Schools increasingly focus technology on design applications, and firms grumble when young graduates can’t do computer drafting. This disagreement continues in the age of the computer. Meanwhile, practitioners frequently complain that recent graduates come to them unprepared for real work.
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Many fear that offering more skills-oriented training would turn the professional institutions into vocational schools. Many professors emphasize design and theory, believing that the more practical skills are better taught in a professional context. The problem of covering such a vast amount and variety of material in such a short time turned out to be a blessing the students were never bored with long and tedious assignments.ĭoes the computer education received by today’s architecture students provide them with the skills sought by employers?Īrchitects and educators have long disagreed about which skills should be taught in architecture schools and which, if any, are best taught later, during apprenticeships. Innovative teaching methods must be developed to cover the ground and to keep the student’s interest and excitement at a high pitch. Soon after entering architectural studies, the students must be exposed to the philosophical basis of organic architecture to develop a better understanding, appreciation and love of their art. In gaining this level of understanding of their art, the students are in a position to create outstanding works of architecture. In conversations with great, visiting architects, the students develop an enjoyment in the ideas being expressed and an appreciation of the great beauties possible in the application of those ideas. His abilities in self-evaluation gives him a sense of responsibility and self-esteem.Įach student will strive to excel in his work, not in the sense of competitiveness but for the pure joy in doing beautiful work. The processes of questioning by the student of “why” and “how” leads to the most important development the student’s ability to critically examine his own work as well as the work of others. “Why was this done?” or “How did you arrive at this result?” During the discussions, the instructor might ask questions to stimulate thinking about various aspects of the project. The project is to be the student’s own in every respect, and when completed, the student can well be proud of what he has accomplished.
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The student should never be told what to do or shown how to do it. At no time should a student be given a recommendation to go to the library or to some existing building to study how others had resolved a similar problem. In discussing a design project with a student, the instructor must always be careful to avoid interfering with the student’s creative processes. Make it as fanciful as you please or a box if you wish, just so long as it is a good box.”
Encourage the students to develop their creative imaginations and sensitivities.įor the first project, it works best to “design yourself a dream house.
Get to their minds first before anyone else. The critical moment for a student is the first day of study at the architectural school, the time when the mind is open and receptive to new ideas, before stagnation and ossification sets in. By now, it is fact: that the emerging technology – for the most part, consisting of information, digital, and telecommunications technologies – is the most important force we must consort with in architecture education in the near future.”
“We no longer need imagine if education will survive in the 21st century.
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