The document summarizes three reaction papers by a student on architectural theory texts. The first discusses how Learning from Las Vegas valued symbolism in commercial architecture over modernism's focus on form and function alone. The second examines The Geometry of Feeling and how architecture should stimulate human experience and feelings rather than just visual elements. The third discusses Kenneth Frampton's Towards a Critical Regionalism and his calls for integrating culture and nature and emphasizing tactile senses in architecture over just visual aspects.

1. BACHELOR OF SCIENCE (HONOURS) IN ARCHITECTURE
THEORIES OF ARCHITECTURE AND URBANISM
(ARC61303/ARC2224)
SYNOPSIS: REACTION PAPER (MARCH 2017)
Name: Tan Sheau Hui ID No.: 0319235
Lecturer: Mr Nicholas Ng Tutorial Time: 12pm-1pm
Reader/Text Title: Learning From Las Vegas: The
Forgotten Symbolism of Architectural Form
Synopsis No: 1
Author: Robert Venturi, Denise Scott Brown, Steven Izenour
The text started by introducing the phenomenon of modern architecture that has been anything but permissive,
whereby architects have preferred to change the existing environment rather than enhance what is there. The issue
addressed by the authors was the criticism on early modern architects due to their lack of judgement in the learning
process, where their insights were derived from existing landscape without much adaptation. The authors continued
with the ideas on the value of symbolism in Las Vegas, with analysis done through a study of method, the architectural
communication of Las Vegas; without touching on the content.
Most of the modern architectural theorists have focused on space, the element which separates architecture from arts
due to their definitions of the medium as sacred and unique. However, the authors pointed out that this definition based
solely on space and form is inadequate. I agree when this statement is then supported by stating that objects and arts
used could enrich the meaning by reinforcing architectural spaces. A balance between form and object is important in
creating meaningful architecture although there will be dilution of content on the both.
The authors then challenged the theory of modern architecture where form was to be determined by its function, rather
than deriving from the past. They opposed the idea of most critics who have denigrated the roadside eclecticism,
whereby for the authors, representational architecture with the continuing iconology should be valued. Their point is
proven by the comparison of Motel Monticello with its enormous sign visible on the highway, which succeeded in
persuading drivers; and Miami Beach Modern motel with none. Highway signs have contributed by building symbolic
connections when the vast space of A&P parking lot has divided the highways and buildings. I appreciate the value of
commercial architecture which makes the presence of a place felt as its styles and symbols gradually evolve over time.
In my opinion, symbol is among the important elements that enhance the meaning of architecture, but should not
entirely take over the significance of space function. Both should work together.
The authors have their point on valuing Las Vegas Strip as a communication system and dominating symbols in space
over form. Nevertheless, I think that the whole argument has to be brought back to the point of “to question how we look
at things”, to be able to hold judgement on the existing, thus a way of being revolutionary for an architect. This study on
Las Vegas Strip has given me a new perspective of looking at architecture. Commercial values and communication
over form should not be under appreciation because it portrays the identity and culture of a place.
Word Count: 442 Mark Grade
Assessed by: Date Page No.

2. BACHELOR OF SCIENCE (HONOURS) IN
ARCHITECTURE
THEORIES OF ARCHITECTURE AND URBANISM
(ARC61303/ARC2224)
SYNOPSIS: REACTION PAPER (MARCH 2017)
Name: Tan Sheau Hui ID No.: 0319235
Lecturer: Mr Nicholas Ng Tutorial Time: 12pm-1pm
Reader/Text Title: The Geometry of Feeling: A
Look At The Phenomenology of Architecture
Synopsis No: 2
Author: Juhani Pallasmaa
The author started with a question, of why do the modern buildings hardly give any sense of meaning of human
existence. The impoverishment of the inner meaning of architecture has been pondered and attempts were made to
revitalize the weakening language of architecture where it seems to be losing the mental dimension.
The author then made point that there are mistakes in thinking of a building as a formal composition, by stating the
relationship of form and experience should never be overlooked. The principle of elementarism and reductionism
dominating the modern science, which has also been thought by the Bauhaus School encouraged architecture to be
analyzed as a play of form combining basic visual elements. Artistic quality has been focused more than the
experience in architecture. I agree with this point as artistic quality should not be the only focused element, but a part
that integrates within architecture. Artistic work is meant to be born out of the whole, but not occupying the whole.
Although efforts are made to restore its richness, lack of understanding of the essence of art resulted in motifs that
are no longer linked with phenomenologically authentic feelings true to architecture. The effect of architecture should
come from images and basic feelings connected to buildings, using Husserl’s concept of “pure looking at”
architecture by experiencing it to seek its essence and inner language. I agree that the early childhood memory is
one of the key in phenomenological analysis as it retains emotion at its purest and most personal in our lives thus it
provides real and true contents of our mind in experiencing architecture.
The author also stated that architecture is an expression of human existence, which primary feelings are its effect.
The experience of a building should portray its sense of being in its unique place, where it stimulates our imagination,
sensitizes our physical and mental receptivity. Hence, looking at the phenomenology of architecture, I agree to the
point that it is the experience with feelings rather than merely experiment with forms and elements. Both of them
should be integrated in architecture, where forms are brought in to give feelings to the viewers; scale and
proportions, volume and hierarchy and many other principles must be applied in close relation to human, of the time
being. Architecture is to be expressed with the existence of human; and human feelings are expressed within. This
shows the status of architecture which could never be replaced by the nature, that on the other hand does not need
man to explain itself.
Word Count: 422 Mark Grade
Assessed by: Date Page No.

3. BACHELOR OF SCIENCE (HONOURS) IN
ARCHITECTURE
THEORIES OF ARCHITECTURE AND URBANISM
(ARC61303/ARC2224)
SYNOPSIS: REACTION PAPER (MARCH 2017)
Name: Tan Sheau Hui ID No.: 0319235
Lecturer: Mr Nicholas Ng Tutorial Time: 12pm-1pm
Reader/Text Title: Towards a Critical Regionalism: Six
Points for an Architecture of Resistance (No. 5&6)
Synopsis No: 3
Author: Kenneth Frampton
The text is about Frampton’s take towards critical regionalism, where architects should analyze local character
and reinterpret it with contemporary means, rather than directly adapting the traditions. This synopsis
summarizes his fifth and sixth point in the text, ‘Culture Versus Nature’ and ‘The Visual Versus the Tactile’.
In the fifth point, the author gave his point on the two elements while creating architectural structure, culture
and nature. These two elements should be in close relation with each other to maintain the building site
significance including its culture and history. The author took an evident from the case of topography and light
factors affecting the design of art galleries. Exclusive use of artificial light, known as “placeless” practice
should instead be the natural light that changes accordingly which creates a place-conscious poetic out of
interaction between culture and nature. He then pointed out that architectural autonomy should reside in the
principle of tectonic rather than scenographic, where structural poetic should be studied rather than merely a
representation of faç ade. In my opinion as an architecture student, cultural legacy and the geographical
characteristics of a site must be preserved as they are the significance of a place. Both must stands in
balance together to create harmony between the environment and community of a site.
In the sixth point, the author highlighted his point on the importance of visual and other senses in architecture.
Integration of all senses makes the architecture deeper and closer to human experiences. The usage of
different materials with their certain tactile could generate variable emotional reactions and trigger different
senses. An example is taken from Alvar Aalto’s Saynatsalo Town Hall (1952) where its access stair is lined in
raked brickwork, and even the treads and risers are finished in brick. This sensitivity in the choice of material
allows the body to experience the force and friction of the steps, which arrive after in contrast to the timber
floor in council chamber. I agree with the point where human experience, light and darkness, hot and cold,
aroma and all senses should be emphasized because these feelings are the elements that give impact and
etched upon users’ memories, hence making the architecture unique. Thus, the tectonic and tactile can
transcend mere appearance as place-form can withstand the constant onslaught of global modernization.
Word Count: 382 Mark Grade
Assessed by: Date Page No.