This paper reviews four theoretical approaches - Gestalt, semiotic, phenomenological, and rational - that can be applied to interior design despite being developed in related fields. It summarizes each approach and provides an example of its application to interior spaces or design concepts. The goal is to identify areas where these theories could help develop an interior design theory by providing organizational tools and guiding principles for concepts and forms.
The document discusses different types of architectural concepts that can drive the design process. It defines an architectural concept as the idea or thought that forms the foundation of a design project. The document then describes five expressions of architectural concepts: 1) architectural ideas that focus on spatial composition and structure, 2) themes that carry through a design, 3) super organizing ideas like geometric configurations, 4) parti and esquisse diagrams developed in Beaux-Arts schools, and 5) literal translations of original diagrams into finished buildings. Finally, it outlines five types of concepts: analogies, metaphors, essences, problem solving, and ideals.
Architectural Prototype in Ambiguity Contexts: Degree Zero and Multidimension...CrimsonPublishersAAOA
This document discusses using architectural prototypes to guide regional architectural design in China. It begins by discussing China's rapid urbanization and issues of lost spatial sense. It then reviews Roland Barthes' concept of "Degree Zero" writing and how minimal units can be analyzed. Finally, it proposes that the true meaning in architectural works lies in prototypes and transforming them while maintaining connections to history and tradition can inspire new designs. By analyzing prototypes at multiple dimensions and contexts, regional design may better resonate with human experience.
This document provides a research proposal for a design project exploring the cultural identity of Kuala Lumpur Chinatown. The proposal examines the relationship between permanent and temporary structures in Chinatown through various research methods, including literature review, site mapping, diagramming, model making, and case studies. The goal is to design a performing facility that captures Chinatown's culture by studying how temporary stalls contribute to the area's changing morphology. Insights from this research will inform a design that blends permanent and temporary elements to represent Chinatown's identity.
Text of the presentation by Antonio Dias de Figueiredo at the Workshop on Philosophy and Engineering, Royal Academy of Engineering, London, November 10-12, 2008. This text complements the slides with the same title available at SlideShare.
In this theory the form is outcome of various physical, social, psychological and symbolic functions
For example if we want to design concert hall, the form will be the abstract of functional data which is defined by the distance of the seats the place of foyer the relation between all functions and also a symbolic appearance of the building. In this type of design the context of the building is not considered and we can put the designed project in different sites and places with no attention to the contextual matters. In this theory architects must act like a scientist. It means that they have to find some form in a body of pre existing facts. So it can be named as kind of true and false game. The designer will do its job according to client`s needs climatological conditions and community values. The difference is here that architects cannot define general lows for the design solution as like as the scientists do.
The point of this paper is to find the compositional sort. This examination includes an audit of
various studies which handled the sort in engineering all in all, and through the four phases of
improvement of the idea in the hypothesis and history of design as per the investigation of
Historical Evolution of Architectural Type. This gives the subjective foundation identified with
indistinguishable structures of the sort or the roots which constitute the compositional sort, and
distinguishing what remains behind the development of those starting points.
The document discusses concepts in architecture. It provides definitions of concept, context, and structure. It discusses how architects create concepts to organize design elements. Nature is an important inspiration for concepts, as shown through quotes by Einstein, Buckminster Fuller, and Mikko Heikkinen. Examples of Frank Lloyd Wright and Kisho Kurokawa are given that demonstrate how their works were inspired by nature and incorporated natural principles.
This document discusses unframing collective housing by examining systems. It explores how Christopher Alexander addressed complex design problems through patterns and a pattern language. The document then defines a system as a set of related parts that work together to organize or control something according to rules or a plan. It presents 11 housing projects developed through the Master in Collective Housing program to demonstrate different systems for addressing design problems, considering factors like industrialization, material impacts, and flexibility. Each project chapter introduces the objective, deliverables, concept, and the system used. The overall goal is to understand how every project leads to a system adapted to the user and context, and how systems can support the design process while linking to an architect's creativity.
The document discusses different types of architectural concepts that can drive the design process. It defines an architectural concept as the idea or thought that forms the foundation of a design project. The document then describes five expressions of architectural concepts: 1) architectural ideas that focus on spatial composition and structure, 2) themes that carry through a design, 3) super organizing ideas like geometric configurations, 4) parti and esquisse diagrams developed in Beaux-Arts schools, and 5) literal translations of original diagrams into finished buildings. Finally, it outlines five types of concepts: analogies, metaphors, essences, problem solving, and ideals.
Architectural Prototype in Ambiguity Contexts: Degree Zero and Multidimension...CrimsonPublishersAAOA
This document discusses using architectural prototypes to guide regional architectural design in China. It begins by discussing China's rapid urbanization and issues of lost spatial sense. It then reviews Roland Barthes' concept of "Degree Zero" writing and how minimal units can be analyzed. Finally, it proposes that the true meaning in architectural works lies in prototypes and transforming them while maintaining connections to history and tradition can inspire new designs. By analyzing prototypes at multiple dimensions and contexts, regional design may better resonate with human experience.
This document provides a research proposal for a design project exploring the cultural identity of Kuala Lumpur Chinatown. The proposal examines the relationship between permanent and temporary structures in Chinatown through various research methods, including literature review, site mapping, diagramming, model making, and case studies. The goal is to design a performing facility that captures Chinatown's culture by studying how temporary stalls contribute to the area's changing morphology. Insights from this research will inform a design that blends permanent and temporary elements to represent Chinatown's identity.
Text of the presentation by Antonio Dias de Figueiredo at the Workshop on Philosophy and Engineering, Royal Academy of Engineering, London, November 10-12, 2008. This text complements the slides with the same title available at SlideShare.
In this theory the form is outcome of various physical, social, psychological and symbolic functions
For example if we want to design concert hall, the form will be the abstract of functional data which is defined by the distance of the seats the place of foyer the relation between all functions and also a symbolic appearance of the building. In this type of design the context of the building is not considered and we can put the designed project in different sites and places with no attention to the contextual matters. In this theory architects must act like a scientist. It means that they have to find some form in a body of pre existing facts. So it can be named as kind of true and false game. The designer will do its job according to client`s needs climatological conditions and community values. The difference is here that architects cannot define general lows for the design solution as like as the scientists do.
The point of this paper is to find the compositional sort. This examination includes an audit of
various studies which handled the sort in engineering all in all, and through the four phases of
improvement of the idea in the hypothesis and history of design as per the investigation of
Historical Evolution of Architectural Type. This gives the subjective foundation identified with
indistinguishable structures of the sort or the roots which constitute the compositional sort, and
distinguishing what remains behind the development of those starting points.
The document discusses concepts in architecture. It provides definitions of concept, context, and structure. It discusses how architects create concepts to organize design elements. Nature is an important inspiration for concepts, as shown through quotes by Einstein, Buckminster Fuller, and Mikko Heikkinen. Examples of Frank Lloyd Wright and Kisho Kurokawa are given that demonstrate how their works were inspired by nature and incorporated natural principles.
This document discusses unframing collective housing by examining systems. It explores how Christopher Alexander addressed complex design problems through patterns and a pattern language. The document then defines a system as a set of related parts that work together to organize or control something according to rules or a plan. It presents 11 housing projects developed through the Master in Collective Housing program to demonstrate different systems for addressing design problems, considering factors like industrialization, material impacts, and flexibility. Each project chapter introduces the objective, deliverables, concept, and the system used. The overall goal is to understand how every project leads to a system adapted to the user and context, and how systems can support the design process while linking to an architect's creativity.
A concept in architecture refers to an abstract idea or approach that guides the design process. An architectural concept can evolve throughout the design process as a way for designers to respond to the design problem. Concepts translate non-physical design issues into physical building forms. Common approaches architects take when developing concepts include focusing on functional requirements, materials, contextual influences, conceptual ideas, formal considerations, collaboration, and philosophical underpinnings. Nature and biomimicry also provide models for developing sustainable architectural concepts.
4F C A Conceptual Framework For Understanding Architectural WorksCheryl Brown
This document presents a conceptual framework for understanding architectural works. It expands upon Vitruvius' triad of utilitas, venustas, and firmitas by including architectural thinking manifested as a formative concept and situating a design within its related context. The framework aims to provide a robust understanding of architecture that can be used to structure architectural forms, describe existing works, and serve as a foundation for architectural design and pedagogy. It was developed using a grounded theory method and qualitative descriptions to identify the key concepts that constitute architectural works and their relationships.
This document discusses the relationship between theory and practice in architectural design education. It argues that there has been a growing divide between the two, with more value placed on the image and practice of design over theoretical foundations. This prioritization of image over theory has led to "sterilized" architecture lacking context or identifiable traits. The document advocates for a more balanced approach where architectural design teachers integrate research into their teaching to help guide students' practical work and provide theoretical justification. It suggests using a Socratic teaching method where teacher and student engage in reflective dialogue to critically examine design proposals from multiple perspectives rather than a master-apprentice relationship where students passively accept the teacher's teachings.
EUDT - European urban design theory - spring 2013Henning Thomsen
This document provides an overview of the course "European Urban Design Theories" being offered in the spring 2013 semester. The course will examine contemporary urban design theories and practices in Europe through lectures, discussions, readings, and field studies in Copenhagen. Key topics that will be covered include the ambiguities of urban design as a field, concepts of the city from historical and cultural perspectives, and how theoretical positions relate to practical urban design approaches with a focus on placemaking. Students will complete assignments such as a midterm exam, field study documentation, and a group poster presentation analyzing an overlooked urban space to demonstrate their understanding of course concepts and critical thinking.
This document discusses using morphological charts to analyze design meetings. It begins by providing background on design theory and morphological charts. Morphological charts were originally developed as a prescriptive design method but the document explores using them as an analytic tool to reconstruct the emergence of design concepts in meetings. The document describes applying morphological charts to video recordings of an architectural and engineering meeting. The results indicate morphological charts are useful for analyzing meetings by presenting the development of concepts and reducing analysis time.
This document discusses various concepts related to order in architecture, including:
- Order consists of correspondence, iteration, and fixed ratios between parts. It imposes meaningful structure and is a creative force.
- Different schemes of order include grids, tri-partitioning space horizontally and vertically, and hierarchies with primary and secondary elements.
- Methods of discussing architecture include historical description of works, logical explanations, and narrative accounts. Design methods resemble game-like processes.
- Models are used to teach students about narration and presentation, while various philosophical approaches view design as rational analysis, value-based schemas, predictive paradigms, or embedded worldviews.
- Analysis traces things to their sources while synthesis
ZAHA RADm ARCHITECTS, BEUING CENTRAL BUSINESS DISTRICT COM.docxdanielfoster65629
ZAHA RADm ARCHITECTS, BEUING
CENTRAL BUSINESS DISTRICT COM
PETITION PROPOSAL, 2010. STUDIES
OF FORMAL MUTATIONS. ALL IMAGES
COURTESY ZAHA RADIO ARCHITECTS.
Patri!? Schumacher
Editor's Note: This text is
excerpted from a lecture Patri!?
Schumacher gave in Los Angeles
at SCI-Arc in September 2010.
Pararnetricisrn
And the Autopoiesis
Of Architecture
It's great to be at SCI-Arc. I had two great days to see what's
going on here, and I think what I have to say speaks, to a
certain extent, critically to what is going on here. The lecture
is a variation on a lecture I have been giving this year. I've
added an element that relates to my forthcoming book, The
Autopoiesis ofArchitecture, which is an attempt to create a
comprehensive and unified theory of architecture, and which
features parametricism as the last chapter of volume two. The
argument is that parametric ism continues the autopoiesis of
architecture, which is the self-referential, closed system of
communications that constitutes architecture as a discourse
in contemporary society. The book is in two volumes. Volume
one, a new framework for architecture, is coming out in
December [released December 7,2010] and then a new agenda
for architecture appears in volume two, probably four to six
months later. It is difficult to summarize, but just to raise a
bit of curiosity about this, I will make an argument for
a comprehensive unified theory is of interest.
A comprehensive unified theory of and for architecture
is important if you are trying to lead 400 architects across a
multiplicity of projects, touching all aspects and components
of contemporary architecture in terms of programmatic
agendas and at all scales. With a unified theory one is better
prepared to manage the different designs, designers, and
approaches that run in different directions, fight each other,
contradict each other, and stand in each other's way. I am also
teaching at a number of schools, the Architectural Association
Design Research Laboratory [AA DRL] being one of them, an
expanding group that is now 150 to 160 students. Here again
there is an issue in trying to converge efforts so that people
don't trip over each other and get in each other's way. The
need for a unified theory is first of all to eliminate contradic
tions within one's own efforts - so one doesn't stand in one's
own way all the time. If you go around from jury to jury,
from project to project, you one thing here, another thing
there, and further ideas come to mind; by the third occasion
63
you might be saying and doing things that don't gel, don't
cohere. You might be developing ideas about architecture's
societal function. You might be concerned with what is
architecture, what is not architecture, to demarcate against
art, engineering, etc. You might think of yourself as pan of
something like an avant-garde and try to develop a theory of
the avant-garde. Or think about design media, the .
BUS 1 Mini Exam – Chapters 05 – 10 40 Points S.docxhartrobert670
BUS 1
Mini Exam – Chapters 05 – 10
40 Points
Short Answer – Mind your time
Answer four questions from #1 - #6. Must answer #3 and #6. Answer
the XC question for extra credit. Question point count weighted equally.
It is all about business, so make sure to demonstrate / synthesize the bigger picture of business in each and
every answer.
Like all essays, specifying an exacting target word count is rather problematic. I am thinking each answer
would be about 250 - 300 words each, depending upon writing style. If you tend to be descriptive and whatnot,
that number could be 350 - 450 words.
Sidebar: Gauge your knowledge level in this way. This exam should take about 90 – 120 minutes to complete.
Students taking much longer may want to work with me to assess / discuss ways to help master this material in
a future conference session.
1. Although most new firms start out as sole proprietorships, few large firms are organized this way. Why
is the sole proprietorship such a popular form of ownership for new firms? What features of the sole
proprietorship make it unattractive to growing firms?
2. List and discuss at least three causes of small business failure. Workarounds, fixes, or methods to avoid
failure should be discussed.
3. Describe three different leadership styles and give an example of a situation in which each style could be
most used effectively.
4. Discuss Max Weber's views on organization theory. Is there a few principles that particularly resonate
in business today?
5. How has the emphasis of quality control changed in recent years? Describe some of the modern quality
control techniques that illustrate this change in emphasis.
6. Explain how managers could motivate employees by using the principles outlined in expectancy
theory? Create a story/example of expectancy theory at work, incorporating the three questions that
according to expectancy theory employees will ask.
7. XC – What is selective perception? Can you describe a business-centric scenario where selective
perception may hinder a businessperson’s ability to respond to a customer need?
I
Fireworks, Manifesto, 1974.
The Architectural Paradox
1. Most people concerned with architecture feel some sort
of disillusion and dismay. None of the early utopian ideals
of the twentieth century has materialized! none of its social
aims has succeeded. Blurred by reality! the ideals have turned
into redevelopment nightmares and the aims into bureau
cratic policies. The split between social reality and utopian
dream has been total! the gap between economic constraints
and the illusion of all-solving technique absolute. Pointed
Space
out by critics who knew the limits of architectural remedies,
this historical split has now been bypassed by attempts to
reformulate the concepts of architecture. In the process, a
new split appears. More complex, it is not the symptom of
prof ...
Architecture Research A Possible StructureMichele Thomas
This document discusses architectural research and proposes a structure for research in architecture. It begins by outlining two types of architectural knowledge: disciplinary knowledge and practice knowledge. It then discusses different types of architectural research, including disciplinary research, practice-based research, and practice-led research. The document proposes that disciplinary research includes fundamental and strategic research, while practice research includes applied research and action research. It emphasizes that all types of architectural research can generate both theoretical and practical knowledge. Finally, it outlines three main areas of architectural research: processes, products, and performances.
A structured approach to cultural studies of architectural spacedocanas35
This document proposes a conceptual structure for cultural studies of architectural space. It discusses:
1) Components of culture including technology, knowledge, and value systems spread along a spectrum.
2) The life-cycle of architectural space as a 4-stage process of problem formulation, design, construction, and use.
3) A graphical schema structuring areas of cultural study as the Cartesian product of the cultural component dimension and life-cycle stage dimension. Several example areas are illustrated.
4) Ways to differentiate the nature of cultural studies based on the subject matter, type of space, cultural groups, and cultural processes involved.
This document summarizes Jorge Sánchez Bajo's master's thesis project on unframing collective housing through informality. The project examines how informal settlements and actions can inform collective housing design. It presents 12 projects/workshops focusing on topics derived from informality, such as objects and spaces, making do, agreements and conflicts, spreading out, questions of time, repetition and variation, and reusing spaces. Each project is presented with images, plans, and short texts to explore concepts like dwelling typologies, attitudes, and thinking less like an architect. The goal is to learn from people's intuition in building their own homes and consider informality as an indispensable part of collective housing projects.
This article discusses creativity in the context of designing artifacts like architecture. It proposes that understanding design creativity requires understanding the array of symbol systems that designers use, ranging from vague sketches to precise technical drawings. Vague symbols support associative thinking to broaden problem-solving, while precise symbols support logical thinking to deepen problem-solving. This leads to a dual-mechanism model of design problem-solving using both associative and logical thinking. There is also evidence that the right prefrontal cortex supports vague, ambiguous thinking for broadening ideas, while the left prefrontal cortex supports precise thinking for deepening ideas. Successful design requires balancing these two types of thinking.
This document discusses the potential for developing a new type of "disciplinary drawing" in architecture based on the concept of the sketch. It outlines how the traditional axonometric drawing has lost relevance due to changes in architectural form and representation. The sketch is proposed as an alternative that could provide a level of ambiguity and transportability of ideas that the precise axonometric lacks. Developing a new "sketch-based" computer rendering could help architecture regain cultural influence and provide a tool for analyzing and discussing complex contemporary projects with the same seriousness previously afforded by the axonometric.
The hexagon sensemaking canvas (HSC) is a tool in the tradition of the viable systems model, the confluence framework, the cynefin model and the knowledge in formation model.
The HSC can be used in sessions/workshop to work with and /or make sense of storied material, it has proven instrumental in the design process of StoryForms and in the context of consultancy with clients to discuss project scope, goals and outcomes.
ARCHITECTURE S OTHER An Ontological Reading Of The Abject Relationship Wit...Joe Osborn
This document summarizes an article that examines the relationship between architecture and interior design through an ontological lens. It uses Julia Kristeva's concept of "abjection" to analyze how interior design constitutes architecture's "other". The document discusses how abjection relates to the process of separating and defining identities. It argues that interior design threatens architecture's identity by questioning its boundaries and ontology. The article aims to better understand the nature and professional boundaries of interior design through analyzing it as architecture's "abject other".
Theory is defined as a set of principle based on which some activity is based. Theory can be normative or prescriptive. They can account for the action and enable the person to look beyond the regular conformities of society. In some cases theory can be used as a tool to explain many claims and help look beyond the obvious. Theory is a tool that can be used to extract details and decipher a situation. They are used in every aspect of human endeavor . This is also used in the field of architecture to look beyond the obvious physical structure and layering of the building. This notion of theory can be used to understand the concepts behind spatial arrangement of buildings and its hidden connotations . This aspect of why there is a need for theory is probed in this analysis. For this the works of Derrida and Eisenman are used to divulge more details along with other analysis. Reflective analysis for the concepts of theory is also probed in the analysis below.
The ecology of two theories: activity theory and distributed cognition in pra...Ruby Kuo
This document summarizes Halverson's analysis of the use of activity theory and distributed cognition theory in computer-supported cooperative work (CSCW) research. Halverson concluded that while both theories provide benefits, neither fully satisfies the needs of CSCW due to their complex frameworks and lack of predictive power. The author aims to continue Halverson's research by exploring the recent applications of these two theories in CSCW publications to develop an "ecological picture" of their similarities, differences, and relationships.
Course ObjectiveExplore architectural space and form in various.docxmarilucorr
Course Objective:
Explore architectural space and form in various cultures.
15 page paper is due May 4, 2018. The 15 pages should not include cover sheet or citations. Double space, 12 point and number each page. You may choose at two cultures to compare/contrast. You may explore only one. Whatever you do, please use several or one philosophy of architecture. Delve into how a culture define space
Your final research paper is to analyze the importance of architectural space, exploring how at least two cultures express space and the importance of architectural space. I read the wonderful discussions that you all wrote about urban space. Now let us narrow our vision to our immediate space and how we react to space. Try to keep the paper to no more than 15 pages including citations.
OVERALL: Minimum of 15.
Introduction. Identify explain how one culture experience space. Compare to another chore to emphasize. Then tell me how you feel about it. The give summary.
187 | SSpace
soft architecture. Sensors that trigger the opening and closing of doors
and windows, the movement of walls, and even the lowering and raising
of floors and ceilings produce the personalized spaces that characterize
soft architecture. Theatrical stages have had this capability for some
time, and thus have a lot to teach the designer seeking to produce soft
architecture.
Traditional Japanese architecture is an early version of soft architecture.
The ability to change the use and “feel” of a space by simply moving a rice
paper screen and rearranging the mats on the floor is a manual, low-tech
version of soft architecture. A more recent manifestation of softness was
attempted with the Centre Georges Pompidou in Paris (1977) (Figure 93).
It was to have an interior in which many walls and floors were movable.
Unfortunately that degree of flexibility was unjustified. Consequently the
building was renovated in 2000 to increase its capacity and efficiency by
“hardening” it.
In soft architecture each force applied to it creates content that has
form, as “water poured into a vase has form” (Ezra Pound). The water-
generated Blur building by Herzog and Meuron poetically illustrates the
new frontier of soft or reflexive architecture. The term now refers to any
architecture that is not finite or fixed.
See also: Blur • Responsive architecture • Flexibility
Figure 93 Pompidou
Center
Space
The classical questions include: is space real, or is it some kind of
mental construct, or an artifact of our ways of perceiving and thinking?
— Oxford Dictionary of Philosophy
If architecture can be understood as the construction of boundaries in
space, this space must be understood as commonsense space, a space
that possesses meaning and speaks to us long before the architect
goes to work. — Karsten Harries
The ethereal thing about architecture is this thing called “space.” Space, as
a central design concern for architects, has the interesting quality of.
This paper discusses a book that examines the relationship between communication theory, semiotics, ideology, and architecture. The authors introduce the concept of ideology as referring to reality but only providing an illusion, and propose architectural theory as existing outside of ideology to explain the relationship between society and the built environment. They view semiotics as an important tool for architectural theory that can clarify the distinction between communication and signification. The authors see semiotics as a way to better understand how significance is produced in architecture and recommend it be used as part of a larger project rather than an outside concept imported alone. Semiotics may be useful as a way to counter ideology by allowing alternative perspectives on economic and political norms in architecture.
The document outlines 5 steps for ordering an essay writing service from HelpWriting.net, including creating an account, providing assignment details in an order form, choosing a writer based on bids and qualifications, reviewing and authorizing payment for the completed paper, and having the option to request revisions. The process is described as quick, simple, and focused on ensuring customer satisfaction through original, high-quality work or a full refund.
Writing A Research Paper For Scholarly JournalsKelly Lipiec
1. The document provides instructions for writing a research paper for scholarly journals through a 5 step process. It details how to create an account, submit a request for paper writing help including instructions and sources, review writer bids and select one, authorize payment upon receiving a satisfactory paper, and request revisions if needed.
2. The second document is the beginning of a paper on hemophilia and unexpected bleeding during surgery. It discusses hemophilia pathology, risk factors, signs and symptoms, and treatment. It provides details on the anatomy and physiology of hemostasis and the coagulation cascade.
3. The third document continues the beginning of the paper, discussing how industrialization and the invention of the automobile contributed to increased greenhouse
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Similar to A Theoretical Base For Interior Design A Review Of Four Approaches From Related Fields
A concept in architecture refers to an abstract idea or approach that guides the design process. An architectural concept can evolve throughout the design process as a way for designers to respond to the design problem. Concepts translate non-physical design issues into physical building forms. Common approaches architects take when developing concepts include focusing on functional requirements, materials, contextual influences, conceptual ideas, formal considerations, collaboration, and philosophical underpinnings. Nature and biomimicry also provide models for developing sustainable architectural concepts.
4F C A Conceptual Framework For Understanding Architectural WorksCheryl Brown
This document presents a conceptual framework for understanding architectural works. It expands upon Vitruvius' triad of utilitas, venustas, and firmitas by including architectural thinking manifested as a formative concept and situating a design within its related context. The framework aims to provide a robust understanding of architecture that can be used to structure architectural forms, describe existing works, and serve as a foundation for architectural design and pedagogy. It was developed using a grounded theory method and qualitative descriptions to identify the key concepts that constitute architectural works and their relationships.
This document discusses the relationship between theory and practice in architectural design education. It argues that there has been a growing divide between the two, with more value placed on the image and practice of design over theoretical foundations. This prioritization of image over theory has led to "sterilized" architecture lacking context or identifiable traits. The document advocates for a more balanced approach where architectural design teachers integrate research into their teaching to help guide students' practical work and provide theoretical justification. It suggests using a Socratic teaching method where teacher and student engage in reflective dialogue to critically examine design proposals from multiple perspectives rather than a master-apprentice relationship where students passively accept the teacher's teachings.
EUDT - European urban design theory - spring 2013Henning Thomsen
This document provides an overview of the course "European Urban Design Theories" being offered in the spring 2013 semester. The course will examine contemporary urban design theories and practices in Europe through lectures, discussions, readings, and field studies in Copenhagen. Key topics that will be covered include the ambiguities of urban design as a field, concepts of the city from historical and cultural perspectives, and how theoretical positions relate to practical urban design approaches with a focus on placemaking. Students will complete assignments such as a midterm exam, field study documentation, and a group poster presentation analyzing an overlooked urban space to demonstrate their understanding of course concepts and critical thinking.
This document discusses using morphological charts to analyze design meetings. It begins by providing background on design theory and morphological charts. Morphological charts were originally developed as a prescriptive design method but the document explores using them as an analytic tool to reconstruct the emergence of design concepts in meetings. The document describes applying morphological charts to video recordings of an architectural and engineering meeting. The results indicate morphological charts are useful for analyzing meetings by presenting the development of concepts and reducing analysis time.
This document discusses various concepts related to order in architecture, including:
- Order consists of correspondence, iteration, and fixed ratios between parts. It imposes meaningful structure and is a creative force.
- Different schemes of order include grids, tri-partitioning space horizontally and vertically, and hierarchies with primary and secondary elements.
- Methods of discussing architecture include historical description of works, logical explanations, and narrative accounts. Design methods resemble game-like processes.
- Models are used to teach students about narration and presentation, while various philosophical approaches view design as rational analysis, value-based schemas, predictive paradigms, or embedded worldviews.
- Analysis traces things to their sources while synthesis
ZAHA RADm ARCHITECTS, BEUING CENTRAL BUSINESS DISTRICT COM.docxdanielfoster65629
ZAHA RADm ARCHITECTS, BEUING
CENTRAL BUSINESS DISTRICT COM
PETITION PROPOSAL, 2010. STUDIES
OF FORMAL MUTATIONS. ALL IMAGES
COURTESY ZAHA RADIO ARCHITECTS.
Patri!? Schumacher
Editor's Note: This text is
excerpted from a lecture Patri!?
Schumacher gave in Los Angeles
at SCI-Arc in September 2010.
Pararnetricisrn
And the Autopoiesis
Of Architecture
It's great to be at SCI-Arc. I had two great days to see what's
going on here, and I think what I have to say speaks, to a
certain extent, critically to what is going on here. The lecture
is a variation on a lecture I have been giving this year. I've
added an element that relates to my forthcoming book, The
Autopoiesis ofArchitecture, which is an attempt to create a
comprehensive and unified theory of architecture, and which
features parametricism as the last chapter of volume two. The
argument is that parametric ism continues the autopoiesis of
architecture, which is the self-referential, closed system of
communications that constitutes architecture as a discourse
in contemporary society. The book is in two volumes. Volume
one, a new framework for architecture, is coming out in
December [released December 7,2010] and then a new agenda
for architecture appears in volume two, probably four to six
months later. It is difficult to summarize, but just to raise a
bit of curiosity about this, I will make an argument for
a comprehensive unified theory is of interest.
A comprehensive unified theory of and for architecture
is important if you are trying to lead 400 architects across a
multiplicity of projects, touching all aspects and components
of contemporary architecture in terms of programmatic
agendas and at all scales. With a unified theory one is better
prepared to manage the different designs, designers, and
approaches that run in different directions, fight each other,
contradict each other, and stand in each other's way. I am also
teaching at a number of schools, the Architectural Association
Design Research Laboratory [AA DRL] being one of them, an
expanding group that is now 150 to 160 students. Here again
there is an issue in trying to converge efforts so that people
don't trip over each other and get in each other's way. The
need for a unified theory is first of all to eliminate contradic
tions within one's own efforts - so one doesn't stand in one's
own way all the time. If you go around from jury to jury,
from project to project, you one thing here, another thing
there, and further ideas come to mind; by the third occasion
63
you might be saying and doing things that don't gel, don't
cohere. You might be developing ideas about architecture's
societal function. You might be concerned with what is
architecture, what is not architecture, to demarcate against
art, engineering, etc. You might think of yourself as pan of
something like an avant-garde and try to develop a theory of
the avant-garde. Or think about design media, the .
BUS 1 Mini Exam – Chapters 05 – 10 40 Points S.docxhartrobert670
BUS 1
Mini Exam – Chapters 05 – 10
40 Points
Short Answer – Mind your time
Answer four questions from #1 - #6. Must answer #3 and #6. Answer
the XC question for extra credit. Question point count weighted equally.
It is all about business, so make sure to demonstrate / synthesize the bigger picture of business in each and
every answer.
Like all essays, specifying an exacting target word count is rather problematic. I am thinking each answer
would be about 250 - 300 words each, depending upon writing style. If you tend to be descriptive and whatnot,
that number could be 350 - 450 words.
Sidebar: Gauge your knowledge level in this way. This exam should take about 90 – 120 minutes to complete.
Students taking much longer may want to work with me to assess / discuss ways to help master this material in
a future conference session.
1. Although most new firms start out as sole proprietorships, few large firms are organized this way. Why
is the sole proprietorship such a popular form of ownership for new firms? What features of the sole
proprietorship make it unattractive to growing firms?
2. List and discuss at least three causes of small business failure. Workarounds, fixes, or methods to avoid
failure should be discussed.
3. Describe three different leadership styles and give an example of a situation in which each style could be
most used effectively.
4. Discuss Max Weber's views on organization theory. Is there a few principles that particularly resonate
in business today?
5. How has the emphasis of quality control changed in recent years? Describe some of the modern quality
control techniques that illustrate this change in emphasis.
6. Explain how managers could motivate employees by using the principles outlined in expectancy
theory? Create a story/example of expectancy theory at work, incorporating the three questions that
according to expectancy theory employees will ask.
7. XC – What is selective perception? Can you describe a business-centric scenario where selective
perception may hinder a businessperson’s ability to respond to a customer need?
I
Fireworks, Manifesto, 1974.
The Architectural Paradox
1. Most people concerned with architecture feel some sort
of disillusion and dismay. None of the early utopian ideals
of the twentieth century has materialized! none of its social
aims has succeeded. Blurred by reality! the ideals have turned
into redevelopment nightmares and the aims into bureau
cratic policies. The split between social reality and utopian
dream has been total! the gap between economic constraints
and the illusion of all-solving technique absolute. Pointed
Space
out by critics who knew the limits of architectural remedies,
this historical split has now been bypassed by attempts to
reformulate the concepts of architecture. In the process, a
new split appears. More complex, it is not the symptom of
prof ...
Architecture Research A Possible StructureMichele Thomas
This document discusses architectural research and proposes a structure for research in architecture. It begins by outlining two types of architectural knowledge: disciplinary knowledge and practice knowledge. It then discusses different types of architectural research, including disciplinary research, practice-based research, and practice-led research. The document proposes that disciplinary research includes fundamental and strategic research, while practice research includes applied research and action research. It emphasizes that all types of architectural research can generate both theoretical and practical knowledge. Finally, it outlines three main areas of architectural research: processes, products, and performances.
A structured approach to cultural studies of architectural spacedocanas35
This document proposes a conceptual structure for cultural studies of architectural space. It discusses:
1) Components of culture including technology, knowledge, and value systems spread along a spectrum.
2) The life-cycle of architectural space as a 4-stage process of problem formulation, design, construction, and use.
3) A graphical schema structuring areas of cultural study as the Cartesian product of the cultural component dimension and life-cycle stage dimension. Several example areas are illustrated.
4) Ways to differentiate the nature of cultural studies based on the subject matter, type of space, cultural groups, and cultural processes involved.
This document summarizes Jorge Sánchez Bajo's master's thesis project on unframing collective housing through informality. The project examines how informal settlements and actions can inform collective housing design. It presents 12 projects/workshops focusing on topics derived from informality, such as objects and spaces, making do, agreements and conflicts, spreading out, questions of time, repetition and variation, and reusing spaces. Each project is presented with images, plans, and short texts to explore concepts like dwelling typologies, attitudes, and thinking less like an architect. The goal is to learn from people's intuition in building their own homes and consider informality as an indispensable part of collective housing projects.
This article discusses creativity in the context of designing artifacts like architecture. It proposes that understanding design creativity requires understanding the array of symbol systems that designers use, ranging from vague sketches to precise technical drawings. Vague symbols support associative thinking to broaden problem-solving, while precise symbols support logical thinking to deepen problem-solving. This leads to a dual-mechanism model of design problem-solving using both associative and logical thinking. There is also evidence that the right prefrontal cortex supports vague, ambiguous thinking for broadening ideas, while the left prefrontal cortex supports precise thinking for deepening ideas. Successful design requires balancing these two types of thinking.
This document discusses the potential for developing a new type of "disciplinary drawing" in architecture based on the concept of the sketch. It outlines how the traditional axonometric drawing has lost relevance due to changes in architectural form and representation. The sketch is proposed as an alternative that could provide a level of ambiguity and transportability of ideas that the precise axonometric lacks. Developing a new "sketch-based" computer rendering could help architecture regain cultural influence and provide a tool for analyzing and discussing complex contemporary projects with the same seriousness previously afforded by the axonometric.
The hexagon sensemaking canvas (HSC) is a tool in the tradition of the viable systems model, the confluence framework, the cynefin model and the knowledge in formation model.
The HSC can be used in sessions/workshop to work with and /or make sense of storied material, it has proven instrumental in the design process of StoryForms and in the context of consultancy with clients to discuss project scope, goals and outcomes.
ARCHITECTURE S OTHER An Ontological Reading Of The Abject Relationship Wit...Joe Osborn
This document summarizes an article that examines the relationship between architecture and interior design through an ontological lens. It uses Julia Kristeva's concept of "abjection" to analyze how interior design constitutes architecture's "other". The document discusses how abjection relates to the process of separating and defining identities. It argues that interior design threatens architecture's identity by questioning its boundaries and ontology. The article aims to better understand the nature and professional boundaries of interior design through analyzing it as architecture's "abject other".
Theory is defined as a set of principle based on which some activity is based. Theory can be normative or prescriptive. They can account for the action and enable the person to look beyond the regular conformities of society. In some cases theory can be used as a tool to explain many claims and help look beyond the obvious. Theory is a tool that can be used to extract details and decipher a situation. They are used in every aspect of human endeavor . This is also used in the field of architecture to look beyond the obvious physical structure and layering of the building. This notion of theory can be used to understand the concepts behind spatial arrangement of buildings and its hidden connotations . This aspect of why there is a need for theory is probed in this analysis. For this the works of Derrida and Eisenman are used to divulge more details along with other analysis. Reflective analysis for the concepts of theory is also probed in the analysis below.
The ecology of two theories: activity theory and distributed cognition in pra...Ruby Kuo
This document summarizes Halverson's analysis of the use of activity theory and distributed cognition theory in computer-supported cooperative work (CSCW) research. Halverson concluded that while both theories provide benefits, neither fully satisfies the needs of CSCW due to their complex frameworks and lack of predictive power. The author aims to continue Halverson's research by exploring the recent applications of these two theories in CSCW publications to develop an "ecological picture" of their similarities, differences, and relationships.
Course ObjectiveExplore architectural space and form in various.docxmarilucorr
Course Objective:
Explore architectural space and form in various cultures.
15 page paper is due May 4, 2018. The 15 pages should not include cover sheet or citations. Double space, 12 point and number each page. You may choose at two cultures to compare/contrast. You may explore only one. Whatever you do, please use several or one philosophy of architecture. Delve into how a culture define space
Your final research paper is to analyze the importance of architectural space, exploring how at least two cultures express space and the importance of architectural space. I read the wonderful discussions that you all wrote about urban space. Now let us narrow our vision to our immediate space and how we react to space. Try to keep the paper to no more than 15 pages including citations.
OVERALL: Minimum of 15.
Introduction. Identify explain how one culture experience space. Compare to another chore to emphasize. Then tell me how you feel about it. The give summary.
187 | SSpace
soft architecture. Sensors that trigger the opening and closing of doors
and windows, the movement of walls, and even the lowering and raising
of floors and ceilings produce the personalized spaces that characterize
soft architecture. Theatrical stages have had this capability for some
time, and thus have a lot to teach the designer seeking to produce soft
architecture.
Traditional Japanese architecture is an early version of soft architecture.
The ability to change the use and “feel” of a space by simply moving a rice
paper screen and rearranging the mats on the floor is a manual, low-tech
version of soft architecture. A more recent manifestation of softness was
attempted with the Centre Georges Pompidou in Paris (1977) (Figure 93).
It was to have an interior in which many walls and floors were movable.
Unfortunately that degree of flexibility was unjustified. Consequently the
building was renovated in 2000 to increase its capacity and efficiency by
“hardening” it.
In soft architecture each force applied to it creates content that has
form, as “water poured into a vase has form” (Ezra Pound). The water-
generated Blur building by Herzog and Meuron poetically illustrates the
new frontier of soft or reflexive architecture. The term now refers to any
architecture that is not finite or fixed.
See also: Blur • Responsive architecture • Flexibility
Figure 93 Pompidou
Center
Space
The classical questions include: is space real, or is it some kind of
mental construct, or an artifact of our ways of perceiving and thinking?
— Oxford Dictionary of Philosophy
If architecture can be understood as the construction of boundaries in
space, this space must be understood as commonsense space, a space
that possesses meaning and speaks to us long before the architect
goes to work. — Karsten Harries
The ethereal thing about architecture is this thing called “space.” Space, as
a central design concern for architects, has the interesting quality of.
This paper discusses a book that examines the relationship between communication theory, semiotics, ideology, and architecture. The authors introduce the concept of ideology as referring to reality but only providing an illusion, and propose architectural theory as existing outside of ideology to explain the relationship between society and the built environment. They view semiotics as an important tool for architectural theory that can clarify the distinction between communication and signification. The authors see semiotics as a way to better understand how significance is produced in architecture and recommend it be used as part of a larger project rather than an outside concept imported alone. Semiotics may be useful as a way to counter ideology by allowing alternative perspectives on economic and political norms in architecture.
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A Theoretical Base For Interior Design A Review Of Four Approaches From Related Fields
1. JenniferLoustau
A TheoreticalBase for Interior
Design:A review of four
approachesfkomrelatedfields
Abstract zyxwvu
Drexel University
Philadelphia,Pennsylvania zyxwv
There is presently no zyxwvut
h
d
v cf literu-
ture compr&ing the theow zyxwvu
oj‘interior
design. Thereure. however. munv theo-
rctic.crl upprouches.from reluted ,fields
that huve upplicution to the field of
interior de.sign.In response to the need
stutcd by othersj3r u bo& of interior
design theqv, this puper reviewsj i w
ihcoreticul upprcxrches und A ‘
wes er-
umples of existing literuture within
ewh upprcxlch zyxwvuts
.Thispuper jbcuses on
theow us un orgunizutionul tool und is
limited to theories thut ure relevunt to
“coitcept” und ‘:f.rm”. Exumples of
emh 1heot-y point towurd u potentiul
urcu zyxwvut
of explorution in the development
ofinterior dcsigii t h m y with the inten-
tionthutsuc-hu bin& of literuture would
hold meuning .fbr both students und
pructitionersof interior design.
Introduction
In the field of interior design, no
theory has been developeduniquely for
interior design. It is only a matter of
time before theory generated directly
from interiordesignexperienceswill be
developed. But. in the meantime. an
overwhelming body of theory from
related fieldsisavailableforapplication
to interiordesign. Existingtheoriescan
be adapted from other disciplines. par-
ticularly architecture and the fine arts,
and. to a lesser degree, environmental
psychology, other areas of psychology,
and philosophy. This paper reviews
four such theoriesdeveloped in related
fields: gestalt. semiotic, phenomeno-
logical.and
Theory -“the body of generaliza-
tions and principlesdeveloped in zyxwv
asso-
@Copyright. 1988. Interior Design Educators
Ccwncil.Journul .
fInterior Dwign Educccrionzyxwvutsrqpon
trnd Riwwrcli 14(2):3-8.
ciation with practice” (Wbster’s Dic-
riotitin! 198I) -should be studied and
evaluated s
o that those theories most
pertinent to the given situationmay be
used a
sguidelinesand organizingprin-
ciples. In reference to design. Eidson
( 1986) states that “design theory pro-
vides the languageand the connections
necessary to link knowledge and ideas
about designconceptswith the practice
ofdesigning.” (p. 19)
In drawing attention to the function
of theory as a tool of criticism in
evaluating studio and oflice projects,
Eidson sees criticism as the arbiter
between theory and practice.She notes
that value of a structure for thinking
critically about design is important in
liftingthe design act above accident or
intuition to a conscious act of doing
design. (Eidson. 1986, p. 19) In this
discussion. she breaks the design PIX&
cess into four parts: Concept. Form,
Task. and Technology.
While Eidson’sfour-part structureis
helpful for identifyingthe relationships
of design concerns, it is vague on just
exactly where theory fits into the struc-
ture. To clarify this. a diagram can be
constructedshowing Eidson’s four-part
structure within the theory-practicere-
lationship. (Figure I)The broken line
represents the criticism that mediates
between theory and practice. Concept
and Form fall on the Theory sideof the
diagram. and Task and Technology on
the Practice side. When accepting the
term “theory” a
s limited to the Con-
cepVForm side of the Eidson mcdel. it
can be seen that Conceptand Form are
closelylinked, forthe second manifests
the first. I
This paper will limit discussion to
theory that addressesconceptand form
in Eidson’s structureand addressesthe-
3
2. THEORYzyxwvuts
n
Concept
Technology
PRACTICE
Figure 1
Diagramdevelopedfrom Eidson’sfour-
part structure within theory-practice
relationship. zyxwvuts
oretical approaches as organizational
tools. Specifically. four conceptual ap-
proaches are outlined with suggestions
of their relevance to the teaching of
formalprinciplesto interiordesign. The
four approaches outlined here zyxwv
are the
following: zyxwvut
- Gestalt
- Semiotic
- Phenomenological
- Rational
While these four approaches are not
all-inclusive. they do identify four
schoolsof thought. At times they over-
lap; often they draw inspiration or
methodology from one another. They
correspond loosely with Broadbent’s
( 1980)four “modes of designing” for
architecture:the Pragmatic,the Iconic,
the Analogical. and the Canonic. He
claims that these four modes are the
basisforthe majorformsof architecture
developed throughout history. Broad-
bent’sterms are generic and are applied
with a historical perspective; this paper
employs the more current terminology
with the intentionof charting some path
through the maze of contemporary
thought.
Gestalt
The Gestalt approach to design be-
gins with the assertion that the whole is
greaterthan the sum of its parts. Analy-
sis of the parts of a whole cannot
provide an understandingof the whole;
rather. it is theconfigurationof the parts
within the whole that reveals meaning.
“Gestalt” means “put together” and
was an importantconcept in the field of
psychology in the early twentieth cen-
tury until it became absorbed into the
mainstream of psychology in the
1950’s.(Gombrich, 1979. Bullock and
Woodings. 1983.)It is also basic in the
field of design, according to Lang
( 1974). as the conceptual structurefor
many of the Basic Design curricula in
American schools since the dissemina-
tion of Bauhaus principles following
World War 11. In Lang’s discussion of
the strengths and weaknessesof Basic
Design founded on Gestalt, he states,
“Central to Gestalt theory in the 1930’s
and its congruence, if not impact, on
architectural concepts of formal aes-
thetics was its focus on perception
theory.” (p. 49)
In terms of the visual arts, Gestalt
provided “elements” of form and
“laws” for putting the elements t
e
gether. or a system of visual organiza-
tion. Gombrich (1979)has applied this
theory to a study of the decorative arts.
stating, ‘There is an observable bias in
our perception for simple configura-
tions. straight lines. circles and other
simple orders and we will tend to see
such regularities rather than random
shapes in ourencounterwith thechaotic
world outside.” By analyzingthe frame
of a pictureratherthan the picture itself,
he looks at the designed.world for its
inherentperceptual order-as-meaning.
Gestalt theory is currentlyemployed
as a concept of abstractorganization as
well as a concept of visual perception.
Identifying patterns of behavior and
studying these patterns can give an
understandingof how space is used -
with or without an object pattern. For
example. if we all have carpet in our
bedrooms, it does not necessarily mean
that we all like the look of carpet, but
rather that we all want to keep ourbare
feet warm.
This is the theoretical approachof the
architectAlexander( 1977).He looksat
object patterns as indicators of con-
scious and subconscious behavioral
patterns through time. Alexander has
codified patterns of behavior, breaking
them down into 253 distinct patterns
that range in scope from “TheDistribu-
tion of Towns” (pattern #2) to “Things
From Your Life” (pattern #253). By
codifying these patterns, he is inviting
the designerto pick patternsappropriate
to a given situation, superimpose the
patterns, and allow the design parame-
ters to emerge. Based as they are on
behavior tested over time, he contends
that the end result will be “the most
beautiful place that you have ever seen
ordreamtof.” kactically speaking,the
4
3. “pattern language” does contain a
method for identifyingfunctionalneeds
and preferenceson aconsciousand sub-
consciouslevel. zyxwvutsrq
Semiology
Semiologyis the study of signs.The
foundations of the theory rest in the
field of linguistic analysis, originating
with the theoriesof Saussurein the mid-
nineteenth century. Semiology runs
parallel with the criticalschoolof Struc-
turalism which was very prolific in
France in the mid-twentiethcenturyand
which has spread its scientific method-
ology, through criticism,to all the arts.
(Blonsky. 1985. Scholes. 1974.)Basi-
cally. semiologyconsists of analysis of
symbols(such zyxwvuts
as a chair)in the context
of their use (it sits in a room) wherein
the meaning of the symbol depends
upon three simultaneousconceptualiza-
tions: the signifier (a Hitchcock chair),
the signified(a particulartype of imple-
ment forsittingon),and the intention of
the emitter (the designer of the chair,
Mr. Hitchcock)as to whetheror not the
emitter is evidentor not (Isthe fact that
this chair was designed by Mr. Hitch-
cock important or not?). The meaning
of any given symbol changesaccording
to changes in or omissions of any of
these determinants. Inherent to this
study is the hypothesis that cultures
determine such contextual codes of
meaning zyxwvutsrqp
. zyxwvuts
An example of a semiological ap-
proach to an interiorspace is a study by
anthropologist Bourdieu of “The Ber-
ber House” (197I). His footnote gives
a concise rationale for this type of
analysis:
All the descriptionsof the Ber-
ber house, even the most exact
and methodical ones..., or
those that are most rich in detail
concerning the interior organi-
zation of space...contain, in
their extreme meticulousness,
regular omissions, particularly
when it is a questionof precise-
ly situating things and activi-
ties. The reason for this is that
these descriptions never con-
siderobjectsand actionsas part
of a symbolicsystem.The pos-
tulate that each of the observed
phenomena derives its necessi-
ty and its meaning from its
relation with all the others was
the only way of proceedingto a
systematic observation and ex-
amination capable of bringing
out facts which escape any un-
systematic observation and
which the observers are incap-
able of yielding since they
appear self-evident to them.
(p. 98)
This semiologicalapproach has pro-
duced insightful analysesin art (Berger,
1972). in literature and film (Scholes.
1982).and in architecture (Broadbent.
1980).Kron (1983)discussesthe sym-
bol system of residentialinteriors:
The furnishingsof a home, the
style of a house, and its land-
scape are all part of a system
- a system of symbols. And
every item in the system has
meaning. Some objects have
personal meanings, some have
social meanings which change
over time. People understand
this instinctively and they de-
sire things. not from some
mindless greed, but because
things are necessary to com-
municate with. They are the
vocabulary of a sign lan-
guage...And what is truly re-
markable is that we are able to
comprehend and manipulate
all the elements in this rich
symbol system as well as we
do. (p. 19,20)
Kron’s book iswritten forthe layman
a
s homeownerkonsumer. As such, it
heightens awareness of the secondary
-and often contradictory-meanings
of everyday symbols to which Bour-
dieu refers, those that “appear self-
evident”and arethus never considered.
More extensive semiotic analysis of
interiorshas yet to bedone. In a field in
which the practitionersare in thc busi-
ness of determining who gets what,
sensitivity to cultural symbols is a
necessity.
Phenomenology
Phenomenology is the direct investi-
gation and description of phenomena
as consciously experienced without
preconceptions and assumptions. It
evolved a
s a philosophical movement
around the turn of the century in
Europe. Phenomenology shares with
semiologya respect for the distinctions
in shades of meaning of symbolicsys-
tems, such as language. but holds that
such systemsare not sufficientin them-
selves to reveal the complexity of the
phenomena.Intuition isalsoa sourceof
data for the experience of phenomena;
it is not restricted to sense experience.
For example. data concerningrelation-
ships and values, which are derived
intuitively. are acceptable and. in fact.
can be a rich source of information.
(Bullockand Wooding, 1983.Douglas.
1977.)
Rasmussen ( 1959)gives an example
that serves as an analogy
phenomenology:
The enormous church of S.
Maria Maggiore stands on one
of Rome’s seven famous hills
...The many tourists who are
brought to the church on sight-
seeing tours hardly notice the
unique character of the sur-
roundings. They simply check
off one of the starred numbers
in their guidebooks and hasten
on to the next one. But they do
not experience the place in the
way some boys I saw there a
fewyearsagodid....Theyhad a
recess at eleven o’clock and
employed the time playing a
very special kind of ball game
on the broad terraceat the topof
the stairs. It was apparently a
kind of football but they also
utilized the wall in the game, a
s
in squash - a curved wall.
which they played against with
great virtuosity. When the ball
was out, it was most decidedly
out. bounding down all the
steps and rolling several hun-
dred feet further on with an
eagerboy rushing after it....
I do not claim that these
Italian youngsterslearned more
about architecturethan the tour-
ists did. But quite unconscious-
ly they experiencedcertain ba-
sicelementsof architecture:the
horizontal planes and the verti-
cal wallsabovethe slopes...As
I sat in the shade watching
them. I sensed the whole three-
dimensional composition as
neverbefore.(p. 16. 17)
for zy
5
4. An example of phenomenological
analysis of interiors is Lears’ zyxwv
( 1987)
examination of domestic interiors dur-
ing the period 1850-1950. Referringto
both literature and psychology for
analogies, Lears finds in domestic in-
teriors content that reflects the social
concernsof the day. “Modernistcultur-
al forms...expressed the proliferating
tensions in the bourgeois imagination:
between male and female, nature and
artifice. memory and desire,an increas-
ingly evanescent interiorself and a too.
too solidexternal world.” (p. 4) Lean’
thesis is that the awareness of con-
sciousness fostered a self-conscious-
ness in design, and interiorsbecame an
expressionof the “fearsand yearnings”
of our modem society.
The philosopher Bachelard (1958)
discusses phenomenology in terms of
the analogy of the house with the self.
Bachelard moves from the image of
house as analogyto the actual house as
space. and then relates them both to
poetry. Based on the psychoanalytic
imagery of Jung. Bachelard puts forth
the argument that the archetypal house
is the site of our creativity, and that
actual houses, or any inhabitable
spaces, appeal to us for their primal
associationswith basic values.
If I were asked to name the
chief benefit of the house, I
should say: the house shelters
daydreaming. the house pro-
tects the dreamer, the house
allows one to dream in peace.
Thoughtand experience zyxwv
are not
the only things that sanction
human values. The values that
belong to daydreaming mark
humanity in its depths. (p. 6)
Two other applicationsof Jung’s ar-
chetypes to the design process suggest
possibilities for the study of interior
design. Cooper, an environmental be-
haviorist, has discussedthe use of Jun-
gian archetypesin “The House as Sym-
bolof the Self.” (1974)Koh (1984),an
environmental designer. makes a case
for drawing on the subconscious and
the unconscious layers of the brain in
the designprocess. Stressingthe limita-
tions of restricting design to Western
cultural symbols, he suggests that for
design to be appropriate in today’s
world community, it must be more
imaginative.He writes:
This approach may prove to be
far more fruitful than can the
semiotic approachand someof
the so-called “Post-Modern”
designs that employ “historic
allusion,” and cultural motifs
fk-om Judeo-Christian culture
and theClassicAge...It would,
creativelyemployed,have a far
more universal and enduring
effect.”(p. 38)
Macrae-Gibson ( 1985) employs a
phenomenological point of view in his
study of contemporaryarchitecture.As
a practicing Post-Modern architect, he
analyzes his peers Gehry, Eisenman.
Pelli. Graves. Stem, Greenberg, and
Vnturi. Contrasting Modernism with
what he calls “Lyric Modernism” (or
“the period we have reached”),he sets
up a model of three components:mem-
ory, expression,and morality. It is out-
side the scope of this paper zy
to go into
the definitionsof his terms, but the use
of these terms for an architecturalanal-
ysis is indicativeof his approach. It is
also telling that each of the analyses
begins with a detaileddiscussionof the
urban context,the immediate neighbor-
hood. the site, even the cartographic
symbolismof the roads around the site:
In formal terms this structure
telescopesinward from the city
and landscape to the building
and its details; but in terms of
meaning it expands outward
from the urban and architectur-
al facts to the specific imagery
of the building and then to the
mythical expresssion which is
the content of its secret life.
(p. xvii) zyxw
Rationalism
The fourth approach to design theory
to be discussed here is the Rationalist
approach.As a philosophy, rationalism
originated with Descartes and the hy-
pothetico-deductive model. Rational-
ism in architecturalterms has itsroots in
classicism and is based on the symme-
try and proportion of geometry. As
Vitruvius described it in the first cen-
tury, “Theory...is the ability to demon-
strate and explain the productions of
dexterity on the principles of propor-
tion.” In its contemporaryarchitectural
6
5. usage. rationalism zyxwvu
-or "neo-rational-
ism" to distinguish it from the Intema-
tional Stylefrom which it grew-sees
itself as grounded in historicprecedent:
ancientGreek and Roman. Gothic, Re-
naissance, and the neoclassic of the
Enlightenment.Historicismin this light
refers to the awarenessof history in an
intellectual sense. not the use of historic
styles for omamentation. Presently it
can best be seen in the work of certain
European architects: Rossi. Botta. the
Krier brothers, and Stirling. (Wemane. zyxw
1984. Kostof. 1985.)
A rationalist approach to theory is
one that is also grounded in history. As
Macrae-Gibson writes:
It is the view that the principal
aim of the social sciences
should be historical prediction.
along the lines developed so
successfully by the physical
sciences,achievedby discover-
ing the trends that underlie the
evolution of history. by laying
bare the "spirit of the times"
...As a result, architecturalhis-
tory was Seen as consisting of
discrete ages, each charac-
terized by a different spirit that
invalidated all previous tradi-
tions and cultural patterns. Ar-
chitectswere thuscommittedto
the revelation of the essential
spirituniqueto their time. mor-
ally superior to all others, and
tending toward ever more ad-
vanced development. (p. xii)
One such rationalist approach to in-
terior design history has been made by
Tate ( 1986).He tracesthe development
of perception through history beginning
with the single referencepoint. such zyxw
as
the temple that marked the sacred spot.
As the understandingof perception be-
came more sophisticatedand the princi-
ples of perspective were developed in
the Renaissance. a new sense of space
developed along with it. By the Ba-
roque period architects such as Bemini
and Bommini were designing with a
volumetric sense of space; the third
dimension had been understood and
incorporated intodesign.
Although Tate ends his history with
three dimensions,other writersindicate
that the 20th century absorbedthe con-
cept of the fourth dimension in such
temporal zyxwvu
arts as kinetic art and film.
Time as a building dimension is still
understood only as a limitation (suchas
obsolescence). It might well be that
designingwith CAD. with the capabili-
ty of "walking through" the space
while still in the conceptualstages, may
actually change the designer's percep-
tion of space again. It cannot come too
soon; scientists are already discussing
the possibilityof as many as ten dimen-
sions.' a concept that is beyond the
descriptivepowers of thiswriter. zy
Conclusion
Like dimensions. theories may be
endless. There is no lack of theoretical
material applicable to interior design.
One theoreticalapproach may be more
appropriate in a given situation than
another. Several theories may mesh.
The theoretical approaches employed
by related fieldscan offer a framework
as a starting point for interior design to
generateitsown body of theory.
Theory must be made manifest; it is
an important working tool for both the
academicand the professional commu-
nity. Without theory, the fieldof interior
design is vulnerable to criticism for
lacking organizing principles. With
theory, the enormousstoreof data inhe-
rent in the interior design field will be
revealed; it is this data that will in turn
be the source of a wealth of new
theoreticalinsight.
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8