Saturday, 26 May 2012

DISASTER MANAGEMENT PLAN


It is now some time since the threat of Yasi hovered off Queensland's north coast. Memories of this Master Plan came to mind when the news struck. It seemed inapprorpaite to publish this extract at the time of the threat, but now that this has passed, it is something that should be raised. Unfortunately, issues such as these only become critical when the disaster looms. At other times they appear irrelevant.

AS CYCLONE YASI BEARS DOWN ON NORTH QUEENSLAND, THE ADVICE OF A REJECTED PLAN IS RECALLED:
7.9            DISASTER MANAGEMENT PLAN
The Cairns City Council has published a Disaster Management Plan for the region. The role that the Cairns TAFE Campus can play in this plan needs to be clarified and published so that all on site know the procedures. Particular buildings may have a post-disaster function.

Cyclone protection of the buildings as separate elements in the whole needs to be considered in the broader strategy of post disaster use. While building regulations demand that structures are designed to withstand cyclonic conditions, there are actions that can be implemented to ensure that a building can operate through and after a cyclone. These include power generation and the storage of fuel; water supply; protection of critical services; protection of openings; all to Australian Standards. This is an important matter to consider as the maintenance of these facilities has to be continued throughout the whole year to ensure that generators are working and fuel and water supplies are kept fresh and clean. General building details will similarly require a more rigorous attention than normal. In good weather, these matters are easily forgotten and the importance of having such places available becomes less significant. But the matter does need to be addressed, not only for the campus but for the region – the neighbours, the adjacent school and the adjoining areas. These matters require to be co-ordinated within the broader management of these issues by Councils and Governments.

7.10            STORM SURGES
The Cairns City Council has published storm surge maps. The TAFE campus is illustrated with core areas 3.0 – 3.5m above AHD with the remainder of the site being 3 – 2.5m above AHD. The site is surrounded by roads that are 2 – 2.5m above AHD. The adjacent swamp areas are 1 – 1.78m above AHD but are below the Highest Astronomical Tide. The 1 in 100 prediction is for 2.41m above AHD. The majority of the campus is above this level – see Storm Serge Plans. Access to the site would be limited because, with these statistics, most of the roads leading to the campus would be flooded. The 500 /1000 year Greenhouse predictions are a cause for concern.


The problem of neglect remains for Brisbane too. See writings of January and February 2011 regarding the Brisbane floods: THE 'FLOOD-PROOF' HOUSE; THE 'FLOOD-PROOF' HOUSE REVIEWED; and WHAT FLOOD LEVEL? -
http://voussoirs.blogspot.com.au/2011/02/flood-proof-house.html
http://voussoirs.blogspot.com.au/2011/01/flood-proof-house-reviewed.htm
http://voussoirs.blogspot.com.au/2011/02/what-flood-level.html




Friday, 25 May 2012

RONCHAMP – WINDSOCK OF THE SPIRIT?




Le Corbusier’s chapel of Notre Dame du Haut above the village of Ronchamp in France holds an astonishing power that is still much loved and respected by many. After over fifty years since its’ completion in 1954, the chapel holds a special place in world architecture while other contemporary buildings are merely considered to be ‘of their era.’ Why? What is its’ pull? What is its’ attraction? Does this wonder arise merely from an ‘aesthetic’, sculptural experience?


Le Corbusier has it on record that he was not a religious or ‘church’ man, but many talk of the spiritual presence of this chapel, and remain astonished, even today. Is there another reading of this building to ponder? One has to ask: if Ronchamp is only an aesthetic construct, why are there not other modern buildings of a similar ilk, holding a comparable power - awe? It is said that the very competitive Alvar Aalto designed his white church at Vuoksenniska to challenge Ronchamp - or should one say, to claim a similar authority? Why is this church not so endearing? Why is it not such a pondered pilgrimage for architects and others; a centre of the mind or soul that must be experienced? It is not as though Ronchamp is any more accessible. It is said that Frank Lloyd Wright took up the challenge too, and designed his white, sculptural Guggenheim. If this had been a chapel, might it have equalled Ronchamp? Who knows?


 Can it be symbolism that gives meaning to this place? Does Corb’s chapel hang on an
axis mundi - the symbolic link between heaven and earth - like a windsock flying from a pole? Its’ iconic presence sweeps up to the top of the vertical edge of the southeastern wall, to the highest point of the roof, meeting it and gesturing further into beyond. This periphery makes one of the few exposed, straight and vertical parts of this building. It defines a point in space that can be seen as the top of the pole that stretches down into the earth as a stark perpendicular anchor. Is this the universal axis? Is it referencing the vertical element of the cross? Another Frenchman, René Guénon, in his Symbolism of the Cross, speaks of this form and its’ symbolism, where the horizontal element is the ground plane, marking above and below, and the meeting of all directions. Here, it is difficult to identify an axis as a physical post, pole or any other separately substantial centred form. Perhaps the edge marks the presence of a phantom axis in the void? Maybe this verge just suggests a centre, as the centreline of the centrepiece?


This reading of the chapel interprets the mass of the building as a windsock, an element flapping in the wind, curving and bending with the breeze from one fixed vertical location. The roof mass flows from a point, into a chaos of flip-flop windows exhibited in the patchwork openings of waving walls and the random addresses of the hooded skylights. These tower forms on the opposite side of the building, that allude to hooded nuns, look this way and that - none in the same direction - as if they were tails scattered by the breeze, here seen searching, like sentinels seeking?
Seek and ye shall find. Matthew 7:7.



The sweep of the walls away from this precise, ‘axial’ knife-edge of the building, creates voids on each side of this terminus, reciprocally, as flapping might, with one side accommodating a scattering of openings in a twisting wall, shaping the space for entrance – for welcome; the other side, defining the space for congregation, for the outdoor mass, dominated by the Virgin Mary window box – for worship. This latter eastern recess repeats the iconic ‘edge’ form in miniature, as if it were rippling along the deformed ‘windsock’ as a folded wave might. Here it marks the priest's private exit from / entrance to the sanctuary: a sacred doorway.



The bulk of void on the south terminates with a light tower adjacent to the main entrance doorway. This is factually the tallest part of the whole building. On the east, the concave space closes with a matching curved, half-tower-form, a store that enfolds a column and opens out to the multilevel, ‘helter-skelter’ perforated - as if wind-blown - northern wall. In turn this patterned surface becomes a light tower that is mirrored to make the secondary entrance of the chapel with another repetition, a tumbled reversal, that reminds one of the parting of the waters for man’s thoroughfare?


Beyond these tower forms on each side of the chapel, the walls curve into the broad sweep of the closed western façade that swells to accommodate confessionals and dips to deposit water onto the splashing shapes in the well below. The concrete spout marks the lowest part of the building mass. It is like the extended tail of the windsock flapping in the breeze, discharging water and, metaphorically, sky or heaven - perhaps spirit -  in a gesture of sanctification, over other miniature axes, those of the pyramid and cylinder in the well. Are these man and woman? Is this the sacred and the profane; the concurrence of things esoteric and exoteric?
I am Alpha and Omega, the beginning and the end. I will give unto him that is athirst of the fountain of the water of life freely.  Revelation 21:6.



There is much movement in these forms - a bending, curving, twisting, turning. The one stable point is the extremity of the vertical ‘axis,’ that unique edge that is also the thinnest, tapered, ‘tallest’ part of the whole - even though it is not. Its’ presence only makes it feel so with its’ visual extension into the voids of infinity and its’ secured certainty. Is it defining the phantom axis of the spirit - the precise, mystical centre? Here space divides, dominates, and gathers, determining the memorable image of the chapel, like the priest with handsparted for the benediction. This is the chapel’s most-photographed angle and aspect. Just a glimpse of its’ top tells one of identity, place and location. Even from the distance it declares, silently yet vigorously. It holds a commanding, quiet energy.


The perforated walls are memorable, but these are seen throughout the older buildings of France with an equal delight and charm. The light towers do likewise. There are many towers in this European country that entrance. It is the ‘axis’ - the thin, fine and vertical element - that is singular, unique. Is the ancient, fundamental symbol of presence embodied in this cutting edge: termination and determination? When envisaged in this manner, the chapel spreads from this location as if in response to a gentle wind. Perhaps it can be seen as a response to the subtle movement of the spirit that embodies and encloses stillness, shaping and forming place and space?
The earth was formless and void, and darkness was over the surface of the deep, and the Spirit of God was moving over the surface of the waters. Genisis 1:2.

The ‘windsock’ should flap and flutter noisily, frantically, but its’ transformation into a solid, white- rendered mass of concrete and masonry enforces a still silence that makes it a wonderful, hushed response to anxious air movements. It is mute, and, by analogy, becomes the shaping of the movement of the spirit; holding a necessary peace and calm as a powerful quiet amongst agitation.


The inner void - the interior of the chapel - opens up to a dim light glaring with highlights. It is a disorientated world with sloping floors, curved walls, and a dark, sloping, warped ceiling enveloping being - the visitor/worshipper. Is this discomfiture something like the ‘drunkenness’ of the Sufi intoxicated with the spirit? This, the interior of the ‘windsock,’ can be seen to embody the external movements made by the ‘spirit.’ Even the rendered finish is repeated inside. The whole is anchored symbolically and visually by the ‘axis mundi’ - that stable core and centre of the universe that shapes pagodas, cathedrals and pyramids. Here it is seen as an external line, clearly exposed rather than being physically concealed and central, yet still seminal.


The Virgin Mary, represented in the form of an aged, painted sculpture, stands on an edge in an inside-outside glazed enclosure that exposes her to the tapering wall of the building and its’ axial extremity – its’ outer limit - as if she were the mediator between things mysteriously universal and man. She is surrounded by walled patches of tiny, starry lights on the east, with the grand colours and text spelling out the Angelic Salutation, Ave Maria - ‘Hail Mary, full of grace . . Mother of . . .’ - in the funnelled patches of light in the adjacent, sunny south wall. The interior light, too, is modified by the ‘axis.’ Each aspect has its’ own unique quality of dark and light that is defined and held by the anchor: that edge that can be seen to hold everything in its’ palm, calling to the universe to converse.


It may sound passionately romantic and naively gullible, but something unique is happening at Ronchamp. Is it merely Corb’s genius? Is symbolism involved too? Intuitively? He may have not associated himself with any particular church, but his frequently-sketched diagram of the movement of the sun through the day and night - the sine curve - illustrates the reciprocal cycle of life as changes of light. This is a chapel dedicated to the Virgin - the female principle. It is also a chapel that engages spirit and light universally. Le Corbusier knew about these matters. There is something ‘raw’ at Ronchamp: ancient and fundamental - perhaps Jungian?


Is this its’ latent power - a space anchored by the axis mundi, here unusually located at an exterior edge, with forms shaped by the movement of the spirit, ennobled by ‘the correct and magnificent play of light on forms,’ with experience being fundamentally transformed by light falling onto and filtered by this flutter of figuration?



It is interesting to see how Renzo Piano chose to build beside the chapel. Le Corbusier placed his surrounding supporting structures above the ground, tucked in under turf roofs to extend the vista of green. These buildings still show a self-consciousness and managed confidence that delights without apology. Indeed, they have their own special surprises. Renzo Piano could only ‘pull his head in’ and build underground - well, into it - and cover his work with masses of terraced vegetation. It is one way to show respect - by bowing - but it does suggest a weakness too. Is it a lack of confidence? What might have been possible? Do we no longer understand?



What is of interest is that the one element that Piano did copy repeatedly in the little chapel of this development, is the tapered edge - the wall that comes to the finest of lines possible in an insitu concrete pour. Has Piano recognised, perhaps subconsciously, something special about this detail on le Corbusier’s chapel – the power of an axis mundi and the flow of the spirit?

 

Axis mundi

The axis mundi (also cosmic axis, world axis, world pillar, columna cerului, center of the world), in religion or mythology, is the world center and/or the connection between Heaven and Earth. As the celestial pole and geographic pole, it expresses a point of connection between sky and earth where the four compass directions meet. At this point travel and correspondence is made between higher and lower realms. Communication from lower realms may ascend to higher ones and blessings from higher realms may descend to lower ones and be disseminated to all. The spot functions as the omphalos (navel), the world's point of beginning.
The image is mostly viewed as feminine, as it relates to center of the earth (perhaps like an umbilical providing nourishment). It may have the form of a natural object (a mountain, a tree, a vine, a stalkk, a column of smoke or fire) or a product of human manufacture (a staff, a tower, a ladder, a staircase, a maypole, a cross, a steeple, a rope, a totem pole, a pillar, a spire). Its’ proximity to heaven may carry implications that are chiefly religious (pagoda, temple mount, minaret, church) or secular (obelisk, lighthouse, rocket, skyscraper). The image appears in religious and secular contexts. The axis mundi symbol may be found in cultures utilizing shamanic practices or animist belief systems, in major world religions, and in technologically advanced "urban centers". In Mircea Eliade's opinion, "Every Microcosm, every inhabited region, has a Centre; that is to say, a place that is sacred above all."
http://en.wikipedia.org/wiki/Axis_mundi



22 March 2023

NOTE:

The right angle is human intelligence bringing space toward the vertical line dedicated by weight, and toward the horizontal plane along which our eyes move and within which they settle in their search for the infinite. It is the axis of all things, the reference without which we cannot locate anything, especially ourselves. It is the order toward which our thinking process brings all natural forms that are unpredictable, random, and sometimes chaotic. It is the geometrical order in relation to which we look at the world and we think.

The right angle is not just an abstraction. It is the human being itself in nature.

Le Corbusier’s Hands André Wogenscky MIT 2006, p.84



23 March 2023

One could see Ronchamp as a 'revelation' - the spirit made place as space and form.



Monday, 21 May 2012

A ROAD IS NOT A ROAD



 . . . ; a street is not a street; a lane is not a lane. The proposition is that while vehicles have standards that define their possible performances, thoroughfares that provide for these vehicles have a necessary hierarchy in their role that relates less to possible standard performance of these vehicles than to the character of their particular contexts. Instead of having all roads, streets and lanes changed to provide for the optimum functioning of the standard vehicle, whatever vehicles these might be - the larger ones, four-wheel drives or rubbish trucks, frequently define the parameters - roads and streets need to be carefully constructed and detailed to accommodate - to respect, to enhance - their different environments. This thought has arisen from the ever-growing notion that roads, streets and lanes have to be upgraded for all vehicular options in spite of their location; that the variation has to be provided by the road rather than by any restriction or modification in vehicular performance, access or driver behaviour. The logic is that vehicles must be able to go anywhere there is a gap that they might fit into, in spite of the location, and at speeds and with safety requirements universally applied as scheduled in the standards. Unless roads, streets and lanes are considered carefully, they will become like most other matters in our world - the same everywhere. Diversity will be lost - even in thoroughfares.

Roads with a unique character are being mutilated by engineers who work to standards and use standard detailing, irrespective of context, because this is what the standards say. No further thought is given to alternative options. Narrow, winding mountain roads with their heritage timber bridges are being widened to allow all and any vehicle to use them at the standard speed. The idea that the road should define the vehicles that might be able to use the road and require modifications in the drivers’ actions, seems to be given no thought. It is dismissed even without the safety argument being used as an excuse.

One Local Government Councillor argued that because one steep, curving and narrow mountain road that was kerbed on one side and open to steep falls into a forested area on the other without any safety barriers, was a public road, it should be available for all and everyone to use at standard speeds - and beyond - without any restrictions or extra supervision. This was in spite of the quaint old signs erected when the road was first pushed through - ‘ROAD CLOSED TO THRU TRAFFIC’ and ‘25KPH.’ When it was pointed out that neither Council nor police were enforcing the instructions on these signs, Council removed the signs - Gold Coast Division 12 logic. That this particular road - the road going over Burleigh Hill on the Gold Coast - is one of the very few roads with a special bush character on this glitzy strip, made no difference to any argument or outcome: just irrelevant, even though the narrow road is used frequently by joggers and walkers who enjoy the challenge of the grades and the different bush environment. Council will not even consider defining the road as a special zone. It has left the ‘LOCAL TRAFFIC ONLY’ signs at each end and one ‘25%’ gradient sign, opening the road to every driver, (they are all ‘local,’ whatever this might mean), who seeks the challenge of speeding over hills while taking what is believed to be a shortcut. There is a great ambition to use shorcuts in the Australian psyche, even if they mean more travel time and distance. And who cares? Certainly not Council or the police – or Main Roads. One is simply told by the State government that it is not one - see your Council; speak to the police : and so one is flicked around getting nowhere. Here, this unique thoroughfare that fits beautifully into its quiet surroundings, is left open to standard speeds and all traffic - buses, trucks, fire engines, and cranes - when they have no essential need to use this road. Argument goes nowhere, as Councils, and especially Councillors, always know best. Even when clearly shown to be wrong, they simply respond boldly and arrogantly with the message that they will no longer respond to any correspondence on these issues - go away silly boy, we’ll do what we want. It is astonishing that one is told that there is always the option of leaving the area if one so chooses! Gold Coast Division 12 logic: we don’t want controls or restrictions, just growth!


 Springbrook Road is another road suffering the same ruthless neglect under the same Council - Division 9. This unique, historic thirty-kilometre drive up the hinterland border mountains behind the Gold Coast - promoted as ‘the green behind the gold’ and mocked as ‘the greed behind the gold’ because of the ad hoc development that is approved - is a narrow, steep, winding road that used to be a one-way up/down road at various times of the day. It leads to the Springbrook plateau and continues right along this high region as its spine, to the end lookout, to reveal the great expanse of the Gold Coast’s random development in a distance that is growing smaller day. Yet even here, on portions of this road, the road authority is upgrading this heritage track to highway standard detailing, widening sections; painting bright white lines on the centres and edges, constructing massive concrete bridges over delicate creeks, making pedestrians appear as awkward participants on highways that ban all walking. The terrible truth is that Springbrook is substantially a National Park region, but even this makes no difference. Main Roads Queensland - this is a main road - still constructs to standard details that are used everywhere - go away silly boy. The narrow flow of rocky-cool water that splashes the fine and fragile foliage on its steep banks means nothing. A bridge is just a bridge - the concept is set in concrete and the bridge is made of it.

That roads and their associated parts should be defined by their locations, needs to become a principle that must be enacted. Without this approach, all roads will lead to the same experience - self-centred places of broad, bitumen speed with flashy, galvanised barriers, bold coloured, reflective signs and an airstrip glow of dazzling lights that laugh at everything around them. Vehicles must be curtailed - restricted in either access or performance; or both - if regions are not going to be destroyed by road engineers. One can gauge these engineers’ preferences when one hears pedestrians being referred to in casual conversation as ‘peds,’ turning people, their feelings and experiences into universal numbers, engineering facts and schedules of figures.



The universe is not universal. Just as diversity in flora and fauna is now coming to be seen as a critical matter for the survival of our world, so too the diversity in roads, streets and lanes needs to be respected and understood as being essential to our wellbeing. Turning everything into the same only creates a boredom and changes minds and places. Turn variety into one and it will be susceptible to the many that can kill it - in one simple step. We are slowly - but more quickly every day - killing the very things we love the best because our vehicles are being given preference over everything, when they are the mobile machines that can so easily adjust to the particular circumstance. Just go slow, carefully and avoid other areas. Drive vehicles to suit the road, street or lane; do not insist that every road, street and lane becomes a motorway.

I say vehicles, but there are other situations of the same ilk where vehicles of another era become the problem. Horse riding in reserve areas has the same problem - the demand that access be allowed for all. BMX cycles have a similar impact; four-wheel drive quads too. The motorised vehicles cause the greatest problem - even in the same locations. The authority of the 4X4 makes demands on these same areas as if they had a right to go anywhere at any time. One can see the workings of the mind of the 4X4 drivers in how they love to climb kerbs and mount traffic islands in urban and suburban areas, suggesting that just because they can, they must. Just because vehicles can do certain things gives them no essential right to do it. We must curtail random open access to everywhere on the basis of context. Politicians hate to say no, but leaving everywhere open to all and sundry as a right only makes everywhere the same - just like politicians and their silent bureaucrats! We need to think again and differently.

WHEN CATHEDRALS WERE WHITE

The cleaning/refurbishment of Chartres cathedral is revealing the white stone and the wonder of the painted detail. Instead of being one of the darkest cathedral interiors, the work is transforming it into one of the brightest. We will soon be able to appreciate what cathedrals were when they were white.













25 October 2015
for debate on the benefits or otherwise of cleaning heritage structures like Chartres.

Friday, 18 May 2012

FOLLOW ME ON

We use and see some phrases so frequently that we fail to think very much about them. Architecture is not immune from this problem either:
a step is not a step;
a door is not a door;
a window is not a window.
 
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We cannot solve our problems with the same thinking we used when we created them. 
Albert Einstein




Wednesday, 16 May 2012

WHO OR WHAT IS AN ARCHITECT?



ar·chi·tect  (ärk-tkt)  n.
1. One who designs and supervises the construction of buildings or other large structures.
2. One that plans or devises: a country considered to be the chief architect of war in the Middle East.
 [Latin architectus, from Greek arkhitektn : arkhi-, archi- + tektn, builder; see teks- in Indo-European roots.]
The American Heritage® Dictionary of the English Language, Fourth Edition copyright ©2000 by Houghton Mifflin Company. Updated in 2009. Published by Houghton Mifflin Company. All rights reserved.

architect [ˈɑːkɪˌtɛkt]  n
1. (Fine Arts & Visual Arts / Architecture) (Business / Professions) a person qualified to design buildings and to superintend their erection
2. (Fine Arts & Visual Arts / Architecture) (Business / Professions) a person similarly qualified in another form of construction a naval architect
3. any planner or creator the architect of the expedition
[from French architecte, from Latin architectus, from Greek arkhitektōn director of works, from archi- + tektōn workman; related to tekhnē art, skill]
Collins English Dictionary – Complete and Unabridged © HarperCollins Publishers 1991, 1994, 1998, 2000, 2003

ThesaurusLegend:  Synonyms Related Words Antonyms
Noun
1. architect - someone who creates plans to be used in making something (such as buildings)
designer
creator - a person who grows or makes or invents things
landscape architect, landscape gardener, landscaper, landscapist - someone who arranges features of the landscape or garden attractively
Ithiel Town, Town - United States architect who was noted for his design and construction of truss bridges (1784-1844)
Based on WordNet 3.0, Farlex clipart collection. © 2003-2012 Princeton University, Farlex Inc.

architect
noun
1. designer, planner, draughtsman, master builder. Employ an architect to make sure the plans comply with regulations.
2. creator, father, shaper, engineer, author, maker, designer, founder, deviser, planner, inventor, contriver, originator, prime mover, instigator, initiator  the country's chief architect of economic reform
Quotations
"architect: one who drafts a plan of your house, and plans a draft of your money" [Ambrose Bierce The Devil's Dictionary]
Collins Thesaurus of the English Language – Complete and Unabridged 2nd Edition. 2002 © HarperCollins Publishers 1995, 2002

Translations
Select a language:
architect
n architect [ˈaːkitekt]
a person who designs buildings etc.
n architecture [-tʃə]
the art of designing buildings He's studying architecture; modern architecture.
adj archiˈtectural
Kernerman English Multilingual Dictionary © 2006-2010 K Dictionaries Ltd.
architect →
Multilingual Translator © HarperCollins Publishers 2009



One of the main objects of the Architects Act of Queensland is: imposing obligations on persons about the practice of architecture by establishing a Board of Architects to undertake this task along with the associated roles it has been allocated.

The question is: if the Board of Architects of Queensland is controlling ‘architects,’ is it controlling one who ‘plans, devises and creates’ things other than buildings – like the architect of war or economic reform, as exampled above? Why not? Where in the Act does it define an architect in relation to building or any related activity? A search of the Act reveals two uses of the word ‘building’ in the context of ‘building and construction’ – on page 48, section 82, parts (e) and (f). This section relates to the membership of the Board. One lawyer and one construction contractor ‘with at least 10 years experience in the building and construction industry’ shall be members of the Board. Even so, the further question is raised: what is ‘building industry’? Does this encompass theoretical ponderings or actual building design, documentation and supervision? The official CPD form asks for activities to be scheduled under four titles: ‘Design; Documentation; Project Mgmt.; Practice Mgmt.’ This suggests building activity to those involved in this industry, but why can this list not refer to the design, documentation, and management of a war, or an economy? How can this scheduling embody teaching, tutoring, research, as it seeks to do, if it is supposedly so intimately associated with ‘normal’ architectural office practice? What about theorising and writing that might not be too different an activity to the efforts of generals and bankers? Is it a useful set of headings?

The definitions in the Act seek to clarify the meaning of ‘architect’ and ‘architectural services.’ In the typical circular obscurification of dictionaries, the Act defines a practicing architect as one who carries out, or is responsible for the carrying out of, architectural services. It then notes that architectural services means services about architecture ordinarily provided by an architect. An architect means a person registered as an architect under this Act. The Act defines a practicing architect as one who carries out. . . etc.

Strangely the Board also has the task of controlling non-practicing architects. The Board must be satisfied that the applicant will not carry out, or be responsible for the carrying out of, architectural services. This is a tricky one to think through. If one seeks registration as a non-practicing architect and pays the annual fee for this privilege - apparently to use the label ‘architect’ - the obligation placed on this person is to never practice. Gosh, why pay to be policed to do nothing? One would be similarly regulated if one practiced without being registered - for no fee. The outcome would be much the same. Indeed, what stops one being an ‘architect’ in the ‘plan, devise, create’ sense that everyday language is allowed to engage us in? Perhaps one might call oneself a ‘creative’ architect in this sense, and qualify the word as ‘landscape architect’ does? Why not? ‘Building’ does not have any relationship with the definition of architect, only with two of those appointed to be members of the Board. So what is an architect?


This all begs a question: with our language using the word ‘architect’ more frequently in a variety of ways with the sense of one who ‘plans, devises and creates,’ has the time come for the Act to be more explicit, or for it to be abandoned? The word ‘architecture’ has similarly become a fashionable way to describe things that have a specific organization or inherent structure, e.g. the architecture of a computer or of a corporation/society - even of desire and doom. Why? A humble object - the body - can have an ‘architecture’ - and an ‘architect’? Gosh, Federal budgets have ‘chief architects,’ suggesting a hierarchy of architectural involvement. How does the Board decide when to draw the line on the use of the word ‘architect’? If I chose to label myself a ‘hair architect’ (hairdresser) or similar (one has), why is the Board so careless about this? What is this latent understanding that buildings are - have to be - involved? The definition in the Act sees practice as being ‘about architecture’ but this word has lost any direct or necessary link to building. Indeed, the specific reference to building is becoming the odd one out in our current usage, turning it into the anachronism that architects, as traditionally understood, seem to have become. Why not drop everything? If the Board sees one of its roles as ‘protecting the public,’ then surely it has the obligation to clarify the use of the word ‘architect’ and ‘architecture’ and insist on this? Its’ proclaimed role in educating would seem to mean that it should be doing more about the different use of these words in modern language.


But no. New usage is ignored and things are managed in much the same manner as they were one hundred years ago when an architect was an architect, and architecture had to do with building. While it might not have been clear just how this relationship could be adequately described to everyone’s satisfaction, (see Pevsner’s and Ruskin’s struggles), architecture in Victorian times meant something to do with a building or buildings. An architect was one who was involved in the, yes, design, documentation, project management and practice management of architecture. Today, things are far more complex, not only in language, but also within the practice of architecture itself and its associated fields that are accommodating an ever-broadening range of specific roles within the varieties of experience in offices and elsewhere.

The board makes more complications for itself by trying to include under the term ‘architect,’ those who teach, tutor, research, manage staff, act in legal cases, advise corporations and governments, and more, as well as controlling those who do get involved in aspects of what we traditionally understand as practice - and those who don’t. It seeks to treat all architects as one, irrespective of the task, skill or experience involved – a novice graduate; a skilled, experienced practitioner; a college lecturer in architecture. It is a troublesome task because each, apart from the non-practicing group, is asked to select a CPD programme, (without the Board giving accreditation to any provider or specific guidance to the ‘applicant’), as might be best suited to the tasks and roles undertaken by the separate individuals, with everything being assessed by the Board to allow it to offer the registration applied for.

This diversity is so great that it seems almost impossible to manage with one standard chart and a formal set of broad guidelines. Who will overview this? What happens if one fails to impress the adjudicator? Do it all again - and again? Punishment? Is there a right answer? Can there ever be? Deregistration? Well, that’s a big one. Will the Board deny one the right to work - to earn a living with one’s training and experience, just because of - what? Where are the processes made explicit? How are the requirements for this diversity defined? Just what is right when one is asked to make one’s own assessments? What is the point of checking any involvement when each set of criteria to guide choices will be different? Consider the mature architect and the recently registered youth; the theoretical researcher and the specification writer; the professor and the office project co-ordinator.


The whole concept looks very ill-considered and naïve. It seems to lack true substance. Think of the academic who seeks registration under the experience and activity of, say, lecturing, also being the same person who is able to give seminars to other members of the profession to allow them to gain hours for their CPD chart. There is something strange and irrational here - out of control; self-referencing in the ‘I’ll show you mine if you show me yours’ sense: ‘I’ll teach/test you if you, or your mates, test/teach me.’

It would seem that to make sense of the idea, the whole concept of CPD should either be dropped or be taken over by the Board to take true responsibility for the profession and education by carefully organising, managing and promoting the sessions for required registration for the diversity that is this profession. Without such rigour, the whole affair is likely to fall into the language game that the word ‘architect’ seems to find itself in. Who will know what, when, where or how about any activity when it seeks to cover such a scope of interest? Who will be the architect of this strategy? Who has been?

But the Architects Act is far more forgiving in its guidelines for renewal registration than this blind drive for CPD recording suggests. Why has it been interpreted in such a restricted manner? Look at the detail. The renewal section, Division 4, Section 16, part (2) spells out:
The requirements (for continuing registration) 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 the applicant;
(d)   the nature and extent of administrative work, relating to architecture, to be performed the applicant.

This is followed by part (3) which strangely reads like a summary out of context:
The requirements are satisfied by complying with the board’s continuing registration requirements for architecture.
It is pointed out that these are available on the board’s ‘website on the internet’ (where else?): www.boaq.qld.gov.au

Part (3) is indeed a puzzle, because it suddenly states, quiet bluntly, what the specific requirements for registration are, in spite of the four items listed in part (2) as (a), (b), (c), and (d). A re-reading of the published ‘requirements that may be included,’ seems to indicate that an emphasis has been placed on (b), with the demand that 20 hours of specific types of CPD involvement be formally recorded, with some suggestion that an academic involvement, as noted in (c), would be acceptable too, but without defining just how this might be measured. The requirements noted as (a) and (d) do not seem to have been given any recognition in the guidelines published on the internet.

The relevance and significance of the ‘nature, extent and period of practice’ is easy to understand. Its importance is self-evident. Just why this is not identified as having any role in the renewal of registration is an enigma. It is as much a puzzle as item (d) is. A quick check of the dictionary at the end of the Act gives no definition for ‘administrative work.’ What is this? Office filing? The guidelines do not make the concept any clearer, or give it any particular relevance. By ignoring both (a) and (d), large schisms are created in the requirements and processes spelt out for registration renewal that a simple review makes so obvious. ‘Architect’ is a term given to a very broad range of skills and experience within the building and construction industry and outside of it, and to a variety of meanings in numerous different contexts in our ordinary use of language. Seeking to manage registration renewal in such a limited, mechanistic, rational and ill-defined manner - by merely trying to measure CPD activity - can only create problems. Some will be linguistic matters, but others will occur because of the inherent specialisation of the interpretation of the Architects Act and the selectively narrow approach it has defined as being relevant to the renewal of registration. The Board of Architects should do better than this. After all, it is the body that should know who or what is an architect. It should be able to express itself unambiguously on this matter if it is to remain relevant and this must recognise the miscellany that architects and architecture have come to include - or perhaps it should go?

"Not everything that counts can be counted, and not everything that can be counted counts." (Sign hanging in Einstein's office at Princeton)

8 JULY 2014
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