During my formal education in architecture school, I was taught to learn how to read and manipulate the formal design languages of geometry and tectonics. In the academic studio, we spoke about materiality and ephemerality, skin and structure, and was told to ground it in history, theory and context. We were assessed on spatial quality and aesthetics and told that these qualities separated a building from a piece of architecture.
On most occasions, we were expected to answer the brief and on others, challenge it, and we did. My classmates and I imagined great plazas with impromptu urban life, streets filled with spillover activities, artworks to be discovered at backlanes, and rooftop film screenings. But we would soon discover that not many of these would materialize.