Architecture and Silence, by Christos P. Kakalis

I am so delighted to have been part of this book my dear friend and collaborator Christos P. Kakalis has edited so beautifully. The chapter we co-authored (Chapter 7), discusses silence in architectural education. I hope you’ll like it as I am very proud of this work and the people who made this happen.Thank you Christos for trusting me with this!

From the Routledge official webpage

This book explores the role of silence in how we design, present and experience architecture. Grounded in phenomenological theory, the book builds on historical, theoretical and practical approaches to examine silence as a methodological tool of architectural research and unravel the experiential qualities of the design process.

Distinct from an entirely soundless experience, silence is proposed as a material condition organically incorporated into the built and natural landscape. Kakalis argues that, either human or atmospheric, silence is a condition of waiting for a sound to be born or a new spatio-temporal event to emerge. In silence, therefore, we are attentive and attuned to the atmosphere of a place. The book unpacks a series of stories of silence in religious topographies, urban landscapes, film and theatre productions and architectural education with contributed chapters and interviews with Jeff Malpas and Alberto Pérez-Gómez.

Aimed at postgraduate students, scholars and researchers in architectural theory, it shows how performative and atmospheric qualities of silence can build a new understanding of architectural experience.

Design-Build: Definitions and Criticisms

Image available here

Definitions

Abdullah, 2011: separation of design and building could be the philosophical difference between thinkers (designers) and doers (builders)

Harriss & Widder, 2014: Design build projects exist between the two tectonic plates of learning in academia and practice

Vlahos, 2000: Conventional studio projects present a disconnect from the needs of people and places and the understanding of different cultures. The outcomes of the theoretical studio projects are strongly developed, controlled, formal solutions with little understanding of the architectural intervention in communities. Students engage predominantly with theoretical, fictional projects.

Nepveux, 2010: Being involved physically in building allows students to reconcile their drawings with real structures they can build, weld, wire and plumb

Delport, 2016: Design-build projects have as outcome a physical product made through a process that can vary greatly in scope, focus and intent. They bring in tacit knowledge to the curriculum. The object contributes to social change and improving the lives of others

Van der Wath, 2013: it is an oscillation between the abstract to the concrete that allows students to develop the intellectual agility to tackle the complexities of arch innovation and experimentation that they will use in prof. practice

Brown, 2014: Live Projects’ greatest opportunity is not that it is a place to reflect on one’s own learning but, that it is a place to share that learning and reflection with others (Engestrom: a collective activity system is driven by a deeply communal motive)

Criticism

Erdman, 2002: hands-on built projects in attempting to close the gap between designing and building replace the reflective process of design with the active process of building (-) they resist theorizing and critical discourse (-)

Chiles & Till, 2004: balance between practice and education encourages students to position themselves politically (+) prevarication is also not possible as the luxury of long-term studio development is removed (+)

Christenson & Srivastava, 2005: Focus on completion within a specific time frame overrides the value of process

Foot, 2012: where the completion and the focus on the end product are taken out of the equation, the notion of reflection, open-endedness and non linearity allows students to discover a variety of possible solutions

References

Hermie Elizabeth Delport, 2016, Towards Design-Build Architectural Education and Practice: Exploring Lessons from Educational Design-Build Projects, PhD Thesis, Prof Johannes Cronjé, Faculty of Informatics and Design at the Cape Peninsula University of Technology

MYOM: Make your own Masters

https://www.makeyourownmasters.com/

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.

Dezeen: Stacie Woolsey creates her own masters course as “viable alternative” to design education

The designer is exhibiting the results in a “degree show” she named Make Your Own Masters, which opens this week at Somerset House in London.

Thesis Full Text Freely Available on NDC Site

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.

Full text is available (in Greek). Click here