University of Calgary Transvaluation of Architecture

UNIVERSITY OF CALGARY

TRANSVALUATION OF ARCHITECTURE:

A PERSPECTIVE ON PERFORMATIVE VALUE IN ARCHITECTURE

KAMARAN ALI NOORI

A THESIS

SUBMITTED TO THE FACULTY OF ENVIRONMENTAL DESIGN

IN PARTIAL FULFILMENT OF THE REQUIREMENTS FOR THE

DEGREE OF MASTER OF ENVIRONMENTAL DESIGN

THE FACULTY OF ENVIRONMENTAL DESIGN

CALGARY, ALBERTA

JANUARY 2011

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1+1 Canada Abstract

Transvaluation of Architecture: A perspective on Performative Value in Architecture Kamaran Ali Noori January 2011 Prepared in partial fulfilment of the requirements of the degree in the Faculty of Environmental Design, The University of Calgary.

Supervisor: Dr. Branko Kolarevic

Human values are the foundation upon which life's various decisions and beliefs stand on. Architecture is a discipline that highly depends on design decision makings and evaluation for various alternatives. Consequently, value and evaluation constitutes important roles in architecture discourse. This research builds on the views that acknowledge the significant of value and evaluation in architecture. For this purpose, this research first provides a general overview to the discussion and interpretations of human values in general and specifically across different fields like philosophy, economic, science, and others. This discussion is then followed by a detailed examining of the state of value in architecture. In doing so, this research reveals the connection between values and architecture and identifies different types of design values that drive architecture. The relation between changes in architecture and changes in design values, discussed in this research, highlights the role of design values in shaping architecture.

In recognizing the vast influence of values and changes in values on architecture, this research examines a concept from the philosophy of Friedrich Nietzsche, called transvaluation of all values, in architecture. In addition to providing a discussion about the notion of transvaluation concept and Nietzsche's transvaluation toward life-affirming values, this research provides arguments that embrace the importance of transvaluation theme in architecture. The finalsectio n of this research examines the projection of transvaluation and transvaluation toward life-affirming values in contemporary architecture. In examining the state of contemporary architecture and its challenges, this research identifies performativity as a life-affirming value that contemporary architecture needs to use as a ground when transvaluating all its new emerging and traditional design values.

Keywords Value, Value and Architecture, Design Values, Values of Architecture, Philosophy, Transvaluation, Friedrich Nietzsche, Performativity, Performative Architecture.

ii To... Rozhen

iii Acknowledgements

I owe my deepest gratitude to all the individuals who supported and advised me during my master's degree studying:

• Branko Kolarevic, my supervisor.

• Dr. Mark Migotti, my external supervisor, for his valuable contributions in my research.

• Dr. Richard M. Levy, the Dean's appointed examiner, for being been an excellent example for inspirational and supportive professor.

• Mr. Salar Omer, for all his continuous supports and care.

• Dr. Bakr Shah, for all his supports during my studying.

• Dr. Sherzad Najar, for all his supports and helps.

• It is a pleasure to thank everyone else who provided their assistance, advice and encouragement.

• My wonderful wife, Rozhen, for her incredible care, love, and patience. Without her support, advice, and loving devotion I couldn't have done it.

• And finally, my mother and father for always been a great support and motivation in my studying and for their extraordinary care.

iv Dedication

"The mind has exactly the same power as the hands; not merely to grasp the world, but to change it. " Colin Wilson

This work is dedicated to:

• My mother Nazir, and father Ali

• The "free spirit" who lives life in the pursuit of knowledge, and my life's partner

and soul mate, Rozhen.

• My mother and father-in-law Sabria and Kamal

• My sister, Banaz and my brothers Kawan and Karwan.

• My friends, especially Dler.

And finally, Hammy, JyJy, Banoza, MiMi, Winni, ToTo, Nimo, Mimo, and Mr. Jingles.

v Table of Contents

Approval Page ii Abstract ii Keywords ii Acknowledgements iv Dedication v Table of Contents vi List of Figures and Illustrations vii Epigraph .....x CHAPTER ONE: INTRODUCTION 1 1.1 The Research 1 1.2 The significance of the research .3 1.3 Objectives 4 1.4 Research Methodology 5 1.5 The Scope of the inquiry 5 1.6 The Document Structure.... 6 CHAPTER TWO: VALUE AND ARCHITECTURE 1 2.1 Human values 2 2.2 Values and architecture 7 2.2.1 Values in architectural design 16 2.2.2 Values of architecture 23 2.3 Change of architecture as a result of change in design values 26 2.4 Summary 34 CHAPTER THREE: TRANSVALUATION AND ARCHITECTURE 35 3.1 What is Transvaluation? 35 3.2 Why transvaluation in architecture: 39 3.3 Transvaluation steps in architecture 41 3.4 Transvaluation scenarios in architecture 43 CHAPTER FOUR: VALUE AND TRANSVALUATION IN CONTEMPORARY ARCHITECTURE 45 4.1 The state of contemporary architecture 45 4.2 Challenges of contemporary architecture 56 4.3 An introduction to the notion of performativity ..59 4.4 Performativity and architecture 64 4.5 Transvaluating toward performative value 81 CHAPTER FIVE: CONCLUSION ...86

REFERENCES 89

vi List of Figures and Illustrations

Figure 2.1 Implement Blue painting by Margaret Preston 6 Figure 2.2 Hammurabi's law code stele 9 Figure 2.3 The Papal Basilica of St Paul Outside the Walls in Rome 11 Figure 2.4 A visionary design of Newton Cenotaph by Boullee in 1784 in an attempt to express possibility of using sphere as a pure geometry on a large scale 12 Figure 2.5 Barriere de la Villette in Paris designed by Ledoux (1784 to 1789). In this tax-collecting gate house Ledoux used simple geometries in the design 13 Figure 2.6 Crystal Palace by Joseph Paxton, a horticulturist and a builder of green houses, built in 1851 for the Great Exhibition in London. Paxton's proposal was accepted among proposals by famous English architects of the day because of both the design and speed constructability (Pfammatter, 2008) 14

Figure 2.7 Villa Savoye in Paris by Le Corbusier (1928-1931). This work is a good example for the simplicity of modern facade and wide strip windows. It also exemplifies Le Corbusier's "Machine for Living" idea about architecture 19 Figure 2.8 Einstein Tower in Potsdam-Berlin by Erich Mendelsohn (1919-1922). This is a good example from German Expressionism ideology for architecture: emotion expresses ion, adoption of novel materials, formal innovation, and very unusual massing (sometimes inspired by natural biomorphic forms 20

Figure 2.9 Casa Batllo (pronounced as Casa Batyo) in Eixample-Barcelona by Antoni Gaudi (1905-1907). This building was originally built in the year 1877 and then remodelled by Gaudi. It illustrates Gaudi's excessive use of curves (inspired by nature) and avoiding the use of straight lines 21 Figure 2.10 Guggenheim museum in Bilbao, Spain by Frank Ghery (1987-1997) 24 Figure 2.11 The Sydney Opera House in Austalia by Jorn Utzon, a Danish architect.... 25 Figure 2.12 Eiffel tower was built in 1887 in Paris for the 1889 World's Fair with height of 324 metres. It is one of the most renowned structures around the world and Paris's landmark 32 Figure 4.1 CATIA computer diagrams of Guggenheim Museum in Bilbao, Spain by Frank Gehry 48 Figure 4.2 Water Pavilion or "freshH20 eXPO" for the Neeltje Jans Wasserland center in The Netherlands, 1993-1997 49

vii Figure 4.3 Two interior views from the pavilion. The blue lights and projections found in this building react to the movement of the visitors 50

Figure 4.4 The Walking City by Ron Herron, Archigram 1964. (Archigram.n.d.) 52

Figure 4.5 The Selfridges Building, an example from blob architecture, in Birmingham, UK, designed by Future Systems Architects 53 Figure 4.6 Blobby forms in Eden project (opened in March 2001) in Cornwall, UK designed by Nicholas Grimshaw 53

Figure 4.7 The Literature 1 painting by James Koehnline in 2007 60

Figure 4.8 Performalism by Peter Arkle 64

Figure 4.9 & view from Pittsburgh Children's Museum in Pittsburgh, PA, 2004 68

Figure 4.10 The structure of the sclupture is composed of thousands of translucent, white plastic squares that move in the wind 69 Figure 4.11 The artwork is intended to suggest that the building has been enveloped by a digitized cloud (Kahn, n.d.) 69

Figure 4.12 In the new Business School for Auckland University of Technology (AUT) the shading panels mounted at an 18-degree angle on shallow trusses 71

Figure 4.14 Two view from D-tower when it is lighted at night from 20:00 after concluding the questionnaire of the day. The red color represents love and the green color represents hate 73

Figure 4.15 A view from D-tower during day time when the lights are off. The tower is conceived by artist Q.S. Serafijn and architect Lars Spuybroek (NOX) 74

Figure 4.16 Kunsthaus Graz view from was built in order to celebrate Graz's designation as the Cultural Capital of Europe for 2003. Kunsthaus is designed by Peter Cook and Colin Fournier 76

Figure 4.17 The BIX installation covers the entire facade facing the riverside 76

Figure 4.18 The light pattern of this media facade can change rapidly and frequently... 77

Figure 4.19 A view from Kunsthalle building in Hamburg, Germany during day time where the projection is off. 79

viii Figure 4.20 Different views of the Kunsthalle building with 555 KUBIK projection at nighttime 79

ix Epigraph

"The heart has its reasons which reason does not know."

(Pascal, Pensees, 1670) Chapter One: Introduction

"Whether we build high or low, with steel and glass, tells us nothing about the value of the building."

(Mies van der Rohe, 1930)

1.1 The Research

Human values are the foundation upon which life's various decisions are built. The constant evaluation people make in their daily life wouldn't be possible without set of values. Due to their significance, understanding and studying the nature and roles of values have intrigued many philosophers, sociologists, anthropologists, and others for millenniums.

Architecture has traditionally "housed value as well as fact" (Eisenman, 1996).

Therefore, the discourse of value and evaluation becomes even more crucial in architecture in which values play a significant role. Design process, the core of architecture profession, consists of continuous decision making and choosing among

alternatives, which are highly dependent on value and evaluation. In a detailed

examination of the history of architecture it appears that values have not only driven

architectural design processes but also shaped the history of architecture. The different

architectural styles found in architecture of an era and/or different eras are significantly

shaped by the variations found in the design values embedded in the design process. The

main proposition, therefore, is that the change in design values creates changes in

architecture.

1 It is also evident in the discourse of architecture that dramatic shifts and changes in architecture — resulting from changes in design values - of an era or context were not only found acceptable by members of public and the architecture community itself but also boldly rejected. Examples such as the Eiffel Tower demonstrate in the history of architecture how shifts in traditional design values had been perceived at first and how they turned into an opposite over years. This resistance to new design values in the history of architecture affected, limited, and delayed the development of architecture.

In this sense, questioning, understanding, and considering new emerging design values along with traditional fixed design values of architecture will lead to contemporizing and advancing the state of architecture in a given era and/or context. In an attempt to avoid or, at least, decrease repeating history, this research provides a perspective on adapting a promising concept in architecture, borrowed from philosophy: the transvaluation of values. Since architecture is profoundly connected to human life, in adapting the transvaluation concept, this research considers and examines Nietzsche's transvaluation project, which concerns transvaluating life-denying values toward life-affirming values.

In order to examine the projection of Nietzsche's transvaluation project in architecture, this research takes the state of contemporary architecture as a case study for exploring the transvaluation theme. Also, in order to understand the meaning of life-affirming values in architecture, this research identifies and analyzes what can be argued to be one of the current age's life-affirming design values - the performative value - that fits the Zeitgeist.

In doing so, this research widens architects' perspectives and observations about re-

2 evaluating their design value sets. This research also emphasizes the importance of recognizing and identifying the life-affirming values and transvaluating toward them in a given era or context.

In summary, this research casts light on a promising perspective for dealing with the value component of architecture discourse. It also provides a process for understanding and judging design values, which can be adapted not only in contemporary architecture but also in the future.

1.2 The significance of the research

Architecture is a physical embodiment of human activities and values. Given architecture's social role as a container of human activities and its effects on human life, architecture should accommodate and/or reflect new emerging values and changes.

Despite this, it is evident that the technological advancements and paradigm shifts have not been reflected in architecture as they should have been throughout the history and theory of architecture. For example, as observed by Eisenman (1996), contemporary

architecture was not successful in fully realizing and projecting the paradigm shift from

mechanical to electronic (after the Second World War), as one would have expected. This

is mainly due to the resistance to new emerging values and ideas by a large segment of

the public and the architecture community.

For this purpose, a deep understanding of the nature, role, and contribution of traditional

and emerging values should become an essential part in the architecture discourse. This

research is fairly unique in advocating such a view. The importance of this research lies 3 in its focus on the discourse of values in architecture in spite of the exhibited limitations in the architecture literature that acknowledges the significant role of values in shaping architecture.

In addition, this research facilitates understanding and integrating the transvaluation concept within architecture, which can lead to a faster and better integration of new values and changes in architecture thus, overcoming or minimizing the resistance forces for renewal and contemporizing in architecture.

1.3 Objectives This research has six objectives:

1- Uncovering and underlining the role of value in architecture, especially in a

design process.

2- Providing a value-based perspective to the changes that are occurring in

architecture.

3- Introducing and exploring the transvaluation concept (in general) and Nietzsche's

transvaluation project (in particular) in the context of architecture.

4- Analyzing the current state-of the-art in contemporary architecture, its challenges

and emerging design values.

5- Exploring the performative value as one of the emerging and life-affirming design

values in contemporary architecture.

6- Providing architects and designers with a strategy that can be incorporated within

the design process when dealing with design values and value sets.

4 1.4 Research Methodology

This research is conceptual in scope and relies on abstract ideas, theories, and precedents for providing new perspectives and making interventions. The research uses one of

Nietzsche's projects in philosophy - transvaluation of all values - and examines it in the context of architecture.

This research bridges and synthesizes ideas and concepts from various disciplines. For this purpose a literature review has been conducted in the following subjects:

1 - history and theory of architecture,

2- philosophy, especially Nietzsche's philosophy, and

3- social science and language,

In analyzing the values in architecture and the challenges of contemporary architecture, various architectural case studies have been discussed and examined in this research. The ideas presented and discussed are then synthesized. The literature review of this research is supported by various resources such as books, periodicals, journals, and websites related to the above mentioned fields of study.

1.5 The Scope of the inquiry

Given the limitations in time and scope of a master's research, this research focuses on

some aspects of the discourse of values in architecture and Nietzsche's transvaluation

concept. This research is an attempt to cast light on the importance of values and values

change in architecture discipline. In this sense, it examines and provides some examples

from history and theory of architecture that demonstrate this importance.

5 This research doesn't intend to identify and discuss each and every individual values that are associated with architecture, but rather provides an overall perspective to the relevance of values to architecture. In this process, however, this research addresses some common values that are driving architectural design. In evaluating and ranking values - traditional and new emerging values - this research is limited by the lack of genealogical study of values in architecture. For this purpose, this research doesn't evaluate or rank any values in architecture, but rather proposes adapting transvaluation as a new strategy for evaluating and assessing values in architecture in a context.

Also, the complex nature of the study of values has limited this research from covering all the aspects of the values associated with architecture to some extends. Finally, since this research supports subjective understanding of values, the recognition of performativity as a life-affirming value in the context of contemporary architecture could be understood as a reflection to the literature studied in this research.

1.6 The Document Structure This document is divided into four chapters. Chapter two is an introduction to the discourse of values in architecture. The first section of that chapter provides a general overview of the types of values, the nature and the role of values in human decision making. That section also examines the state of values in humanity and natural sciences.

The second section of chapter two includes a comprehensive discussion about the nature of values in architecture and its role in shaping it and its schools, movements, and styles.

In doing so, various schools of thought and styles from the history of architecture have 6 been analyzed. Consequently, two different types of values that influence architecture have been distinguished and examined closely. The last section of chapter two provides a new insight to the changes incurred in the history and theory of architecture by highlighting and identifying changes in design values of an era or context as contributing factors to the changes in architecture.

Given the importance of value and the change in value discourse in architecture established in chapter two, chapter three introduces and explores the concept of transvaluation of values in the context of architecture. This is achieved, first, by giving an introduction to the transvaluation concept, uncovering its aspects and projections, and discussing Friedrich Nietzsche's transvaluation project as transvaluating toward life- affirming values. In the later part of this chapter, the advantages of the adaptation the transvaluation concept (in general) and transvaluation toward life-affirming values (in particular) in architecture have been discussed. Also, some major steps toward implementing transvaluation in architecture has been discussed. In order to understand the implication of transvaluation in architecture, the final section of that chapter provides some examples from the history of architecture that could be considered (in some ways) as examples of transvaluation of values in architecture.

Chapter four of this research integrates the discussions from the previous two chapters with the context of contemporary architecture. The establishment of the importance of transvaluation towards life-affirming values in architecture, presented in chapter three, sets the stage to examine and seek life-affirming design values that fit contemporary

7 architecture's needs. After a close examination of the state of contemporary architecture and its challenges, chapter four highlights the performativity value as the important and life-affirming value that contemporary architecture needs to transvaluate toward. For this purpose, that chapter includes a comprehensive discussion about the new notions of performativity and the historical background of its emergence in language. In order to uncover different aspects of performativity, and its emergence and use in cultural theory, science, art, economy, other disciplines have also been discussed. In the latter section of that chapter the new notion of performativity and its connotations in architecture have been extensively explored and analyzed. The findings from that section have been used toward establishing the key theme of this research: transvaluating toward performative value in contemporary architecture.

The final chapter of this research, Chapter five, provides a summary and conclusion to the works that have been done in this research, challenges, and future research potentials.

8 1 Chapter Two: Value and Architecture

"You shall learn to grasp the sense of perspective in every value

judgment—the displacement, distortion and merely apparent

teleology of horizons and whatever else pertains to

perspectivism; also the quantum of stupidity that resides in

antitheses of values and the whole intellectual loss which every

For, every Against costs us" Friedrich Nietzsche - Human, All

too Human.

This chapter is primarily an introduction to the discourse of value in architecture. The first part of this chapter discusses the nature and background of human values from various perspectives outside the domain of architecture. The second part of this chapter addresses value as a concept within the realm of architecture; it also discusses major categories of values in an attempt to closely examine the place of value in architecture and the architectural design process. This section is then followed by a discussion concerning the connection between the change in values and the change in architecture.

The aim of the discussions included in this chapter is to examine the state of values in architecture and determine their influence on shaping the future of architecture. 2

2.1 Human values

Value1, is defined as "relative worth" or "importance" of something. The interpretation of value, however, holds more connotations and is a source of controversy in different fields. In logic, "value is the result of applying a function to an argument", for instance,

"9" is the value of applying the function "x +y" to the arguments "5" and "4"(Bunnin &

Yu, 2004). In philosophy, on the other hand, value is subjected to various interpretations depending on the philosophical approach used for interpreting. Socrates and Plato derived the concept of value from the idea of goodness in distinguishing between fact and value

(Bunnin & Yu, 2004). Fredrick Nietzsche, on the other hand, has questioned radically this traditional definition of value and objectivity of truth when he stated "[t]he question of value is more fundamental than the question of certainty: the latter becomes serious only presupposing that the value question has already been answered" (F. W. Nietzsche,

Kaufmann, & Hollingdale, 1967b).

In general, a value represents the degree of importance or worth of a property or feature of objects, whether physical or abstract. Values are principles and guides for making decisions and setting priorities; they shape human behaviours and their identity (Ball-

Rokeach, Rokeach, & Grube, 1984). People use values to evaluate consequences of their actions, and in some cases for justifying them as well. As Maslow (1968) points out,

"[v]alues shape people's preferred ways of satisfying their needs and, whether they're aware of it or not, every action is guided by one or more values."

1 The term "Value" is originally driven from Latin valere which means to have worth or to be strong (Bunnin & Yu, 2004). 3

As it appears, people are continuously evaluating their available choices in their daily life activities, ranging from choosing what to eat or dress to deciding about life and death matters. In this process, values become a tool by which people can select among or eliminate alternatives; thus, concluding an evaluation process. In general, "value means the quality of a thing that makes it desirable, useful, or an object of interest" (Bunnin &

Yu, 2004).

There are two different approaches for understanding values: subjective and objective.

The subjective understandings of values refer to values as "something projected onto objects by a subject"; thus values are internal to a person and depend on the personal stance. This means that "objects can have different values for different individuals, groups, or nations" (Bunnin & Yu, 2004). In contrast, the objective understanding of values considers them independent of subjective appreciation of a person; thus, values exist in an object in itself or can be imposed by some other entities such as, rationality, human nature, God, or other authority with an independent standpoint (Blackburn, 1996).

Furthermore, various classifications of value can be identified; one of them differentiates between intrinsic and extrinsic values. Intrinsic value is an objective value, which depends on internal properties independent of anything else (Moore, 1959). As such an object becomes valuable or not, or good or bad, for it is own sake; in other words, this is a non-derivative value (Moore, 1959). The extrinsic value, on the other hand, is a value

2 The objective understanding of values is a subject that philosophers disagree over. 4 that is a derivative from other values; "That which is extrinsically good is good, not

(insofar as its extrinsic value is concerned) for its own sake, but for the sake of something else to which it is related in some way" {Stanford encyclopedia of philosophy- intrinsic vs. extrinsic value.2010). There are also other classifications of value such as instrumental, contributory, value, and product values (Bradley, 1998).

Other interesting types of values which have been discussed widely are the use value and the exchange value, which were foundations of Karl Marx's economic theory. While the use value refers to "the power of a commodity to satisfy some human want", the exchange value refers to "what a commodity can be exchanged for" (Walker & Gray,

2007). A public building, for example, constitutes a use value for public and an exchange value for the developer who built it.

The discussion of human values has been the focus, over the past centuries, for disciplines such as philosophy, theology, and sociology. The science community has avoided this area of investigation due to the lack of tools that allow an objective study of human values (Changeux, Damasio, Singer, & Christen, 2005). Most recently, new scientific approaches for studying and analyzing human values have emerged in neurosciences, neuropsychology, neurophysiology, and neurology. The rise of neurobiology supported by imaging techniques has facilitated studying human values in an experimental way. Currently, it is possible to see and study activated areas of brain, which are simulated by moral, aesthetic, and other brain affecting factors. A study by

Cela-Conde and his colleagues (2004) found that the left prefrontal dorsolateral cortex was highly activated when participants perceived beautiful stimuli, whether natural or artistic.

Consequently, new understandings for human values have emerged from scientific perspectives. The change in personality and decline in moral sense that occurred to

Phineas Gage, an American railway worker, (caused by a metal bar passing through the front of his brain) according to Damasio and his co-researchers (1994) provided a substantial evidence for changes in human values due to a physiological change (damage in brain).

Historically, artists firstpractice d the current neuroscience approach by analyzing human values (for example, aesthetic) when they focused on human visual perception in their artistic works. Artists soon started replacing the rules of physics with "alternative physics". With alternative physics, physic rules can be disregarded in favour of viewer's perception for an artistic work, such as a painting, as long as the viewers don't notice the changes. Artists use alternative physics "because these particular deviations fromtru e physics do not matter to the viewer: the artist can take shortcuts, presenting cues more economically, and arranging surfaces and lights to suit the message of the piece rather than the requirements of the physical world"(Cavanagh, 2005). This is mainly due to the nature of human's visual brain, which uses simple and reduced physics in understanding the world. In one of Margaret Preston's painting, Implement Blue, despite the lack of optical distortion of the lemon in the water, the glass and the water appear convincingly transparent (Cavanagh, 2005). 6

Figure 2.1 Implement Blue painting by Margaret Preston. Photo: (Cavanagh, 2005)

Furthermore, people's values are significantly influenced by their perception of their surroundings and not what may actually exist beyond their perception. This is clearly the case in perceiving architectural spaces, where visual space, which is subjected to human visual perception, is differentiated from physical space, which is subjected to physical rules and mathematical measurements. People understand an architectural space based on their visual perception of the space and this is addressed by phenomena like visual capture. 7

Despite all the interpretations, whether philosophical or scientific, human values can be understood, similar to Hume's understanding of moral (vice and virtue), as colors which are not qualities in objects, but rather perceptions in the mind of their observant (or holders in the case of value) (Hume, 2003). Thus, human values are "human all too human".

2.2 Values and architecture

"Architecture is the unavoidable art. Every moment, a wake or sleep,

we are in buildings, around buildings, in spaces defined by buildings,

or in landscapes shaped by human artifice" (Roth, 2007).

Architecture as a spatial discipline is inextricably mixed up with the life-world (Saunders

& Levinson, 2007). It has been defined in many ways; whether it is defined as a cultural

instrument as stated by architect Louise Khan or the will to power by Nietzsche,

architecture is "the crystallization of ideas" and "a container of human activity"(Roth,

2007). Therefore, buildings are not only built according to the laws of physics but also

embody the values of its builders and/or societies (Roth, 2007). Consequently, human

values shape and drive architecture.

Value drives every process in architecture, ranging from concept design to construction.

It also guides architecture in complying with individual and society's needs. In designing

buildings, architects need to make a series of decisions, implicitly or explicitly, and in 8 this process values are the means by which these decisions are made and justified.

Historically, architecture responded to many values such as social and cultural values and incorporated them with the available technologies of an era resulting in creating the subsequent architectural trends and movements.

The influence of value on shaping architecture is tangible throughout history of architecture. In this process, value has been manifested in various forms. Traditionally, values like aesthetic, function, cognitive, moral, religious, safety, durability and strength, to name a few, have become a fundamental consideration in architectural practice. For example, "If a builder builds a house for a man and does not make his work strong, and if the house he built collapses and kills the owner, that builder shall be killed. If it kills the owner's son, the son of the builder shall be killed" (Van de Mieroop, 2005, p. 105), and this is more than just a law in Hammurabi's famous law code, but rather a manifestation of Babylonian society or builders' value for what a building should reflect. A building or

"house" must had be firm and stand without collapsing in order for the builder to survive

Hammurabi's "an eye for an eye" punishment; thus builders should prioritize the strength value over any other values. The implication of this code might have prevented the ancient Babylonian builders fromexplorin g new architectural structures and shapes in favour of repetitive tested structures. 9

Figure 2.2 Hammurabi's law code stele. Photo: (Hammurabi stele. 1999)

Strength as a value has continued to dominate architecture realm but in different interpretations. In his famous book "De Architectura " which was written around 25 BC

Vitruvius framedthre e important values in architecture that were dominating Greek and

Roman architecture: firmitas, utilitas, and venustas (in Latin) or firmness, commodity, and delight (in English). Vitruvius, an ancient Roman architect, phrased strength as firmness, and asserted that a good structure (building) must embody these three qualities

(values).

The Greeks and Romans had also invented the classical architecture orders known as

Doric, Ionic and Corinthian (by Greeks) and Tuscan and Composite (by Romans)

(Summerson, 1963). These orders were working as architectural grammar for creating building composition in classical architecture. Their wide valuing and usages by 10 architects in classical architecture lead some architects of a later era to believe that these orders were sent from God. For example, Quinlan Terry a British architect claims "the classical architecture orders were handed down by God to Moses" (Winters, 2007).

The influence of value on shaping architecture and its styles is clearly visible when architecture of different cultures and civilizations are compared. The Egyptian's value for after- life is depicted in the pyramids. The focus on civic life and valuing it by Greek and

Romans, however, lead to a different result spatially when more public buildings and opens spaces were built (Sear, 1982). In fact Romans' put more emphasise on urban life and holding civic activities in enclosed spaces lead to the development of new building types that enclosed large spaces for accommodating groups of people (Roth, 2007); something that Greek architecture accommodated in out-of- door spaces. Supported by advancements in engineering and construction the Romans were able to embody their civic life value spatially when designed and built large sized public buildings like basilicas. 11

Figure 2.3 The Papal Basilica of St Paul Outside the Walls in Rome. Photo: (Basilica of sanpaolo fuori le mura.20\0)

With the dramatic shifts in cultural and socioeconomic values and new discoveries in science and technology, architecture continued to embody the society's new values spatially. The Renaissance, as a cultural movement necessitated the emergence of a new architecture that reflected the movement's value towards humanism. This new architecture "need no longer to point heavenward [as in Gothic architecture], but, like

Roman architecture, would stress a balance of vertical and horizontal elements in forms reflecting human proportion" (Roth, 2007, p. 353). Renaissance movement considered architecture as a mathematical science "which worked with spatial units" (Wittkower,

1998).

In the wake of the Enlightenment at the end of eighteenth century, the declaration and use of natural sciences for explaining world introduced a new aesthetic value in architecture which favoured geometric axioms over anatomic rules of proportion used in earlier architecture (Gossel & Leuthauser, 2005). Etienne-Louis Boullee and his contemporary 12

Claude Nicolas Ledoux were two neoclassical architects well-known for being progressive in valuing geometry when emphasized their homage to sphere and circle in their visionary and built works such as the Newton Cenotaph and Barriere de la Villette.

Figure 2.4 A visionary design of Newton Cenotaph by Boullee in 1784 in an attempt to express possibility of using sphere as a pure geometry on a large scale. Photo: (The newton cenotaph by boullee.2006). 13

Figure 2.5 Barriere de la Villette in Paris designed by Ledoux (1784 to 1789). In this tax- collecting gate house Ledoux used simple geometries in the design. Photo: (Claude-Nicolas Ledoux, 1784-1789).

Furthermore, the industrial revolution influenced architecture styles during the nineteenth century which showcased a vivid example for reshaping architecture according to the new values. Industrialisation invited new construction materials, such as glass, iron, and construction methods into architectural practice, but it also resulted in creating a new architecture style unique to the era and its needs. The use of cast iron pillars in the construction of factory buildings first in the 1790's in England didn't start arbitrary, but rather a result of valuing safety by constructing with robust durable materials that survive fire disasters. This was mainly inspired by a numerous fire accidents that devastated a number of English spinning mills (Gossel & Leuthauser,

2005). 14

Also, the increasing number of exhibition halls and their emphasis on high speed and low

cost construction necessitated the use of materials like iron for constructing temporary

buildings on a wide scale (Gossel & Leuthauser, 2005). This new turn in architecture

symbolized the impact of machine on architecture and the era's emerging new value for

quick and mass production. Crystal Palace that was built for the Great Exhibition in

London's Hyde Park was one of the first examples for constructing a large size building

with this new material and method (Pfammatter, 2008).

Figure 2.6 Crystal Palace by Joseph Paxton, a horticulturist and a builder of green houses, built in 1851 for the Great Exhibition in London. Paxton's proposal was accepted among proposals by famous English architects of the day because of both the design and speed constructability (Pfammatter, 2008). Photo: (Paxton, 1850-1851)

Later on, as the taste of some architects and designers started to react to the domination

of machine and mass-production so did their architectural designs and artistic works 15

(Roth, 2007). Attempts were made to "revive historical styles, such as the neo-Gothic and neo-Renaissance" and later "the mixture of these historic styles and their reinterpretation gave rise to the Art Nouveau or Jungendstil" (Sebestyen & Pollington, 2003, p. 2). This is recognized as the Arts and Crafts movement which was initiated by the English artist and designer William Morris and architect Philip Webb in the 1860s and continued up through the beginning of twentieth century (Gossel & Leuthauser, 2005).

The movement failed to make their handmade products compete to the products produced by machine in term of price; as a result the artistic works of the movement's designers and artists attracted the interest of a few affluent followers (Roth, 2007). However, despite incapability to shift society's value toward handmade and personalized products,

Morris inspired later early architectural design works by Frank Lloyd Wright in the

United States and Charles Francis Annesley Voysey in England (Roth, 2007).

Depicting value in architecture has always continued throughout the history of architecture until today. Some of the values embedded in architecture were claimed to be new emerging values introduced to architecture by a Zeitgeist of a period; others were asserted to be manifestations and modernizations of the three ancient values in architecture; commodity, firmness, and delight, described by Vitruvius. According to

Leland Roth (2007), a leading American architectural historian, "by the mid-nineteenth century, architecture lost much of its age-old cosmological significance and became instead a literary symbolic vehicle, conveying historic traditions, but by 1920, it was reduced to utilitarian vessel for housing human activity" (p. 519). These significant 16 changes in architecture indeed were product of shifts in value. As the art historian

Heinrich Wolfflin asserts "architecture expresses the attitude to life of an epoch"

(Wolfflin, 1964).

In examining values associated with architecture, this research suggests that there are two main categories of values; values in architectural design (the values that affect design decisions) and values of architecture (after its creation).

2.2.1 Values in architectural design

"An architect does not arrive at his finished product solely by a

sequence of rationalizations, like a scientist, or through the workings

of the Zeitgeist. Nor does he reach them by uninhibited intuition, like

a musician or a painter. He thinks of forms intuitively, and then tries

to justify them rationally; a dialectical process governed by what we

may call his theory of architecture" Peter Collins (Collins, 1998, p.

16)

Architecture is inherently laden with values (Holm, 2006). This is embodied in architectural design process in which an architect evaluates different alternatives and makes decisions about different design aspects when propose design solutions (Holm,

2006). These aspects are often in conflict, and consequently require value trade-offs

(Spector, 2001). As Bryan Lawson (2005), the dean of the faculty of Architectural 17

Studies at the University of Sheffield, explains, "design is a messy kind of business that involves making value judgments between alternatives that may each offer some advantages and disadvantages" (p. 81).

Since the architecture profession "considered research as irrelevant and expect more practice-oriented content in the curricula" (Kvan & Thilakaratne, 2003, p. 3)3, as a result it became more of a skilled-based profession rather than a knowledge-based. This character significantly affects decision-making in architecture and the other design professions and makes them more complex. Different architects often provide different design solutions for the same design problem as framed by Symes and his architecture professors co-authors when stated "architects believe passionately in the importance of good design but disagree constantly as to its definition" (Symes, Eley, & Seidel, 1995, p.

20). In fact, Lawson (2005) expands on this discussion further when states that "there is unlikely to be a correct or even optimal answer in the design process, and we are not all likely to agree about the relative merits of the alternative solutions" (p. 81).

In general, lack of factual results in architectural design, resulted from factors like little focus on empirical research in architecture domain and uniqueness of each design problem, makes architects more dependent on values and value sets in evaluations than other professionals (Holm, 2006). In doing so architects "tend to adhere to a value set and

3 KVAN, T. & THILAKARATNE, R. (2003) The role of accreditation. BUILDING THE LINK 2003 - Integrating Teaching with Research and Practice in the Built Environment. Conference held at Wadham College Oxford, UK, 8-10 September 2003. 18 not a single value" as values rarely operate as a single identity and tend to be part of a value hierarchy or cluster (Holm, 2006, p. 220).

There are many different values that affect architectural design process, whether they are individual design values of architects or societal-based design values, such as aesthetic, functional, environment, economic, sociocultural, traditional design values, and many others that drive architectural design decisions. These are the values that have direct impact on shaping architecture.

Employing design values differs among architectural movements and schools as well as individual architects and designers (Architectural design values: Who, what, where, when.20\0). Also, the influence that "each design value has had on design movements and individual designers has varied throughout history" (Architectural design values :

Who, what, where, when.2010).

There are many examples from history and practice of architecture that exemplify how different values shaped different architecture and led to different styles and movements.

Modernism movement's value for rationality, interpreted as simplicity and functional utilitarianism, had guide and been reflected in the movement's architecture works by architects like Gropius, Mies, and Le Corbusier (Roth, 2007). 19

This rational view of architecture was then responded by other architects who believed that "architecture is much more than a utilitarian appliance—that it can and should be primarily a vehicle for evoking emotional, even mystical states of experience achievable in no other way" (Roth, 2007, p. 535). This then new value in an architecture led to the birth of a counter architecture to rationalism called German Expressionism. In

Expressionism, architecture was considered as a physical realization of the symbolic expression of inner human emotion (Roth, 2007). Figure 2.8 Einstein Tower in Potsdam-Berlin by Erich Mendelsohn (1919-1922). This is a good example from German Expressionism ideology for architecture: emotion expresses ion, adoption of novel materials, formal innovation, and very unusual massing (sometimes inspired by natural biomorphic forms. Photo: (Worldarchitecture images- expressionist architecture.nA.)

In addition to design values' influence on shaping architectural movements and trends, values also play a key role in creating architectural design identity and signature for individual architects and their works. Although most of the time architects' design values is a reflection for the design values found in a society or promoted by a movement, yet there are architecture works that merely reflect individual architects' distinctive design values (Holm, 2006); thus, introducing more personalized architectural styles. Antonio

Gaudi's designs clearly demonstrate a unique and an individualistic architecture style specific to Gaudi and beyond the scope of his architecture era, modernism (Crippa, 21

2003). In fact, Gaudi's works were discredited by his peers for a period of time. Inspired by nature, Gaudi developed "a sensuous, curving, almost surreal design style which established him as the innovative leader of the Spanish Art Nouveau movement"(^n?on/ gaudi - great buildings online. 2010). Despite its categorization with Art Nouveau works,

Gaudi "created an entirely original style" (Antoni gaudi - great buildings online.2010).

Despite the fact that some distinctive design values might be defended by architects and designers "with considerable vigour and become highly personal territory" (Lawson, 22

2005, p. 160), yet values and value sets "tend to not be fixed"(Holm , 2006). Design values held by architects may change due to various factors such as, change in taste, developing, gaining experience, or becoming influenced by value change that may take place in a society (Lawson, 2005). This shift or evolution in values causes changes in architectural style adapted by an architect. Frank Gehry's works provide a good example about change in architectural style, from a more conventional style of the time to

Deconstructivism, as change in Ghery's design values has occurred across time.

In a close examining of values that shape architecture, it appears that it is not only architects' individual or group design values are what shape architecture. Many societal- based values that are derived from social, economic, and political factors are also indirectly affect design decisions. This is evident in many design movements in history of architecture like Modernism and to some extent, Postmodernism (Holm, 2006).

Finally, since architecture has many purposes, as a result architects use value sets or clusters (combination of a group of value together) and not a single value in a design process (Holm, 2006). Most of the time, these values are in conflict and need to be balanced in an architectural design. Conflicts also exist among architecture's most well- known three values described by Vitruvius, as Robert Venturi argues in his famous book,

Complexity and contradiction in architecture, "architecture is necessarily complex and contradictory in its very inclusion of the traditional Vitruvian elements [values] of commodity, firmness,an d delight" (Venturi, 1977, p. 16). In addressing conflicts in design values (aspects) in an architectural design, some architects and design theorists 23 argue that within the plurality of values it is possible to identify a superior value and prioritise it (Spector, 2001).

2.2.2 Values of architecture As a physical product on a large scale architecture has many impacts on a society or built environment. Consequently architecture, like any other product, gains a number of values such as social, cultural, economic values. This category of values represents the implication values and values imposed on architecture by public, users, and others who may not be directly involved in an actual design decision-making process but rather affected by it. Values such as economic, social, cultural, to name a few, are among these values.

Frank Ghery's Guggenheim museum in Bilbao serves as a good example to showcase values of architecture as a physical product. In addition to functioning as a museum,

Guggenheim has a strong economic value (Roth, 2007). Ever since it was built,

Guggenheim transformed Bilbao from a dormant industrial city to a tourist hub by attracting and welcoming large numbers of tourists and visitors both nationally and internationally (De Bure, 2010). In fact, the impact of this building on the city and its economy created what came to be called "Bilbao effect" (Roth, 2007). 24

Figure 2.10 Guggenheim museum in Bilbao, Spain by Frank Ghery (1987-1997). Photo: (Guggenheim museum in bilbao.2010)

Architecture can also become a cultural identity of a given society and many buildings around the world illustrate that. The Sydney Opera House by Jorn Utzon has become more than a waterfront sculpture and a famous building but also a cultural symbol and

Australian icon (Sydney opera house - australia's cultureportal.20\0). In fact this building's increasing symbolism made it to be included as Australia's National Heritage in 2005 and inscribed on the World Heritage List in 2007 (Australia - UNESCO world heritage centre.2010) and (Sydney opera house - australia's cultureportal.2010). This and many other architecture works testify how architecture can be valued differently based on the outcomes it enables on its surrounding. Figure 2.11 The Sydney Opera House in Austalia by Jorn Utzon, a Danish architect. Photo: (Sydney architecture images- sydney opera house.nA.)

Finally, it is worth mentioning that implication values of architecture in most cases are considered and embedded early in an architectural design process; in other words, architects design for these values and predict the impact and values of their design early in designing stage. As CABE, the Commission for Architecture and the Built

Environment, cast light on this point when explains in The Value Handbook:

"Buildings that have the 'wow' factor not only raise awareness of a

place but they may also get press coverage and offer PR opportunities.

This may give them political value. At best, they may also encourage

tourism and visitors, who contribute positively to the local economy"

(Macmillan, 2006). 26

If a building's features gain it a value or values after its creation, an architect can incorporate some features in an architectural work in order to achieve these values. In fact, there are cases in which implication values or value of an architecture work becomes the ultimate goal in its designing stage. This was the case in Guggenheim museum

(discussed earlier) when Basque regional government and Guggenheim Museum officials approached Ghery in tandem to design a unique museum in a former industrial district in

Bilbao in order to attract tourists to the then unpopular city (Roth, 2007).

2.3 Change of architecture as a result of change in design values

"I believe that today there is a need for images, for emotion in

architecture; a need for architecture to speak once again to people, to

become "presence" once again, to become material, to reacquire a

meaning that can sometimes be erotic; a need to re-establish a

partnership with people, after decades in which architecture was so

antiseptic, distant, after the International Style ruined all possibility of

communication" (Stuart Wrede, an American architect and author).

Change of design values is a tangible phenomenon in architecture. History of architecture has witnessed many shifts and changes in design values, which led to change in architecture and the emergence of many different architectural movements, trends, and styles. These changes have occurred as a result of one or both of the following two changes:

1- Change in social, political, cultural, economical, and many other societal climates,

which urged architects and designers to adapt new design values in their designs

to respond to the need of an era. This is well phrased out by Walter Groupies, one

of the leading modernist architect, when explains "Modern man, who no longer

dresses historical garments but wears modern clothes, also needs a modern house

appropriate to him and his time, equipped with all the modern devices of daily

use." (Roth, 2007, p. 253)Thus, the shift in value transferred from society to

architecture domain.

2- Change in architect and designer's taste and shift in their distinctive design

values, resulting in the creation of new architectural styles. This is evident in the

case of unusual architecture works (such as Gaudi's works) of an era done by

individual architects and designers, which then influenced the taste of public and

(sometimes) other architects. Thus, the shift in value transferred from architecture

domain to society.

History of architecture provides many examples for both of the changes. In recent history, examples of radical shifts in design values as a result of changes in societal values (from change in cultural, political, social, and economic conditions) can be found in the emergence of design movements like Modernism and Postmodernism in 20th century (Larson, 1993). 28

Despite historian's debate over identifying the actual factors that led to modernism as a social phenomenon, modern architecture is a product of a shift in societal values (Crouch,

1999). Inspired by the then new societal values, the advancements in engineering, emerging new building materials, and rejecting references to past, modernist architects introduced new aesthetic and function values to their design value sets and prioritized them (Crouch, 1999).

Aesthetic value was one of the important design values that shaped modern architecture style, and it had radically changed and been re-defined in modern architecture. The modern architecture's aesthetic value is best depicted in the famous statement "less is more" by poet Robert Browning, adopted by the modernist architect

Mies van der Rohe. Function was another important design value within the focus of modern architecture. This has been manifested in statements such as: "A building is an expression of its function and it should expose its structure or use materials in an 'honest' aesthetics" (P. Johnson, 1994). In dealing with conflicting design values in modern architecture's values sets, modernist architects prioritized functionality over the other design values (such as aesthetic) and this is well manifested in modern architecture's famous motto, "form follows function".

4 Some historian reference modernism to the social and political revolutions occurred during that period while others argue it was a response to the development of technology and engineering (Crouch, 1999). These changes in design values had significantly shaped the modern architecture style in term of simplicity, minimalism, and utilitarian approach (Roth, 2007). Consequently, modern architecture became disconnected from its preceding architecture as Gropius asserts:

"We have had enough and to spare of the arbitrary reproduction of

historic styles. In the progress of our advanced from the vagaries of

mere architectural caprice to the dictates of structural logic, we have

learned to seek concrete expression of the life of our epoch in clear

and crispy simplified form" (Gropius, 1965, p. 44)

Later on, in late 20 century (around 1965) modern architecture and its values were

fading with the philosophical and political developments, which took place outside

architecture domain. In the postmodern era "the emphasis on economic achievement as

the top priority is now giving way to increasing emphasis on the quality of life"

(Inglehart, Basanez, Dies-Medrano, Halman, & Luijkx, 2004, p. 8). In this era a shift had

occurred from "Materialist" values, which emphasize economic and physical security, to

"Post-Materialist" values, which emphasize individual self-expression and quality life

concerns (Inglehart et al., 2004). In general, postmodern values are "related to an

increasingly broad latitude for individual choice of life styles and individual self-

expression" (Inglehart et al., 2004, p. 8). 30

This significant shift in public values is then followed by criticising modern architecture by architecture insiders like Robert Venturi when he argued that "modernist values such as purity or directness lead to rigid, stereotypical design, characterised by a puritanically moral design language" (Holm, 2006) and (Heynen, 2004). In postmodern architecture, aesthetic value dominated the other design values and its interpretation stood in the exact opposite direction of aesthetic value interpretation of modern architecture and this is well summarized in Venturi's famous assertion "less is a bore".

In responding to modern, postmodern architecture included a wide variety of different architectural styles and designs and refused to develop formal and ideological unity

(Heynen, 2004) and (Larson, 1993). In comparing these two movements, it appears that

Modernism advocates the exclusion of symbolism (except for industrial or mechanical), while Postmodernism promotes the use of conventional symbolism (vestigial vernacular, popular, commercial culture) (Larson, 1993).

Furthermore, change in architects and designers' distinctive design values across time led to building unusual buildings and structures that have greatly contributed in changing architecture over the course of history of architecture. The Eiffel tower by Gustave Eiffel, designed and built at the end of the 19th century, was more than a symbol of tallness, innovation, and technology of the industrial revolution era, but also an inspiration and illustration for what can be manifested in architecture. When the tower construction began in 1887 in Paris, a strong rejection by Parisian expressed in various ways. One of these rejections is embodied in the artists' manifesto that was published in Le Tempes 31 newspaper and signed by, among many others, by the architect of the Paris Opera,

Charles Gamier (De Bure, 2010):

"We come; Writers, painters, sculptors, architects, passionate lovers of

the hitherto unpolluted beauty of Paris, to protest with all our strength,

with all out indignation, in the name of the French taste, in the name

of the French art and history here under threat, against the erection, in

the very heart of our capital of the pointless and monstrous Eiffel

Tower" (De Bure, 2010).

Despite the then wide rejection, the Eiffel tower's influence on the subsequent architecture was vast and today is one of the most visited monuments in the world with

6.6 million visitors only in 2009 (The official site of the Eiffel tower.2008) . Figure 2.12 Eiffel tower was built in 1887 in Paris for the 1889 World's Fair with height of 324 metres. It is one of the most renowned structures around the world and Paris's landmark. Photo: {Eiffel tower in par is, france.2010)

The Deconstructivism movement is another good example that testifies to how change in the individual or group of architects' taste and design values reshape architecture.

Adapting Deconstruction approach in text, introduced by a French philosopher named

Jacques Derrida and a group of postmodern architects and architectural theorists

"proposed a radical departure from previous thinking, suggesting that fundamentally, a building exists as an isolated abstract phenomenon" (Roth, 2007, p. 600). In

Deconstructivism the traditional formal values in architecture as harmony, unity, and stability were replaced with disruption, dislocation, deflection, deviation, and distortion

(P. Johnson & Wigley, 1988). Deconstructivism was "an extreme reaction to the 33 structural order of canonic Modernism" (Roth, 2007, p. 600). It intended to promote a

feeling of an ease, disquiet, and disorientation (P. Johnson & Wigley, 1988). The architecture works by Zaha Hadid, Frank Ghery, and many others depict some of the

Deconstructivism values.

In general, in a close examining of the changes occurred in architecture throughout the history of architecture it appears that these changes were result of one or both of the

following two factors:

1- Change in individual or group of design values in a given design value set (of an

architect or architecture movement) which led to change in architecture. These

changes were mostly manifestation or re-interpretation of the three traditional

Vitruvian's values, flrmitas, utilitas, and venustas.

2- Change in rank (priority) of individual design values in a design value set.

Modern architecture is a good example that included both of these two changes. In

addition to redefining values like aesthetic in a then "modernized" way, also change in

ranking and prioritizing some design values over the others has occurred. This is clearly

embodied in Louis Sullivan's famous statement "Form follows function" that exposes

modern architecture's value set in which function value is prioritized over form (aesthetic

value). 34

2.4 Summary

Architecture is a physical embodiment of a serious design decisions which are driven by an architect or a designer's values. As such, understanding values and their influence on human decision-making (in general) and on design decision-making process (more specifically) becomes important in understanding architecture and its subsequent changes. For this purpose, the first section of this chapter introduced the concept of value and its interpretations across different fields, followed by discussing values and architecture. In doing so, this chapter categorized the values that are associated with architecture domain and discussed design values and design value sets. The last section of this chapter highlighted the importance of values in architecture by finding connection between change in design values and architectural styles. 35

Chapter Three: Transvaluation and Architecture

3.1 What is Transvaluation? Transvaluation or revaluation, the translated English version of the German term umwerthung, is a philosophical concept developed by Friedrich Nietzsche, a German philosopher, in the 19th century (Blackburn, 1996). Transvaluation's connotation "is simply 'change' in a value-neutral sense" (Large, 2010). Transvaluation means to re evaluate values in a way that "the weight of all things [values] must be determined anew"

(F. W. Nietzsche, Williams, Nauckhoff, & Del Caro, 2001, p. 152). This statement has led to one of transvaluation's interpretation as "the questioning, the examining, the making conscious and the diagnosis of values" (Brobjer, 1995, p. 342). In general, transvaluation consists of the values to be revaluated and the means used to effect the revaluation (Sleinis, 1994). In the process of transvaluation "some of the target values are rejected outright; some undergo a downward displacement; some are elevated; while others stay where they are" (Sleinis, 1994).

This transformational process questions the values that are considered absolute values by a society or an individual, such as Moral value. As Nietzsche explains in one of his notes in "On the Genealogy of Morality":

"The question: what is the value of this or that table of values and

'morals'? should be viewed from the most divers perspectives; for the

problem 'value for what?' cannot be examined too subtly... All the

sciences have from now on to prepare the way for the future task of the 36

philosophers: this task understood as the solution of the problem of

value, the determination of the order of rank among values.''''

(F. W. Nietzsche, Kaufmann, & Hollingdale, 1967a, p. 55)

Nietzsche emphasised the importance of continuous questioning of the weight and worth of human values from multiple-perspectives in order to determine "the order of ranks among values", which is crucial for understanding state of values and their ranks in a particular context. As Richard Schacht (1996) explains in the introduction of Nietzsche's

Human, All Too Human book, for Nietzsche "nothing is beyond criticism - and there is a strong suspicion that (as he would later put it) all 'idols' of our reverence will turn out to be hollow and ail-too human when subjected to critical scrutiny" (F. W. Nietzsche, 1996, p. xv).

Transvaluation, as a general concept, is a promising project when applied to any value

systems, and this research considers and adapt Nietzsche's transvaluation project, which concerns transvaluating life-denying, ascetic values toward life-affirmative values. It is

worth mentioning, as pointed out by Reginster (2006), "Nietzsche regards the affirmation

of life as his defining philosophical achievement".

Nietzsche's transvaluation project involves "reassessing various things that have come to

be valued in one way or another and also prevailing values themselves" (Ansell-Pearson,

2006, p. 115). The things he proposed to be interpreted or re-interpreted include values

related to "religion, morality, art, science, and various types of social and political 37 institutions" (Ansell-Pearson, 2006, p. 115). In doing so, Nietzsche called for replacing traditional values that hinder humanity's progress with more honest ones.

Nietzsche's transvaluation has been interpreted in many ways and by many people. Yet some of his main perspectives for transvaluation, such as "enhancement of individual and cultural health, believed in life, creativity, power, and the realities of the world we live in, rather than those situated in a world beyond", are shared among most of these interpretations. One thing that is central to Nietzsche's philosophy is "the idea of 'life- affirmation,' which involves an honest questioning of all doctrines that drain life's expansive energies" {Stanford Encyclopedia of Philosophy- Friedrich Nietzsche.2010).

Nietzsche believed that these perspectives lay the ground for transvaluating human values toward life-affirming values, which enable overcoming nihilism, disorientation, despair, pessimism, degeneration, meaninglessness, and decadence (Reginster, 2006).

Nietzsche's endorsement to life-affirmative5 values - in his transvaluation project - springs from the view that "the fundamental value of something is to be determined by its value for life" (Ridley, 2007, p. 11). The affirmation of life, as Nietzsche defines it,

"demands a revaluation of the dominant, life-negating values" (Reginster, 2006, p. 15). In order to make a "genuine affirmation possible", according to Reginster (2006), Nietzsche proposes to have a quite radical revaluation of values.

5 This is clearly asserted in Nietzsche's The Will to Power book when stated "the value for life is ultimately decisive." 38

Some of the values Nietzsche believed to be the highest values which he closely examined in his transvaluation project are cognitive, moral, aesthetic, and religious values. Truth and knowledge, which are believed to be at the peak of the cognitive values, were among the values Nietzsche attempted to revaluate (Sleinis, 1994).

Conventionally truth was understood and considered to be unique, objective, universal, unconditional, and impartial (Sleinis, 1994). This is what is commonly known as the absolute theory of truth.

In transvaluating truth, Nietzsche denied most of these claimed aspects of truth when he states "Truth is the kind of error without which a certain species of life could not live" (F.

W. Nietzsche, Kaufinann, & HoUingdale, 1967b, p. 272). He then replaced the common notion of truth as an absolute with perspectivism (Sleinis, 1994). The following statements capture this view of Nietzsche:

"It is obvious that every creature different from us senses different

qualities and consequently lives in a different world from that in

which we live. Qualities are an idiosyncrasy peculiar to man; to

demand that our human interpretations and values should be universal

and perhaps constitutive values is one of the hereditary madnesses of

human pride" (F. W. Nietzsche, Kaufinann, & HoUingdale, 1967b, p.

305).

Consequently, the notion of values also changes in Nietzsche's view. According to John

Wilcox, the author of Truth and Value in Nietzsche: 39

"Nietzsche suggests over and over again, in a wide variety of ways,

that values are not objective, are to be understood in term of the

persons who hold them, cannot be supported by facts or sound

reasoning, or are created rather than discovered" (Wilcox, 1974, p.

11).

Therefore, for Nietzsche "there are no values without valuing beings", "things are valuable because we value them", and "the source of value lies within valuing beings"

(Sleinis, 1994, p. 1).

Finally, Nietzsche's rejection for the common believed aspects of truth and knowledge and reinterpreting truth and knowledge based on his own new perspectives provide a frame to understand transvaluation concept and process. Although Nietzsche proposed transvaluating based on affirmation of life, at some point in his tranvaluation project he also tried to "describe and analyze the phenomena of valuation in a neutral way, without appraising or judging what he described" (Wilcox, 1974). This attempt is visible in his calling upon scholars "to join in a collection of data about the varieties of valuations"

(Wilcox, 1974).

3.2 Why transvaluation in architecture: Despite the fact that most architects and designers do not acknowledge relying on values and value sets to some extent during a design process, yet values are particularly evident 40 in architectural design domain (Holm, 2006), as discussed in the previous chapter. As such, adapting transvaluation (in general) and Nietzsche's specific project (in specific) for transvaluating design values in architecture become an important intervention for advancing architecture. This is mainly due to the following reasons:

1- Transvaluation facilitates changes in architecture in such a way that continuously

reflects the Zeitgeist of a context (society, culture, environment, etc). This is due

to an active revaluating and re-ranking design values according to emerging

perspectives; in other words, searching for architectural excellence and greatness.

2- Transvaluation enables breaking from traditional outdated design values that

hinder advancing architecture of an era and supports replacing these values with

new sophisticated values.

3- Transvaluation provokes breaking the rigid doctrine and dogmas in architectural

design depicted in unbending pronouncements like "Form follows function,"

"ornament is a crime," "less is more," "less is a bore," and so on (Rybczynski,

2010). It also encourages finding and adapting design values other than sacred

common Vitruvian values. In doing so, transvaluation urges continuous

questioning of architecture and its foundation.

4- Transvaluation necessitates a deep understanding and analyzing of design values

which equips architects with evaluation skills required for dealing with conflicting 41

design values and paradox in a design process. Thus, architects become value-

aware in a design decision-making process.

5- Transvaluation extracts architecture from its current rather nihilistic state to a

more flexible and life-affirmative state. It also supports creativity in architecture

in exploring new realms.

3.3 Transvaluation steps in architecture In adapting Nietzsche's transvaluation project in architecture, this research suggests to follow some major steps that mimic what Nietzsche proposed for his transvaluation project. The folio wings are these steps:

1- The first step of a transvaluation process is replacing the theory of absolute truth

about the values in architecture with perspectivism; in other words, searching for

better perspectives (multiple perspectives) rather than searching for ultimate

(ideal) values.

2- Later on a deep understanding for the values associated with architecture is

required. For this purpose, in the second step it is important to question, analyze,

and diagnose each value. This is possible by conducting various studies such as:

studying histories of the values and finding conceptual analysis backed by 42

historical evolutions and categorizations, and studying the changes in social

definition of the values.

In doing so, a series of questions must be asked. The folio wings are some of these

questions that can help to genealogically study a value, as suggested in

Nietzsche's transvaluation project:

• What is the origin of the value?

•Under what condition the value came to existence?

• What is the value of this value?

•Whom it will serve?

• Who is advocating it? Who brought the value to existence?

•What purpose it intended to serve?

• What is its actual purpose?

3- The third step includes ranking and evaluating of the individual values in relation

to each other and also analyzing the relationship between and among values and

value clusters. In this sense, the values undergo weighing and classifying.

4- Revaluating all the values. This will lead to rejecting some values, displacing

some others, and/or creating some new values. In the revaluating process, life- affirmation must become a ground for evaluating all the values associated with

architecture.

3.4 Transvaluation scenarios in architecture "The migrations, the conquests, the commercial, social, and religious

changes among different peoples have all manifested themselves in

the changes of their architecture"(Hamlin, 1896).

In a close examining of history and theory of architecture, it becomes visible that transvaluation has happened - consciously or unconsciously - in some major architectural movement. Modem architecture can be called and considered a bold case of transvaluation in architecture in term of: first, re-interpreting the conventional Vitruvian design values (such as aesthetic) to ones that are in- harmony with machine age, and second, changing the order of design values in design value sets embodied in "Form follows function" emblem of modem architecture. For example, modem architecture's revaluating of aesthetic value from ornamentation to simplification was a break up from its preceding movements. This was a departure point for architects and designers to think beyond the scopes of the traditional interpretation of aesthetic value.

Similar to modem architecture, deconstmction architecture drove architecture to another significant shift. Deconstructing devaluated and annulled "what traditionally has been taken as truth about reality" (Mugerauer, 1996, p. 184); thus Derrida, the founder of 44

Deconstruction, now "appears to be completing the project that Frederick Nietzsche began" (Mugerauer, 1996, p. 184).

Despite the differences that may appear in these two transvaluation cases in term of style and content, the transvaluating led to breaking traditional values of their era and adapting new emerging values of the eras. Whether these movements were able to revaluate all the values of their time (old and new) and successfully translated these values to design values in their architectural movement, yet they exemplify to some extent how does transvaluation process advances and feed creativity in architecture. 45

Chapter Four: Value and transvaluation in contemporary architecture

4.1 The state of contemporary architecture

"The twentieth century was a period of unprecedented formal

inventiveness in architecture - from the abstract compositions

imagined by the Russian Constructivists to the billowing metallic

shapes of Frank Gehry's Guggenheim Museum in Bilbao, Spain."

(Tschumi & Cheng, 2003).

Many architecture theorists and historians mark "the sixties" as the beginning of contemporary architecture theory when many changes occurred in political theory and practice, the history of philosophy, the world economy, and general cultural production

(Hays, 1998). At the same time, information and digital technology revolution in the late of twentieth-century has profoundly impacted people and transformed their lives and values. The speedy advancements of technology and information flow (supported by internet) created a culture that is complex and also open for constant and rapid changing.

The early twentieth-century architecture began with "a rapid-fire burst of revolutionary declarations", while also introducing new design values such as adopting new materials and technologies and abandoning traditional values such as historical styles and ornament

(Tschumi & Cheng, 2003). 46

Since architecture is "response to and reflection of a society (Whalley, 2005), the architecture of the digital age soon adapted the innovations and technologies of the era as was the case in the other ages throughout the history of architecture. As observed by a distinguished Spanish architect and theorist, Ignasi de Sola-Morales, when stated: "the architecture of modern time is characterized by its capacity to take advantage of the

specific achievements of the same modernity; the innovation offered it by present-day

science and technology" (Sola-Morales Rubio, 1996, p. 117). In digital age this is embodied in both design and construction of buildings (Kolarevic, 2003). In the design

side of buildings, the revolutionary idea for replacing the conventional design representations method, drawings on paper, with digital representation tools, like

Computer-Aided Design (CAD), revealed many potential advantages in architecture

discipline (Kalay, 2004). In addition to speeding production of design documents,

reducing errors, providing inexpensive and vivid visualizations, applications like CAD

created the possibilities of "paperless studios" in architectural practice (Kalay, 2004).

CAD, as Schmitt (1999) explains, "...describes a rapidly growing field in architectural

practice, education and research". CAD's primary starting appears in Ivan Sutherland's

thesis at the Massachusetts Institute of Technology (MIT) in 1963 (Schmitt, 1999). The

commercial breakthrough for CAD, however, came "in the early 1980s with the advent of

the personal computer" (Schmitt, 1999, p. 7). Later on in the 1990s, three-dimensional

modeling, rendering, animation, and multimedia presentations became more affordable,

"along with a concentration in the CAAD software industry" (Schmitt, 1999, p. 7). With 47

CAD revolutionary concepts like interactivity, modular design, and object-oriented modeling started to influence architectural design, draft, and practice (Schmitt, 1999).

This revolutionary change in design representation from paper to computer, as Gossel &

Leuthauser (2005) argue, has also motivated the generation of new spatial concepts. This is mainly due to the fact that viewing design ideas in the three-dimensional computer- generated images allow for the examining of ideas and assessing their realism and achievability. Furthermore, the advances in CAD "have not only opened up a vast array of different options for viewing a design before it is built, but have also made it possible to produce complex patterns for numerically-controlled manufacturing"(G6ssel &

Leuthauser, 2005, p. 547). The advent of parametric curves and surfaces in computer modeling software "gave greater freedom in the use of computers as a design tool, releasing designers fromth e restrictions of a linear system and opening a world of complex free, curved forms and surfaces modelled on screen in three-dimensions"

(Futcher,2010).

Supported by the advancement in manufacturing it was possible to not only design but also build non-linear6 structures, which "modulate out of the conventional orthogonal grid", (Gossel & Leuthauser, 2005) alongside of conventional right angled structures.

Some contemporary architects and designers started to employ various computer software

6 The concept of non-linear structures dates back to 1920s. However, the limited ability in manufacturing and construction technology made it difficult to build such structures until late of the 20th century. 48 for designing curved architectural forms and spaces. For example in designing

Guggenheim Museum, Gehry and his team used CATIA (Computer Aided Three -

Dimensional Interactive Application), which was used in aircraft design, in order to

"explore multiple design alternatives, calculate structural systems, and determine building cost" (Roth, 2007, p. 600).

Figure 4.1 CATIA computer diagrams of Guggenheim Museum in Bilbao, Spain by Frank Gehry. (Logue studio design.2010)

CATIA also helped NOX, a Dutch architectural firm, to design a tubular exhibition called

"Water Pavilion" in the Netherlands. As Gossel & Leuthauser (2005) explain, in this building "right angles are clearly defined, straight surfaces are here replaced by flowing forms" (p. 547). The Water Pavilion is organic and "blobby" in both its inside and outside (Steve, 2010). The lack of geometry in this exhibition makes visitors to rely on their sense of touch (G6ssel & Leuthauser, 2005). In this interactive building, floors 49 transform into walls and the outer shell of the building is part of the exhibition (Steve,

2010) and (Gossel & Leuthauser, 2005). This building is equipped with sensors "that allow visitors to adjust the sights, sounds and other interior features to suit their particular mood of the moment" (Steve, 2010). This building is one of the early examples of the so called "blobby architecture" (Steve, 2010).

Figure 4.2 Water Pavilion or "freshH20 eXPO" for the Neeltje Jans Wasserland center in The Netherlands, 1993-1997. (NOX_ lars spuybroekn.d.) 50

Figure 4.3 Two interior views fromth e pavilion. The blue lights and projections found in this building react to the movement of the visitors. (NOX_ lars spuybroek.n.d.)

As the complexity of buildings' design and construction began to increase in the late of

20th century - resulting from complexity in structural systems, technologies, etc. -a paradigm shift in architecture started to appear. Architecture has become a more multi- disciplinary oriented profession and consequently, many specializations have emerged in the field (De Bure, 2010). At the same time, many architectural styles and movements started to emerge in contemporary architecture. Despite the diversity in style found among these movements, the desire to use of digital technology is what unites the architectures of digital age (Kolarevic, 2003).

The complex culture of information and digital revolution is crystallized in the new emerging digital architectures "that have found their expression in highly complex, curvilinear forms" (Kolarevic, 2003, p. 2). The works of digital architectures depict this 51 complexity in their blobby or "liquid" forms, their complexly patterned envelop, or both

(Kolarevic & Klinger, 2008).

One of the bold emerging architectural movements is the so called Blob architecture7 or

Blobitecture. Using CAD and other advanced modeling software, the architects of

Blobitecture derive "the forms by manipulating the algorithms of the computer modeling platform" {Early 21st century amorphic - blobitecture.n.d.). Early examples of this

Blobitecture appear in the visionary designs of Archigram8 architects were "were interested in inflatable architecture as well as in the shapes that could be generated from plastic" (Early list century amorphic - blobitecture.n.d.). A good example for these works is Ron Herron's Walking Cities and Instant City designs in 1960s.

7 "The term 'blob architecture' was coined by architect Greg Lynn in 1995 in his experiments in digital design with metaball graphical software. Soon a range of architects and furniture designers began to experiment with this "blobby" software to create new and unusual fovmsn{Early 21st century amorphic - blobitecture. n.d.). o Archigram (from ARCHItecture and teleGRAM) was an avant-garde architectural group formed in the 1960s. This group influenced and "changed the world of architecture in the sixties and seventies"(77ie bartlett - architecture.20\0). Archigram "dominated the architectural avant garde in the 1960s and early 1970s with its playful, pop-inspired visions of a technocratic future after its formation in 1961 by a group of young London architects" (Archigram.n.d.). Figure 4.4 The Walking City by Ron Herron, Archigram 1964. (Archigram. n.d.)

Also, "despite the narrow interpretation of Blob architecture (i.e. that coming from the computer), the word, especially in popular parlance, has come to be associated quite widely with a range of curved or odd-looking buildings" (Building ideas blog.2008).

The works of the architects Greg Lynn, Lars Spuybroek (NOX), Frank Gehry, and many others exemplify Blob architecture. The Water Pavilion (1993-1997) by Lars Spuybroek is the first fully computer based sculptural geometry and one of the very early examples of built 'Blob' architecture. 53

.. _ •*•• -

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n*V, ' ' •"•V

Figure 4.5 The Selfridges Building, an example from blob architecture, in Birmingham, UK, designed by Future Systems Architects. (The selfridges building in birmingham.2010)

Figure 4.6 Blobby forms in Eden project (opened in March 2001) in Cornwall, UK designed by Nicholas Grimshaw. (A visit to the edenproject.2006) 54

In addition to formal innovation and revolution depicted in the use of blobby and non-

Eucldian geometries (and thus new spatial concept), digital architecture's movements are recognized for their integration of advanced technology, material exploration, manufacturing, etc. In digital architectures concepts like 4D space, responsive architecture, interactive architecture, and many others have flourished.

The advancements of Information and Communication Technologies (ICT) have also opened new horizons in contemporary architecture's research and practice. As observed by William Mitchell (1999) - a former dean of MIT's School of Architecture and

Planning - in the current information and digital age "signs and labels are becoming dynamic, text is jumping off the page into three-dimensional space, murals are being set in motion, and the immaterial is blending seamlessly with the material" (Mitchell, 1999, p. 41). This digitization has led to ubiquitously overlaying "tangible physical reality" with "luminous digital information" using various technologies such as, smart surfaces, video-projected displays, virtual reality, and augmented reality (Mitchell, 1999).

Consequently, as Mitchell argues, active pixels to the information age become as crucial as static tesserae was to the Romans (Mitchell, 1999).

With the advent of Virtual Reality (VR) and Mixed Reality (MR) in various disciplines, a group of architects, designers, and theorists' attention has shifted toward exploring virtual world and started to seek the possibility of incorporating these technologies with architecture. Heterarchitecture of the future is a new hybrid (real and virtual) architecture 55 envisioned and introduced in "Disappearing Architecture: From Real to Virtual to

Quantum9" by Flachbart and Weibel (2005).

In Heterarchitecture, both virtual and real worlds are mixed together to create a hybrid architecture that is interactive and experience oriented (Flachbart & Weibel, 2005).

Acknowledging the information and digital age's needs, Heterarchitecture pioneers propose replacing "analog architecture" with Heterarchitecture that is dynamic and support interactivity and constant access to information. As Mitchell (1999) emphasizes in E-topia: "Urban life, Jim - but not as we know it", "Architecture is no longer simply the play of masses in light. It now embraces the play of digital information in space."

With the continuous increasing of environmental awareness and moving of sustainabihty concept to mainstream in the mid of 20l century, new green design and sustainabihty movements have evolved in architectural research and practice. The movement was first pioneered by the architect Sim Van der Ryn in 1960s. In sustainable architecture,, "many different concerns such as design, materials, use of energy, cost, and the environment, are interwoven in the interest of creating a functional structure which meets the needs of the present without compromising the ability of future generations to meet theirs"(Bennett,

Farnsworth, & Wanlass, n.d.). Since its emerging, the number of buildings who adapts

sustainable architecture and green design's principles is continuously increasing.

9 The ideas presented and collected in this book are originated from the international conference IT WORKS OR IT NETWORKS: Development of Real and Virtual Space in the Age of the Global Net (Flachbart & Weibel, 2005). As it appears contemporary architecture includes a spectrum or architectural movements and trends; thus, it can be recognized for its multiplicity. The evolution of this era'architecture, as Whalley (2005) suggests, "can be investigated by considering some of its dominant themes, such as mass production, information technology, transportation and the workplace" (Whalley, 2005, p. 23). In addition to the evolution and wide use of digital technology in architecture, some other main themes of the new era include

"changing perception of space and design's new fluidity" (Whalley, 2005, p. 23).

4.2 Challenges of contemporary architecture Similar to other eras in the history of architecture, contemporary architecture faces some challenges that are unique to the context in which contemporary architecture arose and functions. The followings are some major challenges:

1- Contemporary architecture is characterized with multiplicity. This has led to

difficulty in finding a "generally accepted systems either of values or political

principles on the basis of which architecture can be judged"(Sola-Morales Rubio,

1996, p. 15).

2- Despite the emerging trends in digital architecture, some contemporary

architecture movements have not yet fully realized and reflected the technological

advancements and the spirit of information and digital age (complexity and need 57

for dynamicity and rapid changes). As information and digital technology re

shape every aspects of life in today's world there is resistance to accommodate

these advancements in architecture. This will drive architecture to what has been

described by Bouman (2005), an architect and director of the Netherlands

Architecture Institute:

"Would architecture survive if the entire tectonic tradition of

construction and making connections were to vanish as a source

of design inspiration in favour of the visual story for architecture

when any of its buildings can be animated and transformed by

projections and electronic displays? What is left of architecture

if our architectural 'sign' language is no longer etched in

stone?"(Bouman, 2005, p. 261).

3- Architecture as a profession faces several challenges depicted in architects' shift

of interest from construction realm more into the design side of architecture. This

has led to a significant decline in architect's historic role as a "master builder".

4- The proposals of contemporary art, as Sola-Morales Rubio (1996) argues, "are to

be constructed not on the basis of any immovable reference, but under the

obligation to posit for every step both its goal and its grounding". Consequently,

"contemporary architecture, in conjunction with the other arts, is confronted with

the need to build on air, to build in the void [or grounding without ground, as 58

suggested by Nietzsche in Human, all too Human]" (Sola-Morales Rubio, 1996,

p. 59).

5- Contemporary architectural practice is dominated by an atmosphere of anxiety

(Tafuri, 1976). This is originated from many factors such as, architects'

"discovery of their decline as active ideologists, the awareness of enormous

technological possibilities available for rationalizing cities and territories", and

"the fact that specific design methods become outdated even before it is possible

to verify their underlying hypothesis in reality" (Tafuri, 1976, p. 176).

6- The paradigm shift, the shift from the mechanical paradigm to the electronic one,

that has taken place since the Second World War has not profoundly affected

architecture as it should have been (Eisenman, 1996). The new concept of reality

introduced by electronic media has not been fully realized in architecture yet. This

is mainly due to the domination of mechanical paradigm (depicted in metaphors

such as bricks and mortar, foundation and shelter, etc.) in architecture for many

years in a way that it became the sine qua non of architecture (Eisenman, 1996).

The challenges that electronic paradigm directs toward architecture are embodied

in defining reality in terms of media and simulation and valuing appearance over

existence and what can be seen over what is (Eisenman, 1996). 4.3 An introduction to the notion of performativity The contemporary notion of performtive is a manifestation of "performative utterance" introduced by John L. Austin in 1950s. As Austin argues in How to Do Things With

Words, "The name [performative] is derived, of course, from 'perform', the usual verb with the noun 'action': it indicates that the issuing of the utterances is the performing of an action - it is not normally thought of as just saying something"(Austin, 1975, p. 6).

Austin was the first analytical philosopher who contrasted between performatives and constatives utterances in language. According to Austin, utterances like "I promise to do such-and-such" or "I name this ship the Queen Elizabeth" are performative utterance because they indicate "doing something" rather than "reporting something" (Iser, 2006); therefore, they are called performative because they produce an action (Iser, 2006). In

Austin's view, performative utterances, unlike constative utterances, should not be

assessed for their truth but for their "felicity" (Asher & Simpson, 1994). In this sense, performativity in language can be understood as investigation to the pragmatics of

language.

Austin's writings on performative utterance became the base of speech act theory, which

was developed later by his followers. Speech act theory, which emphasizes linguistic

performance or the use of sentences, "has conceptualized basic conditions that have to be

fulfilled for a linguistic utterance to become successful" (Iser, 2006, p. 121). As Iser

(2006) further explains, "The speech act, as a unit of communication, must not only

organize the signs but must also condition the way in which these signs are received" (p.

121). Speech act theory later on has become "a central component not only in pragmatics 60 but also in argumentation theory, in literary criticism, and many other disciplines" (Asher

& Simpson, 1994, p. 262).

Figure 4.7 The Literature 1 painting by James Koehnline in 2007. {Typography in Art .2010)

In general performativity is "the notion that one's identity is actualised through the

accomplishment of certain performances and does not pre-exist these actions" (Protevi,

2005). The notion of performativity, since its emerging, has been picked up, developed

and extended by many theorists and scholars, among them Butler, Derrida, and Foucault, 61 across many research fields, including philosophy, literature, anthropology, social science, science and technology studies, and beyond (Protevi, 2005).

Introducing performative notion to the various disciplines has significantly impacted them. In 1990s, as Erika Fischer-Lichte describes in Asrewehe Erfahrung, cultural studies have undergone a "performative turn", creating a change in perspective "from the focusing on the structures and systems of cultural objects implied by the so-called

"linguistic turn" to an increasing interest in the processual, interactive and transitoric aspect of these objects"(Gade & Jerslev, 2005, p. 21). Consequently, performativity re directed attention from a conception of "culture as text" more toward "culture as performance" (Gade & Jerslev, 2005). According Fischer-Lichte, the cultural turn can be traced back to as early as the end of 17th century (Fischer-Lichte, 2001). Also, the importance of performative processes to European culture, which has been discussed by

Nietzsche repeatedly, entitles him the "ancestor" of the performative turn (Fischer-Lichte,

2001).

Performativity can be described as "theories, models or activities that affect and are affected by their actions, rather than being objective observations or truths" (Triscott,

2009, p. 156). In economic sociology, as Michel Callon explains, economics is

"performative" because "it does things, rather than simply describing an external reality that is not affected by economics" (Callon, 1998). 62

On the other hand, the performative image of science, discussed by the new generation of historians and philosophers like Andrew Pickering, played a significant role in enhancing the historic view of science as something secondary to theory10. While the historic view of science has contributed significantly to the cut between the human and technical worlds (Salter, 2009, p. 27), the performative conception of science and scientific practice, as Triscott (2009) argues, "rebalances our understanding of science away from an obsession with pure knowledge and towards recognizing science's material powers."

The performative image of science is also emphasized by Bruno Latour and Steve

Woolgar, sociologists and authors of Laboratory Life, when suggested that "the aim of science is not to provide facts or representation about nature but rather to 'perform' it"

(Triscott, 2009, p. 157). The performativity of science, therefore, can be understood as "a series of actions that affect the world" (Triscott, 2009, p. 157).

Furthermore, the performative view of art and cultural production (in general) appear in

Louis Martin and Michel Foucault's works. According to Owens and Bryson (1992),

Martin and Foucault "do not interpret works of art, if to interpret them is to assign them a meaning". They are "interested less in what works of art say, and more in what they cfo"

(Owens & Bryson, 1992, p. 91).

According to philosopher Bernard Stiegler, "post-Homeric philosophy [ by philosophers like Plato and Aristotle] represses technics by already drawing up the battle lines between episteme, which encompassed true knowledge through disciplines such as rhetoric, and techne, connoting art and craft - the practices of making" (Salter, 2009, p. 27). 63

In post-modern age as Jean-Francois Lyotard - a French philosopher and the author of one of the key texts on postmodernism (The Postmodern Condition: A Report on

Knowledge) - summarises, "knowledge is legitimated no longer according to any notion of human emancipation or speculative spirit, but solely through performative discourses of economics and technology" (Leach, 1997, p. 256); or as Marshall (1996) puts it, "the legitimation of knowledge is formulated in terms of performitivity" (p. 184). Since then, as Marshall further explains, science has increasingly "fallen under the sway of another game, technology, whose goal is not truth but optimal performance, and whose criteria are minimising input and maximising output, rather than truth or justice" (p. 184).

Consequently, "research and progress in knowledge are re-legitimated in terms of the performative or efficiency criterion" (Marshall, 1996, p. 184).

In summary, the value and concept of performativity created a wide impact on various fields and disciplines. It shifted "the perception of culture as a static collection of artifacts to a web of interactions, a dynamic network of intertwined, multilayered processes that contest fixity of form, structure, value or meaning" (Kolarevic, 2005, p. 205). 64

4.4 Performativity and architecture "Every performance is an event, but not one that would in any way be separate from the work—the work itself is what 'takes place' in the performative event"(Leach, 1997, p. 123).

The new notion of performativity in architecture "draws upon non-architectural linguistic traditions" originated from Austin's works in language (Leatherbarrow, 2005). In architecture, the notion of performativity underlines the action of architecture, or in other words, crystallizing what architectural works "actually do" (Leatherbarrow, 2005). The emerging performativity approach has created "a shift of orientation in architectural theory and practice, fromwha t the building is to what it does, defining the first by means of the second" (Leatherbarrow, 2005, p. 7).

Figure 4.8 Performalism by Peter Arkle. 65

In performative architecture, performativity value dominates and drives building design decisions, i.e. it is prioritized and ranked above the other design values in architecture.

This is mainly due to acknowledging the importance of performativity in architecture, which is derived from the belief that buildings, like people, are mainly perceived through their actions or performances (Leatherbarrow, 2005).

The concept of performativity, as Marvin Carlson emphasizes, can be characterised as an

"essentially contested concept" (Carlson, 1996). The elasticity nature of performativity enables "divergent meanings depending on the scientific contexts in which it is used"

(Gade & Jerslev, 2005, p. 21). This diversity in meaning of performativity can be observed horizontally, across different fields, or vertically, inside the same field. For example, although "philosophy and theatre now share 'performative' as a common lexical item, the term has hardly come to mean the same thing; for each" (Schechner,

2002, p. 112) and (Parker & Sedgwick, 1995). Similar to the other disciplines, the meanings of performativity inside architecture are "multiple and intertwined" (Kolarevic

& Malkawi, 2005). They "spans multiple realms, from financial, spatial, social and cultural to purely technical (structural, thermal, acoustical, etc.)" (Kolarevic, 2005, p.

205).

With the continuous growth of complexity in architectural design, resulted from

developments in technology and also continuous importation and integration of ideas

from other disciplines, performativity becomes the answer to many design challenges

(Heylighen, Martin, & Cavallin, 2007). Performativity dissolves the two traditional poles 66 in architecture, utilitarian and aesthetic aspects, and merge them together (Talbott, 2010).

In performative-bsed design, "every part is multi-faceted, contributing to visual and functional effects" (Talbott, 2010, p. 41).

Similar to language, science, and the other disciplines performativity in architecture embraces actions and events. This understanding, according to Hollier (a professor and author ofAgainst Architecture: The Writings of Georges Bataille), can be seen in

Foucault's reflections on architecture; architecture "is not just a simple container, but a place that shapes matter, that has a performative action on whatever inhabits it, that works on its occupant"(Hollier, 1989). This notion has been extended to architecture discourse by Bernard Tschumi as well when wrote in Architecture of the Event that "there can be no architecture without event, without action, without activities" (Salter, 2010). In this view, Tschumi's suggestion to conceive architecture "not as object (or work, in structuralist terms), but as an interaction of space and events" could be understood in term of performativity (Nesbitt, 1996, p. 163).

In performative architecture action is achieved by "having a capacity to [actively] respond to changing social, cultural and technological conditions" (Kolarevic, 2005, p.

205). Spatial program in performative-based design "is not singular, fixed or static, but multiple, fluid and ambiguous, driven by temporal dynamics of socio-economic, cultural and technological shifts" (Kolarevic, 2005, p. 205). 67

The recent focus in some architectural designs, according to Stephen Turk (the writer of

Tabling Ecologies and Furnishing Performance), has moved "from a fascination with critical theory and language to notions of practice and performance" (Turk, 2009, p. 119).

Turk further explains that in the last century the boundary between an object and its environment "has been progressively eroded", which resulted in shifting toward "the consideration of architectural objects within larger fields of operation - the milieu or ecology in which a design exists" (Turk, 2009, p. 119). This consideration has been reflected in some contemporary designers' works, who understand design "as a process of unfolding possibilities within an ecological or contextual system; it [Design] is a kind of performance in which the designed organisms furnish responses to the dynamic field conditions of the environment" (Turk, 2009, p. 120).

Some of the design works of architect Greg Lynn, as Turk (2009) suggests, can be

conceived as a kind of responsive system, performing in some levels, given his interest in the contextual forces acting on design. The performativity level and scale of a design

changes depending on the aspect(s) an architect or a designer want to address in term of

performativity. While some architectural works may perform in respond to climatic

forces (environmental performance), others perform on the social and cultural level.

In the Pittsburgh Children's Museum expansion building, the architects Hank Koning and

Julie Eizenberg collaborated with Ned Kahn, an environmental artist, to integrate a wind

sculpture called Articulated Cloud to the entire facade of the building. In doing so the

skin of the building performs and responds to one of the surrounding environmental 68 forces, wind. The performative exterior skin of the building has "tens of thousands of hinged acrylic flaps attached to a space frame hung on the building's glass curtain wall.

The flaps flutter when the wind blows, registering the texture of passing" (Blum, 2005).

According to Khan, this skin "is intended to suggest that the building has been enveloped by a digitized cloud" (Kahn, n.d.). The optical qualities of the skin "change dramatically with the weather and the time of day" (Kahn, n.d.); thus, merging the building with its surrounding natural environmental forces. The articulated skin "is supported by an aluminum space frame so it appears to float in front of the building" (Kahn, n.d.). In addition to responding to wind as an environmental force, Khan has other installation skins that are stimulated by other environmental forces and components such as light and water.

Figure 4.9 A view from Pittsburgh Children's Museum in Pittsburgh, PA, 2004. (Blum, 2005) 69

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Figure 4.10 The structure of the sclupture is composed of thousands of translucent, white plastic squares that move in the wind. (The best buildings oftheyear.2010), (Exterior technologies-Pittsburgh children's museum.20\0), and (Kahn, n.d.).

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MN'-^ar**"'^. • •"-»* - %- ,'-- "

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Figure 4.11 The artwork is intended to suggest that the building has been enveloped by a digitized cloud (Kahn, n.d.). The new Business School for Auckland University of Technology (AUT) in New

Zealand is another example for performativity in architecture. The architecture firm

JASMAX "has designed a northwest1' facade that puts on a visual show in response to the daily sun path" (Christy, 2006). In this building sunlight and shadow have been integrated in the design stage and this is achieved by layering moveable glass reinforced concrete (GRC) panels over the facade of the building. The GRC material was selected

"partly for its light weight (less structure), partly for its light color (less heat gain), and partly for its sound insulating properties (less street noise)" (Christy, 2006). The panel system moves throughout the day by the effect of light and shadow around the building.

In addition to basket metaphor effect, the panel system functions "as a sun screen for the building's curtain walls" (Christy, 2006).

Beside the performativity on climate level, the change in the panel creates dynamicity on the skin of the building, as Christy (2006) explains, "by late afternoon, the play of light and shadow results in a three-dimensional woven effect." This building's performativity and respond to one of the environment's forces, sunlight, awarded it the highest honour by the New Zealand Institute of Architects (NZIA) for design excellence as well as for being "green".

11 In contrast to the buildings in the Northern Hemisphere, in New Zealand's buildings (and others in Southern Hemisphere) attention is given to north-facing facades in pursuit of climate-responsive architecture (Christy, 2006). 71

Figure 4.12 In the new Business School for Auckland University of Technology (AUT) the shading panels mounted at an 18-degree angle on shallow trusses. (Kar, 2006)

Figure 4.13 The building's size is 10,600-square-meter and is completed in July 2005. The visual effect of the panels are not the same throughout the day resulted fromth e change of the panels according to the sun path. (Kar, 2006) There are some contemporary architecture projects that work as performantive art on urban scale. This appears in the works of contemporary avant-garde, "which takes the urban setting as a stage on which it [an architectural works] literally and actively performs" (Kolarevic, 2005, p. 205). D-Tower, which is an interactive public sculpture in

Doetinchem, the Netherlands, exemplifies how architecture can perform on an urban scale. This art piece measures and maps the emotions - happiness, love, fear and hate - of the inhabitants of Doetinchem (What is d-tower? n.d.).

D-Tower is a hybrid of different media, "where the intensive (feelings, qualities) and the extensive (space, quantities) start exchanging roles, where human action, color, money, value, feelings all become networked entities" (NOX- Lars Spuybroek.2010). The project

consists of a 12 meter biomorphic form (the tower itself) in the center of the city, a

website, and a questionnaire (Kolarevic, 2005). All three parts of this of this interactive

system are interactively related to one another (NOX-Lars Spuybroek.2010).

The four emotions (hate, love, happiness, and fear) depicted by this tower "are

represented by four colours respectively: Green, Red, Blue, and Yellow" (NOX- lars spuybroek.2010). The color of the tower showcases the dominant emotion state of the

inhabitants of the city, which is calculated from the online questionnaire each evening

(Karssenberg, 2008). D- tower "also features a capsule in which the city's inhabitants

could leave love letters, flowers, etc" (Kolarevic, 2005, p. 206). In motivating

participation in this socially and culturally performative urban and architectural 73 experiment, according to Kolarevic (2005), "a monetary prize of 10,000 euros is to be awarded to the 'address with highest emotions'" (p. 206).

Figure 4.14 Two view from D-tower when it is lighted at night from 20:00 after concluding the questionnaire of the day. The red color represents love and the green color represents hate. (Karssenberg, 2008) 74

Figure 4.15 A view from D-tower during day time when the lights are off. The tower is conceived by artist Q.S. Serafijn and architect Lars Spuybroek (NOX). (Karssenberg, 2008)

With integrating digital display technologies with architectural works, it becomes possible to create changes and variation in the aesthetic appearance of buildings' facade frequently and rapidly; thus changing the state of a building from a "static 'monument' to a performing 'actor' that still remains in the realm of architectural consideration"(Edler,

2005, p. 152).

Kunsthaus Graz is a museum for international exhibitions of modern and contemporary

art in Graz, Austria (Kunsthaus graz.2006). Since its inauguration in September 2003, 75

Kunsthaus Graz with its irregularly shaped, biomorphic structure became an architectural landmark in Europe (Edler, 2005). The building is constructed "from more than 1,100 individually shaped, translucent acrylic glass panels, wrapping the whole volume of the building like a skin" (Edler, 2005, p. 153).

In making the building interactive and performative on urban scale, a light and media installation, called BIX, has been integrated with part of the blobby structure skin (Edler,

2005). BIX consists of "930 fluorescent light rings covering an area approximately 20 m high and 40 m long" (Edler, 2005, p. 155). It is "inserted behind the acrylic glass layer to create a 'communicative membrane' — a low-resolution computer-controlled skin, a

'media facade' that, through the display of signs, announcements and images, hints at the activities within the building" (Kolarevic, 2005, p. 207). BIX "transforms the main eastern facade of the building into an alterable, performative membrane to transmit internal processes of the art institution to the public" (Edler, 2005, p. 153).

Since performativity in architecture can be made through engagement of the eye and the body, BIX could be considered "a reference project in the discourse about architectural performativity and the so-called media facades" (Kolarevic, 2005) and (Edler, 2005, p.

153). The primary performative dimension in this building is represented in the dynamic

display light (capability to change the light pattern) of the BIX. The performative aspects

of the building, as Kolarevic (2005) explains, are all geared towards an "urban

communication strategy." * - tk : • —- v»gs

\m SIS- . -n^

Figure 4.16 Kunsthaus Graz view from was built in order to celebrate Graz's designation as the Cultural Capital of Europe for 2003. Kunsthaus is designed by Peter Cook and Colin Founder.

(Architecture photography- BIX light and media fagade. 2010)

'•Mi ._|3p: •''

**&••-.*** * f-^-^j^iSiCLiii _ *,'ii*« "*.:,*i»*jalfls

Figure 4.17 The BIX installation covers the entire facade facing the riverside. Figure 4.18 The light pattern of this media facade can change rapidly and frequently. {Modern architectural concepts.2009)

Furthermore, the recent advancements in ICT (Information and Communication

Technologies) and their incorporation with buildings and architectural spaces revealed a new dimension for performativity in architecture realm. One of the new emerging, yet rapidly growing, technologies is Augmented Reality (AR). AR is a form of Mixed

Reality (MR) technology in which virtual and real objects are mixed together and presented in real time. AR system enables taking advantage fromth e quality of both real and virtual worlds, in other words enhancing reality. AR supports mixing high level of flexibility and interactivity found in virtual objects (graphics, text, 3D objects, etc.) with 78 static materiality of real objects. This character makes it possible to insert a layer of performativity to architectural buildings and spaces by introducing virtual interactivity and movement into architectural rigid geometries.

There are some interesting urban and building projections that are primarily based on AR technology. 555 KUBIK is a facade projection that uses AR projection-based technology.

This art piece "was a projection on the Kunsthalle in Hamburg, Germany that transformed the sterile facade into a dynamic sculpture based on the physical structure of the building" (Digitalexpehence - 555 KUBIK.2009). The idea behind the 555 KUBIK facade projection was "how it would be, if a house was a dreaming" (Digitalexperience -

555 KUBIK.2009). This projection enables transforming a flat, gridded, static, simple, and largely windowless facade of the Kunsthalle building at day time into a dynamic, interactive, and performing facade at night time. In addition to 3D motion graphics, the projection includes sound projection as well. Figure 4.19 A view from Kunsthalle building in Hamburg, Germany during day time where the projection is off. (Galef, 2009)

Ji"!!! ma,*|ji.«,f I-T

Figure 4.20 Different views of the Kunsthalle building with 555 KUBIK projection at night time. {Dreaming architecture. 2010) 80

In this added layer of performativity, it is possible to challenge the dominant concepts and nomenclature in architecture realm such as, foundations, durability, and inertia and creating a layer of virtual performativity that is not subjected to physics law (Bouman,

2005).

It is worth mentioning that performativity is an emerging approach in architecture realm;

its dimensions have yet to be fully realized. Currently, it is not possible to develop a physically changeable (robotic) architecture (Edler, 2005). This is mainly due to the technological constrains in the material world of architecture such as, building materials

and construction technologies. Therefore, the examples presented above reflect

performativity in architecture in some levels and aspects.

Furthermore, Performativity in architecture doesn't appear only in the design realm, but

also the knowledge of architecture. Extensive literature study, according to Heylighen

and her co-authors (2007), emphasizes "the hypothesis that architectural knowledge is

performative" (Heylighen et al., 2007). The specificity of architectural knowledge,

resulted from architecture's lack of a clear epistemological basis, as Heylighen and her

co-authors explain, "seems to lay not so much in a particular set of ideas, themes,

information and theories, but rather in how these are worked through to produce

architectural artefacts" (Heylighen et al., 2007, p. 67). In this view, the notion of

architectural knowledge "is redefined as an active process, as a performative rather than a

static concept" (Heylighen et al., 2007, p. 67). 81

4.5 Transvaluating toward performative value

As discussed in the previous chapters, architecture is a value-loaded discipline; this is embodied in design decision processes. In re-visiting and analyzing the history of architecture it appears that the diversity found in styles, architectural schools and thoughts, approaches, priorities, etc., was and still is a projection of the considered values and their interpretations in a context.

It is worth mentioning that in relying on and imposing a value - and a specific interpretation of it - it is not possible to ignore or dismiss the other values that are associated with designing and materializing architecture; a design decision is dependent on a set of values ranked in design value continuum. However, it is the prioritization or the ranking of the values in the continuum that generates diversity in architectural discourse.

In prioritizing and ranking values in architecture or any other discipline, transvaluation becomes an essential way for assessing values; transvaluation facilitates evaluation and re-evaluation of values in an integrative way because it embraces looking for new values, considering emerging values, ranking and/or re-ranking new and old values, and questioning transcendental values in an evaluation process.

In a close examination, it becomes visible that architecture is mixed with human life to an extensive degree. This is well articulated in Spiro Kostof s, a leading architectural historian, assertion that "Architecture is a social act and the material theatre of human 82 activity". As a result the values that drive architecture should reflect and spring fromthi s essential role of architecture. In this sense and given the vitality of transvaluation,

Nietzsche's transvaluation project - in which he proposes transvaluing life-denying values toward life affirming values - becomes essential when transvaluating values in architecture discourse.

On the other hand, buildings' materiality and respond to physics law have always given architecture a static nature. This static property makes it impossible to accommodate changes in buildings without renovating, reconstructing, or demolishing (Edler, 2005). In this sense, "generations of architects and engineers have dreamt about buildings and structures that can literally perform", as discussed by Edler (2005). This desire for performativity in architecture is mainly due to buildings' need "to adapt quickly to varying needs or circumstances by changing the physical shape, spatial and functional configuration, levels of natural and artificial light, overall aesthetic appearance, etc"

(Edler, 2005, p. 151).

The need for performativity has become even more crucial in the current information and

digital age which is characterized with its need for flexibility, interactivity, and frequent

and rapid changes. In addition to fulfilling contemporary architecture's needs and given

the nature of performativity, perfomative value can be characterized as a life-affirming

value in architecture; it embraces actions, interactivity, changes, multiplicity, and

responds to surrounding forces which are all qualities for enhancing life. Supported by

the advancements in technology, performativity brings life and events to architecture. It 83 changes the perception about buildings as static and passive objects in an environment into active and engaged elements with their surroundings. These and many others are contributing factors for this research to underline performance as the value that contemporary architecture needs to transvaluate toward; thus ranking it as the highest value in value sets of contemporary architecture.

The followings are some other considerations this research recognizes as reasons to transvaluate toward performative value in contemporary architecture:

1 - In shifting toward performative-based design, architecture moves its attention

"from the transcendental and heroic projects of modernism to a more situational

and material understanding of architecture as a performative act, a kind of

choreography [the articulation of the performative] of active systems in the

environment"(Turk, 2009, p. 121). Thus, empowering an architecture that is

responsive to its surrounding forces and inspire engagement.

2- In performative architecture "aesthetic and utilitarian aspects merge" (Talbott,

2010, p. 41), resulting in opening new latitude from the traditional poles such as,

form/function, exterior/interior, and any other prejudice concepts that limit

creativity in architecture realm. 84 3- Performative architecture accommodates the complexity and diversity introduced

by the current information and digital age. This character makes architecture a

medium for enhancing human experience and connections with built environment.

4- As interactivity and diversity become important components of complex systems,

performaivite architecture unfolds space in "indeterminate ways, in contrast to the

fixity of predetermined, programmed actions, events and effects" (Kolarevic,

2005, p. 205).

5- In performative architecture, buildings have capacity to respond to the changing

forces of an environment (social, cultural, climatic, etc.) and adapt to them. This

flexibility is a crucial requirement for the current age's dramatic and frequent

changes.

6- The contemporary architecture's lack of a monolithetic movement will eventually

drive architecture practice to a more nihilistic state. With transvaluating toward a

life affirming value like performativity, architecture steps into a performing state

in enhancing reality and overcomeing the traditional passive state of architecture.

7- Performativity in architecture re-define the common understanding of

architecture, as a passive container of human activities and events, to a

performing entity itself. 85

8- The recent developments "in technology and cultural theory and the emergence of

sustainability as a defining socioeconomic issue", as outlined by Kolarevic

(2005), has increased interests in performance "as a design paradigm". 86

Chapter Five: Conclusion

This research casted light on the discourse of values and value changes in the architecture discipline. It has also proposed adapting a value-based concept from philosophy in responding to inevitable changes in values (in general) and values that affect architecture

(in specific). The discussion and conclusion drawn from these discussions have been analyzed in the context of contemporary architecture.

In addition to the introduction to the research presented in chapter one, chapter two of this research underlined and emphasized the central role of values in the discourse of architecture. This has been demonstrated by analyzing the history and theory of architecture literatures as well architectural design precedents. Architecture community's resistance (in some cases rejection) to accept values and value changes as driving forces in architectural design have contributed in limiting the number of researches and literature that explore values (in their subjective meaning) in architecture. In this research, however, the determination of the significance of values and evaluation in shaping architecture - discussed in chapter two - has set the stage for the discussions in chapter three and four.

Later on and in an attempt to provide architecture with a perspective for dealing with inevitable change in values, this research explored Nietzsche's transvaluation of all values in the context of architecture discipline. In doing so, this research underlined the importance of transvaluation in accommodating change in values in such a way that embraces renewal and advancement in architecture. This is not only due to the inclusion of new emerging values alongside traditional values in an evaluation process, but also re evaluating and questioning all unquestionable values. In proposing transvaluation, this research considered Nietzsche's emphasize on affirmation of life as a ground for driving a transvaluation process.

The projection of the transvaluation theme has been examined in contemporary architecture. In analyzing the current state, context, and challenges of contemporary architecture, this research recognized the performative value as a life-affirming value in architecture. Given the qualities of performativity - which makes architecture an active agent in the context of current information and digital age - in which this research concludes with selecting performative value as a ground for transvaluating all values in contemporary architecture.

Despite the efforts that has been made to provide variety of insights to the discourse of values in architecture, yet revealing their whole dimensions in this research is not possible. This is not only because of the limited scope of a master's research, but also

inputs from a single researcher for a topic that holds lots of controversy among different people and disciplines. On the other hand, the tranvaluation of all values proposed by

Nietzsche has been interpreted in various ways. This research offers a perspective and

interpretation for Nietzsche's project in architecture. 88

It is also worth mentioning that the notion of performativity discussed in this research reflects a higher level of satisfaction in architecture (beyond shelter); it focuses on enhancing life through an architecture that can perform in a built environment and transforms from being a passive structure to an active agent. This is mainly due to the vast abilities and interactivity that could be inserted to contemporary architecture from the information and digital age.

Since values and transvaluation interpretations in architecture hold more connotations, there is lots of room for future research. Providing more diverse perspectives on this matter is essential for enriching the discourse of value in architecture. Also, more research needs to be done for uncovering and interpreting Neitzsche's transvaluation project in architecture. Finally, with the fact that transvaluation is more of a process that might pertain to any value systems it is possible to use transvaluation of all values as a theme for evaluating values that affect architecture in any given time and context. 89

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