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PART 01 What is Architecture (What are some of its definin.docx
- 1. PART 01: What is Architecture? (What are some of its defining characteristics, meanings, and foundational questions?) WEEK 01 LECTURE/ARCHITECTURE/THEORY vs. PRAXIS WEEK 02 LECTURE/CRITICAL THINKING WEEK 03 LECTURE/DOES ARCHITECTURE HAVE AN ESSENCE? WEEK 04 LECTURE/ARCHITECTURE: ART or SCIENCE? WEEK 05 LECTURE/ARCHITECTURE & CONTINGENCY Part 02: What are the central issues the discipline face? (what is causing this uncertainty) WEEK 06 LECTURE/ARCHITECTURE & GLOBALIZATION WEEK 07LECTURE/ENVIRONMENT 1: ARCHITECTURE & SCARCITY WEEK 08 ENVIRONMENT 2: ARCHITECTURE & SUSTAINABILITY WEEK 09 LECTURE/ARCHITECTURE & RAPID TECHNOLOGICAL DEVELOPMENT WEEK 10 LECTURE/ARCHITECTURE, HEALTH, & WELL BEING PART 03: What are some Foundational Concepts/Methodologies for design? (What are some of its basic languages/vehicles for
- 2. communication) WEEK 11 LECTURE/MANIFESTO WEEK 12 LECTURE/DIAGRAMING WEEK 13 LECTURE/NARRATIVE: PROCESS/FORM/ORDER WEEK 14 LECTURE/ARCHITECTURE & THE UNIVERSITY WEEK 15 LECTURE/THE ETHICAL CHALLENGE OF ARCHITECTURE ARCH 1110/FALL 2022 LECTURE 11: MANIFESTO LECTURE 11/11.01.22 ARCH 1110/FALL 2022 PART 01 LECTURE 11: SECTION OUTLINE SECTION 01: What is a manifesto/What is its purpose? SECTION 02: Modernist Architecture & the Manifesto SECTION 03: Contemporary Examples
- 3. ARCH 1110/FALL 2022: LECTURE 11 SECTION 01: What is a manifesto/What is its purpose? A manifesto is a published declaration of the intentions, motives, or views of the issuer, be it an individual, group, political party or government. A manifesto usually accepts a previously published opinion or public consensus or promotes a new idea with prescriptive notions for carrying out changes the author believes should be made. It often is political or artistic in nature, but may present an individual's life stance. Manifestos relating to religious belief are generally referred to as creeds. It is derived from the Italian word manifesto, itself derived from the Latin manifestum, meaning clear or conspicuous. https://en.wikipedia.org/wiki/Consensus_decision-making https://en.wikipedia.org/wiki/Politics https://en.wikipedia.org/wiki/Art_manifesto https://en.wikipedia.org/wiki/Life_stance https://en.wikipedia.org/wiki/Life_stance https://en.wikipedia.org/wiki/Religious_belief https://en.wikipedia.org/wiki/Creed https://en.wikipedia.org/wiki/Italian_language https://en.wikipedia.org/wiki/Latin
- 4. [The fundamental] proposition is: that in every historical epoch, the prevailing mode of economic production and exchange, and the social organization necessarily following from it, form the basis upon which it is built up, and from which alone can be explained, the political and intellectual history of that epoch; that consequently the whole history of mankind (since the dissolution of primitive tribal society, holding land in common ownership) has been a history of class struggles, contests between exploiting and exploited, ruling and oppressed classes; that the history of these class struggles forms a series of evolutions in which, now-a- days, a stage has been reached where the exploited and oppressed class—the proletariat—cannot attain its emancipation from the sway of the exploiting and ruling class—the bourgeoisie—without, at the same time, and once and for all, emancipating society at large from all exploitation, oppression, class distinctions and class struggles. Excerpt from the Communist Manifesto (Karl Marx & Fredrich Engels) Structure/Form: (Common) • description of historical condition/how we got here
- 5. • What needs to be done… • what could/should emerge that brings positive change • to the circumstance ARCH 1110/FALL 2021: LECTURE 11 SECTION 02: Modernist Architecture & the Manifesto 1907 Henry van de Velde: Credo Thou shalt comprehend the form and construction of all objects only in the sense of their strictest, elementary logic and justification for their existence. Thou shalt adapt and subordinate these forms and constructions to the essential use of the material which thou employest. And if thou art animated by the wish to beautify these forms and constructions, give thyself to the longing for refinement to which thy aesthetic sensibility or taste for ornament- of whatever kind it is – shall inspire thee, only so far as thou canst respect and retain the rights and the essential appearance of
- 6. these forms and constructions! 1908 Adolf Loos: Ornament and Crime The child is amoral. To our eyes, the Papuan is too. The Papuan kills his enemies and eats them. He is not a criminal. But when modern man kills someone and eats him he is either a criminal or a degenerate. The Papuan tattoos his skin, his boat, his paddles, in short everything he can lay hands on. He is not a criminal. The modern man who tattoos himself is either a criminal or a degenerate. There are prisons in which eighty per cent of the inmates show tattoos. The tattooed who are not in prison are latent criminals or degenerate aristocrats. If someone who is tattooed dies at liberty, it means he has died a few years before committing a murder.
- 7. The urge to ornament one's face and everything within reach is the start of plastic art. It is the baby talk of painting. All art is erotic. The first ornament that was born, the cross, was erotic in origin. The first work of art, the first artistic act which the first artist, in order to rid himself of his surplus energy, smeared on the wall. A horizontal dash: the prone woman….. The man who created it felt the same urge as Beethoven, he was in the same heaven in which Beethoven created the Ninth Symphony. But the man of our day who, in response to an inner urge, smears the walls with erotic symbols is a criminal or a degenerate. It goes without saying that this impulse most frequently assails people with such symptoms of degeneracy in the lavatory. A country's culture can be assessed by the extent to which its lavatory walls are smeared. In the child this is a natural phenomenon: his first artistic expression is to scribble erotic symbols on the walls. But what is natural to the Papuan and the child is a symptom of degeneracy in the modern adult. Very well, the ornament disease is recognized by the state and subsidized with state funds. But I see in this a retrograde step. I don't accept the objection, that ornament heightens a cultivated person's joy in life, don't accept
- 8. the objection contained in the words·: 'But if the ornament is beautiful!' Ornament does not heighten my joy in life or the joy in life of any cultivated person. The speed of cultural evolution is reduced by the stragglers. I perhaps am living in 1908, but my neighbour is living in 1900 and the man across the way in 1880. It is unfortunate for a state when the culture of its inhabitants is spread over such a great period of time. The peasants of Kals are living in the twelfth century. And there were peoples taking part in the Jubilee parade (of the Emperor Franz Joseph) who would have been considered backward even during the migration of the nations. Happy the land that has no such stragglers and marauders. Happy America! [Ornament is no longer organically linked with our culture, it is also no longer the expression of our culture. The ornament that is manufactured today has no connexion with us, has absolutely no human connexions, no connexion with the world order. It is not capable of developing. What happened to Otto Eckmann's ornament, or van de Velde's? The artist has always stood at the forefront of mankind full of vigour and health. But the modern ornamentalist is a straggler or a pathological phenomenon. He himself will repudiate his own
- 9. products three years later. To cultivated people they are immediately intolerable; others become aware of their intolerable character only years later. Where are Otto Eckmann's works today? Modern ornament has no parents and no progeny, no past and no future. By uncultivated people, to whom the grandeur of our age is a book with seven seals, it is greeted joyfully and shortly afterwards repudiated. [I am preaching to the aristocrat. I tolerate ornaments on my own body, when they constitute the joy of my fellow men. Then they are my joy too. I can tolerate the ornaments of the Kaffir, the Persian, the Slovak peasant woman, my shoemaker's ornaments, for they all have no other way of attain ing the high points of their existence. We have art, which has taken the place of ornament. After the toils and troubles of the day we go to Beethoven or to Tristan. This my shoemaker cannot do. I mustn't deprive him of his joy, since I have nothing else to put in its place. But anyone who goes to the Ninth Symphony and then sits down and designs a wallpaper pattern is either a confidence trickster or a degenerate. Absence of ornament has brought the other arts to unsuspected heights. Beethoven's symphonies would never have been written by a man who had to walk about in silk,
- 10. satin, and lace. Anyone who goes around in a velvet coat today is not an artist but a buffoon or a house painter. We have grown finer, more subtle. The nomadic herdsmen had to distinguish themselves by various colours; modern man uses his clothes as a mask. So immensely strong is his individuality that it can no longer be expressed in articles of clothing. Freedom from ornament is a sign of spiritual strength. Modern man uses the ornaments of earlier or alien cultures as he sees fit. He concentrates his own inventiveness on other things. 1910 frank Lloyd Wright: Organic architecture In Organic Architecture then, it is quite impossible to consider the building as one thing, its furnishings another and its setting and environment still another. The Spirit in which these buildings are conceived sees all these together at work as one thing. All are to be studiously foreseen and provided for in the nature of the structure. All these should become mere details of the character and completeness of the
- 11. structure. Incorporated (or excluded) are lighting, heating and ventilation. The very chairs and tables, cabinets and even musical instruments, where practicable, are of the building itself, never fixtures upon it ... To thus make of a human dwelling-place a complete work of art, in itself expressive and beautiful, intimately related to modern life and fit to live in, lending itself more freely and suitably to the individual needs of the dwellers as itself an harmonious entity, fitting in colour, pattern and nature the utilities and be really an expression of them in character, - this is the tall modern American opportunity in Architecture. True basis of a true Culture. An exalted view to take of the 'property instinct' of our times? But once founded and on view I believe this Ideal will become a new Tradition: a vast step in advance of the prescribed fashion in a day when a dwelling was a composite of cells arranged as separate rooms: chambers to contain however good aggregations of furniture, utility comforts not present: a property interest chiefly. An organic-entity, this modern building as contrasted with that former insensate aggregation of parts. Surely we have here the higher ideal of unity as a more intimate working out of the expression of one's life in one's environment. One great thing instead of a quarrelling collection of so many
- 12. little things. ARCH 1110/FALL 2022 LECTURE 11: MANIFESTO LECTURE 11/11.01.22 ARCH 1110/FALL 2022 PART 02 If it yearns after primordial truths, the spirit destroys itself; if it weds the earth it thrives. Max Jacob (Philosophies, No.I, 1924) The town is a working tool.
- 13. Towns do not normally fulfil this function. They are inefficient: they wear out the body, they frustrate the mind. The increasing disorder in our towns is offensive: their decay damages our self-esteem and injures our dignity. They are not worthy of the age. They are no longer worthy of us. A town! It is an assault by man upon nature. It is a human action against nature, a human organism designed for shelter and work. It is a creation. Poetry is a human act - concerted interrelationships between perceptible images. To be exact, the poetry of nature is nothing but a construction of the " human spirit. The town is a powerful image that activates our spirit. Why should not the town, even today, be a source of poetry? Geometry is the means with which we have provided ourselves for looking around us and expressing ourselves. Geometry is the basis. It is also the material foundation for symbols signifying perfection, the divine. It brings us the lofty satisfaction of mathematics. The machine develops out of geometry. Thus the whole of the modem age is made up above all of geometry; it directs its dreams towards the joys of
- 14. geometry. After a century of analysis, modem arts and thought are seeking something beyond the random fact and geometry leads them towards a mathematical order, an attitude of mind …. There reigns a great disagreement between the modern state of mind, which is an admonition to us, and the stifling accumulation of age-long detritus. The problem is one of adaptation, in which the realities of our life are in question. Society is filled with a violent desire for something which it may obtain or may not. Everything lies in that : everything depends on the effort made and the attention paid to these alarming symptoms. Architecture or Revolution. Revolution can be avoided.
- 15. 1962 ROBERT VENTURI: COMPLEXITY AND CONTRADICTION I like complexity and contradiction in architecture. I do not like the incoherence or arbitrariness of incompetent architecture nor the precious intricacies of picturesqueness or expressionism. Instead, I speak of a complex and contradictory architecture based on the richness and ambiguity of modern experience, including that experience which is inherent in art. Everywhere, except in architecture, complex ity and contradiction have been acknowledged, from Godel’s proof of ultimate inconsistency in mathematics to T. S. Eliot’s analysis of “difficult” poetry and Joseph Albers’ definition of the paradoxical quality of painting.
- 16. But architecture is necessarily complex and contradictory in its very inclusion of the traditional Vitruvian elements of commodity, firmness, and delight. And today the wants of program, structure, mechanical equipment, and expression, even in single buildings in simple contexts, are diverse and conflicting in ways previously unimaginable. The increasing dimension and scale of architecture in urban and regional planning add to the difficulties. I welcome the problems and exploit the uncertainties. By embracing con- tradiction as well as complexity, I aim for vitality as well as validity. Architects can no longer afford to be intimidated by the puritanically moral language of orthodox Modern architecture. I like elements which are hybrid rather than “pure,” compromising rather than “clean,” distorted rather than “straightforward,” ambiguous rather than “articulated,” perverse as well as impersonal, boring as well as “interesting,” conventional rather than “designed,” accommodating rather than excluding, redundant rather than simple, vestigial as well as innovating, inconsistent and equivocal rather than direct and clear. I am for messy vitality over obvious unity. I include the non sequitur and proclaim the duality. Orthodox Modern architects have tended to recognize complexity insufficiently or inconsistently. In their attempt to break with tradition and start all over again, they ideal- ized the primitive and elementary at the expense of the diverse and the sophisticated. As participants in a revolu- tionary movement, they acclaimed the newness of modern functions, ignoring their complications.
- 17. In their role as reformers, they puritanically advocated the separation and exclusion of elements, rather than the inclusion of various requirements and their juxtapositions. As a forerunner of the Modern movement, Frank Lloyd Wright, who grew up with the motto “Truth against the World,” wrote: “Visions of simplicity so broad and far-reaching would open to me and such building harmonies appear that . . . would change and deepen the thinking and culture of the modern world. So I believed.”11 And Le Corbusier, co-founder of Purism, spoke of the “great primary forms” which, he pro- claimed, were “distinct . . . and without ambiguity.” Modern architects with few exceptions eschewed ambiguity. But now our position is different: “At the same time that the problems increase in quantity, complexity, and dif iculty they also change faster than before,” and require an attitude more like that described by August Heckscher: “The movement from a view of life as essentially simple and orderly to a view of life as complex and ironic is what every individual passes through in becoming mature. But certain epochs encourage this development; in them the paradoxical or dramatic outlook colors the whole intellectual scene. . . . Amid simplicity and order rationalism is born, but rationalism proves inadequate in any period of upheaval. Then equilibrium must be created out of opposites. Such inner peace as men gain must represent a tension among contradictions and uncertainties. . . . A feeling for paradox allows seemingly dissimilar things to exist side by side, their very incongruity suggesting a kind of truth.”
- 18. ARCH 1110/FALL 2022: LECTURE 11 SECTION 03: Some Contemporary Examples Craft. Architecture. 10 Thoughts. https://youtu.be/HrHvE8Vgc5U https://youtu.be/HrHvE8Vgc5U HANDMADE ARCHITECTURE AS A CATALYST FOR DEVELOPMENT ANNA HERINGER https://youtu.be/CgxtBEbphSw https://youtu.be/CgxtBEbphSw BJARKE INGELS - What YOUNG ARCHITECTS Must Learn https://youtu.be/smI7Bxnqlk4
- 19. https://www.youtube.com/watch?v=smI7Bxnqlk4 https://youtu.be/smI7Bxnqlk4 ARCH 1110/FALL 2022: LECTURE 11 SECTION 04: your manifesto: Start thinking about it now! Scale Construction proposal Introduction Research methods in validating the usefulness of a drugs usage scale. The relevance of conducting authenticating procedures using standard measurement scales within a pharmacological environment. The calibration of the scale and the item number are both necessary when determining the dose. The dependability of the project's goals and the scale standardization. Preferred categories of data that can be utilized in the scale development process. The utilization of qualitative data in the presentation of the various stages of the scale construction process The administration of drugs and the performance of drug tests within the pharmaceutical industry have historically been the most prominent forms of research technique utilized in validating the validity of a drug usage scale.
- 20. In this paper's review, the analysis is to explain credible and authentic measuring devices that any drug pharmaceutical firm can use to test typical drug doses. Additionally, the analysis will describe standard measurement standards. The development of a standard, calibrated measurement apparatus would be important to prevent the use of different data, the integration of which could lead to erroneous interpretation of the level of the poison that has been taken beyond the dose point. To accomplish the project's goal, this paper will describe the dependability of the process used to develop a valid and standard measurement instrument for standardizing the results of drug tests in the pharmaceutical industry before their application in the commercial market. The paper will apply a variety of research with trustworthy information regarding the calibrating and standardizing of instruments according to ISO standards. This will ensure that the information required to develop the stages is accurate. According to the findings of the analysis, the level of depth of comprehension of given research in connection to research subjects is determined by qualitative data. Therefore, in the process of gathering information for the framework of the research, most research would use questionnaires with varying sample sizes to identify behavioral patterns and the drug preference scale. 2 Overview The source of the growing problem with the scales used in research and their measurements Strategies for preventing flaws in scale data outcomes Sensitivity of errors within the pharmaceutical organization. According to the findings of the research, there are a total of seven processes involved in the process of scale creation and analysis. These steps are as follows: Item development
- 21. Content appropriateness analysis Questionnaire presentation Analyze the factors Evaluation of the model's internal consistency Construction validity Model replication According to the findings of the study, the majority of studies use measurement scales that are riddled with errors. Because of the respondents' dissatisfaction, the questionnaires lack the reliability necessary to accurately evaluate and interpret the research findings. The production process of drugs is particularly delicate because it determines the toxicity levels, and the effects of those levels would determine the fatality rate. Therefore, pharmaceutical companies must implement study methods that provide distinctive phenomena relevant only to the industry. However, the industry needs standard instruments with common calibrations and whose operation is guided through a defined framework for research to avoid flaws and psychometric problems during the research. Although researchers might have a limited interest in qualitative opinion derived from general measurements, they will still rethink their approaches if the scales they used were inappropriate or unavailable. Consequently, significant steps that would be important in developing valid scales would be deduced from the study. Since qualitative research would focus primarily on behavioral approaches in the study, this paper aims to develop interval scales that include both multi-items and subscales to measure interval levels and determine drug toxicity intervals. 3
- 22. Item generation The integration of two different ideas is required for item production The theory of deduction The theory of induction The integration of inductive and deductive reasoning into the process of scale construction. Variations in the implementation of the theory. Analysists believe that deductive theory is so demanding that it necessitates a deep comprehension of the relevant literature and the theoretical phenomena to guarantee that item content will be adequate for ultimate scaling. As a result, it is the most appropriate method for measuring the quality of pharmaceuticals. It also serves as the key approach to standardizing the instruments used to scale drugs. The construction scale process begins with the development of measurement instruments specific to the construct that is being evaluated. According to the findings of the research, the procedure can take one of two different approaches: the inductive approach, in which the scale is derived after the item is produced, or the deductive approach, in which the theoretical generation of the scale is followed before the production of items with defined scaling. Even though bot approaches are applicable in qualitative analysis, these methods still have a clearly defined place in certain contexts. According to research, studies would always use an inductive approach when investigating unknown phenomena with little theory on the factor. This approach only requires a small amount of prior knowledge of the behavior, and after that, it would define and analyze all aspects of the behavioral response. On the other hand, deductive reasoning is frequently used before the production of items. Because deductive reasoning
- 23. relies on the theoretical definition of a construct, it is predominantly utilized in developing guidelines for the production of items. 4 Item Development The development of useful items is dependent on the generation of useful items Effective product development The quantity of items selected affects the scaling process. Regulations must be followed when selecting items. In item development, there are standard guidelines constructers incorporate to ensure proper construction of items. According to analysis, constructs presentation may be confusing to respondent especially in double barreled items. For effectiveness in the assessment of the item, it is important keeping the consistency of the items under assessment. Simplicity in the application used during constructs familiarizes respondents with details which is a foundation to consistency and reliability. Except from maintenance of internal consistence and parsimonies, there are no specific rules to retention of the minimum number of items. However, studies recommends keeping of the measures short to minimize biasness from the surrounding factors. More importantly, time consumption is also a factor in the choice of items, hypothetically, more items would require more time. In setting quality scale, studies suggests setting of items between four and six for conceptual dimensions which would approximate a more than one and half new item retention for final scaling. With reference to the Work of Bass and Avolio, measurement of transformational construct is a perfect example of generating
- 24. and developing multiple item process. In his studies, he compares the performance of transformational leadership in gaining the attention in hospitality industry despite being a new approach (Buswell, Thorpe, Soar, & Gibb, 2008). Their ability of developing 142 items which seemed to be resourceful in assessing a range of leadership dimension shows the success of multi item development process in construct (Buswell, Thorpe, Soar, & Gibb, 2008) 5 Content Adequacy Assessment The importance of content adequacy analysis The regulatory measures that are included in the content adequacy assessment The methods that are engaged in the process of content adequacy assessment The dependability of the method used to determine whether the item's content is sufficient for the scaling procedure. This is the second step of construct scaling which involves item pretesting for adequacy. According to research, many overlook the step mostly for personal favor, since this is a quality assurance stage, most researchers tend to avoid it to save on the resources and time invested in collection and setting of data only to find flaw in the measure at the end. Through the process researchers can be able to find fault in the flaw measurements and even allow deletion of inconsistent items for construct validity. However to match corresponding definition of items, an index agreement is made before the administration of the items with corresponding items. In another context statisticians also use variance technique in testing the adequacy of the items, which is simply used by small
- 25. samples which economical cost. There are different content assessment methods used in sorting items in constructs which involves the use of experts in the domain or the use of naïve respondents who can be able to read and understand definitions and items which can be used in scaling. However, these techniques may not present guaranteed validity of the item but it is a representation of a reasonable measure of construct under study. 6 Questionnaire assessment A conference between the items and the assumptions regarding their psychometric qualities. The product's final use after the authentication process has been completed. The research technique of Likert scaling is used in the questionnaire assessment. The number of people in the sample impacts the statistical test. Determining whether or not the scaling process can be successful. In this stage, the number of the items retained in the previous stage are tested in an appropriate sample that would confirm the conference of the items to the psychometric properties expectations (Edwards, n.d.,). After the examination process, the new item would be administered with measure which will later assess the overlapping of the existing scales. From analysis, Likert scaling is the most applicable research method which comprises of five to seven point Likert scales. Using the approach, the adequacy of the sample size will depend with the number of items needed for the significance of the statistical test. The researchers would then gather essential information to test
- 26. item performance which is essential in determining the viability of scaling process. From analysis, Likert scaling is the most applicable research method which comprises of five to seven point Likert scales(Wei Chen & Song, 2018). 7 Factor Analysis Fundamental aspects of the evaluation procedure The exploratory element The inductive methodology A contrast between the two contributing factors The efficiency of the two components in the overall process of scale construction A description of the interaction between the two components. The extent to which the criteria apply to the scaling process Exceptions to the general rule of applying the output methods. Exploratory factor is one of the analyses which reduces acquired set of observed variables into smaller variables. On the other hand, there is confirmatory analysis which evaluates the importance of the overall model in defining the quality of factor structure. Research shows inductive approach can be more resourceful in identifying predictable items in the analysis. Consequently, the two factors can be used in determining inter- item variables correlations which gives the researcher insight on which variable may be deleted from the variable. Factor analysis is meant to ensure independence of scaling item and how many numbers of items should the research relying on in making a reasonable scaling instrument. In case of large outputs, the analyses are continually repeated to eliminate undesirable variances so as to correspond with the theoretical definition (Wei, Chen, & Song, 2018). In exploratory factor analysis, the principle axis is applied in
- 27. accounting for random errors and determine the number of factors to be retaining depending with the results. From the analysis, the smaller numbers give precise outcome with plausible measurement for setting scaling construct. 8 Internal Consistency Assessment Specifying the sampling zone with internal consistency assessment. Appropriateness of internal consistency analysis. Restrictions imposed on the applicability of the process. The need to incorporate an internal consistency assessment within the overall process of scale construction. The internal consistency process is meant to calculate the reliability of the scale and its internal constituency. In calculating the reliability, a large coefficient alpha represents a strong covariance of the item and a confirmation of sampling domain capturing. However if still the numbers in retained items remains relatively large, the research may still eliminate those items which may have limited effect to the reliability of the scales. According to the analysis, strong internal constituency reliability in the revision of the scales defines the number of retained items in the constructs (Hakim, 2015). More importantly, evaluating internal consistency reliability is more necessary in development of new scaling, which examines scales with low reliability and recommend for addition of items or reexamination of the items already incorporated in the construct (Hakim, 2015). Without knowing the consistency of the items in the construct, it might be difficult in validating the measures of scale and the scaling functionality 9
- 28. Construct Validation An overview of the stage's operational capabilities Convergent validity Discriminant validity, Criterion-related validity is the outcome of the validation procedure. An investigation into how the validation process influences the various relationships. In this stage, the stage validates the content demonstrated in the constructs and the internal consistency of the content. During the process, the evidence should confirm convergent validity, discriminant validity and criterion-related validity. Convergent validity can achieved by examining scale correlation extend in which it assesses similar design constructs. On the other hand, discriminant validity will involve extend in which scales with dissimilar measure do not correlate. However examining these relationships with regard to variables which are set theoretically to be the outcome and standard measure defines the criterion-related validity. According to the analysis, more data is gathered on the scaling items with different variables where conceptually, the convergent validity should define the criterion-related validity. Therefore the definition of these two conceptual validities, should support the construct validity and defines extend in which scales relates to the resulting measures. However this is the most difficult stage of scale construct process since different scaling will work differently in different settings. 10 Replication Replication step processes Things to take into consideration while duplicating a large-scale
- 29. construction procedure Errors in the application of the process; Replicable phases within the procedure; Assessment of confirmatory factors; Evaluation of internal consistency reliability; Construct validation The replication stage involves restructuring process of the new set of data using the new scales from the scale construct process. In this stage, research can apply different samples depending with the demand of the theory and the hypothesis testing. However, when replicating the process often researchers fail from common source problem which is advisable to avoid initial testing respondents. Despite trusting the new scaling, the replication should follow the entire scaling construct process which involves confirmatory factor analysis, assessment of internal consistency reliability and construct validation. (Hakim, 2015) The replica process is a confirmatory factor to the scaling which can be used as a standardization in future applications 11 Specific methods of establishing scale’s validity Important details that ought to be present on every scale include credibility, validity, and the element of arbitrariness. Researchers will be needed to collect data from four more scales that have since been recommended by the "Managerial Practices Survey (MPS) for the convergent validity assessment. The inspirational scale is based on influence strategies that stir up excitement for work by appealing to emotion or reasoning. Validity, credibility, and the aspect of arbitrary are crucial details, which should exist in any scale. Blanton clearly points
- 30. out that ensuring that validity, and credibility are top priorities in the formulation of any given scale is very important (Blanton, and Jaccard 83). In this case, by making use of the criterion-related strategy, the scale generated will be crucial, and beneficial in the analysis. For the convergent validity assessment, we will be required to gather data from four additional scales, which have been suggested by the f Managerial Practices Survey (MPS) (John, and Veronica 92). The first scale, which will be the clarifying scale, will focuses on the specific task assignment. On the other hand, the second scale, the inspiring scale, is based on influence techniques that appeal to emotion, or logic to generate enthusiasm for work. The third scale, supporting, includes behaviors such as listening to complaints, and looking out for interests of the third parties. The fourth scale, team building, focuses on cooperation, teamwork, and constructive conflict resolution of the existing intelligence scales. Correlating the scale with all these elements will ensure that we get the intended numbers, and the accuracy, and the validity of the scale will be guaranteed irrespective of the errors, which may emanate along the way. 12 Conclusion Project summary The significance of the initiative concerning modern developments in pharmaceutical businesses The fundamental flaw that prevents drug manufacture from scaling properly. The influence that scaling has on the legitimacy of the results. From the overview of the scale construct process, the pharmaceutical company can utilize the steps in creating items
- 31. and creating scaling tools for standardization. From the analysis, research is turning out to be a resourceful tool in setting specificity in the quantity and the quality of goods in the industrial level. Through the procedural analysis, company productivity is likely to incur problems from product content misappropriation which may develop giving little attention to scale construct and psychometric analysis. It is evident poor scaling raises to questions to the entire project and its results. Therefore, it is necessary taking every stage in scaling serious knowing it determines the viability of the outcome and usable data from the research. 13 Reference Blanton, H., & Jaccard, J. (2006). Arbitrary metrics in psychology. American Psychologist, 61(1), 27. Buswell, R., Thorpe, A., Soar, R., & Gibb, A. (2008). Design, data and process issues for mega-scale rapid manufacturing machines used for construction. Automation in Construction, 17(8), 923-929. doi:10.1016/j.autcon.2008.03.001 Edwards, A. L. (n.d.). The scale-discrimination technique. Techniques of attitude scale construction, 201-219. doi:10.1037/14423-008 Hakim, A. A. (2015). Accelerators to Occupancy: Expediting the Design and Construction Process for Large Scale Projects. AEI 2015. doi:10.1061/9780784479070.014 John, O. P., & Benet-Martínez, V. (2000). Measurement: Reliability, construct validation, and scale construction. Handbook of research methods in social and personality psychology. Wei, C., Chen, J., & Song, Z. (2018). Multilevel MVU models with localized construction for monitoring processes with large scale data. Journal of Process Control, 67, 176-196. doi:10.1016/j.jprocont.2017.06.011
- 32. This article was originally published on Common Edge. Architecture lost itself in an identity crisis not long ago. The discipline wandered in self-reflection, reexamining how practitioners go about their work, how the built environment should appear, and why. Movements came and went. Promising paths dead-ended. Eventually, the profession gave up looking for ways out of its uncertainty, leaving us where we are today. In premodern eras, new construction techniques, evolving opinions on art, and shifting societal beliefs drove styles. Advances were slow, but once established, became long-lived norms. The Gothic period lasted four centuries, the Renaissance three. From the nineteenth century on, though, more than a hundred aesthetic and philosophical movements lived quickly and died. As historian Charles Jencks notes, there were “a plurality of live architectural traditions” even during the International Style’s forty-year hegemonic heyday.
- 33. The century of robust mini-debates on form and function, meaning and intent, petered out ten years ago. Evidence that contemporary theory and practice are threads of new architectural thought is scarce. Arcade magazine published a survey of architectonic declarations and mapped thirty modern movements from 1900 to 1960, and eighty more between 1960 and 2010. At 2015, they found only two. For reasons unknown, the formation of new isms dwindled—but certainly, not because architecture has found itself. One possibility could be fear. Taking a public stand against the status quo comes with risks of ridicule and professional harm. In extreme cases, even physical danger. In 1957, Mao Zedong’s appealed to China’s intelligentsia for a constructive philosophical debate. He said, “Letting a hundred flowers blossom and a hundred schools of thought contend is the policy for promoting progress in the arts and the sciences and a flourishing socialist culture in our land.” It turned out to be a ploy to flush out dissenters. Many took the bait and were reeled in. The other possibility for the scarcity of new thinking is that architects don’t give a damn. I prefer to think that architects have ideas but don’t know
- 34. how to toss them into the flows of current (albeit limited) discourse. No matter why, though, the result is that the dominant architectural style today is a nondescript banality underpinned by minimal debate. There are, of course, exceptions, and it is through them that we find a way out of the woods. I present herewith a means of reinvigorating the profession’s search for self. When, in 2008, Patrik Schumacher of Zaha Hadid Architects penned a treatise proclaiming “Contemporary avant-garde architecture is addressing the demand for an increased level of articulated complexity,” and that “Parametricism is the great new style after modernism,” and further stating, “Postmodernism and Deconstructivism have been transitional episodes,” he was following a well-trod path to artistic innovation: the manifesto. Note the similarity between Schumacher’s rhetoric and Walter Gropius’ 1965 assertion about the International Style: A breach has been made with the past, which allows us to envisage a new aspect of architecture corresponding to the technical civilization of the age we live in;
- 35. the morphology of dead styles has been destroyed. Schumacher claimed to have found a demand for “articulated complexity” and answered the call to action. He beckoned others to join him. Gropius saw civilization growing more technical, prompting him also to respond. We heeded the wants of our age, each man effectively said, and—Eureka!—found a better way. Both demanded Out with the old and in with the new. Both telegraphed Revolt! by channeling Karl Marx and Friedrich Engles’ 1848 call for a “revolutionary movement against the existing…order of things.” Gropius and Schumacher might well have written, Working architects of all countries, unite! By definition, the avant-garde is new. Surprise ensues when radical ideas burst on the scene, bringing confusion and questions. In art as in politics, answers are often provided via declarations called manifestos. Unique strategies cannot be judged without context, so pronouncements generally provide a preamble, complaint, and a list of tenets. Reduced to writing, if a premise resonates, it has a
- 36. chance of becoming a movement à la Neoclassicism, Modernism, Metabolism, Postmodernism, Deconstructivism. A Whateverism never codified goes nowhere. The dearth of contemporary architectural movements indicates the profession is no longer questioning itself—and that’s a problem. The built environment has no end of problems in need of theories on how to respond, paramount being the existential threat of climate change. Architecture’s first declaration of intent was arguably Vitruvius’ Ten Books on Architecture, written in 27 BC. But the idea of a publishing sets of core beliefs didn’t reach its stride until The Communist Manifesto. That slim pamphlet became the template for numerous public proclamations, many incorporating a version of, “It is high time that [ADHERENTS’ NAME] should openly, in the face of the whole world, publish their views, their aims, their tendencies.” The introductions of Futurism, Cubism, Vorticism, Constructivism, Dada and Surrealism, De Stijl, and the Bauhaus owe much to Marx and Engel. Arcade magazine found more than a hundred architectural manifestos published over the last one
- 37. hundred years. Some of them reduced their argument to a single page or poster. Others were long- form texts. Among the more notable are Frank Lloyd Wright’s The Art and Craft of the Machine in 1901, Ornament and Crime (Adolf Loos, 1913), Towards a New Architecture (Le Corbusier, 1965), The Death and Life of Great American Cities (Jane Jacobs, 1961), Complexity and Contradictions in Architecture (Robert Venturi, 1966), and Operating Manual for Spaceship Earth(Buckminster Fuller, 1968). Mies van der Rohe wrote a manifesto. So did Philip Johnson, Louis Kahn, Paolo Soleri, Christopher Alexander, Rob Krier, Renzo Piano with Richard Rogers, Kisho Kurokawa, Aldo Rossi, Daniel Libeskind, Rem Koolhaas, Coop Himmelblau, Steven Holl, and Bjarke Ingels. Reader, if you’re an architect, are you on the list? If not, why not? Conventional wisdom assumes lucid thinking behind the largest and most permanent of humankind’s built works. One would like to believe that architects’ decisions on aesthetics and art, function and form, economy and sustainability are the result of well-considered
- 38. and defensible rationales. At the least, designs should be based on opinions that can be coherently stated. Looking around at today’s built environment suggests it ain’t so. I’d venture asking most contemporary architects to name their theory, describe their design philosophy, or recite what principles motivate their work would yield befuddled answers or blank stares. I am not alone in this opinion. Few “in the contemporary profession [are] willing to take a stand, to mount a soapbox and exclaim a polemical notion,” wrote Michael Holt and Marissa Looby in a 2011 Domusmagazine op-ed. The take-away is that today’s architects have little to say about what they design and why. Let’s change that. Let us all write a manifesto. I’ll go first, guided by the wisdom of Dr. Anna Tahinci, a professor and art history chair of the Museum of Fine Art Houston’s Glassell School of Art who teaches a workshop entitled, Write Your Own Manifesto!, based on MFAH’s 2015 exhibition, Violence and Precision: Artists’ Manifestos. The French poet Tristan Tzara wrote in his 1918 Dadaist manifesto, “To launch a manifesto, you have to
- 39. want: A, B, & C, and fulminate against 1, 2, & 3.” According to Dr. Tahinci, three steps are taken: One: Designate an enemy and chronicle a fervent (and somewhat limited) history of persecution leading up the climactic moment of rupture. For my manifesto, this will be easy. I find no end of problem buildings in Houston (my home town), including contemporary examples designed by God architects of our time. My issue isn’t with their beauty, for many are pretty. Nor is my problem function, for, as far as I know, they work as intended. My criticism is the same I have with many contemporary buildings—they seem arbitrary and capricious, as if no guiding principle rooted them into existence. Even when there is stated rationale, it is often glib, or invisible in the work, or based on a theoretical position that time has invalidated. Take, for instance, the architecture of Houston’s museum district, populated with well-regarded buildings of brand name design firms. William Ward Watkin designed the Museum of Fine Art Houston’s original Neoclassical building in 1924. Kenneth Franzheim added a small wing in 1952. Mies
- 40. van der Rohe designed a free-spanning addition in 1958 and another International Style expansion in the late 60s, shortly before his death. Rafael Moneo produced a modernist building in 2000, and Steven Holl completed a new Glassell School of Art in 2018 that replaced a 1979 Brutalist building by Gene Aubry. Down the street from MFAH’s campus is Venturi Scott Brown’s children’s museum, constructed in 1992. I can’t pick a fight with Watkin, who delivered a classical building at a time when Neoclassicism and museums were joined at the hip. Nor can I argue against Mies’ 1958 example of universal space, given Modernism’s at-the-time honorable promise that form following function would lead to an egalitarian society of light and air. By the time of his death, however, Mies should have known his version of the Industrial Age wasn’t living up to his ideals. Instead of serving the common good, the International Style had sold out to Big Business, the antithesis of what should house a cultural institution. Rafael Moneo’s big box looks like a department store, so its meaninglessness is worth knocking. Steven Holl borrowed shapes from Isamu Noguchi’s wonderful
- 41. 1986 sculpture garden, which abuts the new Glassell School. Meaning received. Unfortunately, and despite Holl saying in his Five Minute Manifesto, “More than a mere ingredient in a building’s conception, a SITE is both its Physical and Metaphysical Foundation,” the new Glassell’s plaza does severe damage to Noguchi’s work. What had been a destination, a secluded courtyard, an intimate sanctuary to contemplate art, is now an open passageway to somewhere else. The magic is gone. Venturi Scott Brown’s Children’s Museum of Houston is the best of the bunch. It’s a playful Postmodern period piece that riffs off Neoclassicism without also ripping it off. Although PoMo was flawed, I don’t have it in my heart to ding the building. VSB was more faithful to the movement’s goal of reconnecting architecture to its history than most Postmodern buildings, and much better than attempts to revive the movement as Neo-PoMo. I, therefore, declare Pritzker Prize winner Rafael Moneo, and AIA Gold Medal winners Mies van der Rohe and Steven Holl enemies of my state of mind. Two: List demands and declarations in response to
- 42. wrongdoings. For me, there is no more pressing need than for architecture to reassert itself as “the great book of humanity,” as Victor Hugo urged. I call for re-establishing buildings as houses of societal metanarratives. I yearn for architecture as gentle influencers that nudge, shape, and reinforce positive behaviors. I want a Persuasive Architecture, not voiceless aesthetic gestures, inconsiderate form- making, and unintelligible architectural gymnastics. I ask that architects take on the anthropogenic calamities of war, poverty, hunger, preventable disease and death, intolerance, illiteracy, and climate change. Three: Antagonize a group and pit “us” against “them” in an aggressive call for action. Marx and Engels wrote, “A spectre is haunting Europe — the spectre of communism.” Them were the capitalists (the bourgeoisie); us was the public (the proletariat). Dr. Tahinci encourages manifesto authors to employ this same we-speak and make us-against-them demands for action. Don’t be shy. Over-the-top isn’t over the top in manifesto writing. Outrage and
- 43. anger are not out of place, either. Quirky and crazed is not only acceptable; it’s preferable. Shock has value, so make generous use of exclamation points in your writing. Feel free also to scream in ALL CAPS. Other tricks of the trade include listing your demands, bold typography, the use of storytelling with a dose of drama, even theatrics. Do (almost) anything to get attention and command an audience. One art student reportedly presented his “man”-ifesto in the nude with beliefs and opinions written on his skin. Yes, he received an A for the assignment. To that I offer a more modest polemic: PERSUASIVE-ism Architects of the world, WAKE UP! Humanity’s greatest problems are anthropogenic, not architectural CAST OFF THE YOKE OF MEANINGLESSNESS! *** As civilization faces a human-made END OF TIME, Beautiful boxes have become IRRELEVANT.
- 44. And form for form’s sake is IRRESPONSIBLE. They who reproduce Classicism belong to ANOTHER TIME. They who promulgate the International Style have LOST THEIR WAY. They who reintroduce Postmodernism will MISS THE POINT. *** Buildings are OPPORTUNITIES to CHANGE THE WORLD! A NEW architecture IS NEEDED—an architecture of CHANGE AGENT. *** We REJECT architecture as fashion statements and me-too knockoffs. We REJECT buildings as illiterate objects. We REJECT buildings as empty sculptural gestures. We DEMAND built environments overtly address critical issues. We DEMAND architecture that positively influences what people do. *** RESTORE ARCHITECTURE TO THE GREAT BOOK OF HUMANITY!
- 45. That’s it; that’s my soapbox, my criticism of contemporary architecture with suggestions for a new direction. In poster form, my rant looks like this: Yeah, admittedly, PERSUASIVE-ism needs work—but hey, how’s yourmanifesto coming along? Architecture’s historical progression—from a thought to a theory, to a movement, to a manifesto, to an accepted style—has stalled. We can restart evolution, but only if architects put their thinking caps back on, force themselves to decide on what they believe, and publish their thoughts in direct and straightforward terms. There are numerous go-byes to guide us out of the forest. “We are on the extreme promontory of the centuries!” wrote Filippo Tommaso Marinetti in The Futurist Manifesto (1909). “What is the use of looking behind at the moment when we must open the mysterious shutters of the impossible? Time and Space died yesterday.” Naum Gabo and Antoine Pevsner declared in the Basic Principles of Constructivism (1920), “We are no longer content with the static elements of form in plastic art. We demand the inclusion of time as a new element and assert that real movement must be employed in plastic art, in order to
- 46. make possible the use of kinetic rhythms in a way that is not merely illusionistic.” Dr. Tahinci encourages architects to publish their opinions, motives, intentions, and meaningful and assertive concepts. That’s a superb recipe for food for thought, and since architecture is hungry for ideas, an excellent idea for a competition. ANNOUNCING THE COMMON EDGE ARCHITECTURAL MANIFESTOS CONTEST! Write or draw what you feel and email what you think to [email protected] Attach a Microsoft Word file of 150 words or less if submitting as prose, or a poster in JPEG format 1,280 pixels wide by 1,656 pixels tall. Common Edge will publish the best manifestos online. You never know, your viewpoint might go viral. Let a hundred manifesti bloom. Suggested Reading The Communist Manifesto (1848), by Karl Marx and Friedrich Engles Programs and Manifestoes on 20th-Century Architecture (1975), by Ulrich Conrads Manifesto: A Century of Isms (2001), by Mary Ann Caws
- 47. Theories and Manifestoes of Contemporary Architecture (2006), by Charles Jencks and Karl Kropf News Articles Common Edge #TAGS Cite: Richard Buday. "How to Write an Architectural Manifesto" 26 Jul 2019. ArchDaily. Accessed 26 Oct 2020. <https://www.archdaily.com/921760/how-to-write-an- architectural-manifesto> ISSN 0719-8884 Powered by Disqus 3 Comments ArchDaily � Disqus' Privacy Policy Login"1 t Tweet f Share Sort by Newest LOG IN WITH OR SIGN UP WITH DISQUS Name Join the discussion… ? Rob • a year ago • Reply • Personally I thought that manifesto was pretty good. I might just borrow it if that's okay. △ ▽
- 48. Richard Buday, FAIA • a year ago • Reply • > Rob Ok by me. △ ▽ rktrixy • a year ago • Reply • Interesting. Just when I was enjoying the quiet, the lack of screaming bombast if you will, you lay out some good reasons to pick up the flag and carry it forward. That said, I had to laugh at the picture. I've always imagined what the people in the painting are saying. With apologies to the entire nation of France and the memory of those who died for freedom, as well as the artist. △ ▽ Subscribe✉ Add Disqus to your sited Do Not Sell My Data⚠ Recommend) Share › Share › Share ›
- 49. ArchDaily Articles How to Write an Architectural Manifesto How to Write an Architectural Manifesto Bookmarked Written by Richard Buday July 26, 2019 Richard Buday Author FOLLOW About this author MORE ARTICLES More Articles » Architecture and Nature: A Framework for Building in Landscapes Pavilions in Cities: 10 Structures that Foster Human Interactions Exploring The New Vernacular That Will Emerge as a Response to Climate Change MOST VISITED R Micro Housing / Simple
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- 56. https://www.archdaily.com/catalog/us/products/19319/chairs- shuffleis1-chair-system- interstuhl?ad_source=nimrod&ad_medium=widget&ad_content= single_longtail https://www.archdaily.com/catalog/us?ad_source=nimrod&ad_m edium=widget&ad_content=single_longtail https://www.archdaily.com/search/projects?ad_source=jv- header&ad_name=main-menu https://www.archdaily.com/search/products?ad_source=jv- header&ad_name=main-menu https://www.archdaily.com/search/folders?ad_source=jv- header&ad_name=main-menu https://www.archdaily.com/architecture-news?ad_source=jv- header&ad_name=main-menu https://www.archdaily.com/contact?ad_source=jv-header https://www.archdaily.com/advertise?ad_source=jv-header https://www.archdaily.com/ In the FINAL position paper of the semester each student will undertake the writing of a personal manifesto for architecture.. This document will conclude the research into the topic outlined by each student in their first two position papers of the semester. It should succinctly describe the values, agenda, and vision for the architecture that each student (as related to their topic of study) values and should outline the initial frame of reference that will guide their education and early careers. As discussed in lecture 11, there is a long tradition dating back to Vitruvius involving architects framing their work within the issues of their "day" as well as outlining the ways that they feel the discipline of architecture could/should address these very issues. Manifestos are a "tried & true" method for architects to
- 57. communicate the intended referential frame, context, and audience for their work as well as projecting how they feel this work should be measured and critiqued. It is a way of clearly defining and communicating an agenda or statement of why their work matters and how "architecture" can meet a specific challenge. It may outline something “new” , or something lost, that historically the discipline has failed to face or no longer faces properly. Therefore, a “new” way is proposed allowing for a path to properly adapt to emerging conditions.” Though this is the "closing" argument of the semester and will encapsulate previous research and material, students should not "plagiarize" their previous work. This is to be a "new", more focused and refined argument with 3 NEW references added to the reference list of their previous research into the topic. It is the "finishing statement" for what they believe is a pressing societal issue and then a proposal for a means for architecture to address this circumstance. For instance, Le Corbusier saw his "age" as striving towards precision and proposed that the house was the proper expression for exploring this emergent "aesthetics of precision". His answer was the "five points of architecture" and his concept of the house as a "machine for living". So again, this is not a paper about an individual building per se, but should be more about a particular typology or integrative architectural strategy. This manifesto could also be focused towards the “agency” of the architect, the power of the architect's design skill set, or the discipline's ability to address the contingent issues that must be addressed for the profession to successfully adapt to the changes that
- 58. globalization has wrought. A good guide for creating a proper tone and strategy for this paper is the article "how to write an architectural manifesto". In the FINAL position paper of the semester each student will undertake the writing of a personal manifesto for architecture.. This document will conclude the research into the topic outlined by each student in their first two position papers of the semester. It should succinctly describe the values, agenda, and vision for the architecture that each student (as related to their topic of study) values and should outline the initial frame of reference that will guide their education and early careers. As discussed in lecture 11, there is a long tradition dating back to Vitruvius involving architects framing their work within the issues of their "day" as well as outlining the ways that they feel the discipline of architecture could/should address these very issues. Manifestos are a "tried & true" method for architects to communicate the intended referential frame, context, and audience for their work as well as projecting how they feel this work should be measured and critiqued. It is a way of clearly defining and communicating an agenda or statement of why their work matters and how "architecture" can meet a specific challenge. It may outline something “new” , or something lost, that historically the discipline has failed to face or no longer faces properly. Therefore, a “new” way is proposed allowing for a path to properly adapt to emerging conditions.”
- 59. Though this is the "closing" argument of the semester and will encapsulate previous research and material, students should not "plagiarize" their previous work. This is to be a "new", more focused and refined argument with 3 NEW references added to the reference list of their previous research into the topic. It is the "finishing statement" for what they believe is a pressing societal issue and then a proposal for a means for architecture to address this circumstance. For instance, Le Corbusier saw his "age" as striving towards precision and proposed that the house was the proper expression for exploring this emergent "aesthetics of precision". His answer was the "five points of architecture" and his concept of the house as a "machine for living". So again, this is not a paper about an individual building per se, but should be more about a particular typology or integrative architectural strategy. This manifesto could also be focused towards the “agency” of the architect, the power of the architect's design skill set, or the discipline's ability to address the contingent issues that must be addressed for the profession to successfully adapt to the changes that globalization has wrought. A good guide for creating a proper tone and strategy for this paper is the article "how to write an architectural manifesto".