ARCH 5362 Theory Final Review PDF

Study Guide for Final Theory Exam CONDITIONS OF POSTMODERN ARCHITECTURE 1. Distinguish between ‘postmodernism,’ ‘postmodernity,’ and ‘post-modern’: ○ Postmodernism: A cultural movement reacting to modernism, emphasizing diversity and rejecting universal truths....

Study Guide for Final Theory Exam CONDITIONS OF POSTMODERN ARCHITECTURE 1. Distinguish between ‘postmodernism,’ ‘postmodernity,’ and ‘post-modern’: ○ Postmodernism: A cultural movement reacting to modernism, emphasizing diversity and rejecting universal truths. ○ Postmodernity: Refers to the socio-economic and cultural conditions of the post-industrial era. ○ Post-modern: A transitional phase blending modernist and postmodernist ideas. 2. Describe the five aspects of postmodernity discussed in class: ○ Disconnection from grand narratives. ○ Erosion of boundaries between high and low culture. ○ Rise of consumer-driven economies. ○ Proliferation of media and images. ○ Fragmentation and plurality in cultural expressions. 3. General conditions of postmodernism in art and architecture: ○ Rejection of modernism’s rigid formalism. ○ Emphasis on eclecticism, symbolism, and contextualism. ○ Use of parody and irony. 4. Compare and contrast Modernism vs. Postmodernism in architecture: ○ Modernism: Functionalism, minimalism, universality. ○ Postmodernism: Ornamentation, symbolism, and historic references. 5. What images does Jameson use to compare Modernism with Postmodernism? ○ Jameson contrasts modernist abstraction (e.g., Mondrian) with postmodern pastiche and spectacle (e.g., Las Vegas). 6. Significance of Byker Wall: ○ It demonstrates contextualism and user-centered design within postmodern architecture. 7. Erosion of high and low culture in Postmodernism: ○ Example: Disney Architecture by Michael Graves, blending high-art principles with popular culture. 8. New social and economic organizations in postmodernity: ○ Rise of multinational corporations, global markets, and service economies (e.g., technology hubs like Silicon Valley). 9. Postmodernism’s origin according to Charles Jencks: ○ Stems from dissatisfaction with modernism’s failures and the rise of pluralism in architectural theory. 10. Example of the value of ‘image’ in architecture: ○ Guggenheim Museum Bilbao by Frank Gehry – iconic image as a cultural and economic driver. 11. Criticism of Modernism suggesting Postmodern approaches: ○ Criticism of modernism’s sterility and lack of human scale led to more context-sensitive and expressive designs. 12. Examples of parody, collage, and context in architecture: ○ Parody: AT&T Building by Philip Johnson.  ○ Collage: Piazza d’Italia by Charles Moore. ○ Context: Venturi’s Guild House. 13. Distinguish between ‘revivalism’ and ‘eclecticism’ in architecture: ○ Revivalism: Re-creation of historical styles. ○ Eclecticism: Combining multiple styles creatively. 14. Duck vs. Decorated Shed (Venturi & Scott Brown): ○ Duck: Building form communicates purpose. ○ Decorated Shed: Simple form with applied symbolism. 15. Univalent vs. Multivalent architecture: ○ Univalent: Singular meaning. ○ Multivalent: Multiple layers of meaning and interpretation. 16. Media-driven architecture: ○ Buildings designed with visual media in mind, emphasizing spectacle and branding (e.g., Times Square buildings). 17. Impact of computer-based production on architecture: ○ Enables complex geometries, parametric design, and rapid prototyping. 18. Explain meta-narratives, loss of real, global economy, etc.: ○ Meta-narratives: Large unifying stories or ideologies. ○ Loss of real: Hyperreality replacing reality. ○ Global economy: Increased interdependence of markets worldwide. ARCHITECTURAL COMMUNICATION: SEMIOTICS, STRUCTURALISM, POST-STRUCTURALISM, DECONSTRUCTION 19. Semantics vs. Syntax in architecture: ○ Semantics: Meaning in forms (e.g., dome symbolizes authority). ○ Syntax: Relationships between forms (e.g., spatial arrangements). 20. Syntagmatic vs. Associative relations: ○ Syntagmatic: Sequential relationships in a composition. ○ Associative: Contextual or cultural associations. 21. Signifier and signified in architecture: ○ Signifier: Form or symbol (e.g., column). ○ Signified: Meaning (e.g., support, stability). 22. Define icon, symbol, and index with examples: ○ Icon: Resemblance (e.g., Eiffel Tower as Paris). ○ Symbol: Cultural agreement (e.g., cross for Christianity). ○ Index: Cause-effect relation (e.g., ruins indicating history). 23. Adding icons/symbols to buildings: ○ Through ornamentation, signage, or materiality (e.g., cultural motifs). 24. Structuralism’s basic concepts: ○ Focus on universal structures underlying cultural phenomena (e.g., spatial grids in architecture). 25. Contributions of Structuralism to architecture: ○ Emphasis on typologies and relational logic.  26. Structuralism and individuals/cultures: ○ Interprets how space reflects societal values. 27. Surface vs. deep level meaning: ○ Surface: Immediate perception (e.g., façade aesthetics). ○ Deep: Symbolic or functional meanings. 28. Deconstruction as critical thought: ○ Challenges established norms, embracing fragmentation and reinterpretation. 29. Derrida’s four structures in architecture: ○ Presence, hierarchy, binary oppositions, and metaphysics. 30. Binary oppositions in Structuralism: ○ Example: Public vs. private spaces in architecture. 31. Context providing meaning: ○ E.g., Local materials in vernacular architecture enrich design meaning. 32. Deconstructivist architecture: ○ Fragmented forms and unconventional geometries (e.g., Gehry’s Guggenheim Bilbao). 33. MoMA Exhibition 1988: ○ Popularized Deconstructivist architecture with works by Gehry, Eisenman, and Hadid. 34. Eisenman and Tschumi’s interaction with Derrida: ○ Explored deconstructivist concepts in works like Parc de la Villette. COMPLEXITY AND CONTRADICTION 35. ‘Contradiction adapted’ vs. ‘Contradiction juxtaposed’: ○ Adapted: Subtle integration (e.g., Venturi’s Vanna Venturi House). ○ Juxtaposed: Bold contrasts. 36. Blatant simplification: ○ Leads to unengaging design; nuanced simplicity is preferred. 37. Venturi’s “Complexity and Contradiction in Architecture”: ○ Advocates for embracing ambiguity and layered meanings. 38. Both-And Architecture examples: ○ Simultaneous duality (e.g., Villa Savoye as functional yet sculptural). 39. Room for fragment and improvisation: ○ Architecture as a dynamic, evolving form rather than perfection. 40. Postmodern architecture vs. late modernism: ○ Gains richness from historic and contextual connections. CRITICAL REGIONALISM 41. Regionalism vs. Globalization: ○ Regionalism: Context-specific designs. ○ Globalization: Homogenized aesthetics.  42. World culture: ○ Shared global influences transcending local traditions. 43. Vernacular architecture: ○ Local building traditions reflecting cultural identity. 44. ‘Architecture without Architects’: ○ Paul Oliver’s term for indigenous and vernacular structures. 45. Critical Regionalism: ○ Combines modern techniques with local identity. 46. Kenneth Frampton’s 7 attitudes: ○ Include sensitivity to topography, climate, and tactile materials. 47. Example of local and universal synthesis: ○ Louis Kahn’s National Assembly Building in Dhaka. 48. Pure techniques and scenography: ○ Pure techniques: Functional integrity. ○ Scenography: Visual storytelling. 49. Jorn Utzon’s Bagsvaerd Church: ○ Combines universal modernity with Nordic cultural forms. PHENOMENOLOGY 50. Phenomenology in architecture: ○ Explores human experiences and meanings in spaces. i. Memorial circle TTU: outer circle has cars and noise (audio distraction) walking through the fountain changes the auditory experience, inside is quiet (an experience and change in senses) 51. Key concepts: Genius loci, dwelling, etc.: ○ Genius loci: Spirit of a place. ○ Dwelling: Human connection to place. ○ Phenomena: objects or properties of an object that are apprehended with senses alone (ex. red is a “hot” color) 52. Structural properties of existential space: ○ Rooted in cultural and physical human conditions. 53. Phenomenology’s relationship with contemporary theories: ○ Counterbalances abstraction with experiential focus. 54. “The temple acts to gather the landscape”: ○ Architecture integrates with its environment. IMPORTANT CONCEPTS AND KEYWORDS Single Coding, Dual Coding, Multiple Coding Single Coding: A design communicates one clear meaning or function.  Dual Coding: Combines two layers of meaning, e.g., aesthetic and functional. Multiple Coding: Incorporates diverse interpretations, creating complexity and depth. Eclecticism, Revivalism, Pastiche, Parody Eclecticism: A mix of styles from different eras or regions within one design. Revivalism: A deliberate return to historical architectural styles. Pastiche: An imitation or blend of styles without a deeper critique. Parody: A humorous or ironic reinterpretation of existing styles. Empiricism and Rationalism Empiricism: Knowledge derived from sensory experience; architecture reflects practicality and observed reality. Rationalism: Focus on logic and reason; designs are guided by mathematical principles and ideal forms. Global Economy Refers to the interconnectedness of markets worldwide, influencing architectural materials, styles, and production methods. Idealism A philosophical approach emphasizing ideas and concepts over material reality, often seen in utopian architectural visions. Loss of Artistic Minority A concern in postmodernity where unique, avant-garde artistic efforts are overshadowed by mass consumerism and global trends. Loss of Real A concept from Jean Baudrillard describing hyperreality, where simulations and images replace authentic experiences. Meta-narratives Overarching, universal stories or ideologies, such as modernism’s belief in progress, questioned in postmodernism. Modes of Production vs. Modes of Consumption Modes of Production: How architectural spaces are created, reflecting economic and cultural systems. Modes of Consumption: How people use and interpret architectural spaces, often influenced by consumer culture. Multivalent and Univalent Multivalent: Architecture that allows multiple interpretations or uses. Univalent: Design that conveys a single, focused meaning or function. Paradigm A dominant set of ideas, practices, or methodologies in a particular era of architecture, e.g., modernism or postmodernism. Style The distinctive manner or approach in architecture, often tied to a historical period or movement, such as Gothic, Baroque, or Deconstructivism. Museum of Modern Art (MoMA) A cultural institution in New York City that played a key role in promoting modernist and later deconstructivist architecture. Synchronic and Diachronic Synchronic: Examines architecture at a specific point in time. Diachronic: Studies architectural evolution over time. Jacques Derrida, Charles Jencks, Christian Norberg-Schulz, Martin Heidegger Jacques Derrida: Philosopher associated with Deconstruction, influencing fragmented and non-hierarchical designs. Charles Jencks: Theorist who articulated postmodernism’s pluralism and coined terms like "double-coding." Christian Norberg-Schulz: Architect and theorist known for exploring phenomenology and the concept of genius loci. Martin Heidegger: Philosopher who introduced ideas about dwelling and existential space, deeply impacting phenomenological architecture.