PART 01: What is Architecture? (What are some of its
defining characteristics,
meanings, and foundational questions?)
WEEK 01 LECTURE/ARCHITECTURE/THEORY vs. PRAXIS
WEEK 02 LECTURE/CRITICAL THINKING
WEEK 03 LECTURE/DOES ARCHITECTURE HAVE AN
ESSENCE?
WEEK 04 LECTURE/ARCHITECTURE: ART or SCIENCE?
WEEK 05 LECTURE/ARCHITECTURE & CONTINGENCY
Part 02: What are the central issues the discipline face? (what
is causing this
uncertainty)
WEEK 06 LECTURE/ARCHITECTURE & GLOBALIZATION
WEEK 07LECTURE/ENVIRONMENT 1: ARCHITECTURE &
SCARCITY
WEEK 08 ENVIRONMENT 2: ARCHITECTURE &
SUSTAINABILITY
WEEK 09 LECTURE/ARCHITECTURE & RAPID
TECHNOLOGICAL DEVELOPMENT
WEEK 10 LECTURE/ARCHITECTURE, HEALTH, & WELL
BEING
PART 03: What are some Foundational Concepts/Methodologies
for design?
(What are some of its basic languages/vehicles for

communication)
WEEK 11 LECTURE/MANIFESTO
WEEK 12 LECTURE/DIAGRAMING
WEEK 13 LECTURE/NARRATIVE: PROCESS/FORM/ORDER
WEEK 14 LECTURE/ARCHITECTURE & THE UNIVERSITY
WEEK 15 LECTURE/THE ETHICAL CHALLENGE OF
ARCHITECTURE
ARCH 1110/FALL 2022
LECTURE 11: MANIFESTO
LECTURE 11/11.01.22
ARCH 1110/FALL 2022
PART 01
LECTURE 11:
SECTION OUTLINE
SECTION 01: What is a manifesto/What is its purpose?
SECTION 02: Modernist Architecture & the Manifesto
SECTION 03: Contemporary Examples

ARCH 1110/FALL 2022: LECTURE 11
SECTION 01:
What is a manifesto/What is its purpose?
A manifesto is a published declaration of the intentions,
motives, or views of the
issuer, be it an individual, group, political party or government.
A manifesto usually
accepts a previously published opinion or public consensus or
promotes a new idea
with prescriptive notions for carrying out changes the author
believes should be
made. It often is political or artistic in nature, but may present
an individual's life
stance. Manifestos relating to religious belief are generally
referred to as creeds.
It is derived from the Italian word manifesto, itself derived from
the Latin
manifestum, meaning clear or conspicuous.
https://en.wikipedia.org/wiki/Consensus_decision-making
https://en.wikipedia.org/wiki/Politics
https://en.wikipedia.org/wiki/Art_manifesto
https://en.wikipedia.org/wiki/Life_stance
https://en.wikipedia.org/wiki/Life_stance
https://en.wikipedia.org/wiki/Religious_belief
https://en.wikipedia.org/wiki/Creed
https://en.wikipedia.org/wiki/Italian_language
https://en.wikipedia.org/wiki/Latin

[The fundamental] proposition is: that in every historical epoch,
the prevailing mode
of economic production and exchange, and the social
organization necessarily
following from it, form the basis upon which it is built up, and
from which alone can
be explained, the political and intellectual history of that epoch;
that consequently
the whole history of mankind (since the dissolution of primitive
tribal society,
holding land in common ownership) has been a history of class
struggles,
contests between exploiting and exploited, ruling and oppressed
classes; that
the history of these class struggles forms a series of evolutions
in which, now-a-
days, a stage has been reached where the exploited and
oppressed class—the
proletariat—cannot attain its emancipation from the sway of the
exploiting and
ruling class—the bourgeoisie—without, at the same time, and
once and for all,
emancipating society at large from all exploitation, oppression,
class distinctions
and class struggles.
Excerpt from the Communist Manifesto (Karl Marx & Fredrich
Engels)
Structure/Form: (Common)
• description of historical condition/how we got here

• What needs to be done…
• what could/should emerge that brings positive change
• to the circumstance
ARCH 1110/FALL 2021: LECTURE 11
SECTION 02:
Modernist Architecture & the Manifesto
1907 Henry van de Velde: Credo
Thou shalt comprehend the form and construction of all objects
only in the sense of
their strictest, elementary logic and justification for their
existence.
Thou shalt adapt and subordinate these forms and constructions
to the essential use
of the material which thou employest.
And if thou art animated by the wish to beautify these forms
and constructions,
give thyself to the longing for refinement to which thy aesthetic
sensibility or taste
for ornament- of whatever kind it is – shall inspire thee, only
so far as thou canst
respect and retain the rights and the essential appearance of

these forms and
constructions!
1908 Adolf Loos: Ornament and Crime
The child is amoral. To our eyes, the Papuan is too. The Papuan
kills his enemies
and eats them. He is not a criminal. But when modern man kills
someone and eats
him he is either a criminal or a degenerate. The Papuan tattoos
his skin, his boat,
his paddles, in short everything he can lay hands on. He is not a
criminal. The
modern man who tattoos himself is either a criminal or a
degenerate. There are
prisons in which eighty per cent of the inmates show tattoos.
The tattooed
who are not in prison are latent criminals or degenerate
aristocrats. If someone
who is tattooed dies at liberty, it means he has died a few years
before
committing a murder.

The urge to ornament one's face and everything within reach is
the start of
plastic art. It is the baby talk of painting. All art is erotic. The
first ornament that
was born, the cross, was erotic in origin. The first work of art,
the first artistic act
which the first artist, in order to rid himself of his surplus
energy, smeared on the
wall. A horizontal dash: the prone woman….. The man who
created it felt the same
urge as Beethoven, he was in the same heaven in which
Beethoven created the
Ninth Symphony. But the man of our day who, in response to
an inner urge,
smears the walls with erotic symbols is a criminal or a
degenerate. It goes without
saying that this impulse most frequently assails people with
such symptoms of
degeneracy in the lavatory. A country's culture can be assessed
by the extent to
which its lavatory walls are smeared. In the child this is a
natural phenomenon:
his first artistic expression is to scribble erotic symbols on the
walls. But what is
natural to the Papuan and the child is a symptom of degeneracy
in the modern
adult.
Very well, the ornament disease is recognized by the state and
subsidized with state
funds. But I see in this a retrograde step. I don't accept the
objection, that
ornament heightens a cultivated person's joy in life, don't accept

the objection
contained in the words·: 'But if the ornament is beautiful!'
Ornament does not
heighten my joy in life or the joy in life of any cultivated
person.
The speed of cultural evolution is reduced by the stragglers. I
perhaps am living in
1908, but my neighbour is living in 1900 and the man across the
way in 1880. It is
unfortunate for a state when the culture of its inhabitants is
spread over such a great
period of time. The peasants of Kals are living in the twelfth
century. And there were
peoples taking part in the Jubilee parade (of the Emperor Franz
Joseph) who would
have been considered backward even during the migration of the
nations. Happy
the land that has no such stragglers and marauders. Happy
America!
[Ornament is no longer organically linked with our culture, it is
also no longer the
expression of our culture. The ornament that is manufactured
today has no
connexion with us, has absolutely no human connexions, no
connexion with the
world order. It is not capable of developing. What happened to
Otto Eckmann's
ornament, or van de Velde's? The artist has always stood at the
forefront of
mankind full of vigour and health. But the modern ornamentalist
is a straggler or a
pathological phenomenon. He himself will repudiate his own

products three years
later. To cultivated people they are immediately intolerable;
others become
aware of their intolerable character only years later. Where are
Otto Eckmann's
works today? Modern ornament has no parents and no progeny,
no past and no
future. By uncultivated people, to whom the grandeur of our age
is a book with
seven seals, it is greeted joyfully and shortly afterwards
repudiated.
[I am preaching to the aristocrat. I tolerate ornaments on my
own body, when
they constitute the joy of my fellow men. Then they are my joy
too. I can tolerate
the ornaments of the Kaffir, the Persian, the Slovak peasant
woman, my shoemaker's
ornaments, for they all have no other way of attain ing the high
points of their
existence. We have art, which has taken the place of ornament.
After the toils and
troubles of the day we go to Beethoven or to Tristan. This my
shoemaker cannot do. I
mustn't deprive him of his joy, since I have nothing else to put
in its place. But
anyone who goes to the Ninth Symphony and then sits down and
designs a
wallpaper pattern is either a confidence trickster or a
degenerate. Absence of
ornament has brought the other arts to unsuspected heights.
Beethoven's
symphonies would never have been written by a man who had to
walk about in silk,

satin, and lace. Anyone who goes around in a velvet coat today
is not an artist
but a buffoon or a house painter. We have grown finer, more
subtle. The nomadic
herdsmen had to distinguish themselves by various colours;
modern man uses his
clothes as a mask. So immensely strong is his individuality that
it can no longer be
expressed in articles of clothing. Freedom from ornament is a
sign of spiritual
strength. Modern man uses the ornaments of earlier or alien
cultures as he sees
fit. He concentrates his own inventiveness on other things.
1910 frank Lloyd Wright: Organic architecture
In Organic Architecture then, it is quite impossible to consider
the building as one
thing, its furnishings another and its setting and environment
still another. The Spirit
in which these buildings are conceived sees all these together at
work as one thing.
All are to be studiously foreseen and provided for in the nature
of the structure. All
these should become mere details of the character and
completeness of the

structure. Incorporated (or excluded) are lighting, heating and
ventilation. The
very chairs and tables, cabinets and even musical instruments,
where practicable,
are of the building itself, never fixtures upon it ...
To thus make of a human dwelling-place a complete work of art,
in itself
expressive and beautiful, intimately related to modern life and
fit to live in,
lending itself more freely and suitably to the individual needs of
the dwellers as
itself an harmonious entity, fitting in colour, pattern and nature
the utilities and
be really an expression of them in character, - this is the tall
modern American
opportunity in Architecture. True basis of a true Culture. An
exalted view to take of
the 'property instinct' of our times? But once founded and on
view I believe this
Ideal will become a new Tradition: a vast step in advance of the
prescribed fashion in a
day when a dwelling was a composite of cells arranged as
separate rooms: chambers
to contain however good aggregations of furniture, utility
comforts not present: a
property interest chiefly. An organic-entity, this modern
building as contrasted
with that former insensate aggregation of parts. Surely we have
here the higher
ideal of unity as a more intimate working out of the expression
of one's life in
one's environment. One great thing instead of a quarrelling
collection of so many

little things.
ARCH 1110/FALL 2022
LECTURE 11: MANIFESTO
LECTURE 11/11.01.22
ARCH 1110/FALL 2022
PART 02
If it yearns after primordial truths, the spirit destroys itself;
if it weds the earth it thrives.
Max Jacob (Philosophies, No.I, 1924)
The town is a working tool.

Towns do not normally fulfil this function. They are inefficient:
they wear out the
body, they frustrate the mind. The increasing disorder in our
towns is offensive:
their decay damages our self-esteem and injures our dignity.
They are not
worthy of the age. They are no longer worthy of us.
A town!
It is an assault by man upon nature. It is a human action against
nature, a human
organism designed for shelter and work. It is a creation. Poetry
is a human act -
concerted interrelationships between perceptible images. To
be exact, the
poetry of nature is nothing but a construction of the " human
spirit. The town is
a powerful image that activates our spirit. Why should not the
town, even today,
be a source of poetry?
Geometry is the means with which we have provided ourselves
for looking
around us and expressing ourselves.
Geometry is the basis.
It is also the material foundation for symbols signifying
perfection, the divine.
It brings us the lofty satisfaction of mathematics.
The machine develops out of geometry. Thus the whole of the
modem age is
made up above all of geometry; it directs its dreams towards the
joys of

geometry. After a century of analysis, modem arts and thought
are seeking
something beyond the random fact and geometry leads them
towards a
mathematical order, an attitude of mind ….
There reigns a great disagreement between the modern state of
mind, which is
an admonition to us, and the stifling accumulation of age-long
detritus.
The problem is one of adaptation, in which the realities of our
life are in
question.
Society is filled with a violent desire for something which it
may obtain or may
not. Everything lies in that : everything depends on the effort
made and the
attention paid to these alarming symptoms.
Architecture or Revolution. Revolution can be avoided.

1962 ROBERT VENTURI: COMPLEXITY AND
CONTRADICTION
I like complexity and contradiction in architecture. I do not like
the incoherence or arbitrariness of
incompetent architecture nor the precious intricacies of
picturesqueness or expressionism. Instead, I
speak of a complex and contradictory architecture based on the
richness and ambiguity of modern
experience, including that experience which is inherent in art.
Everywhere, except in architecture, complex
ity and contradiction have been acknowledged, from Godel’s
proof of ultimate inconsistency in mathematics
to T. S. Eliot’s analysis of “difficult” poetry and Joseph Albers’
definition of the paradoxical quality of
painting.

But architecture is necessarily complex and contradictory in its
very inclusion of the traditional Vitruvian
elements of commodity, firmness, and delight. And today the
wants of program, structure, mechanical
equipment, and expression, even in single buildings in simple
contexts, are diverse and conflicting in
ways previously unimaginable. The increasing dimension and
scale of architecture in urban and regional
planning add to the difficulties. I welcome the problems and
exploit the uncertainties. By embracing con-
tradiction as well as complexity, I aim for vitality as well as
validity.
Architects can no longer afford to be intimidated by the
puritanically moral language of orthodox Modern
architecture. I like elements which are hybrid rather than
“pure,” compromising rather than “clean,” distorted
rather than “straightforward,” ambiguous rather than
“articulated,” perverse as well as impersonal, boring as
well as “interesting,” conventional rather than “designed,”
accommodating rather than excluding, redundant
rather than simple, vestigial as well as innovating, inconsistent
and equivocal rather than direct and clear. I
am for messy vitality over obvious unity. I include the non
sequitur and proclaim the duality.
Orthodox Modern architects have tended to recognize
complexity insufficiently or inconsistently. In their
attempt to break with tradition and start all over again, they
ideal- ized the primitive and elementary at the
expense of the diverse and the sophisticated. As participants in
a revolu- tionary movement, they acclaimed
the newness of modern functions, ignoring their complications.

In their role as reformers, they puritanically
advocated the separation and exclusion of elements, rather than
the inclusion of various requirements and their
juxtapositions. As a forerunner of the Modern movement, Frank
Lloyd Wright, who grew up with the motto
“Truth against the World,” wrote: “Visions of simplicity so
broad and far-reaching would open to me and such
building harmonies appear that . . . would change and deepen
the thinking and culture of the modern world. So I
believed.”11 And Le Corbusier, co-founder of Purism, spoke of
the “great primary forms” which, he pro-
claimed, were “distinct . . . and without ambiguity.” Modern
architects with few exceptions eschewed
ambiguity.
But now our position is different: “At the same time that the
problems increase in quantity, complexity, and dif
iculty they also change faster than before,” and require an
attitude more like that described by August
Heckscher: “The movement from a view of life as essentially
simple and orderly to a view of life as complex and
ironic is what every individual passes through in becoming
mature. But certain epochs encourage this
development; in them the paradoxical or dramatic outlook
colors the whole intellectual scene. . . . Amid
simplicity and order rationalism is born, but rationalism proves
inadequate in any period of upheaval. Then
equilibrium must be created out of opposites. Such inner peace
as men gain must represent a tension among
contradictions and uncertainties. . . . A feeling for paradox
allows seemingly dissimilar things to exist side by
side, their very incongruity suggesting a kind of truth.”

ARCH 1110/FALL 2022: LECTURE 11
SECTION 03:
Some Contemporary Examples
Craft. Architecture. 10 Thoughts.
https://youtu.be/HrHvE8Vgc5U
https://youtu.be/HrHvE8Vgc5U
HANDMADE ARCHITECTURE AS A CATALYST FOR
DEVELOPMENT
ANNA HERINGER
https://youtu.be/CgxtBEbphSw
https://youtu.be/CgxtBEbphSw
BJARKE INGELS - What YOUNG ARCHITECTS Must Learn
https://youtu.be/smI7Bxnqlk4

https://www.youtube.com/watch?v=smI7Bxnqlk4
https://youtu.be/smI7Bxnqlk4
ARCH 1110/FALL 2022: LECTURE 11
SECTION 04:
your manifesto: Start thinking about it now!
Scale Construction proposal
Introduction
Research methods in validating the usefulness of a drugs usage
scale.
The relevance of conducting authenticating procedures using
standard measurement scales within a pharmacological
environment.
The calibration of the scale and the item number are both
necessary when determining the dose.
The dependability of the project's goals and the scale
standardization.
Preferred categories of data that can be utilized in the scale
development process.
The utilization of qualitative data in the presentation of the
various stages of the scale construction process
The administration of drugs and the performance of drug tests
within the pharmaceutical industry have historically been the
most prominent forms of research technique utilized in
validating the validity of a drug usage scale.

In this paper's review, the analysis is to explain credible and
authentic measuring devices that any drug pharmaceutical firm
can use to test typical drug doses. Additionally, the analysis
will describe standard measurement standards.
The development of a standard, calibrated measurement
apparatus would be important to prevent the use of different
data, the integration of which could lead to erroneous
interpretation of the level of the poison that has been taken
beyond the dose point.
To accomplish the project's goal, this paper will describe the
dependability of the process used to develop a valid and
standard measurement instrument for standardizing the results
of drug tests in the pharmaceutical industry before their
application in the commercial market.
The paper will apply a variety of research with trustworthy
information regarding the calibrating and standardizing of
instruments according to ISO standards. This will ensure that
the information required to develop the stages is accurate.
According to the findings of the analysis, the level of depth of
comprehension of given research in connection to research
subjects is determined by qualitative data.
Therefore, in the process of gathering information for the
framework of the research, most research would use
questionnaires with varying sample sizes to identify behavioral
patterns and the drug preference scale.
2
Overview
The source of the growing problem with the scales used in
research and their measurements
Strategies for preventing flaws in scale data outcomes
Sensitivity of errors within the pharmaceutical organization.
According to the findings of the research, there are a total of
seven processes involved in the process of scale creation and
analysis. These steps are as follows:
Item development

Content appropriateness analysis
Questionnaire presentation
Analyze the factors
Evaluation of the model's internal consistency
Construction validity
Model replication
According to the findings of the study, the majority of studies
use measurement scales that are riddled with errors.
Because of the respondents' dissatisfaction, the questionnaires
lack the reliability necessary to accurately evaluate and
interpret the research findings.
The production process of drugs is particularly delicate because
it determines the toxicity levels, and the effects of those levels
would determine the fatality rate.
Therefore, pharmaceutical companies must implement study
methods that provide distinctive phenomena relevant only to the
industry.
However, the industry needs standard instruments with common
calibrations and whose operation is guided through a defined
framework for research to avoid flaws and psychometric
problems during the research.
Although researchers might have a limited interest in qualitative
opinion derived from general measurements, they will still
rethink their approaches if the scales they used were
inappropriate or unavailable.
Consequently, significant steps that would be important in
developing valid scales would be deduced from the study. Since
qualitative research would focus primarily on behavioral
approaches in the study, this paper aims to develop interval
scales that include both multi-items and subscales to measure
interval levels and determine drug toxicity intervals.
3

Item generation
The integration of two different ideas is required for item
production
The theory of deduction
The theory of induction
The integration of inductive and deductive reasoning into the
process of scale construction.
Variations in the implementation of the theory.
Analysists believe that deductive theory is so demanding that it
necessitates a deep comprehension of the relevant literature and
the theoretical phenomena to guarantee that item content will be
adequate for ultimate scaling.
As a result, it is the most appropriate method for measuring the
quality of pharmaceuticals. It also serves as the key approach to
standardizing the instruments used to scale drugs.
The construction scale process begins with the development of
measurement instruments specific to the construct that is being
evaluated.
According to the findings of the research, the procedure can
take one of two different approaches: the inductive approach, in
which the scale is derived after the item is produced, or the
deductive approach, in which the theoretical generation of the
scale is followed before the production of items with defined
scaling.
Even though bot approaches are applicable in qualitative
analysis, these methods still have a clearly defined place in
certain contexts.
According to research, studies would always use an inductive
approach when investigating unknown phenomena with little
theory on the factor. This approach only requires a small
amount of prior knowledge of the behavior, and after that, it
would define and analyze all aspects of the behavioral response.
On the other hand, deductive reasoning is frequently used
before the production of items. Because deductive reasoning

relies on the theoretical definition of a construct, it is
predominantly utilized in developing guidelines for the
production of items.
4
Item Development
The development of useful items is dependent on the generation
of useful items
Effective product development
The quantity of items selected affects the scaling process.
Regulations must be followed when selecting items.
In item development, there are standard guidelines constructers
incorporate to ensure proper construction of items.
According to analysis, constructs presentation may be confusing
to respondent especially in double barreled items.
For effectiveness in the assessment of the item, it is important
keeping the consistency of the items under assessment.
Simplicity in the application used during constructs familiarizes
respondents with details which is a foundation to consistency
and reliability.
Except from maintenance of internal consistence and
parsimonies, there are no specific rules to retention of the
minimum number of items.
However, studies recommends keeping of the measures short to
minimize biasness from the surrounding factors.
More importantly, time consumption is also a factor in the
choice of items, hypothetically, more items would require more
time.
In setting quality scale, studies suggests setting of items
between four and six for conceptual dimensions which would
approximate a more than one and half new item retention for
final scaling.
With reference to the Work of Bass and Avolio, measurement of
transformational construct is a perfect example of generating

and developing multiple item process.
In his studies, he compares the performance of transformational
leadership in gaining the attention in hospitality industry
despite being a new approach (Buswell, Thorpe, Soar, & Gibb,
2008).
Their ability of developing 142 items which seemed to be
resourceful in assessing a range of leadership dimension shows
the success of multi item development process in construct
(Buswell, Thorpe, Soar, & Gibb, 2008)
5
Content Adequacy Assessment
The importance of content adequacy analysis
The regulatory measures that are included in the content
adequacy assessment
The methods that are engaged in the process of content
adequacy assessment
The dependability of the method used to determine whether the
item's content is sufficient for the scaling procedure.
This is the second step of construct scaling which involves item
pretesting for adequacy.
According to research, many overlook the step mostly for
personal favor, since this is a quality assurance stage, most
researchers tend to avoid it to save on the resources and time
invested in collection and setting of data only to find flaw in the
measure at the end.
Through the process researchers can be able to find fault in the
flaw measurements and even allow deletion of inconsistent
items for construct validity.
However to match corresponding definition of items, an index
agreement is made before the administration of the items with
corresponding items.
In another context statisticians also use variance technique in
testing the adequacy of the items, which is simply used by small

samples which economical cost.
There are different content assessment methods used in sorting
items in constructs which involves the use of experts in the
domain or the use of naïve respondents who can be able to read
and understand definitions and items which can be used in
scaling.
However, these techniques may not present guaranteed validity
of the item but it is a representation of a reasonable measure of
construct under study.
6
Questionnaire assessment
A conference between the items and the assumptions regarding
their psychometric qualities.
The product's final use after the authentication process has been
completed.
The research technique of Likert scaling is used in the
questionnaire assessment.
The number of people in the sample impacts the statistical test.
Determining whether or not the scaling process can be
successful.
In this stage, the number of the items retained in the previous
stage are tested in an appropriate sample that would confirm the
conference of the items to the psychometric properties
expectations (Edwards, n.d.,).
After the examination process, the new item would be
administered with measure which will later assess the
overlapping of the existing scales.
From analysis, Likert scaling is the most applicable research
method which comprises of five to seven point Likert scales.
Using the approach, the adequacy of the sample size will
depend with the number of items needed for the significance of
the statistical test.
The researchers would then gather essential information to test

item performance which is essential in determining the viability
of scaling process.
From analysis, Likert scaling is the most applicable research
method which comprises of five to seven point Likert
scales(Wei Chen & Song, 2018).
7
Factor Analysis
Fundamental aspects of the evaluation procedure
The exploratory element
The inductive methodology
A contrast between the two contributing factors
The efficiency of the two components in the overall process of
scale construction
A description of the interaction between the two components.
The extent to which the criteria apply to the scaling process
Exceptions to the general rule of applying the output methods.
Exploratory factor is one of the analyses which reduces
acquired set of observed variables into smaller variables.
On the other hand, there is confirmatory analysis which
evaluates the importance of the overall model in defining the
quality of factor structure.
Research shows inductive approach can be more resourceful in
identifying predictable items in the analysis.
Consequently, the two factors can be used in determining inter-
item variables correlations which gives the researcher insight on
which variable may be deleted from the variable.
Factor analysis is meant to ensure independence of scaling item
and how many numbers of items should the research relying on
in making a reasonable scaling instrument.
In case of large outputs, the analyses are continually repeated to
eliminate undesirable variances so as to correspond with the
theoretical definition (Wei, Chen, & Song, 2018).
In exploratory factor analysis, the principle axis is applied in

accounting for random errors and determine the number of
factors to be retaining depending with the results.
From the analysis, the smaller numbers give precise outcome
with plausible measurement for setting scaling construct.
8
Internal Consistency Assessment
Specifying the sampling zone with internal consistency
assessment.
Appropriateness of internal consistency analysis.
Restrictions imposed on the applicability of the process.
The need to incorporate an internal consistency assessment
within the overall process of scale construction.
The internal consistency process is meant to calculate the
reliability of the scale and its internal constituency.
In calculating the reliability, a large coefficient alpha represents
a strong covariance of the item and a confirmation of sampling
domain capturing.
However if still the numbers in retained items remains
relatively large, the research may still eliminate those items
which may have limited effect to the reliability of the scales.
According to the analysis, strong internal constituency
reliability in the revision of the scales defines the number of
retained items in the constructs (Hakim, 2015).
More importantly, evaluating internal consistency reliability is
more necessary in development of new scaling, which examines
scales with low reliability and recommend for addition of items
or reexamination of the items already incorporated in the
construct (Hakim, 2015).
Without knowing the consistency of the items in the construct,
it might be difficult in validating the measures of scale and the
scaling functionality
9

Construct Validation
An overview of the stage's operational capabilities
Convergent validity
Discriminant validity,
Criterion-related validity is the outcome of the validation
procedure.
An investigation into how the validation process influences the
various relationships.
In this stage, the stage validates the content demonstrated in the
constructs and the internal consistency of the content.
During the process, the evidence should confirm convergent
validity, discriminant validity and criterion-related validity.
Convergent validity can achieved by examining scale
correlation extend in which it assesses similar design
constructs.
On the other hand, discriminant validity will involve extend in
which scales with dissimilar measure do not correlate.
However examining these relationships with regard to variables
which are set theoretically to be the outcome and standard
measure defines the criterion-related validity.
According to the analysis, more data is gathered on the scaling
items with different variables where conceptually, the
convergent validity should define the criterion-related validity.
Therefore the definition of these two conceptual validities,
should support the construct validity and defines extend in
which scales relates to the resulting measures.
However this is the most difficult stage of scale construct
process since different scaling will work differently in different
settings.
10
Replication
Replication step processes
Things to take into consideration while duplicating a large-scale

construction procedure
Errors in the application of the process;
Replicable phases within the procedure;
Assessment of confirmatory factors;
Evaluation of internal consistency reliability;
Construct validation
The replication stage involves restructuring process of the new
set of data using the new scales from the scale construct
process.
In this stage, research can apply different samples depending
with the demand of the theory and the hypothesis testing.
However, when replicating the process often researchers fail
from common source problem which is advisable to avoid initial
testing respondents.
Despite trusting the new scaling, the replication should follow
the entire scaling construct process which involves confirmatory
factor analysis, assessment of internal consistency reliability
and construct validation. (Hakim, 2015)
The replica process is a confirmatory factor to the scaling which
can be used as a standardization in future applications
11
Specific methods of establishing scale’s validity
Important details that ought to be present on every scale include
credibility, validity, and the element of arbitrariness.
Researchers will be needed to collect data from four more
scales that have since been recommended by the "Managerial
Practices Survey (MPS) for the convergent validity assessment.
The inspirational scale is based on influence strategies that stir
up excitement for work by appealing to emotion or reasoning.
Validity, credibility, and the aspect of arbitrary are crucial
details, which should exist in any scale. Blanton clearly points

out that ensuring that validity, and credibility are top priorities
in the formulation of any given scale is very important
(Blanton, and Jaccard 83).
In this case, by making use of the criterion-related strategy, the
scale generated will be crucial, and beneficial in the analysis.
For the convergent validity assessment, we will be required to
gather data from four additional scales, which have been
suggested by the f Managerial Practices Survey (MPS) (John,
and Veronica 92).
The first scale, which will be the clarifying scale, will focuses
on the specific task assignment.
On the other hand, the second scale, the inspiring scale, is based
on influence techniques that appeal to emotion, or logic to
generate enthusiasm for work.
The third scale, supporting, includes behaviors such as listening
to complaints, and looking out for interests of the third parties.
The fourth scale, team building, focuses on cooperation,
teamwork, and constructive conflict resolution of the existing
intelligence scales.
Correlating the scale with all these elements will ensure that we
get the intended numbers, and the accuracy, and the validity of
the scale will be guaranteed irrespective of the errors, which
may emanate along the way.
12
Conclusion
Project summary
The significance of the initiative concerning modern
developments in pharmaceutical businesses
The fundamental flaw that prevents drug manufacture from
scaling properly.
The influence that scaling has on the legitimacy of the results.
From the overview of the scale construct process, the
pharmaceutical company can utilize the steps in creating items

and creating scaling tools for standardization.
From the analysis, research is turning out to be a resourceful
tool in setting specificity in the quantity and the quality of
goods in the industrial level.
Through the procedural analysis, company productivity is likely
to incur problems from product content misappropriation which
may develop giving little attention to scale construct and
psychometric analysis.
It is evident poor scaling raises to questions to the entire project
and its results.
Therefore, it is necessary taking every stage in scaling serious
knowing it determines the viability of the outcome and usable
data from the research.
13
Reference
Blanton, H., & Jaccard, J. (2006). Arbitrary metrics in
psychology. American Psychologist, 61(1), 27.
Buswell, R., Thorpe, A., Soar, R., & Gibb, A. (2008). Design,
data and process issues for mega-scale rapid manufacturing
machines used for construction. Automation in Construction,
17(8), 923-929. doi:10.1016/j.autcon.2008.03.001
Edwards, A. L. (n.d.). The scale-discrimination technique.
Techniques of attitude scale construction, 201-219.
doi:10.1037/14423-008
Hakim, A. A. (2015). Accelerators to Occupancy: Expediting
the Design and Construction Process for Large Scale Projects.
AEI 2015. doi:10.1061/9780784479070.014
John, O. P., & Benet-Martínez, V. (2000). Measurement:
Reliability, construct validation, and scale
construction. Handbook of research methods in social and
personality psychology.
Wei, C., Chen, J., & Song, Z. (2018). Multilevel MVU models
with localized construction for monitoring processes with large
scale data. Journal of Process Control, 67, 176-196.
doi:10.1016/j.jprocont.2017.06.011

This article was originally published on Common Edge.
Architecture lost itself in an identity crisis not long ago. The
discipline wandered in self-reflection,
reexamining how practitioners go about their work, how the
built environment should appear, and
why. Movements came and went. Promising paths dead-ended.
Eventually, the profession gave up
looking for ways out of its uncertainty, leaving us where we are
today.
In premodern eras, new construction techniques, evolving
opinions on art, and shifting societal beliefs
drove styles. Advances were slow, but once established, became
long-lived norms. The Gothic period
lasted four centuries, the Renaissance three. From the
nineteenth century on, though, more than a
hundred aesthetic and philosophical movements lived quickly
and died. As historian Charles Jencks
notes, there were “a plurality of live architectural traditions”
even during the International Style’s
forty-year hegemonic heyday.

The century of robust mini-debates on form and function,
meaning and intent, petered out ten years
ago. Evidence that contemporary theory and practice are threads
of new architectural thought is
scarce. Arcade magazine published a survey of architectonic
declarations and mapped thirty modern
movements from 1900 to 1960, and eighty more between 1960
and 2010. At 2015, they found only two.
For reasons unknown, the formation of new isms dwindled—but
certainly, not because architecture
has found itself. One possibility could be fear. Taking a public
stand against the status quo comes with
risks of ridicule and professional harm. In extreme cases, even
physical danger. In 1957, Mao Zedong’s
appealed to China’s intelligentsia for a constructive
philosophical debate. He said, “Letting a hundred
flowers blossom and a hundred schools of thought contend is
the policy for promoting progress in the
arts and the sciences and a flourishing socialist culture in our
land.” It turned out to be a ploy to flush
out dissenters. Many took the bait and were reeled in. The other
possibility for the scarcity of new
thinking is that architects don’t give a damn. I prefer to think
that architects have ideas but don’t know

how to toss them into the flows of current (albeit limited)
discourse. No matter why, though, the result
is that the dominant architectural style today is a nondescript
banality underpinned by minimal
debate.
There are, of course, exceptions, and it is through them that we
find a way out of the woods. I present
herewith a means of reinvigorating the profession’s search for
self.
When, in 2008, Patrik Schumacher of Zaha Hadid Architects
penned a treatise proclaiming
“Contemporary avant-garde architecture is addressing the
demand for an increased level of
articulated complexity,” and that “Parametricism is the great
new style after modernism,” and further
stating, “Postmodernism and Deconstructivism have been
transitional episodes,” he was following a
well-trod path to artistic innovation: the manifesto. Note the
similarity between Schumacher’s rhetoric
and Walter Gropius’ 1965 assertion about the International
Style:
A breach has been made with the past, which allows us to
envisage a new aspect of architecture
corresponding to the technical civilization of the age we live in;

the morphology of dead styles has
been destroyed.
Schumacher claimed to have found a demand for “articulated
complexity” and answered the call to
action. He beckoned others to join him. Gropius saw civilization
growing more technical, prompting
him also to respond. We heeded the wants of our age, each man
effectively said, and—Eureka!—found
a better way. Both demanded Out with the old and in with the
new. Both telegraphed Revolt! by
channeling Karl Marx and Friedrich Engles’ 1848 call for a
“revolutionary movement against the
existing…order of things.” Gropius and Schumacher might well
have written, Working architects of all
countries, unite!
By definition, the avant-garde is new. Surprise ensues when
radical ideas burst on the scene, bringing
confusion and questions. In art as in politics, answers are often
provided via declarations called
manifestos. Unique strategies cannot be judged without context,
so pronouncements generally
provide a preamble, complaint, and a list of tenets. Reduced to
writing, if a premise resonates, it has a

chance of becoming a movement à la Neoclassicism,
Modernism, Metabolism, Postmodernism,
Deconstructivism. A Whateverism never codified goes nowhere.
The dearth of contemporary architectural movements indicates
the profession is no longer
questioning itself—and that’s a problem. The built environment
has no end of problems in need of
theories on how to respond, paramount being the existential
threat of climate change.
Architecture’s first declaration of intent was arguably
Vitruvius’ Ten Books on Architecture, written in
27 BC. But the idea of a publishing sets of core beliefs didn’t
reach its stride until The Communist
Manifesto. That slim pamphlet became the template for
numerous public proclamations, many
incorporating a version of, “It is high time that [ADHERENTS’
NAME] should openly, in the face of the
whole world, publish their views, their aims, their tendencies.”
The introductions of Futurism, Cubism,
Vorticism, Constructivism, Dada and Surrealism, De Stijl, and
the Bauhaus owe much to Marx and
Engel.
Arcade magazine found more than a hundred architectural
manifestos published over the last one

hundred years. Some of them reduced their argument to a single
page or poster. Others were long-
form texts. Among the more notable are Frank Lloyd Wright’s
The Art and Craft of the Machine in
1901, Ornament and Crime (Adolf Loos, 1913), Towards a New
Architecture (Le Corbusier, 1965), The
Death and Life of Great American Cities (Jane Jacobs, 1961),
Complexity and Contradictions in
Architecture (Robert Venturi, 1966), and Operating Manual for
Spaceship Earth(Buckminster Fuller,
1968).
Mies van der Rohe wrote a manifesto. So did Philip Johnson,
Louis Kahn, Paolo Soleri, Christopher
Alexander, Rob Krier, Renzo Piano with Richard Rogers, Kisho
Kurokawa, Aldo Rossi, Daniel Libeskind,
Rem Koolhaas, Coop Himmelblau, Steven Holl, and Bjarke
Ingels. Reader, if you’re an architect, are
you on the list? If not, why not? Conventional wisdom assumes
lucid thinking behind the largest and
most permanent of humankind’s built works. One would like to
believe that architects’ decisions on
aesthetics and art, function and form, economy and
sustainability are the result of well-considered

and defensible rationales. At the least, designs should be based
on opinions that can be coherently
stated.
Looking around at today’s built environment suggests it ain’t
so. I’d venture asking most
contemporary architects to name their theory, describe their
design philosophy, or recite what
principles motivate their work would yield befuddled answers or
blank stares. I am not alone in this
opinion. Few “in the contemporary profession [are] willing to
take a stand, to mount a soapbox and
exclaim a polemical notion,” wrote Michael Holt and Marissa
Looby in a 2011 Domusmagazine op-ed.
The take-away is that today’s architects have little to say about
what they design and why.
Let’s change that. Let us all write a manifesto. I’ll go first,
guided by the wisdom of Dr. Anna Tahinci, a
professor and art history chair of the Museum of Fine Art
Houston’s Glassell School of Art who teaches
a workshop entitled, Write Your Own Manifesto!, based on
MFAH’s 2015 exhibition, Violence and
Precision: Artists’ Manifestos.
The French poet Tristan Tzara wrote in his 1918 Dadaist
manifesto, “To launch a manifesto, you have to

want: A, B, & C, and fulminate against 1, 2, & 3.” According to
Dr. Tahinci, three steps are taken:
One: Designate an enemy and chronicle a fervent (and
somewhat limited) history of persecution
leading up the climactic moment of rupture.
For my manifesto, this will be easy. I find no end of problem
buildings in Houston (my home town),
including contemporary examples designed by God architects of
our time. My issue isn’t with their
beauty, for many are pretty. Nor is my problem function, for, as
far as I know, they work as intended.
My criticism is the same I have with many contemporary
buildings—they seem arbitrary and
capricious, as if no guiding principle rooted them into
existence. Even when there is stated rationale, it
is often glib, or invisible in the work, or based on a theoretical
position that time has invalidated.
Take, for instance, the architecture of Houston’s museum
district, populated with well-regarded
buildings of brand name design firms. William Ward Watkin
designed the Museum of Fine Art
Houston’s original Neoclassical building in 1924. Kenneth
Franzheim added a small wing in 1952. Mies

van der Rohe designed a free-spanning addition in 1958 and
another International Style expansion in
the late 60s, shortly before his death. Rafael Moneo produced a
modernist building in 2000, and Steven
Holl completed a new Glassell School of Art in 2018 that
replaced a 1979 Brutalist building by Gene
Aubry. Down the street from MFAH’s campus is Venturi Scott
Brown’s children’s museum, constructed
in 1992.
I can’t pick a fight with Watkin, who delivered a classical
building at a time when Neoclassicism and
museums were joined at the hip. Nor can I argue against Mies’
1958 example of universal space, given
Modernism’s at-the-time honorable promise that form following
function would lead to an egalitarian
society of light and air. By the time of his death, however, Mies
should have known his version of the
Industrial Age wasn’t living up to his ideals. Instead of serving
the common good, the International
Style had sold out to Big Business, the antithesis of what should
house a cultural institution.
Rafael Moneo’s big box looks like a department store, so its
meaninglessness is worth knocking.
Steven Holl borrowed shapes from Isamu Noguchi’s wonderful

1986 sculpture garden, which abuts the
new Glassell School. Meaning received. Unfortunately, and
despite Holl saying in his Five Minute
Manifesto, “More than a mere ingredient in a building’s
conception, a SITE is both its Physical and
Metaphysical Foundation,” the new Glassell’s plaza does severe
damage to Noguchi’s work. What had
been a destination, a secluded courtyard, an intimate sanctuary
to contemplate art, is now an open
passageway to somewhere else. The magic is gone.
Venturi Scott Brown’s Children’s Museum of Houston is the
best of the bunch. It’s a playful Postmodern
period piece that riffs off Neoclassicism without also ripping it
off. Although PoMo was flawed, I don’t
have it in my heart to ding the building. VSB was more faithful
to the movement’s goal of reconnecting
architecture to its history than most Postmodern buildings, and
much better than attempts to revive
the movement as Neo-PoMo.
I, therefore, declare Pritzker Prize winner Rafael Moneo, and
AIA Gold Medal winners Mies van der Rohe
and Steven Holl enemies of my state of mind.
Two: List demands and declarations in response to

wrongdoings.
For me, there is no more pressing need than for architecture to
reassert itself as “the great book of
humanity,” as Victor Hugo urged. I call for re-establishing
buildings as houses of societal
metanarratives. I yearn for architecture as gentle influencers
that nudge, shape, and reinforce positive
behaviors. I want a Persuasive Architecture, not voiceless
aesthetic gestures, inconsiderate form-
making, and unintelligible architectural gymnastics. I ask that
architects take on the anthropogenic
calamities of war, poverty, hunger, preventable disease and
death, intolerance, illiteracy, and climate
change.
Three: Antagonize a group and pit “us” against “them” in an
aggressive call for action.
Marx and Engels wrote, “A spectre is haunting Europe — the
spectre of communism.” Them were the
capitalists (the bourgeoisie); us was the public (the proletariat).
Dr. Tahinci encourages manifesto authors to employ this same
we-speak and make us-against-them
demands for action. Don’t be shy. Over-the-top isn’t over the
top in manifesto writing. Outrage and

anger are not out of place, either. Quirky and crazed is not only
acceptable; it’s preferable. Shock has
value, so make generous use of exclamation points in your
writing. Feel free also to scream in ALL
CAPS.
Other tricks of the trade include listing your demands, bold
typography, the use of storytelling with a
dose of drama, even theatrics. Do (almost) anything to get
attention and command an audience. One
art student reportedly presented his “man”-ifesto in the nude
with beliefs and opinions written on his
skin. Yes, he received an A for the assignment.
To that I offer a more modest polemic:
PERSUASIVE-ism
Architects of the world, WAKE UP!
Humanity’s greatest problems are anthropogenic, not
architectural
CAST OFF THE YOKE OF MEANINGLESSNESS!
***
As civilization faces a human-made END OF TIME,
Beautiful boxes have become IRRELEVANT.

And form for form’s sake is IRRESPONSIBLE.
They who reproduce Classicism belong to ANOTHER TIME.
They who promulgate the International Style have LOST THEIR
WAY.
They who reintroduce Postmodernism will MISS THE POINT.
***
Buildings are OPPORTUNITIES to CHANGE THE WORLD!
A NEW architecture IS NEEDED—an architecture of CHANGE
AGENT.
***
We REJECT architecture as fashion statements and me-too
knockoffs.
We REJECT buildings as illiterate objects.
We REJECT buildings as empty sculptural gestures.
We DEMAND built environments overtly address critical
issues.
We DEMAND architecture that positively influences what
people do.
***
RESTORE ARCHITECTURE TO THE GREAT BOOK OF
HUMANITY!

That’s it; that’s my soapbox, my criticism of contemporary
architecture with suggestions for a new
direction. In poster form, my rant looks like this:
Yeah, admittedly, PERSUASIVE-ism needs work—but hey,
how’s yourmanifesto coming along?
Architecture’s historical progression—from a thought to a
theory, to a movement, to a manifesto, to an
accepted style—has stalled. We can restart evolution, but only
if architects put their thinking caps back
on, force themselves to decide on what they believe, and
publish their thoughts in direct and
straightforward terms. There are numerous go-byes to guide us
out of the forest.
“We are on the extreme promontory of the centuries!” wrote
Filippo Tommaso Marinetti in The Futurist
Manifesto (1909). “What is the use of looking behind at the
moment when we must open the
mysterious shutters of the impossible? Time and Space died
yesterday.” Naum Gabo and Antoine
Pevsner declared in the Basic Principles of Constructivism
(1920), “We are no longer content with the
static elements of form in plastic art. We demand the inclusion
of time as a new element and assert
that real movement must be employed in plastic art, in order to

make possible the use of kinetic
rhythms in a way that is not merely illusionistic.”
Dr. Tahinci encourages architects to publish their opinions,
motives, intentions, and meaningful and
assertive concepts. That’s a superb recipe for food for thought,
and since architecture is hungry for
ideas, an excellent idea for a competition.
ANNOUNCING THE COMMON EDGE ARCHITECTURAL
MANIFESTOS CONTEST!
Write or draw what you feel and email what you think to
[email protected] Attach a Microsoft
Word file of 150 words or less if submitting as prose, or a
poster in JPEG format 1,280 pixels wide by
1,656 pixels tall. Common Edge will publish the best manifestos
online. You never know, your
viewpoint might go viral.
Let a hundred manifesti bloom.
Suggested Reading
The Communist Manifesto (1848), by Karl Marx and Friedrich
Engles Programs and Manifestoes
on 20th-Century Architecture (1975), by Ulrich Conrads
Manifesto: A Century of Isms (2001), by Mary Ann Caws

Theories and Manifestoes of Contemporary Architecture (2006),
by Charles Jencks and Karl Kropf
News Articles Common Edge
#TAGS
Cite: Richard Buday. "How to Write an Architectural
Manifesto" 26 Jul 2019. ArchDaily. Accessed 26 Oct 2020.
<https://www.archdaily.com/921760/how-to-write-an-
architectural-manifesto> ISSN 0719-8884
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Rob • a year ago
• Reply •
Personally I thought that manifesto was pretty good. I might
just borrow it if that's
okay.
△ ▽

Richard Buday, FAIA • a year ago
• Reply •
> Rob
Ok by me.
△ ▽
rktrixy • a year ago
• Reply •
Interesting. Just when I was enjoying the quiet, the lack of
screaming bombast if you
will, you lay out some good reasons to pick up the flag and
carry it forward.
That said, I had to laugh at the picture. I've always imagined
what the people in the
painting are saying. With apologies to the entire nation of
France and the memory of
those who died for freedom, as well as the artist.
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In the FINAL position paper of the semester each student will
undertake the writing of a personal
manifesto for architecture.. This document will conclude the
research into the topic outlined by each
student in their first two position papers of the semester. It
should succinctly describe the values, agenda,
and vision for the architecture that each student (as related to
their topic of study) values and should
outline the initial frame of reference that will guide their
education and early careers. As discussed in
lecture 11, there is a long tradition dating back to Vitruvius
involving architects framing their work within
the issues of their "day" as well as outlining the ways that they
feel the discipline of architecture
could/should address these very issues. Manifestos are a "tried
& true" method for architects to

communicate the intended referential frame, context, and
audience for their work as well as projecting
how they feel this work should be measured and critiqued. It is
a way of clearly defining and
communicating an agenda or statement of why their work
matters and how "architecture" can meet a
specific challenge. It may outline something “new” , or
something lost, that historically the discipline has
failed to face or no longer faces properly. Therefore, a “new”
way is proposed allowing for a path to
properly adapt to emerging conditions.”
Though this is the "closing" argument of the semester and will
encapsulate previous research and material,
students should not "plagiarize" their previous work. This is to
be a "new", more focused and refined
argument with 3 NEW references added to the reference list of
their previous research into the topic. It is
the "finishing statement" for what they believe is a pressing
societal issue and then a proposal for a means
for architecture to address this circumstance. For instance, Le
Corbusier saw his "age" as striving towards
precision and proposed that the house was the proper expression
for exploring this emergent "aesthetics
of precision". His answer was the "five points of architecture"
and his concept of the house as a "machine
for living".
So again, this is not a paper about an individual building per se,
but should be more about a particular
typology or integrative architectural strategy. This manifesto
could also be focused towards the “agency”
of the architect, the power of the architect's design skill set, or
the discipline's ability to address the
contingent issues that must be addressed for the profession to
successfully adapt to the changes that

globalization has wrought. A good guide for creating a proper
tone and strategy for this paper is the
article "how to write an architectural manifesto".
In the FINAL position paper of the semester each student will
undertake the writing of a personal
manifesto for architecture.. This document will conclude the
research into the topic outlined by each
student in their first two position papers of the semester. It
should succinctly describe the values, agenda,
and vision for the architecture that each student (as related to
their topic of study) values and should
outline the initial frame of reference that will guide their
education and early careers. As discussed in
lecture 11, there is a long tradition dating back to Vitruvius
involving architects framing their work within
the issues of their "day" as well as outlining the ways that they
feel the discipline of architecture
could/should address these very issues. Manifestos are a "tried
& true" method for architects to
communicate the intended referential frame, context, and
audience for their work as well as projecting
how they feel this work should be measured and critiqued. It is
a way of clearly defining and
communicating an agenda or statement of why their work
matters and how "architecture" can meet a
specific challenge. It may outline something “new” , or
something lost, that historically the discipline has
failed to face or no longer faces properly. Therefore, a “new”
way is proposed allowing for a path to
properly adapt to emerging conditions.”

Though this is the "closing" argument of the semester and will
encapsulate previous research and material,
students should not "plagiarize" their previous work. This is to
be a "new", more focused and refined
argument with 3 NEW references added to the reference list of
their previous research into the topic. It is
the "finishing statement" for what they believe is a pressing
societal issue and then a proposal for a means
for architecture to address this circumstance. For instance, Le
Corbusier saw his "age" as striving towards
precision and proposed that the house was the proper expression
for exploring this emergent "aesthetics
of precision". His answer was the "five points of architecture"
and his concept of the house as a "machine
for living".
So again, this is not a paper about an individual building per se,
but should be more about a particular
typology or integrative architectural strategy. This manifesto
could also be focused towards the “agency”
of the architect, the power of the architect's design skill set, or
the discipline's ability to address the
contingent issues that must be addressed for the profession to
successfully adapt to the changes that
globalization has wrought. A good guide for creating a proper
tone and strategy for this paper is the
article "how to write an architectural manifesto".