The Colosseum and Architectural Theories - Essay Example

The Colosseum and Architectural Theories The Roman Coliseum or Colosseum was built on the lines of an Amphitheatre during the Roman Era when the Roman Empire was at its zenith. This structure has been hailed as the best of its kind as far as structural beauty and engineering are concerned. Capable of seating 50,000 spectators at a time, this structure adheres to a number of architectural theories as far as symbolism and phenomology are concerned. Architecture 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 has been a field 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) The structure being studied in this paper- the Colosseum- is an epitome of aesthetics in 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. Interpretive Theories and Strategies To begin with, it is imperative to define the exact nature and importance of these strategies in context of the Colosseum. 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 Colosseum is to bring out a variety of features in the structural implications of the building. These features have been further discussed below. This structure basically upholds the values of the Roman Empire. One of the major features of an interpretive strategy 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 Colosseum. The finer point shows that the hermeneutic tradition helps create a platform where a person may experience the museum as an extension of his or her daily living. This is an important point made by the term 'modern aesthetics', which cater to more than a marriage of fine art and engineering for positive structural implications in the structure as anamphitheatre. (Hale, 2000; P 213 - 233) While on hermeneutics, it is important to realize another feature of the use of interpretive strategies in the Colosseum. 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 Colosseum, 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 Colosseum, this has also created a space within which the language is based on the architectural features. 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 Colosseum 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. 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 Colosseum's structuralism. (McDonough, 1996; P 400 - 410) The usefulness and uselessness of a structure are directly tied with the political aspect of architecture. Structuralism in hermeneutics gained momentum under the growth of community based architecture 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. This furthered the cause of various branches like 'green architecture' and architecture in the social context. In this regard, the Colosseum does not thrives 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. 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) In effect, user participation as far as structuralism goes in the case of the Colosseum, 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 Colosseum has come to necessarily imply a mismatch 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 Colosseum is concerned, there is a lack of balance in the positioning of these strategies.) The Colosseum will be analysed in this paper on the basis of its semiotic and phenomenological aspects as far as structuralism are concerned. Colosseum 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 Colosseum is not the best expression of phenomenology. (Heidegger, 1971; P 100 - 109) Through its structure, it depicts the post modernist features that the Romans has strongly shunned in their 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 an unfinished semi circle. Yet, the curves give the feeling of a difficult portrayal in terms of architectural language. Further, there is no 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 difficult to realise any real purpose when studying the structure in terms of phenomenology. While on phenomenology and the Colosseum, it is important to notice that in its engineering, there is a strong leaning towards the use of fine arts more than stable engineering. In this detail lies basic deviation from phenomenology that has been created in the design of the Colosseum. There is a clear lack of effort as far as transporting the viewer from the location to the worlds created on the canvasses displayed within, is concerned. Colosseum 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 Colosseum creates communication with its curves and over the top structuralism. In an interpretive model that arises out of the study of an architectural feat such as the Colosseum, 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. The largely ergonomic design followed by the Colosseum 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 Colosseum adheres to the field of social semiotics. The basic method that the Romans have 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 designing process. This style of using organic features has made the Romans deviate from the basic principles of semiotics architecture to the extent of creating a structure that is a major landmark for tourists visiting Rome. The communication between the visitors and the artists is in place due to the elements in the basic design of the structure that seem to talk all at once. The semiotics in structuralism upon which the Colosseum is designed and built could have come from the fact that it has used elements like stone and curves 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. The Colosseum'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 Colosseum 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 Colosseum 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 manages to interact and tends to awe a visitor. Conclusion In conclusion, it is imperative to note that the study of phenomenology and semiotics in the Colosseum 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 creators, the Romans. References 1. Hale, Jonathan A (2000). Building Ideas: An Introduction to Architectural Theories. John Wiley and Sons. 2. Leach, Neil (1997). Rethinking Architecture. Routledge, London. 3. Frampton, Kenneth (1992). Modern Architecture: A critical history. Thames and Hudson. 4. Eagleton, Terry (1983). "Conclusion: Political Criticism" Literary Theory: An Introduction. University of Minnesota Press, Minneapolis. 5. Foucault, Michael (1997). "Space, Knowledge and Power". Interview with Paul Rainbow. Rethinking Architecture. Routledge, London. 6. Jameson, Fredric (1985). "Architecture and the Critique of Ideology". Architecture, Criticism, Ideology. Princeton Architectural Press, New York. 7. Heidegger, Martin (1971). "Building, Dwelling, Thinking". Poetry, Language, Thought. Harper and Row, New York. 8. Kearney, Richard (1986). Modern Movements in European Philosophy. Manchester University Press, Manchester. 9. 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. Read More