Not Signed-In
Which clippings match 'Return To Order' keyword pg.1 of 1
20 MARCH 2013

Radical Pedagogies in Architectural Education

"Pedagogical experiments played a crucial role in shaping architectural discourse and practice in the second half of the 20th century. In fact, the key hypothesis of our Radical Pedagogy[1] research project is that these experiments can be understood as radical architectural practices in their own right. Radical in the literal meaning from the Latin radice, as something belonging or relating to the root, to its foundations. Radical pedagogies shake foundations, disturbing assumptions rather than reinforcing and disseminating them. This challenge to normative thinking was a major force in the postwar field of architecture, and has surprisingly been neglected in recent years. ...

Architectural pedagogy has become stale. Schools spin old wheels as if something is happening but so little is going on. Students wait for a sense of activist engagement with a rapidly evolving world but graduate before it happens. The fact that they wait for instruction is already the problem. Teachers likewise worry too much about their place in the institutional hierarchies. Curricular structures have hardly changed in recent decades, despite the major transformations that have taken place with the growth of globalisation, new technologies, and information culture. As schools appear to increasingly favour professionalisation, they seem to drown in self–imposed bureaucratic oversight, suffocating any possibility for the emergence of experimental practices and failures. There are a few attempts to wake things up here and there but it's all so timid in the end. There is no real innovation.

In response to the timidity of schools today, the Radical Pedagogy project returns to the educational experiments of the 1960s and '70s to remind us what can happen when pedagogy takes on risks. It's a provocation and a call to arms."

(Beatriz Colomina with Esther Choi, Ignacio Gonzalez Galan and Anna–Maria Meister, 28 September 2012, The Architectural Review)

1). Radical Pedagogy is an ongoing multi–year collaborative research project by a team of PhD candidates in the School of Architecture at Princeton University, led by Beatriz Colomina and involving seminars, interviews and guest lectures by protagonists and scholars. The project explores a remarkable set of pedagogical experiments of the 1960s and '70s that revolutionised thinking in the discipline. Each student is working on one of these experiments and collectively mapping the interconnections and effects of these experiments towards a major publication and exhibition.

Fig.1 Tournaments in the Course 'Culture of the Body', at the Valparaíso School, 1975. Courtesy of Archivo Histórico Jose Vial, Escuela Arquitectura y Diseño, Pontificia Universidad Católica de Valparaíso

1

TAGS

1960s1970s20th centuryacademic disciplinesactivism • Alberto Perez-Gomez • Alexander Girard • Alexis Josic • alternative visions • Anna-Maria Meister • architectural discourse • architectural educationarchitectural pedagogyarchitectural practice • architectural radicalism • architecturearchitecture schoolsartificial intelligence • autochthonous tools • Beatriz Colomina • brave new worldBuckminster Fullerbureaucratic reduction • bureaucratic structures • call to arms • capitalist structures • Cedric Price • challenging conventionsCharles Eamescold war • collective defiance • conceptual speculation • consumable plastics • conventional logicconventionalityconventions • cultural milieu • cultural transformation • curricular structures • curriculum innovation • cybernetics • Dalibor Vesely • Daniel Libeskind • David Leatherbarrow • decentralised university • Denise Scott Brown • design disciplinedesign educationdesign formalismdesign fundamentalism • disciplinary assumptions • disciplinary limits • disciplinary protocols • disciplinary self-reflexivity • emerging practices • Emilio Ambasz • Esther Choi • experimental pedagogy • experimental practices • experimental teachinggeopolitical landscape • George Candilis • George Nelson • Germano Celant • Giancarlo De Carlo • Gillo Dorfles • globalisationGyorgy KepesHannah Arendthegelian dialecticHenri Lefebvrehermeneutics • Ignacio Gonzalez Galan • information culture • institutional authority • institutional critique • institutional hierarchies • institutionalisation • instrumentality • Jean Baudrillard • Joseph Rykwert • linguisticsman machine • mass produced desire • mass productionmodernist tradition • Mohsen Mostafavi • new social ordernew technologiesNicholas Negroponte • non-architecture • non-school • Octavio Paz • pedagogical experiments • pedagogical institutions • pedagogy • pedagogy experiments • phenomenology • post-technological society • professionalisation • progressive pedagogical initiatives • provocationquestioning traditions • radical architectural pedagogies • radical architectural pedagogy • radical architectural practices • radical pedagogical experiments • radical pedagogies • radical pedagogy • radical practice • radical practices • radical strategies • radical upheaval • radicality • radice • rapidly evolving world • Ray Eamesreconceptualisationredesigningreinterpretationresearch project • retreat into formalism • return to order • Robin Evans • science fictionself-reflexivity • Shadrach Woods • socio-political • socio-political efficacy • spaceships • speculative interventionsspeculative proposalssubversive actions • Suzanne Keller • taking risks • techno-utopia • technological • technological advancestechnological determinism • Texas Rangers • The Architectural Review • transformational engagementUmberto Ecoutopian perspectiveutopian technological prophecyVietnam war

CONTRIBUTOR

Simon Perkins
16 JANUARY 2013

Call to Order: the pretentious sterility of culture

"In a masterstroke of design, the curator of Chaos and Classicism, Kenneth Silver, chose a work of art to illustrate the Nazi annexation of neoclassicism that at first glance is anything but threatening. The Four Elements by Adolf Ziegler decorated the walls of Hitler's Munich apartment. A member of the Nazi Party, Ziegler was charged by Hitler in 1937 to stage–manage the purge of modern art in the notorious Exhibition of Degenerate Art. Ziegler's depiction of four nude women who symbolize fire, earth, air and water, the four elements of nature recognized in antiquity, personifies little but the pretentious sterility of culture under the Third Reich. Yet, it is the perfect embodiment of the banality of evil."

(Ed Voves, 4 October 2010)

Fig.1 Adolf Ziegler, The Four Elements: Fire, Water and Earth, Air, (Die vier Elemente. Feuer, Wasser und Erde, Luft), before 1937, Oil on canvas, three panels, left to right: 170.3 x 85.2 cm, 171 x 190.8 cm, and 161.3 x 76.7 cm, Bayerische Staatsgemäldesammlungen, Sammlung Moderner Kunst in der Pinakothek der Moderne, Munich.

1

TAGS

1937Adolf Hitler • Adolf Ziegler • air • antiquitybanalitycall to orderchaos and classicismclassical beautyclassical formcorrectioncultural productionEarth • elements • emasculation • essential elements of artessentialismExhibition of Degenerate Artfascismfire • Kenneth Silver • masterstroke of design • modern artmodernismMunichnatureNazi • Nazi Party • neoclassical revivalneoclassicismnude women • pretentious sterility of culture • purificationpurity • racial purity • return to ordersterility • The Four Elements • Third Reichwaterwork of art

CONTRIBUTOR

Simon Perkins
16 JANUARY 2013

Call to Order: the subordination of the matter to the light of the form

"The French poet and filmmaker, Jean Cocteau, is usually given the credit for the title by which the neoclassical revival of the 1920′s and early 1930′s is known. Le Rappel a l'ordre or the Call to Order summoned the civilized world to its senses. These were the very organs, you will recall, that had been ripped away by a shell fragment in Dix's Skin Graft.

This 'call to order' actually had its roots in French wartime propaganda. The virtues of France's Latin–based civilization were ranged against the Teutonic brutalism of the Germans. Before the war, néoclassicisme had languished like a discarded stage prop. In 1918, with the 'Huns' surging for a second time toward the gates of Paris, Cocteau and others summoned the cultural icons of Greece and Rome to join the Allied ranks. That year, Cocteau published a book, Le Coq et l'Arlequin, which he revised and renamed in 1924 as Le Rappel a l'ordre. The message was the same, without the 'us versus them' jingoism of the war: civilization must look to its ancient past to regain its bearings and enhance its vitality.

Cocteau's thesis found an appreciative audience in many circles, including the United States. According to French writer Jacques Maritain, 'what makes the purity of the true classic is … a subordination of the matter to the light of the form.' The discipline and dedication of the artist would admit only the essential elements of art into the work being created, excluding anything that would 'debauch' the senses of the viewer."

(Ed Voves, 4 October 2010)

TAGS

1920s19241930s • ancient past • brutalismcall to orderchaos and classicism • civilized world • classical formcreative fundamentalism • cultural icons • debauch • enhance vitality • essential elements of artessentialismGermanGreek • Jacques Maritain • Jean Cocteaujingoism • light of the form • neoclassical • neoclassical revivalneoclassicism • neoclassicisme • nostalgiapurity • regain bearings • return to order • revival • Romanromanticism • senses of the viewer • Teutonic • Teutons • true classic • us versus them • wartime • wartime propaganda • World War I

CONTRIBUTOR

Simon Perkins
Sign-In

Sign-In to Folksonomy

Can't access your account?

New to Folksonomy?

Sign-Up or learn more.