Theories final 1

BACHELOR OF SCIENCE (HONOURS) IN ARCHITECTURE THEORIES OF ARCHITECTURE AND URBANISM (ARC61303/ARC2224)

SYNOPSIS: REACTION PAPER (AUGUST 2016) [10 MARKS]

NAME: FARAH AKMAL BINTI MOHD ZAMZURI ID: 0315884

LECTURER: MR. LAM SHEN FEI TUTORIAL TIME: 4PM – 6PM

SYNOPSIS NO: READER TITLE: LEARNING FROM LAS VEGAS

AUTHOR: ROBERT VENTURI, DENISE SCOTT BROWN AND STEVEN IZENOUR

The book ‘Learning from Las Vegas: The Forgotten Symbolism of Architectural Form’, an urbanistic

study published in 1972 by architects Robert Venturi, Denise Scott Brown and Steven Izenour,

addresses the idea of symbolism and communication before forms in space within urban realm.

Signs are a form of anti-spatial architecture that are used in Las Vegas as a communication

system. The author defines anti-spatial form as dominance of communication over space. When one

travels from the beginning of the Strip, one could maintain a sense of orientation in space by having

signs and symbols around rather than forms for guidance. As Venturi (1977) has pointed out "Complex

programs and settings require complex combinations of media beyond the purer architectural triad of

structure, form, and light at the service of space." (p. 9). Thus, signs are more important than the

architecture. For example, in Las Vegas, there are different types of buildings with different function

but most of them are covered by huge signs facing toward the highway.

Las Vegas is an example of architecture of persuasion where mostly the commercial

infrastructure lures you in by using signs. In contrast to the narrow vicinity of the bazaar where

communication works through proximity. Although signs occur, people depend more on the oral

persuasion of the market salesmen, the baker’s seduction through the smells or windows, sounds,

textures, images. I agree with the author because architecture of persuasion only works with slow pace

with narrow space where one can walk freely and feel the essence of the place.

In conclusion, it is in my opinion that symbolism is very important in our civilization. They

clearly show the value of symbolism in architecture of vast space and speed through the exploration

of the Strip, where architecture is seen as symbol in space rather than form in space.

WORD COUNT 302 WORDS

Key points (2.5)

Appropriateness of

Terminologies (2.5)

Clarity in Opinions and

Reactions (2.5)

Logical Progression (2.5)

REFERENCE LIST

1. Venturi, R., Scott Brown, D., & Izenour, S. (1977). Learning from Las Vegas. Cambridge, Mass.:

MIT Press.

DATE: TOTAL MARK & GRADE

ASSSESSED BY:

SYNOPSIS DESCRIPTION

ASSESSMENT RUBRIC

Grades Marks Key points (2.5) Appropriateness of Terminologies (2.5)

Clarity in Opinions and Reactions (2.5)


A 1.8 - 2.5

Evidence of outstanding understanding of Key points through clear explanation

Appropriate use of Terminologies In discussing the Issues/ Concepts/Theories

Outstanding Clarity in opinions and reactions - Supported with strong Logical explanation

Outstanding Articulation of logical expressions ending with well-developed paragraphs

B 1.5 - 1.79

Evidence of understanding of Key points through reasonable explanation

Reasonable use of Terminologies In discussing the Issues/ Concepts/Theories with Minor unfamiliarity

Reasonable clarity in opinions and reactions - Supported with Logical explanation

Reasonable Articulation of logical expressions ending with well-developed paragraphs

C 1.25 - 1.49

Evidence of Some Understanding of Key points through acceptable explanation

Acceptable use of Terminologies In discussing the Issues/ Concepts/Theories with Noticeable unfamiliarity

Acceptable Clarity in opinions and reactions - Supported with satisfactory explanation

Acceptable Articulation of logical expressions ending with some ambiguous statements

D 1 - 1.24

Evidence of Some Understanding of Key points through not quite acceptable explanation

Evidence of Terminologies however poorly communicated in discussing The Issues/ Concepts/Theories With

Weak Clarity in opinions and reactions - Supported with Lengthy explanation

Poor Articulation of logical expressions ending with noticeable ambiguous statements

F 0 - 0.99

Insufficient Evidence of Understanding of Key points through weak explanation

Insufficient Evidence of Terminologies in discussing the Issues/ Concepts/Theories With

Improper opinions and reactions. Not Matching the Issues/ Concepts/ Theories -Inadequate Reasons

Unable to Articulate / illogical expressions. Poorly written synopsis.



NAME: FARAH AKMAL BINTI MOHD ZAMZURI ID: 0315884


SYNOPSIS NO: READER TITLE: SEMIOLOGY AND ARCHITECTURE

AUTHOR: CHARLES JENCKS

In Charles Jencks’s Semiology and architecture, he discussed the most fundamental idea of

semiology and meaning in architecture which is the idea of any form in the environment is being

addressed by the community. As Jencks has pointed out (1970),” … the use of raincoat is to give

protection from the rain, but this cannot be dissociated from the very signs of an atmospheric situation.”

(p. 43). Jencks explained the idea by taking a different point of view of a raincoat, if the society were

to ignore its social use, it can be dissociated from its general definition. Therefore, a form without

meaning cannot be a form and vice versa. For example, when society sees a building or any place in

the Petaling Street, they will start filling in with their own perception. But when the place or building is

without the function, will it still be place? A building? Should it be considered as a sculpture? But even

sculpture has its own meaning.

According to Jencks (1970), “My poem means nothing; it just is. My painting is meaningless.”

(p.43). These statements show that the word ‘nothing’ and ‘meaningless’ themselves means

something meaningful to them. They express their thought from a different point of view and at the

same time their statements are paradoxical or self-contradicting. In their denial of meaning, they create

the values or the meaning of it. Back to the statement that he has pointed out earlier “The minute a

new form is invented it will acquire, inevitably, a meaning.” (p. 43). When something is created, it

should have a meaning behind it. The same goes the poem and the painting.

I disagree with Jencks opinion about the meaning of a foam derives from the environment. The

foam comes with meaning thus it cannot be define by those related or unrelated to them. In conclusion,

we should consider the effort behind it before we put any judgment and understand how the others

think. The original meaning should explain it better than us being judgmental.


Key points (2.5)

REFERENCE LIST

1. Jencks, C. & Baird, G. (1970). Meaning in architecture. New York: G. Braziller.

Appropriateness of

Terminologies (2.5)


Reactions (2.5)



ASSSESSED BY:


ASSESSMENT RUBRIC




A 1.8 - 2.5





B 1.5 - 1.79





C 1.25 - 1.49





D 1 - 1.24





F 0 - 0.99







NAME: FARAH AKMAL BT MOHD ZAMZURI ID: 0315884


SYNOPSIS NO: 3 READER TITLE: THE GEOMETRY OF FEELING

AUTHOR: JUHANI PALLASMAA

In Juhani Pallasmaa’s The Geometry of Feeling, he discussed the way we perceived architecture. It

must be from the perspective of an architect who designs it for the sake of people who will live in it

rather than just a mere play of forms. As Juhani Pallasmaa has pointed out “Why do so 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? The buildings of our own

time may arouse our curiosity with their daring or inventiveness, but they hardly give us any sense of

the meaning off our world or our existence.”. It is because an image was portrayed by the building,

thus provoking the feelings of the people living in it. I agree with Pallasma that nowadays there are so

few of modern buildings that appeal to our feelings, they hardly give us any sense of familiarity or

comfort us the way the buildings before did.

Back in my hometown, I used to sit on a small bench beside my grandma’s house. In front, there’s an

empty land with greenery in the surrounding. There used to be my great-grandma’s house on the

empty land. I used to play hide in seek in the small house with all my cousins. By sitting on the bench

with some shades provoke my feelings and reminds me of the old day. I assume those are the

architecture of memory mentioned by Pallasmaa. I agree with her we can’t remember our memory just

with single doors or windows, it needs to be from somewhere and someplace where we have a memory

of something.

In conclusion, I think that the sense should be stimulated together by the design and the visual

stimulus. Not just by one thing, which is the visual like that many buildings are doing today. The

architects can create a journey throughout the building by using the entire stimuli. In addition, using

different materials with different textures and colours can create a feel that no geometry can create.

Thus, creates a memory in which time is a constant without losing the sight of the place. But the

building should fulfil the basic conditions formulated to it in order to influence the emotional feelings

linked to our souls with the images the building creates.


Key points (2.5)

Appropriateness of

Terminologies (2.5)


Reactions (2.5)



ASSSESSED BY:


ASSESSMENT RUBRIC




A 1.8 - 2.5





B 1.5 - 1.79





C 1.25 - 1.49





D 1 - 1.24





F 0 - 0.99







NAME: FARAH AKMAL BT MOHD ZAMZURI ID: 0315884


SYNOPSIS NO: 4 READER TITLE: FROM “TOWARDS A CRITICAL REGIONALISM”

AUTHOR: KENNETH FRAMPTON

In Kenneth Frampton’s Towards a Critical Regionalism, he has proposed six points of resistance

towards the phenomenon of universalization.

Under the fifth point “Culture vs Nature”, he mentions about the self-evident that the tabula rasa

tendency of modernization favors to clear and flatten the site. Thus, it’s also makes way for rational

layout building. According to Frampton, K (1981), “The bulldozing of an irregular topography into a flat

site is clearly a technocratic gesture which aspires to a condition of absolute placelessness, whereas

the terracing of the same site to receive the stepped form of a building is an engagement in the act of

cultivating the site”. He described the removal of topography as a gesture of the universal technique

resulting placelessness. As a manifestation of regions geologic and agricultural, critical regionalism

would embrace the topography then transform it into the form of any building set into the terracing

contours of the land.

Under the sixth point “The Visual vs The Tactile”, he mentions about the priority of the

tectonic over the scenography. He mentions that “The main route leading to the second-floor council

chamber is ultimately orchestrated in terms which are as much tactile as they are visual. Not only is

the principal access stair lined in raked brickwork, but the threads and risers are also finished in brick.”

From the example of Aalto's SŠynatsalo Town Hall of 1952 given in the text, he describes the use a

tactile surface's ability to make legible architecture.

In conclusion, I feel that critical regionalism brings all senses in human perception. The loss of

nearness is caused by the sight which suppresses the senses. As for tactile, it physically oppose the

visual of reality, so it have the sense of nearness to the space. I agreed with him on this matter because

the sight is visually seen thus creates distance in translating the space but not for tactile as we can

feel it in the space.


Key points (2.5)

Appropriateness of

Terminologies (2.5)


Reactions (2.5)



ASSSESSED BY:


ASSESSMENT RUBRIC




A 1.8 - 2.5





B 1.5 - 1.79





C 1.25 - 1.49





D 1 - 1.24





F 0 - 0.99





Theories final 1

Education

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