BACHELOR OF SCIENCE (HONOURS) IN ARCHITECTURE THEORIES OF ARCHITECTURE AND URBANISM (ARC61303/ARC2224) SYNOPSIS: REACTION PAPER (MARCH 2017)
Name: Ng Zheng Si
ID No.: 0322585
Lecturer: Mr. Prince
Tutorial Time:
Reader/Text Title: Learning From Las Vegas: The
Synopsis No: 2
Forgotten Symbolism of Architectural Form
Author: Robert Venturi,et AL
The authors of “Learning from Las Vegas” have acknowledged that most of the modern architects have abandoned the tradition of iconology in which architecture is expressed in a form of symbolism whereas form and spaces are the elements that are focused by the modernists. Yet, the ability of the abstract form to address the content and intention of the architecture is questioned by some critics, which eventually leads to the continuity of symbolic architecture as the language used to create a clearer justification in the architecture itself. This is the threshold where bold billboards and signage are used as a communication tool to connect people and architecture. Furthermore, Las Vegas is viewed by the authors as a communication system which communicates over space in this vast and complex setting through the expression of symbolism, creating a good example of enhancing the environment by adopting iconology as one of the architectural communication. To support this statement, signage plays an important role in giving a sense of orientation in space to the people in this vast space at high speed setting such as the sign for the Motel Monticello. Bold architectural expressions provoke a greater impact to the people compared to subtle expressions conveyed by the abstract forms of architecture. From the perspective of persuasion, comparison of the Middle Eastern bazaar and the Strip in Las Vegas is made to emphasize on the symbolic communication is used in consideration of landscape, history, surrounding context and scale of the settings. “The Middle Eastern bazaar contains no sings; the Strip is virtually all signs.” this has clearly justified that different architectural communication language is used for commercial persuasion in different settings. In my point of view, the presentational iconology has clearly conveyed the image and story of city, provoking a sense of place to the people by using bold signage instead of subtle expression. Yet, form and space should not be eliminated from the communication system but to on par with symbolism and allusion, in consideration with the scale, landscape and context of settings.
Word Count: 341
Mark
Grade
Assessed by:
Date 7/7/2017
Page No. 1
BACHELOR OF SCIENCE (HONOURS) IN ARCHITECTURE THEORIES OF ARCHITECTURE AND URBANISM (ARC61303/ARC2224) SYNOPSIS: REACTION PAPER (MARCH 2017)
Name: Ng Zheng Si
ID No.: 0322585
Lecturer: Mr. Prince
Tutorial Time:
Reader/Text Title: The Geometry of Feeling A
Synopsis No: 4
Look at Phenomenology of Architecture
Author: Juhani Pallasma
From “ The Geometry of Feeling A look at Phenomenology of Architecture”, the author has stated his point of view that not only the architectural form could give meaning to a place, but also the memories and consciousness of the person experiencing it create the quality of architectural experience. From the elementarist perspective, the play of form could stimulate visual senses and perception. Yet the author thinks that this does not link with the reality of experience which provokes our consciousness, consequently fail to reveal the artistic quality of the architecture. As quoted, “The artistic dimension of a work of art does not lie in the actual physical thing; it exists only in the consciousness of the person experiencing it.”, I could not agree more as the embodied images in our consciousness transmitted by the forms are the key elements that provoke emotional forces. Without image or real life experience, we are not able to feel the architectural expression and the form is literally just a form but not an imagery which could provoke our memories. The process of experiencing a work of art is the recreation of a dimension of the interaction between the art with our embodied memories. Architecture is not just about form, but is based on the primary feelings produced by architecture, giving a sense of existence of the people. To support with this statement, author has given an example such as having a roof over your head gives a sense of being sheltered and shaded. Architectural elements such as doors, windows are not the elements that provoke feelings but the memories in the space which give the sense of place that evoke emotions. To achieve the evocation of memories through architectural expression, multisensory experience is vital to heighten the physical and mental receptivity, thus heightening the architectural experience. In my point of view, I agree that architects do not primarily design physical buildings, but recreating the image and feelings of the people who live in it. Forms and geometry are architectural language and media to convey the imagery and the architectural feelings to the people by evoking their memories and experiences.
Word Count: 357
Mark
Grade
Assessed by:
Date 7/7/2017
Page No. 2
BACHELOR OF SCIENCE (HONOURS) IN ARCHITECTURE THEORIES OF ARCHITECTURE AND URBANISM (ARC61303/ARC2224) SYNOPSIS: REACTION PAPER (MARCH 2017)
Name: Ng Zheng Si
ID No.: 0322585
Lecturer: Mr. Prince
Tutorial Time:
Reader/Text Title: Towards Critical Regionalism:
Synopsis No: 6
Six Points for an Architecture of Resistance
Author: Kenneth Frampton
From this text, the author stated that “Critical Regionalism necessarily involves a more directly dialectical relation with nature than the more abstract, formal traditions of modern avant-garde architecture allow.” Without considering the nature context, the architecture will be a free standing object without a close relationship with the topography or cultural context of the place. The author has also pointed the importance of incorporating light and climate control into architecture to express the sense of place, showing the character of the region through light, season, humidity and more. To support with his statement, the author has pointed the exclusive use of artificial light in art galleries by the modern curators is creating a sense of placelessness to the architecture. The avoidance of light penetration into the building causes the loss of aura in the architecture by not responding to the context of the region. Also, windows or openings are a kind of element which is able to reflect the nature of local culture. Yet, in the modern days, air-conditioning system has dominated and climatic conditions of the region could not be addressed to the users. Furthermore, tectonic form is also vital to achieve critical regionalism. Tactile is an important dimension to receive the perception of place-form through body movement in the environment. Other than visual, other sensory perceptions which are registered by the body are important in reading the environment. To prove this statement, author has given the example of Luchino Visconti in insisting real materials in the main set of the Altona mansion in the film The Damned to create a realistic body movement rather than assumptions from the actors. The finishing of the public circulation in Alvar Aalto’s Sayntsalo Town Hall of 1952 has also addressed the importance of tactile sensitivity in inducing body movement and creating sensual experience. By incorporating the tactile range of human perceptions into architecture, user could interpret the environment through other senses rather than just visual images, achieving Critical Regionalism which seeks the balance of visual and tactile perceptions. In my point of view, I agree that by considering the topography, context, climate and light of the context, the designed architecture is capable to address the sense of place of the region. Tactile and other range of senses are important in addressing the sensual experience of the environment to the user. Word Count: 388
Mark
Grade
Assessed by:
Date 7/7/2017
Page No. 3