by David E.M. DuBoulay
Meet Sean Compton, a St. Lucian architect and a senior partner at Melon Design Architecture based in Monchy, Gros Islet. It is the second largest architectural firm in St. Lucia. Over the years the company has undertaken a variety of award-winning urban design and planning projects and it has left its mark in the Caribbean, the UK and other parts of Europe.
Sean is passionate about his craft. His work is inspired by the firm belief that architecture has a responsibility to be true to the environment and it should embrace energy-saving techniques in design and technology. He also believes it should aim to create a harmonious relationship with the surroundings. Having spent a good portion of his career overseas, Sean has immersed himself in a variety of cultures and has developed an expansive worldview. He is the brother of internationally acclaimed Top Chef finalist, Nina Compton.
Dazzle correspondent David Du Boulay recently had a chat with Sean to get an idea of his motivation and his views on the world of architectural design.
Dazzle: What initially spawned your interest in architecture?
Sean: I’ve always loved art and drawing. At secondary school when you are bright, you’re often guided into the sciences and this was the case with me. Art, however, was my passion and ultimately I found a career that combines both. I love what I do.
Dazzle: Where did you study and why did you choose that region/institution?
Sean: I studied in the UK mostly, initially because I have family there but later because of the quality of education and proximity to Europe – I like to explore. I attended the Birmingham School of Architecture which is now part of the Birmingham Institute of Art and Design (BIAD). The choice was economic. Fees were half of what it would have cost in London, plus the school had affiliations with other schools such as the University College of London (UCL) where I later became a visiting tutor.
Dazzle: Are there any particular areas that you focussed on and why?
Sean: My focus has always been on creating designs which are harmonious with the environment. We at Melon are particularly interested in minimising the environmental impact or ‘footprint’ of our buildings and we continually strive to achieve that.
Dazzle: What are the common misconceptions people have about what an architect does?
Sean: (Laughs) The biggest misconception is that an architect merely draws plans. Drawings are only the lingua franca of architecture. They are how we communicate our ideas but only a small part of what we do. Architecture is a creative process. For example, you could say my sister (Chef Nina) cooks, or Derek Walcott writes but all of us cook or try to (laughs) and all of us can put pen to paper, but each of them (Nina and Walcott) do so much more than just cook or write. In Derek’s case, words convey his labour, thought, science and artistry. Without that, they are just ink on paper. It’s the same with architecture and drawings, there is far more behind that ink on paper and that’s the difference between architecture and drafting. If you study in the UK it takes seven years to become a fully qualified architect; five years of schooling and two years of practical experience. During that time we study history, the arts, psychology, human behaviour, building sciences, urban planning and a wide range of other topics. So there is a tremendous amount of thought, research and experience which goes into these drawings.
Dazzle: Where did you gain your first experience and how many firms have you been employed with?
Sean: While at university, during summers, I worked in Florida, Jamaica and Mexico (with LPA). In between my degree and my diploma I worked for a German construction firm based in Mannheim where working on site afforded me the opportunity to get a greater appreciation of construction. I worked freelance in London for several years on a wide range of projects such as HSBC banks, art galleries and designer offices. The experience which stands out the most was working for the firm of Glenn Howells Architects in Birmingham, which was where I really got my direction. We started working in a small office which could barely accommodate two desks, just Glenn and I, and we entered a competition to design a theatre and arts centre which we won. It was a big accomplishment for a tiny firm and from there we developed quite a reputation. By the time I moved on to do my own thing there were over ten staff members and we had won competitions for several other significant, and ultimately award-winning theatre and arts projects in the UK and Ireland, so I gained significant experience in those areas.
Dazzle: In your opinion, what is the single most important feature or characteristic of a building or structure?
Sean: It’a difficult to boil it down to any one thing but if I had to, it’s the word ‘environment’ because in this context it has so many layers to it. The design must be cognisant of the physical environment which surrounds the building and of how it enhances it; of the environment it creates for its users, how they interact with it and how they feel; of where the sun rises and where it sets, how shade is treated (shadows can be magical); where breezes come from, of how we create spaces to allow people to feel more free; of scents, of sounds etc. It must be cognisant of its environmental impact in terms of material and consumption. There are so many definitions of environment that shape a design.
Dazzle: What is the greatest influence(s) on your design work?
Sean: I keep coming back to environment because it encapsulates so much of what I do, but let’s go with atmosphere. One of my lecturers at University singled out a design another student had done with a wooden floor and underscored that the choice of wood you use is important, not just visually but because the smell it gives off will subtly perfume that room for years to come. This has always stuck with me. It was the moment I understood that architecture is a sensual art. Our projects are designed to create atmosphere, to evoke feelings and emotions and to touch all of the senses … besides taste obviously, that would be weird (laughs).
Dazzle: What are some of the projects you have worked on and which (if any) are you most proud of?
Sean: We have been involved in many varied projects, with the most visible probably being the Audi building at Choc. We also worked on the Caribbean Halls of Justice throughout the OECS, from Grenada to Tortola, which was quite interesting. Naturally there are residential projects I am fond of but to date I think the first competition win in England for the theatre and arts centre would be the one I am most proud of. I would really love to work on such a project here because Saint Lucia is in dire need of a proper venue to develop the performing and visual arts to showcase our local talent.
Dazzle: What made you start your own business and what sort of qualities do you look for in your staff?
Sean: While working in London a friend and I decided to create an umbrella to enter competitions because, as I mentioned earlier, it’s a great avenue for young architects to make a name for themselves. That’s how Melon was born. In terms of staff, it varies but we generally look for open-minded people with a creative mindset and a strong work ethic because the hours can be extremely long and demanding.
Dazzle: Do you see architectural design changing in the coming years and how?
Sean: Radically! Technology is evolving rapidly and the advent of Building Information Modelling (BIM) takes us beyond the traditional 2D or 3D format to true virtual design. Right now it is viable only for medium to large projects but it allows all the consultants working on the different aspects of a project (engineering, plumbing, electrical, air conditioning etc..) to simultaneously add to the virtual design. One advantage is that it eliminates the unforeseen clashes or ‘collisions’ which can occur on site when all the different aspects come together, thus reducing on costs and time. BIM also allows you to measure all the quantities and materials going into the building and the software can assign a cost to them. And of course, environmental modeling! Such features will bring about a drastic change to the way we operate in the coming years.
Dazzle: What aspect(s) of the design field in the Caribbean do you think need to change, if any?
Sean: I think we need greater regulation in the islands geared towards the environment and its preservation. We have numerous issues with our water supply and the cost of fuel/energy is constantly increasing, so I believe it is vital that our planning authorities undergo a complete rethink of their strategies and implement measures aimed at conserving water and energy in the very near future. Ironically, I’d like to see Planning Departments have a bit more teeth, even if it may sometimes come back to bite me!
Dazzle: Are there any Caribbean institutions which are viable options where one could further the study of design/architecture?
Sean: The Caribbean School of Architecture (CSA) at the University of the West Indies (UWI) at Mona Campus in Jamaica is the prime example which springs to mind. There are others in Guyana, Cuba and the Dominican Republic but UWI would be my suggestion.
Dazzle: What single piece of advice would you give to any young person interested in architecture and/or design?
Sean: Sir Arthur Lewis said, “a society without the creative arts is a cultural desert.”Art and design are still not well appreciated in Saint Lucia but this is slowly changing. I guess my advice would be the same as for any career; choose something you enjoy and are passionate about, regardless of how anyone else perceives it. By pursuing your passion you will find that even though the hardest days feel like work, for the most part you will enjoy it. Oh, and travel as often and as far away as you can, it is not only the best education but you will return home with fresh eyes.
