EAAE Rurality Network Seminar 8-12 April 2013_Fribourg Fribourg School of Architecture and Engineering
(Non-)Doing a Workshop on Rurality scenarios for Ria de Alvor estuary landscape, in Portugal Nuno Martins, Architect Ph.D ; Assistant Professor at ISMAT, Grupo U.Lusófona, Portugal
[email protected]
01 Workshops students final outcomes Scenario Group 1 - Mehdi Belyasmine, Jean-Loup Clément, John Hanrahan, Romain Odier IMPERMANENCE
Fig. 1
The daily and life cycles of Impermanence.
Scenario Group 2 - Elvira Constantina, Anna Di Fede, Lilla Papp, Blerina Rashiti: THE CYCLE AS RESOURCE
Fig. 2
Growing cyclei.
02 Foreground 02.01. (Non-)doing a workshop on Rurality First of all let’s clarify the title. A full explanation of how it was possible non-doing a workshop instead of doing a workshop requires, in the first place, the definition of the concept of non-doing and, after that, the description, made with precision, on how things unfolded over those four days of working together in Fribourg School of Architecture in the first EAAE Rurality Network. This will be done in the next paragraphs. Second task is to explain why workshop results are presented initially instead of presented at the end of the text, as final output of the workshop, as usual. This is not so difficult; however, it will be done later on, when the reasons for doing so perhaps became clearer.
Giving an overview of the workshop main features, say, team composition, site of intervention, program, schedule and meeting venue, is worth to mention: two scholars from two South-European countries leading a group of eight students from five other different countries, comprising West, Central and Eastern Europe and North Africa countries, four boys, four girls, from 20 to 29 years old, with six native languages, including one student with impaired hearing focusing on a distant rural landscape far from the workshop venue (Fribourg) and having to attend not only the afternoon workshop activities but also several morning oral presentations. This geographical, cultural and individual diversity, together with the intensive program, framed an initial challenge for all participants, both workshops leaders and students.
Relating to the site of intervention suffice it to say that a cultural landscape nearby the school of origin of the workshop leaders, in Algarve, South Portugal, was chosen. This option, mutually agreed with the workshop organizers, certainly attempted to promote a wider intercultural dialogue, demanding participants communication and learning skills while placing them in a neutral position, since some of them were currently studying in the region. However, as all workshop members would experience later, the choice of site disregarded a basic rule when it comes to dealing with the rural: to personally know the place and work on the field with a multidisciplinary perspective, with local communities. Actually, the morning talks, no matter if they addressed vernacular contemporary architecture, territorial planning or rural landscape issues, systematically underlined the importance of fieldwork, of familiarity with people and places, of interaction with local communities and institutions, of building up an interdisciplinary and inter-sectorial dialogue, in order to better know and explore resources, of gaining deep insights into landscapes transformation, and of balancing top-down and bottom-up approaches. The more this connection between rural intervention and insitu work was emphasized by oral presenters, the more the workshop team came to understand that picking a landscape far from the workshop venue would constitute a major problem. A greater
feeling of misunderstanding arose at the end of the first day, when Portugal workshop leaders realized that the remaining groups had made a different choice, choosing local landscapes, conveniently placed in the surroundings of the city of Fribourg, therefore, easy to reach and walkthrough, whilst the Portugal team had to travel by images and videos and long descriptive narratives, inevitably tiresome, to get a sense of place ii (Norberg-Schulz, 1985,1990; Najafi et al, 2011).
Another apparently external element, a very recent visit to an important exhibition on Louis Khaan works at the Vitra Museumiii caused a marked impact in one of the workshop leaders. At the exhibition, both extracts from essays on Kahn’s work (Lobell, 1979) and a few key-quotes that synthesizes the north-American architect’s discourse on the relations of nature and architecture as well as on the spiritual dimension of buildings (Barrie&Bermudes&Geva, 2010; 4-5) were showed trough writings on the walls. Over the workshop week, these writings, still echoing in the mind, suggested to bridge Kahn’s thoughts with rural issuesiv and also, with the workshop creative process. In selected strategic workshop moments these extracts and quotes were provided to studentsv, in an attempt to infuse them, according to the situation, with some spirit of criticism, positive enhancement or inspirational insight into the relationship between man and nature and on the design creative process, while deepening a cross-cultural perspective (Salma, 2002).
03 Background The framing of the workshop process in a theoretical domain, adheres strictly to a focus on the workshop. Therefore, it is important to forewarn that the point is not to survey the state of the art in architectural education and not even, for instance, to give a broad perspective of current architectural workshop design techniques, which are, actually, barely related to a specific workshop on a specific body of knowledge such as Ruralityvi.
Described in a simple manner, a workshop, whatever are its contents and goals, is about solving problems, and doing it in short time and collective-basis. Also consensual is that a workshop is about communication, discussion and developing ideas that lead towards innovative solutions that meet current societal needs; and ultimately, a workshop is about creativity ( Inmark, 2010).
In order to hold a more in-depth theoretical discussion, capable, to a certain extent, of explaining the workshop process (as it actually unfolded and not as it was suppose to unfold) specific approaches to both creativity and pedagogics were selected for analysis. In the case of creativity, the theories of flow and mindfulness emerged as suitable topics. In the case of pedagogics, it seemed relevant to give an overvizew of active teaching methods used in high level education, relating them with the experience carried out at the Portugal workshop.
Mindfulness also deserves to be addressed due to the evident impact that a particular exercise proposed to the group seemed to have in the way team members interacted as well as in the workshop final results (shown above). This exercise was so-called non doing practicevii. The concept of non doing is defined by Jon Kabat-Zinn, in his book Guided Mindfulness Meditation, as “a time for no action, a time when there is no agenda at all, a time for simply being, being aware, being awake” (Kabat-Zinn; 1995; 2005).
Regarding active teaching methods, the option was justified by the challenging conditions described above, considering, in addition, the particular characteristics of the workshop-roomviii Do the characteristics of space influence the way work is accomplished? Architects are supposed to say: they definitely do. Might that influence be relevant to a workshop process and final outputs? Architects confirm: yes, place matters. Coming from a different background, the psychologist Mihaly Csikszentmihaly, who largely studied creative thinking processe and conducted a survey addressed to creative professionals, would likely agree with that.
In his worldwide acclaimed book Flow: The psychology of optimal experience, after exposing the results of a long-term researchix, Mihaly clarifies the creativity process, summarizing creativity promotional factorsx. Among Mihaly’s key findings is that creativity is mostly triggered by different sources, depending, in a large measure, on conditions such as built environment, self-identification with space and collective interaction. Thereby, he argues, the improvement of conditions may be more effective than efforts to raise creative thinking (Mihaly; 1990; 1). According to many of Mihaly’s respondents, during the act of creation arises a special feeling when things are going well, which they described as “an almost automatic, effortless, yet highly focused state of conscience”. This optimal experience, Mihaly called flow.(idem, 110). Embracing Mihaly’s flow theory and it’s involvement in intrinsic motivation (Sheehan, 2012), Portugal’s workshop team leaders pursued pedagogical strategies supposed to encourage students to focus fully on their own conditions and range of possibilities, as members of a creative workshop team (ibidem, 143). Myhaly’s advances on creative process makes easier to understand that a workshop may pass through a difficult point when conditions that promote creativity are not fulfilled. In the case of the Portugal workshop, the students’ lack of knowledge of the place, due to distance, certainly played an important role in the fact that things started unfolding in a different way they were supposed to do. In a particularly critical workshop moment, when creativity was most required, a decision about
how to continue the work had to be made. In light of the final workshop results, this decision was, as it appears now, with hindsight, almost radical.
To disregard, in a certain degree, previous considerations on planning landscape strategies and design methods provided by workshop leaders and breakthrough, assuming a less methodological attained workshop process but a more meaningful one. Yet, to embark in this journey towards creativity, a singular endeavor by both students and workshop leaders was needed. The former had to clean up design and planning strategies, presented at the beginning as perfect receipts that they just had just to pick and apply according to their site interpretation (Productive Agricultural Landscapes, Heritage Parks, Landscape Planning Analysis, etc) and then move to another dimension of the problem, seeking no design proposals but rather insights into the cultural and natural landscape for its sustainable development. The latter were asked to loosen up and discontinue the input & output-based process, no longer controlling workshop process and outcomes, assuming, instead of a result-oriented teaching style, a more passive role in the creative process, acting as mere facilitators. In other words, students had to be pay deeper attention to Ria de Alvor territory, searching for its genetic code, figuring out its breathing, looking, sounding, touching, smelling and tasting, while workshop leaders had to pay an equivalent attention to workshop students, supporting them in this journey into their senses. This switch of pedagogical orientation implied for all participants a process of detachment from previous assertions which finally enabled a new pedagogical commitment. Nevertheless, to accomplish this change and build up this new commitment a few operative pedagogical instruments were required. Again, mindfulness and active teaching & learning methods were the keys to smoothing the progress of paying attention to and that of flow thinking, towards creativity happy paradise land (as described by Mihaly; 1990; 123-124).
At this point, mindfulness practice, group dynamics and active learning exercises became useful tools. The practice of mindfulness, has benefitted from the tendance of bringing traditional oriental wisdom and practices to Occident. Thanks to this progressive interest, confirmed by the foundation of research centres on mindfulness within universitiesxi, mindfulness is no longer an opaque concept and its use in both education and creative art processes have attracted attention among researchers in recent years (Aleen, P. 1995, Bishop at al, 2004; Constantinescu, 2012 Langer, 2006; McCown, D. & Reibel, D. & Micozzi, Marc 2010 Langer, E. & Russel, T. & Eisenkraft, N. 2008; Rojas, 2012; Shmertz, S. 2006).
By drawing up two interrelated linkages, one between mindfulness and attention and another one between attention and creativityxii a modus operandi for the workshop was fostered. Taking action, mindfulness practice, group dynamic exercises and the split of the group into two sub-groups, with
gender separation was proposed. These actions seemed to raise a more favorable creative environment thanks to the stimulation of concentration, discovering and competition, actually, three of the most important catalysts to creativity (Mihaly, 1995).
Active teaching methods have been widely spread thanks to the works of science education scholars (Bigges & Tang, 2001; Demirbaş & Demirkan, 2003, Salama, 2006). However, little attention has been paid to their application in architectural education, studios or workshops (Kowaltowski et al, 2010). Though architectural education adopted long time practical teaching methods that might be connoted to active learning & teaching, such as field-work and also, at a different level, the reproduction of reality with models, nevertheless, it is fair to say that architectural scholars tend to resist innovative teaching techniques. Their preference goes to the expositive-based teaching method or, in the support of architectural design studio, to the mentorship-based method, which evokes the classical relation master-apprentice established in the Beaux-Art traditionxiii (Shumaker, 2002), normally paying little attention to students learning styles(Kvan, 2005). In the earliest stages of the workshop, an appropriate time for recognition of student skills and learning styles, it was considered important to facilitate interaction between members, by encouraging them to move beyond their comfort zone (Pollack & Fusoni, 2005). Therefore, after an opening mindfulness icebreaker, a second exercise, often utilized in team building, was proposed (Francis & Young, 1979). This kind of exercises strengthens group, promoting self and mutual awareness, but it also enables participants to get to know each other on a more personal level (Francis,1979)xiv. In order to improve effectiveness in working together by confronting and resolving problems, Day 2 finished with a dynamic cross-debate exercise: jigsaw. In a jigsaw discussion, each participant is a member of an initial group where all members share or develop knowledge in a specific subject area (Carrol, 1986). It is learning between peers (Wood, 1996) workshop leaders assist the participants in collaborative learning and problem-solving activities rather than giving them all the answers or furnishing them explicit solutions. This exercise also allows for leaders to emerge within small groups and progressively take the lead in the task (Chowdhury, 2009). The third day started with the presentation of the Facebook page of the workshop Portugal team, a sharing tool made at disposal of all participants. By facilitating inter-media communication within the group, Facebook proved to be so powerful that is fair to say that the moment it was incorporated to the process stands as one of the milestone of the workshop. In spite of this evidence, currently, the impact, the advantages and disadvantages, of social networks in teaching & learning, remain almost unsuspected among scholars. The potential of Facebook, for example, in supporting teaching & learning, not only in architectural education, but, in a more comprehensive way, at the
university level, although addressed in pioneers researches (Madge, 2009), is something yet to be explored and investigated in the years to come.
Workshop type top eleven differences: Doing Workshop or full mind workshop
Non-Doing workshop or mindfull workshop
Result-oriented
Process focused
Conventionally graphic expressed
Multimedia communicated
Rigid outcomes
Flexible outcomes
Physically attained
Immaterially attained
Time&Space-based goals
Time’s cycle concept aimed
Ortodox site analysis committed
Pay attention with senses engaged
Design absorbed
Conceptually adjusted
Academically unfold
Flow thinking unfold
Technically stressed attached
Full awareness regarded
Analogical communicated-based
Social network connected
Expositive mentorship-methods
Apprenticeship between peers
04 Final remarks – final explanations The results simultaneously preceded and proceeded the workshop event; although they didn’t attend a specific design proposition, they embrace any physical scenarios that might be considered, assuming an abstract, fairly enough open and flexible, but critical approach. This results stands as underneath thoughts thereby, so the ideas embedded within them are not attached to Cartesian notions of time and space - they are rooted in the ground of the conceptual, the immaterial; they don't impose either building rules nor zoning codes or any kind of doing this, follow that or comply with, whatsoever. They rather underline non-doing and no rules or methods to follow; they highlight pay attention to (heritage, tradition, people, and local resources) and be aware of (cycle of life, nature, human senses and territory character) and give a framework to depart from (a land, an ocean, a tide and life’s day time cycle, a seed and a lifetime cycle). Hence, from an institutional point of view, a workshop took place, yet, from an educational & disciplinary perspective, a
workshop was not made; or, it was made a workshop that never existed in the first place since it ran in a mostly different way from the way it was originally conceived to run. Paradoxically, but, at the same time, coherent with these conclusions, none of workshop goals were achieved, yet, all of them were overcome; no methods were followed, nevertheless all methods were subverted; no physical proposal was delivered, despite that, all of the possible solutions were virtually accomplished since no one was felt as missing. Summarizing, what was not done become as much relevant as what was effectively consummate. Cycle of Resources and Impermanence, the response of workshop students to a question that, ultimately, they were not really asked, rather, a response to what they considered as their first priority, whereas architectural proposals might talk about nothing, these territorial structural working concepts, touched it all. Non-doing empowers doing, empty potentiates full, breathing space raises creation and cycles embody sustainability. That is it.
Each morning, the conference oral presentations evidenced rural territory changes across multiple spectrums, mostly a resultof changes occurred in increasingly urban informational and consumerist societies. Nevertheless, these changes, made visible in the rural through transformations in the cultural landscape, in social and economic systems, in demographic statics and in ways of living, seem to be transitions (Swilling & Annecke, 2012). Transitionary or not architects, as depositary of millenary knowledge of design, planning and building, seem to have an important role in shaping the next stage of development, especially if they learn to work with nature, instead of trying to tame it, and understand rural landscapes and the Rural, capitalizing on changes, new and old features and available resources, instead of disregarding, underestimating or neglecting them (Stevens, 2009). In the light of these transitions, students outcomes reflects a deep comprehension that no transformation can be draw up for the outside world if not initiated inside ourselves and if not attached, in full awarenessxv, to culture, to both built and natural environments and ultimately, in a broad sense, to life.
05 Workshop contents, goals and methods An research by project exercise carried out with students of the Master of Architecture of ISMATxvi, namely in the courses of Urban Ecology and Urbanistics, was the starting point of a investigation that addresses landscapes transformations from a prospective point of view. The final output of the workshop should go around the creation of a heritage and agricultural park. As good practice references some examples of consolidated agricultural parks were indicated, such as Parco Sud-Milano and Parque Agrario del Baix LLobregat. In this context, a concept of productive rural landscapes, developed by one of workshop leaders, was mentioned and so was, in the Portuguese framework, the awarded and internationally recognized Mondego River Heritage
Park Project, in which one the workshop leaders has been working as project manager, in close collaboration with a multidisciplinary team and local green developers, for the last five years, despite not being materialized in the field, also provided significant references to be taking in account. This was the departing point. The rest of the workshop story is already told.
References Aleen, P. (1995) Art is a Way of Knowing, A Guide to Self-Knowledge and Spiritual Fulfillment Through Creativity, Moston Ma: Shambhala Publications. Barrie, T, & Bermudez, J. & Geva, A. (2007) Architecture, Culture and Spirituality, (ACS Forum), Creating a Forum for scholarship and discussion of spirituality and meaning of the built environment, available at http://www.acsforum.org/ACS_founding_whitepaper_2007.pdf Bigges, J. & Tang, C. (2001), Teach for Quality Learning at the University, New York City: MacGrawHill. Bishop, S. & Lau, M. & Shaphiro, S. & Carlson, L. & Anderson, N. & Carmody, J. & Segal, Z. & Abbey, Z. & Speca, M & Velting, D & Devins, G (2004), Mindfulness: A Proposed Operational Definition Clinical Psychology: Science and Practice, Volume 11, Issue 3, pages 230-241. Boss, R.W. (1983). ‘Teambuilding and the problem of regression: the Personal Management Interview as an intervention’, Journal of Applied Behavioral Science,, 19(1): 67–8. Carrol, D. (1986) The Jigsaw Technique in Laboratory and Discussion Classes Teaching of Psychology December 1986 13: 208-210. Chowdhury, R (2009) Quick and Easy Team Building Activities, available at http://www.huddle.com/blog/team-building-activities consulted on 4.08.2013. Constantinescu, L. (2012) Art can shock us into present moment, available at http://www.themindfulword.org/2012/art-mindfulness-present-moment/ Csikszentmihalyi, M. (1990). Flow: The psychology of optimal experience. New York: Harper and Row. Demirbaş, O. & Demirkan, H. (2003) Focus on architectural design process through learning styles, Design Studies, Volume 24, Issue 5, September 2003, Pages 437-456. Francis, D., & Young, D. (1979). Improving work groups, a practical manual for team building. University Associates. Inmark, EMF, (2010) Concept and methodology of Interactive Workshops, Project PRO-IDEAL PLUS , PROmotion of an ICT Dialogue between Europe and America Latina – extension towards Mexico, Colombia, Cuba, Costa Rica ,Funding Scheme: Support Action. Kowaltowski, D. & Bianchi, D, Paiva, V. (2010) Methods that may stimulate creativity and their use in architectural design education, Int J Technol Des Educ 20:453–476.
Krishnamurti, J. (1999) This light in oneself: True meditation. New York: Shambhala. Kvan, T. & Jia, Y. (2005) Students' learning styles and their correlation with performance in architectural design studio, Design Studies, Volume 26, Issue 1, Pages 19-34. Langer, E. & Russel, T. & Eisenkraft, N. (2008) Orchestral performance and the footprint of mindfulness Psychology of Music April 2009 37: 125-136, first published on October 15, 2008. Lobell, J. (1979) Between the Silence and Light: Spirit in the Architecture of Louis P. Kahn, Shambala Publications Inc., Boulder, Colorado. Langer, E. (2006) On Becoming an Artist: Reinventing Yourself Through Mindful Creativity, Ballantine group, New York City. Madge, C. & Meek, J. & Wellens, J. & Hooley, T. (2009) Facebook, social integration and informal learning at university: ‘It is more for socialising and talking to friends about work than for actually doing work’, Learning, Media and Technology, 34:2, 141-155. McCown, D. & Reibel, D. & Micozzi, Marc (2010) Teaching Mindfulness: A Practical Guide for Clinicians and Educators, New York,: Springler. Najafi, M & Shariff, Mustafa.K. (2011) The Concept of Place and Sense of Place In Architectural Studies, International Journal of Human and Social Sciences, 6:3 2011. Norberg-Schulz, C. (1980) Genius Loci: Toward a Phenomenology of Architecture, London: Academy Editions. Norberg-Schulz, C. (1985) The Concept of Dwelling, New York: Rizzoli. Pollack, S. & Fusoni, M. (2005). Moving beyond icebreakers: An innovative approach to group facilitation, learning, and action. Boston: Center for Teen Empowerment. Rojas, F. & Spencer, N. & English, S. (2012). Stillness as a Competence of Design Intelligence, Chulalongkorn University Bangkok, Thailand, 1–4, July. Salama, A. & O'Reilly, W. (2002) Architectural Education Today: Cross-cultural Perspectives, Lausanne: Comportments. Salama, (2006) Design Studio Teaching Practices Between traditional, revolutionary, and virtual models, Minerals- KFUPM - Dhahran, Saudi Arabia , available at http://www.humiliationstudies.org/documents/SalamaTeachingPractices.pdf, consulted 02.08.2013. Sheehan, D & Katz, L. (2012) The practical and theoretical implications of flow theory and intrinsic motivation in designing and implementing exergaming in the school environment, The Journal of the Canadian Game Studies Association, Vol 6(9): 53-68. Shmertz, S. (2006), The relation between self-reported mindfulness in tasks of attention, masther thesis, George State University, Psychology thesis, Paper 30. Swilling, M. & Annecke; E (2012) Just Transitions: Explorations of Sustainability in an Unfair World. Cape Town: UCT Press & Tokyo: United Nations University Press. Stevens, D. (2009) Rural, Annaghmaconway: Mermaid Turbulence Wood, D. & Mahley, C. (1996) Collaborative learning between pears. Educational Psychology in Pratice, Vol. 11, Iss. 4, 1996 .
Acknowledgements
The presence at the EAAE Rurality Network first meeting was made possible by the support of the organizers. Author, as an invited workshop leader, is in great debt to Fribourg, Switzerland, especially to chairman professor Pieter Versteegh for his encouragement to participation, permanent intellectual enthusiasm, availability and gentleness over that grateful workshop week, both scientifically and humanly speaking.
i Title added by the author of the chapter
iiReferring to the concept fo sense of place, Norberg-Schulz states that “to dwell implies the establishment of a meaningful relationship between man and a given environment (Norberg-Schulz, 1985:13).
iiiThe exhibition ‘Louis Kahn — The Power of Architecture’, presented by the Vitra Design Museum. iv“Louis Kahn elementary research on the foundations for a renewal of Architecture was rooted in his conviction that the concepts of nature and design are fundamentally intertwined. If Biophysics understands the microscopic building blocks of life are based on geometry, why can't architecture do the same?”
vFor their implications on the workshop leading pedagogical strategy, is to record these quotes. They were the following:
- “The wish, in the fairy tale, is the beginning of science”- delivered in the critical starting point of their creative process -“The crocodile must want to be a crocodile for reasons of the crocodile.”- provided during the landscape analysis phase. - “We need nature but nature doesn't need us.”- showed during brainstorming, discussion on the role of nature in the development of the territory. - “The sun never knew how great it was until it hit the side of a building.”- shared during the definition of the relevance of architecture in the landscape process of revitalization and renewing - “In the pre-form-in the beginning, in the first form- lies more power than in anything that follows.”, exhibited when students start to sketch out a few initial conceptual ideas for their movies. - “When the work is completed the beginnings must be felt.”, presented during the final set up of scripts and story boards. - “A city is a place where a small boy, as he walks through it, may see something that tell him what he wants to do his whole life.”, offered in a ironic way, during morning debates as a comment to a final image of an oral presentation showing a rural landscape with couple kids seen from the back, in the foreground, standing still at a distance from a small village and looking into its environment at a great length. - Also used, “Leap, and the net will appear”, by John Burroughs, and renowned American Naturalist and Essayist from late 19th century and early 20th century, was displayed in a moment of hesitation during the creative process.
viNote: a thematic workshop never attended or leaded before neither by students nor by teachers. viiTo a certain point, this exercise of meditation attempt to detached students from following rules and schedules and valued their personal sensations and awareness of thoughts, also serving as training for paying attention; paying attention in a deep and consciences way, first to their inner space, before pay attention to outer space (in that particular case, the landscape of Ria de Alvor). A training that stimulates mind activity, and, therefore, might be very energizer, saying nothing about spiritual growing.
viiiA room with approximately 30 square meters, with just a big square table and with no windows and that was said to be the official workshop meeting room for video projections. Rather than see it as a constraint, the conditions of working room suggested alternative pedagogical strategies to take possible advantages of such an enclosure space Actually that’s what architects in their daily practice do- overcome restrictive circumstances and, upon their knowledge and skills, and based in available resources, define objectives and create, always create, no matter propitious or adverse places where they have to build are. So, at that point, workshop participants had embodied their selves the same sensation of adapting, focusing, aiming and overcoming
ixMihaly lead a collective research project based on a survey addressed to 91 creative experienced professional of different area
xMihaly’s respondents consistently mentioned to nine main elements to describe an enjoyable creative experience: (1) There are clear goals every step of the way (2) There is immediate feedback to ones action (3) There is a balance between challenge and skills (4) Action and awareness are merged. (5) Distractions are eluded from consciousness (6) There is no worry of failure (7) Self-consciousness disappear (8) The sense of time become distorted (9) The activity becomes autotelic (Mihaly; 1990;111-113)
xiAs for example, the very active Centre for Mindfulness Research and Practice at the Bangkor University, http://www.bangor.ac.uk/mindfulness/ and the UCLA Mindful Awareness Research Center at the prestigious University of California, Los Angeles (UCLA), http://marc.ucla.edu/default.cfm
xiiDespite of these links and their connections the potential of mindfulness mediation techniques within creativity activities, mindfulness is a tool yet to be explored in architectural studios or workshops. This workshop report is a story about creative process, about how to establish it and about how to accelerate it and is a report that synthesizes key issues on creativity teaching regarding the practical aspects of typical mindfullness concepts such as emptiness, non doing, awareness, and paying attention to. The transferring of these lessons to workshop on rurality lead to fewer constraints to creative thinking, and, by expanding possibilities, provided a more suitable environment for architectural creation within the group activity.
xiii
“The teaching of architecture has traditionally been operating on the model of apprenticeship. To a certain extent this still continues, inevitably, as architecture is a profession as much as a discursive discipline. Since the Renaissance this practice of apprenticeship has been combined with the dissemination of theoretical treatises. On this basis a formal education was first institutionalized in France with the founding of the Academie de l'architecture in 1671.” (Patrik Schumacher, 2002, From Education to Research, Arch+ , Magazine for Architecture and Urbanism, #163, available at http://www.patrikschumacher.com/Texts/EntwurfEngl.htm , consulted in 14.08.2013
xivStudents responded in a positive way to this exercise and, at the end, gave a positive feedback, just commenting that the exercise might be applied a little bit earlier, perhaps in the very first stage of the workshop.
xvChoiceless awareness (Krishnamurti, 1999), mindful awareness (Kabat-Zinn, 1995) xviISMAT is located in the historical centre of the city of Portimão and it is a universitary school integrated in the Lusofona University group, the biggest private university group in Portugal.
