Paulo Freire is undeniably a prominent figure who greatly influenced 21st century higher education. More specifically, architectural education been greatly affected by Freire’s thinking in relation to producing a design project with dialogue and consciousness. This study aims to implement Freire’s thoughts in contemporary design studios, where the core courses of architectural education occur. This study employs a narrative methodology and in-depth interviews with third-year students from the design studios of two universities, one public and (...) another private. The study investigates the impact of the concept of ‘dialogue’ on student creativity, and ‘banking education’ thought of Freire to determine how this idea affects students’ consciousness of their learning process. Therefore, this research attempts to apply three of Freire’s key thoughts that have been discussed in his book Pedagogy of the Oppressed: ‘dialogue’, ‘consciousness’, and ‘banking education’. As a result, banking education applied by local-experienced instructors in the public university has confused students when applying given information to the theoretical part of their projects, which directed them to show fewer creative concepts. On the other hand, the students had greater consciousness of their learning process, awareness of their strengths and weaknesses in regard to the concepts of their design projects, and involvement in their classes when they felt a dialogue by the abroad-experienced instructors in the private university. This study shows that architectural education in that region requires a serious consciousness of Freirean theory. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 38.3 (2004) 73-90 [Access article in PDF] Intellectual Friendship in Architectural Education Yonca Hurol Introduction Limits are causes of repression, and it is usually accepted that repression affects creativity. There are two different approaches to the effects of limits on creativity. According to the first approach, creativity increases parallel to the increase of limits and repression. According to the second approach, (...) any artificial increase of limits produces passionate "locked in" mechanisms. A decrease of limits is necessary for an increase in creativity. Since it is never possible to eliminate some "natural" limits, it is not necessary to create some other "artificial" ones by introducing authoritarian attitudes. Creativity should be directed only toward the natural problems and limits.The aim of this essay is to develop a theoretical base for the following philosophical statement: "Decreasing authoritarian limits causes an increase in creativity in architectural design education." The concepts in such a philosophical statement must be operationalized in order to be applied to the practice of architectural education. The concepts of "limits" and "creativity" should be replaced with some other concepts (variables) which are observable so that they can be applied to the cases in practice.The essay is based on the poststructuralist philosophy of Gilles Deleuze and Felix Guattari, specifically their understanding of the relation betweenthe body and the mind;1 even though other thinkers have related emotion and rationality, for example, Fredrich Nietzsche's nomadic thought, Gaston Bachelard's "childhood dreams," and Antonin Artaud's "theatre of cruelty."2 In this essay, Deleuze and Guattari's philosophy is used more intensively over that of others, because of the clarity of the concepts it contains.The concept of creativity is operationalized by replacing it with the variable of the "design psychology of the student" which can, in turn, be replaced by the constants of "passionate mechanism" and "desire machine." [End Page 73] These psychological states and the their architectural indications are analyzed in the first section. The concept of limits is replaced by the "limiting role of the studio teacher," instead of the natural limits in architecture such aseconomy and technology. This role has two constants: the "role of the authority figure" and the "role of the intellectual friend."In architectural design courses students design buildings which combine the demands of strength, usefulness, and aesthetics. This process relates rationality (mind) to irrationality (body/feelings). Students learn about the rational aspects of architecture in their own ways, while designing the irrational aspects of their projects. They make contact with the studio teachers whenever they need advice or supportive criticism. This is a one-on-one relationship. The early approaches to design education depend on authoritarian "correction," while the new models propose "objective criticism."However, none of these concepts cover the existing power relations between teachers and students. Some teachers believe in the positive role of authority, while others do not. A conflict arises between the authority figures, and the friendly teachers.The formation of an intellectual friendship between students and teachers of architecture is not new. It has existed since postmodernism was first founded in architecture with the differing viewpoints about architecture. Sinan Omacan, was a student of architecture when he described the changing demands of education as follows: School is not simply a structure that is abstract. It is not only an institution of discipline that programs, deals with quantities, and evaluates. The name of it, the building of it, and the people in it, always give it a certain personality, and the strongest part of this story can only start with the relationship between these personalities. While this medium of personal relationships forms an unpredictable and unavoidable situation for the institution, it becomes exactly the right thing that students are looking for, because the most important aspect for students in a school is the possibility created by unprogrammed time and unplanned space.3This essay provides a theoretical explanation of these existing categories for the first time. The concepts which are analyzed in the first two parts are used as variables for comparative research. The third part contains comparative... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 38.3 (2004) 73-90 [Access article in PDF] Intellectual Friendship in Architectural Education Yonca Hurol Introduction Limits are causes of repression, and it is usually accepted that repression affects creativity. There are two different approaches to the effects of limits on creativity. According to the first approach, creativity increases parallel to the increase of limits and repression. According to the second approach, (...) any artificial increase of limits produces passionate "locked in" mechanisms. A decrease of limits is necessary for an increase in creativity. Since it is never possible to eliminate some "natural" limits, it is not necessary to create some other "artificial" ones by introducing authoritarian attitudes. Creativity should be directed only toward the natural problems and limits.The aim of this essay is to develop a theoretical base for the following philosophical statement: "Decreasing authoritarian limits causes an increase in creativity in architectural design education." The concepts in such a philosophical statement must be operationalized in order to be applied to the practice of architectural education. The concepts of "limits" and "creativity" should be replaced with some other concepts (variables) which are observable so that they can be applied to the cases in practice.The essay is based on the poststructuralist philosophy of Gilles Deleuze and Felix Guattari, specifically their understanding of the relation betweenthe body and the mind;1 even though other thinkers have related emotion and rationality, for example, Fredrich Nietzsche's nomadic thought, Gaston Bachelard's "childhood dreams," and Antonin Artaud's "theatre of cruelty."2 In this essay, Deleuze and Guattari's philosophy is used more intensively over that of others, because of the clarity of the concepts it contains.The concept of creativity is operationalized by replacing it with the variable of the "design psychology of the student" which can, in turn, be replaced by the constants of "passionate mechanism" and "desire machine." [End Page 73] These psychological states and the their architectural indications are analyzed in the first section. The concept of limits is replaced by the "limiting role of the studio teacher," instead of the natural limits in architecture such aseconomy and technology. This role has two constants: the "role of the authority figure" and the "role of the intellectual friend."In architectural design courses students design buildings which combine the demands of strength, usefulness, and aesthetics. This process relates rationality (mind) to irrationality (body/feelings). Students learn about the rational aspects of architecture in their own ways, while designing the irrational aspects of their projects. They make contact with the studio teachers whenever they need advice or supportive criticism. This is a one-on-one relationship. The early approaches to design education depend on authoritarian "correction," while the new models propose "objective criticism."However, none of these concepts cover the existing power relations between teachers and students. Some teachers believe in the positive role of authority, while others do not. A conflict arises between the authority figures, and the friendly teachers.The formation of an intellectual friendship between students and teachers of architecture is not new. It has existed since postmodernism was first founded in architecture with the differing viewpoints about architecture. Sinan Omacan, was a student of architecture when he described the changing demands of education as follows: School is not simply a structure that is abstract. It is not only an institution of discipline that programs, deals with quantities, and evaluates. The name of it, the building of it, and the people in it, always give it a certain personality, and the strongest part of this story can only start with the relationship between these personalities. While this medium of personal relationships forms an unpredictable and unavoidable situation for the institution, it becomes exactly the right thing that students are looking for, because the most important aspect for students in a school is the possibility created by unprogrammed time and unplanned space.3This essay provides a theoretical explanation of these existing categories for the first time. The concepts which are analyzed in the first two parts are used as variables for comparative research. The third part contains comparative... (shrink)

In many schools of architecture worldwide, design studios are frequently isolated from everyday life and tend to focus on theory without experience. In countries with complex social problems, such as Colombia, experiential learning can offer valuable opportunities for architectural education to become an agency for social reconstruction and peace building. This works proposes a teaching method which centres on the promotion of significant learning, through live projects as a complement to studio-based projects. Bloom’s revised taxonomy and Fink’s taxonomy (...) for levels of knowledge were used as references. In order to develop and test this method, 15 different live projects were designed, built and analysed over the course of four years. These involved the participation of 170 undergraduate learners, various national and international teachers, six sponsors from the construction industry and 12 children’s foundations. The findings reveal valuable insights into the development of intellectual, physical and em... (shrink)

The present study provides an ethnomethodologically informed respecification of intention in the context of architectural education. The analyses focus on the ways in which participants deal with the relation between formulations of intention and designed objects. Claimed mismatches between stated intention and design make relevant instructional sequences elaborating alternative ways of understanding the design and possible routes by which articulated intentions could have been realized. The practice of topicalizing intentions appears to be a technique by which aspects of (...) architectural competence are made visible and instructed. In particular, the practice makes otherwise unattended aspects of the design process accountably available for assessment and remark. Furthermore, the complexities of architectural consequence in relation to individual design decisions are addressed as an instructional matter. The study expands existing work on intention ascription and avowal by examining a setting where participants deal with the intentional status of designed objects. It is argued that the analyzed assessment sequences are shaped and organized with reference to the particularities of architectural knowledge as well as to the educational character of the activity. Their basic logic, however, is grounded in ordinary understandings of action and intentionality. (shrink)

The Education of the Eye examines the origins of visual culture in eighteenth-century Britain. It claims that at the moment when works of visual art were first displayed and contemplated as aesthetic objects two competing descriptions of the viewer or spectator promoted two very different accounts of culture. The first was constructed on knowledge, on what one already knew, while the second was grounded in the eye itself. Though the first was most likely to lead to a socially and (...) politically elite form for visual culture, the second, it was held, would almost certainly end up in the chaos of the mob. But there was another route through these conflicting accounts of the visual that preserved the education of the eye while at the same time allowing the eye freedom to enter into the realm of culture. This third route, that of the sentimental look, is explored in a series of contexts: the gallery, the pleasure garden, the landscape park, and the country house. The Education of the Eye sets out to reclaim visual culture for the democracy of the eye and to explain how aesthetic contemplation may, once more, be open to all who have eyes to look. The book will interest historians of eighteenth-century British culture and historians of architecture, art, and landscape, as well as readers generally curious about the origins of our current visual culture. (shrink)

Architecture has a marked influence on ethical perception. Ethical perception, in turn, has a pronounced influence on what we are morally responsible for, our decisions, choices, intentional omissions, and overt actions, for instance. It thus stands to reason that architecture bears saliently on moral responsibility. If we now introduce a widely accepted premise that one of the fundamental aims of education is to see that our children turn into morally responsible agents, we can further infer that architecture has an (...) influence on educating for moral responsibility. Our primary aims in this paper are, first, to uncover associations between architecture and ethical perception, on the one hand, and moral.. (shrink)

Italian critical theorist Giorgio Agamben is well known for his rigorous attempts to redefine political, aesthetic, and theological concepts through messianic categories. For Agamben, the messianic is not concerned with perpetual waiting for a savior to come and redeem the world. Rather, it concerns the radically open potentiality for action within the contemporary moment. While the temporality of the messianic moment has been emphasized both by Agamben and by the vast secondary literature that has provided ample reflections on his body (...) of work, the important concept of messianic space has not been given equal treatment. Space and time must be thought together if we are to appreciate the unique qualities of .. (shrink)

Against transmission -- For attention -- Education in the minor key -- Anthropology, art and the university.

The authors present their experience and practices of introducing cloud services, as a means to simplify the adoption of ICT in education, using Free/Open Source Software. The solution creates a hybrid cloud infrastructure, in order to provide a pre-installed virtual machine, acting as a server inside the school, providing desktop environment based on the Software as a Service cloud model, where legacy PCs act as stateless devices. Classroom management is accomplished using the application “Epoptes.” To minimize administration tasks, educational (...) software is provided accordingly, either on-line or through repositories to automate software installation. The advantages of the hybrid cloud implementation, include services that are not completely dependent on broadband connections’ state, minimal cost, reusability of obsolete equipment, ease of administration, centralized management, patches and educational software provisioning and, above all, facilitation of the educational procedure. (shrink)

The paper analyses possible contributions of philosophy and philosophers to architecture and architects’ work. During the twentieth century, a number of dominant positions in philosophy, such as the view that all thinking is verbal or that conceptual thinking determines the contents of perception, significantly limited the ground for productive intellectual interaction between architects and philosophers. With the demise of such positions in recent decades, one can hope that philosophy and philosophers could make genuine contributions to architectural theory.

In the vast literature on architectural theory and practice, the ways in which architectural knowledge is actually taught, debated, and understood are too often ignored. The essays collected in this groundbreaking volume address the current state of architecture as an academic and professional discipline. The issues considered range from the form and content of architectural education to the architect's social and environmental obligations and the emergence of a new generation of architects. Often critical of the current (...) paradigm, these essays offer a provocative challenge to accepted assumptions about the production, dissemination, and reception of architectural knowledge. Contributors: Sherry Ahrentzen, U of Wisconsin-Milwaukee; Stanford Anderson, MIT; Carol Burns, Harvard U; Russell Ellis, UC Berkeley; Thomas Fisher, U of Minnesota; Linda Groat, U of Michigan; Kay Bea Jones, Ohio State U; David Leatherbarrow, U of Pennsylvania; A. G. Krishna Menon, TVB School of Habitat Studies, India; Garth Rockcastle, U of Minnesota; Michael Stanton, American U, Beirut; Sharon E. Sutton, U of Washington; David J. T. Vanderburgh, Université Catholique de Louvain, Belgium; and Donald Watson, Rensselaer Polytechnic Institute. (shrink)

The practice of architecture, a discipline that is inescapably contingent on the particular, but that is also required by society in some way to represent an ideal, raises a number of specific ethical issues. Following an essay by the philosopher Thomas Nagel, this paper argues that it is intrinsic to professional judgement that this involves the prioritizing of unquantifiable ‘goods’. A twentieth-century case study is examined, which exhibits the choices made by a well-known architect. The changed nature of architectural (...) practice in the United Kingdom in the twenty-first century is then described, whereby the privilege of making such judgements has been severely limited by the substitution of managerial values for professional values. In the face of different ethical imperatives – most obviously to design responsibly within pressing ecological concerns – it is argued that the task for architects now is to re-establish a context within which sound judgements can be made, which of course implies a degree of professional trust. Their ability to balance managerial values with ethical decision-making is what may prove to be most valuable. There are implications for architectural education, which in the past has either pretended to be a science or has retreated into aesthetic speculation, providing training in the skills of persuasion rather than relationship-building. The conclusion is that ethical thinking is inescapable for the profession of architecture in the twenty-first century. (shrink)

In this essay, I first argue for the importance of somaesthetics in thinking about “autonomy” and “atmosphere” in architecture in a manner that brings about a critical re-education. Refusing the strict distinction between these architectural approaches through a turn to somaesthetics, I then turn to Kant’s theory of reflective judgment to set forth discursive possibilities for arriving at some understanding of the concept of architectural atmosphere. Finally, I suggest ways in which somaesthetics and Kantian thought can be (...) seen as mutually enhancing, rather than opposing each other. (shrink)

Rudolf Steiner, the often undervalued, multifaceted genius of modern times, contributed much to the regeneration of culture. In addition to his philosophical teachings, he provided ideas for the development of many practical activities including education--both general and special--agriculture, medicine, economics, architecture, science, religion, and the arts. Today there are thousands of schools, clinics, farms, and many other organizations based on his ideas. Steiner's original contribution to human knowledge was based on his ability to conduct spiritual research, the investigation of (...) metaphysical dimensions of existence. With his scientific and philosophical training, he brought a new systematic discipline to the field, allowing for conscious methods and comprehensive results. A natural seer from childhood, he cultivated his spiritual vision to a high degree, enabling him to speak with authority on previously veiled mysteries of life. Topics include: the origins and nature of architecture the formative influence of architectural forms the history of architecture in the light of human spiritual evolution new architecture as a means of uniting with spiritual forces art and architecture as manifestations of spiritual realities metamorphosis in architecture aspects of a new form of architecture the first and second Goetheanum buildings the architecture of a community in Dornach the temple is the human being the restoration of the lost temple. (shrink)

This book engages with the writings of W.G. Sebald, mediated by perspectives drawn from curriculum and architecture, to explore the theme of unsettling complacency and confront difficult knowledge around trauma, discrimination and destruction. Moving beyond overly instrumentalist and reductive approaches, the authors combine disciplines in a scholarly fashion to encourage readers to stretch their understandings of currere. The chapters exemplify important, timely and complicated conversations centred on ethical response and responsibility, in order to imagine a more just and aesthetically experienced (...) world. In the analysis of bildung as human formation, the book illuminates the pertinent lessons to be learned from the works of Sebald and provokes further investigations into the questions of memory, grief, and limits of language. Through its juxtaposition of curriculum and architecture, and using the prose of Sebald as a prism, the book revitalizes questions about education and ethics, probes the unsettling of complacency, and enables conversation around difficult knowledge and ethical responsibility, as well as offering hope and resolve. An important intervention in standard approaches to understanding currere, this book provides essential context for scholars and educators with interests in the history of education, curriculum studies, cultural studies, memory studies, narrative research, Sebaldian studies, and educational philosophy. (shrink)

The design studio and the associated design review can be regarded as the signature pedagogy of architectural education, where students garner the essence of what it means to be an architect. Here,...

The fundamentals of Kahn's architectural philosophy begin with his personal history: his inherent talent; his family background and childhood experiences; his education, from elementary school through architectural school; the influences of Paul Philippe Cret and Beaux Arts architecture; and his travels, especially those to study the antique monuments of Egypt, Greece, and Rome. Because the causal aspects of these experiences were absorbed by him, rather than being the products of Kahn's own thinking, he rarely acknowledged them. His (...) conclusions led to a philosophy that echoed some of the thoughts of earlier philosophers, like Spinoza and Heidegger, but were arrived at independently.1 Kahn expressed his philosophy in lectures, seminars, writings, interviews, conversation, and often through sketches. However, he habitually expressed himself elliptically-his phrasing poetic, his metaphors original and apt. Therefore, his meaning was often felt rather than understood. Extensive studies of Louis Kahn's architecture exist, but few focus on his fully developed architectural philosophy.2 This text addresses that subject, incorporating his own words (in italics) and relating them where relevant to his final work, the Yale Center of British Art (hereafter, "the Center"). Kahn died during the construction of the building, the last material expression of his architectural philosophy. I was the first director of the Center, a participant in the selection of the architect and throughout the building's planning and creation. Coincidental with the early years of Kahn's planning for the Center, two young architectural historians-John Cook and Heinrich Klotz-interviewed several leading architects, including Kahn. Working with a verbatim transcript of the Kahn interviews, made by Karen Denavit, I produced an edited version of the interviews in book format. Louis I. Kahn in Conversation: Interviews with John W. Cook and Heinrich Klotz (hereafter, "Kahn in Conversation") is the source for many of the Kahn quotations included here. A researcher can consult the full, verbatim transcript of the interviews in the Center's Institutional Archives, in the Manuscripts and Archives collections in Sterling Memorial Library at Yale University, and in the Architectural Archives of the University of Pennsylvania. (shrink)

The paper investigates the connection between the school architecture and didactic-methodical organization of teaching in the conditions of traditional (old) schools. School architecture was analysed regarding school premises (classrooms and equipment) and the school environment (playgrounds with special emphasis on school gardens). The traditional (old) school in Croatian conditions is situated in the period from the introduction of the state public education (General School Order 1774) to the 1930s. The research was based on the analysis of archival and published (...) materials, and field research. Field research was conducted in the school area of Velika Kopanica on two occasions, in 1980 and 2021. The descriptive and post-causal method was used in the research, and the connection between the school architecture and didactic-methodical organization of teaching was determined. School buildings (classrooms), school desks and equipment with a large number of students in the same class limited the didactic and methodological organization of teaching within traditional teaching (frontal, verbal, passive for students, asocial and repressive). At the same time, the school environment with special emphasis on school gardens opened up a number of possibilities that were characteristic of the new school movement: groups and individual activities, work of students, socialization and collaborative relationships, connecting theoretical with practical work. School gardens enable the introduction of a part of nature into classrooms, providing pupils with visual activity, systematic observation and the beginning of intellectual cognition. School architecture is in a direct connection with the didactic-methodical organization of teaching. How is it possible that in modern school architecture there are a number of forms characteristic of the traditional (old) school? (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Architectural Theory, Volume 1: An Anthology from Vitruvius to 1870Peg RawesArchitectural Theory, Volume 1: An Anthology from Vitruvius to 1870, edited by Harry Francis Mallgrave. Malden MA, Oxford, Victoria: Blackwell Publishing, 2006, 590 pp., $49.95.This anthology is a rich and comprehensive documentation of the key stages that construct Western architectural theory, from Vitruvius's classical writing to Gottfried Semper's theories in late-nineteenth-century Europe. Comprised of 229 texts (...) by these and other significant writers of architectural theory, it represents an extremely valuable resource for architectural design, history, and theory education and, more broadly, for aesthetic education, art history, aesthetics, and visual culture. Professor Mallgrave's career as an architectural historian and theorist at the Illinois Institute of Technology, and editor of Architecture and Aesthetics for the Texts and Documents Series at the Getty Research Institute, has enabled him to bring together a large number of canonical texts by architects and writers, including Alberti, Palladio, Vasari, Perrault, Wotton, Wren, Soufflot, Blondel, Boullée, Ledoux, Soane, Reynolds, Pugin, Viollet-le-Duc, Ruskin, and Greenough. In addition, Mallgrave has selected important contextualizing texts that inform the philosophical, cultural, and aesthetic development of the discipline by writers such as Rousseau, Voltaire, Montesquieu, Morris, Chambers, Winckelmann, Locke, Hume, Ramsey, Burke, Walpole, Price, von Schlegel, Wolff, Jefferson, Emerson, Hugo, Zola, and Leibnitz.Six stages of development are laid out, beginning with the Classical and Renaissance periods in part I. In part II the debates about Classicism in France and Britain develop, leading into part III, in which texts from the Neoclassical and Enlightenment debates in Europe take precedence. In part IV, Picturesque and Sublime theories are documented, from which part V turns to consider the importance of Historicism in the nineteenth century and, finally, in part VI the impact of Historicism is examined in relation to developments in industrialization.Introducing each part, Mallgrave succinctly highlights the historical, cultural, and political structures that underpin the development of architectural ideas and debates during the period. Within each part, internal sections further distinguish the particular ideas that preoccupied specific individuals and groups to comprise different theoretical positions. Part II, for example, is divided into the nationalist differences between "French Classicism: Ancients and Moderns" and "British Classicism and Palladianism," and part IV identifies key texts that contribute to the theorization of eighteenth-century aesthetics in three stages: "Sources of the Picturesque," "Toward a Relativist Aesthetics," and "Consolidation of Picturesque Theory." In addition, Mallgrave introduces each individual text, drawing attention to the author's intellectual ambitions and the contemporary debates in which their contribution is constructed. Architectural [End Page 111] theory is therefore characterized as a discipline that is made up of dynamic discussions, which are frequently unresolved and irregular in their formation. Diverse and opposing agendas are pursued, both within and between different institutions, academies, and communities, including the late-sixteenth-century "stylistic battles" of Alberti and Serlio's treatises, which were developed out of Vitruvius's ten "books" of architecture; the pluralism of styles in the United States in the mid-nineteenth century that was comprised of puritanical influential theories, Gothic and French Classicism, and the new generation of American architectural theorists; and the emergence of a German architectural theory within the political disputes that led to the unification of Germany in 1871. Architectural theory is therefore firmly constructed in relation to social, material, cultural, and political systems and frameworks.This colorful construction of architectural theory is evident, especially in those sections that are central to Mallgrave's ongoing research interests, in the tension between the rational, technical, and empirical discussions that inform seventeenth-, eighteenth-, and nineteenth-century aesthetics. Running through parts II and III, for example, is one of the most drawn-out and bitter disputes, which dominated architectural theory in the seventeenth- and eighteenth-century French Academy of Architecture. Focused on the value of Vitruvius's Roman origins of Classicism, versus revivalist ambitions to retrieve the ornamental Classicism of Greek and Gothic styles, this great quarrel occupies the texts, letters, essays, and articles by architects and writers, including Blondel, Perrault, Piranesi, Soufflot, Winckelmann, Le Roy, Boullée, and Ledoux. But this debate is also important in the context of... (shrink)

The Lancashire Independent College in Whalley Range, Manchester, was built to train Congregational ministers. As the first of a number of Nonconformist educational institutions in the area, it illustrates Manchester‘s importance as a centre of higher education generally and Nonconformist education in particular. The building was designed by John Gould Irwin in Gothic style, mediated through references to All Souls College in Oxford by Nicholas Hawksmoor, whose architecture also inspired Irwins Theatre Royal in Manchester. The College was later (...) extended by Alfred Waterhouse, reflecting the growing success of the institution, which forged links with Owens College and went on to contribute, with other ministerial training colleges, to the Universitys Faculty of Theology established in 1904. The building illustrates an interesting strand in early nineteenth-century architectural style by a little-known architect, and has an important place in the history of higher education in north-west England. (shrink)

This study examined individual differences in spatial abilities of architecture students. Students at different educational levels were assessed on spatial ability tests that varied in their domain-specificity to architecture, with the hypothesis that larger differences between beginner and advanced students will emerge on more domain-specific tests. We also investigated gender differences in test performance and controlled for general reasoning ability across analyses. In a cross sectional study, master students (N= 91) outperformed beginners (N= 502) on two novel tests involving perspective (...) taking and object composition, as well as on a standardized visualization of cross-sections test, but not on a standardized mental rotations test. Longitudinally (N= 117), spatial performance improved after the first bachelor year on visualization of cross-sections, object composition and mental rotation. Although both genders showed higher spatial test performance with increased experience, male students outperformed females across tests and levels of education. The results overall confirmed improvements in spatial performance during architecture studies, with partial support for the domain-specificity hypothesis. A gender gap among advanced students calls for further examining architecture-specific spatial thinking. (shrink)

Architecture is a content area in art education that is not much investigated by art educators. Even less addressed is Romanesque architectural style. Based on direct experiences of visiting hundreds of Romanesque churches in France, Italy, and Spain; many years of teaching design courses; and subsequent research and visual analyses of photos, the author discusses the aesthetic merits of Romanesque architecture through design principles: unity by repetition, variety and contrast, proportion, hierarchical forms, and articulation. Unity, variety, and contrast (...) are found in many modern design books, proportion, less so, but it was very important in the medieval period. Hierarchical forms and articulation are uniquely Romanesque. The author demonstrates that Romanesque builders possessed a great sense of design and creativity. (shrink)

There is a troubling trend in contemporary writing pedagogy to construe classical approaches to writing instruction "as fixed, static entities . . . produced by asymmetrical power relations that . . . reinforce oppressive or stereotypical attitudes and ideologies" (Mutnick and Lamos 25). In place of the classical tradition, progressive educators, following the lead of Paulo Freire, have championed student-centered approaches to education, in effect developing students in the service of themselves as opposed to in the service of knowledge (...) as is characteristic of classical approaches. In this article I argue against the pedagogical monism that characterizes contemporary educational models by positing an integrated model of writing instruction that builds contemporary, theory-driven frameworks on top of historically valid and progressively developed principles, using the languages of modernistic and classical architecture as a mnemonic. Using the "Palladian Arch" as a guiding image, I then close my article by describing how vertically-aligned, foundational approaches such as process pedagogy and genre and rhetorical studies relate to the horizontally-aligned, theoretical approaches that ultimately lead to the apotheosis of each student's intellectual persona. (shrink)

The article scrutinizes the impact of the 1968 student protests on architectural education and epistemology within the Italian and American context, the advocacy planning movement and the relationship of architecture and urban planning with the socio-political climate around 1968. It aims to demonstrate how the concepts of urban renewal and ‘nuova dimensione’ were progressively abandoned in the USA and Italy respectively. It presents how the critique of these concepts was related to the conviction that they were incompatible with (...) socially effective architecture and urban design approaches. The article sheds light on the complexity of the reorientations that took place in both contexts, taking into consideration the impact of student protests, and the 1968 Civil Rights Action the architects and urban planners’s task on the curricula of schools of architecture. It also investigates certain counter-events and counter-publications in the USA and Italy, shedding light on how they reinvented the relationship between architecture and democracy. It reveals the tensions between enhancing equality in planning process and local bureaucracy in the case of advocacy planning strategies. (shrink)

Modern buildings do not easily harmonize with other buildings, regardless of whether the latter are also modern. This often-observed fact has not received a satisfactory explanation. To improve on existing explanations, this article first generalizes one of Ortega y Gasset’s observations concerning modern fine art, and then develops a metaphysics of styles that is inspired by work in the philosophy of biology. The resulting explanation is that modern architecture is incapable of developing patterns that facilitate harmonizing, because such patterns would (...) humanize buildings and modern architecture is a homeostatic property cluster with a dehumanizing motive at its core. (shrink)

Xunzi’s 荀子 advocacy for moral education is well-documented; precisely how his program bolsters moral development, and why a program touting study of ritual could be effective, remain subjects of debate. I argue that these matters can be clarified by appealing to the theory of learning and development offered by Lev Vygotsky. Vygotsky posited that development depends primarily on social interactions mediated by sociocultural tools that modify learners’ cognitive architecture, enabling increasingly sophisticated thought. Vygotsky’s theory is remarkably similar to Xunzi’s (...) account of how studying and practicing ritual restructures learners’ moral psychology. Specifically, both Vygotsky and Xunzi offer nonnativist accounts of psychosocial development that emphasize the centrality of sociocultural tools for learning. This comparison yields a more nuanced and empirically supported interpretation of Xunzi’s account of moral education, as well as an account that has applications in contemporary work in moral education and development. (shrink)

This paper addresses Gaston Bachelard’s phenomenology of imagination. In his book The Poetics of Space, Bachelard stresses two major elements that are significant in the creation of real images: imagination and memory. Throughout The Poetics of Space, he speaks explicitly of houses of memory and dreams and homes of childhood. However Bachelard does not speak directly of architecture, his contribution to architecture needs to be analyzed and interpreted precisely. This objective is accomplished by arguing for two basic concepts in Bachelard’s (...) thought: the development of the concept of meaning, and recourse to the function of inhabiting. Further, the knowledge gaps in the link between inhabitation and architecture are addressed through a proposal to implicate the phenomenology of imagination in architectural education. (shrink)

Medical schools are among the most important spaces for the history of the body. It is here that students come to know the anatomical bodies of their future patients and, through a process of cognitive and embodied practice, that the knowing bodies of future clinicians are also shaped. Practical and theoretical understandings of medicine are formed in these affective and historied buildings and in collaboration with a broad material culture of education. Medical schools are, however, both under-theorised and under-historicised. (...) This article integrates ‘materialist’ considerations of the body with Henri Lefebvre’s philosophy of space and rhythm in order to compare two markedly different spaces – the 19th-century Anatomy Department at Semmelweis University in Hungary and the mid-20th-century ‘skills laboratory’ at Maastricht University in the Netherlands. This comparison suggests that biomedical bodies are variously shaped by the agential and affective material histories present in the everyday experience of contemporary medical education. (shrink)

Although Utopia makes reasonably frequent appearances within humanities and social science teaching (at least as a topic, even if only to be denounced), it remains at best at the far periphery of architecture education. Thus, any essay proposing the relevance of utopic pedagogies for architecture education, and its subsequent professional practice, must come to terms with the strange absence of Utopia from the heart of the curriculum (and from the concerns of most architecture students, educators, theorists, historians, and (...) practitioners).It is with such a pervasive absence in mind that in this article I will first offer a brief overview of how and why Utopia has become anathema for architecture education .. (shrink)

Rudolf Steiner, the often undervalued, multifaceted genius of modern times, contributed much to the regeneration of culture. In addition to his philosophical teachings, he provided ideas for the development of many practical activities including education--both general and special--agriculture, medicine, economics, architecture, science, religion, and the arts. Today there are thousands of schools, clinics, farms, and many other organizations based on his ideas. Steiner's original contribution to human knowledge was based on his ability to conduct spiritual research, the investigation of (...) metaphysical dimensions of existence. With his scientific and philosophical training, he brought a new systematic discipline to the field, allowing for conscious methods and comprehensive results. A natural seer from childhood, he cultivated his spiritual vision to a high degree, enabling him to speak with authority on previously veiled mysteries of life. Topics include: a social basis for education; the spirit of the Waldorf school; educational methods based on anthroposophy; children at play; teaching through the insights of spiritual science; adolescents after the fourteenth year; science, art, religion, and morality; the spiritual basis of education; the role of caring in education; the roots of education and the kingdom of childhood; address at a parents' evening; and education within the broader social context. (shrink)

Context: Structural design education in architecture is typically conceived as a scientific subject taught in a lecture format and based on a transactional view of learning. This approach misses opportunities to contribute to and integrate with design-studio-based architectural education. Problem: How can radical constructivism inform a design-based pedagogy of structural design in the context of large cohorts of Chinese learners? Method: The paper outlines how radical constructivist and second order cybernetic perspectives are reflected in an alternative educational (...) approach to structural design. This approach encourages students’ individual learning while negotiating constraints deriving from large cohorts as well as the educational expectations of Chinese learners. Results: Teaching outcomes as well as students’ comments show successes in engaging students in adopting a more personal and active attitude in their learning. Students appreciate and praise learning grounded in experience as well as collaborative, peer-led learning. Challenges remain in establishing a more dialogical learning situation and in supporting individual students’ learning in large student cohorts. Implications: Limitations arise from the constraints imposed by large cohorts, limited manpower and an institutional preference for teaching towards written examinations. The research and teaching development presented are ongoing. This paper may inform educators in the fields of architecture and engineering as well as, more generally, educators who seek to develop their teaching based on a radical constructivist epistemology in the context of large cohorts. Constructivist content: The teaching approach presented links a radical constructivist perspective based on Ernst von Glasersfeld’s work with second-order cybernetics in the context of design-based education. The paper discusses challenges and opportunities for this approach in the context of large cohorts of Chinese learners. (shrink)

Silos, mills, sheds, and refineries: Across most of Oklahoma’s gently rolling prairie countryside these artistically uninformed structures often provide the only vertical punctuation to a landscape otherwise made of mostly horizontal lines. One of the pleasures of teaching architecture here is to participate in the intellectual progress of students—many of whom hail from rural areas and have traveled little—as they eventually come to regard these structures with much the same admiration expressed for them some eighty years ago by Le Corbusier (...) in his rallying polemic against the arbitrariness of nineteenth-century architecture: Vers Une Architecture.1 Like Le Corbusier, many of my students would have their work .. (shrink)

This short book provides an introduction to the study of education, outlining the dual purpose of education - to help people live well and to help develop a world worth living inches It argues that education initiates people into forms of understanding, modes of activity, and ways of relating to each other and the world that not only help individuals to live good lives, but also help secure a culture based on reason, productive and sustainable economies and (...) environments, and just and democratic societies. Subsequent chapters address the history of education in the West; explore how education reproduces the practices and forms of life in societies and groups, and also how it transforms them; and introduce the theory of practice architectures to explain what practices are composed of, and how they are enabled and constrained by local and more general conditions and circumstances. The book closes by showing how the theory of practice architectures unfolds to offer a theory of education - a theory that underpins the definition of education offered at the start of the book. Understanding Education is essential reading for anyone interested in the theory and practice of education. (shrink)

Open peer commentary on the article “Radical Constructivist Structural Design Education for Large Cohorts of Chinese Learners” by Christiane M. Herr. Upshot: Herr’s target article outlines a teaching approach that illustrates and explains how radical constructivism can be used to teach architectural design principles to a large cohort of students. Herr’s approach consists of a hybrid set of instructional activities whose implementation was supported by her establishment of a social climate in the classroom that encouraged the contributions of (...) individuals in the learning process. The activities included the integration of lectures with other teaching formats, the use of open‑ended problem solving tasks, and the use of small‑group projects. I will discuss each of these activities and offer a recommendation for future research. (shrink)

The Aesthetic Dimensions of Educational Administration and Leadership provides an aesthetic critique of educational administration and leadership. It demonstrates the importance of aesthetics on all aspects of the administrative and leadership world: the ways ideas and ideals are created, how their expression is conveyed, the impact they have on interpersonal relationships and the organizational environment that carries and reinforces them, and the moral boundaries or limits that can be established or exceeded. The book is divided into three sections. · Section (...) I examines various philosophical traditions in aesthetics as they inform administrative life, focussing on major modern traditions arising from Kant, romanticism and Nietzsche, Collingwood, the pragmatic school, and critical theory. · Section II explores four aesthetic sources for administrative critique - architecture, literature, film, and movement - as they serve both to understand the social construction of administration and leadership and provide a critique of values, roles, power and authority. · Section III examines more topical and applied problems of charisma, heroism, and authority in practice, concluding with a discussion of the aesthetic analysis of politics and power within the context of contemporary educational administration and leadership theory. While presenting a significant departure from conventional studies in the field, the international contributors reflect a continuity of thought on the creation, use and abuse of administrative and leadership authority from the writings of Plato through to contemporary theory. This book should appeal to school administrators and leaders and those aspiring to these roles. (shrink)

This is a work that is extremely interesting, instructive--and problematic. Its authors are two architectural historians and theoreticians who are dissatisfied with both the modern notion of historical progress and the postmodern notion of sheer historical flux as they impact architectural theory and practice. For both moderns and postmoderns, the past is a matter of antiquarian curiosity at best. The authors aim at securing, from the study of the past, principles for the education of "citizen-architects" who will (...) connect person to person and human beings to the world. Both stand in some way under the acknowledged influence of Leo Strauss, who viewed "Western civilization in its premodern integrity" as the creative tension between Athens and Jerusalem. They embody this tension in the structure of the book, where the odd chapters display van Pelt's orientation toward Jerusalem and its prophetic tradition, while the even chapters show Westphal's orientation toward Athens and the philosophic tradition. (shrink)

L’éducation à la vie, entendue en son sens le plus haut comme libre réalisation de soi, constitue la finalité constante de l’œuvre philosophique de Fichte. Au sens spéculatif, Fichte combine le concept d’image et la possibilité de proposer des visions du futur dans lesquelles l’image idéale ne vise pas à dépeindre la réalité, mais à l’inverse représente le futur. La transcription de ces images ou idées dans la réalité ne saurait s’effectuer qu’au moyen de l’art, offrant ainsi une vision sensuelle (...) de l’idée de la vie immédiate. Cet article cherche avant tout à étendre cette idée bien connue des recherches fichtéennes au discours du philosophe sur l’architecture comprise comme un « symbole de la vie ». (shrink)

Institutions of higher education in the United States are remarkably diverse in their educational purposes, their organizational structure, and their architectural styles. But underlying all this diversity are two distinct historical models: the decentralized British "collegiate" model of university education, and the centralized Germanic university model. Early American higher education grew out of the British collegiate tradition and emphasized the comprehensive development of students' intellect and character, while the Germanic university tradition, introduced in the late 1800s, (...) shifted the focus to technical scholarship and research. The Germanic university model held sway for much of the twentieth century, but there is now a widespread renewal of interest in the older decentralized British collegiate model, and in universities across the United States and around the world, small "residential colleges" like those at Oxford and Cambridge are now being planned and built. These residential colleges or "houses" (as they are sometimes called) provide small, stable, faculty-led, home-like environments for a few hundred students each, and their social and architectural design seeks to counteract the impersonal bureaucratic experience that students often have in large Germanic-style universities. This revival of the collegiate model of university organization is one of the most important trends in the design of educational communities in the world today. (shrink)