This year MARSH is holding its summer school together with the Architectural Association - a migrant workshop of the Visiting School AA is coming to Moscow. The summer course is called "The Laboratory of Transformations" and is dedicated to Shabolovka, about which his curators Yaroslav Kovalchuk and Alexandra Chechetkina have already told us.
On this occasion, the director of Visiting School AA Christopher Pearce came to Moscow; he gave a lecture at the Arch of Moscow. In his conversation with Yulia Andreichenko, the program manager spoke about the reasons for choosing Alexandra Chechetkina's project, the history of the Visiting School, new trends in architectural education, the priorities and features of the AA school.
video of the Moscow lecture by Christopher Pearce (in English):
Archi.ru:
You graduated from Virginia Tech with a PhD in andfromtheory of architecture at the University of Edinburgh. How did you end up in A. A.?
Christopher Pierce:
- It's a rather long story. I studied at the surprisingly liberal and open-to-all new Virginia Tech, where, through the A. A. print media, I got to know the names of Zaha Hadid and Daniel Libeskind. The works of Hadid [The planetary architecture] and Libeskind [Chamber works] made an indelible impression on my fragile twenty-year-old mind, so right after graduation I put together a portfolio and sent it to Libeskind.
So I ended up in Milan, where Daniel hinted to me that I should still learn (laughs), write a thesis. His advice took me to the University of Edinburgh, where I started my migration across the UK, from Liverpool to Westminster, and from there I got into the Architectural Association.
This path is a series of spontaneous, but at the same time, fateful events. One of the most important figures here is David Green of Arcigram, whom we met back in Virginia, where he taught immediately after graduating from A. A.. We met again in Westminster, where I wrote my thesis, and he continued his academic activities, and it was there that I told him about my intentions to go to the Architectural Association. And here the fun began. At that time, Brett Steele had just taken over as director of A. A.. I did my best to get through to him: I wrote, called, sent faxes - everything was like peas against a wall, but soon they gave up, contacted me and asked to come and briefly tell Brett about my intentions. Within 30 minutes, I was standing on the AA doorstep in Bedford Square. Brett had a time constraint and I had to fit a two hour presentation into 10 minutes. He listened to me with great interest, said that he would contact me in a couple of weeks, and what do you think? No answer, no hello, I waited 6 long weeks until finally I got a call back. (Laughs) The funniest thing is, I can't help but tell you when, in order to take up the post, I had to settle a couple of formalities, bring my resume to Philip, the very personal assistant of Brett, whom I was bothering with all this time. He smiled and asked politely never, never to send him anything again. 11 years have passed since then. It is important to understand that A. A. does not hire people for academic science; you start out primarily in the studio and then work your way up the career ladder. Within a year and a half, when I was running my studio, which, by the way, and I continue to do with great pleasure, Brett offered me the post of director of the Visiting school.
Rumor has it that you are seeking to take the place of Brett Steele as director of A. A., is that so?
- Never! Without any modesty, I will say that Brett envies me: I fly around the world, meet wonderful people, run a studio, do private practice. I will never take on the role of director: this is a hell of a job that requires a lot of effort. Brett is a politician, although that word can be used to describe the head of any school, I try to stay away from these worries. He is surprisingly good at what he does, and I am neither looking nor looking for positions that, by definition, are far from the creative process. My denial of politics was formed as a child, because my father worked with Richard Nixon and really loved it all …
INYou can safely be called a theorist and teacher, but did you have any practical experience?
- Architectural practice is a very important part of my life. After working for Libeskind, I headed to SOM, and from there to another giant, Heery, but for 16 years my AA colleague Christopher Matthews and I have been leading a joint project, mis-architecture. We are designing small objects, for example, recently, a new NOMA restaurant opened in Copenhagen, now we are building a restaurant in Metropolitan Wharf in the heart of London. Working at A. A. and my theoretical background helped me develop as a professional. I must say that there was not much theory in my life - more critical articles. I am very grateful to Cynthie Davidson, editor-in-chief of The Log in New York, for the opportunity to express my thoughts.
In my opinion, the ability to write is very important for an architect, although, to be honest, very few people can use it. Knowledge of a word is a form of creative expression that is in no way inferior in its importance to a picture or drawing. Perhaps that is why I took up my dissertation - which took about 5 years, during which, with the light suggestion of my scientific advisor, Boyd White, I had to master 8 volumes of George Orwell in order to understand at least something for myself. It's crazy, but at the same time, the only available way to learn how to write clearly, concisely, and effectively. When I first started my Ph. D., my sentences were too long, each the size of a dining table, and now they are so short that I'm afraid to put a comma. (Laughs)
You started teaching at A. A. in 2007. Couldn't INwe can tell you more about your studio, how the learning process works and what is the focus of your andinvestigations?
- In many architecture schools the theme and typology are set in advance. We are violent opponents of deliberate design: the student does not have to know where his research will lead. The main goal that my colleague Chris and I set for our students is to learn how to synthesize architecture in the most non-trivial way. Learning time is time to experiment and break patterns.
For a year now we have been cooperating with the NOMA restaurant in Copenhagen, this collaboration seems very fruitful to us, because the main thing in any creative process is professional involvement, and these people love what they do. Our program is based on the hypothesis that architecture can be created by rethinking the cooking process - be it butchering, dehydration, fermentation, or growing mold.
The student is given a choice of fruit, vegetable, berry or nut, and through a long study and analysis of the properties of the object, he designs a large-scale architectural object. Perhaps to some, our methods will seem intimidating, but, in my opinion, they give room for creative interpretations, liberating the mind, focusing on the process, proving that the design of beautiful, but ill-founded drawings has gone into oblivion.
Why does AA strive in every possible way to avoid the status of a state university?
- At the moment, A. A. has no intentions of gaining university status by all means, but God only knows what will happen in 15 or even 50 years. The Architectural Association is a private school on an independent commercial basis, our program is contrary to the generally accepted, our students come from all over the world. Everyone knows what A. A. is, but we have never been an autonomous organization. In the absence of the status of a university, we are forced to constantly pass certification, our diplomas are accredited by the Open University, which in many respects destabilizes the work. Given the government's policy of tightening the rules for issuing student and work visas and not only, we are faced with a difficult task - to obtain permission from the UK government to award bachelor's and master's degrees, not being formally considered a university. Only this step will allow us to strengthen our position, feel one hundred percent confidence in the future, and become truly independent.
AA is the alma mater of many successful world-class architects, at the same time aboutatLearning here requires not only extraordinary creativity, but also impressive financial support. On this accountet there are a great many contradictoryeniy. How would you describe an A. A. student?
- There is a prejudice that our student is “richer” who has bought a ticket to life. But, firstly, our program is not for everyone's teeth, and secondly, the cost of training is much lower than in most American or British universities. I don’t deny: there are those who act for the sake of prestige - about a fifth. But we are not evaluating people, but architecture. Every year we lose students: those who do not prioritize correctly, who are not sufficiently efficient and motivated, who do not meet the requirements of the school. It is important to understand that for most A. A. education is a dream, and we do not intend to give up talented applicants. We provide grants and scholarships. A fellow scholarship colleague once said that the annual income of the parents of one of my students, one of the best in the course, was 18,000 pounds, which is exactly what a year in AA costs. That is, they gave almost all the money for her education. Parents gave her the opportunity to get here, and she took advantage of it, working like an ox, proving that she was worthy. And this example is far from the only one.
What is the proportion of the global to the local? After all, your students come from all over the worldlcovs of the planet, there is a certain preponderance towards the global, provoked by politicalandwhat school? Can we talk about the emergence of the "international style of AA", or do you not set yourself such tasks, try to reveal each separately?aboutsti?
- This year we have 91% of foreign students, which in itself is incomprehensible. Among them there are both violent cosmopolitans, obsessed with the topic of globality, and those who have never left their native country and are deeply attached to their roots. It is impossible to please everyone, but we provide a choice: for example, in the bachelor's program - 30 studios, in the master's program - 10. Each touches on a variety of topics that come into contact with different contexts, both cultural and political. There is a wonderful story about two students we paired, one from Israel, the other from Iran. It was an amazing tandem in its strength, but Gods - when they talked about politics, everyone hid in the corners (laughs). In my opinion, this is the best thing about A. A. - when people with different ways of thinking and cultural backgrounds work together, creating something amazing, new.
In addition, there are many approaches to the design process. That is why in our work we are constantly experimenting, revising and supplementing our program. We are open to everything new. And we are not alone, the Bartlett School of Architecture and the Royal College of Art are also offering a new format for architectural education, the basis of which is the erasure of the notions of teacher - student. We are colleagues, accomplices. And I think to a large extent many come in pursuit of this collective experimentation experience.
Can you say that AA is a kind of trendsetter in academic education? You're aboutdthey are the first to react to world trends in the field of architecture, theory, etc.aboutsoftware, graphic language, except that Yale University can compete c you for this title
- Something like that; when I first took office, I was free of any prejudice, and had no idea what I was going to face. I remember the day when I entered the main hall, which was filled to the limit, where there was a presentation of the studios, at which each of the leaders covered their topic. I was so scared that I decided not to look at my colleagues, in order not to compare myself with others, but I hooked one of the speeches, since I was next, so they got up, introduced themselves, showed a 5-minute film and left, followed by my turn, with the antediluvian Power Point presentation, I went out, jabbed the concept, thanked everyone present, and retired to digest my defeat (of course).
In our work, each teacher has great respect for what his colleagues are doing. No one interferes in other people's work, but at the same time we speak frankly to each other about the shortcomings. It is important that when someone new comes to A. A., everyone is happy to help him in the formation of a program that should correspond to the general level of the school.
Once I happened to be present at the defense of Aureli's students, and, looking at the tenth square plan, I was ready to burst into tears of boredom (laughs). But seriously, I really respect his views on architecture and theory. Several years ago, when Aureli was still a visiting lecturer, he presented his program to the commission a day before me. Later, already on my defense, the jury noted the amazing similarity of the graphic references, although, despite a certain coincidence in our tastes and views, we are completely different. That is why by the end of each year, at the final exhibition, you see a variety of portfolios presenting a wide variety of architectural ideas, formulated under the guidance of the most diverse leaders.
The school is proud of its graduates, especially those who have achieved success. Were there slatteas, when were you ashamed of your negligent students?
- To begin with, I perceive learning as a partnership, cooperation, where the student's contribution is commensurate with the importance of my own work. Such cooperation or lack of it does not mean that in the long term the student will not be able to find his way. And the only thing that disappoints me is when a student is not a full-fledged participant in the process. Fortunately, this rarely happens. He must be motivated. But at the same time we are talking about young people of nineteen, twenty years old, who are at the very beginning of the path. And if someone already in the process of studying realizes that architecture is not his, I accept his position with great respect, there are many more interesting things in life (laughs). I declare from the bottom of my heart that not everyone is destined to become an architect.
Every year I face twenty disappointments, and I say this in the most positive sense. Because no one, be it the most talented, the best student on the course, brings their project to the point that can be recognized as the final. And, perhaps, it is precisely this incompleteness, which is an integral part of our profession, that I perceive very painfully, sometimes even sharper than those who made these projects.
No school can guarantee you a successful career after graduation. Life is difficult. Someone will manage to turn the world upside down, someone will be the average designer, someone will give up this bad job altogether. When I was young, I would have killed everyone and everyone who is not as passionate about the profession as I am, but as I matured, I realized that it was necessary to be more tolerant in my system of assessing other people's talent and abilities. It is possible that the experience of fatherhood influenced me so much, because my own son is an ordinary child, he does not have an extraordinary mind, he hardly passes tests, but for me he has a talent to look for, at 14 he is the best companion.
I have great respect for the fact that in our school we do not make a rating, there is only a pass / fail, which allows us to give the most objective assessment in which the average student is equated with the best students in the course. Everyone who has completed our program, regardless of the result, deserves respect.
Could you tell us about the program Visiting school? In hem is the main idea of this program? Is this some kind of popularization of A. A.?
- The Visiting school started its work 10 years ago, at that time it was only a few international workshops, and to be honest, the programs then were too colonial in nature, which did not correspond to the school's policy and badly affected its reputation. Thus, the first goal of this program is to learn from our colleagues from all over the world, to adopt their experience, constantly rethinking and supplementing our own work. Because it is impossible to be liberal and open to everything new institution, being within four walls in Bedford Square. Figuratively speaking, we open the doors not only for ourselves, but also for ourselves, allowing everyone to become familiar with our teaching methodology.
How do you choose the director of the program Visiting school?
- Well, I definitely don't have a map with flags (laughs). We don't follow any strategy - we choose the program. I have certain ideas that I am trying to implement, for example, for a long time I have been trying to master new territories and go to Africa, I even contacted David Adjaye, wanted to meet with him and other prominent figures of the continent, to discuss the possibility of holding a workshop. However, in most cases, proposals come from outside, according to my calculations, over the last year we have received more than 300 applications from all over the world. It is my responsibility to sort out everything that I see, to select the best that corresponds not only to the level, but also to the spirit of the school. At the same time, it is necessary to be aware of how the whole process will be arranged, because Visiting school is a short-term, effective program, this is not an academic year or a semester.
By what criteria do you choose topics? How and why did you choose predthe position of Alexandra Chechetkina?
- Only an AA staff member or former student familiar with our educational method can become a program director. This is more a matter of trust than status, but not only. Many personal qualities are required, first of all we are talking about an interested, versatile person, since this work implies not only intellectual involvement and immersion in the context, but also the presence of remarkable organizational skills. Visiting School operates on its own material base, independent of the school, in this regard, we select topics not only for compliance with the school's methodology and relevance, but also based on material security, return on our costs - financial and intellectual. We do not set ourselves the task of making money, we are not talking about profit, but we do not intend to go into the negative. This issue requires careful analysis and study on our part.
Alexandra's proposal interested me, firstly, because we had not yet had a successful program in Moscow, and the topic seemed attractive to me, since the issues of cultural and historical rethinking of architecture in practice, transformation of the territory, which are important for the context of the city, are being raised. Secondly, I noted the uniqueness of this proposal in comparison with others. At the same time, I made a number of comments, asked for corrections and send me everything in writing, since many can speak, but, let's be frank, not everyone can move from words to deeds. Fortunately, Alexandra's zeal and dedication can only be envied. I was not at all surprised that she managed to attract ARUP as a sponsor and intellectual partner, this is how a program director should be!
How and why did you decide to cooperate with the MARCH School, a daughter of LMU? How do you, AA, reactandDid you talk about what was happening at the LMU, about all these strikes, the departure of Robert Mal?
Thanks again to Alexandra, it was she who suggested the MARCH School and put together an excellent team. Our work is based on trust, and it justifies it in every possible way, there was no case when I could doubt my choice.
One thing I can say about Robert Mal is that it worked well for us, as he is now a member of A. A.'s Board of Trustees. I know very little about what is happening in the Metropolitan, I would even say, I try not to know, as I said earlier, I try to stay away from all political strife, especially if they are not directly related to me.
AA - umbrella brand, including institute, bar, shop, magazines: AA Files and AA house journals, you even design books for architects … This is not surprising, many modern institutions are promoting a similar policy (Strelka, MOMA). What is the reason? Can't you just be a good institution?
- And it seems to me that this is not enough if you want to compete at the world level. It is impossible to imagine at least one large institution that goes to the global level and does not promote such a policy - I think that not only in Britain, but throughout the world. It is this aspect that is the key difference between AA and many schools, albeit with a worldwide reputation, but local. In fact, this is one of the most hotly debated issues in recent years. But I agree that there is a great risk that everything you have listed will draw more attention to yourself than our main activity, which is education. In general, I have a very painful attitude towards all kinds of brands in architecture, quite recently I lost in the competition, for lack of such, losing to the notorious Bjarke Ingels. (Laughs)
Does the global context need local schools?
- Of course, there are many outstanding local schools whose identity and political views deserve respect, for example, the Rhode Island School of Design or the amazing schools of China, whose product is so distinctive that it cannot be compared with what the rest of the world does. … But at the same time, focusing on the local deprives you of the opportunity to fully compete in the context of ubiquitous globality. This is why I work in A. A., a place of tremendous value and insight into what is happening in the global architectural arena.
Every year within the walls of the school takes place AA project exhibition, you let paint, sooratreap, almost rebuild a historic building. Is this fact some kind of "praboutprofessional position "?
- We can hardly compete with how they do the annual exhibition at Bartlett or University College London - they invest much more money. We do everything literally on our knees, in 10 days, almost free. I think this is where you see A. A. in its best, perhaps most sincere light, because all decisions are made together. The truth is that every time we try to find a fine line of what is permissible, dictated by the historical context of the building. We squeeze the maximum out of ourselves. So, for example, a pavilion was made in Bedford Square, and one of the stairwells was given to the exhibition of the famous ceramic artist Tony Kumell. For 3-4 weeks of the exhibition, about two thousand visitors come to us, who are interested in seeing how we live and what we do. Perhaps, all year long we have been working for this particular event, with the help of which we can adequately assess all the work done.
– More recently, the architectural community was shocked by the news of the death of Zaha Hadid. I am infromI accept A. A. as a family, which is why it seems very important to me to convey your postureandtion, reaction to this unfortunate news
- I was in Paris, in a store, when they wrote to me about what happened, I think I will never forget that day. Zaha was a very important part of A. A., an ardent supporter of our approach to education, had her own special influence, moreover, she was the embodiment of the school, in the sense that she managed to realize herself, multiplying what the Architectural Association gave her. She always returned to share her experiences. Thanks to her contribution to the architectural discourse, the school gained fame, many come to us in the hope of repeating its success.
There was not a single person in A. A. who remained indifferent. Brett wrote a kind of requiem on the school website, it was our duty.
The other day we were discussing that we need to do something in her honor, but as in any family, we need a little time to get over what happened. The school must find its own right way to show its respect. We do not want our reaction to be perceived as a PR campaign. Let them say, let everyone do their own thing, make films about Zakha, do whatever they want. We, in turn, will try to find the correct and meaningful way to recognize the tremendous impact she had on the school, and to glorify the career of the person who made a huge contribution to what we now call architecture.
