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E-book The Hybrid Practitioner : Building, Teaching, Researching Architecture
Are architects who write a dying race?”1 asked Belgian architectural theorist and historian Hilde Heynen in 2017, reflecting on the position of the practis-ing architect as a writing scholar in the academic field. In her article, Heynen compares Joan Ockman’s Architecture Culture 1943–1968: A Documentary Anthology with Michael Hays’s selection in Architecture Theory since 1968. She observes that Ockman’s book includes seventy-four texts, forty-six of which were written by (practising) architects, while in Hays’s collection, only fifteen of the forty-eight authors are architects.2 The change in the 1970s that Heynen points out marked what has turned out to be a caesura in the involvement of practising architects in the construction of architectural history and theory. This coincided with the publication of Manfredo Tafuri’s Design and Utopia, 1973, whose neo-Marxist argument took a critical stance to the utopian claims of modern architecture as a mechanism for societal reform.3 Tafuri’s position is indicative of the distancing of architectural history and theory from the sphere of production and the world of action as it became enclosed within an increas-ingly self-referential intellectual realm.Almost half a century has passed since then, and during that time, there have been various countermovements to this isolating tendency. One of these emerges from transformations in academic funding structures during the 1990s, when design and architectural practice as manifest in academia became a nec-essary subject of discussion, as they were redefined for the purposes of research audits. This involved the reframing of the material, intellectual, and practical research carried out in a professional context by practising architects leading design studios as an academic activity. One outcome of this was the phenom-enon of the design-led doctoral programme in schools of architecture, and in the process, pursuits such as drawing, user consultation, and model making, for example, took on new abstract dimensions. Methodological frameworks for the academisation of design as a process coalesced under the name of artistic research,4 in which architectural practice became a theorised creative process that sought to define itself in relation to academic research. In October 2020, KU Leuven hosted a (remote) symposium, The Practice of Architectural Research: Perspectives on Design and Its Relation to History and Theory, to examine the implications of this now long-standing relationship be-tween academia and design practice. The papers and debates of the symposium were developed through a rigorous, selective editorial process informed by consultation, conversation, disagreement, revision, and deep reflection on the reciprocal relationships between the creative production of design and the re-flective outcomes of history and theory. While the discussions of the editorial team focused on the myriad ways in which academia and practice could dove-tail, the team also recognised a mostly implicit, but sometimes explicit, ten-dency in the essays to envision the space between practice and academia. As reflections, they return to the core of architecture through a reconstitution of the relationship between architectural practice, history, and theory, moving away from design-driven research. A substantial proportion of the contribu-tions start from the idea that the connection between the architect and the built form is not, as Tafuri argued, purely utopian, subjective, or self-referential and therefore unscholarly, partial, and irrelevant. By foregrounding this idea, the editors counter Tafuri in acknowledging the architect’s relationship with the architectural object – the building, but also drawings and other artefacts from the process of its making.
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