A moment with David Karotkin

Extraordinary architecture, together
3 Minute Read

For David Karotkin, Carabiner's Principal and former Australian Institute of Architects National and WA Chapter President, Architecture has the ability to positively shape people's lives, and it begins with putting yourself in someone else’s shoes.

Having worked in Australia, Indonesia, China, Israel and the UK, as well as travelling more broadly throughout Europe, how has location influenced your work?

By traveling and by working in other places, you gain an appreciation of the fact that culture has a massive impact on the way people use buildings. And so, location in architecture is a fundamental. I mean, there's the usual factors like climate and topography, and built and natural context that influences design. But I think that cultural element is one of the most complicated parts to really incorporate into a design response, because in some cases, it may actually be quite challenging to fully appreciate and understand a culture, and how that influences the way they live and the way they use their spaces. So it's not just a case of if you travel to China or if you go to the Israel, or if you go to Great Britain, how those different cultures influence the buildings, but it's equally the case just within Australia and in Western Australia. When we do projects in the North, and there's a whole different demographic of users, as well as obviously quite a different climate and environment, it's really important that we take the time to understand the people who will be using those buildings, and that we appreciate that and incorporate it into our design response. But, nothing really beats just spending time with the people that will be using those buildings. The more time you can spend with them, the more you gain a deeper understanding.

You have led the design of a number of major hospital redevelopments and upgrades within WA’s Healthcare sector, is there still space for creativity within such a controlled, procedurally based environment?

Oh, absolutely. I mean, creativity is the architect's tool, for trying to deliver the best design that we can. It's not just about interesting spaces or, good looking buildings, or unusual combinations of colour. Creativity is about thinking, broadening options to produce a design, and ultimately to optimize, or create the best possible space for people. And if you consider a health environment, there's no more important space to create a place that makes people feel good. It’s also a workplace, for people who deal with high pressure, very important jobs. So you want them to be in the best environment that they can be in. You're dealing with sick people and their families - people who are feeling very vulnerable. So creativity.. it's the tool that we use to deliver the best possible environment for those people.

How is empathy for end users woven into design?

In a sense, it leads back to the earlier question doesn't it? The question about location and culture. I think empathy is about trying to put yourself in somebody else's shoes and to try to understand them as best you can. It's kind of everything. Because we don't design buildings. We actually design spaces for people to live their lives - and to be the best that they can be. So, somehow we have to really try to put ourselves in the shoes of the people who will end up using the building, visiting, living in whatever type of building it is.

What was the best piece of advice you were given early in your career? 

When I first started working for Pat Pinder, (it was then Sandover Pinder) which became Carabiner, Pat had a saying, which was, "do a good job, make some money and have fun". And I think that stuck with me because I know that the work we do is important work. But, life's too short not to try to enjoy it along the way.

So Pat was a mentor, as much as a director?

Absolutely. I really only worked with him directly for five years, because he retired five years after I joined. When he retired, he gave me the opportunity to become a part owner of the business. But he continued to be a friend and a mentor for many years. And, you know, I think he's a generally respected architect in the profession in WA, and prior to that in South Australia.

Can you share a story, or piece of feedback you have received where end users or the client have really connected with a project?

Hale School Music & Drama Building

I'll tell you two different scenarios. One was a project which we did years ago, and it was the Music & Drama building at Hale School. It was the most gratifying feedback, I think I have come across. Because it was actually an article in the newspaper that was written probably.. two years after the project had been completed and handed over, and it was in the Arts section. A relatively small article.

But it wasn't about the building, it was about the fact that the Australian Chamber Orchestra had done a concert in Perth and it was at the Music Centre at Hale. But the thing is, about half of the article was actually about what a great space it was for the performance and for the audience - the wonderful acoustics and great sightlines. So, what is so gratifying was that the article wasn't to go there and talk about the building. It wasn't directed at us, but it was just such positive feedback because it meant we had really nailed it.

But thinking about connection - how people embrace something that's been part of our design, I think about the Sam Kerr Football Centre which was recently completed. Along the journey, we make a million design decisions, but as one of the early, early design strategies we embraced the bush setting. To design a building that somehow had a narrative that connected to its bush environment. And that's strongly reflected in the form of the grandstand roof. Which is inspired by banksia leaf. And it's quite striking.

I've noticed that ever since the project's been opened, quite a lot of things have happened at the venue that get photographed or recorded. And you can see that people are making the effort - they're actually walking, right into the middle of the oval to do a press release or to film a video. So that that they can have the building and the grandstand form as their backdrop. They could have chosen one of the nice seminar rooms, or the balcony, but they choose to actually go and stand in the middle of the oval to have the building as the backdrop. I guess what it's signalling is that they are taking on that building narrative as part of their identity as an organization. That's quite rewarding.

Sam Kerr Football Centre