The Portfolio:An Architecture Students Handbook-Design Cultures.pdf
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1、 This chapter will help explain why there are different design cultures in different schools of architecture and offices. It will introduce the idea that there are different though often related aesthetic, theoretical and professional communities within the discipline of architecture, which have dif
2、ferent ways of valuing visual, textual and three-dimensional commun- ication. It will also suggest that some of these design cultures are sometimes perceived to be more powerful and influential than others, so that some architectural aesthetics, theories and practices receive greater attention and r
3、ecognition. This information should help you not only to understand why certain schools or practices are harder to get into than others but, more importantly, it should help you establish an independent and informed assessment of the cultural values of your work. If you under- stand the value of you
4、r work in different cultural contexts, then you should be able to make more appropriate choices about the form and content of your portfolio so as to (hopefully) end up where you want to be. Cultural Capital and You Before we explain various design cultures and markets, you might want to become fami
5、liar with a new term: cultural capital. In his writings, the French sociologist and philosopher Pierre Bourdieu focuses on the role of education in the eventual social roles that differ- ent people end up having. He invents a term, cultural capital, for the kind of value that people acquire as a res
6、ult of their educational experience, as well as other kinds of cultural history. Understanding cultural capital and how it is created and maintained may help you to 3Design Cultures decide the relative importance of conventional success in your personal and professional life, and may help you to und
7、erstand how your portfolio may be received and understood in different situations. For Bourdieu, culture and education are fought over by competing groups, each struggling to possess, retain and increase their cultural influence. He believes that in order to get and keep cultural influence you have
8、to have high cultural capital the intellectual and creative luggage you carry with you. Your cultural capital is most clearly evident in your rsum or CV, but your portfolio also plays a part. Because it contains the cultural objects you have made, your portfo- lio becomes a kind of cultural bank. Th
9、e kinds of projects you have done, with and for whom, and especially what they look like, will affect your cultural capital. The more your work resembles that of the most prestigious architecture schools or offices, the greater the chances of you joining them and being successful. This may sound pre
10、tty awful but it is generally true. Occasionally, unusual students do cross these boundaries, but it is important to remember that in order to achieve this your portfolio will have to be triply beautiful and clear, making you outstanding in a unique way. Cultural capital is not about money it is abo
11、ut value and influence. It is about where you went to school, who your professors were, where and for whom you worked, and how important your projects were. As well as being about your work, it is about your network of friends, employers, teachers, clients, and colleagues. The more important or infl
12、uential your work and networks are, the greater the likelihood of your success. Architecture school can help you forge both work and networks going to schools with high reputations can therefore be worth all the money you or your parents spend on your tuition and fees. Cultural capital can also be a
13、bout the cultural objects you own from a painting to a car, although that is unlikely to impact on your portfolio or interview. Finally, cultural capital can also be about who you are, what you look like, how you dress, speak, move, smell, how you cut your hair or look at people. That part of cultur
14、al capital is beyond the scope of this book, but think about this as you prepare for your interview. Try to visit the school or office, and see how people dress and talk. In particular, in architectural offices you will be evalu- ated on your personal character and attributes (employers cite this as
15、 the first thing they look for) so make sure that you have made a 32The Portfolio conscious decision as to how you want to look and be perceived. If you do not like the look of an office culture (everyone wearing suits whilst you like to hang out in jeans) it is likely you will not be offered a posi
16、tion. Being aware of how cultural capital is measured might help you to put together a more successful portfolio or rsum, and prepare for an interview, or it may help you decide that you do not care for that kind of measurement at all. Not having much cultural capital is fine if you know what you wa
17、nt to do, where you can do it, the people who do it, and how to find a way to join them. Whichever way you decide to go, you should know that the playing field is not always level and that different cultures may have different cultural capital in different contexts. The architectural profession stil
18、l has many prejudices roughly only just over 10 per cent of the profession is female, and black/African American architects form only 1 per cent of the profes- sion, both in the USA and the UK. Architecture schools are more liberal and reflective of the real percentages of women and minorities in th
19、e total population. A good book to read is American Architects and the Mechanics of Fame, by Roxanne Kuter Williamson, University of Texas Press, which shows that most of Americas famous (white male) architects were either educated by, or worked for, a small family of other famous (white male) archi
20、tects. If you are interested in your portfolio being seen as having cultural capital, it is important that you look at work that has already had a high level of recognition competition winning designs, designs that have won student awards, and so on. It is also important to know how to present your
21、work graphically and verbally again you can get clues from other good architects works and from the way good archi- tects talk about their work. It is also important that you believe in your portfolio and invest the kind of time and money in it that reflects that belief. If you do not believe in it,
22、 then it will be harder for others to do so. However, being over-bombastic, both visually and verbally, actually diminishes its value the best kind of cultural capital is the one that appears natural and this means not having to brag. If you genuinely doubt the value of some of your work, then you s
23、hould not overstate your case but instead discuss and evaluate it with someone you respect before you complete your portfolio your professor or a practising architect. Help them help you see the strong points in your work, your portfolio, and yourself. You should also quietly and firmly emphasize an
24、d maintain the importance of those people that you studied or worked with, who are included on your rsum. In a quiet, unobtrusive way, include Design Cultures33 their names in your portfolio. If some of your professors are famous designers or thinkers make sure that in your rsum and portfolio you in
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