"The Education System" Pierre von MEISS by p (i) l o t architecture platform

illiterate

Obscure

Zilele Arhitecturii 2009 Imagination

Honorary Professors ENAC art of creation

perspective drawings

design teacher

Beaux-Art

taste and fashion

kitschy

over-regulation

p (i) l o t architecture platform « Interview »

The Education System

Pierre von MEISS

issue #1

// Dragoş MILOTIN // Alexandru SENCIUC // Alexandru VOICU // // Corina NICOLAE // Vlad TODIROAE

p (i) l o t architecture platform Bucharest, Romania

Project Coordinator Dragos MILOTIN Project Partners Alexandru SENCIUC, Alexandru VOICU Project Members Corina NICOLAE, Vlad TODIROAE

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p (i) l o t architecture platform is a communication and culture platform generated by students from the University of Architecture and Urbanism ''Ion Mincu'' Bucharest. The main purpose is to generate discussions among people with ideas and similar interests: Architecture, Design, Urbanism, Arts, Culture, Sociology. The environment is one of informal discussions. ''Spoken lessons, without formality, antiacademic without stylistic and literary ambitions, full of repetitions and the formulation of fleeting thoughts, interrupted by reversals which stray, strolling along the drawing boards.''* The p(i)lot magazine is a collection of articles written by students, professors and professionists which exclusively published within this magazine. It is structured in four points starting with the main one called Symposium, a public discussion translated into virtual space. The second point is the Interview which is seeks to bring the outside (in a broader social and often different cultural context) opinions, attitudes and examples. Concept refers to articles of interest which have new ideas, issues and current paradigms. In complementarity, Archive contains articles which have been published, forgotten, lost, although their content is still the current one. Using walls to bring down walls is an electronic public library whose purpose is to bring closer the information necessary to build an inspiring background to the p(i)lot project.The library covers a wide range of areas and is formed in a subjective way. We want this information to develop in the form of an exchange and our proposal interests you, we will provide you the right to post. Our team members organize and participate to numerous events held by important names in architecture and people who have a word or two to say in matters of art and culture, the conference will later be published in the "Events" section in a media format. The approach addresses a wider range of people, given that architecture has seen a boom in recent years at an ideational level and captured an impressive number of people.

The project targets students and teachers in first instance from the University "Ion Mincu'', but is open to anyone. We want to open your appetite for architecture and discussion between all those who are in this profession and not only in order to take advantage of this theoretical and media platform as a source of inspiration for future projects. In order for the project p(i)lot to succed anyone interested to participate in the construction of this platform is welcome in the community. If you have proposals or any comments do not hesitate to contact us.

p (i) l o t architecture platform

Interview #1 , 06.07.2009

Interview by e-mail Questions: Milotin DragoĹ&#x;, student at Ion Mincu Answers:

Pierre von MEISS ______________________________________________________________

Almost each of these questions implies a whole lecture or more. This would ask for weeks of work, which I did not allocate. Therefore some of the answers are too short and not well enough discussed, but I guess this lies somehow in the nature of "interviews".

1. I would like to start with an information found on the "Ion Mincu" University website where you are portrayed as an important contemporary theoretician. Can you tell us about your life experience and about how easy/hard it was to get where you are today?

I started studying architecture saying that if I was not going to belong to the top three architectural design students by the end of my first year, I will change to another field. It happened that I succeeded rather well and this is how I stayed with architecture. I was totally disinterested with most of the theoretical subjects during my studies and finished somehow as an "illiterate" graduate with reasonably good design and construction performance. There was one thing I was sure of: I would never be a teacher! Then I worked for six years with medium size architectural firms in Geneva with tasks ranging from construction supervision to design and project management before "emigrating" with my young family to the US (Green Card) to work in an architectural firm in Ithaca, upstate New York. Ithaca happens to be the town of Cornell University, one of the seven "Ivy League" universities. Cultural life was exceptional. One day I was invited by the Dean of the Faculty and a small committee with Colin Rowe for lunch to discuss my employment as \

p (i) l o t architecture platform

Interview #1 , 06.07.2009

assistant professor. In vain I tried to explain that I was not good for teaching; they insisted and I finally accepted the challenge. I was 30 years old at that time. I spent two years catching up with my illiteracy, studying almost everyevening until midnight in the excellent Faculty library and teaching during the day. Today I call it my "private Masters degree".

After that I got a teaching appointment at EPFL, Lausanne, an exceptional academic environment in terms of means, facilities and human resources. During the first few years I learnt two things: 1) Do not "drown" students in the beginning years with "realistic" programs involving all the wide spread requirements of architectural design at the same time. Make them discover and experiment basic design issues step by step in a cumulative approach. 2) There is a need for architectural criticism in rational terms. Obscure preferences are not within the realm of teaching. These two premices ultimately led to my books "Elements of Architecture" and "De la cave au toit". What you need in order to get anywhere in your professional life is curiosity, motivation, courage to face a challenge, favourable coincidences, perspicacity and assiduity ... rather than "talent".

2. I have heard that you took part in judging some diploma exams at Ion Mincu, also I know that you are Honorary Professors ENAC where you have taught architectural design and theory for over thirty years. Can you tell us what is your opinion regarding the differences (both good and bad) betwen Ion Mincu and other places you have seen?.

It is difficult to generalise, but there do exist different centres of gravity. I shall point out some keywords relating to differences in the values and approach to architectural and urban design. EPFL in 2003 Emphasis on: large context based on a critical analysis, critical reference to meaningful precedents, strong and clear concept, structure participates in the design concept simplicity in design, sober and neat presentation drawings with a "professional" model. Every design teacher is supposed to give one lecture on design each week to his students, thus not

p (i) l o t architecture platform

Interview #1 , 06.07.2009

limiting his teaching to handouts and table crits. He has to be able to practise architectural criticism and explain what he is teaching. Ion Mincu in 2003 Emphasis on: originality of design ideas, function, professional adequacy for use, artistic presentation of the drawings, sometimes close context, ...... With reference to their respective values outlined above, both schools are performing pretty well. This does not answer your question of "good or bad". Each school has to take these decisions in relation with its own history and cultural setting.

3. I have heard you in Cluj at "Zilele Arhitecturii 2009" say that here in Romania people are afraid to say : "I dont't know". You said something like "one should be considered an idiot not admitting that one does not know something and then search for this particular thing". Please comment.

I did not say "in Romania", I said "in Europe" (as opposed to the US). Indeed, not knowing something is generally experienced as a sign of weakness (or ignorance) in Europe. In the US it is more understood as an opportunity or willingness to learn. Coming back from the US one day, my students asked me what was the difference between American and Swiss students. My answer was: European students know considerably more than their American counterpart, but American students know how to search and intensively do so whenever there is a need for it, while the Swiss student sits back and waits for the professor or the assistant to tell him.

4. In my opinion students today are obsessed by what grade they recieve despite the fact that in many cases they have to do something that is in contradiction to their believes. I believe that this is a pact with the devil that creates the archtitect today : obsessed with money and against the art of creation. Do you agree? Should a student listen to his professor or try to debate him? How do you see the relation studentprofessor?

p (i) l o t architecture platform

Interview #1 , 06.07.2009

Motivation is one of the primary prerequisites for good performance. I doubt that anybody would get a good grade while doing something in which he does not believe. "The art of creation" - you have to tell me what you mean by that. If you think of "newness" or idiosyncrasies as a prime goal for architectural education, I am going to disappoint you: Architecture is not part of the Beaux-Arts. It lies somewhere in the triangle between Arts, Crafts and Science. Like science builds upon previous research, Architecture builds on precedents and is very, very seldom "inventive" (see my paper "Existe-t-il une avant-garde aujourdâ&#x20AC;&#x2122;hui?", in STOA, refereed annual review of the EAAE, European Association forArchitectural Education, Paris 1998 ).Creativity in architecture does not have as much to do with developing your own architectural "language" , than with your wisdom to draw from what has been built throughout the history of mankind in order to critically adapt and interpret parts of it in view of the new task you are confronted with. This requires a good dose of perspicacity and imagination. II can't really answer your question, because you did not tell me about what you would like to debate with your professor. If it is merely to say "I am right and you are wrong" or if there are issues of "taste and fashion", the debate will rapidly get stuck.

5. Another problem is the fact that all of our professors practice architecture andhave too little time to theorise it.As a student I myself would like my professor to let my imagination fly and not be restricted by financial matter, at least not in my early stages of academic studies. Is materialism ruining creativity? Albert Einstein said : "Imagination is more important than knowledge. Knowledge is limited; imagination encircles the world" this is my personal creed.

If a professor cannot theorise on the basis of his own and other projects, be it for reasons of time or other, he should resign and concentrate on his practice. Personally I agree with you that costissues should not be in the foreground while developing a design project at the university. There are so many basic skills to be developed before that. At the university cost can not be controlled anyway; this is one

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Interview #1 , 06.07.2009

of the things you will learn in practice. I nevertheless do insist on the "economy of means" which has nothing to do with cost, but with a clever way to do more with less (or simple instead of complicated). Such demands imagination! ... which is not the same as imagination of forms.

6. What is more important: to draw by hand or to use a computer (autocad, 3dsmax, ...)? Students today have become robotized and although they have imagination, they don't have the artistic strength to draw their dreams. What should the school do? Or should they do nothing?

I think the best is not to allow CAD during the first year or two. After that you definitely need it, be it to get well prepared to find employment afterwards. This brings up another problem. During the 1990ies the diploma perspective drawings at Ion Mincu were throughout hand-drawn and of amazing skill. Only a few of them were "kitschy". In 2006 practically all of them were computer-drawn, terrible and "kitschy". This is a severe loss of know-how to bring up for debate! Only in exceptionally few cases have I seen a computer perspective drawing which was as good as or even better than a hand-drawn one. (It took one semester and a 1 million Euro machine to produce it!) With regards to initial design development I am rather of the old school and prefer sketching by hand. There is something marvellous going on between the brain, the hand and the eye, which the mouse and the screen do not replace. Anyway, I encourage the students to print out their design every so often and to continue working on it by sketching by hand for a few hours, a day or two.

7. I just remembered your diagram from "Zilele Arhitecturii 2009" where you portaied F.L. Wright as a circle, universal architect with all of the seven strenghts. Could you give us some information about this theory of yours? And eventual an example of this diagram?

I shall answer this question in an article to be published in "architext".

p (i) l o t architecture platform

Interview #1 , 06.07.2009

8. Regarding to the global crisis, some say that architecture is in an identity crisis. How do you see it?

I do not think that architecture is suffering an identity crisis. Every time confronts us with new and sometimes unexpected chances and problems. Among the chances I would mention the computer-age. Never before it was possible to have a one- to three-man architectural firm and do big jobs. You needed an "army" of draftsmen, secretary, accountant, etc. Today you can do it yourself on your computer and handy. A further favourable evolution is the public awareness of environmental issues, which opens a whole new realm for competent architects willing to cover this field. On the negative side I see the weakening crafts and the bigger and bigger general contractors for whom the architects' task is reduced to getting the building permit and designing a "beautiful" facade. A second problem is "over-regulation" by insurance companies and public authorities. On the other hand we have to admit that overregulation is to a certain extent the result of irresponsible commercial and speculative egoism.

9. As a conclusion I would like to get your opinion on this quote by Salvador Domingo Dal铆 : "You know the worst thing is freedom. Freedom of any kind is the worst for creativity".

Excellent ! But I am really puzzled by the fact that it is Salvador Dali who said it. If you are a demanding person, constraints are really challenging imagination (i.e. a very steep slope; a limited budget, a desolate landscape; a noisy street or an odd shaped plot: look up for instance the plan of "H么tel de Bauvais" in Paris, 1654, by Le Pautre or some of Claude Nicolas Ledoux's house designs for odd plots in Paris.

publisherâ&#x20AC;&#x2122;s acknowledgments The team of p (i) l o t architecture platform would like to thank Pierre von MEISS for the opportunity to publish this text

The Education System

Pierre von MEISS

p (i) l o t architecture platform