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work in practice as a mechanism to reexamine the buildings and writing of Loos inevitably
provides an original perspective, but as set out in the ‘Methodology’ section below and in Part
One, the research was structured in such a way that the outcome challenged some of my
original objectives, led to unexpected conclusions for my ongoing practice—and offered an
interpretation of Loos that challenges a number of assumptions underpinning much existing
scholarship on his work, and modernism more generally. While any architect could use their
work in practice to pursue a research question, my methodology is unique to my own design
work and historical and theoretical subject.
My research method is atypical of the work carried out on the Bartlett’s Architectural Design
PhD programme only in that it is conducted using design work carried out in practice. It could be
said that while most projects are structured around academic design work that is set up to
directly address an historical or theoretical research question, my own takes design work
carried out in relation to building projects and uses it to question an historical and theoretical
subject. However, it is also true of many projects that are not practice-based that a body of
design work commenced well in advance of commencing the PhD programme suggests the
research question or subject. Nonetheless, design work in practice possesses a unique
character as a research tool due to the fact that there are forces outside of the academic
research programme acting upon it. Consequently, by comparison to design work based entirely
in academia, the relevant aspects of practice-based design work must be extracted from many
others that are unrelated to the research question. In these terms, the former could be
understood as analogous to a laboratory experiment, and the latter akin to the collection of field
data. Like all laboratory work, design research conducted entirely in academia conversely has
the opposite potential pitfall—that the validity of its outcomes depend entirely upon isolating the
relevant aspects before setting up and conducting the experiment. RMIT University offers a PhD
programme specifically targeted at practicing architects, but it differs from the Bartlett course in
that the primary stated aim is for candidates to move from mastery of their profession to creative
innovation.
3
While continued and improved creativity and innovation are likely outcomes of my
doctoral work at the Bartlett, this is a side effect of my primary goal—an original reinterpretation
of Loos that opens further avenues of theoretical and historical research that are autonomous
from my design work. The challenge of my teaching prior to the PhD programme was to apply
knowledge distilled from my practice-based experience without imposing my own design
agendas and processes. In subsequent teaching I similarly aim to apply the theoretical
conclusions of my doctoral research that can be uncoupled from the research methodology that
facilitated them.
Prior to commencing work in practice I had developed a keen interest in Loos, and as a result,
all of my work is to some extent influenced by his the buildings and writing. This is not to say
that Loos is the only influence on the design work, or that all of the work in practice is research
3
Leon van Schaik, Mastering Architecture: Becoming a Creative Innovator in Practice
(Chichester: Wiley-Academy, 2005).
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relevant to a study of Loos. The understanding of Loos that I brought into practice was partly
based upon my own experience of his work, but largely formed through reading existing
scholarship. Designing buildings in practice presented the opportunity for me to understand
Loos’s work from a different perspective, and prompted me to question a number of the
assumptions about the meaning of his work that I had adopted from secondary sources. My
work in practice has obviously continued during my doctoral research and so has inevitably
changed incrementally as a result of the insights that I have gained. Alongside my practice work
I have accumulated over ten years experience in architectural journalism. While I did not
conceive of it in this way at the outset, this is an interesting parallel to Loos’s simultaneous
writing and building, and I have progressively come to realize that my writing has influenced the
development of my design work. While academic writing has distinct differences from
journalistic writing, which can in turn be distinguished from the writing carried out in the process
of building projects, both of the latter forms of writing have influenced the course of the former.
Both my buildings and writing informed my selection of my research subject, but the primary
effect of my journalistic essays and practice-based writing is on the mode of my research.
Writing is used in my practice-based research as a means for progressing and implementing the
design process, but in my doctoral research has operated as a mechanism for collating, sorting
and analyzing the practice work in order to mediate its relationship with my theoretical and
historical subject.
MOTIVATIONS, AIMS AND OBJECTIVES
This research project is to some extent motivated by the fact that the understanding I have
developed of Loos through practice cannot be readily reconciled with existing scholarship. A
tendency to generalize in relation to both his writing and buildings has perpetuated a
widespread belief that Loos was a functionalist modernist, despite the fact that this does not sit
easily with specific components of many of his buildings. As my research interest in Loos
predates the ten years of design work in practice through which this investigation is structured,
the relationship between my understanding of Loos’s architecture and my conception of my own
work is inevitably reciprocal. The discussion of Loos is consequently informed by two distinct
types of research—abstract consideration of an historical example from primary and secondary
sources, and the process of making architecture in practice. In broader terms, the research aims
to capitalise upon one of the overwhelming conclusions I have drawn from my own practice—
that abstract or theoretical ideas emerge from the process of making buildings in practice, at
least as much as the converse is true. The historical research into Loos yields hypotheses that
inform both the development and understanding of my own built work in practice, and the
process of realising and reflecting upon the latter similarly produces ideas that illuminate the
former.
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