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On Being an Architect
Written by Laurie Baker   
Down to Earth: Baker on what Architecture means to him
Most people have very differing ideas about what an architect is. The
dictionaries say that an architect is one who practises architecture and
architecture is the art and science of building! After I qualified as an architect I
worked in two or three well known architects' offices but it was deadly dull
work. I was relieved when World War II broke out and I was posted, after a
time, to China, of all places. After a few years there in medical work I tried to
return to England via India but I had to wait for a boat for three months.
Everyone was telling me to quit India, which was very foolish because if
anyone tells me to quit, I stay.
Looking back I realise that my architectural education was very different from
that which is given to the architectural students here. My school of architecture
was allied to the school of art and shared the same building. We rubbed
shoulders with painters, sculptors, potters, fabric designers, stained glass
window makers. Not only did we rub shoulders but in the evenings we budding
architects had to take art courses. I did pottery, ceramics, stone carving and so
on. Our engineering professors came to us from time to time and did what they
had to and went away again. But here in Trivandrum the college of architecture
is a branch of the engineering college, and as far as I know they have no
connection with the college of art. I preferred my way and I have never run a
proper architect's office. I have close to my bed a small, old drawing board—
the same one I had in school. I broke my tee square quite a long time ago and
never bought another. I have an old brass pair of compasses which belonged
to my older brother and it was passed on to me when I first went to school. So I
don't look the part at all!

To me probably the most interesting part of designing a building is dealing with

the clients— getting to know them, how they live and work and finding out what
sort of a building they dream of. It is exciting to put on to paper what you think
is in their heads, and then to go on altering or adding or deleting until you think
you have put down what they want. We were taught very firmly and
consistently that the client should always be our prime consideration and,
indeed, our inspiration. 'You will be putting up their building not yours,' we
were often told. An equally interesting and absorbing part of practising

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On Being an Architect Page 2 of 3

architecture is translating your two-dimension drawings into three-dimension

buildings. I have to be on the site to enjoy this transition from drawings to
buildings. Not to be involved in building would be, to me, as foolish as buying a
camera and film, viewing and clicking the trigger, getting a negative done, but
not getting the print.

From a practical point of view also, while I clamber about on the scaffolding, I
suddenly realise that I will get a much better view, or more breeze, if I move
the window or make it bigger. And so on. I like to make the most of the colour
and texture of materials, rather than to plaster everything over and then paint
on colours. To do this I have to work with the masons and other workers to
show them how I want them to use materials— not necessarily the same way in
each building. So, to me, involvement in the construction work is a must and
far more important than desk work.

Another aspect was drummed into us as students: we were told we were the
only ones who had a complete overall view and understanding of our building—
a unified product. 'You are not just doing a plan or an elevation, you even know
how you hope to see your clients in their building after it is up and finished.'
Our professor likened us to the conductor of an orchestra. He has the full score
and he knows the musical item being performed. Each instrument player only
has the music he is to play and the conductor controls his playing. Most
famous conductors can even take over almost any instrument and show how
they want it to sound at a particular time and place in the performance.
Likewise the engineer may have perfect knowledge of his bit of the design—
his specialised knowledge may be essential— but he knows nothing of the
client's needs and desires, or of the total effect the whole completed building
will have on its surroundings and on all who pass by. Similarly, with the
plumber and sanitary man, the electrician, the paving expert, but overall, and'
controlling and using to good effect all these, is the architect— the conductor.

Finally, in my day it was rubbed into us that the architect should have and
show good manners and his architecture should be similarly good mannered!
Very occasionally we are invited to design an isolated monumental building, all
on its own in the middle of a park or campus with its own special surroundings.
But 99 out of every 100 buildings we do will be in a row, or a block, or a nagar.
The other buildings may be new, or indifferent, or good, or commonplace but
we have to take our place among them and we must not show bad manners by
competing or showing off, or by being defiant.

Again we were told, and how true it is, that a painter or sculptor will produce
his masterpiece and it will be bought by someone and put in a room or a
gallery— but only those who desire to will go and see it. But our artistry is
there before all who pass along that road and they have little option but to look
at what we have done. So we architects have to ask ourselves— is the building
we have created going to stick out like a sore thumb? Or will it give joy and
pleasure? Will it add to our culture? There's an old saying: manners maketh
the man. I think they also make good architecture.

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© Copyright: The Baker Family, 2007. All Rights Reserved.

http://lauriebaker.net/work/work/on-being-an-architect.html 12/21/2009