CALL FOR PAPERS Dearq Journal issue: The role of history in an Architect's training
Register/Submit Deadline: Friday, Oct 13, 201712 PMEDT
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CALL FOR PAPERS: THE ROLE OF HISTORY IN AN ARCHITECT'S TRAINING
Closing date: October 13th, 2017.
The processes of learning how to become an architect has always involved historical research, albeit from a biographical perspective (H. Allen Brooks when he studied Le Corbusier), from a generational perspective (Silvia Arango on researching the common processes be- longing to six generations of architects who defined twentieth cen- tury Latin America), or from a pedagogical perspective (Jean-Nicolas- Louis Durand's Précis des leçons d’architecture). The opposite side of the question, in other words questioning the role that history plays in an architects’ training, despite not being addressed very often, is more problematic and therefore more often avoided. Bruno Zevi, one of the leading authors on the historiography of modern architectu- re is being rather provocative when he moots Le Corbusier’s contro- versial historical vision —expressed by the term tabula rasa— as an axis for a history course based on “the fusion of cultural and creative journeys, the uniformity between historical consciousness and poetic escape —a unique phenomenon within the landscape of the masters of modern architecture— and for its value, which is simultaneously technical-operative, linguistic, and ethical”.1
dearq invites you to submit articles that not only reply to Zevi’s pro- vocation but also to the wider questions, what has the role of history been in architects’ training? What is its outlook today and what are its perspectives? In order to be able to answer these questions we pro- pose the following perspectives but do not wish to limit other view- points: history as experience —journeys and encounters with experts and archetypal works (special interest should be paid to narratives from a modern perspective—; history as a conscious source of dis- course or design tools that underpin the constructed building itself; and contact with the history of art as part of the configuration of the architect’s plastic imagery.
Guest Editors:
Íngrid Quintana Guerrero. Faculty of Architecture and Design, Universidad de los Andes, Colombia.
For additional information and the rules of publication:
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