Thesis Discussion - Fail. And next time fail better.

The following was transcribed from a discussion between Brie Smith and thesis adviser Josemaria de Churtichaga on September 25, 2014.



BNS: In Canonical Buildings there's an entire section focusing on the Alder House and Trenton Baths. Talking about the grid, I understand what you mean now relative to the shifting and the grids and the system. So going through my past research trying to identify the body of materials and categorize them. Looking at structural components, primary structural components, being the vertical posts, the ridge beams...

JdC: Identifying the elements you have available, no?

BNS: And also looking through everything that's there, so not just the vernacular architecture, but also the trending with permanent construction.

JdC: Okay, so now you understand this is a system. This is the way in which he used "canonical." They belong to a wider world.

BNS: Yes, absolutely. So in traditional vernacular architecture the dimensions of a house were typically 3 meters by 2.5 meters.

JdC: So this is the module?

BNS: This is the module, the traditional module. And this is really based on the longest Agor beam they can get for the ridge beam, and then the posts. So following these dimensions, following this module and repetition. Thinking about, then, with these identifications, whether it's actually a planted column versus a constructed or a block column. Some are cast in cement, but I think this also either looks at identifying each of these columns relative to Interior/exterior, or whether it's an open outdoor space, or also potentially phasing.

JdC: Do they have clay?

BNS: Here, no, because Woe is on the sand bar.

JdC: But this is more or less clay. It looks like clay. Is it mud? So it's sand.

BNS: When you get down here--this is where the Volta River comes out into the Gulf--you find clay here because it's been deposited and dumped.

JdC: And how far is this?

BNS: Maybe twenty minutes by car.

JdC: So if they want to build up a wall, what do they use? Concrete? Rocks?

BNS: If they're doing permanent construction? It's a sand/cement mix.

JdC: Sand/cement mix made where?

BNS: On site.

JdC: Do you have a picture?

BNS: I have a video of them casting as well.

JdC: Sand/cement. So they use sand?

BNS: So they use sand from the site.

JdC: So the sand is sand mixed with salt? Because the salt water and sand. Because you are close to a sea, no?

BNS: Yes, but there is the Keta Lagoon. Woe is this little village on the sand bar. If you zoom out this whole lagoon is a fresh water lagoon. So on one side of town you have fresh water, on the other you have salt. And the water table, although it's dropping...

JdC: So we could say this is free from salt? Because, if not it will compromise the durability.

BNS: I think that's part of the problem.

JdC: I'm pretty sure it is. So talking about the elements, as the last Venice Biennale, we have rocks. We have posts. We have palms. Fibers. We can interweave them and make any kind of screen. What do they use for doors? Do they have doors?

BNS: Yes, the vernacular doors are typically just woven palm fronds around the same size. When you get into permanent construction they either laminate Agor beams, the palm beams, together.

JdC: So they don't use glass, as I see, no? It's just screens?

BNS: Screens.

JdC: So, they don't have problems with mosquitos and things like that?

BNS: No, they have a huge problem with mosquitos, but that's part of the challenge. So they'll have with permanent construction wood louvers. The homes, the interiors, become very very dark.

JdC: Okay, so...

BNS: So identifying my material palette, but grouping, then by posts and structure versus panel and materials, infill. So I'm still working through using this grid and what that grid looks like. I've pulled the wind studies.

JdC: Yes. So those are the prevailing winds? This means that the wind comes from here? So it's not east.

BNS: No, because it comes around the gulf, it comes parallel. This is where most of the hurricanes in the States start. The winds come down and move across the Atlantic.

JdC: Along the shore, so parallel to the coast.

BNS: The orientation is about the same, so parallel if not a little towards the ocean.

JdC: It's amazing. It's so constant. So this is particularly relevant, I think.

BNS: Yes, also then looking at the solar orientations. Most of these homes are built parallel to the coastline, but the orientation is off even for passive solar.

JdC: So for example, this house is here. Where do they have the openings? Normally?

BNS: Smack dab in the middle of one face.

JdC: And one? There are none on the other facades?

BNS: No, not often. One door with windows, so it's really...

JdC: Crazy. So they have no cross ventilation? That's really crazy. How hot can it be?

BNS: Inside, if you've done permanent construction like this inside it's actually quite cool, but you have no light, no natural light, and no ventilation. So on days when it is hot or very humid, you use the cave and the thermal mass to keep it cooler inside, but the separation is quite great. So if you're socializing or if you're outside there's not a mid-zone. Traditionally this block and the solid walls relate more to the clay architecture that's found over by the Volta River which have much more solid enclosures.

JdC: Yes, yes. Those communities are very nice. There is a very nice book of those houses in the library. Have you seen it? It is a very nice little book about building one of those. This is a nice one, no?

BNS: Yeah, the illustrations are really lovely. Although this architecture is more regional, it's more north, and closer to the river.

JdC: Okay, so that's nice. I like this book. So where are you now?

BNS: I am collecting. The wind studies have helped. The solar studies have helped I think to set the tone for orientation. And then going back through and really identifying this grid to be able to move forward.

JdC: Yeah, I think this grid is relevant more or less in terms of plan, because of the limits in terms of length of the elements, more than the quality of the elements.

You are scared about failing. And you have to embrace failing. You have to fail. Fail. And fail better. That is the only way. You have to fail if you want to learn anything—a sport, a technique, a skill, whatever. But you are scared about failing. You are protective. But you have to, because no one can do that for you. This is a very personal education. Okay, so go for it! And if not?? Copy! But copy well.

BNS: [laughing] Yes. 

JdC:  You know the copy is accepted as it's followed by a critique. That means that you make it better.

BNS: Right. I'll work through updating the abstract as we talk, but if we could parallel developing the written as we go...

JdC: Yes, I think this is more or less the same. More useful than remaking the abstract is trying to make an index. Try to make an index of the book. Imagine you have to publish a little book like this. What are the things you have to address? And those things have to be done, have to be researched and have to be packaged. And then you should convert this index in terms of weeks and time.

BNS: Okay.

JdC: Planning. You have to plan, more or less, the plan of attack for the problem. For the next day I will ask you. So the sketches. The index.

BNS: And failing.

JdC: And failing. Failing, failing. Constantly failing. And maybe the abstract you can remake it, but it's not about the abstract, because that will be again transformed. So forget now about the abstract, because you're on the way. We know what you want, and you know what you want. You know how it looks. That's the problem. How it looks. And you have to convert it into something visible—feasible and visible. Okay?

BNS: Yes. Thanks!