misaligned architecture An essay on the challenges faced by architecture’s current position within society. Exploring the reasons for its diminished role and the available opportunities to resolve this.
Chris Trundle Intimate Cities 08123312
introduction
‘Architecture is a total fiction.’ (1)
In a world insistent on continual growth and progression, the term crisis can often be overused and overstated. However, its commanding use in respect to the current state of architecture seems appropriate, and quite reasonably due. As Rory Hyde expands, the crisis architecture faces is one of relevance(2). Among the austerity of a post financial collapse, society is determining a more sustainable future. Is architecture an indispensable institution or simply an irrelevant ‘fiction’? Consequently the discourse on the future of architectural practice, and of the profession itself, has proliferated. Remedies to the profession’s continual demotion have been positioned across the discipline, from the faith in adopting BIM(3) to an overhaul of architectural pedagogy(4). Despite this growing resource of literature and debate, significant action and execution are still to be seen from the RIBA, large practices or the leaders of architectural education. The following aims to profile and assess architecture’s present position, and how the evolution of the profession, and the devolution of power, can be used to address architectural practice of the future. It considers trends through; society, industry, practice and academia to form a balanced position of the present, and the possible future. ‘Position of the architect’ will look at how the position of the architect has emerged and transformed through a shifting society and industry. Culminating with an assessment of the architect’s role and perception within today’s society. ‘The secret profession’ aims to provide a reason to this misaligned position of architecture established within the ‘history of the profession’. Forming an understanding to this analysed decline of the profession is essential in offering potential routes to revival. ‘Emerging practice’ discusses the available opportunities that are being embraced by architects and practices as their answer to the disassociation to architecture. This includes a profiling of developing architectural practice beyond the traditional, narrow models of the profession.
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1. The Guardian. (2014) Rem Koolhaas: ‘Architecture has become a total fiction’
2. Hyde, R. (2012) Future practice : conversations from the edge of architecture. p.17
3. Withers, Iain. (2014). BIM revolution is unstoppable, says Hansford 4. Fulcher, M. (2013). Profession divided over RIBA’s shake-up of architectural education
‘Pedagogy’ will explore the current debate surrounding the restructuring of architectural education due to the misalignment of practice and pedagogy. How do these discussions fit within the position of architecture and its challenges developed throughout this work? Developing an understanding of the progression of architecture, up to its current state, will form a position on the key issues and principles that must be considered to realign architecture’s role and value in society and industry.
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position of the architect The definition of the architect as ‘master builder’ seems to clearly express a position at the precipice of the systems of construction. However, ‘architecture’ seems to work on a much looser and plural definition throughout society, especially in modern society. Whilst architects wish to retain this valued position, the ambiguous clarity of architecture’s role is forcing a misalignment between the aspirations of the profession and the requirements of practice. Historical Position Architecture was elevated to the superiority of an intellectual labour, in contrast to manual labour(5), and in turn was formed as a commended profession, during the Renaissance. Brunelleschi positioned himself as a designer, exploring design and progressive construction techniques. He saw the manual labour of the craftsmen as a tool to execute his design and intellect on the ground, allowing himself, the architect, the opportunity to develop and perfect design(6). Since this point architects have classed their labour as an intellectual pursuit, a position of individual distinction and public responsibility.
5. Hill, J. (2006) Immaterial architecture. p.50
6. Teerds, H. (2014). Constructing Culture.
This pedestalised position of the architect remained strong through works of architects such as Christopher Wren and Sir John Soane. Leading to the formation of a professional body within the United Kingdom in 1834, the Royal Institute of British Architects. Architecture’s significance continued to grow and placed architects as coordinators of our civil society. The substantial role of the architect possibly peaked in the early 20th Century. The need for large-scale development, following the destruction of World Wars and the emergence of modern construction techniques, presented opportunities for grand visions to be implemented and materialise across Europe. This influence is typified by Le Corbusier’s proposed Plan Voisin for Paris. Throughout the desperate need for post-war housing, architects and architecture were at the heart of civic development and reform, redesigning how people lived. The top-down, definitive nature of these vast designs and forms often failed in their aim to successfully develop and to shape social relations(7). The misalignment between the visions of architecture and the realities of the public began to emerge (Fig. 1). Current Position The recent century has seen a dramatic shift in terms of the perception of the role of the architect. A society that is becoming more litigious and risk averse has seen the role of the architect, as master builder, become a limited role within the design team. Expertise and experience are now the prerequisites of construction, and the blurred boundaries of the architect
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7. Olsson, L. and Loerakker, J. (2013). Revisioning Amsterdam Bijlmermeer.
Fig. 1. Hulme Crescents, Manchester.
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1800
2010
‘architect’
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Fig. 2. Google mentions of the word ‘architect’.
2010
‘architecture’
1800
‘starchitect’
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Fig. 3. Google mentions of the word ‘architecture’.
2010
Fig. 4. Google mentions of the word ‘starchitect’.
have struggled to offer the same level of expertise than that of a specific and narrowly defined field of knowledge and role.
8. Hatherley, O. (2013). How Margaret Thatcher bulldozed over Britain’s urban landscape.
This reduction in role and relevance is visible through the simplistic measurement of ‘Google mentions’ of the word ‘architect’ (Fig. 1), despite the proliferation of ‘architecture’ (Fig. 2) over recent decades. This period correlates with the shift of the protagonist of construction industry from public to private. From a point of extensive public construction in the 1960s, the introduction of a neoliberal state(8) placed an onus on the role of private investment and development. Although, the recent unsuccessful architectural materialised visions must have played a part in this decision to share risk across both private and public responsibility. This is often omitted within an architectural perspective of this point of significant transformation of society, industry and the profession. This analysis of the use of ‘architect’ and ‘architetcure’ presents the widening gap between the profession of architecture and the practice of architecture. The presence of architecture seems to be growing but architects are no longer the drivers of their own discipline. The architect as a mediator between user and developer, seems to be no longer a valued role or skill. Building as a civic responsibility has been superseded by building to accumulate financial capital.
9. Hopkirk, E. (2013). RIBA survey finds ‘split profession’.
10. Eisenman, P. S. and Koolhaas, R. (2008). Architecture words. 1-4. p.12
11. Hopkirk, E. (2013). RIBA Competitions accused of exploiting architects.
One alternative, or additional, reason for this perceived diminishment of ‘architect’ may be the emergence of the ‘starchitect’ (Fig. 4), the architects of global coverage and attention. Following the economic crisis, and the squeeze of the medium sized architectural practices, it seems to have become a ‘split profession’. As a result in the UK, as of April 2013, 40% of architects are employed by just 3% of practices(9). Without the benefit of the identity and brand of the larger firms, which attract private development, only small practices have been able to be sustained, preserved by their minimal overheads. Without a global brand to market, it seems that the other 97% of architects have been devalued, clearly represented through a financial perspective and analysis of architecture’s current state. ‘I want to look at how stupid architects are in this situation, because although we provide icons of today’s market economy, we are the only artistic discipline that doesn’t really benefit from it.’ (10) This diminished professional role within the industry has had an inevitable parallel effect on professional fees and capital value assigned to the work of architects. As Koolhaas states, the cultural capital created by architecture does not seem to be reciprocated through financial, or even social capital. As altruistic as the profession may wish to be, financial security is a basic requirement and it is a common belief that the business model of the profession must be addressed and revised. This is most evident within the argument of architectural competitions(11). It is understood that architectural competitions are not simply pursued to gain work and financial reward, as Charles Holland states; ‘to discuss them solely on that
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basis is to misunderstand their point’(12). Although at the same time a fair and respectful balance should surely be met. The expected level of winning competition entries has become so expansive; that the work produced has become a significant unattained cost. The competition to design Stockholm’s library extension attracted over 1,100 submissions, with the cost of architectural work estimated to be worth three times the building’s construction cost(13). Of course some responsibility should be laid at the feet of the very professionals devaluing their work to this extensive degree. However, this clearly presents the typical exploitation of the profession, and is even prevalent within its own professional bodies. A self-confidence of the work of architects must surely be the first step to reinstating the value of the ‘architect’ within society. This present moment of ubiquitous crisis requires critical thinkers that transcend the boundaries of narrow expertise to allow an understanding and propose a resolution of the system as a whole. However, the spatial intelligence and eclectic knowledge base of architects is seen to be superfluous. The desire for a noble and altruistic profession has seen architects misaligned to the model of construction through private developers, unless they can offer a marketable global brand, and guaranteed ‘icon’. This same philanthropic and artistic desire has seen architects undervalue their work for the opportunities of prestigious work. To allow any model of reform the profession must address the lack of selfappreciation, a confidence of architecture’s value must be presented. Throughout this brief overview of the history of the profession it is clear that society has undergone recent change, as have the processes of the construction industry, during these changes the position of architecture has been greatly diminished. Following this we must understand why architecture has been disassociated within a society that appears ready to surpass its requirement.
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12. Holland, C. (2015). Architect: will crit for coffee.
13. Hopkirk, E. (2013). RIBA Competitions accused of exploiting architects.
‘It’s very important to acquire the tools and the language to interact with other people other than architects, I think architecture has been isolated within its own bubble.’ (14)
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14. Louisiana Channel. (2014) Bjarke Ingels: Advice to the Young.
the secret profession As described, the position of the architect has significantly changed and developed over the course of last century. The dichotomy between architecture’s fundamental principles of construction and culture is creating a dividing ambiguity.
15. Doucet, I. and Cupers, K. (2009). Agency in Architecture: Reframing Criticality in Theory and Practice. p.4
16. Conder, S. (2011). Life Class: Simon Conder 17. Luder, O. (2011). Life class: Owen Luder 18. Clear History. (2013) Directed by Larry David.
19. Till, J. (2005). Lost Judgement: From Skirting Boards to Suicide.
20. Banham, R. and Banham, M. (1996) A critic writes: essays by Reyner Banham. p.293
21. Till, J. (2005). Lost Judgement: From Skirting Boards to Suicide.
‘One of the primary problems arising from the traditional position of critical theory is the perceived opposition between architecture as a ‘public service’, demanding a critical social and architecture as an autonomous art form.’ (15) The concept of architecture as an autonomous art form seems more in line with the architect of the Renaissance, yet this position of master builder and individual genius is still seen as the desired aspiration of many architects today. Is this static, conceited approach within a fluid, fluctuating society and industry a reason for the profession’s growing irrelevance? The Fountainhead’s Howard Roark is still elevated as architecture’s aspirational protagonist (Owen Luder and Simon Condur both refer to the Fountainhead as their favourite book(16,17)). However, is this model of an egocentric process of architecture one that should be encouraged in a profession of service and civic responsibility? Howard Roark is ‘the biggest asshole in the history of literary fiction.’ (18) This view of a Roark-type figure may not be shared past the blinkered system of architectural pedagogy and practice. Demonstrated crudely yet succinctly by Larry David’s character in the film, Clear History. This disparity of opinion signifies the misaligned perception of architects and architecture outside of the bubble of the profession. It is the defining need of a profession to protect itself from the society of amateurs(19), to create a boundary that distinguishes established expertise. Unlike the definitive knowledge base of professions such as medicine and law, architecture’s multiplicity makes the formation of such a decisive edge complex. Arrogant attempts to define the parameters of architecture present the superiority of cathedrals within architecture’s realm, but the modest built environment as simply buildings(20). This only exasperates the division between architecture and the essential of the everyday. Consequently, the architectural discipline has now reached a point where everything has become extremely self-referential, constructing a set of rarefied values, specialized codes and distinct language(21). The common proliferating devices to enforce and regulate this boundary, dividing the profession and the public, have become self-congratulatory awards, architectural jargon and the blogs of archi-porn. ‘why are architects incapable of describing the world without recourse to
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themselves?’ (22) Image has formed a critical role in how we perceive architecture; as a result process has become insignificant. The hourly depiction of perfect images through architectural media has commoditised architecture. It has now become entertainment(23); there is no social or political reflection in this work. At no point does it transcend the ideals of architectural aestheticism, intensifying the autonomous nature of the discipline and in turn the profession(24). However, architecture’s position at the point of shaping social circumstances, means that creating such a citadel, autonomous of the public, is surely irresponsible. The gap is widening between the image of architecture and the reality of its making of place. This self-serving act of security may have backfired. As a result of building these professional boundaries, as strong or ornate as possible, the public simply do not know what an architect’s role is within them. Bess describes it as a ‘secret profession’(25). A public survey exploring the awareness of the role of the architect was carried out in 2012(26), highlighting the lack of awareness of the profession’s wider skills. It was highlighted that only 72 percent of respondents were unaware that architects apply for planning permission. It seems it is intrinsically linked to the perceived ceding of ground to other roles within construction, including; project managers, construction, design and management coordinators and planning consultants. This lack of a public message(27) has come to the forefront and is now being relayed through other public forums, most notably with Michael Gove’s accusation of architects ‘creaming off cash’(28) from public ventures. ‘We won’t be getting Richard Rogers to design your school. We won’t be getting any award-winning architects to design it, because no one in this room is here to make architects richer’(29). It seems hard to find an argument against this position when even the RIBA President, Stephen Hodder, announced that design is not proven to offer any social benefits(30). If this is true, if design is limited to aesthetic appreciation, with the world in a state of austerity and scarcity, surely it is only responsible for the public to believe that the discipline of architecture may be an inessential, costly pursuit. Resultantly, it makes complete sense to treat the design and development of a resource as critical as schools in the same manner as the reproduction generic fast food stores, as cheaply and quickly as possible. This is not seen as a new, or modern, principle of architecture. Mertins states that architecture has been the same for 200 years(31), stagnant. With only the proliferation and reproduction of styles and schools acting as opportunity for differentiation. On this current trend the architectural discipline will become further isolated and autonomous, a lack of action
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22. Jacob, S. (2014). We’ve got 99 problems but architecture ain’t one.
23. Teerds, H. (2014). Constructing Culture. 24. Hatherly, O. (2012). Owen Hatherley on Photography and Modern Architecture.
25. Banham, R. and Banham, M. (1996). A critic writes: essays by Reyner Banham. 26. Thompson, M. (2012). It’s true: people don’t know what architects do.
27. Merrick, J. (2011). The death of architecture. 28. Hurst, W. (2011). Michael Gove in new attack on ‘awardwinning architects’. 29. Rose, S. (2012). Michael Gove’s war on architecture: curves fail the test
30. Hopkirk, E. (2013). New RIBA president launches major project to prove value of architecture.
31. Mertins, D. (2011). Modernity unbound: other histories of architectural modernity.
Fig. 5. Photos tagged with ‘archiporn’
and a public message is becoming a silent suicidal cry of the profession. As the profession, architects and students continue to test and discover their present and potential role beyond this antiquated position; a clear, concise message regarding the value and role of the profession to address public perception is still missing. An architecture that aims to dissolve the barriers of the profession and allows an understanding of the ‘secret profession’ will be essential. Changing public perception of the profession will encourage a more positive valuation of the role architecture can play. This could be achieved through a simple, shared language that moves away from a self-referential dialect to open discussions beyond internalised professionals. An increased level of engagement within the processes of architectural practice could facilitate these discussions. With these aspirations, can a future position of architectural practice place itself more aligned with the public of today and more importantly tomorrow, to help secure and even elevate its status?
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emerging practice As the designer William Morris said in 1889, the only historical constant is perpetual change(32), and within this world of liquid modernity(33) change occurs quicker than ever. In this fluid space, professions can rapidly emerge, but can also quickly become redundant(34). It is critical that the architectural profession continues to progress and develop to maintain relavence. As discussed, this evolution must address the isolated nature of the profession and engage at a public level. Energy, one of the most important issues of our time, will play a significant role across society, industry and architectural practice. Construction will come under further scrutiny and the ability to readapt existing resources is already a more important role than new build construction. This will further limit the architect’s role in the production of the built environment due to this ‘inevitable (and necessary) shift under conditions of scarcity’(35). This energy efficient and considerate future could be an opportunity for architects to reinstate their value within both industry and society. Successful reworking of existing forms will be essential in providing suitable architecture under these mounting constraints. This creation of value from a resource seen as worthless, is able to reinstate concept and idea as the most valuable and essential asset. As Jonathan Hill states in Immaterial Architecture, ‘to be associated with the world of ideas a material object must be considered immaterial’(36). It could be argued that architecture of traditional construction is too materialistic for idea (design) to be recognised. Bricks and mortar will always be valued against the value of bricks and mortar, the idea (design) can become blurred, and hence under valued, if valued at all. ‘In other words, we might have found ourselves in an ironic situation where in order to fulfil architecture’s core ambitions it might have to become less architectural.’ (37) To explore this further through Sam Jacob’s frame of a less architectural output, could lead towards a (Cedric) Pricean model of thought, reaching the extreme of questioning the brief of building anything. A position that will always come under criticism from traditional positions in practice, as Bernard Tschumi describes: ‘I wanted him [Cedric Price] to be invited to give a lecture at the school but I was told my distinguised professors that Cedric was not ‘architecture’ and that we therefore should not invite him.’ (38) The critical judgment and spatial intelligence developed through architectural education and practice allows for alternative solutions beside a typically architectural proposal. If architects are able to analyse the brief
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32. Merrick, J. (2011). The death of architecture. 33. Bauman, Z. (2000) Liquid modernity. 34. Cavill, N. (1999). The QS: a profession on the brink.
35. Till, J. (2012). How will architects be educated in 20 years time?
36. Hill, J. (2006) Immaterial architecture. p.50
37. Jacob, S. (2014). Sam Jacob on architecture regaining its social significance.
38. Finch, P. (2014). Interview with Bernard Tschumi.
‘It [architecture] might have to learn from communications agencies, from advertising, from digital and interaction design.’ (39)
39. Jacob, S. (2014). Sam Jacob on architecture regaining its social significance.
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Fig. 6. 53 semi-collective housing units, Saint-Nazaire. Lacaton & Vassal. Fig. 7. 53 semi-collective housing units, Saint-Nazaire. Lacaton & Vassal. Fig. 8. 53 semi-collective housing units, Saint-Nazaire. Lacaton & Vassal.
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40. Saxon, R. (2015). Architects: Disruptors of the Future?
41. Awan, N., Schneider, T. and Till, J. (2011). Spatial agency : other ways of doing architecture. 42. Lefebvre, H. (1991). The production of space.
43. Sennett, R. (1973). The uses of disorder : personal identity and city life. 44. Till, J. (2009) Architecture depends.
to its most suitable result why should they be perturbed by it not being a purely traditional, architectural output. Richard Saxon describes this as a common issue, architects seem to avoid work that may not be seen as architectural but as he states the best response is to ask ‘how can this serve architecture?’ (40) Growing in this vast void are many practices that could be considered ‘alternative’ to the limited definition of architectural practice. Spatial agency (the term of alternative practice as described by Awan, Schneider and Till) ‘does not so much replace architectural practice, but radically expands it’(41). Agency when discussed within the context of the built environment often takes a Lefebvrian approach, arguing for the social production of space and the inherent multiplicities of social, political and spatial agencies(42). This line of practice follows the discussions of Lefebvre, Sennett and Till, who would describe the spaces forged within the built environment as social, disordered(43) and contingent(44), opposing the definitive nature of autonomous objects of architecture. Participation and engagement are common critical properties to this expanding area of architecture. Encouraging this work can only benefit opening up a shared vocabulary between the people of the public and those of the profession, through the most simple and effective tool of face to face discussion. Spatial Agency: Other ways of doing architecture and Future Practice: Conversations from the edge of architecture, both compile the work of practices and collectives at the forefront of readdressing the terms of architectural practice. Lacaton & Vassal
45. Abalos, I, Lacaton, A. (2012). 2G 60 Lacaton & Vassal.
Lacaton & Vassal, appear as a typical architectural practice that work towards a traditional built output, albeit their reluctance to deliver a particular style or image of consumption (Fig. 6, 7, 8). However, they place an importance on their role as architects to think and responsibly consider all aspects, from the most basic: to build or not(45). Lacaton & Vassal often work beyond the typical confines of an architectural remit, developing skills within finanical and social systems to allow engagement with tax regulators and housing law. This ensures that the greatest value of the development can be accomplished. In return their value as architects is maximised and clearly conveyed within the output. TILT
46. Marlow, O. and Egan, D. (2013). Codesigning space : a primer.
London based architectural practice, TILT, has developed with co-design and participation at its core. Working to their manifesto of ‘pluralism over unity’(46), that collective design overcomes the failed place making of individual intuition and intent. Their role as architect is focussed on acting as facilitators, enabling users to develop spatial understanding and a shared dialogue to facilitate co-
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Fig. 9. Scale-Free School, Marleybone. Architecture 00:/.
designing of their projects. Architecture 00:/
47. 00:/. (2011). Scale-Free Schools: A New Learning Architecture for the 21st Century.
The Scale-Free School project by Architecture 00:/ presents an opportunity much in line with the covered discussions. Developed through an existing system of resources and structures it forms an operational school in Marleybone, without the need for any additional construction of the built environment. Architecture 00:/ use an architectural skillset alongside an economic understanding to form a balanced approach that encourages governmental interest and involvement(47). Another project the practice are involved in is Wikihouse, which in itself presents a progressive model of architecture, and revolutionises the role of the architect. By using an open-source platform, the saturated design team of the modern construction project is made redundant, and a working design can be downloaded and constructed with an available routing facility. This model completely breaks down the elevated boundaries between professional and amateur, and in turn the typical model of valuing architectural work. DUS Architects
48. Hyde, R. (2012). Future practice : conversations from the edge of architecture.
49. DUS Architects. (2015). About DUS.
50. Koolhaas, R. (2008) Architecture words. 1-4. p.11
51. Winston, A. (2013). Like it or not, you’re a digital revolutionary.
Amsterdam based, DUS Architects’ work stretches from traditional design work, such as housing and interiors, to organising food events and even cooperative energy companies. Through working in an ‘open co-op’, socially focussed practices will regularly collaborate, pushing disciplines past boundaries(48). This allows opportunities for architecture to engage with the many who would never appoint an architect or consider their services. Presenting how architectural, spatial and social design can be successful and just as powerful across disciplines. ‘Food unites people - all details contribute to the architectural atmosphere.’ (49) These models of practice typify the expanding realm architecture is capable of impacting. This provides the advantages of broadening the available work for architects and opens a dialogue between architects and the public, which is definitely required. It is crucial that architecture embraces these ideas of a designer and facilitator beyond that of building. The unqiue skillset of architectural education can easily be transferred to the design and formation of social events to energy co-operations. We are today at the exact moment when you could say the whole world has become the subject of architecture.’ (50) To remain confined within a narrow field of practice, one that has already been significantly diminished, architecture as a profession is at risk of becoming completely redundant. With a broad set of skills, and knowledge that is often taken from other disciplines, architecture should embrace this ambiguous nature of its definition. One in ten companies in the UK are now classed as ‘other’(51), one in five have no classification at all. The fluid
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modern society demands practices and disciplines that remain adaptable and static systems are quickly and easily replaced. These examples bring into question the idea of an expanding and developing realm of architecture. This practice encourages participation between the profession and the public, with aims to ensure the making of more successful social spaces. In doing so the silo characteristics of the architectural practice can start to be dissolved and disrupted, this would be critical in allowing a conversation between architecture and the public. How can we encourage more architects to take on this flexible model of practice and continue to open the channels of architectural debate and appreciation?
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‘Ultimately the confusions and failings of architectural education simply mirror those in the profession at large.’
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(52) 52. Buchanan, P. (2012). 1989 July: What’s wrong with architectural education?
pedagogy 53. Smith, D. (1997). Budding architects face rebuilt course.
54. Wainwright, O. (2013). Towering folly: why architectural education in Britain is in need of repair.
55. The Farrell Review Team. (2013). The Farrell Review of Architecture and the Built Environment.
56. Fulcher, M. (2013). Profession divided over RIBA’s shake-up of architectural education. 57. Murray, C. (2013). Too many architecture students are simply unemployable.
‘A shake-up of architecture education and training is urgently needed to meet the demands of the 21st century.’ (53) The ever-present divide of architecture’s dichotomy between construction and culture is most visible within the debate regarding architectural pedagogy. With the profession’s awareness of its diminishing presence and significance within society and the industry, an inevitable enquiry towards finding the responsible issues has continued. A resultant common thread seems to be the questioning of the current model of architectural education. This was amplified following the decision to treble tuition fees. Consequently, these calls to facilitate a restructuring of architecture education seem to be long over due. The opening quote from Chris Colbourne, the then director of education at the Royal Institute of British Architects, was made in September 1997. Architecture has witnessed change and felt its consequences, however, acting to ensure the relevance of the profession has failed to materialise. The overarching structure of the system of architectural education has remained the same for almost 60 years, introduced in 1958(54). This approach to education parallels the stagnant behaviour of the profession. Its self-referential and autonomous nature has lead it to a reluctance to adapt. This consistent degradation of current architectural pedagogy looks to divert criticism of architecture’s diminution from the static profession on to the architects of tomorrow. As society has shifted, as have the themes within architectural education. It seems that those of influence within the profession feel that education has now become misaligned with practice, rather than the profession being misaligned with society and education. The RIBA has now made its position clear to explore options to complete an ambitious overhaul of the education system. However, the reasons behind this insistence seem to differ from within practice. Outlined within the Farrell Report(55), despite the fact that the ARB recognises qualifications across the European Union, the time to qualify varies considerably. Italy and Scandinavia’s education system allows a minimum of 5 years to qualify. These systems that offer a high quality education and reputation with a significantly less time, and vast fees, are seen as a threat by the RIBA. As RIBA President Stephen Hodder explained on their desire to reform the institution so it could educate future architects ‘in the shortest possible time while maintaining quality’.(56) Whereas, the calls of practice follow the line that education fails to comprehensively train students in the tools of practice. As Jonathan Sergison presents ‘too many of these students are simply unemployable’(57). Practicing professions seem to want to dispel this ambiguity of discipline
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that is inherent within pedagogy. ‘One problem we have, originating from the 1960s, is that architectural education is still too theory-based. While it is essential that students are encouraged to develop their creative design in their early days at architectural school they must be educated to be able to react to the realities of practice. The fact that architecture is a practical art and buildings have to work does not seem to have any priority in schools.’ (58) The new proposals put forward to readdress architectural education look to respond to both arguments by introducing an integrated year in a 5+0 structure. This integrated year acknowledges the importance of practical experience and also minimises the length of qualification. The development of integrated years and courses will require the boundaries between education and practice to be blurred as they become overlaid. By blurring the boundaries between education and practice the content of education will become much clearer and definitive. The insistence on forming ‘oven-ready’(59) graduates seems to insist on the narrowing of curriculum, minimising progressive and experimental thinking, and train students to deliver through a traditional process to form a rigid output. Many of these skills should be used as a means to an end, used simply as tools to explore the more important aspect of an investigation of spatial practice. With this definitive output of architecture schools being discussed it is easy to forget that many students who study architecture never become architects, and it may only be a third of those who undertake a Part I course will qualify to be architects(60). ‘These ovens are not even all architecture ovens. A recent research project we ran revealed the alarming drop-out rates of architecture students nationally from Part 1 through to Part 3, with women and ethnic minorities in particular falling by the wayside. There were, however, more encouraging findings, which showed that many students find other meaningful careers, such as teaching and interior design. There were an impressive number of rock and pop stars, and even an air-traffic controller.’ (61) Should architectural pedagogy be formed to simply train students for a certain role in architecture, or look to serve the needs and aspirations of the other two thirds as well? When architecture is expanding why place restrictions and limitations on the developing skills of students. The defining nature of the voices heard through the debate of architectural education, often those deep set within traditional practice, are driving architecture and its pedagogy towards a singular definition. Within a developed critique of the autonomous nature of the profession, this can only intensify the divide between public perception and the architectural profession. As a result education, and in time the profession, will become smaller, less diverse and less representative of the society it serves.
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58. Wyatt, J. (2013). How architecture education is limiting students.
59. Singh, K. (2013). Should architecture schools produce ‘oven-ready’ architects?
60. Till, J. (2012). How will architects be educated in 20 years time?
61. Singh, K. (2013). Should architecture schools produce ‘oven-ready’ architects?
Mayor
Architect
Planner
Architectural education Part III
Event coordinator Architectural education Part II Advertiser
Architectural education Part I
Fig. 10. Embracing ambiguity within architectural education.
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Education must remain confident in the pursuit of knowledge for its own sake. Insistent on facilitating an atmosphere that supports open enquiry and critical thinking. The spatial intelligence at the core of emerging architectural practice is compatible with a variety of existing professions and also key in developing new roles within society and the built environment. By embracing this ambiguous nature of the expansive field of architecture within pedagogy, students will develop inquisition and research methodologies that exceed the common practice within the profession. Which will allow the architects of the future to progress a discipline that adapts more effectively with society. This multiplicity of education should be encouraged as a platform for careers and jobs that lie outside the construction industry. The inherent drawing across disciplines that is carried out is a significant advantage to the system; an architectural degree could be shown to offer the same options as a politics, philosophy and economics degree. In creating an architectural education as a base for significant positions within society, architecture could grow past its defined internal network (Fig. 10). Figureheads across industry and society would allow for a clearer and broader idea of what architecture can offer. Architecture could regain its social significance.
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conclusion The move towards a fluid state of modernity has seen change become unavoidable, as local actions now have global consequences. Throughout this period architecture as a profession appears to have become misaligned with this liquid landscape. This work, exploring the changes towards architecture’s current position has been considered against the following areas. Society The growing position of energy efficiency within this moment of increased scarcity means construction will be heavily scrutinised. If construction begins to be capped and limited, architects will have to adapt to retain their significance. This could also provide a solution to the perception of value an architect provides. Facilitating the transformation of worthless and redundant resources into valuable assets will produce the icons of the future. With this, the spatial design of architects will again become the most valuable asset within the design process. Industry The changes towards a neoliberal state, and now society, have seen the drop of public funded construction. Proposed developments now rely on narrow expertise of design team members. A strong concept and design often becomes diluted, and consequently the architect’s value is not clearly visible. This model of construction within the industry is unlikely to be overturned in the near future. If architects wish to reclaim a position of greater influence they must be willing to surpass the boundaries of typical practice. Lacaton and Vassal’s ability to open a dialogue with different regulatory bodies enables their influence to far exceed the role of designing to a prearranged budget and set restrictions. Practice The autonomous nature of the architectural profession has lead architectural practice to become mysterious and unidentifiable by the majority of the public. A shared language needs to be developed to enable a dialogue of the role of architects within place and space making. Developing models of codesign and participation, exemplified by TILT, within practice would begin to facilitate this dialogue and reinstate architecture as a civic profession and responsibility. Academia Despite the calls for a rigid system to be revised, the characteristics within
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the overarching structure of education have been adapting and evolving. While the profession has remained static, looking back to its diminished position, pedagogy has moved forward and is now accused of failing to support this fixed profession. Architectural education should promote the multiplicity of architecture and inspire the architects of the future to be proactive and significant. In doing so it should embrace the position that its unique skillset can benefit many positions within society. Establishing a network of architecturally educated roles within industry and public bodies could improve the awareness of architecture’s possibilities and value. Individual Within a call for the resistance against a prescriptive, narrow model of education and practice, it becomes essential for individuals to grasp this freedom and progress their ideas and models of practice. The protagonists of evolution will find a role in society to practice, the many that wait for action of regulatory bodies or society to support them will continue to face a diminished role. Architecture’s lack of action within this crisis of relevance is fast becoming the greatest issue to overcome. Reliance on the cyclical nature of economic fortunes has seen practices pursue a practice of sustainment, following the same models but as tightly and efficiently as possible. This position to obstinately retain the same practice is revealed in the debates surrounding the evolving models of architectural education. Within a dated structure, the progression of education is seen as a failed development towards the profession and architectural practice. In reality it is the profession that is becoming misaligned with the responsive system of architectural pedagogy. The ambiguity and multiplicity of architecture must be embraced to expand the perception of the profession as the practice of ornamentation and aesthetic desire. Encouraging this indefinite discipline will influence individuals and practices to reconsider their core values and principles. The historical position of the architect has been superseded; a disciplinewide revision from a professional body will fail to successfully resolve this. The consequent confidence and initiative within individual practice will allow progress past the struggling defined role of the architect and offer the required realignment of the profession with society, industry and education.
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image references Fig. 1. www.mdmarchive.co.uk Fig. 2. www.google.com Fig. 3. www.google.com Fig. 4. www.google.com Fig. 5. www.instagram.com Fig. 6. www.lacatonvassal.com Fig. 7. www.lacatonvassal.com Fig. 8. www.lacatonvassal.com Fig. 9. www.architecture00.wordpress.com Fig. 10. Author’s own.
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