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Education for the creative act

  • Robert Maxwell (a1)


Architects are, with few exceptions, ‘school trained’. This paper traces the history of the relationship between architectural education and practice. It describes the approaches developed at Cambridge and the Bartlett in the 1960s - and the theories that each embodied: one based on architecture as a cultural manifestation and the other governing the science of building. The paper concludes with the view that we need to be more realistic in our attitude to artistic aspiration as a component of studying architecture while strengthening the ways by which building performance can be tested.



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Crinson, M. and Lubbock, J. (1994) Architecture, Art or Profession? Manchester University Press, Manchester.
Henderson, D. (1983) The Fourth Dimension, Princeton University Press, Princeton.
Levine, N. (1977) ‘The Romantic Idea of Architectural Legibility’ in Drexler, A. (ed.) The Architecture of the Beaux Arts, Secker and Warburg, London.
Loran, E. (1985) Cézanne's Composition: an analysis of his form with diagrams and photographs of his, University of California Press, Berkeley.
Martin, J. L., Nicholson, B. and Gabo, N. (eds) (1937) Circle: International Survey of Modern Art, Faber & Faber, London.
Pedley, J. (1990) Paestum, Thames & Hudson, London.
Rowland, K. (1973) A History of the Modern Movement, Van Nostrand Reinhold, New York.
Württembergischer Kunstverein Stuttgart (1968) Bauhaus 50 Years, exhibition catalogue, Royal Academy of Arts, London.

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Education for the creative act

  • Robert Maxwell (a1)


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