The Positive Effect of Architecture - Essay Example

The Positive Effect of Architecture The of London Introduction Architecture and interior decoration may be understood from a variety of perspectives. Technically, it is the attribution of engineering to a certain vision for a structure or a group of structures. (Leach, 1997; P 11 to 17) This creates an aesthetic platform upon which architecture may be described as the epitome of the fine art within which engineering finds a mechanism to come alive and garner focus as a form full of structural and technical implications. This depicts architecture as a field that uses only forces such as harmony of design and engineering to encompass various features that drive people and regions. Ironically, architecture and interiors have been fields where fine art and engineering come together only to find nuances where it may function as a political and socio economic barometer. (Hale, 2000; P 5) Methodology This paper seeks to study the interpretive role of architecture and interiors through a focus on urban day structures in London so as to determine how they have had a positive impact on the quality of people’s lives. By modern day structure, the author refers to the technical definition of the same which fits like a glove for those buildings that have seen completion only after the year 1985. The paper has been divided into two distinct sections in the course of discussion. (Powell, 2005) The first is the impact of interpretive theories when applied to studying and defining architecture. The second part is the application of the same to those structures in London that serve as an epitome of modern architecture and the use of fine art in context of functional engineering to bring about maximum satisfaction for the creator and maximum interaction from the people visiting such a structure. (Forster, 1998; P 7 to 11) Research Design and Methodology The basic issue of this part of the paper is to distinguish between epistemology and ontology to demonstrate that the latter is a more important ingredient of research design. The paper will follow the pattern of defining the research problem, the research area and the going on to defining epistemology and ontology in context of the research area, which is the positive impact of London’s architecture. For this it will be follow an analytical bent in order to find, through examples, the suitability of ontology as compared to that of epistemology. At this point it is imperative to say that this paper pitches epistemology against ontology with an argument against the former. This is due to the fact that the nature of the research area demands a field of study like ontology for the research design. In the course of this paper, the various research problems will be discussed with a focus on the elements of the research area. These elements will provide the examples for the use of ontology instead of epistemology. Therefore, it may be said that this paper has been written on the assumption that ontology is better suited than epistemology for the research design. Finally, there will be a conclusion that will summarize the findings that have been acquired through this paper. The presentation of these findings or reasons as to why ontology is better suited than epistemology will be summarized in a systematic manner. To begin with, let us define the concepts of epistemology and ontology, individually. Epistemology: This is a field of study that is closely related to philosophy. Epistemology, through the definition of theories and concepts, seeks to study a body of knowledge by applying the relevant definitions. It is a field of study that uses tools like analysis and interpretation. For the application of epistemology, it is important to have a body of ready to use or analyze factual data. This field combines the study of data with the application of philosophical tools, so as to garner broad generalizations. These generalizations adhere to various truths and beliefs, as may be depicted in the overall perception of the philosophical dimensions of the knowledge being studied. There is a strong scope for the use of logic and reasoning in this area. Justification of findings through various mathematical and statistical modes is also an important part of the field of epistemology. (Lango, 1972) Ontology: Ontology is a vast field of study. Its scope is greater than that of epistemology. This can be demonstrated by the fact that epistemology simply seeks to derive various findings through a study of the facts. Ontology on the other, seeks to find all the relevant knowledge that can contribute to a more systematic study of facts for more accurate findings. In the field of ontology, there is a focus on the defining of various parameters from varied perspectives. This helps the researcher reach certain generalizations so as to arrive on the common features of the parameter being studied. These common features can be summarized to form an accurate depiction of the issue at hand. (Davies, 2003) Research and Analysis Lloyds Building and Structuralism This structure has demonstrated the use of interpretive strategies in the urban style of architecture and interiors, which makes such a structure a good subject for discussion. For example, the use of waste resources as the main structural elements shows his inclinational towards the semiotic and political aspect of interpretive strategies. (Powell, 2005) This garners maximum user participation in his structures besides giving rise to a distinct language in the interpretation of the balance between fine art and engineering in his structuralism. Also, the play of phenomenological factors in his various structures gives rise to a source of structural expression through a strong visual impact. (Forster, 1998; P 10) Source: Wikipedia The Lloyds Building has been designed strategically as a play of curves that have been created from and to random tangents so as to help showcase one of the wonderful of God’s creations – light. The play of light throughout this structure within the interiors, at any time of the day is a vital part of its interior design and the charm which pulls visitors to it. (Powell, 2005) As a city with no particular architectural style, and with rich ethnicity, London has a rich heritage of art and an even richer heritage as far as a stream of visiting artists is concerned. This structure has been developed as an architectural marvel that helps showcase the global village concept so as to tie the various parts of the world that the artists showcasing their work in this city, belong to. The positive impact of this structure lies in the fact that it manages to serve as a landmark for urbanisation in a city that is still dominated by quaint and very “English” mannerisms. The Lloyds building is a structure that has helped in transporting the city of London into a business capital on the global front. (Powell, 2005) Interpretive Theories and Strategies To begin with, it is imperative to define the exact nature and importance of these strategies in context of the structures discussed above. Interpretive strategies spring from that aspect of a field’s study which seeks to define the same in context of an individual’s life and link the same with various factors at a regional, international and global level. (Norberg - Schulz, 1996; P 414 – 428) The role of an interpretive strategy in the case of the architecture in London is to bring out a variety of features in the structural implications of the buildings as well as its interiors. These features have been further discussed below. One of the major features of an interpretive strategy in terms of interiors lies in its ability to transform a space and transport an individual to a place beyond the structure where the building and the individual in question are in perfect tandem as far as everyday activities and a sense of drama in this everyday life is concerned. This has been termed as Hermeneutics. (Hale, 2000; P 213 – 233) On a more technical grid, the term hermeneutics adheres to the play of a person’s sense of aesthetics when regarding the British Museum. The finer point shows that the hermeneutic tradition in the interiors of the Museum helps create a platform where a person may experience the museum as an extension of his or her daily living. (Powell, 2005) This is an important point made by the term ‘modern aesthetics’, which cater to more than a marriage of fine art and engineering in architecture and interiors, for positive structural implications in the museum. (Hale, 2000; P 213 – 233) While on hermeneutics, it is important to realize another feature of the use of interpretive strategies in the Lloyds Building. Hermeneutics caters for the act of drawing out a person who is regarding a structure. This is brought about by a careful play of fine art as well as political and ideological view within the structure. In the case of the Westminster Abbey, this has been achieved through the use of language in terms of mere fine art to put forth a point in favour of the semiotic implications of the structure’s design as conceived in the mind of the person regarding it. (Hale, 2000; P 203 – 211) In case of the British Museum, this has also created a space within which the language is based on the architectural features as well as the play of curves and geometric patterns in its interiors. (Powell, 2005) This again points to the intermingling of the technical and the artistic – i.e., fine art and engineering – within the context of a region’s political and economic frame of mind. This language then helps reduce barriers and deconstruct a structure thus enabling him or her, to understand the structure in terms of a personal yardstick of aesthetics. (Hale, 2000; P 203 – 211) These features have a variety of implications for the city of London and the phenomenological and semiotic aspects that will be later discussed in greater detail. To begin with, they point to the usefulness or uselessness of the structure as understood and garnered by the individual assessing the structure in his or her mind’s eye. (Powell, 2005) This directly points to the balance between fine art and engineering and the effects of the same as far as achievement of wholesome aesthetics is concerned. This field of wholesome aesthetics has been defined in context of hermeneutics in order to point to the collective sense of positivism garnered by the structure as far as the society surrounding it is concerned. This has a direct bearing on the political aspect of the Westminster Abbey’s structuralism. (McDonough, 1996; P 400 – 410) The usefulness and uselessness of a structure are directly tied with the political aspect of architecture and interior design. Structuralism in hermeneutics gained momentum under the growth of community based designing that came up during the beginning of the twentieth century. This brand of architecture had a leaning towards creating “beauty for the masses”. As a concept it further extended into and achieved growth in the form of modern day architecture and interiors. This furthered the cause of various branches like ‘green architecture’ and architecture in the social context. In this regard, the British Museum does not thrive on the level of development within a particular region more than anything. This adds various dimensions to the political theory when applied to its structuralism. This is important for a variety of reasons. (Jameson, 1998; P 442 – 461) First, there is the social concept in terms of culture and norms within which the society functions. Further is the economic implication of such a set up where architecture caters to societal demarcations. Here, the political side of it comes into play with the use of certain distinct styles and even material. The necessary implications of such architecture points to an economic leaning in terms of outreach of the structure and the practicability factor as well. (Powell, 2005) The visual expressions then become a part of revolutionary agendas as far as creating “beauty for the masses” is concerned. This in turn has a strong effect on the overall complexity or the simplicity of the form is concerned. These ideals then follow a pattern of evolution to imitate the more upscale structures even as they are going ‘out of fashion’ even in the upscale circles. (Jameson, 1998; P 442 – 461) Yet, it may be seen that in recent times, modern architecture and interiors like the Lloyds Building has undergone a sea change in its political implications by creating its own brand of style and design for people at large without trying to imitate or keep up with ‘upscale’ trends. In effect, user participation as far as structuralism goes in the case of Guggenheim, has become the underlying trend in every design that originates on the basis of hermeneutics. This has ushered in a new twist in the interpretive strategies in terms of the non verbal use of language to depict the semiotic and phenomenological side of structuralism. (Foucault, 1997; P 367 – 379) The basis of structuralism in the British Museum has come to necessarily imply a match between semiotics and phenomenology. The features of semiotic and phenomenological aspects have helped shape the balance between fine art and engineering in modern architecture apart from playing a vital role in securing user participation as far as the political aspect of interpretive strategies in architecture is concerned. Yet, as far as the Lloyds Building is concerned, there is a sense of balance in the positioning of these strategies. (Forster, 1998; P 7 to 11) The architecture of London city will be analysed in this paper on the basis of its semiotic and phenomenological aspects as far as structuralism are concerned so as to understand how it may have positively affected the people of the city. The British Museum and Phenomenology in Architecture Phenomenology may be described in the hermeunetics context as bringing individual elements into being so as to contribute to the overall effect of the structure. The British Museum is the best expression of phenomenology. (Heidegger, 1971; P 100 – 109) Through its structure and interiors, it depicts the post modernist features that the museum has strongly shunned in its designing. The idea of deconstruction is prevalent through the curves that hold the structure. This has been done though the illusion of the curves appearing from nowhere and ending nowhere to replicate a ship. Yet, the curves give the feeling of a difficult portrayal in terms of architectural language. Further, there is a strong inclination towards creating a link between an artist and the things around him. The museum has a non committal sense of style which makes it open to realise any real purpose when studying the structure in terms of phenomenology. (Powell, 2005) This has a wider sense of balance and well being as far as positively shaping the perspective of people around it is concerned. Source: Wikipedia While on phenomenology and the British Museum as well as the Lloyds Building, and the British Library in Somers Town, as well as the City Hall in Southwark, for that matter, it is important to notice that in its engineering, there is a strong leaning towards the use of fine arts more than stable engineering. The designers in all the cases have made use of computer simulations in order to achieve the reflective panels and other organic elements that are key to its interiors. (Powell, 2005) The British Museum has been created to replicate a spider web in the very centre which is in strong context with the environment upon which it is situated, which comes across in its interiors. This purports the feeling of being by a water body and extends the river and its ecology towards the riverside in the form of a spectacular structure. (Powell, 2005) In this detail lies basic deviation from phenomenology that has been created in the design of the British Museum. There is a clear demonstration of effort as far as transporting the viewer from the location to the worlds created on the canvasses displayed within, is concerned. Westminster Abbey and Semiotics Semiotics is the synthesis of a structure’s overall effect into an informal, non verbal language that communicates with the viewer’s mind so as to create a link in terms of interpretive models. (Kearney, 1986; P 245) The Westminster Abbey, with its Gothic and Jacobean roots, creates confusion instead of communication with its curves and over the top structuralism. This is apparent in other structures like the Tower of London, the Big Ben as well as BT Tower and Banqueting House – all of which serve as the remnants of the Tudor style. These structures, especially the Westminster Abbey boast of symbolism in architecture which yields a positive impact on the people around the city. Source: Wikipedia In an interpretive model that arises out of the study of an architectural and interior decoration feat such as the Westminster Abbey, it is imperative to note that semiotics must serve as system of communication that develops the area of human sciences through structuralism. The heavy structuralism involved points to the role of fine arts more than anything else in the structure. Yet, the Abbey is a structure of strength and purpose, thus having a positive impact on the people around it. (Powell, 2005) In contrast, the largely ergonomic design followed by the British Museum is a result of the synthesis of the study of effective interactions between humans and their environments. In its endeavour to create a large scale replication of post structuralism deconstruction, the British Museum manages to adhere to the field of social semiotics, thus creating a positive impact. The basic method that the architect has followed during the construction of the structure was “organisation of the artist.” This was a method that removed any scope for commercial or political interference in the interior designing process. This style of using organic features has made the structure deviate from the basic principles of semiotics architecture to the extent of creating a structure that is more than just a mere landmark for tourists visiting London, and for the people of the city. The communication between the visitors and the artists manages to take off due to the elements in the basic design of the structure that seem to talk all at once. (Powell, 2005) The semiotics in structuralism upon which the British Museum is designed and built could have come from the fact that it has used elements like glass, titanium and limestone in the basic design. Yet, these are the very elements that follow individual forms and shapes so as not to mix and match to a great degree. Through the use of three different materials in the design, there is little scope for artists to effectively display work of varied themes and proportions, and interact with their audience at the same time. (Powell, 2005) The British Museum’s semiotics has been successful on at least one count. The museum has been built on the riverside as a structure that appears spectacular from the horizon and creates a pleasing visual effect. Yet, once a person hits the streets, the structure has been made to appear as modest as possible so as to keep alive the charm of the rest of the buildings and structures around it. This is an important feature of semiotics and communication in structuralism. (Frampton, 1992; P 15 to 27) While on one hand, the traditional buildings and structures around the Museum are not placed in a compromising position due to the overwhelming structure, on the other hand, there is a strong sense of communication between the surroundings and the museum. This sense of communication comes about from the fact that the basic design of the British Museum boasts of minimal sharp turns and edges. Yet, there is a need to study this from the direction of fine arts as more often than not, it fails to interact and tends to awe a visitor. (Powell, 2005) Recommended Strategy: London and Fine Arts A useful interpretive strategy that may be followed by the architecture of London is one of the approaches towards the study of its structure as a work of fine art. The structures of London – traditional and urban - as discussed in both strategies above, come through on the counts of phenomenology and semiotics. (Powell, 2005) In order to transform itself as a concept in the mind of the viewer and the artists whose works are displayed within, it is imperative for the architecture of the city to be viewed on a platform where fine arts is the basic yardstick for measuring and studying structuralism. Viewing the city of London as a work of fine arts will serve a two fold process. One, the structure, with all its curves and plethora of material used, will serve as a fitting platform for the display of the work of the artists. The second effect will be that the style of architecture will be interpreted as a work that is meant to be of simple aesthetic value and not of phenomenology or semiotics. This will further lend credibility to the architecture style by having a positive impact on the wide ethnic base that survives in the city. (Hale, 2000) The play of fine arts is apparent in the very use of organic elements in the structures and their interiors so as to depict the importance of environmental architecture. This in itself helps transcend boundaries of cultural, social and economic dimensions in order to reach out to the political arena within which the latest environmental policies thrive. In depicting organic elements within its design, London has created various structures as masterpieces that creates room for a phenomenological link with the visitor. Examples of this may be seen in the fish scales that are created as panels of reflective light that reflect life on the port and create a shimmering link in the visitor’s mind of the riverside where the British Museum is set. Further, this creates a sense of ‘being’ rather than ‘designing’ in the structural context of the museum’s design. Conclusion In conclusion, it is imperative to note that the study of phenomenology and semiotics in the city of London’s architecture and interiors is one that opens a person’s mind towards the feats that may be achieved by architecture. These go beyond mere technological implications or structuralism. (Eagleton, 1983; P 194 – 217) As proposed in this paper, the use of fine arts as an interpretive strategy will further widen this vision. The proportions along which the museum has been constructed are mammoth, yet the lines and the theme of the design make it the least overwhelming structure once viewed in tandem with the surrounding area. This gives rise to a deeper vision in the design of the structure and the style and method of the creator, and has a positive effect on the perspectives of those living in the city. References 1. Powell, Kenneth (2005). New London Architecture. Merrell Publishers Limited (2nd Ed) 2. Hale, Jonathan A (2000). Building Ideas: An Introduction to Architectural Theories. John Wiley and Sons. 3. Leach, Neil (1997). Rethinking Architecture. Routledge, London. 4. Frampton, Kenneth (1992). Modern Architecture: A critical history. Thames and Hudson. 5. Eagleton, Terry (1983). “Conclusion: Political Criticism” Literary Theory: An Introduction. University of Minnesota Press, Minneapolis. 6. Foucault, Michael (1997). “Space, Knowledge and Power”. Interview with Paul Rainbow. Rethinking Architecture. Routledge, London. 7. Jameson, Fredric (1985). “Architecture and the Critique of Ideology”. Architecture, Criticism, Ideology. Princeton Architectural Press, New York. 8. Heidegger, Martin (1971). “Building, Dwelling, Thinking”. Poetry, Language, Thought. Harper and Row, New York. 9. Kearney, Richard (1986). Modern Movements in European Philosophy. Manchester University Press, Manchester. 10. Norbeg – Schulz, Christian (1996). “The Phenomenon of Place”. Theorising a New Agenda for Architecture: An Anthology of Architectural Theory 1965 – 1995. Princeton Architectural Press, New York. 11. Lango, John W (1972) Whitehead’s Ontology. SUNY Press. 12. Davies, John; Fensel, Dieter; Harmelen; Frank V (2003) Towards the Semantic Web: Ontology Driven Knowledge Management. Wiley Publishers. 13. Wikipedia. The world’s free Encyclopaedia. URL: www.wikipedia.com (Accessded during: Jan, 2009) Read More