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The Irwin S. Chanin School of Architecture the Cooper Union For ARCHITECTURE The Irwin S. Chanin AT COOPER School of Architecture The Cooper Union for the Advancement of Science and Art 5:10-11 LETTER FROM THE DEAN In ten years at the School of Architecture, I have many times This year’s exhibition is a perfect demonstration of a school research, travel and develop individual exhibitions. Eleven been presented with the question of the relationships between that has emerged with its powerful tradition intact and have been recipients of the prestigious Lotos Foundation theory and practice. This conventional division, that emerges renewed in order to face the conditions of the twenty-first Prize in the Arts and Sciences. Several have won fellowships often in the debates around the nature of the education of an century. Supported by vigorous studio courses in freehand offered by firms; another went on to study in the British architect—should it be more directed towards practical drawing and descriptive geometry, the Architectonics studios School at Rome, and many went on to prestigious graduate or theoretical concerns?—is one that I have always thought explore visual and formal issues of projection and schools. Since its establishment by the family of William to be entirely artificial. It is, after all, confounded by the very representation in the context of the actual studio while Cooper Mack, the Thesis Research Fellowship in his name fact that any design, however hypothetical, is itself a thought constructing ideal habitations at large scale, using all the has supported nine students in the travel and preparation about architecture. Indeed the very practice of design is resources of the Shop. The Design II studios tackled the of their Thesis projects. one of in the most fundamental way. complex questions of site, structure and program, in an thinking architecture As a school, then, we have continued to prepare students brilliantly inventive three-dimensional transformation of the At The Cooper Union we believe that this dichotomy is for a full breadth of careers in architecture and the allied arts School’s own “Nine-Square” program followed by a semester resolved through the idea of architecture, in the words and professions. Some have forged partnerships among of analysis investigating the programmatic and formal forces of Professor Emeritus Peter Eisenman, a project. To think themselves, entrepreneurial and inventive, winning that shaped different scales of domestic space from the of architecture as a project and not simply a practice, is to competitions and constructing new forms of collective house to the chair. In this regard, this issue of have an architectural idea in the first place, one that is Architecture practice. Others have joined small and large firms, quickly introduces a new center section dedicated to the iterated and developed through the process of design, itself At Cooper winning recognition as important contributors to practice. extraordinary collections of the School of Architecture understood as a thought process in drawn and modeled form. Others again have then begun to teach with the experience Archive, a unique resource for students to study the history This is why all courses and studios at Cooper the of the pedagogy they learned at The Cooper Union. support of the school and for the mounting of our yearly series of project of an architecture rather than simply the material exhibitions, themselves didactic and integral to the school’s This pedagogy, a precious inheritance from the generations of the profession. In this way we hope to encourage practice pedagogy. Here, for the first time, we publish the beginnings of teachers under the leadership of Dean John Hejduk, is our students to think architecture in such a way as to enter of Cooper’s theoretical project in architecture: John Hejduk’s developed and sustained by our professional and scholarly the profession armed with a project that might transform original hand drawn diagram of the Nine Square Problem faculty, as they practice, gain recognition in their diverse the ways in which architectural “problems” have generically and its potential for elaboration. Design III, integrating design fields, continue to push the envelope of conventional design, been posed—ways of formulating, envisaging, designing and with the knowledge gained from building and environmental and, in their research, inspire their colleagues and students constructing, that confront the norms of the present with technologies and structures, has moved from the scale of in the creation of an architecture that can hold its place in ideas for the future. habitat to that of the theater, studying increasingly complex a world of rampant commercialism and environmental decay. The knowledge that is essential for a critical understanding ideas in the realm of a material poetics. The Design IV studios Peter Cooper considered The Cooper Union student to already of contemporary professional practice,—whether of first returned to the scale of the detail, expanding out to the be a citizen of the world, and accordingly he instructed that technologies, economics, business practices, legal scale of the city, and then re-focused moving from the widest “Instruction in the science and philosophy of a true republican frameworks, or ethics—is fundamental to the calculation urban perspective to that of the single institution. The fifth government formed, as it should be, of the people and for of a project that is not to be consumed by the routines year Thesis, exhibiting the most varied interests in many the people” be “continually taught.” With this foundation, the of practice. But these questions are couched in terms that years, took on questions of the architectural environment professional education of an engineer, and an artist and an relate directly to the act of creative design—design that from the global to the local with inventive intensity. In its architect could begin. And with this education, Peter Cooper comprises questions of culture, society, environment, and second successful year, the new graduate Masters studio hoped that, as he wrote, “the students of this institution technique—and that looks in a holistic way at the piecemeal conducted design research into urban and natural will do something to bear back the mighty torrent of evils now solutions generally offered for sustainability, social landscapes, asking fundamental questions about the roles pressing on the world.” In every way, Peter Cooper’s ideal responsibility, and ecological conservation. of technology, the media, natural resources, and social of public service is sustained by an architectural community conditions in contemporary architectural culture. Thus the curriculum at Cooper has evolved over the last ten forged at Cooper, entering a society now, more than ever, years, embracing contemporary questions of environmental These studios do not exist alone. They stand at the center in need of the most creative solutions to its increasingly and technological knowledge, while holding close to our of a network of courses and experiences that introduce intractable problems. tradition of design, out of our profound humanistic under- students to the special knowledges of the historical, social, standing of form and space as the critical articulations of anthropological, philosophical, aesthetic, technological, and social and cultural understanding. The meaning of architecture cultural disciplines that inform architecture and urban design. and its urban cognates is in this way formulated as embodying The achievements of our students over the last ten years have structure and function in forms that resonate with particular been nothing less than remarkable. Ten have gained national force as condensers of community. It is for this reason recognition through Fulbright Fellowships that have led them that the act of thinking about architecture, through drawing, to South Africa, Tunisia, Kazakhstan, Korea, Japan, Italy, modeling, reading and writing has become the central New Zealand, the Czech Republic, and France; twenty more Anthony Vidler occupation of what we call design, in these terms a theoretical have been awarded Benjamin Menschel Fellowships to Dean and Professor discipline par excellence. The Irwin S. Chanin School of Architecture presented three Musikerhaus: Raimund Abraham significant exhibitions in the Arthur A. Houghton Jr. Gallery Presented by The Irwin S. Chanin School of Architecture during the 2010 –11 academic year. In realizing these March 7 –April 6, 2011 S exhibitions, the School of Architecture forged new Curated by Steven Hillyer, with Kevin Bone and Roland Eckl relationships with three important cultural and educational institutions: The Drawing Center (New York), The Insel Raimund Abraham taught at Cooper for thirty-one years, Hombroicht Foundation (Germany), and The Cooper Union during which time he developed a series of extraordinarily Institute for Sustainable Design. With Steven Hillyer as effective programs for the First-Year and the Fourth-Year Director and Sara Jones as Special Projects Assistant, the Studios. Some were analytical, as in the Ledoux analysis, N School of Architecture Archive continues a decades long some were architectonic, some were urban and programmatic , tradition of presenting beautiful exhibitions that inform and but all were invested with his characteristic poetics of excite students and the public alike of the breath and depth feeling and commitment to the most authentic of of the discipline of architecture, while engaging students architectural
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