I read through the 13 points made by Patrick Schumacher on architectural education. It never seizes to amaze me when nowadays people choose to address a wide public audience in a manifesto-like way. It’s quite alarming that the very structure of the text alludes to the “five points of architecture” by Le Corbusier; an autocratic system of principles that lead to an “hegemonic paradigm,” as Schumacher chooses to call it. I just cannot seem to bring my self to identify with this degree of certainty especially when we all agree to be living in such an uncertain and fluid, post-fordist world. And isn’t it ironic that now of all times, someone should claim to have found a uniform/canonic/normative way of doing architecture?
Schumacher condemns the “anachronistic” way we teach architecture today, and he allocates this anachronism to continuous experimentation. But experimentation in general isn’t the enemy here, is it? After all parametricism is a product of experimentation itself. Perhaps experimentation on form specifically, is anachronistic. Because arch schools have indeed promoted and appraised originality of form for years thus producing practitioners whose only interest lay in impressive yet un-realizable design solutions. And yes, that is perhaps what created this unevenness between academy and practice; the persistence of the value of form. But isn’t this also one of the shortcomings of the extended use of parametricism in some schools and design practices?
So are we really supposed to fully converge to an educational paradigm that has has already cost us part of this void? How about trying to overcome the anachronism by striking to its very core; relieve the students from the burden of originality of form towards an understanding of architecture as in “what it means to be fully human” as Pete Buchanan has eloquently put it.
I can see many schools today struggling to bridge this gap; design build studios, live projects, hands-on workshops and practice-led research studios in sensitive social neighborhoods appear at all continents in an unprecedented rhythm. Isn’t this a way to get over the lack of practical skills or social awareness and relevance that are so much needed to an architect? I have also encountered numerous paradigms (many of which I’ve described in this very blog) of newly formed arch schools that experiment with getting students to work in world renowned practices and actively participate in ongoing projects to gain experience and insights of how arch is actually being produced: talk with clients, organizations; even travel around the world.
And then there is also another issue; if we are to converge, are we seriously supposed to share curriculum between different countries, people, political regimes, economies, cultures? This is where I read convergence and I hear compliance. Because if we are indeed experiencing life as in the continuous process of becoming, are we to think that we all need to reach the same place? Isn’t the beauty of diversity what makes this world so interesting? Isn’t it its complexity that motivates us as how to better understand it?
To introduce a shared paradigm undermines the very meaning of learning especially today when education is becoming all the more open, and people can freely learn from each other. Restricting education to a single core defies the personality of the learners, their peers contribution to their learning and their relation to the rest of the world. Why not set some principles, give them all we can and let them decide who they ultimately choose to be.
conceptualizing the role of tutors in research-based pedagogy: the tutor(s) as
The paper presents
the efforts made to experiment with the pedagogical framework and the
operational model of a postgraduate urban design studio based on the
reconceptualization of the role of tutors. In the model examined here, the
curriculum was devised as an open and evolving network of the tutors’ resources
and affiliated researchers from within or outside the setting of the academy.
This mosaic consisted of different individual research and design practices
that are problem-focused and context-specific, communicated directly to
students by the very people responsible for their conception and development.
Learners were required to investigate the instrumentality of these practices
according to their own personal pursuits; to make their own networks of connections,
and were even encouraged to create their own personal schemata of design
research. In fact, the second major shift of the rethink lay in recognizing
learner autonomy and diversity, thus establishing a new operational framework
for the two to prosper. An amalgam of interconnected learning spaces provided
the conditions necessary for all these networks to co-exist and interact. The
paper describes the different aspects of the tutors’ involvement and
contributions in the design and implementation of this model, as they assumed a
number of roles, but most importantly, as they became learners themselves.
This is something I bumped into today and I am really, really impressed. This woman has indeed re-conceptualized design education in such a simple and subtle way that makes me wonder, why didn’t anyone think of this before. Genius, bravo!
Stacie Woolsey approached four practising designers she admired: Thomas Thwaites, Alexandra Daisy Ginsberg, Seetal Solanki and a contact at Room Y, the innovation arm of UK department store John Lewis. She asked each of them to set her design briefs to complete in her own time – an idea she describes as “freelance learning” – and completed all four briefs over 18 months of self-directed study (…) Woolsey didn’t feel that she could burden the designers with every question, so she started approaching industry professionals with different skills and asked them to be mentors, for project-specific help. She built her own network of peers – one of the benefits of attending an established institution – by approaching people her age across a variety of fields and asking them to follow her progress and be her first port of call. She hosted meetings as a way to set deadlines and present her projects (…) Rather than try to get her course of study accredited, which “felt a bit irrelevant” and would be “almost cheating on the idea a little bit”, Woolsey searched for a means to “validate it in a different way”. Instead, each of the designers who set briefs are writing a statement to say how well they think she answered it – more like a reference than a grade.
This thesis draws from current learning theories and pedagogical approaches to determine whether architectural education can benefit from online learning practices. The author examines the latest developments in the understanding of knowledge creation and how adopting new learning tools and practices impacts the learners, with particular focus in architectural studies.
How has the learning process evolved and what are the tools available for the production of knowledge? What is the profile of today’s learners? Has the role of teachers been affected? What happens when technology allows individuals to establish an online presence and seek the resources and information they need on their own and/or interact with other individuals? Could this development produce alternative educational models for architectural studies? And if so, what might these be? And what would be the consequences for those involved in the process?
Theoretical research covers three main areas; the first uncovers the complex landscape of the predominant learning theories -and to a certain degree-, the latest key shifts in the epistemology of knowledge. The second examines contemporary pedagogical approaches and monitors the changes in the perception of what constitutes a curriculum. The third area investigates traditional architectural education formats and how these have evolved over the years with the use of ICT technology. Finally, considering that the applied research involved mainly design studio courses, the theoretical research also monitors the changing nature of the relation between design and research.
Applied research was originally tested on a postgraduate urban research course. In the following years, however, it expanded to five urban design studios implemented both at postgraduate and undergraduate programs. Six different case studies are presented in total. The thesis describes the design of two basic course models based on blended and networked learning principles and their two subsequent variations introduced in the following years with the addition of new learning environments and networking tools.
A large part of the applied research examines the data retrieved from learning analytics and the systematic monitoring of the courses that describe the quantity and quality of learner attendance; the different taxonomies of interactivity between those involved in the learning process; the changes in the curriculum; the formal and informal activities that were developed; the multiple learning spaces the models accommodated and also the process of making meaning in this new setting.
The last section of the thesis presents the overall benefits of blended and networked learning in architectural education and how thinking in terms of open pedagogy can facilitate the design of design courses, culminating in the description of a new type of design course, hereby called Cooperative Studio.
This Thursday Prof. Nelly Marda (my phd supervisor; collaborator and dear friend) will be presenting our paper entitled: “The networked studio: first cooperation, then design” at the aae2019 conference on learning through practice. The conference will be held at the University of Westminster in London on 24-26 April, 2019.