As a graduate
student in the Department of Architecture at Berkeley and a member of the
Berkeley Prize Committee, I've had the unique opportunity to observe almost
every aspect of the 2001 Berkeley Prize Competition. Professor Lifchez invited
me to share a few of my thoughts on the Berkeley Prize, which I believe is
one of the most important and unique opportunities available to undergraduate
architecture students.
Background
Throughout the course of my undergraduate education at the University of Minnesota,
I actively sought to link my personal studies to greater community involvement.
During my second year, I enrolled in an interdisciplinary community service-learning
course through the university's extension service--a course that I eventually
co-taught. The approaches to learning and service employed by the class revealed
innumerable connections between my studies in architectural theory and design,
the social sciences, and my daily life. This realization was perhaps the most
identifiable motivation for me to link my on-going coursework with community
and professional service. For me, these are prime examples of architecture
as a social art.
Upon graduation,
in conjunction with my service on the 1999-2000 Association of Collegiate
Schools of Architecture (ACSA) Board of Directors, I had the opportunity to
serve as a member an ACSA standing committee that oversees its Architects
in Society Initiative. Building on my undergraduate experiences, research,
and corresponding honors thesis, as well as some preliminary research done
by the committee, I compiled and edited a 120-page sourcebook that was recently
published by ACSA Press. This book has been very well received and has served
as a catalyst for many recent ACSA initiatives.
My ongoing work
through the ACSA has spawned invitations to present my findings at a number
of professional and scholarly meetings throughout the country. While most
have been short-term discussions on a variety of issues relating to community
design and the role of community service in architectural education, my involvement
with the Berkeley Prize for Architectural Design Excellence Competition has
provided a unique opportunity watch this discussion extend across continents,
time, and, on a personal level, two very different periods in my life.
I was first approached
by Professor Lifchez in February 2000-before I had even been accepted to the
MArch program at Berkeley--to help publicize the second annual Berkeley Prize
Competition nationally. Still, I didn't fully realize how special the competition
really was until the submissions starting filtering in on the Berkeley Prize
Web site. By simply looking at the range of countries and schools represented
at every stage of the competition, it became quite clear that the abstracts
and essays represent an international cross-section of undergraduate thinking
and understanding on the concept of architecture as a social art. But most
significantly, they contain refreshing perspectives about the role of the
discipline and profession of architecture in supporting this ideal.
While the primary
goal of the competition remains to challenge students to think about architecture
as a social art, in conjunction with the seminar noted above, I've attempted
to capture the spirit of this competition, distill its most valuable ideas
and references, and redistribute the findings through a series of teaching
and writing initiatives. These initiatives will inform future competitions
while simultaneously building and documenting a landmark international discussion.
General Findings
In addressing this year's question, many of the essays attempted to address
larger or more general questions such as "What is architecture?"
and "What does it mean to be an architect?" Within the first few
lines of their essays, many literally defined architecture via a single word
or short phrase. Architecture is: accommodation, appropriation, communication,
elevation, hope, manna, public science, revelation, social science, etc. Accordingly,
many framed architecture as a noun, a product, or thing. Others defined it
as action: a necessarily social process or "social responsibility in
action," as one student from the University of Minnesota contended.
People quoted
and referenced an array of things from rap lyrics to figureheads like Winston
Churchill, Vitruvious, Thomas Jefferson, graphic designer Tibor Kalman, and
even The Bible. Still, others quoted cult movies such as The Matrix and Fight
Club or even the popular movie about the suburbs, Edward Scissorhands. Some
references were more predictable such as Frank Lloyd Wright and someone who
is almost as frequently recognized by the public as the stereotypical architect,
Howard Roark of Ayn Rand's The Fountainhead. The most referenced book was
Garry Steven's The Favored Circle--a controversial look at the profession
of architecture, but one that also accurately discusses the role of clients
and users. Finally, of little surprise, the people or groups that were referenced
in the competition introduction, namely Aldo van Eyck and Team X, drew a significant
number of references, as did predictable hot topics such as technology and
the Internet.
The exact references
aside, I believe it is more important to note that most people spoke with
confidence about and took ownership of the issues facing our profession and
society in general by employing the terms "we architects," "we
people," or "we students." Instead of more passive words like
"would" or "could," many relied on more active words like
"must, should, will, etc. Others referenced the concept of time arguing,
"We are now poised to contribute to society."
Ironically, according
to the limited demographic information requested of entrants, most of the
participants were little more than halfway through their undergraduate education.
And while they represent an array of pre-professional and professional program
types, one has to wonder about the type of undergraduate courses that helped
them formulate and articulate their understandings of architecture as a social
art. Do their perspectives on it originate in architecture courses, general
liberal arts courses, or a combination thereof? What kind of courses do or
could best facilitate this important discussion?
Part of my original
proposal was to consider how this could actually happen. Based on my fair
understanding of Berkeley's undergraduate curriculum and thorough understanding
of a dozen or so other school's undergraduate curriculum, it's fair to say
that this concept is touched on in a variety of introductory courses, seminars,
and even studios. Still, based on my limited undergraduate and graduate experiences,
I would argue that the emphasis on architecture as a social art remains a
secondary focus at best.
Perhaps that
is why I'm such a big fan of the Building Community report compiled by the
late Ernest Boyer and Lee Mitgang on behalf of the Carnegie Foundation for
the Advancement of Teaching. In its seventh chapter/goal, "Service to
the Nation," among other things, the authors state:
"Students
and faculty alike should regard civic activism as an essential part of scholarship."
"For students
to recognize the professional and ethical importance of civic engagement in
their own lives, such behavior ought to govern the day-to-day conduct of each
faculty member and the school as a whole."
"...[A]ll
programs should provide students more opportunities to integrate civic affairs
into the curriculum itself."
"Schools...must
place far greater priority in preparing graduates to be effective and empathetic
communicators, able to advocate with clarity for the beauty, utility, and
ecological soundness of the built environment."
"It is not
enough...for schools to provide students with community experiences for their
own sake. The goal should be to provide opportunities for students and faculty
to work together in communities to produce genuine scholarship with broad
applicability, and to disseminate those findings so that others can benefit
from those experiences."
In typical Building
Community report criticism tradition, the question of how? remains.
Finally, many
of the respondents danced around the question, "What does it mean to
be an architect?" This, or a question close to it such as "Why do
you want to be an architect," is a recurring question on architecture
school applications, scholarship forms, and even tests. Technically (in the
eyes of the state licensing boards and the profession), none of us will find
out until we've passed the Architects Registration Examination, but we'll
inevitably be asked and expected to work and think like one much sooner.
Addressing this idea, the new ArchRecord2, a Web portal within the Architectural
Record Web site, recently posed the same question to its readership: "What,
or who, inspired you to become an architect?" A New Zealand architect
responded, "To have an effect…to make something to be proud of…to
change the way that people see." Another quoted one of his teachers who
apparently confided in his students, "Architecture is everywhere; people
experience it every day of their lives. You can stand back and look at it
like paintings; you can walk around it and appreciate the detail like sculpture.
Most importantly, you can go inside and get the total experience." The
student concluded with "This obviously wasn't what inspired me in the
first place, but it inspires me to keep going." I think that idea of
how our motivations change throughout our education and career is an important
one.
Looking back at one essay response, I was especially taken by a reference
to the 19th-Century theorist, Henri de Saint-Simon, who described architecture
and architects with a symbiotic metaphor: that they are both a "lamp"
and a "mirror" for society, directing its social progress as well
as representing its current condition.
Original Assumptions
Following are the four quotes that I selected during the second week of a
seminar led by Berkeley Professor Donlyn Lyndon, FAIA, with a special three-week
component led by Team X co-founder, Peter Smithson:
"While we
(architects) doggedly pursue ways of achieving aesthetic goals in buildings,
we act rather timidly in the pursuit of public policy changes that would enable
us to reach no less ambitious goals in practice."
--Thomas Fisher,
In the Scheme of Things, Alternative Thinking on the Practice of Architecture
"I am proud to be an architect and don't propose we go out and tear down
any buildings. I do propose, however, we tear down some of the myths and misperceptions
that architects have about public policy and vice versa."
--Thomas Jefferson,
architect and statesman
"By our very nature, architects are constructive, cooperative and creative
problem solvers and as such, have splendid leadership qualities to offer.
Likewise, public policy can only evolve and mature, if architects better use
their integrated creative skills to have a greater say in local, national
and international governmental affairs…I only suggest that architecture
is made up of much more than just the aesthetics of design, and that we must
consider a broader set of issues, and set new objectives for participation
in public life."
--Excerpted from
"Leadership by Design: Public Policy and the Practice of Architecture"
by Richard Nelson Swett, FAIA, published in ArchVoices intern newsletter (12/00)
"The realization of an architectural design isn't purely a technical
matter. It also has a cultural dimension--It is not only the public use of
buildings that makes architecture a social art, it is also the architect's
engagement with clients, communities, contractors and others whose participation
is required to alter the material world. If architects can fully gratify their
creativity on paper, they are squandering the opportunity they have to activate
the creativity of others."
--Herbert Muschamp,
critic, The New York Times, "A Fleeting Homage to an Architect Who only
Dreams"
Like many of the competition responses, the above quotes stress the need for
architects to engage in activities beyond traditional architectural services
in the same way that I argue students should engage in activities well beyond
their architectural studies. More importantly, the quotes stress the importance
of communication among our discipline, profession, and the public.
As stated above,
I was introduced to the Berkeley Prize Competition while working in a number
of capacities with the collateral organizations of architecture (ACSA, AIA,
AIAS, NAAB, and NCARB) attempting to do just that. The majority of our collateral
discussions continue to stress the contributions of community design centers,
design/build programs, livable communities, etc., and yet only one of the
77 original abstracts (authored by the 2000-2001 AIAS National Vice President)
made direct reference to any one of these initiatives.
Still, I contend
that the reason more didn't is not a result of lack of interest, but rather
a lack of awareness that such programs exist. Raising awareness and understanding
of the unique opportunities afforded to students, faculty, and our respective
communities through civic engagement, community design, design/build, and
basic voluntarism, should remain a primary goal. These types of programs are
based on and nurture the principles and objectives that can best guide architects
committed to the concept of architecture as a social art.
Biography
John Cary is a MArch candidate in the Department of Architecture at Berkeley
and a member of the Berkeley Prize Committee. He earned a BA in architecture,
summa cum laude, from the University of Minnesota and served as the 1999-2000
AIAS National Vice President as well as the 1999-2000 editor-in-chief of Crit,
the journal of the AIAS. John has been published and recognized nationally
for his writings on architectural internship, community design, and student
involvement. He is currently co-authoring a book on the Italian architect
and writer, Giancarlo De Carlo, a founding member of Team X. John can be reached
by email at johncaryjr@hotmail.com.
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