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Hands-On School of
Domestic Architecture
 
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Imagine receiving a letter like this
 
 
My Vision Return to the top
It is my dream to start a new kind of architecture school.

Unlike most architecture schools, you wouldn't have to submit GRE scores or good grades or letters of recommendation. You wouldn't have to put the rest of your life on hold for 3 to 5 years. You wouldn't have to accrue HUNDREDS of thousands of dollars, or even tens of thousands of dollars -- in debt.

At my architecture school, anyone could come for a few weeks and learn how to build a house with their own two hands. Classes would be held year-round to make it easy to fit into your schedule. I would have a number of different campuses around the country that would teach building designs appropriate to the local climate.

And I need your help. Can you donate land for a campus? Can you donate books for a library? Can you teach a workshop? Can you provide start-up capital? Let me know.

 
 
The Birth of VERB Return to the top
My inspiration for VERB was born out of my disappointment with my graduate architecture program.

I was very lucky (meaning that I worked very, very hard) to get into one of the top graduate architecture programs. When I got accepted, I thought I was all set for the the most mind-blowing educational experience ever! But talk about a rude awakening!

We didn’t get to choose what classes we took or who our professors were. And, thanks to the tenure system, we unfortunately had professors who had no business teaching.

With the 20 required credits per semester, the schedule was insane. Nobody had time to sleep. People considered themselves lucky if they got maybe 40 minutes of sleep a night. No wonder our school was nicknamed the “Graduate School of Divorce. Once while I was there, for fun (irony? cruelty?) they hosted a sleep expert to come in and tell us how important, how vitally, critically important it was for us to get regular, adequate sleep. He told us all about how unhealthy and psychologically damaging it was to be habitually sleep-deprived. Further, we learned how having enough sleep each night was critical to creativity, which is something you might want to have if you are paying about $50,000 a year to attend a design school. But, no matter, we still had twenty credit’s worth of required classes each semester.

Before I go on, I want to point out that I know that this type of schedule is the norm at architecture programs at universities across the nation. I don't want to pretend that I worked harder or longer than anyone else in any other architecture program. I know we've all been suffering, no matter which school we attend.

In my program, it was commonly understood that we were given more work that we could have possibly done well, thereby forcing us to choose what was important to us and how we would spend our time. They preferred to overwork and overstress us as a way to render from us a decision about where our interest lie rather than give us the choice of which classes and how large a course load to take in the first place.

There was rarely a day that went by when I didn't ask myself, "Why does becoming an architect mean staring at my computer all day? Why does becoming an architect mean that we're kept so busy that we hardly have time for regular, healthy sleep, despite all of the scientific evidence supporting a correlation between sleep and creativity? Why is it that we never visit construction sites so that we can see how buildings actually fit together?"

It really bothered me that we didn't seem to be spending any time on what was important to me, for example, designing buildings that could actually be built, and observing buildings being built. My studio critic was once really upset with me because I had taken the day off to go photograph actual buildings in order to see how builders of the past solved a design problem with which I was struggling.

I also couldn't shake the terrifying idea that, despite the time and expense of attending this program, I didn't feel like I was actually learning anything. And then I remembered the Pyramid of Learning.

You've seen this before. It's the Pyramid of Learning. It's a graphic representation of how much we remember of what we learn based on how we learned it.



Traditional Architecture School is mostly PASSIVE
In my architecture program, all of my classes except for studio were lecture-based. Where does this fall on the Pyramid of Learning? Ah yes. "Hearing Words." According to this diagram, I can hope to remember 20% of what came out of any of my professors' mouths.

And all of those academic papers I had to read each week? I'm lucky if I remember only 10% of what I read.

In studio, whenever we started a new project, our instructors gave us an exhaustive list of "precedents." These were pictures of buildings (of which I'll remember 30%) accompanied by pages scanned out of books (10%).

Studio is different from other classes. If you've been through architecture school, you know that the amount of time you spend in studio can be represented by this formula:

24 hours - (Time spent attending other classes + Time spent doing work for other classes + an hour for sleeping) = Daily Studio Time

In studio I spent about 75% of my time staring at my computer, trying to manipulate Rhino or InDesign or AutoCAD or Illustrator, making pretty pictures. I spent a lot of time agonizing over minutiae. Except for my mouse hand and my eyeballs, for hours I'd hardly move a muscle. It was VERY passive. Based on the Pyramid of Learning, working on the computer doesn't fit neatly into any one category. But, because this work concerned getting software to work, any knowledge I gained quickly evaporates after a period of non-use. I'd say I remember only about 30% of what I learned about how to use these programs.

I spent the other 25% of my studio time making models. "Making" is an action verb! But, I was still sitting at my desk, inside, focusing on assembling tiny scale buildings made of paper. According to the Pyramid of Learning, we can call this "Simulating the Real Experience," which gives it a 90%, though it's tough to determine how similar model making and actual construction are. My guess is: not much.

Once every week or two, we did pin-ups in studio where we got up and talked about our projects. According to the diagram, I'll remember 70% of what I say.

I became so curious about the effectiveness of my graduate architecture education that I created a spreadsheet where I could tabulate the number of hours one would normally attend each class, and I categorized these courses into the Pyramid of Learning categories. For classes that had multiple distinct categories, I broke up the time spent in each category and assigned a percentage value to it.

For fun (or for outrage?), I included the price of each class (these numbers come from the 2008-2009 Academic Year Budget, divided by the number of credit hours to arrive at a price per credit hour).

Next, I used the percentages from the Pyramid of Learning to determine how much money I wasted by patronizing a school that used largely ineffectual pedagogical strategies. For those classes that were made of of multiple distinct categories of teaching methods, I weighted the averages of the percentages according to the Pyramid of Learning.

We architects are visual people, so I made a graphic to convey the information at a glance. Each class is shown as a gray and a red rectangle. The width of these rectangles represent the total number of classroom instruction, but not the number of hours required to complete class work outside of class. I also want to point out that although spring semester had fewer actual classroom hours (but the same amount of credit hours), it more than made up for it with a 2-credit class called "City of Wood" that required the same workload as an 8-credit studio. The width of the red rectangles represents the content I remember, and the gray, the content I forgot, according to the manner in which the class was taught. The height of each class represents the percentage of the MArch I credit requirements that I satisfied by completing each class.



I'm actually being quite generous here. For example, I remember 0% of Digital Design: Algorithms and Scripts because I stopped attending early in the semester because it didn't seem like a good use of my time. It's essentially a class where we were to learn to program 3D modeling software such that it would automatically create architectural form. Sounds cool, no? The problem was, the professor tried to teach us how to do this by showing us Power Point slides of what the code looked like, in tiny, tiny font. I got one question right on the midterm, and I don't know what I got on the final. I do know, however, that the final exams were due the day after the deadline for final grades. I passed the class.

 
There had to be a better way
Much like how a hammer is going to treat every problem as a nail, an academic is going to tend to see every educational need as one that can be answered by the solutions put forth by academia. I, however, with my entrepreneurial bent, appreciate that a wide variety of solutions exist or can be created to meet different people's educational needs.

What I would love to see for most if not all occupations is a return to a hands-on pedagogy such as what our recent ancestors enjoyed under an apprenticeship-based model. Somehow we got away from that, and instead of giving students an education via proven and effective teaching methods, most universities sell education as lecture-based classes (of which students can expect to remember 20%), requiring the reading of texts outside of the classroom (of which students can expect to remember 10%).

In other words, universities deliver its products to its customers in most most useless manner possible.

Compounding this problem is the great expense of a university education. The availability of Federal loans creates a false conception of the actual cost of such an education; the idea is conveyed that the expense of schooling is largely "taken care of" thanks to the loans. However, in four or five (undergraduate) or three or four (graduate) years when the university customer is finally released, bearing the university's seal of approval signifying that they've completed the requisite 128 (my undergraduate program) or 140 (my graduate program) credit hours (which means, according to the Pyramid of Learning and considering a mix of "Reading" and "Hearing Words", that they graduate about 20 remembered hours of classroom instruction), he or she has a six month's grace period before monthly loan payments' become due, payments that can last for ten years or more. In an economy like this where jobs are few and far between, universities create a class of indentured servants.

I knew there had to be another way. A better way.

 
 
 
 
Design/Build as an Educational Model Return to the top
VERB School mostly ACTIVE
Whereas most university architecture programs are mostly passive, VERB School is mostly active. You are outside building a building. You can't get much more active than that. You engage your entire body, all of your muscles, when you build. You form memories of this learning experience with every cell of your body.

Whether participating in a field trip or a workshop, the majority of the time is spent outside, where buildings live, experiencing buildings (noun) and engaging in building (verb). In some, but not all workshops, time is also spent designing the building that you will actually build. This differs from most university classes, which seem to prefer designing theoretical buildings divorced from the realities of Climate, Code, Cost, and Client.

 
A School in the Making
The content and structure of VERB School is informed by certain luminaries who have come before me. In no particular order, these are:
John Lautner
William McDonough
John Lennon's "Just Give Me Some Truth"
Royal Barry Wills
Bruce Goff
Nadar Khalili
Janine Benyus
Steve Badanes
Ken Kellogg
Michael Reynolds

VERB School does not yet exist, except in the hearts and minds of a few advisers. We need your help to bring VERB to fruition. Can you donate land for a campus? Can you dotate books for a library? Can you teach a workshop? Can you provide start-up capital Can you help us market the school to potential students? Can you secure funding? Can you advise us? Let me know.

You can also help us by answering this short survey to let us know what YOU want in an architectural education:

 
 
How VERB is different from other Architecture Schools Return to the top
 
A Full Night's Sleep Every Night:
When the sun goes down, we stop building. It's that simple. But do please join us for our BYO-Dinner Lecture Series.
 
Speak Regular English:
You won't have to learn your professors' dialect of academic-ese when you present your work because you'll present directly to your actual client.
 
No insularity:
In each Cycle, you'll learn according to the natural continuum of designing and building. This continuum is divided into workshops which are open to the general public. You'll experience fresh energy and fresh ideas each week as they join you. They'll benefit from working with people more experienced than themselves, and you'll benefit by being able to network with them and build your potential client list.
 
No Debt:
We cap tuition at $15,000 per year. Accepted students who can't afford it will be offered our Earn While You Learn program.
 
You Use Your Hands for Something Other than Driving a Mouse:
You'll build three very different houses in three very different climates.
 
You'll Make A Real Difference for an Entire Community:
We find neighborhoods that really need you, that are really happy you've come to help. And we let you make a real difference by building a quality home for a family. Your home will help to raise the property values of the entire neighborhood, and your home will increase the town's tax base, thereby allowing it to provide more services to its citizens.
 
 
Architects Who Never Finished Traditional Schooling Return to the top
 
Frank Llyod Wright
Wright attended a Madison high school but there is no evidence he ever graduated. He was admitted to the University of Wisconsin–Madison as a special student in 1886. There he joined Phi Delta Theta fraternity, took classes part-time for two semesters, and worked with a professor of civil engineering, Allan D. Conover. In 1887, Wright left the school without taking a degree (although he was granted an honorary Doctorate of Fine Arts from the University in 1955).
 
Charles & Henry Greene
The Greene brothers each received a "certificate for completion of partial course," a special two-year program at MIT's School of Architecture, in 1891. They studied classical building styles, intending at that time only to gain certification for apprenticeships with architecture and construction firms upon graduation.
 
Harwell Hamilton Harris
Harris began his studies at Pomona College but left after a year to study sculpture at the Otis Art Institute, now Otis College of Art and Design. He is one of the best, if least famous, architects who ever lived never finished either school or apprenticeship but was one of the leading Architectural educators in America from the 1940's to the 1970's.
 
Walter Gropius
Gropius could not draw, and was dependent on collaborators and partner-interpreters throughout his career. In school he hired an assistant to complete his homework for him. In 1908 Gropius worked under Peter Behrens and left two years later to established a practice in Berlin. Founded the Bauhaus a few years later.
 
Henry Hobson Richardson
Richardson started his studies at Harvard before going to Paris in 1860 to attend L'École des Beaux Arts. He didn't finish his training there, as family backing failed during the U.S. Civil War.
 
 
 
 


 
We Need Your Help
 
Can you donate land for a campus?
Can you dotate books for a library?
Can you teach a workshop?
Can you provide start-up capital?
Can you help us market the school to potential students?
Can you secure funding?
Can you advise us?
If you can help in any way, please let me know.