PUBLIC IMAGE OF AN ARCHITECT

Jenny Thompson - 06058259

Dissertation - January 2009

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A dissertation presented to the Department of Architecture. Oxford Brookes University in part fulfilment
of the regulations for BA (Hons) Interior Architecture: Design and Practice.

Statement of Originality:

This dissertation is an original piece of work which is made available for copying with permission of the
Head of the Department of Architecture.

Signed:

Dated:

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The aim of this study is to explore the public image of an Architect.
To achieve this aim this dissertation will attempt to firstly, explore how members
of the public view architects and their image of architects, and, secondly discover
what factors contribute to the creation of an image.

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CONTENTS: PAGE:

Introduction 8
Perception Of Image 10
Factors Affecting Perceptions 12
Architect Representation In The Media 16
Public and Perception 20
Interview Analysis 36
Conclusion 42
Epilogue 47
Bibliography 48

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 INTRODUCTION

Everyone constructs an image of themselves. It’s created by the way we style ourselves, the way we speak, where we live
and what we require to live. Our image can suggest a belonging, an attitude, individuality, or a profession. It is a powerful
and immediate way to promote oneself to the world.

Have you ever changed your image? Does image change the way we perceive ourselves and others? Do we assume certain
behaviour attributes when we see another person’s image?

Everybody has an individual world, a world they have constructed in which they make their own life and style choices.

‘When the image is new, the world is new.’ (Bachelard, p47)

In a world where people grow up with celebrity, gossip, glossy magazines and ostentatious products, is it any wonder
we’re obsessed with image. Everything is branded to portray popularity or expense. The celebrities are mocked by the
media if their image isn’t perfect. It’s a crisp, perfectionist world which we have grown up in in terms of materialistic
values. The pressure is on to become and desire a part of this glossy world.

It is apparent that the media is a powerful tool for representing the world, the people in it and its society ideals. It is a tool
which can be used to express and permeate ideas and images to a nation. There are various means of mass
communication considered as a whole, including television, radio, magazines, and newspapers, together with the people
involved in their production. The representations are a choice made by the company, the editor, producer. It is decided by
somebody else what you should be watching.

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Visual media has the ability to change culture, images, ideals and attitudes. Alongside the media an image is
enriched by memories and perceived images. When we watch a film or programme is it a true reflection of the
World, or is it a representation of a world that has been constructed and manipulated?

Architects construct an ‘image’ of themselves, just like everyone else both individually and collectively.
To what extent does this align with the ‘image’ the public hold of architect?

Fig: 1
‘Imagination – perception in art.’ An exhibition of Kunsthaus Graz. He focuses on perception.
‘perception is not a given, not to be taken for granted.’ (E-FLUX)

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 PERCEPTION OF IMAGE

Our visual experiences do not take place on their own. Our perceptions of existing images are an interaction of context,
viewer and image. They are associated with history, memories and images from many other aspects of our lives and
cultures. Whilst viewing such images we can choose to look for meaning or not. If we look for meaning within a
represented image, then we question why and how. Some people may not look for further meaning so we take the
produced meaning for granted.

‘Because sight is our primary sense, we tend to believe what we see: yet because we believe what we see, we prompt
people to present themselves in a way that is not a wholly accurate reflection of the truth.’
(CRISWELL, p158)

It is the interpretation of these images that creates a response within the viewer. Representation refers to the use of
language and images to create meaning about the world around us. Representation does not reflect an already existing
reality so much as they organize, construct, and mediate our understanding of reality, emotions, and imagination.

An image’s meaning is determined by the viewer’s age, class, gender, regional and cultural identity. The meaning is placed
by the producer waiting for the viewer to uncover them. Producing such images demonstrates a power within the
representation. The producer chooses what and how we should view an image without associating our own context.
The visual image is a lot more immediate and concentrated than a spoken or written image.

‘A single image can serve a multitude of purposes and mean different things to different people’
(STURKEN, p23)

Visual image is a powerful tool in shaping societies and communities. For instance, when we view the news its image
presents to us an image within a serious context. There is a lack of certain visual imagery as it have a greater influence
upon the public. This imagery has the power to change attitude, invoke emotion and arise fear within the world.
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We are able to remember visual representation clearer and easier than any other form of representation.

When the information is recalled it is attached with other information forming the individuals perception or an idea of
what has happened or what may happen. Collective memory, social and cultural awareness are the main contributions
towards our perceptions. The Collective Memory is passed on by representational forms: Architectural, Media, Literature
etc. It is passed on by family, social groups, government to name a few. (THOMPSON)

‘Our memories are encumbered with facts.’ (Bachelard. p57)

‘Our values, opinions, and beliefs have increasingly come to be shaped in powerful way by the many turns of visual
culture.’ (Sturken, p1)

These meanings and representations shape the world we live in. Society is bound together by common social and cultural
knowledge.

‘images are not only factors in interpersonal power relationships such as the relation between those who look and
those who are gazed upon, but as also elements in the functioning of institutional power.’ (Sturken, p93)

This knowledge is created by media, word of mouth, political and economical standing. An image has the ability to
compromise the viewer’s priorities; it suggests a representation of what we should have, what we should look like and
how we should behave. In Practices of Looking by Marita Sturken + Lisa Cartwright (Oxford press, 2001), there is a
suggestion that image and representations have the ability to persuade others to share certain views. To belong to a
society, group or institute there must be the same basic social knowledge. A term used in Practices of Looking
(STURKEN, Oxford Press) is the idea of social constructivism. A social construction into which people with similar views,
opinion, educations and/or cultural awareness belong to an institute or union. Mass Political movements are made on this
basis such as the modernism Nazi Movement where alike people with similar views and outlooks joined or were forced to
join. These institutes or unions promote a power within which the public belong to and support, voluntarily or otherwise.

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 FACTORS AFFECTING PERCEPTIONS

An image’s meaning is determined by the viewer’s age, class, gender, regional and cultural identity. It is essential to
understand what factors have an input into our own and others perceptions. By understanding these inputs we are
enabled to establish where perceived images have come from. A perceived image is dependant on the individual.
This chapter summarises those factors which will then be used to make analytical and conclusive deductions of the
perceived image of an Architect.

AGE:

There are two basic ways in which the age of the individual can alter the meaning of an image. The viewer’s age and the
age into which they are born. If an individual is young then it is presumed that they will interpret the image easily with a
lack of collective memories and experience interlinked. There is also an assumption that the older you are the more
culturally and socially aware you will be. The time into which you are born will have an impact into the way you view the
world. For example, as a survivor of World Wars, political changes will almost definitely have different view on life and
the importance of things within the world. Present life appears less complex however the availability of drugs, money and
news means that teenagers and adults are forced to view the world maturely from a younger age. The world is a more
immediate and superficial dangerous place. A comparison of age through war, rationing and short education to guns,
drugs and crime seems irrelevant. The main difference seems to be the increase of consumerism. The present society is
brought up in a commercial world. A world that you have so much available to you, its hard to imagine hardships. There is
a link between the culture branding expense in such a way that the public want what they cannot afford; in an age within
which credit is readily available. Age is a factor in how we perceive an image although it is hard to segregate specific age
groups due to each era you were born within having its own unique hard times, political and social change.

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CLASS:

There are 25 different definitions of class. (http://dictionary.reference.com/browse/class) It is a term with which one could
be very presumptuous. By placing similar people within the same class you are suggesting that they share the same
political, economic, cultural position. Delving into class systems could become a dissertation on its own so I will refer to
class solely within the economic position. This relates to lower, middle and upper class. Each class has its own cultural and
social awareness and is perceived differently. Class is dependant on the lifestyle opportunities that are available to each
class and individual. Upper class relates to those individuals who have the highest standing based upon wealth and/or
family connections. Middle class is a class of people with average social, income and education rank. Lower class is
therefore the lowest rank of income, education. If class was based upon social awareness people would find themselves in
different ranks. The class you belong to will have preconceptions of the other classes. There are perceived images of each
class from one another. These perceived images are dependant on what is available to each class to how the visual images
and perceptions of other classes are produced. Perhaps it is easier to class people just as working class and unemployed.
The upper class are seen to have the availability to the majority of things in life; the opposite applies to the lower class.
If certain images are unavailable to a class then the people will form perceptions of the image. Everybody will have their
own perceptions of given images so class may be suggested as unimportant but each individual is affected by their family
and historical surroundings and their culture.

GENDER:

Gender’s influence is based upon a stereotypical image. The portrayal of different genders within the media is
stereotypical. It is debatable whether these stereotypes are necessary within the advertising sector of the media.
(Easy jet magazine, Jan 2009) For example, a women is the stereotypical image to sell a kitchen and likewise with a man
selling a car. It is hard to believe that if the genders were alternated that the product would be just as successful.
Media has historically dealt with gender stereotypes quite successfully. Stereotyping is a style or type of branding.
It is debatable whether gender has a huge impact on how we view the world. Seeing individuals as equal and their
approaches towards images are no different between genders as they are within their own. As with most things some
stigmas will still be hanging around. Perhaps when referring to profession and gender then certain professions may be
viewed as female or male. For example, nursing is by in large a female profession.
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 REGIONAL IDENTITY:

Where do you come from? How does that country, region influence your perception? To explain Regional identity within
the United Kingdom I will make the comparison between the Midlands and the Southern Counties. Citizens from the
Midlands have lived within a strong industrious and family-orientated community. Cities such as Birmingham,
Wolverhampton have identities like similarly industrial ones within in the U.K, workers houses, factories and is a central
transport hub. The Southern Counties of the U.K appear to be more prosperous, have larger family homes, more space
and promote an image of better lifestyle. The people who live in different regions will have a different lifestyle, different
accent, family history, education. Images will become distorted upon their contextual awareness.

CULTURAL IDENTITY:

What have you experienced? Do your life choices dictate you lifestyle now? It is the life experience that influences our
perceptions the most. Our cultural awareness enforces our relation to the world. By acknowledging many different
cultures you understand that image can promote cultural and lifestyle choices.

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Fig 2:
A cartoon exploring the relation between image, branding and class.
(http://www.ac-nancy-metz.fr/enseign/anglais/Henry/gap.jpg)

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 ARCHITECTS REPRESENTATIONS IN THE MEDIA

The capacity of the images we view depends on the contextual meanings and the social, political and cultural context in
which they are viewed. We create a perception on what we know, what we have seen and what we have heard. Whilst the
next chapter (Public and Perception) explores six individual responses of the public. Before concluding an image there is a
need to explore the processes of the media in representing Architects.

Media: (usually used with a plural verb ) the means of communication, as radio and television, newspapers, and
magazines, that reach or influence people widely
(http://dictionary.reference.com/browse/media)

The television is the most powerful media tool. The television can actively mould behaviour on a large scale. It is not only
the visual representation that aids this moulding it’s the effective order of proceeds. The sequence upon which each
programme is viewed creates a perspective intended by the Producer. Television allows a person to be judged on their
appearance without being within physical sight of them. A perception can be created by the viewer instantaneously.
A big-brother situation, where public figures are under close-watch, every move monitored. Maybe it was always an
Architects idea to stay away from this close scrutiny.

The television can be used as a propaganda tool and any representation on it can be perceived many ways depending on
audience, community and society. Previous research suggests that the serious members of the public do not take
television seriously. Is it the members of the public that do not look for further meaning that take television seriously?
Perhaps not, however do television programmes question you to think whilst viewing them?

There are two ways of representationing Architects in the media. One of branding, an image created to give a perception
of wealth, power and success and one of a self-representation, the ‘normal’ Architect. The brand management begins with
an Architect understanding that they need an image to portray to the public. To charge a premium for your work you need
to exert an expensive brand.
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The self-representation of an Architect is, for example, the architects that feature on Grand Designs. The Architect is often
somebody relatable that exerts a professional, intelligent and ambitious image. In most cases it is their home they are
designing and building so the public become attached to this down-to-earth representation.

BRAND MANAGEMENT:

Is to manage the product, image or brand to seek an increase in the products value. Essentially improve value, the higher
the value and the perceived success. Within the media arena Brand Management is the competitive influence of
advertising and programming.

A brand is essentially an image of the company or product of which they’re trying to sell. The image and reality of the
company are different in their entirety. A brand displays the image of the company in order to relay a success and power
whilst the company may not be as successful or powerful in reality. The company or brand image will be created in respect
of their target audience. The producer of the brand will place meaning for the audience to uncover. However, part of the
population doesn’t explore the deeper meaning when viewing programmes they absorb everything they see.

Brand identity: How you want the consumer to perceive your product or your brand. Companies try to bridge the gap
between the brand image and the brand identity.

A brand will have certain qualities or characteristics that make it special or unique. Branded architects such as Zaha Hadid,
and Sir Norman Foster, exert a specific public image of their architecture and therefore themselves. A brand that exerts
wealth, power and success. Because of their brand management they have become figures within the media speculation
and a published public image. They have placed themselves within the public sector and for pushing boundaries amongst
most of the design trade whether it is associated with furniture, interior or architecture. As a limited amount of architects
become public images there is a generalisation that all architects are the same, or, if you didn’t know anything about
architects other than medias representation then you would perceive all architects to be Normans or Zaha’s.

‘The media are conveying much more than a single message on who to vote for, or which brand of product to buy.
Messages are situated within political and cultural assumptions about what is normal and acceptable within society.’
( LANGER, p13)
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 In Newspapers Architects are rarely seen. When Architecture is reported there is little mention about the agenda or the
meaning behind the Architecture. ‘Star’ architects, (a term used to describe architects whose celebrity and critical acclaim
have transformed them into idols of the architecture world and may even have given them some degree of fame amongst
the general public. -WIKIPEDIA) like Norman Foster, Zaha Hadid have made appearances in the News because of the down-
fall of their Architecture. But also for their innovation so they are ‘popular’ to know.

“The story of how an ambitious design has been undermined by administrative chaos and malfunctioning systems has
dominated the media” (GLANCEY, B.D. 04/04/08)

SELF – REPRESENTATION:

The R.I.B.A. (Royal Institute of British Architects) was set up in 1834 and was originally named the ‘Institute of British
Architects’. It was established as a result of social constructivism. Several prominent architects set up the institute and it
received a royal charter in 1837. Only members of this institute are entitled to call themselves Chartered Architects within
the U.K. Their link with the public sphere includes an architecture gallery in the V&A (Victoria and Albert museum, London)
and the broadcast of their Stirling Prize. The Stirling Prize is the award given to the architect who has made a great
contribution to British architecture within a chosen year. The architects eligible for the prize must be a member of the
R.I.B.A. The programme is presented not by a fellow architect but Kevin McCloud: whose trusted, or familiar image is that
is one very close to the public image of an Architect. Could this be an attempt to regain the publics trust with Architects?
Or is it to increase the interest in Architecture and therefore its Architects?

Programmes like ‘Grand Designs,’ and ‘the Home show,’ have the ‘normal’ kind of Architects. Their image is far removed
from the wealth and power of the ‘star’ architects. Grand Designs is a programme that is devoted to good architecture as
the title suggests ‘Grand designs’. Sometimes the programme will cover designs from an architect for a client or an
Architect building their own home.
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The comparison is that the programme with an Architect building their own home the programme tends to run more
smoothly and the architecture is credibly ambitious. As the Architects in these programmes have no restrictions and want
to demonstrate their architectural skills and essentially want to design exactly what they want. This shows their
architecture is shown as an art-form in the purest form. When a client is involved then the Architect’s ideas are restricted.
The architect is rarely seen on the programme which sends an image of the Architect being removed from the projects.
The client, as financier of the project has to be involved within the whole process. The Architects on Grand Designs are
the ‘normal’ architects. The image of an Architect that is true to what you will find in the majority of architectural firms
throughout the U.K. and Europe. Each programme presents every project as unique and every Architect as unique.

‘The Home show’ is the latest addition to our television screens. Architect George Clarke transforms existing homes,
exploring Interior Architect and regeneration. He portrays a public image that an architect is essential, talented and
intuitive he exerts this on the programme by choosing a piece of furniture that would suit his client and then testing his
theories. Although not renowned for his projects when looking into his personal profile this architect has been involved in
many architecture media ventures as well as a vast array of completed projects. Is he the true image of a success
Architect? A combination of star, intuition and intelligence.

Above (Fig 3) - Architect from The modernist sugar cube house project in Bristol. ‘Martin Pease is a successful
commercial architect, used to designing large scale prestigious offices. However, he’s about to embark on a much
more personal project - a home for his wife Katherine and their two lively children.’ (Grand designs fan page,
facebook)
Left: (Fig 4) Zaha Hadid –I ‘googled’ the word star architect and she was first photo up. An article written by By
Katharina on Sunday 2 December 2007‘Star architect Zaha Hadid describes her unique design philosophy with a black
crystal composition’ an article about Zaha’s Swarovski crystal composition “The Swarm Chandelier’ (kofashion.com)
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 PUBLIC AND PERCEPTION

Semi-structured interviews (BRYMAN,p33) of members of the public allows the opportunity to explore the public
image of architects. This method will allow me to structure questions as well as allowing me to divulge into the answer.
It is important for the interviewee to show their image to gain a level of understanding about where perceptions are
produced. The lack of published research and unknown images of architects suggest a gap in this chosen subject area.
This dissertation holds primary research that will provide a conclusion to the modern-day perception of an architect.

Interviews were undergone in a private space one on one. The questions were not shown to the interviewee before the
interview. This is to provide an analysis of the knowledge held in the collective memory rather than thought-about
answers. The interviews were recorded using a dictaphone and then transcripted by hand. The following is a summary of
each interview.

I had six questions or criteria to cover within the interview. These were: The interviewee’s image, A knowledge of meeting
an architect, Architects in the media, impression of an Architect through their Architecture, The image of the R.I.B.A and
Architects input into society.

The Interviewee’s chosen came from various sections of society and were varied in terms of age, class, gender, cultural
and regional awareness.

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INTERVIEW ONE:

Name: Janine
D.O.B. 06/03/1957
Place or Birth: Wolverhampton
Education: Infant school – Wolverhampton, Junior school – Wheaton Aston, single sex grammar school.
Further Education: Banking exams, BA (Hons) Primary teaching and fine art.
Occupation: Artist and Art teacher.
Family background: Mother – secretarial work. Father – Manager for Good Years.

Whilst answering questions about her image Janine suggests that everybody who works is working class. The class system
being involved with earnings seen as irrelevant.

“Unless you are born into a realm of society that don’t have to work or unemployed then you are working class.”

Janine has had a client-architect relationship. The Architect built her studio, annex and garage for her home in
Monmouth, Wales. The architect was very “professional, controlled, trustworthy and quiet.” He was found through
word-of-mouth and through common social groups. Both Janine and the architect belong to the Wye-Valley arts society
and Baptist church.

Janine has watched programmes such as Grand Designs and suggests that there is a strong personal link between the
Architects and their buildings on the programme. Other links known within the media were articles about Zaha Hadid in
Intelligent Life and also documentary shows such as ‘Francesco’s Italy: Top to Toe’ a programme in which an Italian
architect, Count Francesco da Mosto, explores his countries Architecture. Janine explains that she didn’t “rate the
programme” as she felt that the Italian Architect was very biased against British architecture.

“I don’t think people have a view of an architect, I think they only have a specific view of the Architect they employ.”

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 Janine suggests that Architects are unlike teachers and nurses which is a certain part of the public sector that gets an
‘ear-bashing’. Architects become employed for specific things so they are out of the general arena. When asked to describe
the specialism Janine explains that it’s a form of mathematics and form and it is the dramatic, pushing boundaries
architect that appeals to her artistic background.

‘ The ones who break the mould are the ones who I’d take notice of. Like Zaha etc..’

Janine respects that Zaha Hadid would probably have to fight harder to get something completed as it’s a male
dominated area. The image of an Architect such as Zaha Hadid is a suggestion that she is determined, professional and a
fighter. On a personal level Zaha Hadid might be bold and difficult. Janine believes that these are necessary traits of people
who are creative, ambitious and have vision. It is hard for non creative people to understand a vision.

Janine has a great interest in the end product or their architecture and doesn’t think you can gleam an image of the person
from their work. Their success however depends on the project, expense and previous architecture. Architects have to
be qualified as it provides the image with a professionalism. Architects are more valued now as art and style choices are
more prevalent which enables the public to assert their likes and dislikes. However, people who are less fortunate become
further removed from affording such choices.

‘ We don’t progress if we don’t use architecture in a good way for up and coming generations.’

Janine implies that the Architecture of hospitals and churches could be improved vastly.

These are the main service buildings used by society and should improve the environment and councils should regard
design and an architects skills as important within the community.

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‘…. If we don’t invest in cutting edge things then we don’t compete with major cities in the world.’

‘… we are so politically correct its mad and we lose sight of creativity.’

To move onwards, is to compete and to push boundaries. Answering ‘what is an Architect?’ Janine explains there are two
ways of answering: what I would like an architect to be, and, what an architect tends to be.

Janine answers that she would like an Architect to be precise, passionate, warm and able to see into my style and choices,
to have common desires and achievements for the project. What an architect tends to be in terms of workplace is
associated with plans, drawings, being onsite and expense.

The client will know more about what they require, need and what would work for them in most cases. So having a strong
relationship and understanding with the architect is the perfect situation.

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 INTERVIEW TWO:

Name: Rita
D.O.B. 31/04/1929
Place of Birth: Coseleigh, West Midlands
Education: Infants + Juniors – St Martins School. Stonefield school in Bilston.
Further education: Accountancy qualifications.
Family background: Father: Grocery trade, 1st World war, Car factory then returned to the Grocery trade. Mother: Cashier
at a wine store in Wolverhampton. Married her father and then she ran the household whilst helping in store clubs,
community help, Christmas card books etc. During the war her mother worked for a glass factory making war equipment.
Occupation: pensioner. Helps out with conservative parties, fund raising and part of the W.I.

Rita has known two Architects. One was a friend of the family and drew up the plans for their house at Wightwick and he
also worked for the local council in London. The link with the council was suggested to be after the War. It was seen as a
safe job due to a lot of rebuilding. Due to restrictions after the war architects couldn’t be as expressive as the emphasis
was on council housing. The other architect worked for a normal Architectural practice. He knew what they wanted from
the building and they had a good architect-client relationship. He was better at putting things forwards and listened
carefully to what we wanted and together we made alterations.

In terms of architects in the media Rita hasn’t viewed any programmes on the television regarding Architects or
Architecture. She does recollect about newspaper articles concerning architects. She shows an interest in old churches,
older architecture but suggests that perhaps this architecture may not have been influenced by Architects. In comparison
she thinks modern Architects are very ambitions and intriguing but is unsure about the longevity of modern architecture.

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Rita has acknowledged that Architecture has the power to change societies and gives examples of high-rise housing in
London that has made societies more isolated and increased crime.

‘Architects will push boundaries and try to stand out’

Architects do a job to the best of their ability. It is seen as a higher echelon of jobs. Whatever an Architect puts forward
a council has to approve, they don’t always have full control. So surely it is up to the council what is good or bad for the
area. Rita suggests that the higher status of an architect is down to their higher level of education.

An Architect could look like anybody. I don’t think there is a specific look to an Architect, it is more of an attitude.
They have got to be people who put forwards their ideas, listen to criticism and know what people want.

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 INTERVIEW THREE:

Name: Richard
D.O.B. 17/12/1955
Place or Birth: Halifax, Yorkshire
Education: Lightcliffe school, Halifax (a small village school), Unisex grammar school, King Edwards school, boys grammar.
Further education: Sheffield University, Mech Eng. University of Bath, MBA.
Family background: Both parents were teachers. Father was a Headmaster. Mother had various roles leading up to Deputy
Head.
Occupation: Company director, responsible for Business and Product Development.

Richard has hired an Architect for work on his home. His decision for using an Architect was for help with the design and
management of the building. The Architect was described as a quiet, studious chap who was successful in listening and
interpreting their ideas. Richard’s process of hiring is down to previous work It is important to meet the architect and for
the architect to respect their clients ideas. The architect must be someone who is credible, on an empathetic level to the
client and who can communicate on the same level.

‘I think it’s a question of experience than education with dealing with people’

A good Architect will have a lot of completed projects and experience during education with people. You hear through
word of mouth whether an Architect good or bad.

To become an Architect is quite difficult you have to be committed and capable. Therefore you assume professionals in
Architecture have these two qualities.

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‘It’s tough for me to believe its harder to become an Architect than a doctor.’

It takes five years to become a chartered engineer as there isn’t any more to learn. Richard suggests it’s a process of
elimination or survival of the fittest. The ones who were good at it have stood the test of time. Perhaps before the 7 year
education standard arrived architects learnt from trial and error. If their buildings are still standing – this was their learning
process. There are differences between architects and teachers. Teachers think they’re professionals but they don’t go
through that period of professional experience to prove themselves. As Architects belong to an institute they are
regulated by this, other careers are represented within a union. It is assumed that if a public co-operation is buying the
product then its unsuitability is one of the criteria they’ll judge it on. Buildings can still be different. In Britain our council
and palette doesn’t allow much different but using France as an example their buildings look avant-garde.

Richard has watched many programmes about architects. Architects from Christopher Wren to present-day Zaha Hadid.
The programme about Zaha Hadid portrayed an image that she is a committed Architect and her designs pushed the edge.
Her Architecture is a statement of Avant-garde and her large projects seem pretty capital intensive at making a statement.

‘Sometimes you can look at architecture and think that’s its different for the sake of being different.’

Richard suggests that Zaha is capable of satisfying both sides, the looking good architecture and the architecture that
works. This judgment is drawn without stepping into a Zaha building. Her personal image is quite pushy and daunting.
Collectively rather than approachable.

‘I think you would find with any major artist because they are sort of out on their own and different’

Its the nature of successful artists and designers to be egocentric with clear personal ideals. Although this is true for the
‘star’ architects the main-stream Architect is quite different. Most Architects are doing work for other people so their ide-
als have to be maleable. To be able to interpret someone else’s ideas instead of just their own.

The public image could be based upon the ‘star’ Architect as you don’t hear about the other Architects. The competition
projects is why ‘star’ architects are what enters the public sphere. You find out who the Architects are through television
programmes, Sundays supplement magazines and media.
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 Richard has heard more about architects through written media instead of television. Literature about Architects such as
Palladio, Christopher Wren, Brunel, Le Corbusier and Frank Lloyd Wright were mentioned.

‘I don’t think I can look at a building and know the architect who created it.’

Richard thinks there is no link between Architect and Architecture image. However, you can see if the Architect was good
at interpreting the brief as the building reflects this.

Brand management is the ideal way to develop into a ‘star’ Architect. An Architect such as Zaha doesn’t gain a lot of
commissions but is pretty well-known. Richard explains that this could be because she is a woman in what is said to be a
man’s world but mainly as she puts herself forward. The brand management creates an image of expense that only a
certain level of people can afford. This expense relates to how we perceive their success.

‘I don’t think you can point to anyone in the street and think that’s an architect.’

‘star’ Architects cultivate an image of themselves but most architects are unlike this and they look just like themselves.
You want somebody to suit the job you want doing.

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INTERVIEW FOUR:

Name: Charlotte
D.O.B. 09/04/1986
Place or Birth: Pontypool, Wales.
Education: Greenmeadow Primary, Fairwater High School.
Further education: BSci Sociology at University of Bath. Currently studying Youth work at University of Wales Newport.
Family background: Mother: shop assistant and father worked for British Aerospace and worked for the RAF.
Occupation: Youth worker. Part of the Youth offender team.

Charlotte has never known an Architect. The only media where she has had contact with architects are in documentaries.
Programmes that’s subject were majority based upon their Architecture. Their image was varied: male, female, old and
young. They all shared creativity and the love of buildings.

Charlotte doesn’t perceive a character from architecture of its designer. The building creates its own image rather than a
personal image of the architect.

‘ I don’t think Architecture enters a lot of people minds.’

People like buildings or not, no further thought of how and why the buildings are made enters the minds of the public
sphere. This relationship should be more significant as architects have to think of the people and community because
ultimately buildings are there for public use. Charlotte used the example of John Wood in Bath who designed the Royal
Crescent, The circus and other buildings. She explains that John work designed those buildings how people would like
them, he knew who would be living in them at that time.

‘People don’t appreciate Architects in this country.’

Reasons for these statements are that perhaps it is a double-sided argument. Architects don’t think they get enough
praise and recognition and the people don’t realise the work that has gone into those buildings. Architecture is build for
the time. It is easy to criticise existing Architecture but it was right at the time it was built.
29
 Perhaps the people don’t realise as it’s not where their interest lies. Charlotte implies that when people aren’t interested in
something then the information isn’t retained or perhaps it might not be within their culture, education, family.

“A good view of what most people think is that Architects care about their clients and money.”

Charlotte remarks that Architects have to be risk-takers but sympathetic to their surrounding context. They have
restrictions alike with other professions. Today’s image of an Architect isn’t easy to describe. As anybody can go to
university then anybody could essentially become an Architect. You can work your way up so class is irrelevant. As a
generalisation thirty years ago I would say that architects were predominately male and from the upper realms of society.

30
INTERVIEW FIVE:

Name: Tom
D.O.B. 06/06/1988
Place or Birth: Wombourne, near Wolverhampton.
Education: St Benedicts, Ounsdale High School.
Further education: Currently at Oxford Brookes completing a Ba (Hons) History.
Family background: Both parents are teachers.
Occupation: Student.

Tom hasn’t known an Architect but when asked he knows students who are learning to become Architects. Tom perceives
Kevin McCloud as an Architect and has watched grand designs. He described Kevin as ‘the face on television concerned with
Architecture’. Tom describes his knowledge and ideas about architects as basic. As a history student he learns about the
architects who have had an effect of history and involvement within public sphere movements.

Familiar Architects to Tom are Albert Sphier, architect for the Nazi’s, Sir Herbert Baker, the architect who built Rhodes
memorial house, Oxford. These Architects are peripheral figures and a footnote to their legacy. So they’re players
amongst political movements. He mentions buildings that are devoted to the people or leader throughout these
movements. For example in Soviet Russia where the communists built a huge monumental building for the workers of
Russia.

A personal image of an Architect could be linked to their architect as there is an element that if you see a crazy design then
you assume its designer would be a futurist or plain oddball. Tom doesn’t look at Architecture and think about what is
beyond it, the thoughts or theory.

When questioned about the R.I.B.A Tom suggests that you shouldn’t need official permission but there should be limits.
Architect can be used in a looser way such as Cecil Rhodes is called ‘the Architect of British Imperialism’.

Tom suggests that perhaps Architects are privatised so they lack an association with the government. In other countries
the government may pay for more projects and that’s why Architects become nationalised in those countries.
31
 Architects are somebody who creates not just a building. It has got to be practical and built towards a need. They have to
be creative, pragmatic and practical within the realms of reality. Public consultation is necessary. An Architect could be
simply somebody with an inspirational mind. Tom gave a suggestion that Architects don’t need the 7 years. He ponders
whether it is essential to have the education or whether it’s the designers mind that is important.

‘Individuals band the profession under all one term. Architecture depends on personality.’

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INTERVIEW SIX:

Name: Claudia
D.O.B. 19/04/1987
Place or Birth: N.Ireland.
Education: Many schools due to father being in the army. Mount Street and St David’s in Wales. Hanford, Dorset. St Marys,
boarding school, Wantage.
Further Education: currently studying History of Art and Oxford Brookes
Occupation: Student
Family background: Father – in the army, now works for the British Legion. Mother works in an antique’s shop in
Shrewsbury.

Claudia has never met an architect. She has watched Grand Designs and the home show with Architects on them.
Her impression of Architect in these programmes is that they show a lot of knowledge, not just about buildings but also
about art periods. On each episode of the home show, George Clarke has to pick out one object he thinks his clients
are going to choose. It is important for an architect to do this as they need to know your taste. Claudia perceived Kevin
McCloud as an Architect. She suggests that is very talented and would think if he wasn’t an Architect he would be an art
historian because of his knowledge.

As a student studying History of Art it comes as no surprise that Claudia has heard of renaissance architects. Brunelesschi,
Michaelangio, Leonardo Da Vinci to name a few. Architects can be regarded as artists themselves. Within Claudia’s History
of Art course she studies an architecture module.

Claudia thinks you can definitely get an impression of an Architect from their architecture. The Architecture shows a
particular style, genre that the Architect themselves must exhibit.
33
 ‘I would never think you can build something that doesn’t relate to yourself.’

Architects have to build Architecture that they believe in. Grand Designs is good at showing projects, the specialised
architecture built specifically for people. Governments involvement in architecture could be through their future plans.
An emphasis is placed on green Architecture due to government plan to lower CO2 emissions. Perhaps this is the present
day expression of the government’s involvement through architecture. Architects aren’t limited to just Architecture there
are many linked fields.

Architects have acquired a higher status as they endure a longer course. An average person will only come across these
architects who have amazing commissions. They don’t come across the average architect so it’s no wonder that people
have a perceived idea that Architects are creative people who earn millions.

34
35
 INTERVIEW ANALYSIS

Based upon the previous six interviews, I will form a suggestive perception of Architects. It became apparent whilst
undergoing this primary research that a physical image was unimportant. It is those qualities that an Architect has, or
should have, that are of most interest to the public.

The image of perception is largely based on the image of the interviewee. Each individual mentioned new qualities about
what associate with an Architect. Some answered from a personal encounter with an Architect whilst others answered
based on experience within literature, media and word-of-mouth. A collection of pre-conceptions form each public image
of an Architect . Follows is the collective image of Architects, the contributors to the image and how the perceptions are
formed with the public arena.

As a teacher, Janine is part of a union so believes class isn’t an influence on the Architect image. Teachers belong to a union
which is run by its members so everybody is ranked as equal. Opinion of class is dependant on what class or occupation
you belong to. Family class isn’t regarded as a big influence on an Architect’s image as a training Architect can be upwardly
mobile. It no longer matters what your family image is as you can break-away. You become your own individual image.
Ambition within Architecture means that people are more inclined to move up through professions. There is no longer an
image that Architects are in the higher realms of society as anybody could do it through studying.

Architects have a professionalism that comes with the education so it’s not necessary to question the standing of
Architects. Architects are well educated people, enduring a 7 year education period so perhaps this is where their higher
status comes from. To become an Architect is difficult and you have to be committed and capable. The length of the
education was deemed as excessive by Richard. With professions like medicine, engineering that requires the same level of
expertise lasting only 5 years. It is hard to understand why architects need the extra two years.

Architects belong to an institute. This is important to understand the professionalism of the career. The Architect is
regulated by the institute; to become a member you have to acquire the same skills, education and qualities.
36
This brands Architects as credible, professional and qualified. The public image suggests that it is not so involved with
qualification but more concerned with creative and inspirational qualities . There is the question that perhaps the
institutes are not as in touch with these creative qualities and concentrates primarily on the qualification of its members.
Whereas professions such as nursing, teaching which belong to a member-run union. The R.I.B.A. is placing a high concern
on the education of an architect rather than their inspirational mind.

Janine implies that Architects remain removed from the public arena. Perhaps this is due to a lack of interest from the
public rather than Architects removing themselves. Janine suggests that there is a need for investment into the public
sector with regards to the importance of Architects and Architecture. This would promote the Architect’s public image and
encourage an interest into their art, skill and profession . The public image of Architects is that they are untouchable to
the lower classes as the Architects appear too expensive and specialised. The majority of the public cannot afford
expensive lifestyle choices and so are removed from Architecture.

Architecture doesn’t enter a lot of people’s minds, so people don’t appreciate Architects in areas of this country.
There should be a greater interest in Architects as they are the designers of the public’s built environment which affects
everyone and how and where they live and work. It’s difficult to decide why this disinterest has occurred. Perhaps
Architecture is so specialist that you have to be an Architect to appreciate it? Or, maybe, it is due to a lack of interest in
the public sector by Architects Which maybe due to the lack of investment therein.

Janine suggests that Architects need to become increasingly and passionately involved within the Architecture of all
public buildings. Maybe this is the key to the acceptance of Architects as players in our futures. After all this is the dream
of most Architects – to change the world.

Architects are more obvious when they break the mould. To stand out you have to have a great ambition and an intriguing
public image. The public image of an Architect is definitely intriguing if unknown.

Brand Management was a reoccurring suggestion for reasons why some Architects are better known than other within
the public sphere. Because of this there are two types of Architects: Normal and Star Architects. Richard explained that
as the Star Architects have an increasing brand appearance then so does their fame become more apparent. The ‘Star’
Architect appears to be successful, rich and a perception is assumed that they only care about their clients and money. 37
 Within this perception we assume the higher status of Architects and their association with money, demands and media.
Unlike the Star Architect the majority of Architects will be approachable, credible and creative and working within a more
“normal” public arena.

Richard states that ‘Star’ Architects are similar to ‘star’ artists. Michelangelo, Leonardo Da Vinci are both artists and
Architects who shared an ambition and desire to build or paint their own work or both. This star status is why many
students embark upon an Architecture course. It is important that you have big goals to strive for. By comparison
Architects and Artists will produce work for the need of a client. A profession which, that without people, clients and
the public would nott be of a great importance in his eyes.

The public image based upon personal experiences of a client-architect relationship described the Architect as
professional, controlled, trustworthy and quiet. The Architect is hired on the basis that he suited the job. The Architect
must have exerted an image of themselves and how their Architecture will be in order to be hired. The Architect was
good at putting his ideas forward but also intuitive and understanding of the client’s ideas and requirements.

The previous image that Architects are male, wear black and of a higher social rank is diminishing. Charlotte bases that
view on the fact that the education system in the U.K allows anybody to study in Further Education and to go to
University. This means that students embarking on an education in Architecture are accepted on qualities such as
creativity, ambition, professional attitude as well as qualifications. Architecture she believes is more about qualities of its
Architects than appearance, status and previous education.

Architects have been involved in many public, political and social movements. Tom has suggested that they are peripheral
figures in most of the movement’s dictator’s legacy. Also, that the y became necessary in changing built environment
during these movements. By changing our built environment we change the public’s image of their environment.
In communist Russia a massive building was dedicated to the countries workers. This contributes to the public’s moral and
feeling about Russia within their people . An Architect therefore has the ability to help change the world.
38
In modern day there aren’t such occasions, movements or major events generally for Architects to demonstrate this
power. However, Claudia gives an example of the Governments modern day and using Architects to encourage a greener
Britain via planning. Architect’s express this link through the new green housing which is being more predominantly built.
Due to this the government maybe restricting Architects or perhaps giving them new direction and encouragement.

However, Tom suggests that architects are being privatised so they no long rely on the government and are less
nationalised. Opportunities such as the 2012 Olympics which give Architect’s the chance to ‘shine’ and compete with
other countries. Rita mentioned that the link between Architects and the council became strong after the two world wars
as the amount of rebuilding and new council housing increased the importance of the job and it was viewed as stable.

All of the interviewee’s hold the view that anyone within the public arena could be an Architect. There is no specific
image of physical appearance. It depends on the project who you hire and their previous work through which their image
is shown and their creativity, portfolio and professionalism.

Tom describes an architect as ‘creative, pragmatic, practical and inspirational.’ An Architect’s public image is more about
the attitude towards the built environment rather than an image of what an Architect should look like.

Although most of the interviewee’s have said that there is no link between an Architect and their Architecture. When
analysing the interviews there is an underlying suggestion within most that the Architecture purvays an image. Whether
this is of the individual Architect, or the Architectural practice they belong to. from personal experience within an
Architectural practice I am aware that the image they portray can be unlike the architects themselves. Usually a range of
Architects with different images work for a practice and it depends on which architect completes the project to what the
image is. An image of what the architect wanted out of the building. The ‘star’ Architect is allowed and shows more of
their own ideas in terms of an Architectural brand whereas the normal Architect’s architecture will have their client’s
interests as well as their own. There has to be some correlation between the Architect and their work. Architects will
become hired on the basis that their client trusts them to produce a piece of architecture which suits the client. The
Architects practice will show previous work, theories and agendas with which the client can study to decide whether they
are suited or not to the individual project.

39
 ‘The Home Show’ and Grand Designs are the only two programmes mentioned within which Architects have been viewed.
The outcome is an assumption that both presenters are Architects. All the interviewee’s mistook Kevin McCloud as an
Architect. Claudia responds with surprise as he would epitomise her public image of an Architect. My understanding from
this is that the underlying reason is that Kevin is deemed as knowledgeable as an Architectural historian, has good
etiquette and has a great public image and persona which is highly beneficial to the media company.

40
Below left (Fig 5): George Clarke -ba (hons) ucl dipl (hons) arb riba
George Clarke is an architect, writer, TV presenter and postgraduate lecturer. He is creative director of
architectural practice clarke:desai and property development company Dreamspaces.

Below right (Fig 6): Kevin McCloud

Kevin McCloud is a British designer, writer and television presenter. He is best known for his work on the
Channel 4 series Grand Designs. Kevin lives in Somerset with his wife Suzanna and their four children.

41
 CONCLUSION

The purpose of this study was to find a conclusive public image of an Architect. I have deduced my conclusions on my
analysis of the six interviews whilst comparing the image Architects hold of each other. This study is based upon
representations in the media, particularly television as well as perceptions held by members of the public.

The public image of an Architect is not a physical image but one of the qualities which Architects exert. Within the small
group interviewed a stereotypical view no longer exists. In the present day, images are largely no longer based upon
stereotypical images as the publicity made up of individuals who have personal and unique thoughts. As most members of
the public are keen to exert their own image so they are reluctant to stereotype a physical appearance of an individual.

The research results in a public image of an Architect being seen as intuitive, creative, pragmatic and professional. With
other qualities mentioned: Balanced, ambitious, Inspirational, warm and expensive. Ambition is seen as a given within a
profession that requires you to strive for your work and success within your employment. Amongst the members of the
public who have hired and met an Architect there is an understanding of the difference between a ‘normal’ architect and
a “star” Architect. Whilst the remaining portion of the public have an understanding of an Architect which is gained from
history, art, media and architecture within society. It is within this portion that has an unclear image perception.

Whilst researching image, branding, public image and architects. I had found a lot of literature based upon Architects
written by Architects. There is also an interest about Architecture with fellow Architects but a lack of interest from the
public. Angela Hatherell wrote the first piece of literature about the Public Images of the 21st Century Architect.
Perhaps there has been an interest growth amongst Architects perceptions of the Public. Angela suggests that there is a
need to find a visual language to display a positive message about Architecture.

‘Rarely however do the architects professional aspirations and trials come to the surface; more rarely still have they
found a ready audience with the public. ‘
(Saint, PG1)
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Architects representation of themselves seem to be the main influence upon the image of an architect. When you appear
on television you are representing your identity, profession. A brand seems necessary to enable an Architect to become a
public figure head. When Dana Cuff interviewed seven architects in ‘Architects People’ each Architect answered
differently. The Architect was asked who their people were.

‘Architecture is made by architects, for themselves…. No other ‘people’ for the architect.’
Peter Eisenman, (CUFF, p65)

‘I wish we architects were more curious about other people and less wrapped up with ourselves’
Hugh Hardy (CUFF P67)

There was no overall image of the Architect which suggests that each architect, similarly with their projects, has a
different attitude towards their public. It was interesting to see that a portion of the architects suggest their ‘people’ are
their clients and their workers. Whilst others decided that they produce their Architecture for themselves.

‘Although the architect is distinct from the public, there is also a reciprocity of perspectives in this exchange. ‘
(CUFF 76)
A brand management is one which enhances the power, wealth and importance of the profession. However, fame comes
at a price where the serious members of the public do not take it seriously. These serious members are more likely to
become an architects client. It is unclear whether this distance is due to the public not being in contact with architects or
whether the architect perceive themselves as something different and outside of the normal public arena..

Architect branding increases the view that architects are elevated above most members of the public. This public image
stereotype still exists however there is a lot of credit given to architects. There is a suggestion that an increase in
government and council projects could influence the publics image of an architect?

43
 If members of the public see an Architect involved in housing and developing council offices and have a portfolio including
public realm buildings then this could set an example that architects do care about their public and the public generally.
Architects involved in public realm Architecture would enable the public to view architecture as a need within the built
environment. Good architecture should be a necessity and available rather than based upon an affordance. It should be
available to everybody. If the main aim of an Architect is to change the world through the built environment then surely
the first step is to get their audience or the people on side. An Architect should be available to all members of the public
as well as just for a paying client. If the public image of Architect was based on a familiar and approachable image then
Architects would find it easier to change the built environment. The public would know what Architects do and thereby
appreciate them.

The media is successful in portraying Architects as specialists within their field. Through programmes such as Grand
Designs and Supercities reporters encourage an image that architecture is necessary. The majority of Architecture shows
are shown on the specialist programmes such as Sky Arts. The influence of Architects is hidden within television media And
in this way it is apparent that the public are influenced by things that affect their world particularly if the examples shown
are close to their culture, society, and individual needs or desires. It is suggested that architecture isn’t generally evident
amongst the members of the public and therefore doesn’t have a great influence. When Architecture is within the built
environment the public should care and will thereby become influenced by the built internal and external environment
particularly where people live and work. It may be that the public do not think about this influence or whether the
influence is not apparent enough. My suggestion is that the built environment affects people lives and needs to evolve and
move forwards within and with society. It dictates the way we feel within a certain space and that your surroundings affect
your feelings and how you behave within that environment.

‘The gravest of all doubts was whether –or how – architects could continue to sustain their traditional role as
form-givers, creators and controllers of human environments.’
Age of the Masters (HILL, p5)
44
45
46
EPILOGUE
This study has given me an insight into how the public are influenced by Architects and their Architecture. It has made me
realise that when I view the world I need to be aware as an Architect of many other influences. My vision should not be
based solely on what I see but what I have seen, heard and experienced.

This study has also enabled me to recognise that image is important. In the present day it is important how you exert
yourself within the world of work. However, members of the public have an individual ability to look beyond this image
and find the individual qualities of an architect based upon their own experiences. Perception is preserved as being
dependant upon the individual whereas image is dependant on the individual. It is wonderful and exciting that in the
present day we are encouraged to exert ourselves in the way we wish.

It has given me the opportunity and encouraged my insight and understanding as what may be expected of me when I
graduate as an Interior Architect. It has also highlighted gaps in the relationship between the public and Architects which
is important to acknowledge and to be aware of as in being sensitive and perceptive to the clients requirements can only
improve the outcome.

“Architecture ought to ennoble and enhance human life” (EMERGING ARCHITECTURE, TIMES)

As I have only interviewed six members of the public I am intrigued to study the public image further. It has been
something that has proved surprising, interesting and essential. Surprising due to the breath of different responses to
questions I would consider quite straight forward. It is Interesting how the public image and my perceptionual image of
Architects differ. But mainly, it has been essential. It is important to understand what is behind you and what lies ahead.

47
 BIBLIOGRAPHY
BACHERLARD, Gaston - 1994 (The Poetics of Space: The classic look at how we experience intimate places) USA Beacon
press

BOTTON, Alain De – 2006 (The architecture of Happiness ) Penguin books ltd, London.
-A closer look into the architecture around us. A tribute to Architecture and how we should appreciate our build
ings and their relationship with us. This isn’t a direct influence but more of a representation of what should be
written about not only architecture but architects

BRYMAN, Alan - 2008 (Social Research Methods- 3rd ed.) published by Oxford University Press, Oxford.
- Research methods of the interview process.

CRISWELL, Andrew – 2006 (A study of Modern Television: Thinking inside the box) published by Palgrave MacMillan, New
York.
-A modern day approach to media. In this book it is suggested that media is a huge influence upon the public.

CUFF, Dana and ELLIS, Russell - 1989 (Architects people) by Oxford University Press, New York
-A collection of essays on the view of how architects view people. Chapter 4 – ‘Through the looking glass: 7 New
York architects and their people’ by Dana Cuff was a key text to read. By interviewing these 7 architects she has
found out that architects may not know who their people are. With views ranging from ‘I am my own people’ and
‘the people are the ones who experience my buildings’ it is no wonder the public are confused as the
professionals are.

EASY JET MAGAZINE – (THE BIG DEBATE) ‘should proposed EU rules banning stereotypes in ads be supported?
-The ‘YES’ reply was written by Ian Wylie, a freelance writer for the Guardian, Management Today, Fast company
and others.
-The ‘NO’ reply was written by Rosie Carr, deputy editor of Investors Chronicle.
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EMERGING ARCHITECTURE - Article, page 14 Times 2, THE TIMES Tuesday December 2nd 2008.
- An article referring to a change within the Emerging Architecture Awards. It expects a change within
architecture. Architecture will become localised and more community input.

GLANCEY, Jonathan – 2008 (“why real lift isn’t all for the best”) Building design Friday April 4th 2008.
-An article written in response to the media representation of Heathrow T5.

HABRAKEN, N.J – 2005 (Palladio’s children) edited by Jonathan Teicher, published by Taylor & France, Oxon.
-A reminder to architects to not forget where they have come from. A close look into Palladio’s buildings and their
context ‘the field’. Architecture effects the wider picture. Its not just about the one building along the street it’s
the context. Shows the relationship between the public believing that architects build out of place buildings
instead of something that fit.

HATHERELL, A – 2004 (Who do they think we are? Perceptions of Architect In Twenty First Century Britain), unpublished,
Major Study, Oxford Brookes University.
-Key text for a dissertation. Chapters on: architects,architects in the media, fictional architects and public opinion.
Suggests that an architect doesn’t really care about what his/her image is.

HILL, J – 2003 (ACTIONS OF ARCHITECTURE: Architects and Creative Users) published by Routledge, London.
-an intuitive approach to new architecture. the assumptions surrounding architects and their link with the users.

LANGER, J – 1998 (Tabloid Television: popular journalism and other news) published by Routledge, London.
-A piece of literature highlighting the journalism approach to media. Writing about how the news is produced and
means of broadcasting.

LEWIS, Roger K. – 1998 (Architect? A candid guide to the profession) Massachusetts Institute of Technology Press,
Cambridge Massachusetts; London.
-A guide not for the faint hearted. An honest perception of Architects, the built environment and what to expect
when hiring an Architect or becoming an architect. This book covers all images and offers solutions on how to
become a good architect and what to expect.
49
 PRESSMAN, Andy – 1995 (The Fountainhead-ache: The politics of Architect – client relations) published by
John Wiley &Sons, Inc.
-Like the title suggest this book embraces the image of architects produced by film. Suggests the architect is an
agent for the client and questions young practioners of the profession. Includes views from the public and aca
demics. Also, shows the difference between U.S and U.K perceptions.

SAINT, Andrew – 1983 (The Images of the Architect) published Yale University Press

SKYSCRAPR – Youtube, video added Febuary 16th 2007. ‘What does it take to become an Architect?
-A series of interviews with people who are at a fair. The interviewee’s show the vagueness of what the profession
represents by each one saying that architects should have contrasting qualities.

STURKEN, Marita and CARTWRIGHT, Lisa – 2001 (Practices of Looking: An Introduction to Visual Culture) published by
Oxford University Press, USA.
-An approach towards how we perceives the world.
-How visual culture, collective member effect the way we perceives and view.

THOMPSON, Jenny - Memory and Museum essay for Cities and Cultures module, Oxford Brookes. 2007/8. An essay within a
group of five about collective and individual memory, unpublished.

WIKIPEDIA - ‘starchitect’ used for definition

- A list of current, yesterdays and late Starachitects on the same page.

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ILLUSTRATION

Background images: Left side = first people to appear on an google image search of the word ‘architect’.
Right side = photographs of family and friends.

Fig 1 : EFLUX - Imagination – perception in art. An exhibition of Kunsthaus Graz. He focuses on perception. ‘perception is
no a given, not to be taken for granted. (eflux.com)

Fig 2: GAP, NEXT, OXFAM– (http://www.ac-nancy-metz.fr/enseign/anglais/Henry/gap

Fig 3: GRAND DESIGNS FAN PAGE -Architect from The modernist sugar cube house project in Bristol.
(http://www.facebook.com/notes.php?id=9126456588)

Fig 4: KOFASHION -Zaha Hadid – googled word star architect and she was first photo up. From webpage - http://blog.
kofashion.com/page/2 Taken from an article written by By Katharina on Sunday 2 December 2007

Fig 5: CHANNEL 4- photograph taken from: http://www.channel4.com/4homes/diy-self-build/diy-build-advice/a-z-of-diy-

building-guides/how-to-set-fence-posts-in-concrete-08-06-18_p_1.html - profile information about George Clarke from :
http://www.georgeclarke.co.uk/

Fig 6: SMH - photograph taken from: - http://www.smh.com.au/news/tv-reviews/grand-designs-

abroad/2008/05/22/1211182975777.html Profile information of Kevin McCloud. http://en.wikipedia.org/wiki/Kevin_McCloud

51
 INTERVIEW REFERENCE

The Interviewee’s were chosen to enable a range of age, gender, occupation and age.

Tom Jowett: 28th November, Cowley, Oxford at 20:35.

Rita Webb: 27th December, Monmouth at 09:41

Charlotte Hoskins: 28th December, Monmouth at 18:22

Janine Thompson: 3rd January, Monmouth at 19:05

Richard Thompson: 6th January, Monmouth at 18:33

Claudia Meek: 9th January, St Clements, Oxford at 20:34

52