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Theories of Architecture   Term Paper ID:42279 Click to get this paper

Essay Subject: Discusses three theories and philosophies of architecture deconstructionism postmodernism and semiotics Concludes that deconstructionism ...... More...

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Paper Abstract: Discusses three theories and philosophies of architecture: deconstructionism, postmodernism, and semiotics. Concludes that deconstructionism is the most appropriate and valid construct. Paper Introduction: Towards a Viable Philosophy of Architecture in the st Century Introduction and Purpose In the third chapter of Materiality and Society Tim Dant statesthat what is of significance for sociology is that the increasing tempo oftechnological change has changed the pace of material civilization and thishas led critics to argue that technology has changed humankind\'srelationship with nature and the relationship between individual andsociety i Dant\'s position is that the critics of technology despitehaving given salient pointers to the cultural dynamics of technology Text of the Paper: The entire text of the paper is shown below. However, the text is somewhat scrambled. We want to give you as much information as we possibly can about our papers and essays, but we cannot give them away for free. In the text below you will find that while disordered, many of the phrases are essentially intact. From this text you will be able to get a solid sense of the writing style, the concepts addressed, and the sources used in the research paper. cit., p. Dant also refers to EdgarAllan Poe and his discussion of "keeping" or the adjustment of a chamber(keeping house). Most notably, as the evanescent becomesincreasingly 'real,' reality becomes increasingly evanescent."[xxvi] Stylebegins, therefore, to compete for legitimacy with the world of livedexperiences. "The Last War: Architecture and Postmodernism, Again," New German Critique, Fall 2 6, 33(3), 63 - 82.Raeburn, Michael., Architecture of the Western World. Materialityand Society. Instead, deconstructionism produces anincipient dialogue "between contemporary architects and post-structuralistphilosophers" an interaction "that has largely taken place on the basis ofthe very topo-phobic assumptions endemic to earlier architectural avantgardes in this century."[xxxix] In choosing deconstructionism as the most useful theory of meaning inarchitecture, it is important to recognize that what makes this theoryvaluable is that unlike semiotics per se, it translates into observablecharacteristics of architectural projects. 74.[x] Ibid., p. 22 .[xxx] Ibid.[xxxi] Bart Van Der Straeten, "The Uncanny and the Architecture ofDeconstruction," Image & Narrative, 2 8. [vi] A dwelling as distinct from abuilding is filled with psycho-social and psycho-emotional connotations.Buildings are merely containers for dwellings that have, as man gave up anomadic lifestyle, took on rectangular rather than round or triangularshapes. "Building and Dwelling." In Tim Dant. 1. 199.[xviii] Stuart Ewen, "Marketing Dreams," In Alan Tomlinson, Editor,Consumption Identity and Style (London: Routledge, 199 ), p. At the same time, the home ordwelling is the center of work which may not earn an income but which isnevertheless necessary for the survival of the family. Architectural codes reflect society and itscultural values. Even modernism and post-modernism have run their course, atleast insofar as cutting edge architects practice their craft.Deconstructionism is empowering and enabling in that it allows one tounderstand meaning as a set of components and not necessarily as a staticwhole. Walker, "Semiotics and the Discourse of Architecture,"1987. 4.[xxxvi] Thomas Brockelman, "Getting Back into Place: On Casey,Deconstruction, and the Architecture of Modernity," Human Studies, 1996,19, p. "Getting Back into Place: On Casey, Deconstruction, and the Architecture of Modernity," Human Studies, 1996, 19, 441 - 458.Dant, Tim. This suggests that there is no single style.Style, therefore reflects many different concepts, some of which are eitheraesthetically or ideologically opposite of one another. Finally, Dant points out that "the dwelling activities ofsitting and laundering... 3.[xxxv] Ibid., p. Certain goods, such as a Mercedes Benz are perceived as saying agreat deal about an individual who owns and drives but also about thesociety in which such goods are produced and become affordable. 61.[vi] Ibid., p. Open University Press, 2 5, pp. 1.[xxxix] Thomas Brockelman, op. 76.[xi] Ibid.[xii] Ibid., p. Material Culture inthe Social World (Philadelphia: Open University Press, 1999), p. In essence, the ontology of deconstruction inarchitecture does not mean the reversal of construction, but instead allowsindividual architects to develop a unique metaphysic that is understood asthe "common set of expectations that have traditionally been and continueto be regarded as the constituent concerns of architecture, includingshelter, structure, use, durability, order, beauty, and meaning."[xxxiv] As a definitive post-structuralist architectural sensibility,deconstructionism seeks "a dislocation or displacement of the metaphysic ofarchitecture, an architecture that has freed itself from the repressionsinherent in the metaphysic of architecture."[xxxv] Such an approach doespromote the use of innovative technologies while creating enjoyable andresplendent cities in which the old and the new coexist with a degree ofharmony that one might not have anticipated. 7 .[ix] Ibid., p. Material Culture in the Social World. The problem with semiotics, according to Paul Walker, is that itpositions architecture as a hierarchy of codes implicit in building,language, drawing, and photography and asserts that the role of language inarchitecture is dependent upon the culture 's post-modern movement.[xxvii]Semiotics is viewed by this analyst as serving both to bolster the currentstatus of architecture by blockading investigation of its discursivecharacteristics and as radical criticism. 44-45.[xxiii] Ibid., p. 59.[iii] Thursday Associates, "Deconstruction in Architecture: A BriefCritique." 1987, p. Lewis' arresting image of takingone's eyes out to look at them."[xxxiii] What is particularly valuable in this approach to a theory of meaningin architecture is that it seeks no new "systems" and that it is a critiqueof all systems along with a meaningful liberation from the oppression ofinherited constructs. Architecture should reflect the reality as well as the spirit of theera in which it is created. Post-ModernismA key theorist in the nexus between philosophy and architecture is TimDant, who focuses in much of his writing on the application of post-moderntheory to this field and the ways in which architecture and buildingcontribute to a definition of the contemporary experience. It will be argued that of these theories of meaning, thedeconstructionist perspective will be most beneficial in considering thenature of social reality and the contingent nature of social constructs.This approach to critical thinking functions to a degree as a defense ofthe status quo and as a theory of meaning with a strong affinity with thehabits of mind that have produced the post-World War II American landscape,replacing Marxism and becoming "the ultimate intellectual justification ofthe privatization of modern life."[iii] Based in part upon the philosophy of Jacques Derrida,Deconstructivism asserts that the meaning of a given "text" is result ofthe difference between the words used rather than their reference to thethings they stand for. Available atwww.imageandnarrative.be /uncanny/bartvanderstraeten.htm.Walker, Paul J. Style is therefore notfrivolous and has overwhelmed the perspective of modern consciousness asexpressed in architecture, as is evident in the Louvre's Pyramid posed inthe forecourt of an older structure. The Story of Architecture. 48.[xxv] Ibid., pp. 65.[xvi] Ibid., p. Available atwww.thursdayassociates.net/Texts/Deoncstruction.html.[iv] Jonathan Glancey, The Story of Architecture (London: DK Publishing,2 ), p. 441.[xxxvii] Jonathan Glancey, op. 43.[xx] Ibid. 61.[vii] Ibid., p. cit., p. This leads Ewen to the recognition that style conveys informationwhether it addresses aesthetics, politics, or consumerism. London: Orbis, 1988.Thursday Associates, "Deconstruction in Architecture: A Brief Critique."1987.. Works CitedBrockelman, Thomas. In other words, "the different meanings of a textcan be uncovered by taking apart the structure of the language in which itis written."[iv] In architecture, this approach calls for acquiringmeaning by taking apart the elements of conventional buildings andreassembling them to embed new meaning in their structure. Ewen comments that as society was transformed from a rural, agrarianvillage life to a technocratic, urban and manufacturing existence,individuals have become more conscious of style and better able to acquirethe accoutrements of style.[xxii] The relationship between style andsocial power, said Ewen, is not the artifact or creation of twentiethcentury consumer culture in particular or even of capitalism.[xxiii]Within feudal society in Europe, style and consumption distinguished thenobility from the peasantry. Thereare many material properties of buildings that shape the forms of action ofthose who live in them. 22 .[v] Tim Dant, "Building and Dwelling." In Tim Dant. 6 -84.Ewen, Stuart. This hasbrought about what Glancey calls a revitalization within architecture,freeing architects from the necessity of conforming to outdated canons ofstyle and function.[xxxvii] Unlike post-modernism as a style of architecture and semiotics as atheory of meaning within architecture, deconstruction is liberating. Tim Dant , in achapter titled "Building and Dwelling," describes a house as a sociallocation, a physical shelter for loved ones and familiar objects, a locusfor material culture, and a meeting point for people and things in whichsocial and material relationships are bound together in the routinepractices of daily lives.[v] As the largest, most expensive and importantartifact that most individuals will possess and perhaps buy or build, it isthe place where much of one's life passes and where many of the majorevents, emotions, and relationships of human lives will be focused. He also brings into his discussion the ways inwhich a particular era cannot be said to have a single style.[xxv] Forexample, the 193 s was a time in which the architectural products of theBauhaus as well as Frank Lloyd Wright and the Organics captured the styleof the era in different ways. It does not depend upon therevival of historic styles as is often the case in post-modernism and thework of architects like Venturi, Stern, and Bofill. Dant quotes Heidegger as stating that "dwelling" establishes aparticular form of relationship between human being and material form thatis fixed in space and enduring in time. Self,society, and information, according to Ewen, "have developed dramaticallywithin twentieth century American life.... Bit by bit, "Eisenman began to break the newAmerican houses apart on the drawing board, to slide walls away from oneanother, to create elisions and illusions of space; in other words, tobreak and even splinter the rational geometry of classic Modern Movementorthodoxy."[xxx] Deconstructionism, evident in the work of Frank Gehry, as well as theAustrian architectural cooperative called Himmelblau, articulates "apreference for an aesthetics of architecture that is disquieting ratherthan reassuring."[xxxi] Far from the anthropocentric architecture of themodern and even the post-modern, the architectural structures developed byvarious deconstructionists projected a need for an architecture ofdiscomfort and the unbalancing of expectations, seeking to reassert theprivatization of modern life.[xxxii] With reference to the work of Le Corbusier, this particular approachto architecture presents opportunities to incorporate technologicalelements that are contemporary along with references to earlier styles thatnevertheless fail to mimic the historicity of post-modernism.Deconstructionism is a daring approach to creating buildings that decenterand dislocate structures from any particular style of period.Deconstruction "may be likened to C.S. cit., p. 2.[xxxiv] Ibid., p. 2.[xxxiii] Thursday Associates, op cit., p. 41-55.Glancey, Jonathan. It moves dramatically away fromthe somewhat static design of the post-modern to permit greaterindividualization of construction and of design elements. 44.[xxi] Ibid.[xxii] Ibid., pp. 84.[xiii] Michael Raeburn, Architecture of the Western World. Towards a Viable Philosophy of Architecture in the 21st Century Introduction and Purpose In the third chapter of Materiality and Society, Tim Dant statesthat "what is of significance for sociology is that the increasing tempo oftechnological change has changed the pace of material civilization and thishas led critics to argue that technology has changed humankind'srelationship with nature and the relationship between individual andsociety."[i] Dant's position is that the critics of technology, despitehaving given salient pointers "to the cultural dynamics of technology...have avoided dealing with the practical and detailed ways that materialityis being altered in technological societies."[ii] Technology as well asethos and aesthetics have provided a basis for identifying meaning withinarchitecture, as will be demonstrated herein. 1.[xxviii] Ibid., p. A pastiche of historic andHollywood styles pasted onto conventional steel and concrete framedbuildings predominated, therefore creating structures that while appealingwere only skin deep with respect to a departure from Modernism.[xvii] SemioticsThis theoretical approach to architecture was examined by, among others, In"Marketing Dreams: The Political Elements of Style," Stuart Ewen discussesthe ways in which goods and services are marketed, noting that "beyonddisplaying surfaces, the uninterrupted message of the television programmeis that style makes up a way of life, a Utopian way of life."[xviii] Thislife is characterized by a succession of material objects ranging from carsto homes that are literally castles to designer couture and a lifestylethat is glamorous in the extreme and focused on conspicuous materialism andconsumption. Walker, "Semiotics and the Discourse of Architecture,"1987. Style is a political entity as well as an aesthetic one and"has a major impact on the way we understand society. Television, radio, the Internet, and other communicationsmedia all reflect and represent style, while conveying information aboutwhat is real and what is not, what matters and does not, and how livesshould be lived if they are to reflect style. "Technology and Modernity." In Tim Dant, Editor. Together they compose thepolitical contours of the contemporary moment."[xx] In order to fullyunderstand what style means, Ewen says that one must "penetrate thesurface of the image and place it within the social and historical settingof its development."[xxi] To do this properly one must understand thatmodern modes of existence have altered the ways that people experiencethese three realms in vital ways. It further suggests thatfinding symbols that have meaning in the context of the here and now ispreferable to merely repeating the use of historic symbols as is the casein the semiotic approach. Consequently, itcan be seen as a liberating movement that argues against both functionalistand structuralist approaches to architecture. "Marketing Dreams." In Alan Tomlinson, Editor.Consumption, Identity, and Style. Itprovides for a highly individualized strategy for creating uniquestructures that promote an anti-philosophical approach bearing uponarchitecture.[xxxviii] Summary and ConclusionThis overview of three theoretical and philosophical approaches towardunderstanding architecture has considered post-modernism, semiotics, anddeconstruction, concluding that of these theories, deconstruction providesthe best way of conceptualizing meaning within contemporary architecture.Deconstructionism assumes that meaning can be deconstructed from thesymbols that are employed in buildings. 47.[xxiv] Ibid., p. Contemporary society is in the process ofdeconstructing itself and removing itself from excessive rootedness in itshistoric past. Available at http://hdl.handle.net/2292/1 2, p. 278.[xiv] Ibid.[xv] Reinhold Martin, "The Last War: Architecture and Postmodernism,Again," New German Critique, Fall 2 6, 33(3), p. 52.[xxvii] Paul J. 445. 42.[xix] Ibid. There is also something very symbolic about the dwelling as describedby Bourdieu who suggests that the distinction between public and privatespaces reflects the division of the dwelling from the public sphere of thetown or community. 1.[xxxii] Ibid., p. For these reasons, this essay argues that deconstructionism is themost viable theory of meaning in architecture that is relevant to thecurrent millennium. "The Uncanny and the Architecture ofDeconstruction," Image & Narrative, 2 8. p. It is based largely uponfunctionalism and is therefore somewhat limiting in that unlike either post-modernism or deconstructionism, it is based on the idea that theproblematic of meaning in architecture has been motivated by the emptinessof the build world itself constructed under the aegis of functionalarchitecture.[xxviii] Semiotics may therefore be thought of as a theory of meaning whichcertainly can be applied to architecture to good effect, but which speaksmore to questions of semantics than to actual construction orinterpretation of the buildings. London and New York: Routledge,199 , pp. In the eighteenth and nineteenth centuries,industrial capitalism did introduce a new style in the form of panopticismas a mechanism of power. p. Available at www.thursdayassociates.net/Texts/Deoncstruction.html.Van Der Straeten, Bart. London: DK Publishing,2 .Martin, Reinhold. 49-5 .[xxvi] Ibid., p. 2.[xxix] Jonathan Glancey, op. Indeed, Umberto Eco, cited by Dant , suggests thatarchitecture "incorporates a code that is meaningful in relation to othercodes within a culture, in particular what he calls the anthropologicalsystem." [vii] Certain buildings that endure for centuries provide a verypowerful cultural imprint on a place, making it distinct. cit., p. Available at http://hdl.handle.net/2292/1 2-----------------------[i] Tim Dant, "Technology and Modernity." In Tim Dant, Editor, Materialityand Society. (London: Orbis,1988), p. 226.[xxxviii] Thursday Associates, op. Dant views the home as "a site for material expression by people thatis unparalleled elsewhere in their lives." [viii]In the dwelling, aprocess of bricolage works in constructing myths out of ideas and imagesthat already exist in the culture. Nor does it becomeoverly reliant on the use of a semantic frame of reference for examiningwhat is "meant" by architecture. As rectangular dwellings have become more complex andmultifunctional, the cultures that have produced them have acquiredspecialist building knowledge and systematic planning. [ix] What this truly references is the integration oftaste and aesthetics with a home or dwelling which Dant describes as"bricolage in the sense of putting together what is available - in thehouse, in the furniture store, what is given by friends or relatives."This encompasses atmosphere or l'ambience." [x] Dant says that "the activities of bricolage have become a feature oflate modern Western consumption culture."[xi] Do-it-yourself is a culturalindustry in which individual men and women attempt to create uniqueenvironments in which they have invested what we could call sweat equityalong with their own creativity and skill. Whether workconsists of sweeping the floors, cooking food, washing clothes, or paintingthe exterior of the dwelling, the dwelling is always a center of work thatmust be done. Deconstructionism, in contrast, allowsfor a more rigorous approach to understanding the ways in which newstructures can be manipulated to meet the lived experiences andexpectations of the individuals and groups who will use thesestructures.[xxix] DeconstructionismDeconstructionism was initiated by Peter Eisenman and the New York Five,who made a conscious return to the pure, white, modern architecture of LeCorbusier in the 192 s. This refers to the art of making ormaking do, or the combination of ritual practices, habits, and routines outof which the shape of everyday life emerges. In essence, this particularapproach as described by Thomas Brockelman recognizes "the conflict betweentopocentrism and an important stream of a-topian or even u-topian thoughtwithin architectural modernism and post-modernism."[xxxvi] Architecture that is informed by deconstructionism does not producearchitecture that is falling down. As discussed by Michael Raeburn, post-modernism reintroducedsymbolism in buildings, transforming them from the austerity of modernarchitecture with its machine and factory symbolism.[xiii] The standardrectangular shapes of buildings was broken down into more interesting formswith an increased use of color as is evident in the works of Americanarchitects Robert Venturi and Robert Stern and the Spanish architectRicardo Bofil, who did not revive "historical styles," but "found out fromthe public the symbolism by which they recognize features ofbuildings."[xiv] In this general context, Reinhold Martin argues that post-modernismin architecture seems symptomatic of far-reaching cultural tendencies butquestions whether or not the distinction between the modern and the post-modern captures the specificity of these tendencies.[xv] The post-modernoeuvre and its use of symbolism is viewed by Martin as reflecting a recentpast as evident in the work of architects such as Venturi and BuckminsterFuller and as representing a game "played with signs and symbols accordingto denotative and prescriptive protocols that turn technocratic positivisminto a playful experiment, with different narrative scenarios unfolding ina combination of linguistic and cartographic codes."[xvi] Unfortunately, this particular approach to meaning in architecturehas generated a new corporate style that has yet to be adapted by the vastmajority of builders, particularly those seeking residences whichaccommodate the needs of their owners. Instead, it presents forms that areprovocative, capable of offering a unique series of display spaces that aredynamic, and which fit within their environments without succumbing to thenecessity of coordinating their form with neighboring structures. The bricoleur replaces craftskill by machine processes and this evident in the kitchen, the livingroom, and all other areas of the house. 67.[xvii] Jonathan Glancey, op. In the twentieth century, "where style hasincreasingly entered the Utopian idiom of a mass consumer market," it isequally true that "explicit depictions of social relationships tend to bemuted, mystified."[xxiv] Ewen discusses any number of particular styles in architecture, art,clothing, and so forth. In the process,substance becomes unrecognizable."[xix] Also, style is political because it places an aura around the world,comprises a basic form of information within society, and helps to defineself. While there arethose who question this theory and its efficacy, this essay will argue thatmore than a theory of Semiotics or Post-Modernism, Deconstructionismprovide fertile ground for experimentation in architecture and the creationof new forms that are responsive to the ways in which humans live andinteract now. Social institutionsare continually mediated by the mirages of style. For example, theParthenon symbolizes ancient Greece whereas Notre Dame Cathedral speaks tothe high Gothic era in France. 67.[viii] Ibid., p. The ability tostylize anything "provokes a comprehension of the world which focuses onits easily manipulated surfaces. Available atwww.imageandnarrative.be/uncanny/bartvanderstraeten.htm, p. Philadelphia: Open University Press, 1999, pp. cit., p. Finally, it introduces a new sculptural quality into architecturaldesign that makes use of contemporary technologies and the possibilitiesfor manipulating form and space that is generated by the use of computerdesign. (Philadelphia: Open University Press), p. 34.[ii] Ibid., p. 33-151.Dant, Tim. are not simply about consuming goods, but aboutliving with them, appropriating objects into our everyday lives."[xii]This is a process of shaping in which architecture and its designs followthe dictates of use while applying new technologies. The three "philosophies" ofarchitecture and meaning that are relevant will be addressed, includingpostmodernism, semiotics, and deconstruction. If this paper is not what you are looking for, you can search again: Search for: or Click here to request an essay written just for you.