Post Structuralism Phenomenology Concepts in Architecture

Post Structuralism Phenomenology Concepts in computer architecture1. Post- structuralismPost-structuralism is a progression of ear consistr movement resulted by the work of a Swiss linguist, Ferdinand De Saussure in the 1910s and 1920s c all in alled Structuralism. The latter was influenced by semiology (a study of signs). harmonise to Saussure, a language is a system of signs make up of a signifier (an acoustic-image) and a signified (a concept).1 Structuralism is tacit as how the system plant to structure their soul elements to imply a meaning.Post-structuralism is often interchangeably linked with postmodernism and deconstruction in general, as all these movements respond to structuralisms philosophy of language just they apply those insights to a wider sphere of topics and radicalize some of the structuralisms premises. 2 The consideration of architecture as confabulation while recognizing its functionality came during the contemporaneousness era, which revolves around t he universal wee-wee and the principle of form follows function phrased by American architect, Louis Sullivan. Modern architects believed the functions of diagrammatic objects would be transparent, or obvious to e very(prenominal)one.3 However, the text, The Lesson of the peck Bowl, has taught us that it is through learning that human knows how to use a form.Charles Jencks and jibe Eisenman both opposed the former movement in post-modernism and deconstruction respectively. Jencks sees communication as the main problem of modernism as modern architects prone the traditional language of architecture and tried to design functional mental synthesiss. Post-modernism is characterized as double-coding4, highlighting multivalent, unlike modern architecture which was criticized as univalent in terms of form. While modern architecture strives to create new, independent works of art, postmodern architecture embraced diversity with the merge of ideas, styles, and characters to promote paro dy, humor and irony. Deconstruction, on the other hand, challenges the values of harmony, unity, and stability, and proposing instead a different view of a structure that the flaws are intrinsic to the structure.5 Deconstructivist rejects the presence of metaphysics, as well as the function, scale, and context. 6In terms of design process within the discipline of architecture, structuralism revolves around the idea of binary, hierarchical, and structural thought for example, black cannot be white and vice versa. Whereas in poststructuralism, French philosopher, Gilles Deleuze (1925-95) collaborated with the psychoanalyst, Flix Guattari (1930-92) introduced the concept of rhizome inA universal gravitational constant Plateaus (1980). A rhizome has no beginning or end it is always in the middle, between things, interbeing, intermezzo.7 The term rhizome promotes colligation thinking in which post-structuralists criticized the reductive and that phenomena actually occurs in a to a gr eater extent multifarious manner. There are in betweens and tangents and ambiguous non-binary associations. Post-structuralists approach argues that to guess an object, it is necessary to study both the object itself and the systems of knowledge that produced the object.2. PhenomenologyPhenomenology is a philosophical movement or approach which was inaugurated by a German philosopher, Edmund Husserl (1859-1938) during the 1800s. In architecture, the term phenomenology is the study of the essence of human thought through the infixed experience of phenomena. architectural phenomenology acknowledged the importance of human experience as part of architecture also referred as a return of lived experience.8 This surmise promotes the integration of human sensory and erudition as part of built form to create an architectural and experiential space that is beyond tangible, but rather abstract, observed and perceived.One of the key approaches in phenomenology discourse was wrought by t he thought of Martin Heidegger where he defines the meaning of Bauen (building) as to dwell, the latter hardly means creating a find of quality space within the building, providing the sense of feeling being at home to build is in itself already to dwell. However, dwelling does not necessarily occur in every building or typologies.9It was later then, the Heideggers philosophy becomes influential among a number of architectural theorists, namely, Christian Norberg-Schulz, a Norwegian architectural theorist, who was among the first to attempt to register phenomenological approach into architecture. Schulz argues that the perception is inseparable from our preexisting knowledge about the things we perceive. Our perception is actually a result of our previous experiences. This infers that every individuals perception is very subjective to their experiences and thus, asserted as a limiting factor to the phenomenological approach.In the architecture of now, people give too much of at tention on the visual image (appearance) that the reality of how a building an experience has been unattended as mentioned by Finnish architect, Juhani Pallasmaa, who explored this notion in his work titled, The Geometry of timbre (1985). Pallasmaa phrases that, 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.10This statement enables us to think thoroughly that we do not only design a building as its physical form, and it is the images and feelings in other words, the design aims to achieve emotions/ experiences. A phenomenological concept in architectural design strategies to develop a unique experience by pickings account of phenomena factors like space, light, and form. computer architecture aims to provide to human needs and therefore, it is demand that a great design considers the relation of human senses with built form in order to create a rich experience that unfolds over time and gives a memorable impact for users.113. surmise and Practice every(prenominal) now and then, we see theories overlap and developed from criticism, judgment, descriptive or rendering on specific existing works. Consequently, this provides alternative solutions based on observations of the current state of the discipline, or offers new thought paradigms for approaching the issues.12 The discourse of architectural hypothesis and practice began after the Renaissance period when the Art of structure in Ten playscripts, which closely modeled Vitruviuswork was published by Alberti.13 According to Korydon metalworker in Introducing architectural guess, he defined architectural theory asthe evolution of the objective principles and subjective values that guide individual and collective decisions about, and assessments of ones own and othersarchitectural works.14Based on the definition, we can infer theories in architecture appear to be subjective and rather more individuali stic and collective paradigms as everyone relatively do not share the equal opinions or visual languages.His work also introduced the concept of the dialectic in particular, a dialogue. It arises as a dichotomy, a debate between devil opposing positions, ideas, or theories (thesis and antithesis) but, through the desire to reconcile (synthesis) the debate, results in proposition. The dialectic, as such, is popularly known as Fichtean dialectics by Kants philosophies. The idea of dialectic is to be said a process using reasoning to ascertain what the integrity could be.The discourse of hypothetic within the discipline of architecture focuses on the consanguinity between theory and practice with two very distinct views revolving on the necessity of theory to practice effectively. For Bernard Tschumi, he argues that architecture is not an informative art it does not illustrate theories whereas, Vittorio Gregotti insists on theoretical research as a direct foundation of action in architectural design.15 system within the practice is resolved to be inevitable as quoted by Iain Borden, Theory is indispensable. It is how we make sense of the world.16 The Oxford philosophy professor John black lovage smith phrasedThe real gain from studying philosophy is not in learning about the views of great philosophers but in understanding their arguments and in acquiring confidence in ones ability to think critically, by thinking through these arguments.17From this statement inferences the relation of theory and practice where two shit to evolve simultaneously. Dialectics are often present within the discipline of architecture design and practice, as a process of making incremental, though interrelated, decisions.18 The theoretical dissertation has hugely contributed a number of architectural works today which helps to stimulate people to apply critical thinking in theory and practice and thus, the cycle repeats.Bibliography1) intelligence Bibliography.Macey, David. The Penguin lexicon of Critical Theory capital of the United Kingdom Penguin Group, 2000.2) Book Chapter Bibliography.L. Fastiggi, Robert. Post-Structuralism. In New Catholic Encyclopedia Supplement 2012-13 ethic and school of thought, playscript 3. Detroit Gale Cengage Learning in association with the Catholic University of America, 2013.3) Book Chapter Bibliography.Jencks, Charles. The Architectural Sign. In Signs, Symbols, and architecture. New York Wiley, 1980.4) Book Chapter Bibliography.Jencks, Charles. The Paradoxical World of Post-Modernism. In Movements in twentieth deoxycytidine monophosphate Architecture, Ed. Michael J. Ostwald. Sydney Arcadia Press / University of Newcastle, Faculty of Architecture, Building and Design, 2000.5) Book Chapter Bibliography.Wigley, Mark. Deconstructivist Architecture. In Movements in Twentieth Century Architecture, Ed. Michael J. Ostwald. Sydney Arcadia Press / University of Newcastle, Faculty of Architecture, Building and Design, 2000 .5) Book Bibliography.Mitrovi, Branko. Philosophy for Architects. New York Princeton Architectural Press, 2011.6) Book Chapter Bibliography.Deleuze, Gilles, and Guattari, Felix.Introduction Rhizome. In A Thousand Plateaus. London Continuum, 2010.7) Book Chapter Bibliography.Heidegger, Martin. Building Dwelling, Thinking Part One. In Rethinking Architecture A Reader in Cultural Theory, Ed. Neil Leach. London Routledge, 1997.8) Book Chapter Bibliography.Pallasmaa, Juhani. The Geometry of legal opinion A Look at the Phenomenology of Architecture. In Theorizing A New agenda for Architecture An Anthology of Architectural Theory 1965-1995, Ed. Kate Nesbitt New York Princeton Architectural Press, 1996.9)Peter Zumthor. The surd Core of Beauty. In Thinking Architecture, Second, expanded edition. Basel - Boston - Berlin Birkhuser Publishers for Architecture.10) Book Chapter Bibliography.Nesbitt, Kate. Introduction. In Theorizing A New Agenda for Architecture An Anthology of Architectural T heory 1965-1995, Ed. Kate Nesbitt. New York Princeton Architectural Press, 1996.11) Book Bibliography.Smith, Korydon. Introducing Architectural Theory, Ed. Korydon Smith. New York Routledge, 2012.12) Book Chapter Bibliography.Borden, Iain and Rendall, Jane. Introduction. In Intersections Architectural Histories and Critical Theories. London Routledge, 2000.1 David Macey, structuralism, in The Penguin Dictionary of Critical Theory (London Penguin Group, 2000) 364.2 Robert L. Fastiggi, Post-Structuralism., in New Catholic Encyclopedia Supplement 2012-13 Ethic and Philosophy, Volume 3 (Detroit Gale Cengage Learning in association with the Catholic University of America, 2013) 1245.3 Charles Jencks, The Architectural Sign, in Broadbent, Bunt, and Jencks (eds.) Signs, Symbols, and Architecture (New York Wiley, 1980) 83-85.4 Charles Jencks, The Paradoxical World of Post-Modernism, in Movements in Twentieth Century Architecture, ed. Michael J. Ostwald (Sydney Arcadia Press / University of Newcastle, Faculty of Architecture, Building and Design, 2000) 116-118.5 Mark Wigley, Deconstructivist Architecture, in Movements in Twentieth Century Architecture, ed. Michael J. Ostwald (Sydney Arcadia Press / University of Newcastle, Faculty of Architecture, Building and Design, 2000) 182-1876 Branko Mitrovi, Architecture and Deconstruction, in Philosophy for Architects (New York Princeton Architectural Press, 2011) 162-1637 Gilles Deleuze and Felix Guattari, Introduction Rhizome, in A Thousand Plateaus (London Continuum, 2010) 23-24 27-28.8 David Macey, phenomenology, in The Penguin Dictionary of Critical Theory (London Penguin Group, 2000) 297-299.9 Martin Heidegger, Building Dwelling, Thinking Part One, in Rethinking Architecture A Reader in Cultural Theory, ed. Neil Leach (London Routledge, 1997) 100-103.10 Juhani Pallasmaa. The Geometry of Feeling A Look at the Phenomenology of Architecture, in Theorizing A New Agenda for Architecture An Anthology of Architectural Theory 196 5-1995, ed. Kate Nesbitt (New York Princeton Architectural Press, 1996) 448-45311 Peter Zumthor, The Hard Core of Beauty, in Thinking Architecture, Second, expanded edition (Basel - Boston - Berlin Birkhuser Publishers for Architecture) 7-812 Kate Nesbitt, Introduction, in Theorizing A New Agenda for Architecture An Anthology of Architectural Theory 1965-1995, ed. Kate Nesbitt (New York Princeton Architectural Press, 1996) 1613 Korydon Smith, Introduction To Students Why Architectural Theory is Vital, in Introducing Architectural Theory, ed. Korydon Smith (New York Routledge, 2012) 5.14 Korydon Smith, Introduction To Students Why Architectural Theory is Vital, in Introducing Architectural Theory, ed. Korydon Smith (New York Routledge, 2012) 6.15 Nesbitt, Introduction, in Theorizing A New Agenda for Architecture (New York Princeton Architectural Press, 1996) 1916 Iain Borden and Jane Rendall, Introduction in Intersections Architectural Histories and Critical Theories (London Routled ge, 2000) 6.17 Branko Mitrovic, Preface, in Philosophy for Architects. (New York Princeton Architectural Press,2011) 12.18 Smith, Debating a Discipline Architecture, Argument, and the Concept of the Dialectic, in Introducing Architectural Theory (New York Routledge, 2012) 10.