The Logic and non-Logic in Architecture by tarik alboustani

THE LOGIC AND NONE-LOGIC OF ARCHITECTURE F r o m r e a s o n i n g b a s e d o n f a c t s t o s p i r i t u a l i t y i n f l u e n c e d b y c u lt u r e

By Tarik Alboustani SN: 4627709 | Patrick Healy Theory Group Architecture Theory Thesis Seminar (Thinking/Reading/Writing) Course Code: AR2AT031

The Logic and non-Logic of Architecture | Tarik Alboustani | 4627709

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Abstract: The style eternally main discussion in any architecture and art discourse. The influence of art, history and context impact ours way of interaction with objects. The style comes from the logical or non-logical mean, and these are subject to our understanding if they are rational or not. The experience subjected to many societies repercussion in a topic started from orientalism, Western and globalisation. In recent decades the conversation in building design exponentially shifted to matters related to architecture and engineering objectives rather than a cultural notion. Keywords: Logical non-Logic, Orientalism, Counterculture , International style, Globalisation

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INTRODUCTION no logic to start this topic

his theoretical research takes the journey of my observation, reading, architectural studies and documentaries. This notion comes from personal experience is to re-think architecture handed to us as learners and educators. It is not to judge why architecture is out of style or has a connection to culture. This paper is to create abstract thoughts of why is architecture becomes what it becomes today Although we see the common ground of “universal style” as I have studied architecture in the “East” and “West”, and I have noticed how preserving architecture in each society is significantly is vary between different cultures. On the other side, I worked in technological aspects of buildings (and we know not all buildings are architecture) in both cultural aspects and Innovations is even varied in their mean and aim. It is the time where software

architects are real architects of this world. The topic most suitable synonym word for logic in architecture is “syllogism architecture”. The word logic started as an idea of Banister Fletcher’s argument over Historical and non-historical architecture. In other words, “All architecture based on logic is a historical type, and the architect should follow the architecture based on logic. According to Fletcher, the architecture that should be followed the one based on logic”. This statement rephrases Fletcher’s meaning; thus, the narrative might be correct (or not), although it is not true that Eastern architecture not based on logic, as he stated. For such a question, one would search for how the architecture turns to something universal rather than local and the idea of style where no style is the style by itself. What makes me more interested in the current scene is that contemporary architecture is far

The Logic and non-Logic of Architecture | Tarik Alboustani | 4627709

from being connected to race or culture as in technology. Nevertheless, architecture has been educated on the contrary as a product of the culture. Zumthor’s idea about logical architecture coined in his book “Thinking Architecture” he sees the logical development of architecture depends on rational and objective criteria by permitting subjectivity and concept in the objective course of the design process. It is a process of making

Logical architecture merge with architectural design discourse, whether vernacular or cultural and local influence or the architect’s reflection.

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Why Logical architecture a topic ?

he main drive is the personal experience to write about the logic in architecture. I combine these experiences with my influence from reading the books like Orientalism by Edward Said, The Decline Of the West by Oswald Spengler, Hippie Modernism by Alison Clarke, Esther Choi, and Greg Castillo, modern architecture by Kenneth Frampton. Including other books articles about technology, globalisation in architectural discourse. This dens paper will construct a specific theoretical architecture we profoundly accept in the oriental, western culture and worldwide. I am constantly being polysemy and laconic and hope my piece of writing arrives with its ideas to you. Modern architecture is still not wholly covering the differences or explaining where it lost within and lacked in-depth knowledge of the cultural, socio-economic status and even geopolitical influence. Nowadays, this view is still subjective and misleading to the reader or

viewer through books and movies. Fig 1 Page 7. The writing constructed around the recent 20th21st centuries. The definition of the orient and the anatomy of a historical event has influenced the term. They were leading to a transition

❛ counterculture, Provo, Georgism, diggers, bohemianism and yippies movements help to promote globalisation

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towards dissolving the concept of oriental and western style. Avoiding the broad look over the whole history as the historical events have their drive and motive. The merge of politics and culture leads to definitions such as orientalism. Still, remain in anarchist movements and proenvironmental supporters, who believed in constructing other goals in culture and society than dividing the world around locations

and style issues. These merges also created a plethora of global connection between cultures. Dutch counterculture, Provo, Georgism, diggers, bohemianism and yippies movements were ideal examples indirectly supporting globalisation (Blauvelt, 2018, p. 25). Globalisation after that eradicated West and East's old definitions in Europe and the US. Concerning promoting globalisation, the counterculture movement has impacted all societies and become a mass culture until our time in Europe and the US. But these counterculture movements remain the least impactful in Asia, where in the Arab world (almost-non).

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Fig 1: Double humped camel at the centre of the Massar Children's Discovery Centre. "design by the Danish firm Larsen for a Children Discovery Centre in Damascus was claiming to depict and emulate the famous Damascene Rose. It did not show how one could read this local "rose" and how relevant is it to children. In the central lobby, you would find a statue of a Camel: a sign of their assurance of understanding of the "Arabian character" of the building. But the problem is that the double-humped camel does not exist in Damascus, Arabia or any other place in the Middle East" (Samhouri et al., 2012).

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The line between the Logical and non-Logical in Architecture

sking ourselves questions to find facts and solutions repeatedly simplifies the means of practising architecture (Zumthor, 2010, p. 65). There were many architectural repercussions between the East (the Arab and Asia) and West (America and Europe) through the exchange of knowledge, architects, trading and political power or colonial hybrid style emerged by western colonisation. The merge happened in a level of influence on both systematically and on the socio-cultural level. This misunderstanding between both contexts is utterly one of the main issues we still question whether history still retains a position in the design process. If so, why do we hold this position towards fantasy rather than logic? Does living and working in a place influence the design? Zumthor (2010) asked about the context, if it impacts our design, and is essential for the

design process?. According to Zumthor (2010), architecture represents the experience as a part of our observation that we were impressed by calling it “Building with soul” (p. 53). It is similar to generalising mental pictures for the physical world, and this image Is created by immediate sensation and memory of the experience (Lynch,1997, p. 4). Zumthor (2010), his criticism of current architectural education status and how we focus on architectural history has very little influence on modern architects, making them re-inviting the past where today’s architects are mostly trying to have originality design. Zumthor’ designs described by Michael Arbib as the “space merging from sensory experience to other different sensory modalities...”. The soul makes building and dwelling ideas different in the meanings as Tim Inglo distinct, which starts first occupants or the design process. “We are living through the formative stages

of a mode of production marked by a quasiconvergence of the academy and the knowledge corporation” (Ockman, 2020, p. 78). The main architecture question would become how important the reflection of past and “non-logical” elements need to be present in the architecture and whether the architect should always follow architecture based on reasoning solutions? A solution inspired by cutting-edge technology in design, such as software simulations, generative design and artificial intelligence. Undoubtedly, technology has influenced many architects and gives great freedom in spatial design and all design research processes. Further, using technology opens new possibilities for increasing the user’s environmental comfort and changes the “Improper environmental design“ decision. And if so, is technology the solution to globalise architecture and create the logical architecture we are looking for? To what extent the architecture needs to be rational?

The Logic and non-Logic of Architecture | Tarik Alboustani | 4627709

Fig2: The move from ornaments to pure math From Left to right: Alhambra Palace, Granada, Spain Piet Mondrian , Gemeentemuseum in The Hague Wassily kandinsky, Stedlijke museum Amsterdam Sonia Delunay Pattern, Kunsthaal Rotterdam Source of photos: Authour 2020

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THE ORIENTAL AND THE WESTERN STYLE The repercussions of culture on design

he orient is a European invention; it is a place of romance, exotic and nutting memories. So it is preserved as such architectural fantasy we see represented in Hollywood movies. The American view of the orient, according to Said, is a little different. Orient is the source of civilisation and language, riches and most significant colonies (predominantly by France and Britain) and defining the western epistemological distinction called orient and occident (Said, 2003, p. 1). But according to Said in the American imagination, Asia as a whole is orient including the Arab world and Japan, China and the far East of the Asian continent. This view has altered in recent decades with the booming of travel, tourists and media. Since the 17th century and before the second world war, the French and British dominated

orient and the orientalism term. This domination has shifted to American hegemony, which fits both nation places, approaching the exact definitions of the orient as the French/British were doing before. (Said, 2003, p. 17). Other European countries had some intellectual authority. Orient as British and French was defining as never being the free subject of thought or action(Said, 2003, p.3). The nations were pioneers in the eastern Mediterranean studies since the major domination and colonial historical and greatest connection to the Asian countries(Said, 2003, p17). Said's orientalism splits into two periods. The first period before the 18th century as "old orientalism" and second "modern orientalism" is the second after the 18th century. Europe came to know the orient scientifically but to a level can be called as "Mysteries orient" as imaginative

demonology made by preconception antihistorical writing in the West, the political conflicts especially between Arabs and Israel and finally, the total absence of cultural positions (Said, 2003, p22).The most remarkable and astonishingly summarising what orient is about even politically and socially today is what Arthur James Balfour wrote about Egypt in the 19th century and has a striking similarity of today's political situation about orienting "all their great centuries….Have been passed under despotisms under an absolute government, all their great contribution to civilisation….Have been made under an absolute government .… it is a good thing for these nations…." (Said, 2003, p. 32). It is good to mention that many of the "totalitarian and old-style capitalist government" has made a glorified and monumental architecture but rather self-esteem. Its part of signifying objectivism

The Logic and non-Logic of Architecture | Tarik Alboustani | 4627709

Superiority postion appears in the intellectuals who had missed the deep look to history. Undoubtedly the enlightenment era did not start in the east. As marked by British writer Alfred Comyn Lyall, the Newtonian revolution levelled Western thinkers above the oriental ones and made the West more reasoner, intelligent and imaginative (Said, 2003, P. 3947). The comparison has constantly stereotyped the culture in a rigid model and social morphology, relationship and lifestyle. And orient was seen (and may some still) a world of anxiety expressed in generalisation, suspicion and distrust, as speculated in Harold Glidden Journal of Psychiatry. Some scholars' orient featured in the West as a place does not value objectivity in their cultural and political system. The orient has been subjected to imperialism, positivism, utopianism, historians, Darwinism,

racism, Freudianism, Marxism, Spenglerism. This subjectivity can also express the West's strength in all aspects from design to politics now and the orient weakness as seen by the "West." However, this polarising the distinction, East becomes more eastern, and the West becomes more western, limiting the human encounter between different cultures, traditions, and society. conversely, there have been no symmetrical fields called occidentalism. (Said, 2003, p39) Spengler considered the most popular postGerman revolution writer about the West (European-American), defined "culture" as the relations to visible history, life, the soul, nature, and intellect. Furthermore, it manifests the forms, people, tongues, epochs, battles and ideas, states and gods, arts and craft-works, sciences, laws, economic types, and world ideas and

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symbolizes great men and events (p. 3). Every culture has its Civilization, and it is the inevitable destiny of the culture as a form of transition. To clarify the influence between politically and culturally, Antonio Gramsci distinct between civil society made of voluntary, rational and non-coercive. And a political society that made state institutions the arm, the police, the central bureaucracy. Culture is operating within civil society influence through consent (not domination). In any society, not totalitarian, certain culture forms predominate over others "hegemony"(a form of culture leadership) (Said, 2003, p.7), but the opposite would happen in the other case.

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OBJECTIVISM

The collapse of ornaments

he world made of two unequal halves, orient and occident. While Orientalism as the definition peaked in the late nineteenth and early twentieth centuries, it is not common to see such reports used by scholars nowadays. The use of terms West and East has been shifted to another level of thinking. The political situation has pivoted the views about a more significant gap between different cultures. Said has pointed to some events where American politics has played the role to broaden this gap between "West" and "East" and that the US political relationship can deal less problematically with the industrial, developed west than with the developing world. The latter fact may explain why the US could maintain a terrible relationship with many countries of the East on a social and political level.

The analogies we have in modern buzzwords like Socialism, Impressionism, Capitalism are leading to the organic structure of history (Spengler, 1927, p. 5). Spengler's sees the subdivision of history into "Ancient", "Medieval", and "Modern" - an incredibly superficial and meaningless scheme, which has, however, entirely dominated our historical thinking (p. 16). If we take design as a profession, it overcomes the boundaries and limitations of conceptual process in the late 20th century; the design becomes a reflection of the science we learned ourselves(Mallgrave, 2013, p.43) Modernism in architecture as an idea is the aesthetic practice of modernity and can be considered the product of the enlightenment period. The 20th century was a period of significant social change, modernization

emerging on the contrary as a shock of the new theme apart from classical architecture and marking the start of the industrialized world (Leach, 2002, p.3). Some critics of modernism say that it becomes inhuman based on profit, not human needs. However, no knowledge production in human science can ever ignore or disclaim its author's involvement as a human subject in his circumstance, and modernism is the product of the new industrial world. Before cybernetics impact takes its canon in the late 20th century, the clash appeared between conventional politics and counterculture an anti-disciplinary stance emerged from the " Hippie modernism". The tension rise between the modern characterized as universal, timeless, rational and progressive with the counterculture (Blauvelt, 2015, p11). This counter-movement

The Logic and non-Logic of Architecture | Tarik Alboustani | 4627709

adapts more timely local, dynamic and often irrelevant disposition as a reaction. It marked many forms of arts and architecture, such as psychedelic art in the 1960s, pop, minimalism, post-minimalism, and conceptualism (Blauvelt, 2015, p12). Architectural forms set to be vernacular after the reabsorption of popular culture, affecting the lifestyle and politics of that time. This hippie tendency has also paved the way to help the design universality. However, it was considered the opposite conventional point of view. Its trend about anarchism, rejection of establishment and institutions (these at last) always supported casting the idea in style in everything in the history of architecture. The most exceptional statements from Kenzo Tange's view about Kagawa prefecture design summarize modernism impact " Japan was constantly under the control of absolute state and cultural energy of people as whole….was confined and suppressed…the government strove relentlessly to prevent social change...I am still working in a confusing medium…. this energy will do much to confront Japanese tradition into something new and creative." "Hippie" might be a media creation. The "Hippie" is associated with the rejection of establishments, institutions and bourgeois values. Its embedded values of peace, anti-war,

sexual liberation, ecological view of human and nature, fusing art and life politics radicalism with culture radicalism and receding the dichotomy between leaders and followers this all has a central connection to postmodernism. Strikingly the "Hippie" movement of society tilt toward the oriental spirituality and mysticism away from organized forms of western forms as a postcompetitive society (Blauvelt, 2015, p22). But on the other side, the orient was in total rejection for the "Hippie" lifestyle. Superstudios, alongside Archizoom and other radical movements, reject banal design elitism through the subversive embrace of pop and kitsch (Rossi, 2015, P. 60). They were refusing the "guidelines'' set by any art or architecture style. Instead, they embrace the freedom that creativity is all about with a totemic and pluralistic way of thinking. New ideas are seen more in the young generation who are not digging in their heels. Superstudio criticized a totalizing capitalist condition with an object-based approach (Tafuri & La Penta, 1976). This view turned for "Environment" as a new approach later and to the "life with… and not for objects" based on French theorist "degree Zero" and "Clean state renewal". This latter theory manifested in the

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work of Supersurface and way of life on the Earth by Superstudio, reflecting the popularity of nomadism 1960s-1970s in Italy. Nomadism offered architecture freedom, and tin can unplanned cities, drop-out cities, slums, tentpoles of geodesic domes. These nomadistic objects would not dominate manor the environment affording egalitarian & participation existence (Rossi, 2015, p.64). As an example by Barthes, the degree zero praised the writers who did colourless writing freed from state language. These theories were primitivist, paving the way to release the design from the state of "style" and identity but rather without objectivity compared to international design schools. The beauty of a functional object is the highest form of beauty. However, beauty is a product of culture and reflection of our education that touches us, its intimate relationship between our emotions and the things around us (Zumthor, 2010, p.68-85). There are things complicated to explain in these condensed feelings: we can not judge the form and design, serenity we preserve or beautiful feelings that lie within ourselves. After the first world war, the new objectivity "Neue Sachlichkeit" emerged as a post-war school and anti-expansionist intended to explicit social attitude to architecture. After the second world war, a new way of looking at systems,

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technically, biologically and socially, with the environment as "System thinking" and known as cybernetics, framing the word into systems by achieving the goals through interactive processes and feedback loops. The root of the word Cybernetics comes from neurobiology. It is deeply inter-twing-led with counterculture and

have today, like personal computers, organic farming, solar power, recycling, wind power, desktop publishing, mountain bikes, midwifeassisted birth, female masturbation, computers, electronic synthesizers even before existing serving as utopian counter culture toolkit and a manifesto for do-it-yourself lifestyle

❛ Design Thinking is one of the fundamentals for cybernetics that lead the way for globalising architecture ❜ the rise of design methods movement "Design Thinking" that set the bases to globalize approach everywhere with the multidisciplinary science effect making all world information accessible. Yet, the world is seen through networks and data connecting humanity with machines and systems (Dubberly & Pangaro, 2015, P. 130). Personal computers credited to the ascension of the counterculture movements (Brand, 1995). The counterculture's advocates and technologist have a common interest in the brain, mind, biology, chemicals and interactive arts. Cybernetics becomes a standard part of Bohemian culture. The "Whole Earth Catalog" by Stewart Brand, who considered tech visionary and the heart of the counterculture in tech, had impacted the world by his book and ideas. Many of the products we

and imported the idea of "environmental design" in the architecture its the google tool before 35 years (Cadwalladr, 2013). But today, books don't change the world these days; social media does and creates a revolution that can manipulate the mainstream culture. Cybernetics influences design and transforms it from being just a process to discovering goals and learning what matters, pushing the design beyond its object-based approach.

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The social graph of Cybernetics shows the impact of culture-art-technology through society, written by Hugh Dubberly and Paul Pangaro. They were initially published by the Walker Art Center in the catalogue for the exhibit Hippie Modernism: The Struggle for Utopia (2013).

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The environment has an impact on our design. Neural plasticity shaped our physical and cultural environments throughout life and was most powerful in childhood. The cognitive circuit affected by various factors and adult experiencelearnings, drugs, hormones, diet, diseases, stress, ageing and the built environment in which we live also affects neural health and connectivity (Mallgrave,2013, p. 53). This latter fact leads us to consider that incidental factors undoubtedly

influence our global aspect of system thinking. As Stewart Brand is known for his radical ideas, his first words in the Whole Earth Catalogs “We are as gods and might as well get good at it”(2006), in Ted Talk, he suggested cooling down the earth taking the example of the sulfur dioxide explosion that reduced the heat in the planet half a degree. The use of Bioengineering to solve global climate issues. Stewart Brand (2006). Source: TED website

GLOBAL ARCHITECTURE

the fine line between Logical and non-logical architecture: From International style to the emergency of technology in architecture and Neo-Futurism

The Logic and non-Logic of Architecture | Tarik Alboustani | 4627709

nternational style was more than a new form of cubistic design spreading worldwide, focusing on hedonism. It was an illusion of homogeneity through sun, light and non-abstract form, but this never helped in the 18th century to universalise international style (Frampton, 2007, p.248). Although historically globalisation is Western and more based and influential, each international style group worldwide adapted the new style to their environment and added a unique mark. The architects of this international style were from all countries, socialist like Jose Sert, futurist such as Gerori Warchavchik or use in-vacuo abstraction as in Transvaal group (CIAM wing in South Africa) but characterised mainly by the technical aspect drive from materiality and technicality. This international movement was on both a small scale and an Urban level in Le Corbusier’s Chandigarh and Costa-Niemeyer’s Brasilia planning going from the orthogonal pattern and merging

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with shantytown or avoiding favela. Globalisation is a fundamental capitalistic idea and innovative ideology. In the capitalist system, no field is external to the capital. Therefore no nature, no human factor producing value, but all are codifying as capital. The globalisation idea is an imaginary functional integration of every culture, value and everything. This concept embodies a phenomenal situation grown by technology and travel. But in architecture, it would refer to the practice of designing buildings that are mostly “iconic”, acting as a local architecture symbol, although it does have global similarity to any other structure around the world. This universality is mainly associated with what star architects produced. But this iconography is as crucial as the technical and construction ability of the designer (Frampton, 2007, p.344). Modern globalised architecture has gargantuan representation, structural audacity

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and perverse shape. We see now a new way of design taking over the modern global mean to other priorities. Mega forms conceived as city-miniature, and these designs influence by climate change and technological adaptation. It’s another chapter where globalisation terms change in balance and needs. Morphology, which meaning emulating building nature and landscape, Topology that influence the building design with earth contours, and sustainability are aspects called and used in design ever since Baroque. The old audacity we see in the CCTV tower of Rem in china or Eiffel tower becomes less attractive to be global by time towards environmental aesthetics. The Skyscraper that used to symbolise spectacular superiority in China, the US or the Gulf region faces more critics. The Chinese government issued a ban on building on more than 500 meters and limiting the planning of height over 250 meters. The cities saturated with these icons; for now, no more crowd needed on the congested infrastructure. Cities are becoming a dystopia of metropolises. Architects and occupants assess their product against the “global standard” of theology and cultural modernity (Frampton, 2007, P. 345). Moreover, seductive social media transcends other modes of

communications and becomes more persuasive in contemporary society as Steward renders it a form of launching new political strategies. Sustainability plays a part in the aesthetic. The light and energy optimisation has impacted the way we interact with the first design steps. Elimination of waste, reduction of embodied energy, materiality, and life cycle of the building all become essential aesthetics and vital points to curb our appetite for consumption. In his Globalisation text in “S, M, L, XL”, Rem (1998) described buildings built with European ideas and American construction or vice versa as cross-fertilisation and hybrid products that combine the intelligence of each culture. The same phenomena have occurred in the East in Japan or the Arab world. In Guggenheim Bilbao by Gehry, we see the monumentality combined with the use of different light levels on the titanium cladding. The Guangzhou opera house by Hadid, with its busy Arabic filling every inch of wall and curvy calligraph-like lines, fit within a European deconstructivism shape built by Chinese construction.

New York City skyline puffer jacket is covered with skyscrapers 2021. Source: louis vuitton men fw21 show

The Logic and non-Logic of Architecture | Tarik Alboustani | 4627709

OPINION

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who is not at the same time a bit of a poet will never be a full mathematician

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e know more today about the world than we have ever tried to learn about the past and the present. Today, the antonyms of East and West, Orient and Occident are shifting to global terms with the reflection that goes deeply back to the roots of these definitions. No religious hegemony or distance between cultures are concerned as much as before the cybernetics revolution (still, there are lurking constant fears in each context influenced by political agenda and media). What we want to know is far one click or Googling distance away. The history of the world culture of collectives, languages, races, types, colours, and thoughts

Karl Weierstrass, mathematician (Spengler, 1927, p62)

merge all and contained in the world wide web "www". A concept similar to Brand's Whole Earth Catalog rose in the 70s ending the old binomial opposition of "Ours" and "Theirs" enforced by scholar and political society of the high culture. Spengler's book explains culture as a biological process. Wherein Said Orientalism book, the historical events has an impact that has not been taken into account in explaining this history. It is the events that we should place ourselves in the time to describe historical events. And eventually, history is always right; think about democratic architecture and give freedom to the design where the box is fascist by Frank Lloyd Wright.

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Architecture is a formless adventure. It is not fair to weigh the architecture on one aspect over the other. Imagine radicalism in each design, which prioritises the functionality or the environment or the morphology or other aspects but not the personal experience or the emotional background. We see buildings designed now by corporate firms that combine many cultures, backgrounds and multidisciplinary teams. The team combinations are sometimes more influential than the architect himself/herself. logical and non-logic pieces simultaneously can be seen in architecture that distance from the absolute. It is the forms (logical, emotional, oriental, western, etc.) in one statement. It can get boring, and it can get excited., and capitalist and socialist later or can be dull one day and be interested in another future. Many buildings have now become world destinations, and many are soon abundant in the future. What makes the architecture last longer is the people's valuation in function, use, comfort and the notion around it. The nature of human differences is vital to value unity. We can't globalise all things and base everything apart from culture, personal reflection or its context. Architecture and power (political, geographical, financial power) are always parallel dominos. Today's resources are no longer

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measured in land, labour, or capital only, but by controlling and accessing information and the "DATA" we collect, interact, and optimise. Technology is the relationship to the world around us and not what we use, turning nature into objects. According to Heidegger, the essence of modern technology is not to turn everything in nature into consumable and disposable resources particularly. Still, alternatively, he believes technology is more than merely a tool to be the artistic skills and craftsmanship connected to our human notion and values. According to Theodore Roszak, the counter-culture practice differentiated the generational rejection of post-war American values. His reflection on technocratic society and its youthful opposition. Roszak means by technocratic the evolved form of an Industrialised society with an entirely logical organisational culture administered by experts. Using tools such as rationalised planning and coordinated management guided by technological progress and scientific knowledge, it would be too simplistic to describe the opposite of technocratic society being against technology itself (Blauvelt, 2018, p. 22-23). But Does technocratic globalisation mean no subjectivity and pure objectivity in architecture? There is no bold separation between both,

even in design. The architect's experience and environment still influence the design. For example, the international style has more local and vernacular character, and it is apparent when we see the separate chapters of work based on the country, remarkably by the South American architectural group. A further example in Zumthor acknowledges personal feelings in his work, although he minimises the weight of the architectural history curriculums in education on design. His definition of good design believes in the architect's ability to provide an emotional and logical design (Zumthor, 2010, p.65). On the contrary, The rejection of globalisation comes from the project authenticity's failure and clumsy dysfunctionality. These failed, and uncreative projects are very dull and are not worth the effort to import long distances from outside their context. Globalisation is demanding the architecture to be more logical than emotional or the way around. According to Koolhaas, it expands the possibility to the better or worse, decreases or increases the imagination, so it's both logical to most or not at all. It creates a collision of cultures, manipulates the local and international architecture discourse, and frees it

from culture, personal experience, and perhaps financial formulas. A successful globalised design can place the city on the international map and redefine the architecture produced every time a new building is given birth by his/her global architect "it is Armageddon….The profound state of denial" Rem Koolhaas, pushing the boundary of engineering, sensuality, logicalness and politics to the utmost (Koolhaas, 1998, p.365). The territorial urban development and technological transformation have a force all together on modernising architecture. The key for logical design, perhaps within the architecture, is to be system designers or thinkers who should combine cybernetics and not fear using technology.

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I looked at the dome in the hall of Ambassadors in Alhambra, and the picture for me was looking at starry night's Vincent van Gogh painting. I have used Neural art transfer CNN (Convolutional Neural Network)Machine learning, creating Hamonic speculation about merging the two notions from Vangoh and Alhambra. Image made by Author, Using open CV, python. The machine learning model is pre-made—Source of original photo Autor 2020.

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REFERENCES

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