The Importance of a Good Previous Analysis in Architecture and Interior Design

Today I had a small debate with a good client and above all friend that although it has been in relation to something that little, or rather nothing, has to do with the world of design and interior architecture, it can be applied to it and draw conclusions in order to improve our way of acting in the future. To center the article I advance you that what I am going to tell you refers to the vital importance of good previous analysis in architecture and interior design.

Thinking about this I remembered some words of Isabel (Architect, Manuel The National Architecture Prize), a good teacher I had at the School of Architecture in A Coruna. Isabel tried to emphasize the importance of prior planning before what it means to face a project, of whatever kind. Highlighted the vital and essential of that moment of introspection, deep thought prior to action.

I am convinced that if someone outside the world of the interior had to imagine the daily life of an interior designer, an architect, a creative or the like … the images come to life in their retinas would be a person drawing, surrounded of building materials, visiting a work … Surely there were very few who imagined the same person thinking, documenting, reading about any subject or looking for information on the strangest topic.

Aguirre teacher told us that she assumed an incredible fear move from that stage before the first sketches, drawing on the blank page, because without doubt, once reached the second outgrow unanswered questions. Going from one phase to the next involves having absolute control over what we are dealing with. All kinds of doubts about what we are creating will have been resolved and everything planned, defined, will have clear reasons. Our ideas, all our decisions have a reason and all this will come thanks to that phase of previous analysis.

If we fail in the first, it is impossible to conclude in a good result. No doubt that such action does not guarantee the final quality, but it is also true that if the result of this first stage is not all the good that should the next “stop” of the creative process inevitably be equal to or lower than the previous, but never will surpass its predecessor.

Legend or not, it is said that Frank Lloyd Wright and the people of his studio drew the plans of the “Waterfall House” Project in just two hours after the unexpected announcement of Edgar Kaufmann, promoter of the same, to know the state of your order.

As soon as he received the call, they began to hastily draw the ideas that the teacher had in his head and, to the surprise of his employees, Wright had the entire project of the house in his mind. He even knew the exact location of each stone and the topographical peculiarities of the whole plot. It just needed to be drawn, but Wright had already done the previous phase, the work of study and analysis. And I already had an answer in the form of an architectural project.

How important was the drawing!

What I intend to convey with this text is the transcendence of the investment involved in stopping to think before making any decision. I am more interested in short and firm steps than long and imprecise ones. Before moving the file, let’s think about the consequences of our actions.

In the eyes of many people, interior designers simply dedicate ourselves to decorating. Simply, that is solemn nonsense. The decoration, to put a percentage, I doubt very much that it reached 5% of what is our daily work and our attributions.

I am aware that many colleagues really do what they do, but our philosophy as an Interior Design Studio and our way of working go far beyond that ridiculous (in percentage) attribution.

Each and every one of our jobs, our projects, are the answer to many situations that will happen throughout the “lives” of the spaces in which we intervene. I always like to remember the importance of balance between aesthetic, functional and structural aspects. Indeed, space, although inert, is also lived and there are many situations that occur in it. Each and every one of them, even the most improbable ones, we must take into account and all our actions must be a clear replica to them.

There should be absolutely nothing that has no purpose, nothing should be left to chance, here is not good to improvise. Surely that is one of the differences between a decorator and an interior designer or architect. The second we give answers, good or bad, but answers. These answers go beyond the color of a wall, the fabric of curtains and the choice of furniture.

A chain is as strong as its weakest link. In interior design, ALL that is part of our projects are links to that hypothetical chain. From the handle of a door to the type and degree of opening of the chosen lamp, going through the hardness of the pavement or the selected air conditioning system.

All of them and many more are small links in a logical chain that we, the interior designers or interior architects, deliver to our clients in the form of a Project. And this, in turn, responds to a prior need raised and contains the answer to each and every one of the assumptions that throughout the life of that space can happen.

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