The graduation project of Jakub Biernacki is the outcome of a research into the legitimacy of the design profession. It calls for an interdisciplinary approach necessary for a more inclusive practice of architecture that serves the process, openly and together with the community under a collective administration.
Residents of the Aylesbury Estate held the belief that our field shares responsibility for the destruction of their local communities and the creation of unlivable spaces over the years. Local responses revealed the litany of accusations against us, highlighting the profession’s detachment from reality. We remained seemingly obsolete rulers of construction, a domain once exclusively sovereign.
Can you (briefly) explain your choice of subject?
I devoted my master’s thesis to challenging the paradoxical position of architects in shaping the built environment. It is very intriguing how, even though the power and influence of architects are no longer absolute, the image of the architect as the ultimate decision-maker in construction still prevails in the eyes of the public.
What or who are your sources of inspiration and can you briefly explain this?
I have to admit that from day one, my main source of inspiration has been my mentors and colleagues at the design studio. A year of project collaboration, thousands of discussions, and hundreds of shared coffees brought everyone together, resulting in a fantastic mix of personalities. I believe this has driven my work and shaped a rather extroverted approach to engaging with people and working as an architect in the future.
Traditionally, architectural focus rested on the end product—the building. However, this notion confines architecture’s potential. That’s why, the project combines the efforts of local volunteers, park-associated foundations, and specialized workers. In this capacity, it operates as a skill reservoir, reintroducing the craftsmanship aspect of the architectural process.
State and (briefly) describe the key moment in your graduation project.
The key considerations on how we are increasingly driven by external forces, compromising our ability to address pressing societal issues and the needs of communities, were prompted by the words of Jeremy Till in Architecture Depends or Reinier de Graaf in Four Walls and a Roof. These excellent readings provide a powerful reality check every architect should experience.
Can you (briefly) explain what design(ing) means to you?
To design means to materialize how culture finds its recording in materials, people, and the building itself. Just one person never does it; it’s a collective endeavor where every contributor brings their unique strengths to create something more than the sum of its parts.
What hope / do you want to achieve as a designer in the near and / or the distant future?
My recent reflections on the state of our profession have been inspired by Neil Postman’s thought-provoking ideas from his Amusing Ourselves to Death. I find compelling parallels between the evolution of media culture and the current trajectory of architectural discourse. Contemporary architecture is increasingly influenced by commercial and external pressures, replacing thoughtful, contextual design with superficial, generic structures. This trend risks ‘amusing’ everyone to death, and I am committed to addressing this challenge by championing designs that transcend mere aesthetics. I believe that architecture should be a means to convey stories and emotions. My goal now is to learn how to break away from the notion that architecture is a self-contained discipline and embrace interdisciplinary collaboration in practice.
The project combines the efforts of local volunteers, park-associated foundations, and specialized workers. In this capacity, it operates as a skill reservoir, reintroducing the craftsmanship aspect of the architectural process.
Project text
In an era of increasing commodification, architecture risks losing its essence as a creative and transformational discipline, neglecting its role as a communal knowledge . The project seeks to challenge this trend through the lens of commoning, offering fresh perspectives and redefining the architect’s role. Built upon an anthropological examination of the tangible and intangible layers surrounding Burgess Park, the project comprehends the site’s characteristics and dependencies. Building becomes a verb, from the gathering of resources contained in the site to the additive logic which is beyond its programme. In a complex assemblage (social, political, material), craftsmanship becomes more than a routine or a mere production process. It is a skill harnessed by real people to express material reality, common ideals and aspirations. By breaking free from the formalism and constraints of architectural representation, the project, with its tectonic culture, advocates for more inclusive, human-centric and transformative architectural practice.
Traditionally, architectural focus rested on the end product—the building. However, this notion confines architecture’s potential. In a world where architecture increasingly serves as the backdrop for people’s lives, we must create spaces that invite events and rituals. Places where life unfolds dynamically. Beyond aesthetics and function, we should strategize how our creations will be utilized over time. The stories that architecture can tell are woven through moments of shared experience, celebration, and growth. Commoning, a process of collective management and stewardship of resources, is deeply embedded in community engagement and shared responsibility. At the core of commoning lies a shared narrative, a tapestry woven from collective experiences.
In a complex assemblage (social, political, material), craftsmanship becomes more than a routine or a mere production process. It is a skill harnessed by real people to express material reality, common ideals, and aspirations. By breaking free from the formalism and constraints of architectural representation, the project, with its tectonic culture, advocates for more inclusive, human-centric, and transformative architectural practice.
Project book
Presentation
More images
To move forward as architects, it is imperative to recognize the limitations of the traditional architectural paradigm, and seek alternative ways of making architecture. This is why the project ended with a 14m long leporello, showing in depth a Burgess Park story, its people and theirs’ new project.
Name
Jakub Biernacki
email
insta
Start graduation
September 2022
Graduated
July 2023
University
Delft University
