Posts tagged with "Architecture Schools":
For aspiring designers in the Palestinian Territories, educational opportunities are relatively few and far between. Some universities in the area offer traditional design courses for students, but the region’s continuing state of conflict has limited available resources for designers, including access to global markets and networks. The founders of the Palestine-based collective Disarming Design From Palestine are establishing a school to fill the void.
Located in the town of Birzeit in the West Bank, the Disarming Design School is the first contemporary design school in the Palestinian Territories. It offers peer-to-peer learning programs for Palestinian students, as well as residencies for foreign students looking to acquire knowledge of local design and craft techniques. The school is also meant to serve as an important resource for local artisans and designers. Professional workshops, movie screenings, and lectures will be supplemented by a design library and a creative lab. As cofounder Annelys De Vet told Dezeen, the long-term goal is to form an academy that cultivates a critical design curriculum that is “inclusive, community-based and focused on resilience, emancipation, and self-empowerment through acts of design.”
De Vet and her co-founders, Raed Hamouri and Ghaleed Dajani, are already well-established in the Palestinian design world. In 2012, they set up a label to sell Palestinian-designed items on international platforms. Through the sale of useful goods, Disarming Design From Palestine aims to present “alternative narratives about contemporary Palestine” and, more broadly, to explore the role of creative practices under conditions of conflict. Members of the label’s team will serve as tutors for students participating in this summer’s workshops, teaching alongside curators from the Palestinian Museum in Birzeit and academics from the Willem de Kooning Academie in Rotterdam, the Lucerne School of Art and Design, and Sint Lucas School of the Arts in Antwerp.
In a part of the world where international travel can be difficult, Disarming Design is fostering a program that is decidedly global. The next step for the young institution is to collaborate with the Sandberg Instituut to set up a temporary masters program in Amsterdam focusing primarily on design in conflict zones. A predetermined portion of the master's students will be Palestinian and will be expected to return to the school in Birzeit as instructors. Similar to the specialized lecturers and tutors leading the Disarming Design School’s first workshops in the West Bank, they will bring global and local design perspectives to a region of the world in need of both.
From my own teaching experience there’s nothing more potent than being able to talk with students about the space around you—in this case, the building’s collaborative configuration, innovative structure, considered material and detailing choices, environmentally-driven site, and synergistic landscape concepts that define the project.The building is organized around an interior atrium lit during the day by several skylights. This daylighting strategy reduces energy consumption and provides the school with a bright central space for exhibitions, design critiques, lectures, informal gatherings, and other events. The studios and classrooms are arranged around the atrium, visually connected to the commons through window apertures that allow visitors to glimpse the work being done by the students and faculty. The design of the building’s commons also emphasizes the unification of the university’s departments of Architecture, Landscape Architecture and Regional Planning, and the Building and Construction Technology program into one singular facility. In addition to its extensive use of wood products, the architects chose to clad the building with copper-finished aluminum panels that protect the highly-efficient envelope. Though the building fills much of the site, the landscape design by Stephen Stimpson Associates strategically uses native plants and local paving materials to connect the building to the larger campus. In the end, the building cost $52 million to construct, a price tag that was partially funded by Massachusetts State Legislature, and adds 87,500-square-feet of additional interior space to the university. Suffolk was the construction manager.
The winning project was conceived as a result of close interdisciplinary cooperation between Vargo Nielsen Palle, ADEPT, Rolvung & Brøndsted Arkitekter, Tri-Consult and Steensen Varming. The development will replace the Aarhus School of Architecture’s outdated premises in the old merchant’s house at Nørreport; originally intended as a ‘temporary’ home, they have been the primary facilities for the school for more than 50 years.See the full jury report, including designs from the other competing firms, here. Written by Patrick Lynch
- Creative or technical knowledge can only be passed on through direction supervision.
- The hand and eye of the disciple can only be cultivated, monitored, and authenticated by an appointed authority, typically a master or a master’s apprentice.
- The authority of the master’s opinion is evidenced by the caerful replication of the academy’s official style(s) and through the copying of known works by the master.
- Until sanctioned by the master or the academy itself, the disciple remains a novice and therefore an intellectual and creative subordinate.
- Any challenges to this (mostly) patriarchal order are considered heretical. (To wit: The Salon des Refusés of 1863.)
Architectural education today, perhaps not surprisingly, finds itself at a similar juncture some 50 years after institutions such as the IAUS, the Cooper Union, SCI-Arc, and the Architectural Association challenged accepted architectural academic orthodoxies, much like CalArts did in the arts. Many of the very schools of architecture that modeled new and innovative forms of teaching and pedagogy in the 1970s and 1980s now find themselves mired in various forms of academic cult worship: Digital traditionalisms, faux-art fetishisms, silly mannerist dead-ends, philosopher-shaman worship, and other neoconservative returns. The outcomes of this neoliberal and cultish return to a seemingly 19th century Beaux Arts models of architectural education have been devastating: Several generations of students were robbed of their voices and their right to grow potent individual practices; the architecture school falsely made into an imprimatur-machine for its academics, superseding the idea of a school as a space for free conversation, debate and critique; and most worryingly, the importance of the architectural school as an autonomous intellectual and cultural institution has been trolled and traded in, cheaply, for the bad faith business-innovation-two-point-oh-idea of education as an enterprise, student and teacher masquerading as entrepreneur and investor. Freeing architectural education now seems imperative and necessary. If we have reached the end of the current road, perhaps this is a golden opportunity to challenge these tired orthodoxies and to create a space for new forms of education, perhaps in post-studio and post-digital formats. This will require a challenge to these cults, and of them, the cult of the digital must be confronted and interrogated ruthlessly. Technology and its misuse and abuse, in particular, must be wrestled with now. As Peter Eisenman recently noted, “Technology is a cruel tool, because what it does is defer the possibility of the student being creative. The student can take an algorithm, produce 50 alternatives to the same problem… It takes away from you the possibility of value judgment.” Beyond the problem of too much technology, which might have an easy fix—namely turning off the screen once in a while in studio to read and think for an hour or two—one imagines that an inversion of the aforementioned and blindly accepted new academic traditions might produce a post-studio model of architectural education that could be constructed along these lines:
Well, the whole idea was to raise the question what do you do in an art school? And you say, "Well, what courses are necessary to teach?" and that is question begging in a way, because you can say, "Well, can art be taught at all?" And, you know, I prefer to say, “No, it can’t. It can’t be taught.” You can set up a situation where art might happen, but I think that’s the closest you get. Then I can jump from there into saying, “Well, if art can’t be taught, maybe it would be a good idea to have people that call themselves artists around. And something, some chemistry, might happen.” And then the third thing would be that to be as non-tradition-bound as possible, and just be very pragmatic, whatever works. You know, and if one thing doesn’t work, try another thing. My idea was always you haven’t taught until you see the light in their eyes. I mean, whatever. Extend your hand, that’s what you do. Otherwise, you’re like a missionary, delivering the gospel and leaving. [laughs]”2
- Creative or technical knowledge can be shared through engaged debate, critique, and conversation.
- The relatively high value placed on the approved hand and eye of the student as an expression of the notion of individual genius should be challenged.
- The fast paced reproduction of official styles and the copying of contemporary professional works should be exchanged for awkward experimentation and slow growth.
- The student and the teacher must be seen as intellectual and creative colleagues whose conversations followed shared but not parallel paths.
- Intelligent challenges to accepted academic concepts by students and teachers alike should be celebrated and not extinguished.