A story of the architect
Written by Edith Fung Illustration by Hayley Warren
2
3
4
A story of the architect Written by Edith Fung Illustration by Hayley Warren
To Future Architects,
-IONCE UPON A TIME IN GREECE...
T
he story of the architect’s profession began in the ancient Greek period, when those working in the profession were defined as ‘master carpenters’. The master carpenter was also a building artisan, shipwright, temple designer and woodworker.
10
Architecture was rooted in creativity, inventi cross-disciplinary mak craftsmanship, and int itiveness in working wi materials.
ion, king, tuith
11
Theodorus of Samos was an ancient Greek sculptor in the 6th-century BC, and perhaps was the earliest known architect! He created the first Doric column, in the temple Heraion of Samos. He also invented the level, the ruler, the key, the square, the lathe, ore smelting and bronze casting. 12
13
-IIROMAN ARCHITECTS
Architects have always had association with power structure. Apart from aesthetics, architecture has long been defined by power.
16
I
n ancient Rome, architecture became a much broader subject - ranging from planning, construction management to chemical and material engineering. The technical aspects of building were much more advanced – these men, for example, could create standardised pipes and they could also design architectural acoustics for theatres. Former slaves released from imperial service became architects, who carried out for the civil service, under the power of the Caesar. 17
Grand architectural projects such as amphitheatres, public baths, and temples were often utilised politically by the sovereign to influence public opinion.
18
Vitruvius, born during the 1st century BC, was a self-made Roman man with military engineering experience, who became very influential in the history of architecture. He formed the foundation of the defining qualities of architecture – strength, utility and beauty.
19
-IIIMEDIEVAL AND REN AISSANCE
T
he status of the architect disappeared during the Middle-Ages and a definition of the profession became vague. In fact, the term ‘architect’, meaning designer or creator, was rarely used and rather, anonymity became the norm i.e.; no one needed to know who created the idea behind a building!
22
23
Because creative personality was of little interest, the architect’s name was regarded as being less important than the one commissioning a new building. There were mainly two distinctive roles - the ecclesiastical patron who took charge of the design of churches and cathedrals; and the master mason, equivalent to today’s architect, who was in charge of construction. 24
Up until the Renaissance movement, Leon Battista Alberti was the key influence in elevating the perception of the architect. His book De re aedificatoria (On the Art of Building) adopted Vitruvius’s ideas. Antiquity was revived in 15th century Italy, a boom period for goldsmiths, sculptors and painters; the idea of the architect became once again closely associated with the ‘artist’. Gradually, architectural practice became linked to scholarly practice. The idea of the architect with high status grew. 25
-IVFIRST EMERGENCE IN ENGL AND
I
n the mid-18th century, the architect became associated with the notion of the English gentlemen, leading the profession to be identified as a learned vocation as in the church, law, or medicine. It was from this time onwards that the profession became more intellectual than manual in its working methods. To obtain this professed body of knowledge, one needed to be a gentleman and undergo a classical university education and specific training with an experienced practitioner.
28
Architecture at this time was a bastion of white male privilege which meant that women, certain ethnic groups, and people of colour were barred from the profession.
29
The architect was a paternal figure who advised his clients on what was best for them, but did not sell them goods or services. He was regarded as a man of chivalry, refined feelings, and honour who saw deference to authority as his due. He never needed financial reward or traded financially until the profession entered America. 30
John Shute was the first Englishman to call himself an architect, after travelling to Italy in 1550. He was being influenced by the Italian idea of the artist-architect. 31
-VAMERICAN PROFESSIONALISM
I
n colonial America, architects were master artisans who created basic architectural drawings and supervised construction. But they could also be referred to as master builders, master mechanics and artificers. The term ‘architect’ had a more elastic meaning, that still carried the antique connotations of authority and responsibility from Europe. Yet economic necessity caused the profession to embrace men from more diverse backgrounds – non-gentlemen but sons of merchants, planters, and tradesmen.
34
The professional model was inherited from 18th century England, but totally adapted in a context under dominant forces of capitalism, free markets, industrialisation and urbanisation that shaped America at the time. Early professionals aspired to the status and privileges accorded English practitioners. Between 1820-1860, architecture became a proper profession, but it had abandoned its artisanal roots and rejected the idea of architecture as a craft in favour of architecture as a profession.
35
36
Professionalism was introduced and spread by Benjamin Henry Latrobe who immigrated from England. 37
Since then it has withdrawn from the sense of gentlemen’s honorary obligations, leaving only authority and title obligated to financial services.
38
39
-VIVICTORIAN PHIL ANTHROPY
A
new upper middle class of self-made philanthropists were concerned, as a matter of social conscience and personal duty, with the condition of the urban poor, particularly in relation to health, education and housing. In Victorian England, the urban working class predominantly lived in slums. In response to this state of affairs, The Society for Improving Conditions of the Labouring Classes was the first Model Dwellings Company to build model housing for the “deserving poor� which would set standards of hygiene for years to come. At the same time they would receive a competitive rate of return on any investment. 42
“This boy is Ignorance. This girl is Want. Beware them both, and all of their degree, but most of all beware this boy, for on his brow I see that written which is Doom, unless the writing be erased. Deny it!� 43
44
The 19th century was the first time in history when the architect professionals were not just giving their services to the ruling class or the rich, but ultimately delivering them to improve workers’ living environment. Henry Roberts, the company’s honorary architect, was responsible for published designs that were copied in their thousands throughout the country. After giving up a commercial practice, he was the greatest living authority on housing reform.
45
The end users of an architect’s design were opened up from the privileged few to the masses, under this “five percent” philanthropy. But feedback from the Royal Institute of British Architects (RIBA) reflected the profession was out of touch with the problem of the poor and it had no idea what kind of housing was either suitable or economically practical.
46
47
-VIISTARCHITECTURE
T
he 20th century elevation in the status of architects is, in part, to do with heroic theories about how architecture should be concerned with the development of society. In the modern era the status of architects matured enough to expand the value of building design beyond its socio-economic impact. Some of these architects were “onehit-wonders� famous for inserting novelty and iconic imagery in building forms. This image of architecture was largely recognisable and therefore easily promoted by the media.
50
“Starchitects” are often commissioned by rich private clients, large corporates, and institutions, and sometimes governments and the reputation of the architect is utilised as a factor to rejuvenate socio-economic activities in the region. Starchitects are usually appointed across the globe to insert their designs that locate nowhere near their origins. One of the famous examples, Frank Gehry’s Guggenheim Museum in Bilbao, led to naming this phenomena the ‘Bilbao Effect’. Some developers also commission starchitects because this will generate more profit in their residential and commercial projects.
51
52
The “starchitecture� movement reflects architecture enteringpopular culture. For example, paper architecture – a means of disseminating critical and provocative ideas via magazines and journals using drawings of unbuildable schemes, has become trendy and more influential to the industry. This kind of public exposure, or fame, has also led to collaborations with the fashion and design industry.
53
-VIIIWOMEN IN ARCHITECTURE
W
omen were not able to qualify as architects until Ethel Charles became the first woman in the UK to be admitted to RIBA in 1898. Today women make up 34% of the profession. as social equality is increasingly promoted in the industry. Some of the most prominent buildings are even designed by women.
56
Zaha Hadid, described by the Sunday Times as “one of the great architects of the 21st century” and the Guardian as “Queen of the curve”, was the first woman to win the Pritzker Prize.
57
58
Zaha Hadid Holdings, the parent company which owns her architectural practice, saw profits rise to £4.1 million on £44.6 million turnover in 2009-10. In 2011, Zaha Hadid made the Sunday Times Rich List for the UK’s 2,000. Her design that won the Olympic stadium competition for Tokyo 2020, was attacked by some journalists and critics for its resemblance to a vagina.
59
-IXUK ARCHITECTS TODAY
62
T
he UK construction industry contributed 6.1% of UK GDP in 2014. Since 2008 there has been a 40% reduction in demand for architects’ services in the UK. While the number of students entering part I in UK universities rose 23% between 2004 and 2009.
63
According to AJ Poll 2014, nearly two-fifths (38.4%) of architects work at least 10 hours of overtime every week, most of it unpaid. Architects’ willingness to work long hours for ‘their art’ – and the expectation they will continue to do so – are the main factors behind the profession’s overtime predicament. Along with being the least paid amongst other professions, does today’s working culture suggest a devaluation of the architect?
64
65
-XWHAT’S NEXT?
I
f construction is being replaced by open source community, meaning the collaborative are today’s architects still required to work on delivering buildings?
68
As building is the most expensive solution to a problem, the team from architecture 00 proposes WikiHouse, an open source construction system to solve the housing crisis. By focusing on designing tactics and strategic thinking, therefore architects nowadays are shifting their role away from merely constructing.
69
70
71
72
Can architects change the current top-down formation of development? Can they change who they want to give their services to - the authoritarian or democratic? What about the elite status and prestige that attaches to this long established profession? With the possibility that it might undermine their own human capital and intellectual property, do architects dare open up the profession to all?
73
-THE END-
With gratitude to Hayley Warren Simon King Thomas Greenall Kaliz Lee
Edy, 2015
78
79