Outline

Introduction

Chapter 1 - From Icon to Iconic

Grand, impressive and imposing architecture is not new. Architectural history is, largely, based on icons. From the pyramids to the great cathedrals to the early skyscrapers of Chicago and New York, we see buildings that have come to be icons of a period in time, great structural achievements, new directions. But these are icons that have grown to their importance through time and longevity.

Today's Iconic architecture is of a different breed. It is designed to be 'iconic' - to be seen and promoted. It is predicated on the idea that the image is what is important. The power of the 'iconic' to drive tourism, increased rents, promote a city or country, is of greater value than the experience of the building or place.

This chapter will explore the rise of iconic architecture, it's successes and failures. It will use the work of Guy Debord, to consider the role of iconic architecture as a form of "Spectacle" and consider the rise of social media in transforming and accelerating the Spectacle and iconic architecture.

Chapter 2 - Defining the Everyday

Our daily lives are filled with examples of design that go unnoticed, although they achieve (often with an elegance and simplicity) exactly what they are required to provide. Whether it is a well-designed door handle that is comfortable in the hand or a public building that provides clear access and spatial provision these designs make our lives better in ways that we may not appreciate.

This chapter will explore the change in our perceptions of what creates ‘value’ in design. With reference to the work of Michel de Certeau (‘The Practice of Everyday Life), Henri Lefevbre (‘Everyday Life in the Modern World’), and others, we will consider how our understanding of the ‘everyday’ has been transformed through social, economic and political changes. The idea of the ‘iconic’ will be considered in relation to works such as Debord’s “Society of Spectacle” and Baudrillard’s “Simulacra and Simulations”.

The aim of this chapter is to position the discussion of the iconic and the everyday within a framework of architectural and philosophical theory. Through this broadening of the discussion, the reader can recognise that these concepts (‘iconic’ and ‘everyday’) are not simply a question of the recognised and the unrecognised, or the published and the un-published, but represent a larger question about the value we place on design vs the value we place on the ‘image’ of design.

Chapter 3 - From Vernacular to Everyday

In every culture there are examples of architecture and design that are rooted in the place, materials and identify of the people. These vernacular designs have defined (in some cases for centuries) the use of materials, methods of building, and physical forms that represent the commonplace. From the yurt, of middle-Asian cultures, to the cob house (of England, although the material can be traced to Iran; some 4000 years ago), or the engawa (terrace) of traditional Japanese houses, history abounds with examples of built-forms that have endured as part of the everyday.

However, in many cases these forms are fading. New materials and methods, combined with the rapid shift from a predominately rural to urban population (in 2007-2008, the overall population became more than 50% urban) has created a different set of drivers for types of architecture and interiors. While some of the stylistic elements of the traditions may remain, these are; perhaps, simply the memory of vernacular rather than a continuation.

This means that the expression of everyday architecture and design has changed. In this chapter, we will explore how we may see these changes and consider the vernacular of contemporary culture. What are the architectural expressions of the everyday, in our increasingly global culture? Is the suburban house, dotted across the US, the new expression of the everyday residence? Is the mobile home, or static caravan, the latest expression of semi-permanent residence? Is the big-box store, on the edge of a city, the everyday retail experience? Most importantly, we will question whether these examples truly represent a contemporary vernacular or whether there are alternatives that may represent a new expression of the everyday.

Chapter 4 - Everyday Architecture

Architectural history, like social and political history, is “written by the victors”. It is often the most important buildings that have survived. While we have many castles, cathedrals, palazzos, etc. and there is little doubt that these provide invaluable examples of the design history of their period.

In our contemporary culture, we tell the story of architecture through a small number of large projects. Most often in in urban settings, these projects are celebrated as the tallest, the biggest, the most challenging forms. Seldom do we see projects that are commonplace - a suburban home, a light industrial building, a roadside cafe. This is not to say that every commonplace building is a masterpiece (just as there are numerous examples of poorly designed large buildings), but we have become blinded to the value of good design that does not shout its presence.

This chapter will, through photographs and drawings, provide examples of architecture that excels at “the well-doing of what needs doing”. The examples will cover residential, commercial, and industrial projects and show how the design meets user needs in creative and beautiful ways, by the careful integration of function, material, and spatial arrangement.

Chapter 5 - Everyday Interiors

Interior design is an often misunderstood and misrepresented field within the built environment sector. For some, it is seen as being about ‘decoration’ - choosing the colour of the sofa and throw pillows. For others, it is considered to be the stuff that gets done after the architecture is completed. The reality is far more complex. Interior designers play a key role in the way that we experience spaces - from rooms within our homes to office working environments to retail and commercial spaces. But, like architecture, the value of this profession is too often told through a visual narrative that speaks of luxury, extravagance, and ‘eye-popping’.

With the rise of social media and the television ‘home makeover’ genre, interior design is under-pressure. Contemporary media suggests that ‘anyone’ can design their interiors you just need to follow a few ‘tips’. Therefore, many professional interior designers have tended to focus on the ‘high-end’ clients, who see greater value in the role that the interior designer plays. In turn, this has pushed the profession to be further seen as something that only the wealthy can afford.

In this chapter, we will explore examples of interior design that are challenging the notion that interior design is expensive, focused only on the ‘luxury market’, and just about filling up space with expensive things. In so doing, these ‘quiet’ projects challenge us to recognise the value of sustainability in our interiors, the role of interior space and well-being, and bringing nature back into our built environment.

Chapter 6 - Everyday Details

It is, most often, the overall view of building or interior that we are presented in books, magazines, and media. This belies the fact that it is the smaller things that we interact with most often. These have the capacity to influence our overall experience of a building or space, in ways beyond visual appreciation.

This chapter looks at architectural details - at the things that we observe and interact that influence our perception of buildings and spaces. From doorknobs and door handles, that; through our physical engagement with them everyday, begin our experience of the space before we enter, to the rainwater downspout that avoids a roof spilling water onto our heads, we will explore the details that are often overlooked.

Using photographs and drawings, a series of case studies will examine how the technical resolution of ‘everyday problems’ make our experience of architecture and interiors enhanced.

Chapter 7 - Everyday Designers

Not every project that a designer undertakes is intended to be iconic. Even the well-known architectural practices and design studios undertake projects that will never be published in magazines or featured on websites. This does not make them less important as projects, as they will still be profoundly important for the client and the users.

This chapter will present a series of interviews with architects and designers; exploring their thoughts on the iconic and the everyday. We will consider their approach to projects, the value of design and their favourite examples of the everyday.

Conclusion - Remembering the Everyday

This final chapter will act as a summation of the overall discussion - reiterating the purpose of the book and positioning the overall thesis.

Good design - work that meets the needs of clients and users, with functionality and beauty - is not found only in the iconic works of a handful of well-known architects and designers. Our lives are filled with examples, be they small details or large buildings, that design plays a role in our everyday lives.

In recognising the value and importance of design, beyond the iconic, the reader will be encouraged to re-evaluate their own approach to design; remembering the importance of the everyday.