Architecture Thesis Book - Architecture as a Cultural Catalyst.pdf

Luis F. Marcelino Ruiz - Thesis Proposal Book !1
1. Abstract
This project explores the various aspects that are affecting cultures around the
world, creating a homogenous world. In this thesis I analyze those factors and I try to
find a solution to the negligence of culture due to those factors: globalization, capitalism,
political corruption, global architecture. Architecture has been a contributor to the global
architecture, now it should turn back, and try to rebuild the architectural and cultural
identity of developing countries losing their identity. Post-colonialism theory seeks to
address the plague of post-colonialism. Globalization seeks to advocate a greater
economic and political cooperation among nations for the theoretical benefit of all.
Capitalism is an economic system in which capital assets are privately owned and
goods and services are produced for profit in a market economy.
This project uses Dominican Republic as the country of study. A country with a
very diversify culture where their daily life is an adaptation of their inheritance from
Spanish, British, Africans and French.
1. Thesis Statement
As much as architecture has been a major player in the movement of
globalization and the creation of a global architecture, it can be the major player to
rebuilding the cultural and architectural identity in developing countries that have
neglected their identities.
3. Research
1. Area of Focus Summary
The focus of this architectural thesis project is on the cultural identity of the
Dominican Republic - developing country - and how architecture can help revive a lost
and neglected culture. By analyzing topics like globalization, global architecture, and
star architecture I will make a case why these are, in a sense, harmful to developing
countries and the cultural identity of those. The effects of globalization over developing
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countries implicate cultural changes, implicates imposing a global culture that is
ultimately with the goal to create a homogeneous world, one world.
This thesis projects seeks to use Post-Colonialism theory as a way to understand
how to give power back to the powerless mass, and understanding how architecture
can be the method of delivery. It seeks to create and revive the neglected and forgotten
identity of the Dominicans, and at the same time create an architectural identity for
themselves.
2. Literature Review
The Taino - indigenous inhabitants of Hispaniola prior to the arrival of the
Europeans - divided the island into five chiefdoms and territories.
Christopher Columbus explored and claimed the island on his first voyage
in 1492; it became a springboard for Spanish conquest of the Caribbean
and the American mainland. In 1697, Spain recognized French dominion
over the western third of the island, which in 1804 became Haiti. The
remainder of the island, by then known as Santo Domingo, sought to gain
its own independence in 1821 but was conquered and ruled by the
Haitians for 22 years; it finally attained independence as the Dominican
Republic in 1844. In 1861, the Dominicans voluntarily returned to the
Spanish Empire, but two years later they launched a war that restored
independence in 1865. A legacy of unsettled, mostly non-representative
rule followed, capped by the dictatorship of Rafael Leonidas Trujillo from
1930-1961 (“Dominican Republic”).
Throughout history the Dominican Republic has been a place that welcomes new
philosophies, ideologies but most of all, new cultures. Its cultural heritage ranges from
Tainos, to Spaniards, to French, to British, to Africans. Most of the culture inherited from
these predecessors still exist; however, in a more adapted way. The Dominicans have
found ways to incorporate all their heritage and create a nation-wide culture. Now, in the
last few decades, globalization, capitalism and political corruption haven’t been very
friendly for such a diversified culture. The culture of the country has been neglected,
and a new global culture has been imposed over the existing.
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In order to understand this phenomenon of cultures losing its identity, we must
first understand certain terminology that is essential to this thesis, and the way it is
approach in it, I have chosen several sources to gather the best definitions for those
terms:
• Anthropology: the science of human beings; especially: the study of
human beings and their ancestors through time and space and in
relation to physical character, environmental and social relations, and
culture. (“Anthropology”)
• Capitalism: an economic system characterized by private or corporate
ownership of capital goods, by investments that are determined by
private decision, and by prices, production, and the distribution of goods
that are determined mainly by competition in a free market.
(“Capitalism”)
• Culture: culture is a set of common values, beliefs, accomplishments,
behavior patterns, and also material artifacts, created within a specific
social context and transmitted from one generation to the next. (Rieger-
Jandl 12)
• Cultural Change: modification in the civilization of a people, i.e., in
social institutions, living habits, the built environment, and many more,
occurring inadvertently or by design. (Rieger-Jandl 12)
• Developing Country: is a term used to refer to countries which,
according to the UN, are defined as LDC (less developed countries) and
LLDC (least developed countries) with an annual per capita gross
domestic product (GDP) of less than 500 U.S. Dollars. Such countries
are identified by the United Nations on the basis of seven indicators,
including per capita gross domestic product, energy consumption and
annual income, literacy rate, and life expectancy at birth. (Rieger-Jandl
12)
• Globalization: to Rieger-Jandl it isn’t about creating a single society.
Instead he sees it as a process of growing significance regarding the
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worldwide interconnectedness of social events and relationships.
(Rieger-Jandl 12)
• Iconography: is the branch of art history which studies the identification,
description, and the interpretation of the content of images: the subjects
depicted, the particular compositions and details used to do so, and
other elements that are distinct from artistic style. (“Iconography”)
• Identity: the qualities, beliefs, etc., that make a particular person or
group different from others. (“Identity”)
• Post-colonialism theory: is an academic discipline featuring methods
of intellectual discourse that analyze, explain, and respond to the cultural
legacies of colonialism and of imperialism, to the human consequences
of controlling a country and establishing settlers for the economic
exploitation of the native people and their land. (“Post-colonialism”)
• Tradition: it is an anonymous product of the unconscious collective
process. It is an accumulated understanding of a cultural phenomenon.
In dealing with its nature, it seems that the aspect of transmission is the
essence of tradition since the transmissible parts of human action are
the key-elements of their behavior that would be classified as tradition.
(Rieger-Jandl 12)
Globalization is a topic that discussed for centuries now; however, it is due to its
change in definition that we might believe it is something of the modern days. It was the
idea of the Roman empire to conquer the world, in literal terms, that can be consider
globalization. Again, it will only depend on your definition of globalization. As I have
defined it here, it can be said that it is globalization. The term globalization was first
introduced to the world, in a literal fashion in 1961; Rieger-Jandl writes, “In 1961 the
term globalization first appeared in the Webster’s Dictionary. This marked the beginning
of explicit recognition in the contemporary period of the growing significance of the
worldwide interconnectedness of social events and relationships” (Rieger-Jandl 16).
The mid of the 20th century was the time for the term globalization to become a
common terminology. It was the 1960s that that introduced this term to the world, and
made it aware of what we know as a global culture, global market, global architecture.
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In terms of architecture, globalization might indicate that architecture might be a
major influence in the global culture.
But what might be true for office towers in an urban conglomerate cannot
be taken as exemplary for the elaborateness of the built environment. The
shear fact of differences in climatic conditions and available materials will
always make architecture a local matter, even though these parameters
are strongly loosing their significance, whereas the symbolic functions of
expressing wealth and social status are gaining more and more important.
(Rieger-Jandl 20)
She argues that architecture is global in terms of appearance for specific types of
buildings, but that the significance of climate conditions and available materials are still
presenting resistance towards a more global architecture. Yet, architecture is still a
major influence in contributing to the transformation of culture on a global scale (King
398). Now, there is something very important that has to be analyzed very carefully, that
is the built environment, it is essential to understanding the social and cultural
organization of a place. Rieger-Jandl writes, “The physical and spatial reality of the built
environment is an essential part in the conceptualization of culture, society and social
organization” (Rieger-Jandl 21).
The word place is a very interesting one, as we move to a more globalized
world, we believe that place can be globalized as well; however, Rieger-Jandl argues
that there is no such space as cyber, neither place as global; she argues that the
closest approximation you will get in terms of a global space is the lounge at an airport,
and things like shopping malls (Rieger-Jandl 23). She doesn’t consider those things to
be places but rather spaces. So, a space is to be globalized, the one could be inserted
into a specific place, yet the place is not globalized. Now, in terms of architecture, a
space can be qualified as a moment in place. Andrea Rieger-Jandl makes a very
important point when she points out that well-known architects do not care about the
context nor the built environment. She writes:
Dealing with ever more heterogeneous cultural surroundings requires a
search for new reference points. One approach is that more and more
architects see their work as a piece of art that stands above any other
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context and does not have to deal with irritating factors such as place or
the people. Richard Meier scatters his cubic, white-tiled buildings all over
the world, in Los Angeles, in London, Barcelona and many other cities -
They do not care about surroundings or cultural background, they look
‘Meier’ , and this is enough justification for him, and his followers, to not
have to deal with any such problematic things as place and cultural
considerations. (Rieger-Jandl 28)
As long as the user and visitor can read my name through the building aesthetics, that
is all I care about. That is in essence of what Rieger-Jandl is letting us know. Architects
are becoming fashion designers, where they do not care how ugly, unpleasant, out of
context the building may look, all they care about is creating a brand, and every time
you are in a city you can tell that is Meier, or Foster, or Gehry, etc. They are not taking
into account the nature of the project, the very essence that makes that particular
project special to the context, the people, the culture; they are leaving behind the idea of
architectural iconography and architectural identity, and what those things, in essence,
mean to a particular culture.
There is the common perception about how much architecture influences
culture, and how much culture influences architecture. To Rieger-Jandl, architecture can
hardly influence culture; however, culture is a major influencer in architecture (Rieger-
Jandl 38). It is almost impossible to design for culture, this is due to the many levels and
complexities of culture. However, architecture can represent certain area of culture.
“Architecture is, after all, a surface to express people’s thinking, it is a visible world
shaped by ideas and imagination. Thinking is not just an internal process within people
but is manifested on facades, on consumer products and computer monitors as well as
in festivals, language music etc” (Rieger-Jandl 40). Architecture can represent one of
this very simple elements that form culture. Architecture can be about music, about
language, about art, but it is always related to a specific element in culture. That is the
reason we have churches looking the way they do, the same is to be said about
government buildings, and those vary all across the world depending on the political
system in place on that specific country.
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One of the most controversial and difﬁcult topics being discussed today, is the
idea of introducing the global into the local. Here is when one starts noticing resistance
from different groups, and that is in terms of culture. “A further challenge today is the
introduction of the global into the local without clinging to a US-Eurocentric approach
and without adopting a missionary position” (Rieger-Jandl 42). Rieger-Jandl argues,
there is a challenge for us out there, and that is to be able to conserve the existing
culture, yet introducing a global aspect to it. However, when this happens the local
culture is neglected and abandoned, and an example of this is the case of Panama,
Dominican Republic, and many other countries that have entered the globalization
movement.
Global culture can be very powerful and imposing in many cases, causing
cultures to lose its identity, to neglect its values, beliefs, and world views. King argues,
“Since the 1970s, in architectural history, scholars have pointed out that insufﬁcient
notice was being taken of ‘the vernacular’ and ‘ethnic architecture’; ethnicity, of course,
and ethnic difference, has been a major area of neglect and subsequent discovery
across the spectrum of intellectual enquiry” (King 402). King’s point is that culture has
been overlooked, and not taken into account architecturally speaking. This isn’t anything
knew, and that is the reason to the creation of an international style in architecture.
However, all cultures are different, and deserves to be analyze individually.
There are a few points that have to be revised in terms of globalization. Anthony
King describe some of those points in his Architect, Capital and The Globalization of
Culture essay:
First, globalization processes are only partial; they affect some regions of
the world-economy more than others, and within regions, some social
groups or sectors more or less than others, and this is important if we are
trying to understand the production of particular built environment.
Second, by focusing on what might be seen as the dominant economic
processes (the internationalization of capital), we may seriously
underestimate the precesses of economic, social and cultural resistance,
both in terms of scale (i.e. how large are they) and intensity (how strong
are they). Finally, if we are interested in identifying and documenting
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cultural difference, distinctive cultures and the way they are represented in
architecture and urban form, world systems theory does not, as yet, have
anything to say about this.
Globalization doesn’t always affect everyone, but when it does it starts at the bottom of
the social order, the most vulnerable people will be the ones that will suffer the most due
to globalization. This is due to the fact that globalization is a matter of capital, and the
powerless have very little influence and input, that’s due to their low level of capital.
Globalization tries to turn a world with many cultures, into a world with one culture, one
way of living, hence turning it into a homogeneous world.
So far, I have been using the term global culture to define the emergence of a
global values, beliefs, music, etc., but does it actually exist? Is there such thing as
global culture, or is it just a name that we have assigned to the unexpected
transformation of cultures around the world into a more common one? That is
something that we could understand if we try defining westernization vs. globalization.
The diffusion of globalization and westernization creates a dilemma that
irritates the dialog between developing and industrialized countries. There
are approaches that do not differentiate between globalization and
westernization at all but regard them as one and the same process,
whereas others see only a strong involvement of the West in the
globalization procedure and expect the future perspective to end up in a
general process of deterritorialization. (Rieger-Jandl 53)
What does architecture has to do with the change of culture of a place? Anthony
King on his Architecture, Capital and The Globalization of Culture essay suggests, “that
architecture and planning, indeed, all the ‘design professions’, are potentially major
influences in contributing to the transformation of culture on a global scale” (King 398).
King is suggesting that architecture not only has the power to transform culture at a
global scale but that it is a major influence in the transformation of culture on a global
scale. Proving this concept to be right, we can agree that internationalism is the main
cause for the emergence of a new global culture in developing countries. King writes:
The immense acceleration in the processes of globalization and ‘global
compression’ is most obviously seen in relation to the economy: the three
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major players in the internationalization of the economy since the 1970s
have been the banks, the global corporation and the state (Thrift, 1986); it
has been accompanied by the internationalization of production and of
consumption, of twenty-four-hour global trading in securities, of
revolutionary developments in transport and telecommunications
technology and the massive growth in international labour migration.
These, in turn, have brought the deterritorialization of cultures, the
existence of cultures far from their places of origin. (King 399).
King argues that globalization is, indeed, the cause for the disappearance of traditional
cultures and the emergence of a new global culture. Internationalism usually demands
for things to be privatize, in many occasions to be foreign owned. For example the case
of Los Angeles, where 70 percent of the downtown is foreign owned (King 400). The
case for the province of La Romana in the Dominican Republic is no different, where
nearly the entire province is owned by the Central Romana Corporation.
Now that we have some understanding of culture and globalization let’s place
that into the circumstances of a developing country. Developing countries are that, they
are trying to develop and be noticed; however, development sometimes can face
resistance and fear from within its nucleus, and even those in favor of change.
In developing countries people are often caught between the desire for
progress and the fear of change - circumstances that are clearly
expressed in the appearance of the built environment. Whereas traditional
environments tend to be culture-specific and change comes slowly,
contemporary environments change very rapidly... Now that change
occurs with increasing speed, architecture has become inflexible in
comparison. Every little detail of a building is planned very carefully and
the final result hardly allows for any interference other than occasional
renovation. (Rieger-Jandl 55).
For developed countries such as United States, Canada, and many other nations
across the world, change is a speedy process. Developed countries go through cultural
changes more easily than those in the process of developing. That is one of the
reasons those are developed countries, they can take a very complicated and
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sophisticated matter, such as culture, and be able to adapt to a new one. On the other
hand, developing countries struggled with that, they struggle because the level of
education is much lower, the countries face more resistance across their population and
they try to introduce a culture that isn’t necessarily developed in a country under the
same circumstances.
Change in identity means change in culture, and in developing countries that is
asking for homogeneity. Rieger-Jandl argues, “In the age of globalization collective
identity is never fixed in time. The desire to search for a new identity in many cases
does not come from the grassroots, but from above. There are several forces that
attempt to threaten the hegemony through conscious changes in the geography of
social relations” (Rieger-Jandl 57). She argues that there is always a level of
unwillingness from within to change the culture. Cultures change from time to time, but
the essence, the foundation in which it is created still exist. And there is the possibility
that from within, the country might receive support to change its identity; however, in a
very passive way and keeping in mind the existing culture without imposing anything on
the existing one.
Political power-brokers abuse culture by using it as a unifying instrument,
while at the same time culture as an artificial construct creates borders
that have never been there before...
When introducing globalization into the subject of identity and nationalism,
it can produce a defensive reaction since collective meaning and solidarity
are threatened and new cultural codes constructed out of historical
materials are implemented. (Rieger-Jandl 58)
Now I am presenting the reason many cultures and identities disappear. It is due to a
complete negligence of the empowered group over the powerless. That is exactly the
case for the site for this architectural thesis. It is a city that has been completely
dominated for decades by a group of empowered political affiliates, the ones have
bought off the city and tried to impose their own rules, identity and culture, onto a city,
that for decades, has tried to remain saint in terms of its traditions and culture.
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Another major player in the change of culture of a country is tourism. Tourism is
a major contributor to the economy of many developing countries, that is no different for
the Dominican Republic, and more specifically the city of La Romana.
One factor that influences changing identities, not only but especially so in
less developed regions, is tourism. Tourism, often in combination with
development cooperation, transfers images, signs, power and money.
International tourism is an exchange system of vast proportions, with little
respect for national boundaries. (Rieger-Jandl 59)
Tourism is a major player in the transition of identity of many countries around the world.
In the Dominican Republic, more specifically, the city of La Romana, it’s going from a
traditional hard working sugar production city, to being one of the main touristic
attraction centers. Rieger-Jandl suggest, “There is no way to ignore tourism as part of
the cultural environment. Tourism not only shapes culture but is now often part of a
culture” (Rieger-Jandl 61). Regardless of the resistance, tourism will change the way
people live, it will change the identity of a culture. However, they can use tourism as a
way to expose their culture and maintain it alive, basically educate tourist about their
own culture. In that case, tourism is reshaping the identity of a community, but only in
the social aspect, the culture remains the same.
“Tradition is rooted in culture. Culture has been rooted in place. Whereas the
connection of tradition with culture is obvious, the connection of culture to place is not
anymore so” (Rieger-Jandl 66). Rieger-Jandl is being very explicit in what she writes,
globalization has allow for a culture to exist in place where it has no affiliation to. In
other words, the are cultures that have been imposed, not born.
In terms of architecture, what happens when a Western architect builds in a
developing country? Rieger-Jandl analyses the case of New Caledonia and the Cultural
Center by Renzo Piano. She believes that the circumstances are quite bizarre, coming
out of independence the government has open a competition for the design of a cultural
center dedicated to the Kanak people; it happens that now that cultural center
dominates an entire region of the country (Reiger-Jandl 80). She continues to described
the architects approach:
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The architect’s solution to the dilemma of combining the perfection of
high-tech methods with the indigenous hut is quite intriguing: He gives
the buildings the impression of being unﬁnished - as a metaphor for the
living, active and progressive culture of the Kanak people. The natural
system of wind circulation in Kanak architecture was transformed into a
high-tech ventilation system which was calculated by computer models
and tested in the wind channel. (Rieger-Jandl 81)
Piano was inﬂuenced by the Kanak architecture in a very unique way. He tries to
simulated various aspects of the Kanak architecture and the indigenous villages;
however, that doesn’t take away from the fact that it is an obvious foreign invasion. I
believe Piano’s approach was one that not too many architects take nowadays. He sat
down and analyze the life style of this indigenous village. And understanding the way
they build things, and what they achieve by building it that way is not something easy to
do for an architect. Regardless of the foreign look of the building, there is something
true to the building, and that is the understanding of the materials, the architecture of
the village as well as the methods of constructing.
So far we have seen how certain terminologies are associated with one
another, but what is the reason globalization seems to be affecting developing
countries, in a negative way, more than those already developed? In an article by
Zaheer & Zarrin Allam titled Invasive Aesthetics: A Manifesto for Reviving Architectural
Identity in Developing Nations, they write about how architects have been forced into
embracing consumerism; they argue that developing countries have equated their
economic success to modern architecture, as a form to demonstrate that they are
advancing and developing, that they can be innovative and leaders of the world. Allam
and Allam believe that global architecture is creating uniformity all around the world,
“We are neglecting vibrant contextual elements and hence constructing a generic world
lacking humane facets of design” (Allam and Allam). Architecture is losing its essence,
the essence of creativity, the essence of creating something unique. We are nowhere
near creating a responsive architecture to the urban fabric, we are far from creating
architecture that is intelligent. We are moving towards a time where we are denying
ourselves the ability to be creative and enrich our built environment.
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Allam and Allam write, “By becoming a willing victim of globalization, we not
only exhibit its scars but also teeter on the brink of a free fall, embracing the
deconstruction of the unique identity of places that marvel and enrapture through their
distinctiveness. By embracing foreign cultures, we too often deny our own roots” (Allam
and Allam). It appears to be very easy for developed countries to persuade developing
countries into doing this. However, typically the picture presented is not as easy to
reach as they make it seem. And many times developing countries want that picture so
bad, that they forget their foundation and principles. Allam and Allam write that local
inhabitants should also be able to experience their own culture, and that it shouldn’t be
confined to the tourism in specific, local inhabitants should be able to experience their
own culture in the streets and their buildings.
History is being erased... memories soiled. We tend to forget that our
cultural identity is a matter of being as well as becoming, and thus it
belongs to our future as much as our past. Ultimately, our structures are
visual narrators of our history and will stand long after we are gone. Cities
and buildings are at risk of facing a slow decay; history forgotten to all,
hanging on to sheer survival in wizened history books that scream to be
read. The global economy has unfortunately become an instrument of
undoing the magnificent expressions of our ancient cultures and values.
(Allam and Allam)
As designers and architects, we must take a stand and design towards and architecture
that is responsive to the built environment, the cultural identity and towards creating and
architectural identity for the place itself. The profession of architecture needs to bring
back pride and glory back to the cities and their people. We live in a heterogeneous
society, therefore, architecture should respond to those conditions.
Architectural identity is just as dependent on the culture as the identity of a
place. The architecture of a place describes the place, and the methods of living and
expression of that specific group. Hoshiar Nooraddin writes in his Architectural Identity
in an Era of Change essay,
Since the early of the 20th century, most of the countries in the Middle
East have applied modern architecture with little attention to local
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architectural identity. Since the 1960’s more efforts have been applied to
apply regional and local architecture. Yet they ignored the multi ethnic
reality of these countries. The major factor behind this situation is because
creating modern local architectural identity in these countries is decided by
the dominating cultural groups. This trend has been applied in
architectural education, research, practice, rules, planning, and policies
(81).
Hoshiar makes emphasis on Middle Eastern countries, this is the same for many
developing countries all around the world, however. The city of La Romana - the site for
this project - is, almost in its entirety, owned and control by a small group. That small
group runs the sugar production, as well as the tourism in the town. Architectural identity
has shifted its meaning of expressing the local culture and identity, to becoming a
reflection of architectural movement. That is seen today with well-known architects such
as Frank Gehry, Rem Koolhaas, Zaha Hadid, etc., it is a competition about who can
create the most unique shape and form, and use the most uncommon materials on the
facades of the building. Architecture has to go back to its true meaning, the meaning of
expressing specifics aspect of tradition or culture; if architecture is a major influence in
global culture, it can be a major player in the revival of traditional cultures.
Now, if tradition, culture and architectural identity are truly in danger of
disappearing, then developing countries should turn to Post-Colonial Theory, and give
some power to its citizens. This theory in general seeks justices for the powerless mass.
It seeks to speak to the vast and horrific social and psychological
suffering, exploitation, violence and enslavement done to the powerless
victims of colonization around the world. It challenges the superiority of the
dominant Western perspective and seeks to re-position and empower the
marginalized and subordinated other. It pushes back to resist paternalistic
and patriarchal foreign practices that dismiss local thought, culture and
practice as uniformed, barbarian and irrational. It identifies the
complicated process of establishing an identity that is both different from,
yet influenced by, the colonist who has left. (Parsons and Kelly 2)
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Post-Colonial Theory seeks to bring the power back to the people, and when looking at
developing countries, it is definitely something to analyze. The goal of this thesis is to
create an architecture that will revive the cultural identity of a city as well as create an
architectural identity for the city, this theory can help us understand that, and help
identify who are the marginalized and who are the empowered ones. Although, Parsons
and Kelly write that the process of establishing a cultural identity is quite of a
complicated process. Because it tries to be different from the colonist, yet trying to take
some of the aspects of the colonists. Parsons and Kelly explain how the key to creating
an empowered identity is on showing respect to the local population’s knowledge and
capabilities (3). As long as respect isn’t given or shown to the local population, as long
as the local population feels inferior to those with power, as long as they are being
exploited, their identity will continue to weaken.
Globalization, architectural identity, tradition, culture and Post-Colonialism, what
do all this terms and philosophy have in common? How can one influence the other
one, or how can one hurt the other one? I shall conclude trying to connect and about
them in a more traditional formal way.
First, globalization is a phenomenon that has its pros and cons, just a
everything in life. However, when it comes to globalization and the effects that it has in
developing countries, there are a lot more cons to it. This is largely due to the fact that
many of these cultures are already fighting an existing political, economical and social
system. And introducing the phenomenon of globalization, I might say a foreign
movement, creates differences and disadvantage for those powerless.
Second, in terms of global architecture, we need to start understanding the
effects it has on the built environment. As pleasant as the architecture of Frank Gehry,
Zaha Hadid, and other major architects might seem to the naked eye, it is completely
foreign to the built environment and the urban fabric. This is just an effect of
globalization, and architects forced into considering the idea of consumerism. It is also
the idea about creating a global brand in architecture; in other words, creating a
signature move that no matter where the building is located, you can still say that was
done by Gehry, Hadid, or whoever might have been the architect.
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Third, global into the local, to that comes the idea of introducing the global into
the local. As heterogeneous culture we need to fight to avoid the introduction of a global
culture, that would just create a homogeneous world, with one identity, one culture, one
life style. Can you imaging what that would be like? Well, let me put it this way, tourism
wouldn’t be as nearly as important as it is for the economy of developing countries,
because tourist wouldn’t be visiting a different culture, since they already live under
similar conditions.
Fourth, in terms of tourism, tourism will continue to mold the life style of
developing countries, it is a major player in the economy of those countries. However, it
will not change the culture of the country, it will only serve as a way to educate others
about the place’s culture.
Finally, if post-colonialism theory seeks justice for the powerless mass after
colonization, it can be use and adopted to the modern days as well. Using and
analyzing the theory cities can learn to to resist the invasion of foreign control.
Now, if architecture is what we have as a major influence in introducing global
culture into developing countries, architects should rethink the way they are
approaching it. They should pause and look at the built environment, the urban fabric,
the materiality, context, culture, social groups and determine what is best for the city,
rather than assuming a global perspective and expecting that the fact ‘I am Zaha Hadid’
it is acceptable to design in a negligent matter. By assuming and accepting a role in
globalization, we are neglecting and deconstructing our own cultural identity, what
separates us from the rest of the world. And as much as we like to look towards the
future, our culture belongs just as much to it as it belonged to the past.
3. Questions/Theoretical Issue Raised
Can architecture reverse its effect of globalization and turn back into being an art
influenced by culture? Can it reshape the cultural identity of developing countries?
Assuming globalization is evil for developing countries, can it still have some good for
those undeveloped countries? Can globalization be approached in a different way by
developing countries?
!16

Is global culture truly something that exist? What influences it? Who controls it?
Where are its roots from?
Why is global architecture neglecting the built environment and the urban fabric? Who
influences this architecture? Who has the power to stop it from spreading and
continue to destroy architectural identities all across the world? Is there a gain from
approaching architecture this way?
How can Post-Colonialism theory help understand the influence of globalization over
developing countries? How can it stop the globalization of culture and architecture
from spreading and
In terms of the globalization of architecture, are we willing to take the uniqueness of a
like Barcelona, London, Los Angeles and place it anywhere we desire? Isn’t that what
makes those places special, the fact that they are unique to their context and built
environment?
4. Architectural Issues
Globalization of Architecture and the introduction of it to developing countries.
Globalization and the empowering of certain groups, leaving the mass powerless.
Replicating the architectural image of other cities around the world. For example, the
Chinese skyline is becoming an imitation of the New York or London skyline.
Architecture has lost its meaning from being a cultural expression, to becoming a
design competition for the world recognition.
There is the need for an architecture that doesn’t try to aim for the construction of the
standardized configuration, but aims to create harmony between history and structure,
harmony between past and present.
The global economy has been a way for those empowered to undo the fascinating
cultural identity of developing countries all around the world.
Developing countries have adopted globalization as a way to show progress and
innovation. They believe that by embracing it, they are, ironically, leading their country
into the future.
5. Architectural Precedents
!17

Jean-Marie Tjibaou Cultural Center, Noumea, New Caledonia - Renzo Piano
The cultural center is situated on a narrow strip of land surrounded by the
ocean and lots of lush vegetation. Ten pavilions of various sizes ranging in
height between 9 and 24 meters high are situated asymmetrically along a
main path. Each pavilion serves a various function or evokes certain
themes and includes permanent or temporary exhibitions. Some contain
studios for traditional activities, such as music, dance, painting and
sculpture. Also housed at the center is an auditorium, an amphitheater, the
administrative departments, research areas, a conference room and a
library.
! !
! !
Urban Plan for Furuset, Oslo, Norway - a-lab
The foremost strategy of the design is to deﬁne qualities that enhance the
identity of the life between the buildings along with the street life of the
city. The urban development is modeled as a framework for the increased
density of Furuset that support the city’s openness and its needs to absorb
changes. With the abundance of the existing green spaces in Furuset, the
architects chose to strengthen and deﬁne its qualities to relate to the scale
!18

of the city street, contrasting and structuring the landscape against two
main urban spaces that will interset at the new Trygve Lies square.
! !
! !
! !
Jewish Museum Berlin, Germany - Daniel Libeskind
The new design, was based on three conception that formed the
museum’s foundation: ﬁrst, the impossibility of understanding the history of
Berlin without understanding the enormous intellectual, economic and
cultural contribution made by the Jewish citizens of Berlin, second, the
necessity to integrate physically and spiritually the meaning of the
Holocaust into the consciousness and memory of the city of Berlin. Third,
!19

that only through the acknowledgement and incorporation of this erasure
and void of Jewish life in Berlin, can the history of Berlin and Europe have
a human future.
!
! !
4. Site and Context Analysis
The site and context analysis of the project is in process. During the deadline for
this proposal, I will be traveling to my site and documenting it. Due to that, I will bypass
this section of the book until I have further developed the material. I will be resubmitting
this document completed as soon as I have done my analysis.
1. Annotated Aerial Photos or Maps of Site
!20

2. Site Documentation
3. Site Studies
4. Site Parameters
5. Program
1. Program Type, Description, and Assessment
Lobby (A): this part of the program will serve as the main transition point for the entire
project. It will be the nuclei of the project. It will direct visitors and receive visitors. It
will be the connection to the different zones of the project. Approximate sq. ft.
(3,000-5,000).
Cafe (B): approximate sq. ft. (500-1,000).
Shops (C): approximate sq. ft. (500-800).
Bookstore (D): approximate sq. ft. (500-800).
Library (E): approximate sq. ft. (8,000-12,000).
Museum (F): approximate sq. ft. (10,000-15,000).
Ofﬁces (G): approximate sq. ft. (2,000-4,000).
Conference rooms (H): approximate sq. ft. (4,000-6,000).
Temp. Exhibits (I): approximate sq. ft. (4,000-6,000).
Perm. Exhibits (J): approximate sq. ft. (4,000-6,000).
Multi-purpose hall (K): approximate sq. ft. (4,000-7,000).
Mechanical & storage spaces (L): approximate sq. ft. (4,500-6,000).
Total maximum sq. ft. Not to exceed: 70,000 sq. ft.
!21

1. Programmatic Elements and Interrelationships
6. Conceptual/Preliminary Design Studies
I have decided to do my site analysis before entering the conceptual design
studies for the design thesis. Due to the circumstances that I will be traveling to my site
during the deadline of the project, I will be bypassing this section of the book; however,
it is my intent to resubmit the book with this section included once my site
documentation is concluded. I have decided not to start conceptual design because of
the previously stated reason, and also because my project argues the fact that
architects now a days, don’t analyze the context before the beginning of design. I think it
is important for to start by understanding the site and its built environment.
1. Studies/Devices Revealing Architectonic Ideas
!22

7. Conclusion
Globalization, architectural identity, tradition, culture and Post-Colonialism, what do all
this terms and philosophy have in common? How can one influence the other one, or
how can one hurt the other one? I shall conclude trying to connect and about them in a
more traditional formal way.
First, globalization is a phenomenon that has its pros and cons, just a
everything in life. However, when it comes to globalization and the effects that it has in
developing countries, there are a lot more cons to it. This is largely due to the fact that
many of these cultures are already fighting an existing political, economical and social
system. And introducing the phenomenon of globalization, I might say a foreign
movement, creates differences and disadvantage for those powerless.
Second, in terms of global architecture, we need to start understanding the
effects it has on the built environment. As pleasant as the architecture of Frank Gehry,
Zaha Hadid, and other major architects might seem to the naked eye, it is completely
foreign to the built environment and the urban fabric. This is just an effect of
globalization, and architects forced into considering the idea of consumerism. It is also
the idea about creating a global brand in architecture; in other words, creating a
signature move that no matter where the building is located, you can still say that was
done by Gehry, Hadid, or whoever might have been the architect.
Third, global into the local, to that comes the idea of introducing the global into
the local. As heterogeneous culture we need to fight to avoid the introduction of a global
culture, that would just create a homogeneous world, with one identity, one culture, one
life style. Can you imaging what that would be like? Well, let me put it this way, tourism
wouldn’t be as nearly as important as it is for the economy of developing countries,
because tourist wouldn’t be visiting a different culture, since they already live under
similar conditions.
Fourth, in terms of tourism, tourism will continue to mold the life style of
developing countries, it is a major player in the economy of those countries. However, it
will not change the culture of the country, it will only serve as a way to educate others
about the place’s culture.
!23

Finally, if post-colonialism theory seeks justice for the powerless mass after
colonization, it can be use and adopted to the modern days as well. Using and
analyzing the theory cities can learn to to resist the invasion of foreign control.
Now, if architecture is what we have as a major inﬂuence in introducing global
culture into developing countries, architects should rethink the way they are
approaching it. They should pause and look at the built environment, the urban fabric,
the materiality, context, culture, social groups and determine what is best for the city,
rather than assuming a global perspective and expecting that the fact ‘I am Zaha Hadid’
it is acceptable to design in a negligent matter. By assuming and accepting a role in
globalization, we are neglecting and deconstructing our own cultural identity, what
separates us from the rest of the world. And as much as we like to look towards the
future, our culture belongs just as much to it as it belonged to the past.
8. Bibliography
Allam, Zaheer, and Zarrin Allam. "Invasive Aesthetics: A Manifesto for Reviving
Architectural Identity in Developing Nations." ArchDaily. N.p., 13 June 2013.
Web. 09 Oct. 2013.
"Capitalism." Merriam-Webster.com. Merriam-Webster, n.d. Web. 8 Oct. 2013. <http://
www.merriam-webster.com/dictionary/capitalism>.
"Culture." Merriam-Webster.com. Merriam-Webster, n.d. Web. 7 Oct. 2013. <http://
www.merriam-webster.com/dictionary/culture>.
“Dominican Republic.” The World Factbook. Central Intelligence Agency, 2013. Web.
7 Oct 2013.
"Iconography." Wikipedia: The Free Encyclopedia. Wikimedia Foundation, Inc. 22 July
2004. Web. 8 Oct 2013.
"Identity." Merriam-Webster.com. Merriam-Webster, n.d. Web. 8 Oct. 2013. <http://
www.merriam-webster.com/dictionary/identity>.
King, Anthony. "Architecture, capital and the globalization of culture." Theory, Culture
and Society 7.2-3 (1990): 397-411.
!24

"La Romana, La Romana." Wikipedia. Wikimedia Foundation, 10 Feb. 2013. Web. 07
Oct. 2013.
Nooraddin, Hoshiar. "Architectural Identity in an Era of Change." Developing Country
Studies 2.10 (2012): 81-96.
Rieger-Jandl, Andrea. Architecture and Culture: Building in the Tension of Increasing
Global Interaction. Wien: Neuer Wissenschaftsverlag, 2006. Print.
Parsons, Jim B., and Kelly J. Harding. "Post-Colonial Theory and Action Research."
Turkish Online Journal of Qualitative Inquiry 2.2 (2011): 1-6. Apr. 2011. Web. 1
Oct. 2013.
"Post-colonialism." Wikipedia: The Free Encyclopedia. Wikimedia Foundation, Inc. 22
July 2004. Web. 8 Oct 2013.
!25

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