Post Structuralism Phenomenology Concepts in Architecture

Post Structuralism Phenomenology Concepts in computer architecture1. Post-structuralismPost-structuralism is a progression of earlier movement resulted by the work of a Swiss linguist, Ferdinand De Saussure in the 1910s and 1920s called Structuralism. The latter was influenced by semiotics (a study of signs). tally to Saussure, a language is a system of signs made up of a signifier (an acoustic-image) and a signified (a concept).1 Structuralism is understood as how the system flora to anatomical structure their individual elements to imply a meaning.Post-structuralism is oftentimes interchangeably linked with postmodernism and deconstruction in general, as all these movements respond to structuralisms philosophy of language but they apply those insights to a wider range of topics and radicalize some of the structuralisms premises. 2 The consideration of computer architecture as communication while recognizing its running(a)ity came during the Modernism era, which revolves arou nd the universal form 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 everyone.3 However, the text, The Lesson of the Toilet Bowl, has taught us that it is finished learning that human knows how to use a form.Charles Jencks and Peter Eisenman both opposed the former movement in post-modernism and deconstruction respectively. Jencks sees communication as the main problem of modernism as modern architects abandoned the traditional language of architecture and tried to foundation functional buildings. 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 intellects, styles, and characters to promote parody, h umor 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 thinking 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 Thousand Plateaus (1980). A rhizome has no beginning or end it is always in the middle, between things, interbeing, intermezzo.7 The term rhizome promotes connective thinking in which post-structuralists criticized the reductive and that phenomena in truth occurs in a more multifarious manner. There are in b etweens and tangents and ambiguous non-binary associations. Post-structuralists approach argues that to understand an object, it is necessary to study both the object itself and the systems of acquaintance 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 consciousness through the subjective 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 system promotes the integration of human sensory and perception as part of built form to create an architectural and experiential space that is beyond tangible, but kind of abstract, observed and perceived.One of the key approaches in phenomenology converse was shaped by the thought of Martin Heidegger wher e he defines the meaning of Bauen (building) as to dwell, the latter simply means creating a sense 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 inescapably occur in every building or typologies.9It was later then, the Heideggers philosophy becomes influential among a go of architectural theorists, namely, Christian Norberg-Schulz, a Norwegian architectural theorist, who was among the first to attempt to translate 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 today, people give too much of charge on the visual image (appearance ) that the reality of how a building an experience has been neglected as mentioned by Finnish architect, Juhani Pallasmaa, who explored this notion in his work titled, The Geometry of sense (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 mortal 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 taking account of phenomena factors like space, light, and form. architecture aims to provide to human needs and therefore, it is essential 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. supposition and PracticeEvery now and then, we see theories overlap and developed from criticism, judgment, descriptive or interpretation 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 theory and practice began after the Renaissance period when the Art of Building in Ten applys, which closely modeled Vitruviuswork was published by Alberti.13 According to Korydon smith in Introducing Architectural supposition, he defined architectural theory asthe evolution of the objective principles and subjective values that guide individual and joint 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 individualistic and collective paradigms as everyone relatively do not share the sam e 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 two 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 truth could be.The discourse of theoretical within the discipline of architecture focuses on the relationship 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 illustrative art it does not illustrate theories whereas, Vittorio Gregotti insists on theoretical research as a direct foundation of action in architectural design.15 hypothesis 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 Alexander 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 sanction in ones ability to think critically, by thinking through these arguments.17From this statement inferences the relation of theory and practice where two have 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) Book Bibliography.Macey, David. The Penguin Dictionary of hypercritical Theory capital of the United Kingdom Penguin Group, 2000. 2) Book Chapter Bibliography.L. Fastiggi, Robert. Post-Structuralism. In New Catholic Encyclopedia accoutrement 2012-13 Ethic and school of thought, Volume 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 Century 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) B ook 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 Feeling A heart 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 Hard 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 Theory 1965-1995, Ed. Kate Nesbitt. New York Princeton Architectural Press, 1996.11) Book Bibliography.Smith, Korydon. In troducing 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 1965-1995, 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 Routledge, 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.