In common with both these situations have been a number of significant developments. The accelerating urban growth has drawn attention to the plight of large sections of the population for whom adequate housing cannot possibly be provided by existing procedures. The decay of the historic centres has led to uncontrolled and unprincipled destruction and rebuilding. The deprivation and alienation experienced by the moving populations has been matched by the increasing validity given by designers to sociological issues and contextualism.
Functionalism has been reassessed to include visual meaning and symbolism; human values balance technical values; a new critical spirit is reassessing the past. In this third cycle of the Award, it is perhaps not surprising that the field was felt by the jry to be somewhat reduced, and few projects excited any passions.
The difficulties experienced by the jury in agreeing on more than a small number of works of quality may also reflect the issues of doubt and reassessment mentioned above, and are an indication of a crisis in creativity and innovation. The award of prizes is only part of the exercise of the jury. Concern for vitality and quality have led us to look carefully at the reasons for the rejection of projects in the first round - and after this to reflect on problems that might be addressed by architects and clients in the Islamic world.
The jury has been only too aware of the difficult choices to be made and dilemmas to be faced by architects of the Islamic world over a wide spectrum of issues. Many of the new buildings reflect the contradictory preferences that exist in countries of the Islamic world which are in a process of transformation or transition. There is no single sense of direction in which tastes are evolving, either with the general public or with the client or the architect. The distortion produced by external influences may interfere with cultural continuity, producing characteristics that are vulgar or ugly, but they can also be positive and enriching.
The least we felt that we could do, as a jury, was to examine the submissions looking for works which illuminate the issues with genuine content and an absence of arrogance. In so doing, we felt that there was a great need for public debate about architecture within Islamic societies. The programmes of buildings and developments ought not to be left to public officials or powerful architectural firms to determine.
A plea must be made for subjecting to public scrutiny all such proposals. The evolution of taste in societies that are transforming themselves should be a public affair, something of concern to every member of the community, about which the community should be able to speak: it should not be the sole prerogative of those in power, whether on the architectural side or on the client's side. A gestation period should also be built into the submission of such proposals to allow for public reaction and participation.
Confusion of judgement and a breakdown of aesthetic standards are phenomena of transitional societies to which architects are as much subject as anyone else. By raising these issues, the Award jury hopes to draw the attention of the architectural and non-professional communities to one process out of which a better design culture might begin to crystallise. The reassessment of traditional values in modern contexts and in ways that respond to modern challenges is something that goes beyond questions of architectural aesthetics and functions, and becomes a key role in the professional ethics of the architect.
To the above is related the important factor of cultural continuity. The whole crisis in Asia and Africa shows that when a nation loses its sense of identity, and therefore its pride in itself, it is deprived of creative genius; for this reason, it is essential that some sense of continuity is retained. Buildings may challenge this continuity, but they should not break with it completely, for then alienation sets in and antagonistic processes may result.
Two dangers threaten continuity. On the one hand, there are possibilities of distortion through the processes of reinterpretation and re-evaluation of cultures in the face of new challenges and opportunities, and of undue external influences, the latter sometimes introduced through such agencies as misdirected foreign aid. On the other hand, there is the extreme severity and urgency of the urban expansion in the Third World, so that architects have a new responsibility in their handling of socially oriented projects.
Housing may now be the most important of the problems that architects in Islamic societies have to face: it challenges them not simply to emulate the standards by which professionals in the First World operate in working for the modern sector, but forces them to be critical of influences from the industrial world, and to face the issue of dealing with indigenous materials, the indigenous capacity for creativity and the special values of traditional societies.
There is also the new ecological responsibility that the architect has to assume towards the countryside. Rural villages have grown so fast that urban responses are required; we have to search for new types of rural cities in the Third World capable of being viable at a very low level of income. These are new challenges to the architect which are expanding his ethics and his ethos and which are arising from a specific crisis in the Third World.
Architectural education has a special role to play in preparing architects to deal with these new and major issues, especially, but not only, those of the Third World. The jury has been only too aware of the dilemmas and of the difficult choices that Islamic architects will have to make across a wide spectrum of issues.
It is to be hoped that the awards that we have recommended together with the recommendations of this report may help to draw attention to some of the categories now assuming such importance. In all these ways, architecture and urban design in the Islamic world are clearly in a state of transition.
In recommending the awards the jury has been considering signs of trends which might prove to be most useful or most desirable; these criteria have been carefully selected bearing in mind the diversity of Islamic cultures. As a working method, the submitted projects were grouped under five headings and an endeavour was made to find at least one project which was judged worthy of an award in each group: mosques; public, commercial and industrial buildings; human settlements; rehabilitation and improvement; housing; and lastly conservation and adaptive re-use.
In the course of its task, the Award jury was guided by the terms of reference for the Award which stress recognition of those projects "which demonstrate architectural excellence at all levels"; which respond to "social, economic, technical, physical and environmental challenges"; which nurture "a heightened awareness of the roots and essence of Muslim Culture"; which are concerned with the challenges of the future; and which have the potential to "stimulate related developments elsewhere in the Islamic world".
At the same time the Award Jury was aware that schemes might justify an award for quite different reasons. For instance, by serving as an example of the evolutionary process, or alternatively by serving as an example of a revolutionary process when appropriate. Throughout, the jury placed emphasis in making its assessments on basic, elemental architectural qualities, as opposed to the over-simplistic, bombastic, or ideological qualities that are sometimes lauded in contemporary and "vernacular" architecture alike.
In making its judgement the jury was concerned to note conflicting philosophies between the approach of the "Modern Movement", which is often concerned with the search for a logical language of clarity and unity which might be universally applied, and the results of the continuing evolutionary process, which are frequently more concerned with diversity and vitality, with joy and engagement with the users. In the judgement of the Award jury its function was to assess not only the value and quality of a building complex but also its contextual significance.
At this time in the Islamic world there is an important new category of buildings, those which are sophisticated and highly technical, but this fact should not lead to the neglect of their impact on the societies in which they are placed. Nor should the development of new building types and technologies lead to the undervaluing of buildings which belong to the traditions of the people and have a naive vitality that is uniquely their own.
A lively community has many levels of expression, and the creative vitality of craftsmen in society should be encouraged. The Award Jury wishes to recognise in making the awards that the contributions of the client and the user were often of the greatest importance to the design process. When the process of design and building is correctly put in train, a true balance of contribution between the client, the user, the architects and the craftsmen is achieved.
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Such a framework allows the growth of a spontaneous vitality and creative energy. The process of designing constructions and the process of evolving communal action have to combine to generate projects which are within a framework for active use by the population. In considering the category of sophisticated and highly technical buildings, the jury observed with regret that few of the projects appeared to possess true inner conviction, let alone a vision for the future of architecture in the Islamic world. In selecting from the buildings nominated the jury was keenly aware that its choice would be interpreted as "sending a message" of directions which architects in Islamic societies ought to follow.
Few of the nominated projects could perform this role.
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In the final analysis, the most important criteria were felt to be:. The relatively small number of buildings short-listed in this category is a reflection of the crisis in modern architecture in the Islamic world today and particularly in the contextual significance, or lack of it, in many of the approaches to architectural design being adopted by the profession.
God's role at the firm that he founded has long been a largely symbolic one. As William Mitchell puts it: "Lord God as he had become still had his name on the door as the senior design partner, but the truth was that he now spent most of his time doing marketing and pontificating on television. He is also the proud owner of an independent streak of earthy drollery that remains just about kept in check in his academic writings, yet is fully unleashed here.
Written in the downspun, digressive style of a slightly inebriated prairie raconteur, this book assembles 32 of Mitchell's shorter essays and articles, written over the years for various magazines. Topics include the design crime of bottled water, the complex curvature of potato chips, the proliferation of Wal-Marts, and the museum-like logic of supermarkets.
If you're British, he's talking about crisps. In less competent hands, this sort of knowing pop wryness, of which there is much in this book, would swiftly become unbearable. Yet Mitchell's lines of attack are often deceptively well-considered, and his humor easygoing and natural. Apparently lacking the uptight self-consciousness that plagues many of his academic colleagues, when he cheerfully recommends the intricately gnarled and warped "Cape Cod chips" as the perfect munching accompaniment to Gilles Deleuze's similarly intricate text The Fold, he seems completely in earnest, and indeed, why not?
At the heart of this volume is a basically liberal tirade, conducted against the enlightened pretensions of the Utopian master builder in all of his various incarnations and forms. At a moment of rigidly and manipulatively framed polemical positions, they still insist on the virtues of pragmatism rather than ideology, and naughtiness rather than nuttiness. This is a witty, lucid, and very readable volume, and a superb introduction to his work.
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