The Discipline of Architecture by Andrzej Piotrowski
By Andrzej Piotrowski
Structure A polemical examine how architectural wisdom is produced, disseminated, and bought. within the big literature on architectural concept and perform, the ways that architectural wisdom is de facto taught, debated, and understood are too frequently overlooked. The essays accumulated during this groundbreaking quantity tackle the present country of structure as a tutorial self-discipline. the problems thought of variety from the shape and content material of architectural schooling to the architect's social and environmental duties and the emergence of a brand new new release of architects. frequently serious of the present paradigm, those essays provide a provocative problem to approved assumptions in regards to the construction, dissemination, and reception of architectural wisdom. participants: 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 kingdom U; David Leatherbarrow, U of Pennsylvania; A. G. Krishna Menon, TVB institution of Habitat experiences, India; Garth Rockcastle, U of Minnesota; Michael Stanton, American U, Beirut; Sharon E. Sutton, U of Washington; David J. T. Vanderburgh, Universit Catholique de Louvain, Belgium; and Donald Watson, Rensselaer Polytechnic Institute. Andrzej Piotrowski is affiliate professor of structure and Julia Williams Robinson is professor of structure, either on the collage of Minnesota. Translation Inquiries: college of Minnesota Press
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Or to surrender it to the questionable uses of others,2 but any discussion must certainly take into account the collusion of knowledge with the status quo, especially when confronting an art as compromised as architecture. 3 While buildings are relatively permanent, data pertaining to them are anything but. Knowledge is cheap, pervasive, and indiscriminate. 4 To avoid evident problems of deﬁnition, knowledge will be presented here as material, method, and location, rather than as essence or standard, thus intentionally sidestepping epistemological or hermeneutic structures, both out of respect for their origins and to avoid the delirium of current interpretations.
Given the complex criteria that come into play in design and the discouragement or confusion they can engender, it is indeed necessary to provide reassurance. A sense of achievement should accompany early design work, but it must also be recognized that the restrictive criteria for formal production, while generating instant fulﬁllments, also promote powerful notions of what constitutes a body of architectural knowledge. Curriculum is presented in abstract problems permitting certain limited “moves,” ensuring an attractive product almost guaranteed by the rules, but at the same time implying an ethos of “design as game” that avoids the messy issues that face a troubled discipline.
As an archi- Disciplining Knowledge — 31 tect, I can only speculate on the function and goals of the ﬁne arts, but a primarily compositional impulse in our particular art seems problematic. Architecture is primarily an aesthetic endeavor, but ﬁnally it is a cultural act. 22 Concurrently there has been a revival of teaching programs with similar objectives. Tough issues — political, economic, disciplinary — are avoided, and beguiling form is achieved. The products look good, and given their universal source and the reductive rules for their alteration and material, they look good together.