voussoirs: ON CPD POINTS - WHAT'S THE POINT?

Friday, 28 December 2018

ON CPD POINTS - WHAT'S THE POINT?

I had mentioned to a colleague that I was not going to write on this subject again, as all previous texts have done nothing; the same game goes on and on unchanged, unchallenged: but the spirit has moved.

The question is almost biblical: what must one do to be re-registered, to renew registration? In Queensland, architects are controlled by the Board of Architects, (BOAQ#), a body that registers architects to ensure quality in the profession and its reputation, in short, to control the charlatans.* Some say that the board is now an anachronism, a leftover from the Victorian days of 'professionalism' seen as a 'clubby' class distinction defining a bespoke, skilled, learned elite. The cynic suggests that registration, even controlling how the word 'architect' is used to describe a personal skill, means very little. The word has got out of control in general usage: see - https://voussoirs.blogspot.com/2012/07/architect-of.html

As Wren's epitaph says, but with a different revelation today: . ' . . look around.' Is the world a better place for this strict supervision?

While the public is able to be ripped off, and abused and ignored by just about anybody and everybody else in this world, even with legal controls, (think of plumbers and politicians), the BOAQ has taken upon itself - well, no, has been given the role via legislation - to protect the public from dodgy impostors, imposers who might falsely promote themselves as architects. Here lies, the cynic says, the evidence of its failure - well, no, the Board's ineffectiveness: our world is growing uglier every day in spite of this legal rigour. It seems that strict management of the profession has not made the world a more beautiful, or a better place.

But the law is the law, and the BOAQ has the role to police and enforce; to register and re-register; and to discipline. For formal re-registration, an architect has to comply with the set of conditions that have to be met in order to annually renew one's registration. It is the Board that both determines exactly what these requirements might be, and enforces them. It has published a document outlining the requirements: see: https://www.boaq.qld.gov.au/images/Documents/CPD/120215_CPD_Policy.pdf

The requirement is for Continuing Professional Development - CPD. Some call it 'Compulsory' PD because it is. The Board enforces this 'development' by measuring it, using a point system to identify outcomes and quantity. Architects have to accrue a certain number of points - 10 formal, 10 informal - and swear to God, on the basis that a false claim might see them charged, that they have, 'cross my heart,' undertaken the CPD work required in order to be re-registered. Random audits always threaten to check and test the declaration. One wonders, how is 'random' managed?

This is how the Board has decided that the renewal of registration should be handled. The Act gives guidance to the Board on this matter. Section 16 outlines the things that the Board can consider, may take into account, when it is assessing an application for re-registration, for the renewal of a registration. There are four sub-clauses in Section 16.2 that have been written into the Act to guide the Board, if not to direct it. These are of interest. Section 16.2 reads:

The requirements may include requirements about the following -

(a) the nature, extent and period of practice of architecture by the applicant;

(b) the nature and extent of continuing professional development to be undertaken by the applicant;

(c) the nature and extent of research, study or teaching, relating to architecture, to be undertaken by the applicant;

(d) the nature and extent of administrative work, relating to architecture, to be undertaken by the applicant.

Section 16.3 formally sums up:

The requirements are satisfied by complying with the Board's continuing registration requirements for architecture.

One assumes that someone has given careful thought to these requirements to have them scheduled in a legal document. They all make some sense, in some general way, but the Board has chosen to ignore selected items in its rules, well, requirements - the word is repeated enough - and concentrated on others. Why?

The issue has been explored previously - see: https://voussoirs.blogspot.com/2012/05/who-or-what-is-architect.html Here the lack of any precise definitions, making things vague and fuzzy, has been noted, along with the problems in ignoring the particular items in the current re-registration requirements.

Section 16.2 (a) seems self- evident in its importance, but the Board chooses to ignore it. Surely experience is relevant, and deserves recognition as a part of one's right to be re-registered - the writers of the Act believed so - but there is no indication in the Board's requirements that experience means anything at all. The master and the novice are both treated the same. Both could go to the same set of trivial events and gain sufficient points for re-registration, with the presentations meaning nothing to either but being there. Attendance becomes a waste of meaningful time beyond the gaining the required points to satisfy Board rules.

Section 16.2 (b) is the section the the Board appears to have latched on to, setting up rules and requirements for CPD to be re-registered - see the Board's document above.

Section 16.2 (c) is interesting as it allows the Board to recognize research, study or teaching experience. One assumes that academics who never practice, but are registered as architects, rely on this section for re-registration which the Board seems to accept. One wonders why this is so, when registration has to do with practice and looking after the public. This stance only makes the neglect of (a) puzzling, when the experience in actual practice means nothing in any assessment for re-registration.

The concern is that if any group should be continually improving, keeping up with the times, as CPD seems to want to try to promote, then it is the academic group that needs to be undertaking constant, managed improvement that is repeatedly reviewed. Why have ill-informed academics teaching the future profession?

Architecture is a diverse field, so one can understand the broad scope outlined in Section 16.2, even the inclusion of the academic world, but 16.2 (d) seems to allow anything - 'administrative work' - as long as it relates to the scope of interests called 'architecture' that is never clearly defined. This all seems too much for the Board to cope with, as it has simplistically locked everyone into the count of CPD points, into (b), while ignoring (d) and (a), and accommodating (c) to suit the academic need. One wonders: are there academics on the Board? Just what one does to get these preferred points required by (b) appears random, ad hoc, irrelevant to any particular circumstance - and architecture has many.

Who checks the relevance and quality of the tasks undertaken to gain points? The events attended could be trivial, or hardly relevant at all to one's particular interests and skills. All one has to do, apparently, is to attend. Ah! but the Board has this covered. One, it has been said on various occasions, has to write a report on the event and submit it, like a primary school student after a field excursion, just to prove the 'learning experience;' to show that one was paying attention.

While the Board is not specific on this matter, such reporting has been requested from time to time. The idea does suggest the nanny state, where everyone except the assessors are treated as children who have to comply and perform. Who is going to assess who, and what is going to happen if one fails to achieve a level of - ? . . . whatever it might be that another sees as being insufficient or unsatisfactory? Is one kept in detention; does one have to write out the correct answer one hundred times - both, if someone is unhappy with the response? This is the problem with measurement and counting - the evaluation: see - https://voussoirs.blogspot.com/2018/12/educating-profession-cpd-occasion-exam.html

Is there an evaluation sub-committee of the Board? Does the Act specify this? The questions involve: who, what, when, where, how? Not unusually, the demand for points is used to promote programmes of whatever quality, even as promotional fund-raisers, and no one appears to care.

One has to ask, why bother to check written reports when there is no accreditation for those running point-accruing occasions. Here we get into a strange circumstance. An academic may seemingly accrue points by running a point-accruing event. Maybe by repeating the presentation for various regions, the same academic might be able to gain all points for CPD satisfaction from the identical presentation - ?

There is something very odd here. Academics are expected to undertake research, study and teaching; it is their job. Rarely do they practice, and if they do it is usually in a rarified world. So it appears likely that academics can gain re-registration points just by doing their job. This anomaly makes the rejection of (a) look odd, as (a) involves more than just doing one's job; it involves time, scope and depth - history, experience and performance. Yet this first sub-section remains ignored as an irrelevance by the Board, a stance reinforced by its easy accreditation of non-practising academics. Oddly, the idea of 'non-practising' is kept for any retired architects who might like to pay to remain policed by the Board in their days of leisure, to ensure that they do not practise: see - https://voussoirs.blogspot.com/2013/04/what-does-non-practising-architect-do.html

Puzzlingly, one cannot even gain points by reading a book, or by travelling less than three months, when either the book or the short trip could be transformative, and mean much more than some paid presentation on the cost and performance of, say, coloured concrete: '1 formal point.' An academic repeating normal work tasks every year, can apparently re-register annually with this hiccup pattern of employment that has zilch to do with practice, other than, ironically, to train students, young architects for the world of practice. Surely this role places more importance on evaluating academics than on architects in practice; but the Board seems to think otherwise, at least in the demand for points.

But who evaluates the worth of one point? Some events are worth 1.5 points. What is it that adds the 0.5? Why not 2? There seems to be much ad hoc fuzziness in the certain demands of the 10 / 10 count that echoes the vagueness of the Act itself, a legal document that, as previously noted, avoids any precise definition of architecture. What's the point of having points when the point value is randomly assigned for presentations that are never qualitatively assessed? What is the point of accruing points for events that mean nothing for one's activities and interests beyond getting some boxes ticked to make re-registration possible, with the required 'proven' proof?

It seems that this whole policing of re-registration has not been thought through beyond the school-teacher's mentality. Even though the Act offers its broad outline for renewal of registration, everything has been narrowed down to points, numbers, ticks and crosses. The Act allows for much more to be included. If CPD is to mean anything, then the current arrangement needs to be scrapped and thought through again. Counting, checking and assessing appear to have taken precedence over experience and genuine learning. If there is to be lifetime learning - which there should be - then professionals need to be treated as adults who can be encouraged to do more, if they need this prompting at all, by generating and stimulating a genuine interest in their work. One would expect a professional of any standing to constantly undertake study and research, and teaching or mentoring, just out of a primal, core interest in the profession, as a matter of course.

Given this circumstance, a CPD regime could be envisaged, and implemented, that could inspire folk to investigate and grow. The current situation is demeaning. There needs to be much more respect for architects, and much more trust too. The CPD requirements need to be far more open, inclusive and creative, so that they generate, not boring evenings in class, tests and reports, but a vibrant interaction in the architectural world and beyond, where the enthusiasm of youth and the wisdom of experience can fire energies now being depressed, suppressed by the Board police. Policing - strict, threatening enforcement - only ever generates the attitude of snide, apparent compliance, come hell or high water, when the ambition should be for a contented and keen continuing involvement in all aspects of this marvellous profession. With this latter enthusiasm for participation, we will see the blossoming of practice, rather than the squashing of interests into the 10 / 10 pattern filled with time-wasting trivia and irrelevance, where only the count is important. Such a change might gain the Board the respect it has currently lost, as it is presently ruthlessly mocked by those it seeks to manage. One needs to be wary: treat folk like immature fools . . . only at your peril, for you will only get foolish, cynical responses.

The Board seems happy with its limited policing role, sending out blunt, threatening messages to those it registers. If the role of the Board is to promote architecture by protecting the public, maintaining confidence, and upholding standards,* then it needs to become more proactive and begin positive programmes that might properly engage the architectural community and the public. It would be interesting to see the finances of the Board, to see how fees are currently spent; to investigate how the money might be better spent to achieve better, more productive, more creative outcomes in a profession that considers itself both productive and creative. In this regard, counting appears to be the lowest denominator. Even kindergartens know this and encourage play as a learning experience rather than measured pre-schooling.

The Board needs to learn from this circumstance.

* EXTRACT FROM THE ACT

Section 3 Main objects of Act

(a) to protect the public

(b) to maintain public confidence

THE PROBLEM WITH ACRONYMS

The concern with acronyms is the search for one that is unique and memorable. Only too often do the letters refer to an obscure set of other entities. The RAIA, the Royal Australian Institute of Architects, was a unique set of letters that was muddled with the dropping of the 'Royal,' although this was desirable. AIA is well known as the American Institute of Architects. Trying to make it also mean the 'Australian Institue of Architects' can cause confusion. The Institute had little choice: both IAA and AAI have multiple references to very different bodies. At least AIA is another architectural group. The BOAQ is an odd tag that references a diverse set of bodies, as a Google search will reveal. Sometimes there is no choice.

see: https://voussoirs.blogspot.com/2012/04/normal-0-is-asquality-in-graphics-that.html

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ON GARDENING

I am strongly of the opinion that the possession of a quantity of plants, however good the plants may be themselves and however ample their number, does not make a garden; it only makes a collection. Having got the plants, the great thing is to use them with careful selection and definite intention. Merely having them, or having them planted unassorted in garden spaces, is only like having a box of paints from the best colourman, or, to go one step further, it is like having portions of these paints set out upon a palette. This does not constitute a picture; and it seems to me that the duty we owe our gardens and to our own bettering in our gardens is so to use plants that they shall form beautiful pictures; that, while delighting our eyes, they should be always training those eyes to a more exulted criticism; to a state of mind and artistic conscience that will not tolerate bad or careless combination or any sort of misuse of plants, but in which it becomes a point of honour to be always striving for the best. Gertrude Jekyll Colour in the Flower Garden Mitchell Beazley London 1998 – Introduction (first published 1908)

MORE IS LESS

Significantly, in the era of the ‘information revolution’, the same process is now affecting disinformation: whereas in the past it was lack of information and censorship which characterized the denial of democracy by the totalitarian state, the opposite is now the case. Disinformation is achieved by flooding TV viewers with information, with apparently contradictory data. The truth of the facts is censured by over-information, as we have seen from the press and television discussing the Balkans. The globalitarian state, built out of economic-strategic alliances, is no longer old ‘Anastasia’ with her scissors: it is Babel. Now more is less. And in some cases, less than nothing. Deliberate manipulation and unintentional accidents have become indistinguishable.

Paul Virilio Strategy of Deception Verso 2007 p.48

(first published Editions Galilee 1999)

‘That which precedes the event is not necessarily its cause,’ claims the wisdom of the ancients. p.76

As Negroponte has rightly remarked, with the ‘liberation of information’ on the Web, what is most lacking is meaning or, in other words, a context into which Internet users could put the facts and hence distinguish truth from falsehood. On the Web, where, as everyone knows, the terrorist temptation is constant and where depredations of hackers are committed with impunity in a strange state of legal indeterminacy, the difference between (true) information and (false) deception fades a little more each day. In entering the looking-glass worlds of television and home computers, we are in the end left in the position of Kinglake’s old ‘English soldiery’. As they saw it,

insofar as the battlefield presented itself to the bare eyesight of men, it had no entirety, no length, no breadth, no size, no shape and was made up of nothing . . . In such conditions, each separate gathering . . . went on fighting its own little battle in happy and advantageous ignorance of the general state of the action; nay, even very often in ignorance of the fact that any great conflict was raging.

As Albert Camus asserted: ‘When we are all guilty, that will be true democracy.’ p.78

ENCOUNTERING CONRAD

Ryszard Kapuściński The Other Verso London 2018, p. 92

At the end of his book, Kapuściński asks whether, in our encounters with others in the future:

Will we jointly wish to refer to what – as Conrad puts it - ‘speaks to our capacity for delight and wonder, to the sense of mystery surrounding our lives; to our sense of pity, and beauty, and pain; to the latent feeling of fellowship with all creation – and to the subtle but invincible conviction of solidarity that knits together the loneliness of innumerable hearts: to the solidarity of dreams, in joy, in sorrow, in aspirations, in illusions, in hope, in fear, which binds men to each other, which binds together all humanity – the dead to the living and the living to the unborn.’?*

* J. Conrad, Preface to The Nigger of the ‘Narcissus’: A Tale of the Sea, New York: W.W.Norton, 1979.

Architecture stands in between of all of these circumstances of encounter, but how does it explain itself beyond being a bespoke ‘grand design’ of a potential genius?

ON THE CULTURE OF OTHERS

Herodotus . . . wanted to know them because he understood that to know ourselves we have to know Others, who act as a mirror in which we see ourselves reflected; he knew that to understand ourselves better we have to understand Others, to compare ourselves with them, to measure ourselves against them. As a citizen of the world, he did not believe that we should isolate ourselves from Others, or slam the gates in their faces. Xenophobia, Herodotus implied, is a sickness of people who are scared, suffering an inferiority complex, terrified by the prospect of seeing themselves in the mirror of the culture of Others.

Ryszard Kapuściński The Other Verso London 2018, p. 19

CLEVER PEOPLE SELF-DOUBT

I last met him when Philomena came out back in 2013. Back then, Coogan was a bracing, combative interviewee. He saw every question as a potential ambush and moved to thwart any perceived journalistic angle. Today, though, he seems more comfortable with the process, more at ease with himself. It used to be that he felt he always had to have his guard up. Now he accepts that he can sometimes afford to let it drop. He’s middle aged and a mass of insecurity and contradictions. He suspects that, on balance, that’s not such a terrible thing to be.

“And actually I think acknowledging your own fallibility makes you a better artist and a better person,” he says in a rush. “It’s fairly obvious to me that the real wisdom lies in seeing people’s failings and trying to understand them. Because the alternative is that very childlike, Donald Trump thing of believing that admitting any weakness is fatal. What was it Bukowski said? All the clever people are full of self-doubt and all the stupid people are very confident. That’s the era we’re living in now. That’s the era I don’t want to be a part of. So all you can do is try to go about things differently. Do interesting work and don’t be a cunt.”

Coogan gulps for breath. His eyes widen and then he rocks with laughter. “There you go, that’s my big artistic statement,” he says. “Do interesting work and don’t be a cunt. Took me the best part of an hour. Got there in the end.”

https://www.theguardian.com/film/2019/jan/04/steve-coogan-interview-stan-and-ollie

HILLS

The hills bespeak a healing power and closeness to unseen help now lost in the security of modern welfare. Those who befriend the silent peaks in a lifetime's work know well their embracing strength. (p.91)

For only once is it given to man to lie in the arms of the eternal forces which give all matter form. (p.98)

Iain R Thomson Isolation Shepherd Birlinn, Edinburgh, 2007

I will lift up mine eyes unto the hills, from whence cometh my help.

My help cometh from the Lord, which made heaven and earth.

Psalm 121 King James Version (KJV)

SPAN

17 August 2012

This blog began as a co-operative concept. While the idea and the stimulus was generated through discussion, the blog has turned out to be an individual enterprise. SPAN stands for ‘Spence and’ in the context of others. As a word, it fitted in nicely with the idea of voussoirs - parts and pieces, complete with keystones, that could ‘span’ the gaps in understanding and communication. The word SPAN also allowed for a shared input into a blog.

Spence Jamieson is an architect and the author of these articles. The blogs show the scope of his interests.

THE IDEA

chapters and verses as architectural commentary:

the wedge to isolate, array and shape ideas; the keystone to highlight core, supporting issues. voussoirs is a concept to start an architectural discussion to span the large gap in the debate on things architectural; a bridging of the void in architectural issues by exploring considered bits and pieces. The state of the profession today is highlighted by silence and self. It is introvert and protective. Educational centres remain isolated within their own constructs, being run primarily as businesses. They put very little back into the community. They indulge themselves in their own interests and exclude contrary and different ideas and ideals. They constantly avoid any challenge on concepts or strategies that might change the plotted course. Rarely does comment ever come from this academic world into the public or any arena. Very few publications help direct the public interest. Rarely do newspapers grasp the issues and explore them. One aspect may be given space in the popular press, but architectural debates and concerns are rarely given attention. The professional institutes are doing much the same as the educational institutions. Private practice is doing likewise, offering, if anything, only its own pushy propaganda to the public. Yet there is a discussion and debate in these silences that needs a larger and more open platform. Discussion is alive and well amongst a few in at least one curry house, but the debate needs to be a broadened. voussoirs is the place for this discussion. It is a site for ideas, comment, articles, and critiques on things architectural and associated issues. It is here that matters can be aired and ideas discussed and debated without fear of the neglect and disdain that institutions and private groups and publishers give to open speaking and differing ideas.

There can be no true understanding of any idea if discussion and debate are curtailed in favour of a preferred position.

ON COMMUNICATION

. . . there has been a growing feeling of concern to solve what is now commonly called “the problem of communication.” But if one observes efforts to solve this problem, he will notice that different groups who are trying to do this are not actually able to listen to each other. As a result, the very attempt to improve communication leads frequently to yet more confusion, and the consequent sense of frustration inclines people ever further toward aggression and violence, rather than toward mutual understanding and trust.

David Bohm On Dialogue Routledge, Oxon, 1996 (2004) p.2

ON ART & METHOD

Even in relationships with inanimate objects and with nature in general, something very like communication is involved. Consider, for example, the work of an artist. Can it be properly said that the artist is expressing himself, i.e., literally “pushing outward” something that is already formed inside him? Such a description is not in fact generally accurate or adequate. Rather, what usually happens is that the first thing the artist does is only similar in certain ways to what he may have in mind. As in a conversation between two people, he sees the similarity and the difference, and from this perception something further emerges in his next action. Thus, something new is continually created that is common to the artist and the material on which he is working.

David Bohm On Dialogue Routledge, Oxon, 1996 (2004) p.4

THE NECESSITY OF THE INCOMPLETE

The early 50's and 60's is a period that is gaining interest in architectural ideas. Perhaps this is why Princeton chose to republish The Tao of Architecture. It is a beautiful little book that discusses the implications of traditional wisdom in architecture. Given the astonishing lack of direction in current architectural theory, the publication is very timely.

Amos Ih Tiao Chang, The Tao of Architecture, Princeton University Press, Princeton, 1956, reprinted 2017.

p.26

Laotzu's idea of formation is heavily concerned with emptiness or non-existence. To him who regards nothing as persistent, what is essentially important in things is the possibility of becoming something, not the opportunity of remaining as something confronting deterioration. Consequently, meaningful incompletion is taken as the most desirable state of tangible being.

p.22

. . . the full meaning of existence is beyond the power of any manifestation. What appears tangible, architectural or natural, is only a means to suggest that which is lacking in appearance and existing in man's intangible understanding and aesthetic feeling.

LIVING IN IMPERMANENCE

Maybe it is a good thing for us to keep a few dreams of a house that we shall live in later, always later, so much later, in fact, that we shall not have time to achieve it. For a house that was final, one that stood in symmetrical relation to the house we were born in, would lead to thoughts – serious, sad thoughts – and not to dreams. It is better to live in a state of impermanence than in one of finality.

Gaston Bachelard The Poetics of Space

see: THE NECESSITY OF THE INCOMPLETE in the sidebar

THE REAL AND THE IMAGINARY

I prefer, by far, real islands to imaginary islands, just as I prefer prime documents to novelistic remakes. That's because the real is richer than the imagination. The real demands investigation and is an invitation to sensitive knowledge, whereas the imaginary is more often than not just a collection of stereotypes, a soup of clichés offering an infantile kind of satisfaction. Then, a relationship to the real and its resistance requires changes in thought, in ways of being, in ways of saying, it leads to a transformation of the self. Whereas imagination is nothing but compensation. There's even something horribly autistic about sitting in one spot and spinning out invention by the yard. How much more interesting an open and poetic process involving contemplation, study, movement, meditation and composition.

Kenneth White Across The Territories Travels from Orkney to Rangiroa Polygon Edinburgh 2004 p.86

VISION, CIVILIZATION & SPIRIT

The architect who combines in his being the powers of vision, of imagination, of intellect, of sympathy with human need and the power to interpret them in a language vernacular and time - - - is he who shall create poems in stone.

When you look on one of your contemporary 'good copies' of historical remains, ask yourself the question: Not what style, but what civilization is this building? And the absurdity, vulgarity, anachronism and solecism of the modern structure will be revealed to you in a most startling fashion.

It cannot for a moment be doubted that an art work to be alive, to awaken us to life, to inspire us sooner or later with its purpose, must indeed be animate with a soul, must have been breathed upon by the spirit and must breathe in turn that spirit.

Louis Sullivan

AN UNCHANGING PROFESSION

ARCHITECTURAL PRACTICE

. . . no one can relieve (the architect) from the need to rely on his own discretion, for that discretion is linked to a responsibility which belongs to no one but (the architect). It is the exercise of discretion hampered by considerations of cost, of risk, of exact justice, of conflicting interests, of uncertainty as to facts, of misunderstandings and of diverse individualities and dishonest or incapable agents, which is the chief care and preoccupation of architectural practice. To design a building, to draw and specify every part of it, and to direct its construction and see it completed with no other anxieties and dilemmas than belong to the exercise of those duties, is unknown.

H.B.Creswell The Honeywood Settlement Faber and Faber Limited London 1967 (fourth edition: first edition 1930 Architectural Press) p.128

MENDING WALL

Something there is that doesn't love a wall,
That sends the frozen-ground-swell under it,
And spills the upper boulders in the sun,
And makes gaps even two can pass abreast.
The work of hunters is another thing:
I have come after them and made repair
Where they have left not one stone on a stone,
But they would have the rabbit out of hiding,
To please the yelping dogs. The gaps I mean,
No one has seen them made or heard them made,
But at spring mending-time we find them there.
I let my neighbor know beyond the hill;
And on a day we meet to walk the line
And set the wall between us once again.
We keep the wall between us as we go.
To each the boulders that have fallen to each.
And some are loaves and some so nearly balls
We have to use a spell to make them balance:
'Stay where you are until our backs are turned!'
We wear our fingers rough with handling them.
Oh, just another kind of out-door game,
One on a side. It comes to little more:
There where it is we do not need the wall:
He is all pine and I am apple orchard.
My apple trees will never get across
And eat the cones under his pines, I tell him.
He only says, 'Good fences make good neighbors'.
Spring is the mischief in me, and I wonder
If I could put a notion in his head:
'Why do they make good neighbors? Isn't it
Where there are cows?
But here there are no cows.
Before I built a wall I'd ask to know
What I was walling in or walling out,
And to whom I was like to give offence.
Something there is that doesn't love a wall,
That wants it down.' I could say 'Elves' to him,
But it's not elves exactly, and I'd rather
He said it for himself. I see him there
Bringing a stone grasped firmly by the top
In each hand, like an old-stone savage armed.
He moves in darkness as it seems to me~
Not of woods only and the shade of trees.
He will not go behind his father's saying,
And he likes having thought of it so well
He says again, "Good fences make good neighbors."

Robert Frost

CATHEDRALS and SYMBOLISM

Everything is the symbolical representation of an idea. p.28

The same artists, who had to follow a strict rule when treating the history of God, could use all of their imagination when treating the ornamental: whence the blossoming of the grotesque and the original. p.38

In those days religion, drama, and art had the same aim and sought to provoke the same thoughts. They did not pretend to amuse the people; they endeavoured to teach them. p.51

This way of thinking and reasoning takes sometimes a very subtle turn. p.53

Hélène Fouré The French Cathedrals Their Symbolic Significance Bruce Humphries Inc. Publishers, Boston, 1931

THE COMPLIMENT & THE CRITIC 2

ON DEMOLISHING BUILDINGS

Nothing appears to me much more wonderful, than the remorseless way in which the educated ignorance, even of the present day, will sweep away an ancient monument, if its preservation be not absolutely consistent with immediate convenience or economy. Putting aside all antiquarian considerations, and all artistical ones, I wish that people would only consider the steps, and the weight of the following very simple argument. You allow that it is wrong to waste time, that is, your own time; but then it must be still more wrong to waste other people’s; for you have some right to your own time, but none to their’s. Well, then, if it is thus wrong to waste the time of the living, it must be still more wrong to waste the time of the dead; for the living can redeem their time, the dead cannot. But you waste the best of the time of the dead when you destroy the works they have left you; for those works they gave the best of their time, intending them for immortality.

John Ruskin Lectures on Architecture George Routledge & Sons Limited, London p.109

THE COMPLIMENT & THE CRITIC 1

How to avoid insult

But how much of nature have you in your Greek buildings? I will show you, taking for an example the best you have lately built; and, in doing so, I trust that nothing that I say will be thought to have any personal purpose, and that the architect of the building in question will forgive me; for it is just because it is a good example of the style that I think it more fair to use it for an example. If the building were a bad one of the kind, it would not be a fair instance; and I hope, therefore, that in speaking of the institution on the mound, just in progress, I shall be understood as meaning rather a compliment to its architect than otherwise. It is not his fault that we force him to build in the Greek manner.

John Ruskin Lectures on Architecture and Painting George Routledge & Sons Limited; New York: F.P.Dutton & CO - p.64-65

ON EDUCATION

'. . those who are responsible for giving instruction in the theory of architecture should be practising architects. The warning is necessary because, strange though it may seem, English schools of architecture to-day tend to be run by men who either do not practise at all, or whose practices are for them a very subsidiary spare-time occupation. Often a teaching appointment is a means by which a clever student avoids the humiliation of entering an office as a junior assistant, thus depriving himself of the only opportunity he will ever have of learning something of the practical side of his profession from the bottom upwards. There can be no doubt whatever that the teaching of theory has suffered severely as a result of this habit: and this leads me to the conclusion that no man should be permitted to teach until he is recognized by his Faculty as a Master of Theory and Practice. In other words, he should be not only a practising architect but also, what is unfortunately a much rarer specimen, a good architect.'

W.A. Eden, The Process of Architectural Tradition, Macmillian & Co. Ltd, London, 1942, p.p. 86-87

ETHICS

Thus Pugin laid the foundation stones of that strange system which dominates the nineteenth-century art criticism and is immortalised in the Seven Lamps of Architecture: the value of a building depends on the moral worth of its creator; and a building has a moral value independent of, and more important than, its esthetic value. We must not consider this emphasis on morality peculiarly Victorian. Whenever esthetic standards are lost, ethical standards rush in to fill the vacuum; for the interest in esthetics dwindles and vanishes, but the interest in ethics is eternal.

Kenneth Clark The Gothic Revival - An Essay in the History of Taste, (1^st edition Constable 1928); third edition John Murray 1962, reprinted 1974, p.149.

MODERNITY

The everyday is covered by a surface: that of modernity. News stories and the turbulent affectations of art, fashion, and event veil without ever eradicating the everyday blahs. Images, the cinema and television divert the everyday by at times offering up to its own spectacle, or sometimes the spectacle of the distinctly noneveryday; violence, death, catastrophe, the lives of kings and stars – those who we are led to believe defy everydayness. Modernity and everydayness constitute a deep structure that a critical analysis can work to uncover.

Henri Lefebvre, The Everyday and Everydayness, in Stephen Harris and Deborah Berke, Architecture of the Everyday, Princeton Architectural Press, New York, 1997, p.37.

NAMING

The simplest act of substitution is to put the name of a maker in the place of his or her work, which amounts to a paraphrase in itself. . . . All paraphrase sets aside the original: To put the name in place of the painting is to remove it from immediate consciousness; to narrate the life of an individual is an act profoundly different from looking into a painting and one that cannot be conducted simultaneously with it. To substitute a temporal narrative, already present in a name, for the physical work of art is to give up those features of the thing that were transient and unrepeatable, bound to a moment that is irrevocably ended; the unique insistence is, for the moment at least, sacrificed on the altar of continuity.

Thomas Crow, The Intelligence of Art, The University of North Carolina Press, 1999, p.1.

ON BRANDING

Branding is now the art of getting people to think what something might be rather than what it necessarily is. It's about the manipulation of the virtual reality in which so many live. The manipulators include anyone with an interest in what we might think of them - not just big companies with products to sell but political parties with votes to win, design gurus with clients to attract - anyone, in other words, acting in some kind of market. They all have an interest in controlling their appearance to make us believe it is the reality.

John Humphrys Beyond Words How Language Reveals The Way We Live Now Hodder and Stoughton. Great Britain 2006, p. 86-87

see:

http://voussoirs.blogspot.com.au/2015/10/faking-provenance-misuse-of-meaning.html

PRECONCEPTION

Leone Huntsman Sand in Our Souls The Beach in Australian History Melbourne University Press 2001, p.16:

Thus first impressions were filtered through existing preconceptions, starkly revealed in Sir Joseph Banks's description of the people seen from Captain James Cook's Endeavour when it first touched on the Australian continent in 1770:

In the morn we . . . [discerned] 5 people who appeared through our glasses to be enormously black: so far did the prejudices which we had built on Dampier's account influence us that we fancied we could see their Colour when we could scarce distinguish whether or not they were men.

Here Banks refers to William Dampier's unfavourable accounts of the West Australian aboriginal people in published accounts of his landings in 1688 and 1699, and reveals his own awareness of the extent to which perception was influenced by expectation.

see: http://voussoirs.blogspot.com.au/2014/04/seeing-what-we-believe-idyllic-visions.html

THE MUSE - GETTING IT RIGHT

"It can be in the morning, any old time, I wake up with an idea and it starts following you around.

"You go, 'Ah that's good' because you know when it's going to work, it's going to be fruitful.

"Other times you'll get the edge of an idea and maybe it fades away or there's just no way it can be made to serve, you know?

"Then you just, it takes its time and you work on it and if necessary you work on it more than once. I'm known to work on it two or three times before you get it right."

Les Murray

http://www.abc.net.au/news/2015-10-02/les-murray-latest-volume-reflects-on-bunyah/6816714

http://www.lesmurray.org/

JARGON

The world seems to find it necessary to use more and more jargon in general reporting and conversation. It is especially noticed in accounts and discussions on the arts. The ABC TV arts programme presented on 7 January 2017 at 6:15pm had more jargon than usual; indeed, had more unusual expressions than previously encountered, ones that had not been heard before:

"unpicking the tapestry" of one's life;

and

looking at "the fan deck of what you do."

These reminded one of other popular fashionable expressions:

“to unpack an issue,” meaning to analyse it in some detail;

and

“to segue,” meaning to shift to a new topic or activity.

This last term is a favourite of radio announcers. The Italian word is often misspelt as ‘segway’ because of the similar phonetic sounding that is more commonly understood as Segway, the brand of a human transporter.

The parallel is interesting, as the idea of being ‘transported’ is common to both words, but it seems to hold little interest to the radio voices that appear just too cleverly happy with the use of this different, interesting expression.

Friday, 28 December 2018

ON CPD POINTS - WHAT'S THE POINT?

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