Moon? Or The Sixpence?
Discussing whether the romanticisation of the architecture discipline and industry is appropriate
Jacaranda Zeng
Sometimes you just need to fabricate a good reason to carry on doing something because life doesn't always change as you imagine. Before I chose Architecture as my subject, I thought I would take the kind of artistic thinking in my head with me throughout the time I would spend in this industry, which was considered by myself singular and noble to the extreme to let myself become a pair of pushing hands for not only the building construction but also the construction of human spiritual civilization. I would dress like a refined office lady, spinning out my fantasies about the future of architecture on a swivel chair. I would unwaveringly follow the truth of the architectural world, just like looking up at the purest moonlight.
Afterwards, when I rushed into the studio in the rain, carrying a backpack as heavy as a mountain and a basket of creaky models; when my mouse click and heartbeat were completing at a late night before deadline for which one was faster; when my soul slowly drifted out of my body during presentations and reviews whereas my brain endured overloaded information implantation......I felt that architecture is so down to earth. When I truly entered the construction industry, I realised that to learn architecture well and become an evergreen tree in the future, one must sacrifice their physical and mental health, even if such a toxic approach is not worth advocating. If the romanticisation of architecture is moonlight, then architectural works designed for commercialization or to achieve higher social status in the industry are like sixpence on the ground.
I have been exploring architecture intermittently for six years, starting from September 2018 when I began studying architecture at South China University of Technology, then had a year in INTO Centre Newcastle since 2021, and have been doing my undergraduate degree on campus in Newcastle Uni from 2022 onwards. Over the years I have found that, architecture cannot accommodate utopians Every design that did not start from context and consideration of users only led to strict criticism from tutors and disregard from course mates, even though I had invested countless passions into it. But at least it shows that I still want to learn architecture well and be prepared to burn my life for it.
For a long time, in my eyes, architecture had two sides: realism and romanticisation. The reality was its technicality, and its artistic part is what to be romanticised. To be honest, I am often struggling with the technology part of architecture.
Figure 1, the photograph of MU50 House model, was actually my second attempt of submission for technology module in my first year, graded 75. And the horrible first attempt was graded 35 too sad to put a photo of it here !
The reason why I am still willing to continue doing architecture, specifically speaking, why I chose to challenge myself for a second attempt of that module, is architecture’s artistic part. Located on a cliff near Aegean Sea, MU50 House is a timber-structured small-scaled residence designed for a couple. 1 It is a very beautiful building, so beautiful that I was willing to temporarily forget the pain of being given a low score and walk into
1 TEKE Architects Office, ‘The Modular Unit, MU50’, TEKE Architects Office, 2019 <https://www.tekearchitects.com/mu50/> [accessed 14 October 2024].
the workshop, a friendly but still terrifying space for me, to make a model of it again Without those thoughts of idealizations, architecture wouldn’t be as beautiful as I think. Whether an architecture is beautiful is very subjective for me
In search of a sixpence
The book The Moon and Sixpence by W. S. Maugham was the first inspiration that came to my mind for this article. The leading character of the book, ‘Charles Strickland’, gave up his ordinary life to pursue painting in a way that reflects primitive creativity and authenticity. 2He is the most idealized person in the books I have ever read. When I read the book, I was touched by him. I recall that when I was a child aged 6, my dream was to become a painter, and I cherished my dreams in my heart and persisted for six years, spending two hours every day after school with my art teacher, Miss. Shan, in the art building of my elementary school. I really thought I would become a professional painter in the future. But in my junior high school years, I put aside this so-called ‘minor’ to pass the ‘main’ subjects and get into the best local high school It seems that I, a person who was purely driven by interests, was a different side of Strickland. He can give up all fame and fortune, even if he is not understood, and still pursue what he purely loves. But I became his opposite to survive.
During my three years in high school, I still fantasized about whether I could learn to draw every day in my university. I did it. I was lucky enough to get a place at Academy of Overseas Study at South China Uni of Tech. I took sketching courses and architectural drawing courses almost every day during my time in South China Uni of Tech. And after I came to the UK, architectural work with links to art are much more common than I thought. Art, as an indispensable soul in the architecture industry, always enters my life in various unintentional forms. I plan to honestly confess that I am still not a pure art seeker. I have utilized art and used it to fight for more benefits for me. I am fortunate and afraid of myself who pursues fame and gain like this.
Nevertheless, it seems that art has always been very tolerant of me. Every time I draw or sketch, I feel extremely happy about myself, even if it's for submitting assignments, for a higher score, or for me to pass exams smoothly. Romanticisation has indeed created value for my architectural learning journey, for instance, Figure 2, part of my highly-scored submission to History module during my time in INTO Newcastle. I believed there were things inside that submission that can move people and evoke some kind of shared human emotion When I achieve the results I desire, my unattainable idealization of architecture becomes a reality. Perhaps brainwashing myself into being a great artist or architect is truly one of my driving forces. I thought my whole life was just a greedy person picking up sixpence, I thought have walked a long way with this false romance, but every time I look up, I can
see the moonlight. I know the moonlight’s been there waiting for me. And I am grateful that it is still waiting for me from above.
Figure 2. A work of sketch combined with self-created poetry of Percy St as a part of Architectural History Module Submission in my year in INTO Newcastle. earned me a score of 70.
We are bathed in the moonlight altogether
Valuing success and stability is a common phenomenon and expectation in society. In the context of the architecture and construction industry, the romanticisation of architecture often resembles Strickland's journey. Architects, like artists, are often seen as visionary thinkers who challenge the status quo and use their works to express deeper truths and emotions. Strickland's artistic passion and idealized architectural vision both celebrate a departure from traditional expectations. This emphasizes the tense relationship between social norms and personal passion, indicating that true satisfaction comes from following one's creative intuition, even at great personal cost.
There is another book I really want to talk about, Delirious New York In this book, the author Rem Koolhaas explored the concept of fantasy and surreal versions of New York City. 3 He emphasized the dramatic and extraordinary qualities of New York architecture, emphasizing its ability to evoke emotions and surprise. This romanticisation is reflected in the celebration of iconic buildings, the urbanism of urban chaos, and the visionary ideas that shape its skyline.
By depicting buildings as products and contributors to the vibrant culture of this city, Koolhaas elevated these designs beyond mere functionality. He captured the innovative spirit and artistic aspirations of architects, who seek to break through boundaries, just like the passionate pursuits seen in characters like Charles Strickland in The Moon and Sixpence. In this sense, the architecture discussed in Delirious New York is romanticised not only for its aesthetics, but also for its role in creating extraordinary urban narratives - a narrative that reflects the dreams and aspirations of city residents.
Like the eternal moonlight enveloping us, as ‘emotional animals’, the romanticisation of architecture and this industry is the source of our endless pursuit. Without romanticisation, we would not have dreams, hope for a better life for our community, or desire to maintain happiness in the face of uncontrollable nature. Romanticisation never dies in human society. Whether we are aware of it, accept it, or like it, that romanticised world, that moonlight, is always there, never leaving us behind.
3 Rem Koolhaas, Delirious New York : a retroactive manifesto for Manhattan (Monacelli Press, 1994)
Finally, it is worth mentioning that, outside of my curriculum, I have been performed in theatres as a dancer with Newcastle University Dance Club for three years so far In a highly artistic building like a theatre, I dance with the ‘space’ itself and ignite my passion to the extreme in the face of hundreds of audiences’ expectant gaze. It was romanticisation that brought me onto the stages, and it was also romanticisation that attracted the audience to us dancers. We all hope for a better life, and as humans, we share a common joy. It is precisely because of this that humans have become the most unique beings in nature.
In this long and short life, I knew I would never touch the shiny beautiful moon, and I also learned from pictures on the internet that even if I saw the real moon, I would be disappointed because of its bumpy appearance. But standing on Earth and looking up at the moon, isn't this the most beautiful distance between us and the moon? I will continue to pick up my sixpence for my survival, and I will always love moonlight throughout my life.
References
Koolhaas, Rem, Delirious New York : a retroactive manifesto for Manhattan (Monacelli Press, 1994)
Maugham, William Somerset, The moon and sixpence (Pan Books, 1974)
TEKE Architects Office, ‘The Modular Unit, MU50’, TEKE Architects Office, 2019 <https://www.tekearchitects.com/mu50/> [accessed 14 October 2024]