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Burch, J. (2014)
Publisher: aae
Languages: English
Types: Article
This paper develops a preliminary map of the contemporary culture of learning of drawing in UK schools of architecture using Bourdieu's related notions of field and habitus, as applied in Hodkinson, Biesta and James' 'theory of learning cultures.' In developing this proposition the paper argues that drawing has been the defining currency by which architectural production has developed cultural distinction during the twentieth century, but that information technology is destabilising architectural drawing as the established currency of this culture. Examining the teaching of drawing as a learning culture demonstrates that drawing is learnt within an open field of objective forces, that students define their drawing habitus in negotiation of these forces, many of which are extraneous to architecture as a distinct cultural practice, and that in their subsequent redefinition of drawing students also redefine something of central importance to how architecture has expressed its exchange-value over the past century.
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    • 1 P. Hodkinson, G. Biesta and D. James, 'Learning Cultures and a Cultural Theory of Learning', in Improving Learning Cultures in Further Education, ed. by D. James and G. Biesta (London: Routledge, 2007), pp. 25-28.
    • 2 Pierre Bourdieu, 'Intellectual Field and Creative Project', in Knowledge and Control: new directions for the sociology of education, ed. by Michael F. D. Young (London: Collier-Macmillan Publishers, 1971), 161-188.
    • 3 Sherry Turkle, Simulation and its Discontents (Cambridge, Mass. MIT Press, 2009).
    • 4 The critique of Philip Rawson provided in Deanna Petherbridge, 'Nailing the liminal: the difficulties of defining drawing', in Writing on Drawing: Essays on Drawing Practice and Research, ed. by Steve Garner (Bristol; Intellect Books, 2008), 27-41 (p. 32).
    • 5 Philip Rawson, Drawing, 2nd edition (Philadelphia: University of Pennsylvania Press, 1987), p.1.
    • 6 Rudolf Arnheim, Picasso's Guernica, the Genesis of a Painting (London: Faber, 1964).
    • 7 R. H. Clark and M. Pause, Precedents in Architecture: analytic diagrams, formative ideas, and partís, 3rd. Ed. (Hoboken, N.J.: John Wiley, 2005), p. 3.
    • 8 Pierre Bourdieu, 'The Forms of Capital', in The RoutledgeFalmer Reader in Sociology of Education, ed. by Stephen J. Ball (London: RoutledgeFalmer, 2004), pp. 15-29.
    • 9 Plan, section, elevation, sciagraphy, axonometric, perspective, etc. - I teach first year students these conventions. I also help them find their lost pencil cases.
    • 10 Peter Cook, Drawing: the motive force of architecture (Chichester: Wiley, 2008).
    • 11 Simon Unwin, 'Analysing Architecture through Drawing', Building Research & Information, 35:1 (2007), 101-110, (p. 101).
    • 12 David Dunster, another distinguished architectural academic, can be seen to be arguing a similar point in, D. Dunster, 'Charting the role of the diagram in architect's work', The Architectural Review, January (2006), 28-31.
    • 13 Robin Evans, 'Translations from Drawing to Building', in Translations from Drawing to Building and other essays (London: Architectural Association, 1996), 153-193 (p. 165).
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