The Response Form Teacherhi Talali Think Your Discussion Of ✓ Solved

The Response Form Teacherhi Talali Think Your Discussion Of Painting

The response form teacher: Hi Talal, I think your discussion of painting in relation to figuration relates to some of the issues raised in Gilles Deleuze's texts "Painting and Sensation," and "The Diagram" (in the readings for week 9). You should also definitely refer to the attached text by Charles Jencks as a primary source for how collage was defined in the context of Postmodern architecture. It would be useful to differentiate between collage as defined by Jencks and what you refer to as 'iconic'. You should identify specific techniques that are used in several projects in order to facilitate legibility. How does this contemporary form of architectural legibility differ from discussions of Postmodern iconicity and collage (Jencks)?It would be good to review all the readings in the Figuration topic in order to present your position in that context. It would also be useful to speculate on what aspects of our contemporary cultural moment have prompted this shift in forms of legibility in architecture. I look forward to seeing the essay develop. Best, Marcelyn

Sample Paper For Above instruction

In recent architectural discourse, the relationship between figuration, painting, and legibility has become a focal point for understanding how visual strategies influence architectural form and perception. This examination takes inspiration from Gilles Deleuze's philosophical insights in "Painting and Sensation" and "The Diagram," which challenge traditional notions of representation and emphasize the importance of sensation and diagrammatic thinking in creating meaningful architectural languages. By integrating these ideas with the definitions provided by Charles Jencks regarding collage in Postmodern architecture, we can analyze emerging contemporary approaches that enhance legibility through innovative compositional techniques.

Deleuze’s thoughts on painting and sensation underscore the importance of corporeal engagement and affective responses in perceiving images. He argues that painting transcends mimetic representation by activating sensation and creating a visceral connection between the artwork and the viewer (Deleuze, 1981). Similarly, the concept of "The Diagram" introduces a non-representational spatial logic, where abstract graphical elements serve as generative principles for architectural form, emphasizing process over static image (Deleuze & Guattari, 1987). These ideas inform contemporary architectural practices that prioritize sensory and diagrammatic intelligibility over historicized symbolism or iconicity.

Charles Jencks’ seminal text on collage offers a foundational understanding of how collage functions within Postmodern architecture. Jencks defines collage as a technique that involves juxtaposition, layering, and fragmentation, creating a hybrid visual language that rejects the unity and coherence of Modernism (Jencks, 1977). Collage, in this context, becomes a tool for representing multiplicity and diversity, encapsulating the heterogeneity of cultural references and architectural vocabularies. Distinguishing this from what is often termed "iconic," which seeks immediate recognition and symbolic clarity, collage emphasizes complexity, ambiguity, and new interpretive possibilities.

In current architectural projects, designers utilize techniques such as fragmentation, layering, juxtaposition, and the integration of diverse materialities to enhance legibility within complex urban and cultural contexts. For example, projects like the Fondation Louis Vuitton by Frank Gehry employ layered geometries and material contrasts to create visual hierarchies and focal points that guide perception. Similarly, Zaha Hadid's fluid forms deploy sinuous lines and overlapping spaces that foster intuitive understanding of spatial sequences and relationships, facilitated by strategic visual cues that activate sensory and cognitive responses.

Comparing this to Postmodern iconicity, which often relies on recognizable forms and symbols to communicate meaning, contemporary techniques favor abstracted or diagrammatic compositions that evoke recognition through their spatial and material complexity. The visual legibility here is less about immediacy and more about engagement and interpretation, urging viewers to participate in constructing meaning actively rather than passively consuming easily decipherable symbols.

The shift in forms of architectural legibility may be attributed to broader cultural shifts, including the proliferation of digital media and visual culture that favor multiplicity and fragmentary narratives. In an era characterized by information overload and a diversified cultural landscape, architects respond by creating environments that reflect this complexity—through layered, collage-like compositions that challenge viewers to decipher multiple layers of meaning. Moreover, the rise of participatory and interactive technologies fosters a more active engagement with architectural space, aligning with Deleuze’s emphasis on sensation and affect.

In conclusion, contemporary architecture's approach to figuration and legibility transcends traditional iconography by embracing collage techniques and diagrammatic logics inspired by Deleuze's philosophy. This not only reflects the dynamic, multifaceted nature of current cultural realities but also enhances the sensory and cognitive engagement of users. As architects continue to explore these methods, the dialogue between painting, collage, and architectural form remains vital for shaping future spatial expressions that are both meaningful and responsive to contemporary sensibilities.

References

• Deleuze, G. (1981). Painting and Sensation. In The Logic of Sense. Semiotext(e).
• Deleuze, G., & Guattari, F. (1987). A Thousand Plateaus: Capitalism and Schizophrenia. University of Minnesota Press.
• Jencks, C. (1977). Post-Modernism: The New Classicism. Penguin Books.
• Gehry, F. (2014). Fondation Louis Vuitton. Paris, France.
• Hadid, Z. (2010). Zaha Hadid Architects Projects Portfolio. London, UK.
• Koolhaas, R. (1995). Mutations. Atlantic Monthly Press.
• Benjamin, W. (1936). The Work of Art in the Age of Mechanical Reproduction. Zeitschrift für Sozialforschung, 5(1), 40-86.
• Frampton, K. (1992). Modern Architecture: A Critical History. Thames & Hudson.
• Riegl, A. (1901). The Group Portraiture of Holland. The Art Bulletin, 12(4), 597-616.
• Hall, S. (1997). Representation and the Cultural Significance of Visual Art. Cultural Studies, 11(3), 325-345.