The Social Concept in Terms of Culture and Norms - Research Paper Example

 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) This paper seeks to study the interpretive role of architecture through a focus on a modern day structure. 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. The first is the impact of interpretive theories when applied to studying and defining architecture in terms of the evolution of a certain kind of structure. The second part is the application of the same to the comparison of two structures – in this case two concert halls. These are the Shanghai Concert Hall created in 1930 and the Walt Disney Concert Hall created in 1991. Both the structures are 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) This paper will seek to compare the two in terms of evolution of its architects, the use of the structures as well as the economic and political aspects that mark the evolution and construction of these structures. Interpretive Theories and Strategies To begin with, it is imperative to define the exact nature and importance of these strategies in context of the concert hall. 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 two concert halls discussed here is to bring out a variety of features in the structural implications of the building. These features have been further discussed below. 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 two concert halls discussed in this paper. The finer point shows that the hermeneutic tradition helps create a platform where a person may experience the concert hall 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 concert hall. (Hale, 2000; P 213 – 233) While on hermeneutics, it is important to realize another feature of the use of interpretive strategies in a concert hall. 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 concert hall, 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 its acoustics. (Hale, 2000; P 203 – 211) In case of a concert hall Museum, 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 concert halls 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 a concert hall’s structuralism. (McDonough, 1996; P 400 – 410) The usefulness and uselessness of a structure like a concert hall 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 Guggenheim Museum 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) Gehry’s Walt Disney Concert Hall Frank Gehry is a notable architect of the modern era with structures like the Pritzker Pavilion Park in Chicago, the Walt Disney Concert Hall in Los Angeles, the Experience Music Project in Seattle, and many others to his credit. Gehry’s structures have gained prominence as they reflect his keen eye for a deconstructive form of design and play of elements in his architecture. (Forster, 1998; P 9) Gehry has demonstrated the use of interpretive strategies in his style of architecture, which makes his structures a good subject for discussion in terms of concert halls and the Walt Disney Concert Hall in particular. (Abrams, 2003)For example, the use of waste resources as the main structural elements shows his inclinational towards the semiotic and political aspect of interpretive strategies. 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) The political and economic part of this structure is tied to the fact that a donation of $50 was put forth by Walt Disney’s widow, Lillian Disney. The construction, upon completion, cost $247 million, with a parking lot that cost $110 million alone. The construction was put on hold for lack of funds between 1993 and 1996. (Abrams, 2003) The Shanghai Concert Hall The Shanghai Concert Hall was built in 1930 by Chinese Architect Fan Wen-jiao, only to take on a more European character as the construction reached completion. Initially known as the Beijing Cinema, this hall can seat upto 1,122 people. (Shanghai Concert Hall – Official Website) This renders it a more global appeal. This hall is 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 – which in turn renders a sense of surreal illusion to the play of acoustics when performances take place here. The play of light throughout this structure, at any time of the day is a vital part of its design and the charm which pulls visitors to it. 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 here, belong to. (Forster, 1998; P 7 to 11) There are a number of reasons for this. 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) References Abrams, Harry N (2003). Symphony: Frank Gehry's Walt Disney Concert Hall. New York. Shanghai Concert Hall. Official Website: http://www.shanghaiconcerthall.org (Accessed during: March, 2009) Hale, Jonathan A (2000). Building Ideas: An Introduction to Architectural Theories. John Wiley and Sons. Leach, Neil (1997). Rethinking Architecture. Routledge, London. Frampton, Kenneth (1992). Modern Architecture: A critical history. Thames and Hudson. Eagleton, Terry (1983). “Conclusion: Political Criticism” Literary Theory: An Introduction. University of Minnesota Press, Minneapolis. Foucault, Michael (1997). “Space, Knowledge and Power”. Interview with Paul Rainbow. Rethinking Architecture. Routledge, London. Jameson, Fredric (1985). “Architecture and the Critique of Ideology”. Architecture, Criticism, Ideology. Princeton Architectural Press, New York. Heidegger, Martin (1971). “Building, Dwelling, Thinking”. Poetry, Language, Thought. Harper and Row, New York. Kearney, Richard (1986). Modern Movements in European Philosophy. Manchester University Press, Manchester. 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. Forster, Kurt W (1998). Frank O Gehry, Guggenheim Bilbao Museoa. Axel Menges Edition. Read More