Synopsis all lim choon wah 0311265

BACHELOR OF SCIENCE (HONOURS) IN ARCHITECTURE
THEORIES OF ARCHITECTURE AND URBANISM (ARC61303/ARC2224)
SYNOPSIS: REACTION PAPER (MARCH 2015) [5 MARKS]
NAME: Lim Choon Wah ID: 0311265
LECTURER: Ms.Ida TUTORIAL TIME: 4-6pm
SYNOPSIS NO: READER TITLE: The Death and Life of Great American Cities
AUTHOR: Jane Jacobs
Jane Jacobs is an American-Canadian journalist, author & activist best known for her influence on
urban studies but sometimes her views go against the standards of urban planning. She was one of
the first critiques on Urban Renewal & still stands as one of the most influential texts on urban
planning by her book “The death and life of great American cities”. From this book, she introduced a
new view on urban planning “Cities are for people” to oppose the “Cities are for traffic” views based
from Robert Moses one of the urban planner & attack on orthodox modern city planning by her own
observation about cities. She wanted to introduce new principles in city planning to prove that “Cities
are for people” by categorized in four principles that looks to inner-cities for her main observations.
First principle, she had issues the city planning errors that street or district must serve mixed primary
functions to insure the presence of people at outdoor for various proposed on different times while
being at common places. Jacobs examines the continuity of movement of people within the area
throughout the day can make the resident feel more comfortable on the streets and promotes
neighbors security call eyes upon the street. Second, Jacob was studies the local economics behind
city problems by analyze how cities economics emerge and grow. She advocated preservation of
aged buildings because are more affordable for poor people and allow new business to emerge.
Third Principle was emphasizes the disadvantages of diversity presented in orthodox planning by
arguing diversity does not innately diminish visual order. Jacobs discovered that people will choose
not to use longer block because very few places they can choose to go and kept people from one
another but short blocks allow for more social interaction and economic diversity. Last principle,
Jacobs emphasized the case for higher density is capable of supporting more vibrant communities
and is vital for city life, economic growth and prosperity by oppose orthodox planning theory. Jacob
believe the concept could unslumming by improve the area that the populations remain take an
interest, useful, higher density which key to city growth instead of a scene of urban blight.
On my opinion of this book, Jacobs’ book still continues to be most influential and still widely read by
urban planning professionals and the public till nowadays. Jacobs’ book had impact me to analysis
the nature of social relations between the realms of urban studies to create successful city
neighborhood and is not a place to overwhelm by the defects and problems.
DATE: 11/4/16 MARK: GRADE:
ASSSESSED BY:
1

SYNOPSIS NO: 2 READER TITLE: Semiotics & Architecture: Ideological Consumptions or Theoretical Work
AUTHOR: Diana Agrest & Mario Gandelsonas
In recent years, many theories based on semiotic models have been developed in architecture but have
limited knowledge of linguistic and semiotic concepts and transfer them to architecture that not led to
positive results. The most important position to be when these models are transferred no distinction is
made between what we shall call ideological theories and theory work in a more strict sense. I believe
that the Agrest and Gandelsonas tried to clarify of this point must be improve the work of theoretical
development and semiological theory in architecture. I agreed that the authors had successful clarify the
issues into the confusion between communication and signification, architectural theory and ideology,
and semiotics as a tool for theoretical development.
I feel that part of the problem in semiotic development in architecture had distinguished the
communication and signification of semiotics. We had confused the notions of communication theory
and traditional semantics in a random and arbitrary fashion where there is no clear definition and
distinction been made. By improving it, I believe it is important to clarify the distinction between the
notion of communication and signification is the key. From what I understand, the notion of
communication is systems of signs used for communicate between individuals which are related to the
function. In contrast, the notion of significant depends on the particular internal structure given by
cultural system with the concern of nature of signs & the rule by governing them.
Furthermore, I agree on the authors had concerning the nature of the relationships between the theory
and ideology. Ideology can know as set of representations and belief of religious, moral, political and
aesthetic which refer to nature, society and activities of men. But I feel that ideology functions had
become obstacle because it affords only a certain knowledge even if gives knowledge of the world
because this function had limited and distorted the knowledge by serving & preserving the structure of
society. In opposition, I agree with authors that theory of architecture is necessarily placed outside of
ideology because architectural theory is the process of the production of knowledge which is built upon
a dialectical environment relationship with architectural ideology. The relationships between theory and
ideology viewed as continuous struggle because theoretical work is more restricted sense uses as its
raw material that no real but beliefs, notions and concepts.
Moreover, I agree semiotics as a tool for theoretical development because is a future general theory of
ideologies. Saussure, as semioticians defines that semiotics as the science of the different systems of
signs and the study of langue as the study of the various semiotic systems. In traditional semantics
meaning it is considered inherent to the world. Saussure is opposed the thesis of inherent meaning by
considered language is the creative aspect of architecture; creative in architecture is a complex play of
conservation and variation of shapes & ideological notions within certain determined limits.
In my opinion, I hope that any future task of theoretical development on architecture could base on
analyzing the specific form by against the architecture ideology which is behave in the difficulties faced
by semiotics in the field of architecture. Semiotic concepts should be used for critique on architecture
ideology by refer the important of semiotic concept of “arbitrariness” to transform the architecture
ideology.
WORD COUNTS: 548 DATE: 25/4/16 MARK: GRADE:
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SYNOPSIS NO: 3 READER TITLE: The Geometry of Feeling – A Look At The Phenomenology of Architecture
AUTHOR: Juhani Pallasmaa
In recent years, many theories based on geometry models have been developed in architecture but
have limited knowledge of understanding the essence of art and transfer them into contemporary
architecture that not lead appeal to our feelings. The most important that some writers think our
architecture is too poor in terms of forms, others that its form is too abstract or intellectual. I believe
that Juhani Pallasmaa tried to clarify of this point must be improve the work between the geometry
of feeling and the language of arts in architecture. I agreed that the author had successful clarify the
issues into the confusion between the architecture as play with form, phenomenology the
architecture of sense and feeling of architecture.
I feel that the part of the problem in contemporary form in architecture has gradually detached itself
from its intentional background. We had confused the form which and became more determined by
its own rules and value systems that still believe itself a form of free artistic expression. By improving
it, I believe that additional proof can be offered of how architecture has detached itself and no
longer relates to its background and purpose. From what I understand, the experience of the
building isn’t given much emphasis when designing between the architectural forms but is a result of
the art integrating all these elements, not a summation of plays of forms.
Moreover, I agree on the author had concerning modern buildings are groundbreaking with their
geometrical shape and illusionary structure they do not comfort us the way the buildings before did.
But I feel that one of the most important “raw materials” of phenomenological analysis of
architecture is early childhood memory because lack of comprehension of the essence of art which
result in architects naively using forms to create architecture. In opposition, I agree with author that
very few modern buildings appeal to our feelings; the buildings of our own time may arouse our
curiosity with their daring or inventiveness but now hardly give us any sense. The phenomenology of
architecture seeks the inner language of building that building doesn’t function in the second
dimension or third dimension but is the fourth dimension of feeling by experiencing the work of art.
Furthermore, I agree the author said that architecture cannot be a mere play with form but should
fulfill emotional feelings linked in our souls with the images a building creates. Phenomenologically,
as a symbol of direct expresses the human existence whether forms or geometry in general can give
rise to architectural feeling. But the author argue that experiencing loneliness is one of the basic
feeling given by architecture just like the experiencing of silence and light found in Louis Khan’s
architecture. I believe that the architecture is the experience and dialogue between the buildings the
individual users, whereby all other noise and people fade away into secondary importance.
In my opinion, I hope that any future of forms or geometry able to appeal our feelings on
architecture by base on analyzing the phenomenology brought up due to the complete scientific
mind of architecture which is behave in the senses stimulated by design and not just the visual
stimulus like many buildings are doing today. The phenomenology concepts should be used for
critique on geometry that doesn’t establish an order in which to limit and create a course of meaning
to transform into an ironic way to create a place of beauty phenomenology seems rational.
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SYNOPSIS NO: 4 READER TITLE: “Towards a Critical Regionalism: Six Points for an Architecture of Resistance, No 5 & 6”
AUTHOR: Kenneth Frampton
In recent years from the traditional to modern, many theories based on critical regionalism was based on
phenomenology in architecture but lack of sense of place in modern architecture which brought about
phenomenology. The approach to architecture that strives to counter the placeless and lacking of means in
modern architecture by using contextual forces to give a sense of place and meaning between them. I believe
that Kenneth Frampton tried to clarify his point must be improve critical regionalism in architecture because
regionalism is an idea stuck to vernacular and modernism is about total newness and do not copy vernacular as
such as the region/context does not exist anymore. I agreed that the author had successful clarify the issues
into the confusion between the universal, the culture versus the nature and the visual versus the tactile by using
two out of the six points for an architecture of resistance to critical about it.
I feel that part of the problem of regionalism in architecture had not described modern culture and buildings as
moving towards a state of civilization that is both universally conditioned and exhaustively optimized by
technology. We had confused that regionalism is not the key of the urban form which become inadequate by
universal building practices and methods which are driven to form by the iconic symbols of modern culture,
skyscraper and the highway. By improving it, I believe it is important to clarify the distinction between
regionalism and critical regionalism by mediating the impact of universal civilization with elements derived into
particular place. From what I understand, the critical regionalism can move towards by recapture the lost sense
of place which become as mass commercialization, globalization and the internet had moves the worlds
towards the universal and homogeneity. In contract, regionalism is derived from its local setting which
responding to the local climate and culture.
Furthermore, I agreed that the author had concerning the regional site and environmental conditions such as
topography, context, climate, light, tectonic form as what to combat between the universal and placeless. These
critical is involves directly dialectic relation between the nature which more than abstract and formal traditions
of modern architecture. The author state that these two elements while creating an architectural structure
must be associates between the local culture and the qualities of the landscape because the impact of the
universal which refer to elements derived from the local building materials and methods. But I feel that while
creating architectural structure on the natural environment, both elements should be merged together in order
to achieve relationship instead of free standing object. I agree with author that the cultural legacy and
geographical characteristics will be decisive in the climate and ecology to combat placeless of space.
Moreover, I agree the visual versus the tactile as experiences of sense should take a part while designing
because between this two senses make architecture much deeper and unique. The author also states that the
concept supports the usage of all material which targets all senses that will allow variable emotional reactions
towards the building. From what I understand that critical regionalism also seeks to complement our normative
visual experience by readdressing the tactile range of human perceptions to balance the environment & nature.
In my opinion, I hope that any future task of six points of architecture resistance could base on analyzing the
critical regionalism which is not a return to the vernacular had become obstacle to return to old regionalism.
Cultural regionalism concept should be used for create a better understanding of cultural identity,
contemporary demands and the contextual features in architectural sense.
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