Argument and Crime

Teaching in architecture is commonly considered as divided in two separate and distinct parts: design studio and theory classes, being the second one a mere support to practical exercises (even if this is a non-assumed interpretation of a fact for those who teach and learn). However, it is necessary to rethink architectural theory as an annex to design studio in order to include it in architectural practice.

Contemporary architecture as achieved a status where image is projected beyond considerations about its ability to serve practical, cultural and human needs. The asepsis or sterilization of the architectural object trough the absence of Sign, Significant and Significance (Lorens, 1973) as made its perception, as a formalization and manifestation of a concept, transformed in to an act of faith: unexplainable, but at the same time, credible.

The tools used today in the manipulation of architectural shapes, namely Computer Assisted Design (substituting the "traditional" physical manipulation of the object (Gänshirt 2007) as made it very easy to work only in order to  create a new shape or image, rather than practice a real theoretical, spatial and social investigation (Till, 2009). Today's critics consider therefore contemporary architecture rich in its image but poor in matter of spatial innovation, therefore designed as a "fresh conservatism" (van Torn, 1997).

The design studio student is therefore a prisoner to the power of the architectural object as an image, which he considers its main purpose. Sometimes, he even manipulates his "commission" in order to achieve his main goal: an iconic image for immediate pleasure.

The teacher has therefore the responsibility of having the necessary theoretical background to induce to his students a mental process that makes theory and practice a parallel course that precedes the formalization of the architectural commission as a whole: shape, purpose, usefulness, social endeavour and human consideration. It's therefore communicated and understood that an architect is a responsible performer in both landscape and society.

The lack of culture, associated with a strictly academic teaching posture reaches therefore a level of "brainwashing" (Neto, 2012), as it reduces the student's references to those communicated by its teacher: mainly their own.

These two postures (image relief and/or lack of stimulus) contribute therefore to reduce architecture to meaningless sculptures, creating the need to apply theory and knowledge at the same time a design studio project is being developed. Thus preparing a process that will be applied in the student's future tasks.