2016
BACHELOR OF SCIENCE (HONOURS) IN ARCHITECTURE
THEORIES OF ARCHITECTURE AND URBANISM (ARC61303)
SYNOPSES: REACTION PAPERS BASED ON SELECTED TEXTS BY WELL KNOWN ARCHITECTURAL THEORISTS BY MELISSA ANNE MEI HONG LI
BACHELOR OF SCIENCE (HONOURS) IN ARCHITECTURE THEORIES OF ARCHITECTURE AND URBANISM (ARC61303/ARC2224)
SYNOPSIS: REACTION PAPER (AUGUST 2016) [10 MARKS] NAME: Melissa Anne Mei Hong Li ID: 0320729 LECTURER: Mr. Nazmi TUTORIAL TIME: 4-6pm SYNOPSIS NO: 1 READER TITLE: Learning From Las Vegas AUTHOR: Robert Venturi, Denise Scott Brown, Steven Izenour
According to Denise Scott Brown, Learning from Las Vegas is a “treatise on symbolism in architecture.” Brown along with her co-writers Robert Venturi and Steven Izenour concur that spatial relationships are created through symbols rather than forms. This theory is expressed through the exploration of the Vegas Strip where iconography and electronic communication are infused with architecture. The authors draw parallels between the Roman Piazza and Las Vegas where every road in Rome leads to a Piazza whereas in Vegas, every road leads to The Strip. But there is a lack of emphasis on Scale being the difference between the two – a space for pedestrians vs. one for automobiles. “Styles and signs make connections among many elements far apart and seen fast.” This is true for a vast indefinite space like the Vegas Strip. For example, a supermarket on the Strip is barely visible from the highway, thus its architectural form is neutral. The bold signage indicates its presence, connecting people to the store. This also addresses the concept of Searchability vs. Strollability whereby the presence of the signage/electronic communication takes away the notion of strollability – users go in with a purpose. They are less inquisitive about the building’s functions because they see it through the signage. However, what would happen if the signage was taken away? Would the building be able to draw people in? I believe this is where form in space comes into consideration. Without its signage the building would most likely not be recognized due to its generic form. Now compare this instance in a different context - can the same be said for the narrow, pedestrian oriented streets of Rome or close-nit markets and shophouses of China Town in Kuala Lumpur? Proximity is the vital element in this case. Communication works through proximity as one’s senses are heightened. The built form engages and personal connection to the space is felt. Therefore, does symbolism in space trump forms in space? I believe it all depends on scale and context. In the case of the Vegas Strip where the automobile takes precedence in movement patterns, communication via signs is important – it’s as though they give the city its unique identity. However, the architecture should also speak volumes, it must engage the user - both must go hand in hand. This is why I believe that Venturi’s comparison of architecture as being either “The Duck” or “Decorated Shed” not be treated as opposing concepts on their own, but combined together to possibly create more ethical and responsible buildings. WORD COUNT
420
BACHELOR OF SCIENCE (HONOURS) IN ARCHITECTURE THEORIES OF ARCHITECTURE AND URBANISM (ARC61303/ARC2224)
SYNOPSIS: REACTION PAPER (AUGUST 2016) [10 MARKS] NAME: Melissa Anne Mei Hong Li ID: 0320729 LECTURER: Mr. Nazmi TUTORIAL TIME: 4-6pm SYNOPSIS NO: 2 READER TITLE: Semiotics and Architecture AUTHOR: Charles Jencks
Charles Jencks bases his approach on semiotics, which he regards as the fundamental science. In this text: Semiology and Architecture, the object of semiotics is the analysis of signs and sign processes of all kinds. The basic idea is that sign processes are involved in everything we do. If we wish to understand what we are dealing with when we address something, we must understand the sign processes with which it is dealt with. Thus, everything has meaning. The same concept is applied to architecture where in the moment form is created, it inevitably assumes a meaning. But Jencks makes it clear that: “…one simply cannot speak of ‘meaning’ as if it were one thing that we all know or share.” This is true, for how can something immediately draw unanimous reactions from its observers/critiques? Jencks further elaborates that ‘meaning’ can be derived by two distinct scenarios: “…through opposition or association” which he terms as ‘Context’ and ‘Metaphor’ respectively. The former implies that if something were to be placed in a specific context, interpreting it in opposition to its surrounding gives it a certain meaning whilst the latter is conveyed through cultural understanding and historical reference. Architecturally, if these two terms were to be expressed in their most literal sense, I believe that meaning is best derived through association - architecture enriches a place if it were to have a deep connection to its context; be it on a historical, cultural or social basis, it is given a sense of belonging. Another concept discussed in the text is Univalence vs. Multivalence. Architecture can either be crystal clear in its meaning and be experienced as univalent. Or it can address different aspects of thought in terms of function, form, technicality, urban conditions, social ideologies and hence expose itself to a variety of interpretations and be termed multivalent. I believe that architecture while created to serve a specific purpose or solve a particular problem, should also be multivalent; it’s diverse meanings should make people speak and react differently. This I believe is what gives it character, depth and a sense of value. WORD COUNT
350
BACHELOR OF SCIENCE (HONOURS) IN ARCHITECTURE THEORIES OF ARCHITECTURE AND URBANISM (ARC61303/ARC2224)
SYNOPSIS: REACTION PAPER (AUGUST 2016) [10 MARKS] NAME: Melissa Anne Mei Hong Li ID: 0320729 LECTURER: Mr. Nazmi TUTORIAL TIME: 4-6pm SYNOPSIS NO: 3 READER TITLE: The Geometry of Feeling: A Look at the Phenomenology of Architecture AUTHOR: Juhani Pallasmaa
Finnish architect and phenomenologist Juhani Pallasmaa writes that, “…phenomenology of architecture is looking at architecture from within the consciousness experiencing it…” He argues that a building’s experience has given way to its formal composition and I agree, for in today’s society, architecture has become too dependent on visual experience. Those like Pallasmaa that support a phenomenological approach to architectural design tend to liken the avant-garde with temporality and visual excess, while more profound and metaphoric design is linked to a deeper analysis of context. In this regard, Pallasmaa criticizes three current habits in architecture: The commodification of buildings, the unstoppable search for originality, and the dominance of the marketable image. Instead, he calls for attention to be paid to the currently-neglected cultural aspects of architecture, for he believes in a more complete experience of the building rooted in its physical encounter rather than the experiential limitations of visual interpretation only. An aspect to Pallasmaa’s writing that I find quite intriguing, is his emphasis on architectural experience as a verb rather than as a noun. In doing so, one focuses on movement and reaction in the perception of architecture. This is evident in his writings of encountering architecture as, “…entering through the door, crossing the boundary between exterior and interior.” “Being in the room… a sense of togetherness or isolation.” “Encountering the light or darkness that dominates the space…” Furthermore, through this perspective, he factors in multi-sensory engagement, since a moving body is typically more open and present to the experience; one that is either cultural or biological, collective or individual, analytical or emotional and even mental or physical. Pallasmaa also writes of the phenomenological analysis of architecture through the notion of early childhood memory. Why are we still able to remember snippets of memories from our past? How do they retain their unique identity and emotional connection within us? It is by the authenticity of our personal experience of that moment in the past. This brings us back to the question posed by Pallasmaa at the beginning of the text: “Why do very few modern buildings appeal to our feelings, when almost any anonymous house in an old town or the most unpretentious farm outbuilding gives us a sense of familiarity and pleasure?” I believe that just like an unforgettable childhood experience, architecture too should be strong enough to remain in one’s memory and this can very well be achieved by creating architecture that is reliant on emotional feeling and experiential content rather than visual form alone. WORD COUNT
417
BACHELOR OF SCIENCE (HONOURS) IN ARCHITECTURE THEORIES OF ARCHITECTURE AND URBANISM (ARC61303/ARC2224)
SYNOPSIS: REACTION PAPER (AUGUST 2016) [10 MARKS] NAME: Melissa Anne Mei Hong Li ID: 0320729 LECTURER: Mr. Nazmi TUTORIAL TIME: 4-6pm SYNOPSIS NO: 4 READER TITLE: Towards a Critical Regionalism AUTHOR: Kenneth Frampton
In this extract, architectural theorist Kenneth Frampton emphasizes on ubiquity in architecture and how the traditions of modern avant-garde architecture are favoured over those pertaining to critical regionalism. He begins with an example of topographical strategy in architecture where he believes that modernization favours the preconceived notion that a site be flattened for a building to be placed on it thereby making way for a rather rational layout of building; this being a universal technique resulting in what he terms as “placelessness.” Critical regionalism however can embrace the topography as a manifestation of that region’s history and influence the form of any building placed there; such as a building designed and placed into the terracing contours of the site. Tadao Ando’s Koshino House jumps to mind; for it is more than just adding something to a place, rather absorbing what you see in your surroundings and making use of that knowledge to create architecture - An act Frampton seconds and terms as “cultivating” the site. Frampton then moves on to climatic response where he argues that most buildings of today don’t prioritize passive design and prefer controlled climates via the use of air-conditioning and artificial lighting systems which are all part of modern design that result in ubiquity. I believe that this is what leads to the loss of diversity and the disappearance of local traditional cultures that are the real essence of defining a place; which leads us to ask: how then can this be overcome? A closer look at Goeffrey Bawa’s Ena de Silva House shows us how he managed to create architecture that was modern yet reflective of Sri Lanaka’s local cultural identity. The courtyard was used in the dwellings of the country’s ingenious people because of their religious/cultural beliefs. However, Bawa’s decision to use the courtyard stemmed purely from the fact that he saw an opportunity to use it in response to limitations faced by the context: with the lack of natural features surrounding the site Bawa created his own connection to nature by adding the courtyard surrounded by open verandahs that encouraged natural light and ventilation, giving the occupants their own little oasis within an urban context – A perfect example of how something contemporary can still remain rooted to its place by the use of past reference to fit current conditions. In tectonic vs. scenography: the structural and poetic aspects of architecture, Frampton criticizes the tectonic; stating that the structural elements of a building should not merely function as its skeletal framework but should also convey meaning through their materiality and craft and contribute to the poetics of space/scenography. Frampton elaborates this through his description of the experience or “tactile sensitivity” to walking through Alvar Aalto’s Saynatsalo Town Hall. Here he describes a sense of balance where the visual experience is complemented by addressing the tactile nature of human perception and I believe that such perceptions are further amplified if critical regionalism informs architecture as evident in the works of architects like Ando, Bawa and Aalto. In conclusion, I believe that architecture is all about maintaining balance-one element shouldn’t outdo the other; for architecture to retain its social value, it must strive to preserve meanings of the past; for they can remain alive only if we let them but also comply with the demands of modern times. WORD COUNT
553