Chapter 1
by John Perkins, aia

Is Art Creative? Is Creativity Art?

The artist, alone in her studio, sees only the blank canvas before her. Slowly and with deliberate intent, her brush collects a studied mixture of oils. Her hand guides the brush over the stark whiteness leaving bright, decisive strokes. The image builds with each passage. A visual expression of her angst, joy, sorrow, and optimism. An image borne from within her. Her expression. Art.

Art is creativity blossoming from within the artist.

The architect, alone is his studio, stares at the blank paper before him. His mind turns over the many functional goals gleaned from the client. The requirements are complex. The client's expectations are high. His hand holds the pencil and draws the first line, followed by another, until a bold, innovative solution springs from the sheet. An image borne from anotherís problems. Another's goals. Architecture.

Architecture is creativity brought to life by the client's needs.

People often use the terms art and creativity with casual similarity; using one term or the other as if they are synonymous. While it is true that art and creativity overlap in meaning, understanding their differences is essential. Art results from a process that is largely introspective. Although artists discuss theory, style, and composition with other artists, the artistic process is still largely a solitary one.

An artist demonstrates unusual craftsmanship in their medium. The technical exquisiteness of a painter's brush strokes can be breath taking. Anyone who has seen the statue David at the Academia of Florence cannot help but to be humbled by the brilliance and mastery of Michelangeloís skill at transforming marble into a material seemingly touched by the hand of God. Without even considering its composition and subtle meanings, its beautiful craftsmanship is staggering. Art is expected to be of the highest technique. Not so with creativity.

Creativity is simply problem solving through unexpected means. It can be ugly and brilliant at the same time. In James L Adams' book "Conceptual Blockbusting, A Guide to Better Ideas," Adams puts forth a problem of how to retrieve a ping-pong ball at the bottom of a four-inch tube embedded into the concrete floor without damaging the ball, tube, or floor. The tube is too deep and narrow to simply reach oneís fingers and roll it out. In the room are various objects such as clothesline, carpenterís hammer, a box of Wheaties, and a wire coat hanger for the team of five or so to use.

So, raising the ping-pong ball is the problem. In seminars many will think of the idea to fashion the hanger into a large pair of tweezers to raise the ball. Flexible thinkers will also consider smashing the hammer and using the splinters to retrieve the ball. But, one solution that breaks through common social mores doesn't use any of the implements in the room. The ping pong ball will rise to the top of the tube if the team can fill the pipe with liquid. Hmm, no liquid was provided. Can you guess the solution? You got it! The team members can simply urinate into the tube and the ball will rise to the top. Laughable? Uh huh. A little disgusting? Sure. But, very creative and not at all artistic.

Is there no art is architecture? Art certainly does exist within architecture, and many books have been written by architects and critics regarding the art of architecture. Like the artist in her studio, the style of architecture is an expression from within the architect, and represents his musings on context, materials, scale, ornament, history, and similar architectural concerns. Style is the art of architecture coming from an internal force within the architect, and is seldom a response to the client. Books that focus on the style of a particular architect, architectural theory, or the expressive possibilities with new materials or technologies are numerous. These books do not focus though on how the architect solved the clientís problems; how creativity blossomed through listening, or why matching a client with an architect is so essential. We will.

Weíll focus on the creative, not stylistic, response to the client's needs and design problems. For an architect to gain the deepest understanding of their client's problems, and to be at their most creative, the architect must listen to the client. Listening unlocks the creative potential. Spending time at the beginning of the project to discuss the design problem requires that you resist the temptation to spring from the stating gate with a quick solution.

On the one hand we have The Problem

A potential client called our first architect and asked that she take a look at their house. The husband explained they needed a larger garage, a sewing room, and a larger family space, but the kitchen was fine, as was the rest of the house. A time was arranged to see the house.

When she arrived she met the wife, who had her own thoughts about the project. She agreed that a larger garage and family room was necessary, but a sewing room was not needed. Also, a better kitchen was definitely a requirement.

Our architect recognized that she needed to meet with them together to discuss what each wanted to achieve from the project. She wanted to explore the variety of goals between wife and husband. She wanted to take them through the process of defining the problem, which ultimately would lead to a creative solution. She put together her proposal, outlining the process and her fee.

In presenting her proposal, she explained the need to define the projectís goals and desires. She was eloquent. She was engaging. She was professional. She was also ineffective in persuading the client that they needed to define the problem, and then develop a solution. They wanted the solution now. They could not be persuaded to see the benefits of a clear definition of the problem. They simply expected her to know exactly what they needed.

As it turned out, they did not hire her as their architect. They wanted someone to tell them what the solution needed to be, but did not want to be involved in defining the problem. They did not want to linger at the starting gate. Ultimately, they found a contractor who told them he had the answers, and built an addition they have never enjoyed.

On the other hand you have The Solution

Another architect received a call from a potential client who also wanted to add on to their house. Unlike the couple in the first story, they knew exactly what they wanted to achieve. They had worked out numerous room arrangements and settled on a solution. They thought the architect could be helpful in fine tuning the plan and developing the roof line.

When he met with them and saw the plan, the architect was surprised. Bluntly put, the plan was awful. The room arrangement, circulation, and form were awkward, but this was the solution they had developed. He asked them about the reasons behind the spaces they created and listened to what they wanted to achieve by expanding their house.

Although they had already developed a design solution, the clients understood the value in participating in the problem defining, and creative solution, process. When the architect presented his proposal, he outlined his two main efforts. The first was schematic design, the creative process. The second was the production of the construction drawings used by the builder and the city in issuing a permit.

After looking through his proposal, the clients asked the architect to increase the amount of time spent in the design phase. By doing this, they allowed him to explore all of the issues within the design problem, and find a more creative solution. The client wanted to linger at the starting gate.

The solution initially presented by the home owners was used as a point of discussion. By listening to the client, the architect was able to rearrange the spaces into a plan that flowed well and complimented the form of the house. They liked the new arrangement much better than their original scheme. Both plans used the same square footage. The difference between the two resulted from a deeper appreciation of the problem to be solved.

Architectural creativity solves the client's unique project needs. The ability of the architect to listen to the clientís problem, and the willingness of the client to spend the time exploring the problem with their architect, are the secrets to unlocking creative solutions.

Creativity breaks through to unexpected and often brilliant solutions. But solutions need problems, and the word "problem" carries negative baggage. We have a tendency to want to avoid problems, ignore problems, or deny problems exist. The suggestion that we need to dwell on a problem causes many people to react as if to fingers on a chalkboard. Remember though, creativity is dynamic problem solving. Understanding the problem is essential.

For a building project, "problem" is a defined as a goals, needs, criteria, and desires. These aspects often conflict with each other. As an example, a veterinary clinic has a central treatment room which is surrounded by related support spaces. The veterinary staff spends the majority of their time in the treatment room. To function properly, the treatment room needs to be surrounded by other rooms, leaving little opportunity for windows. It is also important though that every staff member have access to daylight. The conflict between criteria and desires needs a creative solution. The time spent by the architect in listening to the clientís criteria will develop a deeper understanding of this kind of problem.

It is essential for you, the client, to appreciate the benefits of spending time discussing goals, needs, criteria, and desires with your architect. Resist the urge to jump to the finish line. Linger at the starting gate. The two stories above illustrate my point. In the first story the client demanded a quick solution before a problem had a chance to be defined, and the project unraveled. In the second story, the client avoided a quick solution, and took the time to explore the problem. The project flourished, and they are able to enjoy the results of a creative solution every day.

Linger at the starting gate.

chapter 2