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By Nicholas Ray

A forged of major writers and practitioners take on the moral questions that architects are more and more dealing with of their paintings, from useful issues in building to the broader social context of structures, their visual appeal, use and position within the narrative of our environment. This booklet supplies an account of those moral questions from the views of historic architectural perform, philosophy, and company, and examines the results of such dilemmas. Taking the present dialogue of ethics in structure directly to a brand new level, this volume provides an accumulation of various reviews, targeting architects' activities and items that materially have an effect on the lives of individuals in all urbanized societies.

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He went on to become ViceChancellor of the University of Leicester, inheriting the Stirling and Gowan Engineering building there, and subsequently Chairman of the Committee of Vice-Chancellors and Principals. 12 The analysis was carried out by the university’s estates management department, principally by the late Richard Rhodes, whom I encountered some years afterwards. 13 If he had been consulted, it is not certain that he would have cared to offer advice in any case; at Leicester, where the patent glazing was replaced, the buildings officer of the time, Richard Float, told me that Stirling had suggested he simply get on with it.

Altogether, the way in which the architectural vogue for ecology teeters between morality and technique echoes the Unwinian reading of professional responsibility. As so often in architecture, both connect how we might live with how we should live. We do not yet know whether the ecological reform of building construction will lead to programmes of the kind which Unwin helped to generate taking off on a scale big enough to affect employment for architects. But if that does happen, an ethical stance will once more have proved both honourable and useful to architects – a source of true practical wisdom.

Some sixty years after it ended, we can appreciate that the pattern of architectural procurement it reinforced owed almost everything to the ethical and economic peculiarities of the times. It certainly outdid the pre-war model in confidence and intensity of ideology. H. S. Goodhart-Rendel in the late 1930s could still condemn the so-called ‘departmental architecture’ produced in the public offices (Fig. 11 But for the first decade after 1945 most of the interesting socio-architectural ideas in Britain were deriving from public architectural practices; private architecture carried on in these years with difficulty, almost by stealth.

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