Architekturtheorie 2 Prüfung
Name: Zahra Barakat
Matrikelnummer: 01647670
Frage 1
One of the oldest dilemmas confronting humanity is attempting to control or dominate what
we refer to as "earth time." With the Calendar, it was possible to form a structure and
organize brief periods of time into our day-to-day life. The Calendar was made through the
development of nature, in which both sun and moon considered significant reference points.
Though, it is not suitable for covering long periods of time as it measured in cycles and years.
On the other hand, Periodization accomplished the corresponding objective, but over a more
extended period of time. Also, Calendars do not help with prognosticating the future, but on
the contrary, work very well with controlling the past.
Periodization dates back from the archetypal Greeks and yet further to the Hebrew Bible.
However, it didn't bring any settlement among historians until the 18th/19th century; when
writing history itself undertook a transmutation; until its first use in the 20th century. Various
terms have always used in order to understand the past; for example, "Epoch," "Age," and
"Cycles." At least for Jacques Le Goff, the term "Period" is best suitable to define a certain
period of time. Therefore, the division into periods is not only a shifting or a turning point of
society and its values, but also of successive importance. Nevertheless, Periodization can be
implemented only on the inadequate realms of human civilization.
Moreover, in the 16th century, there was an endeavour to connect the terms "Periods" and
"Centuries." Hence, this connection of combining both has resulted in the creation of a
"Centennial period," which always ends with "00". As claimed by Le Goff, this term is
insufficient because the years that ended with "00" were a very infrequent turning point in
the society that history has taken place at. Accordingly, this has suggested that the centuries
ere or after the year "00" started and lasted longer than a century (hundred years). An
example of this is shown clearly through historians, as the 18th century had only started in
1715 and the 20th century only in 1914.
"Periods" and "centuries" match distinct requirements, however only for convenience, they
are used together today. In the 19th century, the term "Renaissance" introduced to classify a
period. It has associated with a period of one or more "centuries." But when exactly did the
Renaissance really started? Was it the 15th or 16th century? Periodization history can be very
complicated because subjectivity plays a vital part.
Furthermore, "Periods" or "Epochs" division is used exclusively diversely in other civilizations.
For instance, the Europeans and the Mayans had completely different systems at the same
time. As a result, the term "Period" cannot be used a basic term in globalization. Hence,
Globalization and Periodization are interconnected, not contradictory. Whereas globalization
incorporates two stages: the first part is communication and connection directly with areas
or civilizations that have been beforehand unacquainted with one another, secondly its an
occurrence of absorption, an amalgamation of cultures. So far, humankind has only passed
the first of these stages. Regarding Periodization, both the way human history constructed
and how it changes over time has become more apparent in the long term.
According to le Goff, the Periodization of history transforms it into social science. A
periodization is an indispensable tool for historians.
Frage 2
The classic Greek poems were appointed two sources: firstly, the divine inspiration that came
from the gods and secondly the art of writing. In contrast, Longinus speaks of the great
question of Nature vs. Art. He comes to an unavoidable conclusion that both are required.
Despite that, he inserts the foremost emphasis on natural talent. Longinus strives to explain
how to reach Hypsos (elevation, loftiness, sublimity) in both writing and speaking. The
intention is that readers and listeners enter a mood of high-mindedness. Hence, to
comprehend the writer's thoughts, opinions, and concepts, one should know what Sublime
is. Thus, Sublime forms a specific nobility and high excellence of language that great poets
need to show the prominence of the image and obtain distinction.
Longinus enumerates a discussion of the five sublime sources, where a particular language
competence is always expected:
1. The first and most fundamental one of all is the ability to receive and grand conceptions,
"Grandeur of thoughts."
2. The stimulation of powerful and inspired emotions.
3. The establishment of certain two types of figures; these are divided into thinking figures
and speech figures.
4. The formation of what is called noble diction. Therefore, this includes the selection of
words, usage of imagery, metaphors through the illustration of style.
5. Finally, the elevation and greatness of the structure, which embraces all mentioned.
The first two are regarded as natural sources because they are self-generated; they are
created from the artist's skills (the content of literature). On the other hand, the three others
are assigned to technology (the outcome of art due to the writer's artistic practice).
The essential qualities within the sublime are typically associated with the aesthetic
classifications of nobility, continuity, and panic, as well as to the philosophical ideas of the
intellectual. Consequently, according to Greek aesthetics, rhetorical, creative, and spiritual
qualities were entirely acknowledged to influence human nature. As a result, the sublime has
emerged from the Greek peripatetic rhetorical theory. Longinus indicates that rhetoric
sublime is not only related to matters of style alone but by many others.
The first source is split into three aspects, in which Longinus advises to create impressive
ideas.
1. Socially moral and universal factors influence a higher value of the mind (nobility of mind,
spirit, or soul). Here, he suggests that "natural genius" sums the majesty of mind more than
any other feature. The nobility is seen through Longinus's eyes as a reference to the mentality
of a person.
2. Imitation appears after the first aspect. In this case, Longinus indicates that if an individual
does not acquire a noble mind by nature, they should at least be able to imitate emulate past
writers who have "divine power." Also, it can be regarded as imitation of transcendental
models that have a secure connection with the culture of the respective past.
3. Finally, imagination or visualization, the creative ability to transcend the sensual world.
Here, Longinus assesses the usage of metaphors based on emotional responses. He also
considered the number of metaphors used and when to use them suitably.
Frage 3
Kengo Kuma writes in his work "Anti-Object", My multiple aim is to erase architecture." He
condemns architecture, which, as claimed by him, is self-centered and vitally important. In
compliance with him, architecture is too frequently seen as a solitary, unique monument, as
a separate material object that is intentionally isolated from its environment. Kuma names
these architectural phenomena "objects." However, whether a building is marked as an
object is determined by its character and not its architectural style. Hereabouts, he excoriates
above all the modern age and its delegate Le Corbusier. Modernity was about decreasing all
architectural phenomena to something simple to grip like objects. Modern buildings, both
their internal and external appearance, can be observed as an object autonomous of their
surroundings. As specified by Kuma, this concept of architecture makes it improbable for us
to build a strong relationship with our external world. Hence, the way he sees architecture of
connection is stipulated by a series of experiences that remain resistant to the modernism
model.
"Anti-Object" is a manifesto for what he calls 'weak architecture,' in which space is only
outlined, seldom even only implied through light, structure, and materiality. Residents or
inhabitants, as we say, can, on the other hand, be set apart and even isolated from the
environment and cultural spirit encircling them. As a result, it is not only about recognizing
single masterpieces but about exploring amidst a wide variety of media. Hence, by using his
individual works, Kuma explains specific techniques to evade objectification. Those
techniques are: giving out a desire to combine the subject with the world, erasing: making
architecture invisible; Reduce question the meaning, reduce unraveling: dissolving the
framework architecture; Reversal: reduction, recovery of the stage of the wilderness and
reversal of relationships. For instance, replace: a garden rather than a monument, sounds
instead of visual space; break apart into parts: always transformable, consignable in various
sequences.
Bruno Taut designs a plan for a basement under a hanging garden; it is regarded to explain
the anti-object concept. He only creates the interior; there is no way to develop an
architectural form as such. This project allowed him to question the relationship between the
concept of architecture and its surrounding environment. He claims that the design
experiments with the connection between architecture and its surroundings; comparable to
a parasite that lives from its environment. For Kuma, the Hyuga Residence is an "anti-object."
In addition, the design can only be encountered by roaming through the room and not getting
out in photographs. He works with deep dark colours, light, and several levels without
including something like a typical staircase as an object. He also works with traditional
Japanese features and techniques of Western architecture, thus rejecting a style's
objectification. Therefore, no objects protecting the subject as the human body. For instance,
in this project, the basement of the hanging garden is half-buried in the ground, bridging a
connection to the surrounding environment. Hence, making it unsuitable to be regarded as a
distinct object. Finally, Kuma concludes that the development of modern architecture is a
failure. Thus, buildings as objects were only obstructions to those relationships.
Frage 4
Clément explains "Endemism" as "heterogeneity through isolation, an assorted diversity of
creatures and concepts of thoughts." Endemism by means of separation and heterogeneity
on the range of macro and micro scales created a broad scope of adaptation and regional
explicitness. He moreover, raises the awareness of the event of endemism by recommending
that even past biological endemism, there is similarly ideological endemism. Hence, indicating
that these are no less reliant on the heterogeneity for evolution nor less helpless to
destruction throughout the homogenizing potency of globalization. Also, geographic isolation
and climatic limitations generate various milieus in which multiple species occur. The more
extended these habitats persist isolation from one another, the more abundant diversity
resides. Hence, this consists of a variety of individuals, behaviours, and beliefs.
Next comes "Intermingling," which is the cause of continuous erosion of "Endemism." For
instance, wind, tides, seas, bring creatures together in the form of interaction, their habitat
parting very extensive gaps. Humans, the primary conveyors of such experiences, stimulate
the natural process of fusion globally. Here, signifying that humans are the principal catalyst
for stimulating the process of "Intermingling." Its impact, in cases, minimizes or eliminates
the natural boundaries of isolation. Therefore, "Intermingling" menace diversity also if it
forms new circumstances and new creatures. Clément shows that the process of
"Intermingling" is uncontrollable and threatens diversity. As a result, weak "Endemism" is an
outcome of febrile experiences.
Furthermore, Clément tries to find a solution for the future by creating new "Assemblages."
Here he declares that living things are organized into habitats, biotopes that satisfy their
necessities. Every significant climate zone on earth represents a biome, an accumulation of
harmonious life forms. Hence, there are numerous biotopes, natural relations in every biome.
Collectively with landscapes, they enhance cultural associations on a larger scale through
management strategies.
Moreover, humanistic ecology explores the connections between humans and their (natural)
environment. For example, in gardening, humanity has always been a principal part of nature.
As for Clément, it is about knowing the relations within living beings according to the ecology's
rules without eliminating people from the equalization. Hence, we know that our actions,
behaviors affect living beings around us. On the contrary, radical ecology asserts that life on
earth can survive without humans. While Clement declares that this debate is
unquestionable, the query would be who would survive to experience radical ecology if it
weren't for humans.
An investigation in which you are conscious that every planned action equates to "gardening"
is "Observe to act." Hence, signifies that the operational stage, the intervention, cannot be
an ideological response that was designed to control the planet. Despite this, it must
continuously meet the particular situation as a local ecosystem, the model of which can
nevermore be exported.
A behaviour that "gardening" projects according to the origin of the economy of resources is
the "Work with." It is about collaborating with present energies, those of nature, in any case,
and any world region. It further encompasses the economy in the consumption of negative
energy.
Hence, the blending of both principles in our behaviour towards nature demands common
sense and forces imagination in order constantly to acknowledge the most biologically
sustainable.
Frage 5
Today in this world, the present power in an area is wholly worth it if it is productive for the
future. In this text, production and project are terms that operate in very close proximity
together. As a result, both are required for the meaning and purpose of the architecture
created. Hence, the project is also producing, considering production models are initiated
when architecture is generated. For instance, a project can forecast the future in which it
unravels the persona and image of architecture as a means of solid production and prediction.
Therefore, a project is about a strategy on the foundation of which something is produced,
put forward to the existing presence. In simple words, the project basically takes the future
into the present. On the other hand, it should also be determined in what means or ways this
future can be obtained to fit the producible presence. Thus, it is through anticipation,
prediction, and solid production. In today's world, we must recognize the central concept or
notion of the project to be able to define problems and limits. Hence, the term project can
also be determined as an overall atmosphere of progression. As a result, if you analyse the
design, you will always come back to the term project, whereby the design refers to the
present and not the future. In addition, the word design is not differentiated from the term
project; however, there is a distinct differentiation between the two (design and Entwurf) in
the German language. In conclusion, this text clearly defines the term project as a means of
a "techno-scientific project."
Frage 6
Aureli talks about the likelihood of interpreting architectural form as an index for the
constitution of an idea of a city. As an object for this thesis, he speaks of an absolute
architecture, the division, and the subdivision of the architectural form. This division shows
the true essence and political structure of a city. He depicts the city as a composition of
divided architectural forms and a recording of the political dimension of living together. The
city consists not only of currents but also of closures, walls, borders, and divisions. Aureli
states the concept of the archipelago to explain that some parts are separated but integrated
through comparison. In addition, the city is visualized through archipelago as a troublesome
struggle of parts. According to him, it is the cornerstone of modern forms of governance. He
divides architecture into formal and political architecture, which, however, overlap each
other. This explains the administrative aspect of urbanism and the city's idea in its division.
He also connects the idea of the divided parts and the absolute architecture with the concept
of the archipelago as a form of the city. According to Aureli, an archipelago is an urban model
that endeavours to promote architecture as a scheme for the city. It can also be regarded as
of many remote islands in a small space on the standard ground with small sea strips as a
separation. Aureli combines this concept with the shape of the city. The archipelago shows
the problems of the individual forms and parts with each other but also shows their
connection at the same time. Between the individual, the sea that it makes out but also
delimits. The islands have the role of architectural form in space, which is increasingly
dominated by the sea urbanization. Another example is through the Cerda's plan for
Barcelona, which indicates specific architecture as a unique ideology with its individual
limitations.
"Unilateral Synthesis" is a paradox. It is about a unitary interpretation made in the context of
projects about the architectural form itself. This one-sided synthesis illustrates the possibility
of understanding architectural form as an index for the structure of the city's idea.
Additionally, "unitary" defines the representation of architecture, regarded as one of a whole
existence. Aureli asserts that till this moment, we have produced a wrong concept concerning
unilateral synthesis in which architecture character is an outcome of various projects which
influence each other to form a unity but a separate character. Furthermore, he likewise
discusses "unilateral synthesis" as an opportunity to understand the architectural form as a
guide for the configuration of a concept or idea for a specific city.
Frage 7
As a literary genre, a tract is a written treatise. For instance, it is defined by the fact that there
are no further structures among chapters and the complete text, a literary representation of
architectural associations.
In accordance to Olgiati, a building idea or concept should be prepared to make sense on its
own only because of its existence. From this, we can infer that it's about designing buildings
that have a meaning and purpose that is existential for humanity in today's non-referential
world. On the other hand, a building idea or concept should be non-referential and
continuously generate a resonance that catalyses thought and inspires to enter into discourse
with the building and the world or environment. For instance, a bad building idea or concept
is, for example, an illustration of economic, ecological, or political views. Therefore, this extra
architectural content does not give a building depth, background, or meaning. As a result,
these buildings that are based on a reference can be impressive in this one referential way,
but beyond this reference, they lack generality. A further bad building idea or concept is one
that was designed and created with an overt artistic or conceptual approach. Whereas, these
methods are often highly rhetorical and esoteric in nature. Although this aesthetic or
conceptual approach eliminates referentiality, it frees the building from any meaning and
depth. In addition, this strategy assumes that a precise, well-designed architectural order is
essentially based solely on its existence, but unfortunately, this is not the case here.
However, what ultimately gives a building its spatial and formal social meaningful expression?
Economy, ecology, history, politics, or any other non-architectural content explicitly has no
general validity for buildings. Therefore, architects' job is to create spaces without having to
resort to non-architectural references basically. Thus, this is because rea physical space
experience is present for everyone at all times. Also, this spatial experience is undisputed and
is, so to speak, the "raw material" of every building.
In conclusion, in this text, it clearly clarifies that non-referential architecture is above all a
subject of the form regarding the design of the rooms, internally and externally. Hence, the
form or structure creates a spatial experience that is really meaningful and has depth. On the
other hand, a building unfolds its meaning, especially when the architect has designed it with
respect to the form, resulting in spatial experience, and the environment.
Frage 8
For hundred years ago, a sequence of conceptual findings and the evolution of sustaining
technologies brought about an architectural big bang. Hence, the substance has been
minimized, distances short-circuited, dimensions prolonged, construction time-compressed,
the elevator, electricity, air conditioning, steel, and new infrastructures brought about
changes that led to a new kind of architecture. Collectively, all of these structures, which were
higher and lower, more significant than anything that could have been dreamed up to that
point, followed in a much more productive, more prosperous program.
Koolhaas has spouted the breaks and has explained them as follows: When a particular critical
mass is attained, a building becomes a big building. Hence, such an immense building can no
more be characterized by a single one, not even an incorporation of architectural
manuscripts. The elevator obtains completely different sizes, proportions, and architectural
creations attainable than could have been imagined before. It makes the traditional
repertoire of architecture meaningless. As a result, "Bigness" is therefore no longer used for
the "art" of architecture.
At Bigness, internal and external architectures evolve into separate projects. The core is
committed to the instability of programmatic and iconographic needs, while the shell grants
the city the stability of an inanimate object. The humanistic claim to fairness and transparency
is practically dead. On the other hand, what you see at Bigness is no longer what you get, as
was the case with traditional construction methods. Furthermore, for Koolhaas, "Bigness"
means several architectural breaks: with scale, with architectural composition, with tradition,
with transparency, and with ethics. Only because of their size simply, such buildings come
into an ethical circle of the amoral beyond good or bad. However, their effect does not
depend on its quality.
Moreover, in 1978, Bigness just appeared to be a phenomenon as for the New World.
Nevertheless, in the next half of the eighties, there were growing signs of a new stream of
modernization that devoured the traditional world and triggered new starts even in perfect
Europe. On the other hand, in Europe, the threat of Bigness had been evaded by theoretically
thinking it through until it was no longer likely to put it into practice. Yona Friedman's
urbanism spatiality was symbolic of this. Hence, Bigness hovers over Paris like a metallic cloud
cover, but it never lands; it does not interfere and does not claim its rightful place.
Consequently, when Bigness transmutes architecture, its addition produces a new city.
Nonetheless, Bigness is unable to correlate to the classic city, but given the quantity and
variety of facilities it houses, it is essentially urban in quality. Additionally, Bigness is no longer
dependent on the city: it competes with the city; it represents the city; it is the city. Besides,
Bigness does not get her inspiration from circumstances that have already been squeezed out
for their meaning; it is your own raison d' être.