and Ray Eames once said that the rule of the designer is that of a very good and thoughtful host, anticipating the needs of his guests. I would say that the role of the architect isn't very different either. We just happened to work with design of a bigger scale. The better we can anticipate the needs of the people using the space, the better we are at designing. Architecture requires the development of a certain type of empathy, understanding, and anticipating of how people move, think, and feel in space. Architects choose to work with certain elements in order to make people feel a certain way. For example, the Gothic churches were covered with images from the Bible and statues because it made people feel closer to God, or when Frank Gehry designed this spiral-shaped slope for the Guggenheim Museum, he was creating a feeling of curiosity in the viewer. A grand staircase has the power to build anticipation in what is yet to come. Creating a skylight has the power to attract people together underneath it. Dark colors can make people feel calm and cozy. Light colors by contrast, can lift the mood. Empathizing with the experiences of people in the space is an important aspect of thinking like an architect. Developing a sense of empathy is not limited to architecture alone. A sense of empathy can support in creating better products, better services, and better relationships among people overall. Empathy helps us to communicate our ideas in a way that makes sense to other people. It helps us understand others when they communicate with us. For the class project of this lesson, I want you to make an exercise in empathy. Try to put yourself in somebody else's shoes and interact with the world around you. If you're a woman, try to see the world through the eyes of a man. If you're a man, see through the eyes of a woman. If you are young, try somebody older. If you are old, pick somebody younger, then pick a space of significant relevance to them perhaps shopping mall, a hotel, an office building, a park, a new city, a country. Try to imagine how they would interact with that space. What would they look at? Where would their focus be? Maybe the person you need to empathize with is yourself. Maybe you want to move to a new house. How did you feel leaving there? What will you be spending your time on? What would be your favorite place in the house? What would make you really happy? Then show how it actually was when you move into this space. Was it everything you had imagined? Do you know yourself or that person as well as you thought you did? Or did you realize you actually don't know anything at all? Share your reflections with me in the class project.
6. Make a Model: It's often that in life, we have to take a really big decision, a big, fat, costly, expensive, both in money and in personal energy decision. When it comes to such decisions, it isn't very clear what the consequences will be, and we suspect there will be some serious negative consequences if we do not think things through. Buildings are such difficult problems. How do you create something that is beautiful, functional, durable, and cost effective? That is a really hard problem. One that you want to think about really deeply. Ideally, you want to start understanding all the implications of the problems being created. Because once the cement is being poured on a construction site, you can't make changes anymore. There comes a time where you need more information. The information could come from doing more research, but more often than not, it is about testing your idea that will best help you to move forward. How architects and industrial designers typically test things is by building a model. The model is often a smaller, more cost-effective version of the real thing, that we'll be able to inform the designer better about where the design should go, or how we should develop in its final stage. Tools like sketching, model making, 3D model making, prototyping, and drafting are ways to test and inform the designer effectively before the finished product is executed. What typically happens is, you want to build a house, or a certain product. You start by making a model that will most likely inform you about the challenges or problems that the product or house you are developing might have. You build a new improved model where you build certain parts of the model in a bigger scale, or perhaps you let some users test your model. You go back to the drawing board. You change your CAD model based on the information you acquired, and then you build the new physical model. This process of thinking has been labeled design thinking. It has been used by companies of all industries in order to come up with innovative products and services. Design thinking or the thinking of a designer is not an answer but rather a road map to coming out with solutions to problems that you may not have encountered before that are completely new to you. I go back to design thinking whenever I'm faced with new problems, even if the problems are not architecture related. How might that work? If you think about any big changes that you want to do in your life, applying design thinking to it can help you ease into the process of change. Let's take, for example, making a decision of moving to a country for a long period of time. How might you prototype that before you have started paying for a home, for plane tickets, and for other major expenses? How might you prototype? Can you visit that country for a short amount of time? Could you try the cuisine in your city? Could you find some local friends from that specific country? Let's try another example. What if you are standing before a major career decision? How might you test that? Perhaps you can get a summer internship with a certain company. Maybe you can invite someone for a coffee who's already doing that career and ask them a few questions. What makes them get up in the morning? What gets them down about their career? No specific career is the land of milk and honey, but it should have the upsides that make you happy. The better informed you are about the realities of that job, the better choices you can make along the path. For example, professor at Stanford Bill Burnett, uses design thinking to help his students envision the ideal life for themselves and then makes it happen. He even wrote a book about it called Designing Your Life. Design thinking in this context is about trying out in a smaller, inexpensive version a much bigger challenge in order to make better and more informed decisions with more favorable outcomes. For the class project, I would like you to apply design thinking to a challenge from your life. How would testing in a smaller, inexpensive way help you make better and more informed decisions about the bigger challenge? What if you are not dealing with brand new problems, but you are dealing with repetitive problems? In the next lesson, I will teach you how to think like an architect when it comes to problems that keep repeating themselves.
7. Save Time: Over the span of my career as an architect, I've worked on a large number of different projects. Many of these projects were complicated and extremely challenging. I often found myself asking two questions. What tasks am I doing now that might be repeating in the future? Or what can I do now to save myself some time later? Because our lives are built around routines, repeatable tasks are all around us, so it's worth exploring these two questions. The two ways that I have found have helped me the most was saving time and keeping a good quality of my work, had been templates and SOPs. Now, I have to specify that neither templates nor SOPs are something that architects invented. I found that if you ask these questions often enough, you can find a way to create templates for a lot of things, including things that are not related to work. I'm going to talk about templates first and then get into the SOPs. In architecture, templates are often [inaudible] which you use to print large-scale plans on. They usually come with a standard title block. They can also be presentation layouts for competitions or even brochure presentations of projects. Templates you can say are a piece of work that you have done at a specific point in time. Now, you can take that bit of work, and add it to your current work. Whenever you need it, you don't have to do that bit of work anymore. How would templates translate to your everyday life? For example, if you know you always cook something or repeat, creating a template would mean preparing certain parts of the meal in advance, which you can use over and over again for that meal, maybe a sauce or vinaigrette. Batch cooking could be a way of creating templates. For example, I'm very fussy with cereals, and I could never really find the brand that I like. I just get the ingredients that I want and then I mix them all in one big bowl. I have them ready every morning in the exact combination that I want. That you could say is a breakfast template for me. I simply add milk and fruits to my cereals, and the breakfast work is done. Another way I created templates for myself is with banks. For example, every time I travel, I have the same specific items in my bag, hairbrush, mirror, deodorant, sanitizers. They always come with me, so I always have a travel bag with those specific items in it. You can use this idea of templates for all your bags by pre-stocking them with specific items that you know you always need and would be good to have in every bag, like lip balm, wet and dry tissues, mints, and headphones, or whatever you think is absolutely necessary for your bag. This is a way in which you can create templates for yourself. Now, let's talk about SOPs. SOPs are short for standard operating procedures, which is actually a term that I have discovered in a business book. I had been keeping SOPs before I discovered what they're named. I just didn't know what to call them. Typically, an SOP is a list of tasks that need to take place in a certain sequence and need to be executed in a specific way in order to reach a certain goal or a specific quality. For example, one SOP for me is the list of questions I need to ask clients before starting a home project. These questions are almost the same every time. I want to know about the opportunities and limitations of the space, their budget, their desired lifestyle, and so many more things. Needless to say, I find SOPs enormously helpful in all aspects of life from how I set up my business, to tasks at home, and even how I create these classes. For example, I have an SOP specifically for going on vacation. I do that because it's not just the things that you should bring with you that you need to remember, but also, where these items should best be located. What quantities would these items be especially if you keep them in a handbag. What you should be doing before leaving, right before leaving, when you are returning, and so on. If you pack for the entire family, the stuff that you suddenly have to remember has grown exponentially. It really saves a lot of space in your head to have a travel SOP. I have a similar SOP for my classes. I've been an architect all my life, and filming myself, speaking on camera, trying to make engaging videos for you guys, it's a very new territory for me. I forget things all the time and because I want to create better classes every time, I have made a quality checklist or an SOP for myself. There are so many details that one has to remember, like how to script the text for the video, what I need to check before the shooting, batteries, lights, what I need to think about during shooting, the best process for editing, best practice for class titles, for introduction videos, what the class body should include, what each lesson should include, using the right story structure to present each lesson, what is the right class written description, the right keywords, and so on. There is no way I could remember everything off the top of my head, so I'm always checking the list before, and during, and after I finish a class. For an SOP, you can simply make a list on a piece of paper. Personally, I found that I remember the stuff in the strangest places, walking on the street, when I run in the shower, so keeping the list on my phone has made it easy for me to easily access it and adapt it for new changes. I currently use three apps, reminders, notes, and the Notion app for all sorts of lists and SOPs, but really, you can use anything you want. I hope by now you understand the concept of templates and SOPs and are able to apply it in your life. For the class project of this lesson, I want you to share with me one of your favorite templates or SOPs.
8. Less is More: You've probably heard the expression less is more in more than one occasion. You might not know this, but the idea actually emerged in the architecture field. It was popularized by the German architect Mies van der Rohe. Mies lived in a tumultuous time in Europe. He was born in 1886 and lived to see both World War I and World War II. There was economic strife, poverty, a lot of cities were destroyed, and of course, a lot of people died. If you remember from my class, minimalism versus maximalism, at the end of the 1800s in Europe, architecture was dominated by historicism. Buildings were heavily decorated with ornaments from all historic periods. Ornamentation was very important. Due to the rapid industrialization happening in the beginning of the 20th century, new ideas about how buildings should look like emerged. They had little to no embellishment, and instead, they attracted the attention to proportion and streamline design. One of the proponents of this type of design was the school of Bauhaus, whose director was Mies Van der Rohe. Because of the pressure from the Nazi regime, the school had to close down. Mies emigrated to the United States where he accepted a position at the Illinois Institute of Technology. Mies continued in the United States the Bauhaus ideas of streamlines and simplicity. By using modern materials like industrial steel and plate glass, he sought to create an architectural vocabulary that will represent modern times. For him, reducing buildings to skin and bones was the utmost expression of beauty. His expression, less is more, represented the idea of creating something so beautiful and so pure it cannot further be reduced. The design where representing objects in their essence, has become the highest level of taste. Since then, the idea of less is more has been expanded outside the realm of architecture. It has been understood in many different ways like being resources conscious, having less gives us all more, or being connected to the idea of decluttering, having less stuff gives you more headspace. I'm going to talk about one important concept that has made a difference in how I solve problems, and that is effectiveness. Having more outputs with less resources is probably one very important way in which the idea of less is more has been understood. Not all our efforts result in outputs that are equally as effective. You may have heard of the 80-20 rule. The idea that 80% of the output is generated by 20 percent of the input. That 80 percent of the sales come from 20 percent of the customers. Microsoft even noted that fixing 20 percent of the most reported bugs would eliminate 80 percent of the related errors and crashes. We are all aware that not all our tasks are equally as effective, but how do we identify the 20 percent? One way to start thinking about this problem is to simply ask the question, what is the least I can do that will generate the most amount of output? That will require some time to reflect. What could be more effective? What could be less effective. If the tasks and the outcomes are relatively simple, the answer may be very straightforward. We may not have thought about it before asking the question, but sometimes, just asking the question can offer a lot of clarity. Other times, it's not that clear at first glance what tasks are the most effective. We need some tools or some framework for sorting out tasks. In my class, A Hygge Home, I have encouraged you to use the impact effort graph. The impact effort graph has not been invented by architects but by business people. I as an architect, ran into it, having too many days with too many tasks and not enough time. Knowing that less is more, that some tasks are far more effective than others, I have come to look for an effectiveness measurement tool. The graph is essentially a decision-making tool that assists people to manage their time more efficiently. Each potential idea, strategy, or project is assessed based on the level of effort required on the potential impact or benefits they will have. To make the graph. it's very simple. You draw yourself a square, and divide that square in half in both directions. You draw an up and down arrow on the x-axis of the graph, and write impact on it, and another one going left and right on the y-axis, and you write effort on it. On the lower left corner, you write the minus sign, and on the other side of each arrow, you draw a plus sign. The way to interpret this is that next to the minus, it is the least amount of impact and effort. Both impact and effort increase towards the plus sign. You write your to-dos on post-it notes, and then you place them in these four quadrants based on how much impact they have and effort they require. Once you have placed all your to-dos on the graph, you can start executing the ones that are low effort but have a high impact. Afterwards, you can plan for the items that have a high impact would require a lot of effort. You can delegate the low impact, low effort things, and you can absolutely forget about the low impact, high effort items. This tool has been enormously useful to me in prioritizing my task especially in the days where I feel like I do not have enough time. Remembering that less is more, that not all tasks are equally as effective, and that I can't get more out of less items, has been very useful to my career and my life. I hope it is useful to you too. For the exercise of this lesson, I'd like you to put your to-do list on post-it notes, spread it on an impact effort graph, and share with me what you have learned from this exercise.
9. Final Thoughts: Congratulations, you have made it to the end of the class, I hope you learned
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Ana Marcu, Home Wellbeing, Licensed architect
