\-t ¡ èo OÕ

The Architecture of Colonisation

TgT' CONCEPT OF DEPICTION

a

COLON

The Colonisation of A(a)rchitecture

THT', DEPICTION OF'TgN, CONCEPT

NOTES Accompanying the Thesis

Gillim McFe¿ Lin PhD. Ardìitedure & I-hban Design The university of Adelaide Table of Contents

Notes to the Thesß

Abstract

Introduction Elevation

Part 1 The Architecture Of Colonisation: The Concept of Depiction

Chapter 1 Section A-A Difference i. Architecture as ldiont: The Otherwise of Dffirence, Repetition, Both/And, Same íi. Dffirence and Dnlity äi. Dffirence: Rendering,ResurfacingArchitecture iv. Difference: Deferral, to Defer and to defer to

Chapter 2 Section B-B Transference i. Transference ii. Transfer: Language Game iii. Trarufer: Communication or the Re-presentation of Language Transfer : Reprduct ion and Re-Producti on iv. Trarslation:Difference,Transference,Displacement Transfer: Graft and Coruuption v. Trarsferrirtg: The ldentity of the Nante Transferuittg: Re-presenting the Figure, Bdy and Soul Transferuing: Architecture, a Corctruction on Shaþ Ground vi. Translation: llhere does architecture site itselJ? As the object referent and/or cts the expression of the object Transfer: Architecture a DisAppointing Nante vii. Transfers: PostntdernDe-Constnrctiorsand/or Collage

Gillian McFed Lin PhD. Ardritedu¡e & I-kban Dcsign The lJniversity of Adelaide Table of Contents

Notes to the Thesß

:COLON:

Part 2 The Colonisation of A(a)rchitecture: The Depiction of the Concept

Chapter 3 Section C-C The Representation of Illusion i. Architecture us Fìgure and/or Ground: A Questiort of Space Archítecture: Figure cutd/or Ground or Íhe Quesliort of Slructure ll. Architecture : Bottndary and/or Li nknge Boundary or Lì nkage : Contradictiott Linkage: Bou ndary and/or Linkage: Affi liatiort

1lt Monument: The Tradition of Thinking as a Stntcture and an Enclosure ArchiÍecture, the Question of Ovttership, Like qnd Beconùng Like Philosophy, The Question of Beconúng, Sante The QuesÍion of Depicliort; Enclosure - Disclosure or, Itúerior - Exterior

Chapter 4 Section D-D Depiction

I i. Depictíon: A Tvoþld Theory of Inrpurily or tlrc Represenlaliort of Repressiott Irúerface, Ttvofaced Irtlerþce Ittler fioce 2 i. Depiction: Drawitrg llrc Litrc 2|i. The Ìt4eatitry of Litrcs 2äi. Attlhorigt Drat,ittg the Line

Gilli¡n McFent Lirr PhD. Arc'hitecture & Urbru Desigr Thc Univcrsity of Adrlsid.' Table of Contents

Notes to the Thesß

2iv. Drcnuing as Nolcttion 2v. The Localion of Drawings 2vi. Drcnuing: The Independent object 2vid.. Drawing is ttot Artwork 2vLä. Drcwirtg is Artwork 2 ix. Drawing Conclusiotts

3i. Depi c ti ort: E I e ctr oni c Te c hno I o gt : T he O nto I ogi ca I Qu e s t i ort 3 ii. The Aspect of Technolog,,: The Questiott 3 iii. H euristics and Technol ogt J lV. Knowledge AND NOT Infornntiort Processing Or The Questiott of Conrputer Leanúng: A Parallel Paradignt 3v A Discontinuous Lineanty or the Parallax Paradigm

Conclusion MONUMENT Un-thinking: A Theoretical Position - The Thesis - Conclusiotu

Gilli:ur McFert Li¡r PhD. Arclritectu¡e & Urbm Desigrr TLe University of Adel:ride The Architecture of Cobnisalion Colon

The C ol o n i s al i o n of A(a)rchitecture

Noles to lhe Abstroct

I Frederic Jameson, Is Space Political, in Neil Leach, Rethinkirry Architecture A Reader in Cultural Theory, p256.

2 Manfredo Tafrtri, The Ashes of Jefferson, , in The Sphere and the Labyrinth: Avant Garde Archilechtre from Piranesi lo lhe 1970s, translated by Pellegrino d'Acierno and Robert Connolly, Carnbridge, Massachusetts, London, England: MIT Press, p291. Tafuri quotes frorn Friedrich Nietzsche, Hunnn all too Huntan, Yo12. ppl67-I68 of the ltalian edition.

J Architecture is seen as a container that is set into the cultural landscape into which is placed and arranged like furniture, artefacts. The container may also lrold accumulations or accretions of the ad hoc, where sutnmary, disconnected objects or elements settle themselves in the landscape. The container has a structure, a skeletal form or scaffolding. It relates to the structuring of place. In the sense that the nrodes of perception are applied to thinking and working, rnanifesting thernselves as the "labors of vision", architecture is both the scaffolding and the structure necessary to the construction of patterns and geometries that are the artifices of perception and realisation. fte quotation of the "labors of vision" is attributed to Rudolph Arnheim, Visual Thinking, Berkeley and Los Angeles: University of California Press, 1969,p24.

Gilliu McFert Lin PhD ArdrireatLrc & Urbm Design The UDivcrsity of Ade'l:ride The Architecture of Colonisation THE CONCEPT ON' DEPICTION The Architecture of Colonisation comprises two chapters titled Dffirence and Transference.T\e chapters ,*r"rir::;:;:;.inherent in A(a)rchitecture and in

Gilliør McFe.d Lin PhD. Aróitecturc & Lhban Design Tho Llniversity of Adclaide The Architecture of Colonisation Colon Thre Co lo n i s at i o n of A(a )rchitecture

Notes to the Introduclion ELEVATION

INITRODUCTIOI[ BLEVATION

2 Gillinn McFest Lin PhD.Ardritecturc & Urbm Design The Urriversity of Adel¡ide The Architecture of Colonisation Colon The Colonlsation of A(a)rchitecture

Noles lo the Introduction ELEVATION

Margin: A locatíonfor ldenlity 1. Theodor W. Adorno, Negative Dialectics, trans. E.B. Ashton, Routledge & Kegan Paul: Great Britain, 1973,p5.

2. The use of an upper case 'Architecture' appearing in mid-sentence defines it from architecture. Used in the broadest ssnse as roaming beyond design, tectonics and production, Architecture introduces metaphysics as a facet of architectural thinking. It embraces the tradition of architecture as part of the continuum of civilisation, as one strand in the complex interweave of social and cultural demands. Capital'A' Architecture is therefore, a selÊconscious adventure into meaning. To write the word A(a)rchitecture is to present an other construú.;that of colonisation as an other level of meaning.

J For a døailed criticism of Nietzsche the postmodernist who deconstructs the oppositional structure through the will to power, see Alan D. Schrift, The Becoming - Postmodern of Philosophy, in Gary Shapiro, editor, Afier the Future: Postmúern Times and Places, U.S.A: State University of New York Pre ss, I99 0, pp I 0 5 - 1 0 7,I 12n22. By rej eæin g hier ar chy, Nietzsch e' s tranwaluation of language allows opposition to converge by degrees. "Language. here as elsewhere, will not get over its awkwardness and will continue to talk of opposites where there ate only degrees and many subtleties of gradation." See Richard Ro.ty, Introduction, Consequences of Pragmatism @ssays: 1972-1950), Minneapolis: University of Minnesota Press, L982, ppxvixxi-xxii.

4 The primary source is located in , 'Point de Folie - maintenant I'architecture', translated by Kate Linker, AA Files, No.l2, Summer 1986,pp65-75. The secondary source is cited in Neil Leach, Rethinking Architecture: A Reader in Cultural Theory, London and New York: Routledge, 1997, p326.

J Gilliar McFcd Lin PhD.Ard¡itecture & [.hban Design The lJniversity of Adelaide The Architecture of Cobnisstion Colon The C o I o nis al io n of A(a)rchitecture

Notes lo the Introduction ELEVATION

5 The differences between the uncapitalised letter pitted against the capitalised letter - the 'proper narne' is discussed in Richard Rorty, Introdttction, Corcecprences of Pragnrutism (Esscrys: 1972-1980), Corsecptences of Pragnntisnt (Essctys: 1972- I9B0), Minneapolis: University of Minnesota Press, 1982, ppxiv-xv. He says the "... capitalized" letter invokes notions of '"Truth or Goodness or Ration ality" as nonns in Philosophy. The idea of what is'proper'and'capitalising on'arenottaken up by Rorty although this is critical to the concept of location and identity.

As for the bracketed, lower case 'a', the intention is to demonstrate that identity and location are contiguous and dependent on the concept of the most fundamental concept of architecture; an unnatural artefact which orders by dis-ordering. The 'site' of architecture always ¡efers to dis-placement and conditioning. Derrida says, "Let us not forget that there is an architecture of architecture. Down even to its archaic foundation, the most fundamental concept of architecture has been consÍructed. Tllis naturalized architecture is bequeathed to us: we inhabit it, it inhabits us we think it is destined for habitation, and it is no longer an object for us at all. But we must recognize in it an artefacd a construction, a Ílonurrent. It did not fall from the sky; it is not natural, even if it informs a specific schelne of relations to physis, the sky, the earth; the human and the divine." Jacques Derrida, 'Point de Folie - rnaintenant I'architecture', and in Neil Leach, Relhit*ing Archileclure: A Reader in Culfiral Theory, p326.

6 This definition applies to the totalitarianisrn of the structural project as defined by Denida. The term is used as an interrogation of the human condition and in an architectonic sense. Jacques Derrida, Translator's Introdustion, tn LI/rilirrg and Difference, translated with an Introduction by Alan Bass, London and Henley: Routledge and Kegan Paul, 1978, pxvi. For a definition of '' refer to the Glossary in this Thesis. in the 1970's was dominated by genre theory. Coherence retunled to a- priori and ahistorical filndamental principles rerniniscent ol' Dtrrand and Quatrernére de Quincy. See Aldo Rossi, The Architecltte of the Cit¡t, Carnbridge, Massachusetts: MIT Press, 1982, p40. See Karen lSurns, Qf Genre. Panoranras and "J.N.L. f)ttrand, in John MacArtltur, erJ. Ktnwlcdge and/or/of Experience: The Theory of Space itt Arl atd Archileclttre, Queenslarrd: lnstitute of Moderrr Art, 1993,1t46.

4 Gilliu McFent Lin PhD.Ardritcctrrc & Urb:rr Dcsigrt The University of Adel:ridc The Architecture of Colonisalion Colon The Col o n is alion of A(a)rchitecture

Notes to the Introducfion ELEVATION 7 "The architect's ever diminishing power and his ever ineffectualness in shaping the whole environment can be perhaps reversed, ironically, by narrowing his concerns and concentrating on his own job. Perhaps then relationships and power will take care of thelnselves." What is the architect's job in the electronic age of postrnodernism as the profession conflates the physical site with the virtual site; when architects neither visit the physical site nor involve themselves in the actual constmction of the building. See, Robert Venturi, ContplexiÍy and Contradictiort, second edition, London: The Architectural Press, 1977 , pI4. The book was in fact written in 1966 for the Museum of Modern Art, New York.

8 Thyntos, means the recognition of the worth of moral value and selÊworth. Irnplicated in the Socratic notion of thynros are such concepts as dignity, indignation, pride and anger. Francis Fukuyatna, The En¡l of Hisrory and the Last Man, Great Britain: Penguin, 1992,ppl62-165,213.

9 Tlre prinary source of this quotation comes Íìom Ernile Durkheiny "The Division of Labor in Sociely," New York: MacMillan, 1933, pl5. The secondary source is located in Francis Fukuyama, Frontispiece, Trust: The Social Virtues and the Creation of Prosperity, London: Hamish Hamilton, 1995.

10. The word "End" reflects its older meaning which indicates fulfìllment of the objective or arrival at a destination rather than a termination point.

l1 Richard Rorty, Philosophy and the Mirror of Nalure, Princeton, New Jersey: University of Princeton, Richard, 1980, p132. Tlre following is the context from which the idea for the reference comes.

When we think about the future of the world, we always have in tnind its being at the place where it woulcl be if it continued to move as we see it nroving now. We do not realise that it lnoves not in a straight line, but in a curve, and that its direction constantly cltanges. ln moving in a curvilinear fashion, the delnarcation between philosophy and science erìlerges establishing an episternology which is foundational.

5 Gillien McFe¡t Lin PhD Ardritcaurc & Urbm Dcsigr The Univcrsity of Adehide The Architecture of Colonísation Colon The C olo n is atio n of A(a)rchitecture

Notes to the Introduction ELEVATION

As an aside, Rorty's surname means to be fond of amusement and excitement. Defined by the Oxford English Dictionary, its meaning may be dated to the l9ü century, ahhough its origin is unknown.. The book is an anti Cartesian/Kantian view ofphilosophy. Rorty offers instead, a trio of perspectives, from Wittgenstein, Heidegger and John Dewey. The areas of interest relevant to the Thesis are the chapters on and representation of knowledge.

I2 Paul-Alan Johnson, The Theory of Architecture: Concepts, Themes & Practices, New York: Van Nostrand Reinhsld, 1994,pI79.

13 Bruno Zevi, The Mdern Language of Architecture, New York: Da Capo Press, 1994,p64.

14. Marco Frascari" Monsters of Architecture, U.S.A.: Rowan & Littlefield Publishers Inc., 1991, p31.

15. ibid., pp31-32. T\e bracketed reference is Adolf Loo's. See Architecture in The Architecture of Adolf Loos, edited by Precision Press: Lnndon, 1985, pp100-1 10. t6. The word 'gap' refers to the sense of aporia. See Glossary in this Thesis. t7 Homi I( Bhabha, The Location of Culture. London and New York: Routledge, pp3 6-39, 217 -2L9.

18. The word identity is allied to the meaning of 'the idea of'. See , On Time and Being, translated by Joan Stambaugh, New York, Evanston, San Francisco, I-ondon: Harper & Row, Publishers, 1972, p6.

19 Perversion: A building has a life of its own defuing the inhabited corstructum. Despite the invariables that Denida refers to (the'Tnhabited constructunÌ') and the invariables of design and construction, once built and inhabited, there is no doubt that buildings re-form. Notwithstanding extensions and alterations, buildings adapt to use and habitation, Strictly speaking, there is a departure from the conceptual constnrctum or architectural intention. It could be said that re-form follows function. An interesting book about raform is by Stewart Brand, How Buildings Leam: What Happens After They're Built, U.S.A.: Viking, 1994.

6 Gillian McFed Lin PhD.Aråitecturo & Lhbør Design The (hiversity of Adelaide The Architecture of Colonisalion Colon TÌte Co Io n is atío n of A(a )rchitecture

Notes to the Introduction ELEVATION

23 See Mafin Pawley, Technology Transfer in Architecture,'rn Theory and design in the Second Machine Age, Oxford, Cambridge, Massachusetts: T990, ppl40-161. See C. Thomas Mitchell, Desien Philosophies since Industrialization, tn Redefining Designing: From Form to Experienc¿, U.S.A: Van Nostrand Reinhold, L993,pI6.

24. Betsþ comments that'

To some architects building is itself suspect. Any creation of an autonomous object corylies with and reaffirms the social and economic status quo, suppressing and distorting all other possible orders.

Aaron Betsþ Violated Perfection: Architectu¡e and the Fragmentation of the Modem, New York:Ruznhr 1990, pL45.

25 In 1995, The Dimey Corporation bought ¿ major American television networþ the ABC while the whitegoods giant Westinghouse was to follow zuit with the purchase of another media network The potential blurring between entertainment and serious journalism raises interesting issues. Do ne\ds pfesenters appear on air as the cartoon characters promoted by Dimey and are employees issued with a pair of regulation Mickey Mouçe ears as part of their business t'niformS. What are the conseque,nces of designing such buildings? On what premises should a design scheme be formulated for such buildings? Frank Gehry's project The Walt Disney Concert Hall is deliberately enigmatic and ambiguous in its composition. See Aaron Betsþ, Four Godfathers, Violated Perfection: Architecture and the Fragmentation of the Mdern,p53-54. Architect Michael Graves' use of imagery for the Walt Disney World Swan Hotel,1990, is intentionally overt. Castells has said:

On the other hand, the reconstruction of meaning in specific locales, meaning linked to the place, resisting the flow, requires an architecture that dares to say something. Not as a cultural pastiche of reinvented popular tradition (this in fact would be Disneyland architecture), but as the expression of new meaning. Sometimes architectural interventions do not consist in providing new codes, but in revealing the emptiness of the messâge. For instance Bofill's new Barcelona airport is beautiful example of what I call 'the architecture of nudity". Diaphanous forms, escaping from all meaning: you are in the node of

7 Gillian McFed Lin PhD.Arúitecture & I-kban Design The lfriversity of Adelaide The Ärchitecture of Colonisalion Colon Thre Colonisation of A(a)rchitecture

Notes to lhe Introduction ELEVATION the space of flows, and you have to face your anxiety and your insecurity: you are in the hands of lberia airlines and there is no escape. Revealing your truth may be a form of meaning in the age of generalised fake.

See Manuel Castells, tnterview with Manuel Castells, Journal of Australian Political Economy, No.35 (June) 1995, p115.

26 Examples in this century are the døpartment store, the railway station, aþorts and large commercial buildings. The fate of the program" now considered to be extinct, is discussed in Bernard Tschumi, Program tn Architecture and Disjunction Cambridge, Massachusetts, London, England: MIT Press, 1994, p 113. The institution ofpractices refers to a conceptualisation of architecture, which enables enunciation in its several forms such as representation and de,piction. My thanks to Mark Jackson for re-routing and clari$ing the line of thinking which addresses the problem ofthe name 'architecture.'

27 C. Thomas Mitchell, Introduction, n Redefining Designing: From Form to Experience, pp59-60. See also EuroDisney, in The Mge of the Millennium: An Internatiornl Critique of Architecture, Urban Planning, Product and Communication Design, edited by Susan Yalevich, New York: Whitney Library of Design, 1993,p55. The chapter is unlisted in the Contents page. It is also unclear to whom this piece of writing belongs. Unlike the format for the rest of he publication, the only acknowledgments at the bottom of the first page of the chapter, read as follows: EuroDisney Logo Silhouette Graphic, 1990, lsic) Deborah Sussman, Paul Prcjza, Robert Cordell and Dan Evans, Sussman/Prejza &. Company, Inc. Los Angeles. The chapter looks at futu¡ism/utopia in the nineteen sixties as metaphoric expression.

28. Aaron Betsþ, The Project of the Modern , Violated Perfection: Architecture and the Fragmentation of the Modern, pl6. See 'Modernity' in the Glossary ofthis Thesis.

29 C. Thomas Mitchell, in Redefining Desigtting: From Form to Experience, ppLt-22.

8 Gillian McFed Lin PhD.Arctitecturc & t-hban Design The l)niversity of Adelaide The Architecture of Colonisalion Colon The Co I o n i s al i o n of A(a)rchitechrre

Notes to the Introduction ELEVATION 30. Bernard Tschumi, Abstract Mediation and Strategy, in Archilecture and Disjtrttctiort, p204. This particular viewpoint of a meaningless architecture does not urean that architecture is not meaningful. Rather, there is another viewpoint by which architecture dis-placed by a deconstructive reading renders its rneaning less.

31 The primary source is located in Jacques Derrida, 'Point de Folie - nnintenant l'architecture', tÍanslated by Kate Linker, AA Files, No.l2, Summer 1986, pp65-75. The secondary source is cited in Neil Leach, Relhinking Architecture: A Reader in Cultural Theory, pp325-326. The interpretation of the 'unrepresentable' includes the notion that representation is blocked by the presence of the ineffable therefore the positing of the composite 'A(a)' is seen as an acknowledgment of representation; that the subject is always already a composition of gaps, arnbiguity, anornaly and contradiction.

II

Hístory: A Conte-rtfor Location 32. Here Barthes refers to the general category of Art with a capital 'A' as text. Roland Barthes, The Pleasure of the Text, translated by Richard Miller, New York: Hill and Wang, 1975,p32.

JJ The merne is a neologism for the parasitical infèstation of a fad. See Paul- Alan Johnson, Chapter 8, 8.3. How Architects Conceptualise. : The Parasite of Architects, The Theory of Architecture: Concepls, Themes & Practices, pp339-341.

34. Jacqtres Derrida, Jacques Derrida, Translator's lntroduction, pxvi

35 Can the 'disap¡rointrÍent' be attributed to the gap of translation and the inteqrretation of values as essential to nreaning and architectr.rre. Kipnis says "Let rne make one point very clear. When I speak of disappointruent in today's architecture, I do not by any rneans intend to suggest tlrat I fìnd it sornehow incompetent or ugly. Quite to the contrary, rnt¡ch of it is bcautilul and quite cornlletent, occasionally even extraordinary.

9 Gillirn McFe¡t Lin PhD Ardritæturc & Urb:ur Desigrr The University of Adchide The Architecture of Colonisslion Colon The Colo n is al í o n of A(a)rchitecture

Noles lo the Introduction ELEVATION On its own terrns it is therefore largely successful, whether frorn the hand of Charles Gwathmey, Hans Hollein, James Stirling or any of the other distinguished architects working today. This is a key issue, for frorn rny point of view it is not because of architecture's failings that disappointment arises, but in spite of it." Jeflrey Kipnis Fonns of lrrationalit)¡, in John Whiternan, Jeftey Kipnis and Richard Burdett editors, Slrategies in Architectural Thinking, Carnbridge, Massachusetts: MIT Press, 1992, p149.

36. ibid., ppl49-165.

Jl. Carol Burns, The Gehry Phenomenon, in Thinking lhe Presetú: Recenf Anterican Architechr¿, K. Michael Hays and Carol Burns, (editors), New York: Princeton Architectural Press, 1990, p83.

38. Bernard Tschurni, The Architectural Parado¡, in Architeclure and Disjttrtctiort, p27.

39 This supports Lacanian psychoanalysis whereby the goal is not to 'cure' the patient. Bernard Tschurni, Madness and the Combinative. in Architecture and Disjunctiort, p267n6.

40 Bernard Tschumi, The Architectural Paradox, in Architecture and Disjttttctiort, p48.

4t lt is interesting to learn that the written character in Chinese for crisis, is identical to the word for 'opportunity.' See also, C. Thomas Mitchell, Introduction, in Redef rüng Desigrtirtg: Front Fornt to Experience, ppxi-xxiii. The gap between the'art' of architecture and the community's appreciation of what architects are trying to achieve, comes as a suqlrise to the profession. According to the profession, criticisln is unwarranted. Mitchell cites a good example of the rnisunderstanding or the gap between the cornrnunity and the profession. The irony of the situation does not go unobserved. He critiques Riclrard Meier's Bronx Developrnent Center, 1976, an institution for the mentally handicap¡red, as the e¡litorne of architectural ¡lerfèction. I{eaped upon with awards and accolades, by the architecttrral cornrnunity, it was deplored by health workers and laynren lor its lack of'scnsitivity to issucs of' safety and horneliness.

t0 Cillior McFcrt Lin PhD.Architcqure & Urbor Dt'sigr Thc Univcrsity of Adehide The Architecture of Colonísalíon Colon The Col o n issti o n of A(a)rchitecture

Notes lo lhe Introduclion ELEVATION 111

Contevt; The Human Condition: A Rationale for a Binary Opposítíonal Position that Recogníses Dífference v,ithìn o System

42. Jolrn Dewey, The Quest for Certairlr!, New York: Capricorn, 1960, p70-1. When Dewey wrote this book in 1929, he was commenting on the 'dead end' of Cartesian modernist thinking. See also Stephen Toullnin, Cosntopolis: The Hidden Agenda of Moclentily, Cbicago: The University of Chicago Press, 1990, pp35,46,70,75.

43 The paradox of oneness, the concept of the same "as itself in selÊ modification" are to be found in a fascinating text by Patrick Hughes, and George Brecht, Vicious Circles and Infinity: A Panoply of Paradoxes, London: Jonathan Cape, 1975, pp84-85. The questions they raise refer to the illogic of logic, or to the state of flux. These lead to the acceptance of "contradiction and non-identity as actualities, not mere negations." Architects are essentially problem-solvers who ultimately must locate and concretise the ideal into a drawing and perhaps a building. To understand the paradox of the other and the meaning of changeability is to face the dilernma which conditions everything that follows.

44 Bernard Russell, Hisrory of Lï/estertt Philosophy and its Corurcctiort with Political and Socictl Circuntstattces from the Earliest Tinrcs lo the Present Dny, London: George Allen & Unwin, 1946, pp57-66. See also the discussion on Heraclitus and Pannenides. The rnysterious nature of the number one, and notion of wholeness has transferred meanings that are prevalent in every culture. Henri Frankfort, Mrs. H. A. Frankfort, John A. Wilson, Tlrorkild Jacobsen, Beþre Philosophy, Great Britain, Penguin, 1963, 1t1t256-260.

45 John Dewey, The Hunran Contribution, in Arl os Experierlce, New York: Capriconr Books, 1958, p245.

46 This reference is located in Michael Peter Srnitlr, Georq Sirnrrrcl: lndividuality and Metropolitan l.ife,in The Ci1t ard Social 'fheor¡t,1t1t9l-92.

47 Gayatri Chakravorty Spivak, Translator's PreÍàcc, Of Gratnmalologt by Jaccpes Derrido, llaltinrore and l-,ondon: l'he Johns lìopkins University Press, 1976, plxxiii. il Cillirn McFert Lin PhD Archit.

Noles to the Introduction f,LEVATION

48. Theodor Adorno, Negative Dialectics, pp5-6.

49. Hann¿þ Arendt, The Human Condition, fifth impression, Chicago and London: The University of Chicago Press, L969, pp9-11. A theory dominant in social science between 1920-1980, held that culture, society or material relations determine individual human nature." See Ch¡istopher Badcocþ Essential Freud, Oxford, New York: Basil Blackwell 1988, p180.

50. ibid., pp57-58.

51. The word destruction is used as opposed to "decon*rustion". It suggests that a new approach Leadng towards a rsnewed Architecture. Tschumi uses the term "" in conjunction with 'leconstruction". See C. Thomas Mitchell, n Redefining Designing: From Form to Experience, pp35-60. See Jacques Derrida, 'Point de Folie' - maintenant I'architecture', pp65-75 and Neil Leacb, Rethinking Architecture: A Reader in Cultural Theory, p329. See also Note 3 in this chapter..

52. Distanciation remains a püz,zf,ing and complex concept. If architecture is thought of as distanced from an universal enunciation as Tschumi suggests, what is it and what can it be called? Tschumi uses the analogy of an actor who takes up the role she plays in order to portray the character. This does not quite fit when transferring the same analogy to an akeady distanced concept like the Idea of A(aþchitecture. Bernard Tschumi, Program and Distanciation tn Ar chi te ctur e and D i sjuncti on, pp20 I,20 4.

53. Ironically, the achievement or accomplishment of the objective suggests as Schlegel has said, "Ifone has a passion for the absolute that cannot be healed, there is no other way out than to constantly contradict oneself and to reconcile opposite extremes." This quotation is cited in Bernard Tschunti, Architecture and Transgtession, in Architecture and Disjunction, p66.

Through his influential periodicals, Europa (1803-1905) and Deutsch Museum (1812-13), Frederic Schlegel promoted the concept of nationalnamen or the combining of nationality and romanticism with a German, Gothic architecture. Architecture was no less subject to eclectic historicism and the influences of philosophy and art then than it is now.

t2 Gillian McFest Lin PhD.Architecluro & Lhbar Design The Lhiversity of Adelaide The Architecture of Colonisalion Colon

The Co Io n i s ali o n of A(a)rchitecture

Notes to lhe Introduction ELEVATION

See llanno-Waltcr Kruft, A llistory of Architeclural Theoryfrom Vilntvitts to the Presenl, translalcd by [Lonald Taylor, Elsie Callander and Antony Wood, New York: Itrinccton Architectural Press, 1994, p296. To this end, historicism makes it appearance as the comfoting sop and pap to what is distasteful in architecture. Historicism is the recapturing of nostalgia for the disenchanted. For a definition of historicism, see The Concise Oxford Dictionary, New Edition, 1979. Hig.oricism is'the beliefthat historical events are governed by laws; tendency to regard historical development as most basic aspect of human existence; excessive regard for past styles." s4 See the Postscript to Susanne Kappeler's book The Pornography of RepresenÍation where she states that the subject-object relation is at the core of this cultural (representation) dominant way of seeing. She says "The individualistic perspective of our culture has insistently focused on the necessity of this pair, denying any capacity of the human individual for collectivity and intersubjectivity. It is the fundarnental axiom of the justification of inequality, domination and power." See Kappeler, The Pornography of Representatiort, Oxford: Basil Blackwelf 1986, pZLZ. See Andrew Milner, Structuralism. Contentporary Culntal Theory: An Introduction, Ausr':ralia: Allen and Unwin , 199L, pp61-77. See also, Richard Sennett, The Conscience of the Eye: The Design and Social Ltf" of Cities, London and Boston: Faber and Faber, 1990,pp237-243.

55 The primary source is located in E. Durkh ein, The Elemenlary Fornts of the Religiotts Life translated by J.W. Swain, London: George Allen and Unwin, pp433, 423-424. The secondary source is located in Andrew Milner, ConÍentporary Cultural Theory: An Inlroducliort, p62.

56. Theodor Adorno, Negative Dialectics, p54

57 Diana I. Agrest, On the Notions of Place, Archileclure front Without Theoretical Framingsfor a Crilical Practice, U.S.A.: MIT Press, p1t7-12.

58 The difference between knowledge and judgrnent revolves around the notion of foundation where claims to either involve belief and capacity. It could be said that knowledge and judgnrent are dependent on thc capacity of the clairner in his or her ap¡lrehension of the tnrth or non-trutlt. Postrnodern deconstnlction of course blurs the boundaries. Dion)¡sus - In Excess of Metaplrysics in Exceedirryl¡, Niet:sclte: Aspecls of Cotúentporoty Niel:sche-

l3 Gilli:rn McFesr Lin PhD Ardliteaure & Urbm Design Tlre University of Adelaide The Architecture of Cobnisalion Colon The Co I o n i sat io n of A(a)rchitecture

Notes to lhe Introduction ELEVATION Interpretaliott,pp3-12. See also Geoffrey Clive, lntroduction lll The Greeks The Philosophy of Niet--sche, New Yorþ Mentor Books, 1965, ppxxiii-xxiv. Descriptions of Dionysus, god of wine and drunkenness and the antithetical, multi-ftrnctional god Apollo, can be fotrnd in Greek Mytholog,,, in Felix Guirand's text translated. Delanos Ames from Mythologie Général Larousse, firs published in 1935 by Augé, Gillon, Hollier-Larousse, Moreau et Cie, London: Paul Harnlyn, 1963.

1V

Placìng the Thesis: Centre and Perìpheries, A Postmodern Deconstructìon: 59. This quotation comes from "Knowledge and Experience" in David Ward, L.L Eliot, Betsueen Two llorlds: A Reading of T.S. Eliot's Poetry atd Plays, London and Boston: Routledge and Kegan Pau\ 1973, pl1.

60 In keeping with the concept of the binary in this Thesis, the term archehas a double meaning which Heidegger has said is 'that from which something etnerges, and that which governs over what emerges in this way." See Martin Heidegger, Modern Science. Metaphysics and Mathernatics in Basic L\/ritirtgs: From Being and Tinte (1927) to The Task of Thinking (1964), p284.

61 Discontinuity Foucault says, strays within 'this place or that [and] ... the fact that within the space of a few years a culture sometimes ceases to think as it has been thinking up till then and begins to think other things in a new way - probably begins with an erosion from outside, from that space which it has never ceased to think lrom the beginning."

Michel Foucault, The Order of Things, An Archaeolog,t of the Hunrun Scierrces, C¡reat Britain: Tavistock Publications, 1970, p50.

62 Jacques Derrida, Ellipsis, in Writittg ard Diferetrce, p296.

63 A definition forthe concept of 'fit' states according to adaptation level theory, subjectively perceived characteristics withirr a franrc of relèrencc beconre the memory of a group. This being the case, it is thc characteristics of pcrccived realities which encapsulate any conceptualisation. Cultural and cross-cultural influences must also afiect perception and attitude. ll. Helson and W. lìevan,

l4 Gillim McFert Lin PhD.Ardritectrre & Urbor Desigr The University oF Adehide The Architecture of Cobnísøtion Colon TLre Colonisalion of A(a)rchitecture

Notes lo the Introduction ELEVATION Contemporary Approaches to Psychologt, Princeton: Van Nostrand, 1967, 284 tr

64 The Concise Oxford Dictionary, New Edition, L979, s.v. Eccentric is understood as 'hot concentric (to another); not placed, not having its axis etc. placed centrally; (of orbit) not circular; irregular."

65 For a definition of 'þoþalency" see I. Schein, La Notion d'Espace Global Poþvalent,'(Jrbanisme', 1970, pp28-30,L20-121,I37'9, in James Bird, Centrality and Cities, London, Henley and Boston: Routledge & Kegan Paul, 1977,ppl48-149.

66. For some, the need for abstraction and reflection may be considered as a waste of time. The elimination of philosophy relieves the architectural project ofthe irksome task of critical appraisal and dismisses the nudging disquiet of dissatisfaction that writing and discussion stir.

67 In the chapter "How Cities Grow, and The Parentage of Embryonic Cities", the author elaborates on the relationship between the localised economy in an embryonic city as an expandingm rket, and its dependence on outside forces. Jane Jacob s, The Economy of Cities, London: Jonathan Cape, 1970, ppl69- r79.

68 Richard Sennett uses the term 'harrative space" where the city of the novel evokes reality to the extent that it becomes the idealised place. Richard Sennett, The Conscience of the Eye: The Design and Social Ltfe of Cities, ppl90-I92,201,213.

69. , The Human Condition, pl98-199. See also George Baird, The Space of Appearance,U.S.A.: MIT Press, 1995,p305.

70. H.D.F. Kitto, The Polis in The Greel

7t. H.B. Mayo, The Athenian Direct Democracy, in An Intrduction to Denrccratic Theory, New York: Oxford University Press, 1960, pp45-46. See Aristotle: The Politics, translated with an introduction by T.A. Sinclair, Great Britain: Penguin Classics, 1972. See especially the following chapters. Book III chapter 3: The problem of size and mix of the polis. Introduction: Aristotle's views on usury; he preferred the natural rnethod of trade and barter.

l5 Gillien McFed Lin PhD.Ardritecturo & urbcr Design Tho University of Adelaide The Architecture of ColonÍsalion Colon The Col o n is ali o n of A(a)rchitecture

Notes to the Introduction ELtrVATTON Book III chapter nine: entitlement by virtue of noble deeds. Book VII chapter 8: The ideal city, the ruling class, necessities amongst which are listed food, tools, arms, wealth, religion and rnost irnpofantly policy which is the lneans for decision-rnaking.

72 Paris, Capital of the XIX Century, was to be part of Benjamin's 'Arcades' project for the Institute for Social Research in 1935. in Julian Roberts, llalter Benjanün, London and Basingstoke: The MacMillan Press, 1982, ppl S-19.

73 This excited Thomas Appleton to exclaim that "good Americans when they die, go to Paris." Susan Buck-Morss, The Dialectics of Seeing: Walter Benjanùn and the Arcades Project, Carnbridge, Massachusetts, [,ondon, England: The MIT Press, sixth printing, L995, p79. See Massimo Cacciari, lntroduction, ArchitecÍure and Nihilìsm: On the Philosophy of Modent Architecture, translated by Stephen Sartarelli, Introduction by Patnzia Lombardo, New Haven and London: Yale University Press, 1993, pxxxiii.

74. This suggests the residual traces of Structuralism that do not allow expression to wholly detach rneaning from symbol.

75. Bernard Tschumi, Introduction , in Architechre and Disjurtctiort, pl9

76. Foucault has said that "I-anguage always seems to be inhabited by the other, the elsewhere, the distant; it is hollowed out by distance." Yet, there is no other means for communication. , The Archaeologt of Knowledge, translated by A.H. Sheridan, London: Tavistocþ 1972,pll1. See also Homi K. Bhabha, The Location of Culture, p56.

77. Homi K. Bhabha, The Location of Culture, p58.

78. Kenneth Frampton, Reflections on the Autonorny of Architecture: A Critique of Contemporary Production in Out of SiÍe, p24.

79 Mark Wigley, Tlre ]'ranslation of in Slrategies in Architeclural Tltittking, pp240-256 especially p246. Heidegger presents the edifice of philoso¡rhy in terms of ground and superstructure. Architecture in this sense, as an artefact of art production is undcrstood as a su¡rerstructure, ¡rerha¡)s or-rìarnental or second order. Converscly, it could lle posed that the nretaphorical 'scaffolding', the architecture of' philosophy becomes is superfluous and is discarded.

l6 Gillien McFe¡t Liu PhD.Ardlitecture & Urbor Design The Urriversity of Adel:ride The Architecture of Colonisation Colon The C ol o n is ati o n of A(a)rchitecture

Notes to the Introduclion ELEVATION

81 Design as Coyne states is a process of reasoning by abduction 'by which we produce premises from conclusions and rules -" The pun is not lost. Coyne draws on Feibelman in Richard Coyne, Systematic Design. in Designing Infornntion Techtologi in the Postnrcclertt Age: Front Method to Melaphor, Cambridge, Massachusetts, [,ondon, England: The MIT Press, 1995, pp226,356n50.

81 The use of the words, spheres and labyrinths intends to portray the elements oftheir mythologically-laden connotations. It is used as a variation on the title of Manfredo Taftlri's book, The Sphere and the Labyrinlh: Avant Gardes Architecture from Piranesi to the 1970s.

82 ln relation to the representation of "cornplete Space", Colomina poses that the 'traditional notion of representation within a realistic episternology" can be identified as the "subjective reproduction of the objective reality." She cites tlre famous dispute between Le Corbusier and Perret. Beatnz Colomina, Privacy and Publicity: Modern Architechrre as Mass Media, p130.

83 Ernilio Garroni quotes Roman Jakobson on rnetonomy stating: 'Metaphor and metonomy ... are indeed complementary procedures which may always be found together in the signifying role of concrete architectural objects, so that one has rather to appreciate the place of both within a complex hierarchy of procedures." He concludes that symbolic signification occurs as the connections between fìrnction and metaphoric association and cites transitions in periods and styles in architecture to illustrate this position. Emilio Garroni, The Language of Architecture, in Sigrts, Symbols atd Architeclure, Geoffiey Broadbent, Richard Bunt, Charles Jencks, Chichester, New York, Brisbane, Toronto: I 980, pp388-389.

84 Arnold I. Davidson, Archaeology. Genealogy, Ethics, in Foucaull: A Critical Reader, edited by David Couzens Hoy, Oxford, U.K.: Basil Blackwell, 1989, 1t221.

t7 Gillir¡r McFert Lin PhD.Ardritecture & Urb

Notes to Difference I Architechtre as ldiont: The Otherwise of Difference, Repetilion, Bolh/And, Sante

The Architecture of Colonisution TNN CONCEPT OF DEPICTION The Architecture of Colonisation comprises two chapters titled Difference and Transference. The chapters represent the traits inherent in A(a)rchitecture and in colonisation.

t8 Gillirn McFert Lin PhD. Arc-hitc.r-tLr¡e & Urbu Desi gu Tlrc Uuiversity of Adehide The Arclritecture of Cobnisalion The Concept of Depiclion SECTION A.A

N<¡tcs to Difference I Architeclure as ldion: The Otherwise of Dffirence, Repetitiort, Both/And, Sante

CHAPTER 1

DIFFERENCE

l9 Cilli:rn lvlcFest Lin PhD.Ardlite

Notes to Difference I Archifechtre as ldiont: The Otherwise of Difference, Repelition, Bolh/And, Sante

Archítecture as ldìom: The Otherwise of Difference, Repetitíon, Both/And, Same l. The ldea comes from the tradition of conjoining tnrth with the absolute. However, when the word 'Idea' appears in the upper case in this thesis, the word refers to the potential ol content yet to be figured. For an enumeration of rneanings see the Glossary.

2. Jacques Derrida, From Restricted to General Economy, in llriÍirtg and Dffirence, translated with an Introduction and Additional Notes, by Alan Bass, London and Henley: Routledge &.Kegan Paul, 1978,p268.

3 , Dffirence and Repetition, translated by Paul Patton, New York: Press, 1994,p136.

4 ibid., p28

5 ibid., p26. Allusion to the concept of internal disruption refers to the chapter Colon in this Thesis. The conceptualisations of theorists like Deleuze and Derrida force a re-thinking of architecture in terms of how it may be identified and located if its meanings are several and look beyond notions of order, structure and composition. To deconstruct the concept of architecture is to turn it on its head. In this Thesis, the examìnation of the colonisation of architecture deconstructs the notion of the familiar, and loose generalisation of meaning appended to come to an othe¡ understanding of reasoning.

6. lt cannot be assumed that by the tenn 'nothing', Derrida means to say 'no thing.'Jacques Derrida, Tlre Exoteric,in Margirs of Philosophy, translated, with Additional Notes, by Alan Bass, Great Britain: The Harvester Press, 7982,p38.

7 Plato placed essence above appearance in tenns of truth against sinrulacra. See Michel Foucault, Theatrum Philosophicurn, in Language, Counter- Mentory, Praclice: Selected Essays and Itúerviews, edited with an Introduction by Donald F. Bouchard, translated fionl the F-rench by Donald F. Bouchard and Sherry Simon, Oxford: Basil Blackwell, I 977, p\67.

8. ibid.,pp42-45.

9. Gilles Deleuze, Diferettce and Repeliliort, 1t205

20 Gillirn McFe:rt Lin PhD Ardritc.turc & Urbu Dcsign The Urriversity of Adehide The Architecture of Cobnisation The Concept of Depìction SECTION A-A

Notes to Difference I Architecture as Idiont: The Otherwise of Dffirence, Repetitiott, Both/And, Sanrc 10. ibid., pp 44, 3l0nl0.

11. Roland Barthes, The Pleasure of the Text, translated by Richard Miller, New York: Hill and Wang, 1975,pl5.

12 ibid., p15. The notion of 'text' includes architecture.

13 ibid., pp44-45. t4. ibid., p50.

15 ibid.,p27.

16. Intplexes irnplicate and ally "assymetrical elements which direct the course of the actualisation of Ideas and determine the cases of solution for probletns." ibid.,p244.

T7 Michel Foucault, Language, Counter-Mentory, Practice: Selected Essays and Interviews, p166.

I 8. ibid., pl66 t9 Margaret Wertheirn, Ouantum Mechanics and a'"Theory of Everfhing, in Pythagoras' Trousers: God, Physics and the Gender llars, London: Fourth Estate, 1997,p216.

20. Gilles Deleuze, Dffirence arú RepeliÍiort,p9l

21 ibid., pxi.

22. ibid., p207

23 Michel Foucault, Language, Counler-Mentory, Praclice: Selected Essays and Itúerviet+s, p I 68.

24 I(isho Ktrrokawa, The Philosophlt of Symblosrs, Great llritain.'Academy Editions, 1994,1t I19. Kisho Kurokawa, New Ileve Ja¡tartese lrchileclure, edited, designed and ¡lroduced by Andreas Papailakis Ltd., London: Acadetny Editions, New York: St. Martin's Press, 1993, p9.

2l Gillinn McFert Lin PhD,Ardrit.rttrrc & Urbm Desigu The University of Adehide The Architecture of Colonisalion The Concept of Depíction SECTION A-A

Notes to Difference I Architecture as Idiom: The Othenvise of Dffirence, Repetitiort, Both/Antl, Sante 25. Michel Foucault, Language, Counter-Memory, Practice: Selected Essays and lnterviews, pp33-35.

26. Jacques Derrida, Violence and Metaphysics, in Writirtg and Dffirence, p320n91.

27 Andrew Benjamin, Eisenman and the Housing of Tradition in Deconstructiott II, editedby Andreas C. Papadakis, London: Architectural Design, 1989,p63.

28. Interiority refers to the "condition of being within" rather than being constrained or confined by a certain thinking. See Peter Eisenman, En Terror Firma: In Trails of Grotextes, in Deconstnrction [[, editor, Dr. Andreas C. Papadakis, Great Britain: Academy Editions, 1989, p43. The concept of 'multiplicity' suggests duality. Definitions for "interiority" and'lnultiplicity" are included in the Glossary.

29. ibid., p63

30. Gilles Deleuze, Dffirence and Repetition,pTS

Both/A nd ø nd Repetiti on 31. MarkTaylor, Deadlines Approaching Anarchetecture,in Restructuring Architectural Theory, edited by Marco Diani and Catherine Ingraham, Evanston, Illinois: Northwestern University Press, 1989. First published in 1988, p20.

32. Gilles Deleuze, Dffirence and Repetition,p2.

JJ. ibid., ppxx, 17,27

34. ibid., p 1 9, p307n 10. Deleuze refers here to Freud's use of the tenn 'transference' or, the "global law of the inverse relation." Freud differentiates between the opposing principles rnemory and repetition but concedes that in practice, separation between thern is less certain.

35 Andrew Benjarnin, Eisenrnan and the Housing of Tradition, in Decottslntcriotr I I, p63.

36. Gilles Deleuze, Dffiretrce atd Repeliliort,lt25

22 Gillinn McFert Lin PhD Architecturc & Urb:ur Dcsigrr Thc University of Adel:¡ide The Architecture of Colonisation The Concept of Depìctíon SECTION A-A

Notes to Difference I Architecntre as ldiont: The Otherwise of Dffirence, Repetitiott, Both/Attd, Sanrc 37. The philosophical concept of the Same is different pertains to questions surrounding architecture and philosophy and or, the philosophy of architecture. They concern the issues of telos, domination, limit and thereby tlre notions of location and identity as reiterations of colonisation as a pre- location for A(a)rchitecture. That Benjamin has said the repetition of the Same is different reposes the question 'what is' architecture or philosophy and "changes the stakes of the question." The necessity of ascertaining (quiddity) becomes complex when difference is introduced as a wây of thinking in architecture. Order, unity, arch,á and telos are but some issues appear in atternpting to locate the identity of Architecture. See, Andrew Benjamin, Eisenrnan and the Housing of Tradition, in Deconstructiott II, p63.

38. Gilles Deleuze, Dffirerrce and Repetitiort,pZl

39. ibid.,pp?l,273

40 Benjamin's analysis of locating architecture in terrns of the Same, speaks to the question of priority. Priority is as he says, a 'naturalisation' that is also a becoming, a redescribing of an event'(forthe firsttirne) such that it appears to be original and, in addition, where the act of this 'redescription' is forgotten. TJre forgetting therefore is fundarnental both to the positioning of unity, the hornogenous, the Same, etc, as original, as well as accounting for how this particular designation is repeated in and as tradition." Andrew Benjarnin, Eisenman and the Housing of Tradition,in Deconstntcliott II, p63.

41. Edward Casey, Place Fonn and ldentitv in ctrìlndern AÍchitecture and Philosoplry: Derrida avec Moore, Mies avec Kant, in Gary Shapiro, editor, AfÍer the Future: Postntodertt Tintes and Places, U.S.A.: State Univers'ity of New York Press, 1990,pp206-209.

42. In the eighteenth century the word 'irritation' was coined by writers of the picturesque school to counter notions of beauty in the discussion of aesthetics. Accordirrg to Heath, the modenr tenn in psychology used, is 'arousal'. This gives an other connotation which re-aligns notions of displeasure and pleasure. This illustrates how difference inherent in language, creates the condition of arnbiguity and duality. Tonr Heatlt, J'hree Manilèstos orr Aesthetics ii Livin*q with Order and Variety in llhal, tf Anltt¡¡,rt is an ArchiÍect, Melbounle: Architecture Media Australia Pty Ltd., 1991, p 133

23 Gillirìn McFeat Lin PhD Architedurc & Urbur Dcsiglr 'fhc Univcrsity oF Adelride The Architecture of Colonisation The Concept of Depìctìon SECTION A-A

Notes to Difference I Architecture as ldiont: The Othenyise of Dffirence, Repetition, Both/And, Sante 43. Frederic Jameson, Modernism and lmperialism, in Nationalisnt, Colottialisnt and Literature, Introduction by Seamus Deane, Minnesota: University of Minneapolis, I 990, pp43-66.

44. Frederic Jameson, Postmodernism and Consulner Society, in The AttÍi- Aesthetic: Essays ott Postnrcdern Culture, Port Townsend, Washington: Bay Press, 1983, pll3.

45 Deleuze and Guattari say that "Production is not recorded in the same way it is produced, however. Or rather, it is not reproduced within the apparent objective rnovement in the same way it is produced within the process of constitution. In fact, we have passed irnperceptibly into the domain of the production of recording, whose law is not the same as that of the production of production." Gilles Deleuze and Félix Guattari, Anti-Oedipus: Capitalisnt and Schizophrenia, second printing, New York: Viking Press, 1982, plZ.

46. Jacques Derrida In Discussion with Christopher Norris, in Deconstruclion II, editor, Dr. Andreas C. Papadakis, Great Britain: Academy Editions, 1989,p9.

47 ibid., p8. See also The Anti-Aesthetic: Essctys on PosÍntdern Culture, ppxi- xii, and Paul Jay, Critical Historicism and the Discipline of Architecture, in Re stntctu ri ng Archi le c tu ra I Theory, p29.

48. Alan D. Schrift, The Becoming-Postmodern of Philosophy, in After the Fufure: Postnrcclern Tintes attd Places, p99.

49 Jacques Derrida, Structure Sign and Play, in Writing and Difference,p279

50. Mark C. Taylor, Deadlines Approaching Anarchetecture, p20.

5l ibid., p20.

52. Charles Jencks, The Longtage of Postntodem Archileclltre, New York: 53. Ptizzoli,l99l, p48.

53 Clrarles Jencks, Current Archileclut'¿, London: Acadcrny Editions, 1982, pll5.

24 Gilli:rn McFe¡t Lin PhD.Ardritcaurc & Urbu Dc'sign The University of Adehidc The Architecture of Colonisation The Concept of DepictÍon SECTION A-A

Notes to Difference I Architecture as ldiom: The Otlrcrwise o/ Dffiretlce, Repetitiotr, BotWAnd, Sante

54 , A Componential Analysis of the Architectural Sig¡/Column/, in, Synúols, and Architechre, Geoffiey Broadbent, Richard Bunt, ^Slgzrs, Charles Jencks, Chichester, New York, Brisbane, Toronto: John Wiley & Sons, 1980 ,p215.In this Thesis, such tropes as figure and grourd, boundary and linkage are adopted as thematic links with the concept of difference. They are understood as double-sided and ambiguous to demonstrate the crossing that must be made between systems of thinking. The intervention of difference is a strategy that dernonstrates the problern of translatability between qualified, conceptual spaces, (expressions of virtual qlaces), spaces that are designed (qualified and measured but virtual spaces) and spaces that are contained in real buildings. There is always a question of remainders left belrind in the space ofthe interval.

55 Eco cites the word endoxa according to Aristotle in which an object gains layers of codified meanings. ibid.,p224.

25 Cilli:rn McFc'nt Lin PhD.Ardriteeltuc & Urbm Desigr The Urrivcrsity of Adehidc The Architecture of Colonisaliott The Concept of Depictíon SECTION A-A

Notcs to Difference lI Dìfference and Dualíty

Dffirence ond Duølíty l I have said in the preceding chapter that the concept of repetition is abotrt returning to the idea of the same, identifiing not with the identical same but with the concept of difference and refers to the notion of constitution. Architecture as ldiom: The Otherwise of Difference. etition^ Both/And. Same, The Architecture of Colonisaliott: The Concept of Depicliott, p30, and Note 35.

2. Craig Owens, The Discourse of Others: Feminists and Postmodernism, in The Anti-Aesthetic: Essays on Postnrcdent Cullure, Hal Foster, editor, Pott Townsend, Washington: Bay Press, 1983, pp58-59. Timothy Gould,

Jacques Derrida and Stanley Cavell , in After the Fufire: Postntodertt Tinrcs and Places, U.S.A: State University of New York Press, L990,p139. Paul Jay, Critical Historicisrn and the Discipline of Architecture,in Restnrcturing Architectural Theory, edited by Marco Diani and Catherine lngraham, Evan ston, lllinois: Nofthwestern University Press, 1 988, p29 . a Clrarles Jencks, lilhat is Postntoderrllsrl, New York: St. Martin's Press, 1986,p14. See also Mark Taylor, Deadlines Approaching Anarclffi, in Reslructuring Architectural Theory, p25n7 .

4 Kurokawa says "Modernisln was also a doctrine of the present, and the quotation of historical signs and symbols was deprecated as 'hybridisation'. Instead, pure, abstract geometric figures were regarded as the triurnph of reason." He adds "In order to evoke a more creative and multivalent meaning, a syrnbiosis of history and the fi.rture, the historical signs and symbols must be subjected to transformation, articulation, sophistication and intennediation." By 'intermediation', he means that buildings must fit into and address of the site and landsca¡re. Intermediation is also the opportunity for difference to intercede and create a space of atnbiguity. Kisho Kttrokawa, The Philosophy of Synúiosis, edited, designed and produced by Andreas Papadakis Ltd., London: Acaderny Editions, New York: St. Martin's Press, 1993,1t252.

5 The association of settlelnent and dornestication is tnade through the words 'colony' and 'bucolic,' sltaring the sal¡e lndo-Errropean root hvel. Jennifcr Bloorncr, Tabbles of Bower,irt Decottslrucliott atd the þ'isttal Arls: Arl, It4edia Archileclut'e, Peter Ilrunette and David Wills, eds. U.S.A.: Carnbridgc University Press, 1994, p236.

26 Gillia¡r McFe:rt Lin PhD Ardritectrue & Urbnn Desigr The Univasity of Adel:ride The Architecture of Colonisalion The Concept of Depictìon SECTION A-A

Notes to Difference Il Dìfference ond Duality

6. Diane Glrirado, The Deceit of , in After the Future: Postntodent Tintes and Places, Shapiro, Gury, editor, U.S.A: State University of New York Press, 1990, pp233-235.

7 Paul Jay, Critical Historicism and the Discipline of Architecture, in Restruchtring Architectural Theory, p29.

8. ibid., p29. The primary source is located in Hal Foster, editor, The Anli- Aesthetic: Essays on Postntulent Culture, ppx-xii. f . ibid.,p?9

10 The application of the tenn'þost colonial" is too general and overlooksthe passage of transition and translation where dissembling takes place in order to seek replacement. The use of the term is a temporal reference similar to the loose way in which the appending of 'post'to 'postmodern' is accepted and not questioned. See Horni K. Bhabha, The Location of Culture, London and New York: Routledge, 1994, p2l.

I l. Tlris concept is discussed in the previous chapter, Architecture as ldiont: The Otherwise of Dffirence, Repetition, Both/And, Sante, p7. t2 To articulate the language of hetero architecture, Jencks charts in two columns, the genealogy of "Analogous-Hetero" and "Representational-Hetero" architecture. TLe fonler identifies collage and difference, Eatnes and Schindler as progenitors of the subsequent work of Gehry, Morphosis, lsrael and latterly, Saee, Grinstein, Daniels and Schweitzer. The latter, lists Hollywood, eclecticism and the polycultural as laying the ground for architects like Isozaki, Gehry, Moss, Moore and Venturi among others. The vocabulary of hetero architecture relies on difference, the ntulticultural, inconsistency and contradiction as the values of architecture. See, Charles Jencks, Iteleropolis: Los Angeles. The Riots and the Slrcntge Beauly of llelero Archileclut'e, New York: St. Maftin's Press, 1993, pp34-35. l3 The concept of the Sarne is different is dìscrrssed in the ¡lrevious cltapter, Architecture as Idiorrr: The Otherwise of Difference. Ilepetition. Both/And, Sarne, The Architecture of Colottisaliott, p30 and Note37.

27 Cillian McFeat Lin PhD Ardritecture & Urban Design The University of Adel:ridc The Architecture of Colonisation The Concept of Depiction SECTTON A-A

Notes to Difference II Dìfference and Duality l4 Deleuze parallels the concept of temporality with transposition in music in Gilles Deleuze, Dffirence ard Repetition, translated by Paul Patton, New York: Columbia University Press, 1994, pp83-84. According to Taylor, "The search for the new is the search for originality. The original is not derivative; it is primary not secondary, independent not dependent ... In different tenns to be original is to be present at an origin or an arche tbat is nothing O/other, or more precisely, is nothing other than oneself " Mark Taylor, Deadlines Approaclring Anarchetecture, in Restru ctu r ing A rchitectural Theory, pl9.

15 Frederic Jameson, Postmodernism and Consumer Society, in The Anti- Aesthetic: Essays on Postntodern Culhrre, 1983, pl14. t6 Edward W. Soja, Postntdern Geographies: The Reassertiott of Space i¡t Critical Social Theory, London: Verso, 1989,pp185-187. Hans Bertens, The Postmodern as a New Social Formation , in The ldea of the Postmodern: A Hístory, London and New York: Routledge, 1995,p225. t7 Frederic Jameson, Modernism and Imperialism, in Nationalism, Colotúalisnt and Literature, lntroduction by Seamus Deane, Minnesota: University of Minneapolis, I 990, p50.

18. Oscar Newman, Defensible Space: People and Desigtt in the Violent City, London: Architectural Press, 1972,p3. See also Paul-Alan Johnson, Architechtral Theory Concepts, Thentes and Practicøs, New York: Van Nostrand Reinhold, 1994, ppl3-I4.

19. The debate in the 1970's concerns the immediacy of the present, the question of representation and authenticity. For a comparative account see Hans Bertens, The postmodernism of irnrnediacy and presence, in The tdea of the PosÍntdertt: A Histoty, London and New York: Routledge, 1995,pp60,74- 76.

20. Frederic Jarneson, Modernisrn and Lnperialism, in NaÍiortalism, Colonialisnt ond Literature, p50.

21. Brian Castro,l4/rilirtg Asia atd Aulo/biogrophy: 'lwo Lectures, Canberra: 7 Urriversity College, Reprograpltic Centre, UNSW, 1995,1't7 arld on the back cover.

28 Gillisn McFeat Lin PhD.Ardritecture & Urb:u Design The University of Adel:ride The Architecture of Colonisatiott The Concept of Depìction SECTION A-A

Notes to Difference lI Dffirence and Dualíty

22. Gilles Deleuze, and Félix Guattari, Introduction: Rhizome, A Thousand Plateaus: CapiÍalisnt and Schizophrenia, Translation and Forward by Brian Massumi, University of Minnesota Press, Minneapolis, and London. 1987,p7

23. Paul-Alan Johnson, Architectural Theory Concepts, Thenrcs attd Practices pp83-84. The problem for the architect is in confronting the questions of quiddity and haecceity and the presence of the binary opposition.

24. Martin Heidegger, Building Dwelling Thinking, in Basic Writings: From Being artd Tinrc (1927) to The Task of Thinking (1964), English translation 1977,1993 by HarperCollins Publishers [nc., revised and expanded edition, with General Introduction and Introduction to each Selection by David Farrell K¡ell, London: Routledge, 1993, edited by David Farrell Krell, Routledge, 1993, p356.

25 A¡ne Bergren offers an architectural and philosophical reading of the polis of antiquity from which, read together with historical texts, emerges distinguishable differences between a4cient and rnodern thought, important to understanding architecture. Anne Bergren, Architecture Gender Philosophy, in Staregies in Architechral Thinking, John Whiternan, Jeffiey Kipnis and Richard Burdett, editors, Cambridge, Mass: MIT Press,1992,ppl9-21. For an explanation of the hierarchical formation or confederation of the polis, see Numa-Denis Fustel de Cou'langes, The AncienÍ Cily: A Classic Study of the Religiotts and Civil lrutilulions of Ancient Greece and Rome, translation into English by William Srnall, in 1873, Garden City, New York: Doubleday & Company Inc., pp 128,6. See also, Hannah Arendt, The Hunnn Condition, fifth irnpression, Chicago and London: The University of Chicago Press, 1969,pp63- 64.

26 The word nenrcin means to deal out. Derrida uses the term to also mean 'to rrranage'. The former meaning irnplies dispersal and the latler, containlnent. The duality of meanings within words and conce¡lts is understood as the presence of the other, difference and the olhenyise of difference which lneans thatthere isalways alreody the sense ofnon-closure in disclosure. Jacques Derrida, Differance, in Margins of Philosoplry, trarrslated, with Additional Notes, by Alan Bass, Great Britain: The Harvester Press, 1982, ¡t4n2.

29 Gilli:rn McFcrt Lin PhD Ardriteaure & Urbar Desigrr The University of Adchide The Architecture o1 Colonisation The Concept of Depiction SECTION A.A

Notes to Difference ll Difference and Duality

27 The following quotation is located in Numa-Denis Fustel de Coulanges, The Ancient Cily: A Classic Study of the Religious and Civil Instittúions of Ancient Greece artd Ronte, p6.

But in no case could two houses be joined to each other; a party wall was supposed to be an irnpossible thing. The same wall could not be coûrnon to two houses; forthen the sacred enclosure of the gods would have disappeared. At Rome the law fixed at two feet and a half, as the width if the free space, which was always to separate two houses, and this space was consecrated 'to the gods of the enclosure".

See also Hannah Arendt, in The Hunnn Condition, pp63-64

28. Gilles Deleuze, Dffirence and Repetitiort, pp36,309

29 Gilles Deleuze and Félix Guattari, Nonndologt: The Ll/ar Machine, translated by Brian Massumi, New York: Semiotext(e), 1986, pp50-53. See Anthony Vidler, The Architechtral Uncarmy: Essays in Modern Unhomely, Cambridge, Mass: MIT Press, 1992, pp214,246nI5. The word 'parcelled' is deliberately used to indicate the anomaly of enclosure and dispersal present in 'siting' or'locating' concepts.

30 Martin Heidegger, Building Dwelling Thinking, in Basic Iïritirtgs, p356.

31. ibid., p356.

30 Gilli:ur McFest Lin PhD Ardritectue & Urbnr Design The University of Adel:ride The Architecture of Colonisalion The Concept of Depíctìon SECTION A-A

Notes to Difference III D iffer e n c e : Re n d erí n g, Re s u rfu c í n g A rc h i t e ct u r e

D ffi re n c e : Re n d erì ng, Res u rfa c i n g A rc h ít e ct u re 1. In the previous chapter, I have said that the concept of the boundary though essential to thinking in architecture, is not entirely definable. The word is used to indicate the concept of lirnit or, that which is not absolute especially in a architectural discourse. The delimit and de-lirniting of its discourse separate realisation from the realisable. Johnson is cited in terms of the concept of the boundary in the previous chapter, Difference and Duality in, The Architecture of Colonisalion, p38 and Note23. See Paul-Alan Johnson, Architectural Theory Concepts, Thenrcs and Practices, New York: Van Nostrand Reinhold, 1994, pp83-84.

) This neologism conjoins the concepts of differentiation and differenciation as discussed in the Chapter I Difference i Architecture as Idiorn: T1re Otherwise of Difference. Repetition, Both/And. Sarne, The Architecture of Colonisation: The Concept of Depictiort, p28.

J The word 'bourgeois' is used here to rrean the conventional.

4 The conjoining of differentiation and differenciation attempts to close the space between differentiation and differenciation. In a previous chapter the difference is discussed. Deleuze says that differentiation is 'the determination of the virtual content of an Idea" while differenciation is 'the actualisation of that virtuality into a species of distinguished parts...". in Clrapter 1, Difference i, Architecture as Idiorn: The Otherwise of Difference, Repetition, Both/And- Same, The Architecfure of Colonisation: The Concept of Depictiort, p28. The quotation cotnes Íìom Gilles Deleuze, Dffirence and Repetition, translated by

Parrl Patton, New York: Columbia University Press, 1994, p207 .

5 To fragrnent is to consider the concept of 'each' or, to question what the fragrnent is, It refers to the question of location and identity. To narne a concept is thus a fonn of space-making or placing which gives rise to the question of the extent a 'nan1e' can withstand the boundaries that contain its conception. I have said that the concept of'each' addresses contradiction in this sense that the 'hature of contradiction pushes the fìnite lirnit or boundary of opposition if op¡tositions are understood as evolving spatio-ternporal sites, distanced by degrees of divergences, dis¡rarities and intensities." See, Chapter I Difference i, Architecture as ldiom: The Otherwise of Difference llenetition- tloth/And- Sârne, in The Architeclut'e of Colortisolion: The Corrcepl of Depicliort, 1t27 of this Thesis.

3l Gilli:rn McFert Lin PhD Ardlitecture & Urbm Desigr The University of Adeì¡ide The Architecture o1 Colonisalion The Concept of Depíctíon SECTION A.A

Notes to Difference III D iffe r e n c e : Re n d e r ì ng, Res u rfac i n g A r c h í t e ct u r e

6. Paolo Portogþesi is cited in Postmoclenüsnt: The Architecture of the Postindustrial Society, New York Rjzzol|p42 and in Hans Bertens, The ldea of the Postntodern: A History, p64. t originally wrote the word 'topological' but that already suggests fixed spatial relations.

7 Jacques Derrida In Discussion with Christopher Norris, in Decorctnrction II, Dr. C. Andreas Papadakis, editor, London, New York: St Martin's Press, 1988, pp7,9.

8 Deconstruction is away of reading closer. It afflects a cultural perspective and exposes the problem of 'Value-laden binary thinking that Deconstruction sets out to challenge." Norris in his interview with Derrida says, " Bttt is equally mistaken to believe that, having once seen through their delusory appearance, one can finally come out onthe dark side of all such'metaphysical'categories. What is required is a vigilant awareness of the way that they inhabit all our thinking about art, about criticisnr, philosophy and the human sciences, while also giving rise to problematic tensions within and between those disciplines." ibid.,p7.

9 Jacques Derrida, Translators Introductio n in I'l/ritirtg and Dffirence, translated by Alan Bass, Chicago: University of Chicago Press, 1987, pp*ri- xvii. See Glossary for a definition of 'aporia.'

10. ibid., p.xvii. l1 Jencks uses the term'hnified duality" to lnean the combined use of several signs. The shock ofthe unexpected can be achieved by incorporation, elision or the use of mixed metaphors as in Thomas Gordon Smith's Tuscan and Laurentian Houses, Livermore, California, 1979-80. Charles Jencks, Currenl Architecture, with a Contribution by LI/illiant Chaitkin, London: Acaderny Editions, 1982,pp126,140. See also John Seely Brown and Paul Duguid, in Ilethinkins the B er irr Design: Enrloration of I and Perinheral Relations in Practice in Susan Yalevich, editor, The Edge of the Milletniunt An Itúenmliottal CriliEte of Archilectrtre, Urban Plonning, Proclucl and Contnrutticalion Design, New York: WÏitney Library of Design, 1992,1t1t174- r 89.

Tlte 12. David Clarke, in -en!, Architeclut'e of Alienaliott: Tlrc Political Ecotrortr¡t of Professiotml Edttcaliott' New Brunswìck (U.S.A.) and London (U.K): 'l'ransaction Publishers, 1994,p88

32 Gillian McFert Lin PhD Ardrìtearu'e & Urbnr Design The University of Adelnide The Architecture of Colonisation The Concept of Depíctìon SECTION A-A

Notes to Difference III D íffer e n ce : Re n d eri n g, Re s u rfa c ì ng A rc h ì t e ct u re

13 Marco Frascari, Frascari, Marco, Monslers of Architeclure, U.S.A.: Rowman & Littlefield Publishers, Inc., l99l , p l. t4 David Clarke, French Revolutions: Architecture and the Governtnent, 7"åø Architecture of Alietmtiott: The Political Econonry of Professiotnl Educalion pp86, 88.

JJ Gillim McFert Lin PlrD.Ardriteaure & Urb:ur Dcsigrr Tlre University of Adc'lride The Architecture of Coloniscttion The Concepl of Depiclion SECTION A-A

Notes to Difference lV Dffirence: Deferral,lo Defer and to defer to Dífference: Deferral, to Defer snd to defer to 1. Clarke has said '"The crux was that, while humanist scholars could recognise a fine building when they saw one (and even write about what they should like), and while stonemasons could build them (if only they knew what should be built), only an artist could cotrceive a building. David, Clarke, The Archilechre of Alienation: The Political Econonty of Professional Educatiott, with an Introduction by David Watkin and a Foreword by Stephen P. Dresch, New Brunswick (U.S.A.) and London (U.K.): Transaction Publishers, 1994, p88.

2. Diane Ghirado, The Deceit of Poslntodentism in Gary Shapiro, editor, Afler the Fuhtre: Postntodern Tintes and Places, U.S.A.: State University of New York Press, 1990, p247.

J Charles Jencks, The Longuage of Postntodern Architecture, New York: Rizzoli, 1991,p93.

4 Pete¡ Eisenman, Architecture aS a Second Language: The Texts of Between, in Restntcturing ArchitecÍural Theory, edited by Marco Diani and Catherine Ingralram, Evanston Illinois: Northwestern University Press, 1989, p69'

5 ibid., p69.

6 ibid., p70.

7 "engate", (sic engage2), Diane Ghirado, The Deceit of Poslntodernisn4 p242

8 1bid.,p242.

9 Charles Jencks, Peter F,isen:rr.an: An Archilectural Desigl lnterview, in DeconsÍnrctiott itt Archilecture, editedby Andreas C. Papadakis, London Academy Editions, 1988, p49. l0 Peter Eisenman, Architecture as a Second Language, in Reslruclttrittg Architectural Theory, edited by Marco Diani and Catherine Ingrahant, Evanston, Illinois: Northwestern University Press, 1989, First ptrblished in 1988, p7l. ll ibid., p69 t2. ibid., p7l

34 Gilli:rn McFert Lin PhD Architecttrre & Urbm Dc'sigrt Thc University of Ade'lnide The Architecture of Colonisotion The Concept of Depíctíon SECTION A-A

Notes to Difference IV Difference: Deferral, to Defer and to defer to 13. ibid., p7l t4 Eisenman says that architecttrre is a dislocating text. It represents'Various relationship s behueen other texts, between an architectural text and other texts." A dislocating text is already a recontextualisation and refers to the other. Eisenrnan also says:

a dislocating text in architecture can be fourd at least since the Renaissance. Alberti took the fonn of the traditional Greek ternple front, wlúch by the fifteenth century had become almost a banal vernacular fonn with an internalized iconography, and synthesized it with the triurnphal arch of Septimus Severus in Rome to for the façade of Sant' Andrea in Mantua. This synthesis conflated the symbol of the sacred (the Greek temple front) with the symbol of man's power (the triurnphal arch. Although this architecture did not dislocate the '1sms" of occupation - the rituals of the church remained intact - one can find in it the operation of a text between; it displayed a between of the theocentric world and the anthropocentric world and its references were spatially between Greece and Rorne and ternporally between the present and the

Epast." Peter Eisenman, Architecture as a Second Language, in Restructuring Architechral Theory, p7 7. l5 Mark Wieley. The , in Strategies in Architectural Thinking, John Whiteman, Jeffrey Ki¡lnis and Riclrard Burdett editors, Stralegies in Architectural Thinking, Canbridge, Massachusetts: The MIT Press, 1992,p246.

16. ibid., p246 l7 Phantasms are simulacra but not copies containing'that which can only be irnagined and the empirically unitnaginable." Gilles Deleuze, Diference ard Repetitiort, translated by Patrl Patton, New York: Columbia University Prcss, 1994, pp127,144.

35 Gillian McFert Lin IthD Arcùit.'cturc & Urt:rur Dcsigrr Thc Uuivcrsity ol Adchidc The Architecture of Colonisation The Concept of SECTION A-A

Notes to Difference IV Difference: Deferral, to Defer and to defer to 18. It can be argued that architecture the built object has always been understood as a fonn of cohesion for "...in the members of the ternple there ought to be the greatest hannony in the symmetrical relations of the different parts to the general magnitude of the w'hole...[and] in perfect buildings the different members must be in exact symmetrical relations to the whole general scherne." Order, Symmetry and Propriety are maxims that rule the ldea. See Paul-Alan Johnson who cites Vitruvius, 1486: Book 111.1.4,5., ArchiÍectural Theory Concepls, Thentes and Practices, New York: Van Nostrand Reinhold, 1994, p95. See also Vitruvius, Book l, Chapter II, The Fundamental Principles of Architecture, The Ten Bool

19. Arthur Koestler, The Ghost in the Machine, London: Hutchinson , 1967, p48.

20. Guy Debord, The Sociely of the Speclacle, translated by Donald Nicholson- Smitlr, New York: Zone Books, 1994,pI7.

2t. Mark Linder, Architectural Ïteory is no Discipline, in Strategies in Archi te c tura I Thi nki ng, pL7 4.

22. Mark Wieley. T , p246.

,? Anthony Vidler, Shifting Ground,in The Architectural Uncawty: Essctys irt the Moderrt Unhontely, Carnbridge, Mass: MIT Press, 1992,p123.

24. Mark Wigley, The Translation of Architecture. The Production of Babel, pp249-250.

25. ibid.,p249. The quotation relates to the 'groundlessness' that is also a crisis for the "new age of technology" which operates in virtual spaces.

36 Gillinn McFcrt Lin PhD.Ardlitccture & Urb:ur Desigr The University olAdchide The Arclritecture of Cobnisalion The Concept of Depiction SECTION B-B

Notcs to Transfcrencc I Trunsference

CHAPTER2

TRANSFEREN[CE

JI Gilli¡r McFest Lin PhD.Ardritcrture & Urbu Desigrr The Univvsity of Adclnide The Architecture of Colonisalion The Concept of Depìctìon SECTION B-B

Notes to Transference I Trunsference

Trønsference l. The double-sided notion of conjunction and/or separation is a particular and postrnodem approach as is the concept of hendiadys. These strategies for thinking are applied in the structuring of the thesis. It reflects the conjunction between theory and practice, idiom and mediurn joined and divided by the section Colott.

2. The word 'locale' refers to a place that has been designated which, according to Heidegger, only comes into existence enshrined in the oneness of the divinities. To use the word 'locale' is to join it with tlre concept of space as raun, and/or designated. See Martin Heidegger, Basic WriÍittgs, Basic Writings: Front Being and Tinte (1927) Ío The Task of Thinking (1964), English translation 1977, 1993 by HarperCollins Publishers Inc., revised and expanded edition, with General Introduction and lntroduction to each Selection by David Farrell Krell, London: Routledge, 1993,p356.

J Jameson joins this idea with 'the logic of capitalisrn stating that capitalism itself "... is dispersive and disjunctive and does not tend toward wholes of whatever kind. Where one finds these last in our mode ofproduction, therefore, as in state power (or, in otlter words, the construction or re- construction of a state bureaucracy), the effort may be seen as a reaction against dispersal and fragrnentation and a reactive or second-degree form." See Frederic Jameson, Spatial Equivalents in the Wo Architecture , in Postnrcdentisnt, or, The Cultural Logic of Late Capitalisn4 London, New York: Verso, 1991, p100. 'Floating' is also understood as suspension or a state of anxiety. See Towards an Architecture of Exile: A Conversation with Jean-François Lyotard, translated fiom the French by Giovanna Borradori, in ReslntcÍuring Archilecturctl Theory, edited by Marco Diani and Catherine Ingraham, Evanston, Illinois: Nofthwestern University Press, 1989, First published in 1988, pl6. See David Kolb, PosÍntodertt S oph i s t i caf i ons : P h i I os ophy, A rc h i le ctu re and Trad i t i or 4 Chicago &. London: The University of Chicago Press, 1990, ppl0l-105.

4 Stilarchitecktur: originally appropriated and translatecl frorn tnusic, the idea of "suspended tonality" is an invention of Arnold Schönberg. In Drei KlaviersÍiicke, O¡lus I l, the piece ends by disintegrating into silencc. Suspension at this urotnent is the acknowledgtnent of difference. See L¡ost¡Lt Dialectics, irr Massirtto Cacciari, Archileclut'e atd Nihilism: On lhe Pltilosoplrytof Mocletlt Arcltileclure, New Ilaven and London: Yale University Press, I 993, ppl07, 234n I3.

38 Gillim McFert Lin PhD, Ardritc'cturc & Urlr:ur Desi gr The University oF Adehidc The Architecture of Colonisaliott The Concept of DepicÍíon SECTION B-B

Notes to Transference I Trunsference

5 Antlrony Vidler, Trick/Track in The Archileclural Uncanny: Essays itt the Mdem Unhontely, Carnbridge, Mass: MIT Press, 1992, pl05.

6 ibid., p105

7 The word 'rnembrane' refers to the concept of skin, the attributes of skin and to the extent to which the notion of skin can be taken to becorne an actual wall. The 'mernbrane' refers therefore, to the Derrida's conception of tyrnpan and hymen, to the differentiation between the inside and the outside, structure and façade, to conceptualising architecture itself which protects itself from the elernents outside, outside its considered donlain and territories for discourse. Jacques Derrida, Dissentintúions, translated by Barbara Johnson, Chicago: University of Chicago Press, 1981, p221. Jacques Derrida, T)rmpan, in Margins of Philosophy, translated, with Additional Notes, by Alan Bass, Great Britain: The Harvester Press, 1982, ppix-xxix, Edward Said, Criticism between Culture and System, in, The \tí/orld the Text and the Critic, Great

Britain: Vintage, 1991, pp205,206, 305n35 I .

8 Massimo Cacciari, Loosian Dialectics,inArchiÍecture and Nihilism: On lhe Philosophy of Modem Archileclure, ppl87-190. See Robeft Venturi, The lnside and the Outside, in Contplexity and Contradiction itt Architecture, second edition, London: The Architectural Press, 1977, pp70-87. See Geoffiey Bennington, Rel ln Philosophy cutd Architeclure, Benjamin, Andrew, coordinating editor, Great Britain: Academy Group Ltd., 1990, pp27-28.

9. Geoffrey Benningfon, The Refinnelitv nf cfrmndpm Rel q frr¡rf rr ln Philosophy and Architecture, p28

10. Jolrn Cage, Eyeline ó, cited in Nicholas Zurbrugg, The Parantelers of

P os Í nrccl e r ni s m, London : Routled ge, | 993, pp I l,l 7n3 . ll Massinro Cacciari, Loosian Dialectics,in Arcltileclttre ottd Nihilism: Ott the Phitosophy of Mæ{ertt Arcltileclure, p107.

39 Cillian McFc:tt Lirt PhD.Ardrit

Notes to Trnnsference I Tronsference

12 The concept of the other is not rmiquely postmodern and was in circulation in 1903. It was the title of Adolf Loos's review Das Andet'e of which only two issues were ever published. Ornatnentation (Jungendstil) became synonymous with frippery and hypocrisy in society, seen as the cause of the stultifuing and suffocating "decay" of the concept of dwelling and the home. Das Andere, was a position of difference or lI/eslent Kultur. Alberto Savinio states: '"The intelligence of Europe has a unique function: it divides and separates ... to disunite is not to destroy. Disunifuing action is healthy.. ." See Loosian Dialectics, Architechre and Nihilisnt: On the Philosophy of Modent Architecture, ppll 5- l 1 6, 1 56- 1 6 1. See Beatnz Colomina, Guest Editor, Introduction on Architecture:Production and Reproduction. in ArchitecfitreReprducllo¡r, Revisions 2, U.S.A.: Princeton Architectural Press, 1988, ppl3,l5.

13 Martin Heidegger, Basic Writirtgs, Front Being and Tinte (l927) to The Task of Thinking (1964), pp354-360. t4 Tlre term 'interval' is particularly interesting in relation to architecture. Readings reveal the numerous levels in which it is used as a spatial definer. Tlle Glossary in this llhesis lists different senses in which the word applies to architecture. l5 The included middle parodies the categorical eitherlor position of the excluded mjddle when statements can only be either true or false. It acknowledges the shady, nebulous world of the olherwise, of the botl't/and and of difference. t6. Jacques Derrida, Translator' s Introduction, in ll/'r iÍ i ttg and D ffi rence, translated with an Introduction and Additional Notes, by Alan Bass, London and Henley: Routledge & Kegan Paul, pxvii. t7 Ludwig Wittgen stein, P h i I osophi cctl I t pes I i ga I i ot ts, translated by G. E. M. Anscontbe, Second edition, New York: The Maclllillan Press, 1958, Part lixi, p I 96e.

I8. See Mark Wigley, Architechtre and Decorxlruclion: Derrida's llauttl, second printing, Carnbridge, Massacltusetts, London, England: MIl' Press, 1993, p1t73-4. See Alan D. Schrift. Thç-Ðccquring - Post¡rcd-q¡.--a'[-Illilqs-o-Èlty, in Gary Shapiro, editor, After llrc lìtttttre: Posltnodern Times atd Places, U.S.A: State University of New York l)rcss, 1990, pp99- 100.

-10 Gillinn lvlcFc'¡t Lin PhD Ardlite,:tLre & Urb:ur Desigr The University of Adchide The Arclritecture of Colonisalion The Concept of Depiction SECTION B-B

Notes to Transference I Transference

L9 An extension of the concept of tanch¿-trencher is one that comes from the area of psychoanalysis. Denida uses the word trancheferl or transference to refer to a way of analysis whereby colleagues in the psychiatric profession participate in sessions, going between different psychoanalytic groups as a form of extended therapy. Jacques Derrida, Freud and the Scene of Writing, in Writirtg and Difference, p?ll.

20 Jacques Derrida, The Ear of the Other: Otobiography, Transfererrce, Translation, English edition edited by Christie McDonald. A translation by Peggy Kamuf ofthe French edition edited by Claude Lévesque & Christie McDonald, Lincoln and London: University ofNebraska Press, 1985, pp 104- 105.

2t. Gilles Deleuze, Preface, Kant's Critical Philosophy: The Doclrine of Faailties, translated by Hugh Tornlinson and Barbara Habberjarn, London The Athlone Press, 1984, pix.

22. See A-lan D. Schrift, The Becoming - Postmodern of Philosophy, in Gary Slrapiro, editor, Afrer the Future: Postntodent Times and Places,pp99- 1 00.

23. Hannah Arendt, The Hunnn Cotúitiot¿, fifth irnpression, Chicago and London: The University of Chicago Press , 1969, pp I 82- I 83.

24. Jacques Derrida, Freud and the Scene of Writing, in Writing artd Dffirence, p2l1 . Additionally, Norris writes:

As Derrida shows, the entire Freudian topology of unconsciotts meaning depends on such notions as 'trace', 'spacing', 'difference' and others whose place can only be found within a graphic systern of representation. Freud held to the belief that these werc nrerely rnetaphors pointing towards a mature neurological science which would finally dispense with such figurative props. Derricla argues, on the contrary, that Freud's indelible figures of writing are his chief contribution to a knowledge of the unconsciol.ts and its effects, in cotn¡rarisorr with which his'neurological íàble'lnust itscll'bc seen as a species of sublinrated metaphor. See also Clrristopher Norris, 'flte Anrerican Connection: Derrida and Bloorn on Freud in Decotslntcliott: TheoD) atd Praclice, revised edition, l-ondon and New York: lì.outledgc, l99l , p1tl22-124.

4t Cillirn McFe¡t Lin PhD Arcùite.ture & Urbor Desigrr 'ì'he University of Adehicle The Arclritecture of Colon isatio tt The Concepl of Depìction SECTION B-B

Notes to'fransferencc I Transference

25 Tlre concept of the always-already is enunciated by Heidegger as "it is its past," To approach the questions posed in this Thesis, which are directed at location and identity, the concept of is', Being or present themselves not to be excluded but as the condition of is' and the always-already. See, Martin Heidegger, Being and 'fime, in Basic IYritirtgs: From Beirry arul Tinte (1927) to The Task of Thinking (1964), p63. The transitionary state between the unconscious and the conscious is seen by Eisenman as an alienating space. It is a contrary and uncomfonable position that he posits which is also unhelpful to design research, to clients and users of buildings and to lesser rnortals in the profession who attempt address the cornplex and lnulti-stranded problems knotted together into a problem-solving exercise called architecture. In conversation with Charles Jencks for ArchitecÍural Desigt in 1989, Eisenman states "I am talking about a rnan who is fulfilling himself through his unconscious, realizing that the emptiness is ln man and that the alienation lies between the conscious and unconscious." Thomas, C. Mitchell, Redefining Desigrtirtg: Front Fornt to Experience, U.S.A.: Van Nostrand Reinlrold, 1994, pp26,136n45. Rather than a nihilistic approach to fulfilment that sees spaces for thinking as empty and alienated, I see spaces as too full. Architecture is the means for sorting out into definable 'rooms' of thoughts and artifice of fulfilment.

Jacques Derrida, Freud and the Scene of Writing,p209. The italicised inflections "always already", arepart of the text. ibid., 21l.For a salnple of the application of the concept of "alwctys already" in conjunction with reconstruction see Jacques Derrida Mentoires for Paul de Man, revised edition, translated by Cecile Lindsay, Jonathan Culler, Eduardo Cadava, and Peggy Karnuf, New York: Colurnbia University Press. 1986, p124.

27 ibid.,p2l l. See Wittgenstein who discusses the concept of shape in Philosophical Invesligctliotts, Part l. 73,74, p35e.

28. See Paul Jay, Critical Historicism an

29. Paul Jay, n Di line ln

Res Í n t c Íu r i r t g A rc h i t e c I t t ra I T h e ory, pp27,32rl5

'fhe 30 Jacqrres Derrida, Translator's Introductioll, lVrilirtg arrl Dffirerrce, ¡lxvi. third ltreaning is understood as payirrg deference to, deferring or ceding to. 42 Gilliu McFe:rt Lin PhD.Ardritecture & Urbor Desigrr The Univcrsity of Adcl¡ide The Architecture of Colonisutiott The Concept of Depictíon SECTION B-B

Notcs to Transfercnce I Trunsference

See Mark Wigley, The Translation of Architecture. the Production of Babel, SlraÍegies in Archiîectural Thinking, John Whiteman, Jeffrey Kipnis and Richard Burdeff editors, Calnbridge, Mass: MIT Press, 1992,p25. He states

"Deconstruction is neither unbuilding nor demolition ... 'soliciting' fro.ln sollicilctre in old Latin which lneans to "shake as a whole, to make tremble in entirety. Solicitation is a fonn of interrogation that shakes structures in order to identifu structu¡al weaknesses, or weaknesses that are structural."

31 See Frederic Jameson, Postmodernism and Consumer Society, in The Anti- Aesthetic: Essays on Posltuoclern Culture, edited by Hal Foster, Port Townsend, Washington: Bay Press, 1983, pl l2. See Paul Jay, Critical Historicism and the Discipline of Architecture, p28.

J¿. This refers to the two camps of the pro-modernist /anti-postmodern and the anti-modernist/pro-postlnoderns. Why not a third camp that accepts postrnodern thinking as the attempts to come to grips with the presently lnodern? For a discussion on the situating of the postmodern condition see Frederic Jameson, Ideology, in Postmodenùsm, or, The CulÍural Logic of Lale CapiÍalisnt, London, New York: Verso, 1991,1tp55-66.

JJ The word 'recover' alludes to different possibilities. [f recovery is superficial then what the worst of postrnodern façadism has accomplished a recovery for buílt architecture. In another sense, the word is used with re-upholstering in mind, where the innards (stuff/stuffing) and stmcture of the piece of furniture rnust be first repaired, before it is re-covered. Thus, the question feturns to the concept of Colon as a passage for thinking about Architecture.

34 The use of the tenrr 'topology' alludes to the break with the pure geometries of the Modern movernent orthe universalisation of abstracted rrreanings. See Parrl-Alan Joltnson, Archileclural Theory Concepls, Thentes and Praclices, New York: Van Nostrand Reinhold, 1994, p332.

35 The lollowing passage indicates the convolution (or involution) that ¡rropels the conce¡rt of transference.

43 Gilliu McFert Lin PhD.Ardritcrture & Urbo Desig: The' Univrsity of r\dclridc The Architecture of Colonisalion The Concept of Depiction SECTION B-B

Notes to Transference I Tronsference

Jo. The primary source is located in Immanuel Kant, Critique of Pure Reason, New York: St. Martin's Press, 1965,1t653, 663. The discussion of the architectonic as a method lor'þractising philosophy" has come from Edward Casey, Dlo¡a Fn¡m and Irlantifrr in f)n .1o^ Arch it ont,,¡o o-.1 f)ltil^"^-h., avec M avec in After lhe Future: PosÍnrcclent Tinrcs and Places, pp200, 209n1.

Jl. Jacques Derrida, Force and Signification , in WriÍirtg and Difference, p26.

38. ibid., pl5.

39. ibid.,p26.

40 ibid., p15.

4I See Note 14 ofthis chapter.

42. Jacques Derrida, Force and Signification , in Wrilirtg and Difference, p26.

41 Gilliu McFe¡t Lin PhD Ardritertrue & Urbrn Desigrr Thc University ol A

Transference II Transfer: Langu age Gome

Transfer: Language Game l. Massimo Cacciari, Architecture and Nihilisnt: On lhe Philosophy of Mdern Architechtr¿, Translated by Stephen Sartarelli, Introduction by Patnzia Lombardo, New Haven and London: Yale University Press, 1993, ppxlvii-iii

2. ibid., ppxlvii-üi

J ibid., ppxlvii-üi. See also Michael Brawne, Front ldea to Building: Issues itt

A r c hi t e c lu r e, Gr eat Britain : B utterworth, 1992, p | 3 .

4 Ferdinand Saussure, Course in General Linguistics, translated by Wade Baskin, Charles Bally et.al., editors, New York: Plrilosophical Library,1959, p73. See also Mark Wigley, Derrida's Reading on the Crisis of Representation ,'rn Jacques Derrida and Archilecture: The Decorstructive Possibilities of Architectural Discourse,New Zealand: University of Auckland, 1986, pp44,64n149.

5 Riclrard Rorty, Conlingency, [rony, and SolidariÍy, Catnbridge, New Yorlq New Rochelle, Melbourne, Sydney: Cambridge University Press, 7989, p13. Brawne would disagree that architecture should be compared with normative language. He says that"...language is a much more basic and universal attribute than the making of buildings; [and] Language is a much more abstract method of communication than architecture; words rnaking a sentence must convey a meanin gtbat relates wholly to somethin gthat exists outside the sentence." He suggests that architecture comrnunicates a different message non-verbally'þeculiarly its own." My contention is that specific and explicit as the intended rnessage is, be it a sentence or a building, there is a deeper problem present which is that of translatability and interpretation. See, Miclrael Brawne, From ldea fo Buildirtg: Issues in Architecture ¡t745.

6 '"To build a thought means: to define it with maxinrunr precision with respect to the other forms, and not to confirse it, blend it or attelnpt irnpossible, nostalgic hannonies." Massirno Cacciari, Tabula Rasa, in Archileclure attd Nihi lism: On ilte Phi losoph¡t ol Moclern Archilecture, pl 63.

7 ibid., ppxlvi-xlviii

8 ibid., ¡rp65-66.

,+5

Cilliar McFert Lin PhD Architeaure & Urbor Desigrr The University of Adelside The Architecture of Colonisation The Concept of Depíctìon SECTION B-B

Transference Il Transfer: Language Game

9 Christopher Norris, Deconstnrction. Postmodernism and Philosophy, in Derrida: A Critical Reader, edited by David Wood, Oxford UK & Cambridge USA: p182.

10 ibid., p184 ll ibid.,p229.

12. Mario Gandelsonas, Editorial, Oppositions 5, Summer 1976 l3 Massimo Cacciari, Architecture and Nihilisrn: On the Philosophy of pxlvii.

14. Barthes refers to the "dialectics of desire" in tenns of the "unpredictability" of tlre "site" of "bliss" and of the 'þleasure" of the text. Roland Barthes, The Pleasure of the Text, transTated by Richard Miller, New York: Hill and Wang, 7975, p4. l5 Cacciarj refers the "desire" of Foucault and Deleuze. Massimo Cacciari, Architecture and Nihilism: On Íhe Philosophy of Mderrt A rchi te c tu re ppxlvii-ii i, 22In67,68.

16 Albert Hofstadter & Richard Kuhns, editors, Philosophies of ArÍ & Beauly: Selected Readings in Aesthetics from Plato to Heidegger, Chicago: University of Chicago Press, 1976,p672. Heidegger's ontological approach is discussed in this Thesis in The Colonisatiott of A(a)rchitecttrre, Chapter 4, 2ìx, Depiction. Drawing Conclusions, p 178 and Notel 03 in this Thesis.

T7 Paul-Alan Johnson, Architeclural Theory Concepls,Thentes and Practices, New York: Van Nostrand Reinhold,1994,p44. Even the Paltent Language of which is a diagrarnmatic methodology for ordering space according to lirnctionality or event, relies on normal language ftlr its explication. t8. Peter Eisenrnan, Architecture as a Second Language,in Re.slruchtrittg Archileclut'al Theory, Marco Diani, and Catherine Ingralraln, editors, Reslntclttri try A rchi lechtral TheorT, Evanston lllin ois: Nortltwestent University Press, 1989, First published in 1988, p 71.

46

Gillim McFent Lin PhD. Architecture & Urb:ur Design Thc University of Adelside The Architecture of Colonísation The Concept of Depictìon SECTION B-B

Transference II Transfer: Language Gsme

19. ibid., p7l.

20 The Concise Oxford Dictionary definition of idiom is as follows: n. Language.... specific character of this; form of expression peculiar to language or person, ...peculiarity of phraseology approved by usage though having meaning not deducible from those of the separate words. ldiom in Rogets Thesaurus, New Edition, Great Britain: Longman, speciality 80n, connotaÍiotl, 514n, dialect 560n, speech 579n. The word 'colonisation' when italicised takes on the mantle of meanings suggested in the chapter entitled 'Colon'in this Thesis.

2I Heim says, " When a word means ever¡hing it means nothing."2o Michael Heirn, The Meîaphysics of Virtttal Reality, New Yorþ Oxford: Oxford University Press, 1993, p112.

22. Jacques Derrida, Violence and Metaphysics in Writing and Dffirence,pl00

47 Gillìrn McFert Lin PhD. Archìtccture & Urb:ur Desigr The University ol Adehide The Arclritecture of Colonisation The Concept of Depìction SECTION B.B

Notes to Transference [ll Transfer: Communication or the Re-presenlatíon of Language Transfer: Reproductíon ond Re-Production Transfer: Reproduclìon and Re-Production Trønsfer: Communìcotíon or the Re-presentation of Language l. Touhnin says that'modernity'must be seen in a historical context; that the foundations of scientific thought, and the spread of literacy did not occur suddenly at the stafi of the seventeenth century. Elsewhere, poses Habermas's definition of 'rnodernity' in terms of egalitarianism and emancipation frorn the rigidity of scientific theory. Thus, postmodernity can be understood as the absurd opposition or deconstruction of modernity and Cartesian rationality. Steplren Edelston Toulmin, Cosntopolis: The Hidden Agenda of Modernity, Chicago: University of Chicago Press, 1990, pp5-19,173.

2. Mark Wigley, The Architecture of Decorctruction: Derrida's Hcttutt, Cambridge, Massachusetts, [.ondon, England: MIT Press, L993,p7.

J Primary source of reference is located in Réne Descartes, Seventh Set of Objectiorc wilh the AuÍhor's Replies, translated John Cottin gham et al., The PhÌlosophical llritirtgs of Descartes Vol, II, Cambridge: Cambridge University Press, I9M,pp366-383. The secondary source is located in Mark Wigley, The Archi tectu re of Deconstntction: Derrida's H Qunt, p247n7 3.

4. To quote a well-subscribed Nietzschean gem:

What therefore is truth? A mobile army of metaphors, metonynies, anthropomorphisrns: in short a sum of human relations which became politically and rhetorically intensified, metamorpltosed, adorned, and after long usage seems to a nation fixed, canonic and binding; truths are illusions; worn-out metaphors, which have becolne powerless to affect the senses; coins which have their obverse effaced and now are no longer of account as coins but rnerely as verse.

See Geoffrey Clive, The Philosophy of Nielzsche, edited and with an lntroduction by GeoflÌey Clive, New York: Mentor Books, 1965, p508.

5 Iìichard Rorty, Conlitryettc¡;, lrorty, and Solidari6t, ç^r',rbridge, New York, New Rochelle, Melbourne, Sydney: Canrbridge Univcrsity Press, 1989, p8n2.

6. Enrst Behler, Nietzsche, in Confrotilaliotts: Derrida/Heidegger/ Niel:sclte, Translated with an Aftenvord by Steven Tattbeneck, Stanfurd, Califbrnia: Stanford University Press, 1991, p79.

48 Gillinn lr4cFert Lin PhD.Ardlitccturc & Urbor Desigrr The Univrsity of Adchide The Architecture of Cobnisation The Concept of Depiction SECTION B-B

Notes to Transference III Transfer: Communication or the Re-presentatïon of Lønguage Transfer: Reproductìon and Re-Productìon Transfer: Reproductìon and Re-Production

7 The primary source is from Benjarnin L. Whorf Language, Thought and Reality, Cambridge, Massachusetts, 1956,p70 and was located ùr Paul Feyerabend, Agairct Method, third edition, London: Verso, 1993, ppl64, 165n6-8. "Covert" in conjunction with "cryptotype" is a linguistic classification which is "a subrnerged, subtle, and elusive meaning, corresponding to no actual word, yet shown by linguistic analysis to be functionally important to grammar. "

8 Manfredo Tafuri, The Sphere and the Labyrinth: Avant Gardes and Architecture from Piranesi to the I970's, English Translation by Pellegrino d'Acierno and Robert Connolly, Cambridge, Massachusetts, London, England: The MIT Press, L987,pp1,305n2.

9 For example, technological, scientific or medical terminology that becomes incorporated into a professional language. l0 Paul Feyerabend citing the linguist, Børjamin L. Whorf, in Paul Feyerabend, Against Method, p209,I64n1. See also Mark Wigley, ibid., pp23-25,3l-32,82. Douglas Graf, Strange Siblings - Being and No-Thinness, in SÍrategies in Architectural Thinking, Carnbridge Massachusetts, and London England, MIT Press, 1992, pp95-96. ll , For a Critic¡ue of the Political Econonry of the Sign, translated with an Introduction by Charles Levin, St. Louis, MO:Telos Press, p I 88. The notion of the qualities of function are discussed by the engineer Luigi Nervi in Hanno-Walter Kruft, A Hislory of Archileclural Theory from Vitntvius to the Present, translated by Ronald Taylor, Elsie Callander and Antony Wood, New York: Princeton Architectural Press, 1994, pp445,608n88. l2 Urrrberto Eco, Semiolics and lhe Philosophy of Language, IJoundsnrills, Basingstroke, Hampshire and London: 'Ihe Macrnillan Press Ltd, 1984, pl30

... an identification nrark nrade u¡r oftwo halves of a coin. 'fwo halves of the sarne thing, either one standing lor thc other, both becorning however, fully effective only when they nratchcd to make tup. again, the original whole.

49 Gillian McFeat Lin PhD.Ardritcqture & Urb:lr Design 'l'he Uuiversity of Adcl:rid.' The Architecture of Colonisation The Concept of Depìction SECTION B-B

Notes to Transference III Transfer: Communìcatíon or the Re-presentatìon of Language Tra nsfer: Reproduction ønd Re-Produ ctio n Transfer: Reproduction a nd Re' Produ ctìo n l3 Jean Baudrillard, For a Critique of the Political Econonty of the ^lrgrl, p 188

14. ibid., pp189-190.

15. Joseph Rylcrvert, The First Modens: The Architects of the Eighteenth Century, Cambridge, Massachusetts, and London, England: The MIT Press, 1980, pp324-25.

16. ibid., pp324-325.

17 ibid., pp324-325.

18. Jean Baudrillard, For a Critique of the Political Econonty of the Sign, ppl89- 190.

I9 Tlre primary Source is located in Federico Zuccari, "L'idea de' pittori e sutltori e architetti", Scritti d'arte di F. Zuccarl, Florence: Olski, 1961. 'lllre secondary source is from Marco Frascari, Monsters of Architecture, U.S.A.: Rowan & Littlefield Publishers Inc., 1991,pp104,138.

20 In Desigtt Methods John Chris Jones suggests that "The shift from the idea of 'progress' (towards a goal, a product) to the ideas of 'process' (as all there is) is surely a main event of the twentieth century, in all fields of endeavour.[and] We've changed from 'planning product' to 'planning process' but we've yet to admit tlrat designing could become not goal-seekìng but shared irnaginative living end-in-itself." See C. Thomas Mitchell for a discussion on John Chris Jones and design method in From Product to Process Design in Redefining Desigttittg: Front Form to Experience, U.S.A.: Van Nostrand Reinhold, 1994, p65. See also Marco Frascari, Monsters of Architecture,p93.

Transfer: Reproduction and Re-Production 21. "Moreover, this horizontal irn¡rossibility of translation without loss has its basis in a veftical inrpossibility. We are speaking here of tlte way in which unconscious thoughts becorrre conscious. lf a drearn cannot be translatcd into another language, it is because within the psychical a¡lparatus as well there is never a relation of silnple translation." Jacques Derrida, Iì.reud and the Scene of Writing, in llritittg and Dffirerrce, translated with an lntrodt¡ction and Additional Notes, by Alan Bass, London and l{enley: Iìoutledge & Kegan Paul, pp2l0-21 l.

50 Gillien McFe:rt Lirr PhD.Ardritccture & Urbor Dcsigrr The University of Adehidc The Architecture of Colonisation The Concept of Depíctíon SECTION B-B

Notes to Transfercnce III Transfer: Communìcation or the Re-presentatíon of Languoge Transfer: Reproductìon a nd Re-Produ ction Tra nsfer: Reprodu ction a nd Re-Produ ction

22 The "lump is the symbol of another architecture ... in this period of doubt and irnitation, piety and benroaning ... there must be the next architecture." Peter Cook, n Theory and Experintetilation, Dr. Andreas C. Papadakis, editor, London: Academy Editions, 1993, p143.

23 The primary source is located in Aldo van Eyck, Architeclural Desigrt 12, vol.xxxii, December 1962,p602. The secondary source is found in Robert Venturi, Contplexity and Contradictiott itt Architechte, second edition, London: The Architectural Press, 1977,p82.

24 Gilles Deleuze, Dffirence and Repetition, translated by Paul Patton, New York: Columbia University Press, 1994,p207.

25 Gilles Deleuze, and Félix Guattari, A Thousand Plateaus: Capitalisnt and Schizophrenia, Translation and Forward by Brian Massurni, University of Minnesota Press, Minneapolis, and London. 1987, pp70-71,47,168.

26. ibid., pp15-16,293

27. ibid. pl5. On mnemonics see, The Colonisation of A(a)rchitecture,Chapter 4äi, The On pp2l-23 and Note I l8 in this Thesis.

28. Jacques Derrida, Memoiresfor Paul de Man, revised edition, translated by Cecile Lindsay, Jonathan Culler, Eduardo Cadava, and Peggy Kamuf, New York: Columbia University Press,l 986, pp5 I-53,56,65,71, I 06-l 08.

29. ibid., pp55,85

30. ibid., pp48,85

5l Gillinn lvlcFe¡t Li¡r PhD.Ardritecture & Urbflì Design The University of Adckide The Architecture of Colonisalion The Concept of Depiction SECTION B-B

Notes to Transference III Transfer: CommunÍcation or the Re-presentatìon of Lønguage Transfer: Reprodu ctìon and Re- Productìon Transfer: Reproduclìon and Re-Production 3l "In a moment of metaphorical extension we might go so far as to say that architecture can be understood as a matter of conversation between buildings rather than an interaction with conceptual or rnaterial 'reality'; ideas do not represent objects..." The use of the word 'conversation' suggests the human capacity for conversing which rather negates the rest of the quotation which is logical if taken from that point on. It reiterates the problern of description, denotation and disentangling the ldea of Architecture frorn the built object of architecture. See Mark Linder, Architectural Theory is no Discipline, in Strategies in Architecfiral Thinking, edited by John Whiteman, Jeffrey Kipnis and Richard Burdett Carnbridge, Mass: MIT Press, 1992, p175.

32. Gilles Deleuze, and Félix Guattari, Anti-Oedipus: Capitalism and Schizophrenia, second printing, New York: Viking Press, 1982, ppl84-l9l Gilles Deleuze, and Félix Guattari, A Thousand Plateaus: Capitalisnt and S chizophrenia, ppl42,333.

52 Gillis¡r McFe:rt Lin PhD.Ardritearrre & Urbar Desigr Thc University of Adclnide The Arclftecture of Colonisation The C'oncept of Depìction SECTION B-B

Notes to Transfcrence IV Tronslatìon : Dífference, Transference, Díspløcement Transfer : Graft and Corruption

Transference, Dísplacemenl, Tra nslution L Gilles Deleuze, Dffirence and Repetilion, fianslated by Paul Patton, New York: Colurnbia University Press, 1994, p24.

2. , The Work of Art in the Age of Mechanical Reproduction, in Illuntinatiorrs, edited by Hannah Arendt, Fontana/Collins, 1970,pp222-223.

J The word trctit is French. It literally rneans to draw but has come to tnean an identifier or characteristic of sornething. [t is used in this Thesis to link the Idea of Architecture and colonisation as idiornatic in both use and thinking, the line drawn between them as it were. See Glles Deleuze and Félix Guattari, A Thousand Plateaus: Capitalism and Sehizophrenia, Translation and Forward by Brian Massumi, University of Minnesota Press, Minneapolis, and London 1987, pxviii.

4 Jacques Derrida, The Ear of the Other: Otobiography, Transference, Translation, English edition edited by Christie McDonald. A translation by Peggy Kamuf ofthe French edition edited by Claude Lévesque & Christie McDonald, Lincoln and London: University of Nebraska Press, 1985, pp93- 142, and especially pp95,1 19-126. See also Note l7 to make the connection between grafting and writing.

5 For a reading of dffirance, see Gayle L. Ormiston, The-Eçqnp¡1Jr Q-f Duplicity: DL[filratrce, in David Wood and Robert Bernasconi, editors, Deruida ond Dffirance, Evanston, Illinois: Northwestern University Press, 1988, pp4l-50.

6. Frascari refers to Marco Pollione Vitruvius, De architectura, l:iii,3 in the edition translated by F. Granger, London: Loeb Library, 1930. Marco Frascari, Morcters of Architeclure, l).S.4.: Rownan & I-ittlefield Publishers, lnc., 1991, p 16.

7 Jacqrles Derrida, PosiÍiotrs, translated by Alan Bass, Chicago: University of Chicago Press, I 981, pp4l-42. See Gregory Ulrner, l'he Object of Post- Criticisnr, in The AtÍi-Aeslhelic, Hal Foster, The AtÍi-Aeslhetic: Essays ort Poslntdern Cttllure, Port l'ownsend, Washington: Bay Press, 1983, p88.

53 Gitlirn McFert Lin PhD. Architectue & Urbm Dcsign The Llnivcsity of Adchidc The Architecture of Colonisation The SECTION B-B

Notes to Transference IV Translatíon : Dffirence, Transference, Displacement Transfer : Graft and Coruuption

8 Peter Eisenman, Architecture as Second Language, in Restruchrirtg Architectural Theory, Marco Diani, and Catherine lngraham, editors, Evanston Ilinois: Northwestern University Press, 1989, p73. f . ibid., p73

10 Mark Taylor, Deadlines Approaching Architecture, in Res t nrc tur i ng Architectural Theory, p20.

11. ibid.,pZl l2 Richard Shweder, Thi nki ng t hr ou gh C u. I tur e s, Carnbridge, Ma ssa chusetts: Harvard University Press, 1991, p354.

13 Frederic Jameson's hypothesis proposes tlrat Imperialism leaves its trace on the literature of the period; that trace is a mutation which manifests itself inlon the language of literature and the arts, which he describes as the period of Modernist literature. Jameson identifies the writers, Woolf and Joyce to support his argurnent. The 'tenant-lieu" refers to the new value of a substitute style of a spatial langtage and of 'trnrepresentable totality." Frederic Jatneson, Modernism and hnperialism, in Terry, Eagleton, Frederic Jameson, Edward Said, Nationalism, Colonialisnt and Literature,Introduction by Searnus Deane, Minneapolis: University of Minnesota Press, 1990, p58. l4 "The site is always held in reserve ... the site is never given proximity but a promised one." Jacques Derrida, Violence and Metaphysics, in Writing and Dffirence, translated with an Introduction and Additional Notes, by Alan Bass, London and Henley: Routledge & Kegan Paul. 1978, p145.

15. The context for this quotation is as follows

Much of the practice of architecture - com¡losition, the ordering of objects as a reflection of the order of tlre world, the perlection of objects, the vision of a future rnade of progress and contintrity - is conceptually inapplicable today, For architecture only exists through the worlds in which it locates itself lf this world inrplies dissociation and destroys unity, architecture will inevitably reflect these phenomena.

54 Gillinn McFe¡rt Lin PhD ArchitccttLre & Urbm Design Thc Univcsity of Adel:ridc The Architecture of Colonisaliott The Concept of Depiction SECTION B-B

Notes to Transference lV

Tra n s I at í o n : D iffe re n ce, Tr a n sfe re n c e, D is p la c e m e nt Transfer : Graft and Corruption

Bernard Tschumi, Architeclure and Disjtutction, Carnbridge, Massachusetts, London, England: MIT Press, 1994,p176.

16. ibid., p176.

Transfer : Graft and Cotuption 17. Jacques Derrida, Disseninatiorts, translated by Barbara Johnson, Chicago: University of Chicago Press, 1081, p355. Gregory L. Uhner, The Object of Post-Critici sm, tn T he A nl i -A e s t he t i c, pp89 -90.

18 Jacques Derrida in Discussion with Christopher Norris, in DeconstrucÍiott II, Dr. C. Andreas, Papadakis, editor, London. New York: St Martin's Press, 1988, p9. l9 Paul Jay, Critical Historicism and the Discipline of Architecture, in Resfrucluring Architectural Theory, p27.

20. ibid.,p27

55 Cillirn lvlcFcrt Lin PhD. Architeclure & Urb:ur Desigrr Thc Univcrsity of Adehidc The Architecture of Colonisatíon The Concept of DepícrÍon SECTION B-B

Notes to Transference V Transferrìng: Idenlìfying Íh e No me Transferríng: Re-presentìng the Fìgure, Body and Soul Trønsferríng:Arch ìtecture, A Conslructíon on Shøky Grou nd

Trø nsferríng: Identify î ng t h e Name 1. Georg Sirnrnel, Essoys on InÍerprelaÍiott in Social Scierrces, translated and eclitecl with an lntroduction by Guy Oakes, Totowa, New Jersey: Rowlnan and Littlefield, 1980, 48-49. See Martin Heidegger, Language, in Poetry, Language, Thought, translated by A. Hofstadter, New York: Harper & Row 1971,p204. See Mark C. Taylor, Deadlines Approaching Architecture, in Restntcturing Architeclural Theory, Marco Diani and Catherine lngraham, editors, Evanston lllinois: Northwestern University Press, 1989, p22.

2. Martin Heidegger, Language, in Poetry, Language, Thought, p204

J. Roland Barthes, The Pleasure of the Text, translated by Richard Miller, New York: Hill and Wang, 1975,p3Q.

4 Jacques Derrida, Signatures, in Mctrgirts of Philosophy, translated, with Additional Notes, by Alan Bass, Great Britain: The Harvester Press, 1982, p329.

5 TLe 'proper narne' alludes to the question of appropriateness and correctness but is not discussed further. Peggy Karnuf, translator, Roundtable on Translation, in Jacques Derrida, The Ear of the Other: Otobiography, Transference, Translation, English edítion edited by Christie McDonald. A translation by Peggy Kamuf of the French edition edited by Claude Lévesque & Christie McDonald., Lincoln and London: University of Nebraska Press, 1985, ppl05-107 and especiallypl06. See also Jacques Derrida, Menrcires for Paul de Man, Derrida, revised edition, translated by Cecile l-indsay, Jonathan Culler, Eduardo Cadava, and Peggy Karnuf, New York: Coltunbia University Press, 1986, 1t47 and in the Introduction Note3 of this Thesis.

6 Jean Barrdrillard, Design and Environrnent, in [ior a CriliEte of the Political Ecorrcnryt of the Srg-n, translated by and with an Introduction by Charles Levin, St Louis, Missouri, Telos Press, 1981, p189.

7 Jacqrres Den'ida, Of Granmtalolog,,, translated by G.C. Spivak, Baltirttorc, Massachusetts: Johns I-lopkins University Prcss, 1976, p89.

8. ibid., pB9

56 Gilli:rn lr,lcFc¡t Lin PhD.Ardriteaure & Urban Dcsigr The Univcsity of Adc'hidc The Architecture of Colonisalion The Concept of Depiclíon SECTION B-B

Notes to Transference V Transferrí ng: Identífyi ng th e Nome Transferring: Re-presenting the Fìgure, Body and Soul Transferring:Archìtecture, A Constructíon on Shøky Ground

9 Edward Said, Criticism between Culture and System, in, The World the TexÍ and the Critic, Great Britain: Vintage, 1991, p201.

10 Chermayeffand Alexander discuss the deceptiveness of naming through which associations are made making general and familiar objects and events that should remain specific. To name a building an apartment, a row house, a single-farnily house, to narne a space as a bedroorn, kitchen, dining rooln, living rooln is to use " ... heavily loaded words that make any number of irrelevant images that spring to mind." What does spring to rnind are the of Eisenman's House VI which Chermayeffand Alexander lnay have pre- empted. They continue stating "...it is hardly helpful to continue using in connection with housing problems words that are firrnly anchored in the cultures of days gone by; they can only mislead us in our present search for better solutions. " Serge Chermayeff, Christopher Alexander, Conmturtity and Privacy: Totuard a New Architeclure of Hunnnisnt, Garden City, New York, Anclror Books, 1965, pI49. My thanks to Professor Judith Brine for this idea of referencing. ll G.H.R. Parkinson, editor, Introduction- The Theory of Meaning, London: Oxford University Press, 1968,p3.

12 Ludwi g Wittgen stein, P hi I os ophi ca I I nv es t i gati otts, secon d editi on, translated by G.E.M. Anscombe, New York: The Macmillan Press, 1958, Part 1.43. pp20e-2le. See Richard Schusterman, Ethics and Aesthetics are One: Posmodernism's Ethics of Taste, in After lhe Fufttre: Poslntodern. Tintes attd Places, Gary Shapiro, editor, U.S.A: State University of New York Press, 1990, pp I I 5- I I 6. He cites Wittgenstein as the "greatest postnrodernist philosopher after having authored the most exquisite rnasterpiece of rnoclernist philosophy," of Troclattrs : Logi co-Ph i losophi crrs.

13. ibid., Paft 1.46.21.e t4 F-trrtlrer reading on this is to bc located in Section 2 on Objecls, Scction 3 on ttoffie, nreattirrg ard sigrt, Section 4 on hieroglytlric scri¡lt, alphabet, translation and reality are of'par-ticular interest in the prel)aration for this Thesis. Ludwig Wittgenstein,Traclaltts: Logico-Pltilosopltictts, fbttrtlt inrprcssion, translation by D.F. Pcars and Il.lì. McGttittcss, Introduction by

57 Gillirn lvlcFcnt Lin l)hD.Ardritccttrrc & Urbm Dcsigr The University of Adehide The Architecture of Colonisalion The Concept of Depiction SECTION B-B

Notes to Transference V Tra nsferrí ng: Ide ntify ing t he Name Transferríng: Re-presentìng the Figure, Body and Soul Transferri ng:Arch Ítecture, A Constructìon on Shaky Grou nd

Bertrand Russell, New York, London: Routledge & Kegan Paul, 1969, px. lre2rl

15. G.H.R. Parkinson, Editor, The Theory of Meaning, p3

16 Jacques Derrida, The Supplement of the Copula, in Margits of Philosophy, pp191,193. l7 G.W.F. Hegel, Aesthetics: Lechtres ott Fine Art, Translated by T.M. Knox, Oxford: Oxford University Press, 1975,2:631 and Anthony Yidler, The Architectural Uncarury: Essays in the lulodem Unhontely, Cambridge, Massachusetts: The MIT Press, 1992, pp123,238.

Transferring: Re-presentíng the Fìgure, Body and Soul. 18. Vidler refers to the projects of Coop Himmelblau, who maintain that theory should be silenced (Wolf Prix in Theory and Experintentation states '\ve should put down tlreory lest architecture vanish.") and, that their "experiments into design [are] a kind of automatic writing." See Coop Hirnmelblau's presentation in Theory and Experintentatiort, Dr. Andreas, C. Papadakis, editor, Theory and Experintetúaliott, l¡ndon: Acaderny Editions, New York: St Martin's Press, 1993, p149. The latter quotation is from an interview with Alvin Boyarsky in Anthony Vidler, Architecture Dismembered, The Architectural Uncanny: Essays in the Modem Urthonrcly,p75. t9 Anthony Vidler, Architecture Dismembered, The A rchi lectu ral U r rcanny : Essays in the Modern Unhontely p75.

20. Criticisrn looks beyond "fidelity and license" in translation. Reproduction seeks out fidelity withotrt freedoln. See Walter Benjamin, The Task of the

Parisiens in Illunünalioru,lntroduction by Dr. Hannah Arendt, English translation O 1968 by Harcourl, Brace and World Inc., Great llritain,2nd Irnpression: Fontana, 1979, p78.

2l Vidler quotes Wölflìin ftont Retmissatrce atd Boroqtte in Antlrony Vidler, I-osing Face. in'fhe Arcltileclural Uttcantt¡': Essajr5 itt lhe Mulen¡ Urrlrcntellt, pp86-87,236n2.

58 Cillirn McFent Lin PhD.Ardritecture & Urban Desigtr 'l'hc Univcrsity of Adehide The Architecture of Colonisølion The Concept of Depiction SECTION B-B

Notes to Transference V Transfenìng: Identìfying the Name Transferring: Re-presentíng the Fìgure, Body and Soul Transferrîng:ArchitecÍure, A Construction on Shaky Ground

22. ibid., p86-7,236n3. Vidler cites Geoffiey Scott, Architecture of Hunnnisnt.

¿) Edward Casey, Place. Form, and ldentit)¡ in Postmodern Architecture and Plrilosophy: Derrida av¿c Moorg Mies øv¿c Kant, in After the Fuhtre: Postnrcdern Tinrcs and Places, p201. See Paul-Alan Johnson, Architeclural Theory Concepts, Themes and Practices, New York: Van Nostrand Reinhold, 1994, p117.

24. Terry Eagleton, True Illusions: Friedrich Nietzsche in The ldeolog,t of the Aesthetic, Oxford, UI! Cambridge, Mass., 1,991,p253.

25. rbid.,253-254

26. ibid.,p235.

27 ibid., p69. See also Robert McAnulty, Body Troubles, in Strategies irt ArchilecÍural Thinking, John Whiteman, Jeffiey Kipnis and Richard Burdett editors, Strategies in Architectural Thinking, Cambridge, Massachusetts: Ïre

MIT Press, 1992, ppl8l-197 .

28. Marco, Frascari, Morcters of Architechre, U.S.A.: Rowman & Littlefield Publishers, Inc., I 991, p12.

29 ibid, p l23n I

30 ibid, pl23nl

3l Peter Eisenrnan, Architecture as Second Language. in Reslructurittg A rchi teclu ral Theoryt, p7 3.

59 Cilli:ur N4cFc¡t Lin PhD.Ardritc.cttLrc & Urbm Desigr 'I'he University of Aclc'hidc' The Architecture of Cobnisalion The Concept of Depictìon SECTION B-B

Notes to Transfcrence V Transferri ng: I dentífy ing t h e Name Transferríng: Re-presenting the Figure, Body and Soul Transferríng:Archìtecture, A Constructìon on Shaky Ground

3L ibid., pl 07,237n4. The tenn 'paraarchitechtre ' is coined by Vidler in response to the neologism 'paraeslhesllc' which describes an aesthetic 'hot content to remain within the area defines as aesthetic." Tltis quotation cotnes from David Carroll tn Paraesthetics: Foucault, Lyorard Deruida, New York: Metheun, 1987, pxiv. and is also cited in Anthony Vidler, The Architechtal Uncanny: Essays in the Modem Unhontely.

33. ibid., p69

34. ibid., p69

Transferring:Architecture, A Construction on Shoky Ground 35. Terry Eagleton, From the Polis to Postlnodernism,in The ldeolog,t of the Aesthetic, Oxford, U.K. and Cambridge, Massachusetts, U.S.A.: Basil Blackwell, p374.

36 Deconstruction at the Tate Gallery in Deconstruction in Architecture, edited by Andreas C. Papadakis, London: Architectural Design, 1988, p6.

37 See The Architecture of Colonisation, Chapter Ii, Architecture as ldiom: The Otherwise of Differertce,Repetilion, Both/And, Sante, p28 and Note22 of this Thesis.

38 The reference is made generally to Kaplicky's work as presented by Marrin Pawley, in Future Syslents: The Story of Tontorrow, London: Phaidon, 1993

39 British ArchiÍeclure, Dr. Andreas, C. Papadakis, editor, London: Acaderny Edition s, New York: St. Martin's Press, 1982, p1t96-97 .

40 See, Martin Pawley, Fulure Systenr: The Story of Tontorrow.

4l See, Bri l ish A rchi lecÍut'e, pp96-97 .

60 Gilli:rn McFeat Lin PhD.Ardritc

Notes to Transference V Transløtíon. lYhere does architecture site itse$? As the object referent or as tlte expressìon of the object.

Translation. lYhere does urchitecture site itse$? As the object referent or as the eupres sìon of t h e obj ect. l. Andrew Benjamin, Eisennran and the Housing of Tradition and Jacques InD with Deconstntclion Il, Dr. C. Andreas Papadakis, edìtor, London. New York: St Martin's Press, 1988, pp63,11

2. Patrl-Alan Johnson, Archilectural Theory ConcepÍs, Thentes and Practices, New York: Van Nostrand Reinh old, 1994, p44. Deconstmctivism in architecture can be thotrght of as a fonn of constructivism with attitude.

J Jacques Derrida, Letter to a Japanese Friend translated by David Wood and Andrew Benjamin, in David Wood, and Robert Bernasconi, editors, Derrida and Dffiratrce, Evanston, lllinois: Nofihwestern University Press, 1988, pl. See Mark Wigley, The Translation of Architecture, The Production of Babel. in Strategies in ArchiÍectural Thinking, John Whiternan, Jeffiey Kipnis and Richard Burdett editors, Strategies in Architechtral Thinkittg, Canbridge, Massachusetts: The MIT Press, 7992, pp250-251.

4 Jacques Derrida, Signatures, Margins of Philosophy, translated, with Additional Notes, by Alan Bass, Great Britain: The Harvester Press, 1982, p329.

5 Deconstruction is neither analysis nor critique. It dismantles without aim but as Wigley qualifies, "lt is not strategic, It has no measured aitn, which is not to say it is aintless. It moves very precisely, but not to sorne end. It is not a project.lt is neither an application of sornething, nor an addition to somethilrg. It is at best a strange structural condition, an event. It is a dis¡rlacernent of structure that cannot be evaluated in traditional terms because it fnlstrates the logic of grounding and testing. It is precisely that which is necessary to structure but evades structural analysis (and all analysis is structural); it is the breakdown in structure that is the possibility of structure." Mark Wigley, Thc Translation ol'Architecture. The Prodrrction of Babel. in Strategies in Architeclttral Thitúing,1t253.

6 Parrl-Alan Johnson, Archilectut'al Tlrcor¡t Cortce¡tls, T'hetncs atd Praclices, p45.

7. ibid., p-l-l 6l Cillirn McFent Lin PhD ArchitcctrLre & Urb:ur Design The Uni versity ol' Adc'lridc The Architecture of Colonisation The Concept of Depiction SECTION B-B

Notes to Transference VI Translatíon. Vl/here does architecture site ìtse$? As the object referent or as the expression of the object.

Trønsfer: Architecture a DìsAppoínting Name 8. Deleuze and Guattari pose that:

Everything is a rnachine. Celestial machines, the stars the rainbows in the sky, alpine machines - [and] There is no such thing as either man or nature now, only a process that produces the one within the other and couples the machines together. Producing machines, desiring-machines everywhere, schizophrenic machines.

They also say that "Desiring-machines are binary machines, obeying a binary law or set of rules governing associations: one machine is always coupled with another. The productive synthesis, the production of production, ..." A machine is defined by Deleuze and Guattari as "...producing something, and is capable of explaining the process theoretically. Sornething is produced: the effects of a machine, not mere metaplrors." Deleuze and Guattari elaborate on the machine of metaphors stating: 'But a connection with another machine is always established along a tranwerse path, so that one machine intermpts the current of the otlrer or "sees" its own current interrupted." Glles Deleuze, and Félix Guattari, Anti-Oedipus: Capitalisnt and Schizophrenia, second pnnting, New York: Viking Press, 1982, ppl-8, especially pp2,5,6,42. For a substantive critique on the ideology of desiring machines, see John Johnston, Ideology. Representation. Schizophrenia, in Afler the Future: PosÍntdern Times and Places, Gary Shapiro, editor, U.S.A: State University of New York Press, 7990, pp78-88.

9. Jeffiey Kipnis, 'I-hnttclr fn tr\/ knnt^rl e r7oø a .'-it ttoi in ho i""rto.l nerrcrfhclecc flre cqcP is becomin o .^¡cll-l¡nnrx¡r in Reslruchtirtg Archileclural Theory, Marco Diani, and Catherine Ingraham, editors, Evanston lllinois: Nofthwestern Universìty Press, 1989, pp 106- l 13.

t0 Marco Frascari, Motsters of Architecfitre, U.S.A.: Rownran & Littlefielcl Publishers, Inc., 1991, pl 15. For a fascinatilrg exposé on lnachines as "branclres of architecture", ofl war and peace front hodonrclers, lorloises and scorpiotrcs see Vitruvius, llook X, Machines and lnr¡rlelnents in The Ten Books on Archilecltte, translated by Morris l-licky Morgan, Ncw York, New York: Dover Publications lttc., 1960, p3 l9 and pp28l-3 I 9.

62 Cillian McFe¡t Lin PhD.Ardriteaurc & Urbu Dcsign The University of Adchidc The Architecture of Colonisation The Concept of Depiction SECTION B.B

Notes to Transference VI Trønslation. lYhere does archítecture síte itselfl As the object referent or as the expressíon of the obiect.

tl Ludwig Wittgenstein, Philosophical Invesligatiotts, Part 1.193, 194, second edition, translated by G.E.M. Anscombe, New York: The Macmillan Press, 1958, pp77 e-78e.

t2. Edward Said, Criticism between Culture and Systern, in, The World the TexÍ attd the Critic, Great Britain: Vintage, 1991, p209.

13 Ludwig Wittgenstein, Philosophical hwesÍigations, Part 1.37, 193, pp37, 77e-78e.

14. See Miclrel Foucault, Discipline and Punish: The Birth of the Prisott, translated by Alan Sheridan, New York: Vintage, 1979, p 202. See Mafiin Jay, [n the Empire of the Gaze, in Foucault: A Cr¡t¡cal Reader, edited by David Couzens Hoy, editor, New York, U.S.A.: Basil Blackwell Inc., 1989, pp19l-192, 203n90.

15. Ludwig Wittgenstein, Philosophical Investigatiorc,Partl.3T,pl 8e.

t6. Gilles Deleuze and Félix Guattari, Anti-Oedipus: Capitalisnt and Schizophrenia, p76.

17. Mark Wigley, Á r¡lr if anf r r ro l Th anr., and the l-.ioìo nf flanracantqii¡n Jacc¡ues Derrida and Architechtre: The Decotrtructive Possibilities of Architectural Discourse, A thesis subrnitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in Architecture, University of Auckland, 1986, pl l.

t8 The reticule connects the network of ideas into an architectonic construct. The concept of diagonalisrn acce¡tts opposition and multivalence as valid. Centres and peripheries are judged as metaphors. James Bird, Centrolily and Cities, London, Henley and Boston: Routledge & Kegan Paul, 1977, ppfigZ,lOfl I 3,17,18,22,25,42-3,52,55-6,64,66,80,107 ,119,1 30, I 36,1 38 I 43 ,l 46,1tg.25 ,l 47 ,l 49,1 5 I ,l 5 5-7 .

63 Cillian McFert Lin l)hD ArdritectrLre & Urbor Design 'l-hc. University of Adcl:ridc The Architecture of Colonisation The Concept of Depíctìon SECTION B-B

Notes to Transference VII Tro n sfe rs : Post m o d er n D e- C o n str tt ct ì o n s s n d/or C o I I o g e

Tronsfers: Postmodern De-Constructions/Col lage l. Since Kant, the perception of tirne and space as inseparable, has been joined to the idea of narration or a narrative. Serurett suggests that places resonate as narrative spaces for 'înfolding experience". It is in this sense that the word is applied in the Thesis in which a narrative relates a history as well as experience (unfolding) of the present. See Richard Sennett, The Cotscience of the Eye: The Desigrt and Social Life of Cities, London, Boston: Faber & Faber, 1993,pp190-192,213. For a discussion on narrative as opposed to literality, see Antlrony C. Antoniades, Poetics of Architecfure: Theory of Design, U.S.A.: Van Nostrand Reinhold, 1992, pp706,77 5.

2. Bernard Tschumi, Architecture and DisjtntcÍiorl, Cambridge, Massachusetts, London, England: MIT Press, 1994,pp167-168. Tan presents an interesting viewpoint on shape; that it is the relationship between lines or the point of intersection that is interesting rather than the "end-point specifications of discrete shapes." Milton Tan, Savins What It 1s \Mlrat It Is [.ike - Describing Shapes Using Line Relationships in Malcolm McCullough, William J. Mitchell, Patrick Purcell, editors, The Electronic Desigrt Sndio. Architectural Knowledge and Media in the Contpufer Era, Cambridge, Massachusetts, L,ondo n, England: The MIT Press. 1 990, p202.

J Bernard Tschumi, Archilecture ond Disjurtcîiort, pp1 67-1 68

4 ibid., p I 68.

5 "A beginning is a displacernent into the present; a place of beginning is where one can make this displacement happen." Richard Sennett, The Cotscience of the Eye: The Desigrt and Social Life of Cilies,¡spl95-196.

6 Antlrony C. Antoniades, Poelics of Architechtre: Theory of Design, 1l1t32,155,215.

61 Gillirn McFert Lin PhD Ardlitc'cture & Urbm Dcsigl Thc. University of Adel¡idc The Architecture of Colonisalion The Concept of Depiction SECTION B-B

Notes to Transference VII Transfers: Postmoclern De-Constructions and/or Collage 7 Postmodern collage as a form of eclecticism posits plural models and hybridity. According to Brawne, it distinguishes itself from nineteenth century eclecticism. He states: "\Mhat is strggested is a kind of eclecticism, except that unlike its nineteenth-century version it is not a question of choosing between alternative models but almost simultaneously using a number of these; the new model is itself a plurality of possible rnodels. This is perhaps a parallel to the idea of pluralisrn in society in general." Michael Brawne, Front Idea to Building: Issues in Architecture, Ctreat Britain: Butterworth,p96.

8 Gregory L. Ulmer, The Object of Post-Criticism,in The Anti-Aesthelic,Hal Foster, ed. The Anti-Aesthetic: Essays on PosÍntdent Culture, Port Townsend, Washington: Bay Press, 1983, pp84-85,88-89.

9. On the concept of rendering, see The ArchitecÍure of Colonisaliort, Chapter 7, Difference liii: Renderine. Resurfacine pp4I-43 of this Thesis

10 Gregory L. Uhner, The Object of Post-Criticism,in The AnÍi-Aesthetic,p84.

1t ibid., p84.

12. Colin Rowe and Robert Slutzsky, Transparency: Literal and Phenomenal, in The MalhennÍics of the ldeal Villa and Other Essays, fourth printing, Canrbridge, Massachusetts, and London, England: The MIT Press. 1985, p170. See, K. Michael Hays, Reproduction and Negation: The Cognitive Project of Humanist Modernism, in ArchiteclureReproducÍiott, ppl56-157. See Christian Hubert, In to Michael tn

A r c hi te c tu r e Repr od u c t i ot t, pp27 9 -220 l3 Michael Brawne, From ldea Ío Building: Issues in Architeclure, pp94-97, especially p96. t4 John MacArtlrur, The Merzbau and Collage and the City, in, Knowledge and/or/of Experiettce: The Theorll of Space in ArÍ cutd Archileclttre, edited by John MacArthur, Queensland: Institute of Modenr Art, 1993, pp 109-l 23, and particularly p I 19.

15. ibid., pllT

65 Gillinn McFe¡t Lin PhD Ardritrcturc & Urbu Dcsigrr 'l'lrc University of Adehitlc The Architecture of Colonisalion The Concept of Depîctíon SECTION B-B

Notes to Transference Vll Transfers: Postmodern De-Constructions a nd/or Collage t6 Discussing collage as an architectural strategy, Brawne suggests that "lts freedom and emphasis on plurality may have weakened its everyday rrsefirlness." Michael Brawne, From ldea lo Building: Issues in Architeclure p105.

17. Gregory L. Uhner, The Object of Post-Criticism, in The Anti-AesÍheÍic, p86

l8 Mark Wigley, Architecture and Deconslnrclion: Derrida's Haunl, second printing, Cambridge, Massachusetts, London, England: The MIT Press, 1993, p27.

19. rbid.,p27

20 Clrarles Jencks, Current Architecture, with a Contribution by I(illiant Chaitkin, London: Academy Editions, 1982,p179. The joining ofthe idea of the "double entendre" and transparence comes from Colin Rowe, with Robert Slutzsky, Transparency: Literal and Phenomenal, in Colin Rowe, The lu[athenntics of the ldeal Villa a¡d Other Essays, p161.

21. Anthony C. Artoniades, Poetics of Architecture: TheorV of Desigtt,ppl75-180

22 Clrarles Jencks, Curuent Architecture, with a Contribution by lülliant Chaitkin p185, and Charles Jencks, The Langrage of Poslntodern Architecfitre, The Language of Postmodern Architecture, New York: Rtzzoli, 1991, p94.

¿) Vidler cites Simmel. Anthony Vidler, Losing Face, in The ArchiÍectural Uncanny: Essays in Íhe Modem Urthontely, Cambridge, Massachusetts: The MIT Press, 1992, pp88-89.

24 ibid., p88.

25 Charles Jencks, Cttrretú Architeclure, wilh a Contribuliort by I'I/illiant Chaitkin, p I 85.

26 SITE, a New York grou¡), was fuunded in 1970. They prornotecl what was tenned a De-architecture that nroved ÍÌonr fonlral concerns to thosc ol' conrmunicating inforrrration and cornrnentary. ibid., p321.8. Sce also Aaroll Betsky, I/iolaled Perfecliort: Archileclure attd llte [iragntettlaliott of the Moclern, New York: Rizzoli, 1990,p76.

66 Gillinn McFe¡t Lin PhD Ardritectrre & Urbm Desigr Thc University oF Adelride The Architecture of Colonisation The Concept of Depictìon SECTION B-B

Notes to Transference VII

Tr a n sfer s : Post mo d er n D e-C o n st r u ctí o n s a n d,/o r C o I I age 27 Charles Jencks, Current Architecture, with a Contribufion by LI/illiant

Chaitkin, pp I 79, 181 .

28. Jacqtres Derrida, Mentoires for Paul de Man, revised edition, translated by Cecile Lindsay, Jonathan Culler, Eduardo Cadava, and Peggy Karnuf, New York: Colurnbia University Press, 1986, 1tp72-7 4.

29 Charles Jencks, Current Architecture, with a Contribution by Williant Choitkin, pp182- 183.

30 Edward Casey, Place. Fonn. and Identity in Postmodern Architecture and Philosophy: Derrida avec Moore. Mies av¿c Kant, in After rhe Fuhtre: Poslnrcdent Tintes and Places, Shapiro, Gury, editor, U.S.A: State University of New York Press, 1990,p206.

31 Christopher Norris, Deconstruction. Postmodernism and Philosophy, in David Wood, editor, Derrida: A Crilical Reader, Oxford, U.K. and Cambridge, U.S.A., 1992,1t170.

JL The concept of rendering is discussed in The Architeclure of Colonisatiott, Chapter I Difference liii. Rendering. Resurfacing Architecture, in this Thesis.

67 Gilli:ur McFert Lin PhD.Ardlitccturc & Urbm Design 1-hc Univcrsity of Adel:ride Notes to: COLONz

a a COLON

o a

68 Gillian McFeat Lin PhD.Ardritæturo & IJrban Design The Universily of Adelaide Notes to z COLON:

: Colon : colu m n : col: col: 1. For definitions of the Interval and its usefulness in broaching the subject of space, see the Glossary in this Thesis.

2. Gilles Deleuze, Repetition and Dffirence, translated by Paul Patton, New York: Columbia University Press, 1994,p22.

J "God is a circle whose centre is everywhere and whose circumference is nowhere." Empedocles, 5B.C. The Penguin Dictionary of Quotations, Great Britain: Penguin Books, L976,155:20. See the Glossary in this Thesis for definitions of the Interval.

4 Douglas Graf translates a "series of stakes" as a plane, '\talli to vallum, from which the word 'wall' is derived." Douglas Gral Strange Siblings - Being and No-Thimess, tn Strategies in Architectural Thinking, Cambridge Massachusetts, and London England, MIT Press, I992,pp95-96.

5 Openings act as planar elements that break into a wall. The following extract from Beatriz Colomina, is in the context of the dispute between Le Corbusier and his mentor Auguste Perret regarding the use of the horizontal window (fenêtre en longueur) by Le Corbusier. It disallows according to Perret, the "impression of complete space". Le Corbusier argued that the horizontal window allowed a "categorical view" in the same way as a Streeton painting intends, condensed, and intensifuing the experience. Beatnz Colomina, Privacy and Publicity: Múern Architecture as Mass Media, Cambridge, Massachusetts, London, England: MIT Press, 199 4, ppl29 -130, 297,31r.

6 Jacques Derrida, Margins of Philosophy, translated, with Additional Notes, by Alan Bass, Ctreat Britain: The Harvester Press, L982,pp59,220a.

7 The word is used in the context of decomposition and dissembling, taking apart for scrutiny and re-assembly.

8 "Man is a rope stretched between the animal and superman - a rope over an abyss." from Thus Spake Zaruthustra, 4. Cited in The Philosophy of Nietzsche, edited and with an Introduction by Geoffiey Clive, New York: Mentor Books, 1965, p434. All translations have come from the Oscar Levy edition. Titles and volume numbers, heading and footnotes, and the names of the translators come from this edition.

9. See Glossary in this Thesis for the uses of the tenns 'gap' and 'lnterval'.

69 Gillian McFad Lin PhD.Ardritectu¡e & lJrban Desigrr The LJniversity of Adeleide Notes to z COLONz

10. Jacques Derrida, Crr'¿mme and Number tn Margiru of Philosophy, p59

11. "Frontiqpiece" is a portmanteau word accurately bringing architecture and text together. The Concise Oxford Dictionary, New Edition, 1979 and Roget's Thesaurus, New Edition, Great Britain: Longman.

t2. Ann Bergren, Architecture Gender Philosophy rn Strategies in Architectural- Thinking, Cambridge Massachusetts, and London England, MIT Press,1992, p22. Archê refers to the 'first place, fust principle, sovereipty, authority". See also Jacques Derrida, Différance, in Margirs of Philosophy, p6n6. In the moment for beginning is lodged the combined "... values of a founding principle and of government by a controlling principle (eg. archeology, monarchy)."

13 The word'formal' is double-edged. It is used to highlight conforming with protocols and formalities and in its architectural sense which addresses formation.

14. Jacques Derrida, Diftrance, Margins of Philosophy, p.5

Colon: 15. Qemmenting on Postmodernism, Derrida for one has said "...4s if yet again one wished to put order into a linear succession, to periodise, distinguish between the before and the after, limit the risks of rwersibility or repetition, of transformation or permutation ..." Hence the interesting use of the word 'maintenant' which includes presence in the meaning of the present. See Geoftey Bennington, The Rationality of Postmodern Relativity n Philosophy & Architeclure, Joumal of Philosophy &. the Visual Arts, New York: St. Martin's Press, 1990, p25.

16 Jacques Derrida, Margins of Philosophy, p98n27. Derrida quotes from Hegel, Aesthetics, Í\p6a5.

t7. Primary source: Jacques Derrida, Glas, translated by John P. Leavy, Jr., in John P. Leavy, Jr., Glassary, Lincoln: University of Nebraska Press, 1985, ppI4-21,17. The secondary source is located in Mark Wigley, The Architecture of Deconstructiott: Derrida's Haunt, U.S.A.: MIT l'ress, 1993, p235n54. See also Douglas Graf, Strange Siblings - Being and No-Thinness, in Strategies in Architectural Thinking, pp95-96.

18. The primary source comes f¡om S. Ewen, The Political Elements of Style, in Precis: Beyond Style. Journal of the Graduate School of Architecture and Planning, edited by Jeffiey Bucholz and Daniel B. Monk, Columbia University, Volume 5, Fall. The secondary source is found in Paul-Alan Johnson, Archiîectural Theory Concepts, Thenrcs and Practices, New York: Van Nostrand Reinhold, 1994, pp407-408.

70 cilliarì McFed Lin PhD.Architocture & l-hban Design The lJnivusity of Adelaide Notes to z COLONI

:Colon: 19. Anthony C. Antoniades, Poetics of Architecture: Theory of Design, U.S.A.: Van Nostrand Reinhol d, 1992, p32.

20 Jennifer Bloomer, Architecture and the Text: The (S)crypts of Joyce and Piranesi,New Haven and London: Yale University Press, 1993,p97.

2t. D.I. Agrest, Architecture from Without: Body, Logic and Sex, in Architecture from Without: Theoretical Framings for a Critical Practice, U.S.A.: MIT Press, 1993, pI77. Rudolph Wittkower, Appendix [V Part V: Post Renaissance Proportioning - Dilemmas and Possibilities, in Architectural Principles and the Age of Humanism, Great Britain: Academy Editions, 1988, ppl54-155. The Enlightenment theory of complementarity reinforces the idea of difference and zuperiority between men and women. An interpretation of the discovery that women's skulls are in fact larger in proportion to their bodies was interpreted not as the possession of a zuperior intellect but as incomplete growth. See Margaret WertheiA þthagoras' Trousers: Gd, Physics and the Gender Vfars, London: Fourth Estate, L997, p148.

22 The idea of digestion represented in terms of process and procedure comes from Boden although she uses the analogy in relation to the biological paradigm and conrputational theory. See Margaret A., Boden, editor, The Philosophy of Artificial Life, NewYorþ U.S.: Oxford University Press, 1996, p374.

L5 Beatnz Colomina, Privacy and Publ¡city: Múern Architecture as Mass Media,p5.

24 The juxtaposing ofthe words 'po$' and 'boundary' is deliberate. The word that joins them is 'pylon' as located in the Oxford Concise Dictionary. The link between them is in their conjoining as well as the employment of thematic strategies erplored in this Thesis. The word 'parallax' also alludes to the two.edged disposition of any idea. In this Thesis, parallax refers to the disjunction (confrontation of oppositional positions) which occurs when a viewpoint or paradigm shifts.

25 Mark Wigley, The Architecture of Deconstruction: Deruida's Haunt, p126.

26 Frederic Jameson, Postntdertúsnt, or, The Cultural Logic of Late Capitalisnt, London, New York: Verso, 1991, p363. Homi K. Bhabha, The Location of Culture, New York and London: Routledge, 1994, p220.

27 Michael Benedikt, Deconstntcling the Kintbell: An Essay on Meaning and Architecture, New York: Sites Books, 1991,p1 17n54.

7T Gillian McFed Lin PhD.Architæture & I-Irban Design The lJnivcrsity of Adelaide Notes to z COLON:

28. Frank Lloyd Wright, The Cardboard House n The Future of Architecture, New York and Scarborough, Ontario: New American Library, 1981, p143. The secondary soruce is located in Mark Wigley, frontispiece, The Architecture ofDeconstruction: Derrida's Haunt.

29 Jennifer Bloomer, Architecture and the Text: The (S)crypts of Joyce and P irane s i, pp18,20,I9 6.

: Colo n : colu mn : colon ne: col : 30. Umberto Eco, A Componential Analysis ofthe Architectural Sign/Column/, in, Signs, Synúols, and Architecture, Geoftey Broadbent, Richard Bunt, Charles Jencks, Chichester, New Yorh Brisbane, Toronto: John Wiley & Sons,1980,p226.

31 The tradition of metaphysics is one of grounding by subduing. Its expressions have been the figurative identification of male female differences, a tradition transferred onto architecture in the work of Kant, Rousseau and Derrida. Wigley has said that 'Metaphysics is a determination of place that atteryts to domesticate the other, as it domesticates woman, rendering whatever it domesticates "feminine." and '"The phallocentrism of metaphysics is not that of a tower that excludes, but that of a house that includes." An extension of this is to thjnk of the notion of 'place' as always secluded. Mark Wigley, The Architecture of Decorstruction: Derrida's Haunt, ppl36,245n41.

32 Francis D.I( Ching, Architecture: Form, Space, Order, New York: Van Nostrand Reinheld, L979,pp142-145. On the "collective wish" see Susan Buck-Morss, The Dialectics of Seeing: I(alter Benjamin and the Arcades Project, sixth printing, U.S.A.: MIT Press, 1995, p115.

JJ Joseph Rykwert, On Adam's House in Paradise: The Idea of the Primitive Hut in Architectural History, U.S.A.: MIT hess, 1981, Appendix L,p209. Countering this association, Memmo rejected the theory of Greek proportions based on the human body or trees. See Alberto Perez-Gome4 Architecture and the Crisis of Modern Science, Cambridge, Massachusetts: MIT, 1983, pp254,362n37.

34 Joseph Rykwert, On Adam's House in Paradise: The ldea of the Primitive Hut in Architechtral History, p8I.

35. ibid., Appendix I p209.

36 T.M. Ifuox, translator, Hegel's Aesthetics: Lectures on Fine Art, vol.ll, Oxford: Clarendon Press, 1974, pp666-668. Peggy Deamer, Subject. Object. TCÉ-in Drawing Building Text, edtted by Andrea Kahn, New York: Princeton Architectural Press, 1991, p28.

72 Gillian McFea Lin PhD.Architeduro & thbar Design The lJniversity of Adelaide Notes to z COLON:

37 Rudolf Wittkower, Architectural Principles in the Age of Hunnnism, p42

38 ibid.,p42

39 ibid.,pp4L-42.

40 ibid., p4I

4t Agrest quotes from Filarete, Treatise on Architecture (1461-1463), translated and with an Introduction and Notes by John R Spencer (New Haven: Yale University Press, 1965), plZ. Diana I. Agrest, in Architecture from Without: Body, Logic. and Sex, tn Architecture from LTithout: Theoretical Framings þr a Critical Practice,pl94nl4.

42. Michael Sorkin, Skyscrapers from A to Z rn Exquisite Corpse: lVriting on Buildings, London, New York: Verso, 1991,,p29L

43. ibid.,p29L

44. Michael Benedikt, Deconstructing the Kimbell: An Essay on Meaning and Architecture, pl4.

45. Jose Quetglas, Fear of Glass: The Barcelona Pavilion, in Ar c hi t e c tur e Re p r duc t i on, GuesI Editor, B eatnz Co 1o mina, U. S. A. : Prin ceton Architectural Press, 1 988, ppL9, 136.

46. ibid., p136.

47. ibid., pl36

48. Martin Pawley, Future Systents: The Story of Tonrcrrow, London: Phaidon 1993, pp24,62-63.

49. Lebbeus Woods, Anarchitecture: Architecture is a Political Act,New York: St Martin's Press, 1992,p25.

50. Arthur Siegel, Chicago's Fantous Buildings, second edition, Chicago and London: Chicago University Press, 1974,pp210-211. Diana Agrest, Architectural AnaCram, in Architecture from I|'ithout: Theoretical Framings for a Crifical Practice, pp98-99.

51 Richard Sennett, Flesh and Sto¡rc: The Bdy and the City in llestent Civilization, London & Boston: 1994,p92.

73 Gillian McFed. Lin PhD.Architecture & lJrbm Design The University of Adelaide Notes to: COLON:

52. The references to the Eiffel Tower and the leaning tower of Pisa come from Bill Riseboro, The Story of Western Architecture, Ctteat Britain: The Herbert Press, 1979, p194 and p43 respectively. The art form of bell-ringing at an angle has never been documented!

53. Gtta Monis, Putting up with Paragons: Mdelmaker Kenneth Chomplin gives life to architect's dreams long beþre engineers and constructiott crewsdo. Ilttp://www.virtuflex.com/l'eatures/metropolis/january/¡nirecl media.html

54. AIan J. Plattus, Toward a Post-Analfic Architecture: Recent Work of Ventuú Rauch and Scott Brown. n Thinking the Present: Recent American Architecture, K Michael Hays and Carol Burns, editors, New Yorþ Princeton Architectural Press, 199 0, pp5 5-5 6.

55 Robert Venturi, Complexity and Contradiction in Architecture, second edition London: The Architectural Press, 1977, ppl6,44.

56 For three definitions of irony' see Richard Rorty, Contingency, Irony and Sol idari ty, Cambridge: Cambridge University Press, 1,989, p7 3.

57 A discussion on "spolium" architecture or achitettura di spoglio is found in Marco Frascari, Moraters of Architecture, U.S.A-: Rowan & Littlefield, Inc., 1991, pp22-23. Frascari would disagree with the zuggestion of transportability in understanding buildings as cultural texts. He $ates: '"This is not an architecture of prefabricated romantic ruins, or of postmodem 'lnstant history," but it is a way of producing architecture as the ¿ssimilation of prior architectural artifacts." Further he adds "..pafüally or totally composed of elements and fragments taken, either actually or conceptually, from preexisting buildings produced in other times or by other cultures." See also Robert Venturi, Complexity and Contradiction in Architecture, p44.

58 Andrew Benjamin, Eisenman and the Housing Tradition,in Decorstruction II, edrted by Andreas C. Papadakis, Great Britain: Architectural Design, 1989, p65.

59. C. Thomas Mitchell, Design Philosophies Since Industrialization, in Redefining Designing: Front Form to Experience, New York: Van Nostrand Reinhold, pp24-26.

60. Irony illustrated: Firstly, by labeling the house not with a name but by the very type whose function is under attack and secondly, by nurnbering the object thus fixing and categorising it.

61 Gilles Deleuze and Félix Guattari, Anti Oediptts: Capitalisnt and Schizophrenia, New York: The Viking Press, 1972,p8.

74 Gillia¡r McFcsf. Lin PhD.Architecturo & IJrbæ Desip The lJnivershy of Adelaide Notes to z COLONz

62 Rudolph Wittkower,Architectural Principles and the Age of Humanism,p4l

63 Gisela Richter, A Handbook of Greek Art: A Survey of the Visual Arts of Ancient Greece, London: Phaidon, 1974,p45.

64 Cecilia Ng, Raising the House Post and Feeding the Husband-Givers: The , tn Inside Austranesian Houses: Perspectives on Domestic Design for Living, James Fo4 editor, Canberra: ANU Printing Service, 1993,p127.

65 Joseph Rykwert, On Adam's House in Paradise: The ldea of the Primitive Hut in Architectural History, p117. Adam had a first wife called Lillith. She was e4pelled from the Garden of Eden for her vampirish tendencies.

66 Jennifer Bloomer directs the reader to "Sin-build' which has an homophonous connection with sinnbild, the fürman word for emblem. See, Jennifer Bloomer, Architecture and the Text: The (S)crypts of Joyce and Piranesi, pp37,166.

67 Richard Sennett, Flesh and Stone: The Bdy and the City tn I|'estern Civilisation, p34.

zC olo n : C olu m b u s : co lo n ìs atìo n : colere : 68. Marshall Sahlins, Culture and Practical Reason, Chicago: Chicago University Press, l976,p2ll and Homi I( Bhabha, The Location of Culture, p37.

69 Michael Benedikt, Deconstructing the Kimbell: An Essay on Meaning and Architecture, p32.

70. Mike Gane, Baudrillard Live: Selected Interviews, London and New York: Routledge, L993, ppl32,I7 5,193,19 6.

7t Jennifer Bloomer, Tabbles of Bower, in Decorutructiott and the Visual Arts Art, Media Architecture, Peter Brunette and David Wills, eds. U.S.A.: Cambridge University Press, L994, p236.

72. Apollo represents order and construction while his nemesis Dionysus, the god of wine and drunkenness, represents chaos and disrepair. Greek Mythologt, in Felix Guirand's text translated Delanos Ames from Mythologie Général Larousse, first published in 1935 by Augé, Gllon, Hollier-Larousse, Moreau et Cie, London: Paul Hamlyn,1963, p39. cf

73 Jacques Derrida, Ellipsis, in Writing and Diference, translated with Introduction and additional notes by Alan Bass, London and Henley Routledge & Kegan Paul, 1978,p297.

75 Gillian McFe.d Lin PhD.fuchitætu¡e & lJrbao Design The tlniversity of Adelaide Notes to z COLONz

74. Mitchell quotes from Robert Hughes, The Shock of the ilew, New York: Alfred Ifuopf L987, p165. C. Thomas Mitchell, Redefining Designing: From Form to Experience, pp12,27.

75. David Clarke, Frank Lloyd Wright and the Laffer Curve, in The Architecture of Alienation, New Brunswick (U.S.A.) and London (U.Il): Transaction Publishers, 1994, pI65. Also in C. Thomas Mitchell, who quotes from Clarke, C. Thomas Mitchelt Redefining Designing: From Form to Experience, p32.

'.The Space Between: 76. Fallow-centric: this is my concocted word which uncovers the potential of untapped ideas lying fallow and ignored, alluding to other ways of thinking which are perhaps inconveniently and uncomfortably unconventional. This concoction is not perverse. It sems from the deep-rooted association between gender, Platonic philosophy and architecture. It also connotes waiting and anticipation.

77. Ann Bergren, Architecture Gerider Philosophy, rn Strategies in Architectural Thinking, ppl638-39.

78. "Kant repeatedly associates the figure of the woman with the superficiality of matenal ornament, as the seductions of representation that distract reason, while the male is associated with the supposedpenetration of reason to the infinite depth sf immaterial ideas. For both Kant and Rousseau, woman is the figure of dispossession of the authority of immediate expression by the mediations of representation. She is the double figure: the paradigm of nature when domesticated in the house and the paradigm of alienation from nature when outside the house, untamed." See Mark Wigley, The Architecture of Decorstruction: Derrida's Haunt, pp135,245n35. The contribution that women have made to architectu¡e has historically, been played down. One suggestion for this is the equating of 'great' architecture with the notion of the signature of the building which would not tolerate such association with the feminine. Hence, the Barcelona Pavilion at that time, could not have been seen to be a collaborative effort between Mies and Lily Reich. Only now are women like Eileen Gray and Marion Mahoney Griffin given due credit in their own right.

79 Mark Wigley, The Architecture of Deconstruction: Derrida's Haunt, pp136,172.

76 Gi[ian McFed Lin PhD.Aròitecturo & Ilban Design The University of Adclaide Notes to z COLONz

80 Bloomer says that '1.. to write the feminine" is not simply about gender but about the difference and unequal natrue ofthe'þhallocentric discourse" of westem architecture. See Jennifer Bloomer, Allegory and the Possibility of Architecture, Architecture and the Text: The (S)crypts of Joyce and Piranesi, Note 13, p198, 166. This appears elsewhere in Jennifer Bloomer in part as A

tn Strategies in Architechtral Thinking, p66n96.

81. Bricolage summarises the Po$modern condition. See the Glossary in this Thesis. Other definitions for the term are found in the following works: Jacques Derrida, llriting and Diference, p285. Emst Behler, Confrontatioru: Derrida, Heidegger, Nietzsche, translated with an afterword by Steven Taubeneck, Stanford: Califomia, Stanford University Press, 199I, p7. Claude Lévi-Strauss, The Savage Mind, Chicago: University of Chicago Press: 1966, pl7. Gilles Deleuze and Félix Guattari, Anti Oedipus: Capitalism and Schizophrenia, p7. See also Michael Brawne, From ldea to Building: Issues in Archi te ctur e, Ctreat Britain: Butterworth, 1992, p9 5 .

82. Michel Foucault, Preface, The Order of Things: An Archaeologt of the Human Sciences, Great Britain: Tavistock Publications, 1970, pxv.

83 Wolfe refers to the Venturi's idea the "messy vitality'' of Main Street USA from which cues from vemacular architecture in the second half of the twentieth century, may provide the both-and contradictions of '?ichrless". Tom Wolfe, From Bauhaus to Our House, London: Jonathan Cape, 1982, p104.

77 Gillian McFest Lin PhD.Architecture & lJrban Design Tho [Jniversity of Adeleide The Colonisation of A(a)rchitecture TET DEPICTION OX'THT', CONCEPT T\e Colonisation of A(aþrchitecture of compnses two chapters titled The Representation of lllusion and Depiction. Traits inherent to A(a)rchitecture ¿¡e s¡¿mined in terms of representation and depiction ofthe concept.

Gillisr McFe.d Lin PhD. Arúitecture & l-hbm Desig¡ Tho LLrivcrsity of Adelaide Tü¡e Colon is ali o n of A(a)rchitecture The Depíction of the Concept SECTION C-C

Notes to The Representation of Illusion I Archítecture øs Fígure and/or Ground: A Question of Space, Archítecture: Fìgure and/or Ground or the Question of Structure

CHAPTER3

THE REPRESENTATION OF ILLUSION

78 Gillian McFcd, Lin PhD.Ardritectu¡o & Lhbm Desigr The (friversity of Adelaide The Colon is atio n of A(a)rchitecture The Depiction of the Concept SECTION C-C

Notes to The Representation of Illusion I Archítecture as Fìgure and/or Ground: A Questìon of Space, Archítecture: Fígure and/or Ground or the Question of Struaure

Archítecture os Fígure and./or Ground: A Question of Space 1. Martin Heidegger, - in Basic I4/ritings: From (1927) to The Task of Thinking (196q, English translation 1977,1993 by HarperCollins Publishers Inc., revised and expanded edition, with General Introduction and Introduction to each Selection by David Farrell Kre[ London: Routledge, L993, pp259-260.

2. Alberto Pérez-Gomé4 Introduøion, Architecture and the Crisis of Mdern Science, Cambridge, Massachusetts: MIT, 1983, pl1. See Joseph Rykwert, The First Moderru: The Architects of the Eighteenth Century, Cambridge, Massachusetts, and London, England: The MIT Press, 1980, pp468-470.

J See in this Thesis, Difference fII: Rendering. Resurfacing Architecture, rn The Architecture of Colonisation, for a discussion on the concept of rendering.

4. The word 'Modern' appeaing in the upper case pertains to the shift in thinking generally acknowledged as occurring two centuries ago. The use of the word 'modem.' in the lower case refers to the present. See Glossary for definitions ofthe word.

5 The primary source of the quotation is from J.M.Richards, An Intrúuction to Mdern Architecture, Harmondswofh: Penguin Books, 1956, pp16, 20, 22. See also Nicholas Pevsner, An Outline of European Architecture, Harmondsworth: Penguin Books, I942,pp375,389. The secondary sources for these readings are located in Colin Rowe, Eschatology in The Architecture of God Intentions: Towards a Possible Retrospective, London: Academy Editions, 1994, pp38-39.

6. Baukunst refers to three essays on architecture written by Goethe. See Hanno- Walter Kruft, A History of Architectural Theory from Vitruvius to the Present, translated by Ronald Taylor, Elsie Callander and Antony Wood, New York: Princeton Architectural Press, 1994, ppl92-93. For an interpretation put on Baukurat by Mies van Rohe in terms of a Neue Sachlichkeit which separates art from aesthetics from the receiver's viewpoint, see Joseph Rykwert, 7åe Dancing Colunm: On Order in Architecture, Cambridge, Massachusetts, and London, England: The MIT Press, 1996,p375.

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Notes to The Representation of trlusion I Archíteaure as Figure and/or Ground: A Questìon of Space, Archítecture: Fígure and/or Ground or the Questíon of Structure

7 The word' convolution' includes several meanings, of which entanglement, intersection, inversion, and curvature convey the sense intended here. Mark Wigley uses the word 'convoluted' throughout his thesis in, Architectural Theory and the Crisis of Representation, Jacques Derrida and Architechre: The Deconstructive Possibilities of Architectural Discourse, New Zealand: University of Auckland, 1986.

8. Ofthis convolution, Pérez-Goméz says that "The work of Jean Rondelet represents an excellent example ofthis transformation oftheory into a technological tool." Alberto Pérez-Gomé4ppL2,285. The shift of the aim of theory means that the question of representation must be re-stated. See also Mark Wigley, Architectural Theory and the Crisis of Representation, Jacques Derrida and Architecture: The Decorctructive Possibilities of Architectural Discourse, pp\2-4.

9. Alberto Pérez-Gomé2, pp3l3-314

10. ibid., pl86

11. Pérez-Goméz discusses the funøional rationale of Durand which understands the character of buildings as signs and not as synbols aîd "a direct mathematical relation postulated between the final form of a building and the organtzation of its plan. No architectural decoration would be pleasant stressed Durand, unless it sprang from the most convenient and economical 'tisposition." Architecture re,presented an economy of measurable values. See Alb erto PereæGom éq pp302, 3 02-326. Wigley interprets P ér ez-Goméz statement on the transformation of architecture as the split between perception or immediacy and reason or detachment. The former iterates tradition while modernity is the praeice of disengagement and reason. See Architectural Theory and the Crisis of Representation, Jacques Derrida and Architecture: The Deconstructive Possibilities of Architectural Discourse, pl1.

12. AlbertoPerez-Goméap323

13. ibid., pp266,365n72 and n73.

14. ibid., p266.

80 Gillian McFed Lin PhD.Ardritecturo & lJrban Dcsign The lJniversity of Adclaide The Co lon ísatio n of A(a)rchitecture The Depíction of the Concept SECTION C.C

Notes to The Representation of Illusion I Archítecture as Fìgure and/or Ground: A Question of Space, Archítecture: Fígare anüor Ground or the Question of Structure

15. ibíd.,p266.

16. Margaret Cravvford, Can Architects be Socially Responsible, tn Diane Ghirardo, editor, Out of Site: A Social Criticism of Architecture, Seatlle: Bay Press, 1991, pp33-46. Colin Rowe, Eschatology, in The Architecture of God Intentiors: Towards a Possible Retrospective, London: Academy Editions, 1994,pp30-43.

17. There is no such thing as an original idea however intuitive. Well after writing this section, the concept of architectural qpace as occurring between walls was discovered in the following text. Written over fifty years ago by a Benedictine monk, the sense in which qpace is e4perienced between the natural and the architectonic conveys the essence of this thesis. The following extract is take,n from Dom Van der Laan on the concept of the erecting of walls. He says:

But to cut off a piece of qpace from the major qpace a second wall is needed that relates to the first in such a way that the new space is generated betwesn the two. Besides the division of the major space by each wall itself, a qpace here comes into being between the walls, and the third architectonic datum - the architectonic space - is bom.

SeeDomH.,Van derLaan, Architectonic Space: Firteen Lessora on the Disposition of the Human Habitat, translation by Richard Padovan, Leiden: E.J. Bdll, l983,pp 10,4-5.

18. For a rigoreus s¡¿mination on the separation of modern architectural theory from the period of classicism see Alberto Pérez.Goméq Architecture and the Crisis of Mdern Science. The quotation cited is located on p285 and the italics are the author's. See also Mark Wigley, Architectural Theory and the Crisis of Representation, Jacques Derrida and Architecture: The De c ons tructiv e P os s i b i I i ti e s of A rchi te c tural D i s c ours e, p 5 6n46.

l9 Robert Venturi cites Aldo Van Eyck. See The Inside and the Outside, in Contplexity and Contradictiott itt Architecture, second edition, London: The Architectu¡al Press, L977, p82.

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Notes to The Representation of Illusion I Architecture as Figure and/or Ground: A Questíon of Space, Archìtecture: Figure and/or Ground or the Question of Structure

20 Mark Wigley, The Slippery Art of Space. tn Architecture and Deconstruction: Derrida's Haun\ second printing, Cambridge, Massachusetts, London, England: The MIT Press, L993,p69.

2t. Jacques Derrida, Of Grammatologt,translated by G.C. Spivaþ Baltimore, Massachusetts: Johns Hopkins University Press, 1976, p166. See Mark Wigley, The Slippery Art of Space, in Architecture and Deconstruction: Derrida's Haun\ p69 and alsopp6I-62.

22. Mark Wigley, The Slippery Art of Space. tn Architecture and Deconstruction: Derrida's Haunt, p69.

23. Martin Heidegger, The Origin ofthe Work ofArt, tn Basic Writings, pp167-168. See Mark Wigley, Tasting Space, in Architecture and Decorutruction: Derrida's Haunt, pp6I-62.

24. Hollier cites Leiris in "Informe", h Documents, no 7. Dec. 1929 (OC,l:2L7) on the formlessness of spit. Denis Hollier, Against Architecture: The Writings of George Bataille, translated by Betsy Wing, Cambridge, Massachusetts, London, England: The MIT Press, 1992,pp30177n18.

25 Mark Wigley, The Slippery Art of Space. in Architecture and Decoratruction: Deruida's Haunt, p7 0.

26 See, Denis Hollier, Against Architecture: The Writings of George Bataille, L992,p30.

27 Here, the notion of gold as precious truth is a play on veracity or the difference between resemblance and the actual and the proposition, which Heidegger has expounded on. He says:

By truth is usually meant this or that particular truth. That means: something true. A cognition articulated in a proposition can be of this sort. However, we call not only a proposition true, but also a thing, true gold in the contrast of sham gold.

82 Gillian McFed Lin PhD.Architecture & I-hban Desip The [Jniversity of Adclaide The C olon ís ali o n of A(a)rchitecture The Depíclion of lhe Concept SECTION C-C

Notes to The Representation of Illusion I Archítecture øs Fígure and/or Ground: A Question of Space, Archítecture: Fígure and/or Ground or the Questíon of Structure Martin Heidegger, The Origin of the Work of At, in Basic ll'ritings, ppII7,l75.

The reference to the canon is located in Victor Burgn in Beatriz Colomina, Guest Editor, Architecture Reprducti on, Revi si ons 2, U. S.A. : Princeton Architectural Press, 1988, p23. Burgn says that 'oThe canon is what gets wriuen about, collected, and taught; it is selÊperpetuating, selÊjusti$ing, and arbitrary; it is the gold standard against u¡hich the values of new aesthetic currencies are measured." Canonic design on the other hand, refers to geometric principles of formalising. See Geoffiey Broadbent, Richard Btrnt, Charles Jencks, Signs, Symbols, and Architecture, Chichester, New Yorh Brisbane, Toronto: John Wiley & Sons, 1980, pp143'46,207,311,313-315, 325-328.

28. Jacques Derrida, Cogito and the History of Madness, rn lV'riting and Difference, translated by Alan Bass, Chicago: University of Chicago Press, 1978, póI. Mark Wigley, Abstract, Jacques Derrida and Architecture: The Decorstructive Possibilities of Architectural Discourse, and also p24.

29. Mark Wigley, The Displacement of Modernity in Architectural Discourse, in Jacques Derrida and Architecture: The Deconstructive Possibilities of Architectural Discourse, p47. Baudrillard suggests that "The obiect (s¡Sn) status is opposed to the objective (ratiornl and practical status). " See Jean Baudrillard, Sign Function and Class Logic, in For a Critique of the Political Economy of the Sign, translated by and with an Introduction by Charles Levin, St. I-ouis, MO: Telos Press, L981,p54.

30. Mark Wigley Derrida's Reading of the Crisis of Representation , in Jacques Derrida and Architecture: The Decorstructive Possibilities of Architectural Discourse, p24.

Architecture: Figure and/or Ground or the Questìon of Structure

31. Jean Baudrillard, Siem Function and Class Logic, in For a Critique of the Political Economy of lhe Sign, p45.

32. ibid., p45

83 Gillian McFeæ Lin PhD.A¡dritecture & IJrbæ Desigrr The lJniversity of Adelaidc The Co lo n isallo n of A(a )rchitecture The Depiclion oÍlhe Concepl SECTION C-C

Notes to The Representation of lllusion I Archìtecture as Fígure and./or Ground: A Question of Space, Archítecture: Figure and/or Ground or the Question of Structure JJ Ludwig Wittgen ste tn, P hi I os oph i ca I I nve s t i gat i ors, tr anslated by G. E. M. Anscombe, second edition, New York: The Macmillan Press, 1958, Part lixi, p196e. See Chapter 2, Architeclure as ldiom: M¡nd Games { Transference, in The Architecture of Colonisation ofthis Thesis, pp57,59 for Cacciari's opinion on extemal models.

34. Kipnis uses the word absurd in conjunction with the word surd but does not extend frrrther the possibility of an other logic by separating ab from strd. See Jeftey Kipnis, Forms of Inationality, in Strategies in Architectural Thinking, edited by John Whiteman, Jeffiey Kipnis and Richard Burdett, Cambridge, Massachusetts: The MIT Press, I992,p161.

35 According to Heidegger, truth as an unconcealing is both an assertion and the stating of correctness. See John D. Caputo, Demythologizing Heidegger, þfesmingfon, Indianapolis: Indiana University Press, 1993, p18. According to Hofstadter and Kuhns, truth 'Is neither an attribute of factual things in the sense of beings, nor one of propositions. Albert Hofstadter & Richard Kuhns, editors, Philosophies of Art & Beauty: Selected Readings in Aesthetics from Plato to Heidegger, Chicago: University of Chicago Press, 1976,p680.

36 Numbers oraming magicalproperties to be manipulated only by magicians, were thus sy'rnbols, which referred to the cosmos and to transcendental realms. The concept of mathesls, exemplified through numbers, a reality which embodied the transcendental and the mythical. See Alberto Pérez- Gomé4Introduction. Architecture and the Crisis of Múern Science, p9. See Martin, Heidegger, Modem Science. Metaphysics. and Mathematics, in Basic Ilritings, pp273-278.

37 Geoftey Clive, Human all too Human,2l8 vol.l. in The Philosophy of Nietzsche, edited and with an Introduction by New York: Mentor Books, 1.965, p464. See Architectural Ethnography and Etyrnological Scienoe, in Sylvia Lavin, Quatrentére de Quincy and the lrryention of a Mdern Language of Architecture, Cambridge, Massachusetts, London, England: The MIT Press, 1992, pp62-7 5 and pp76- 84 resp ectively.

38. Pérez-Goméz cites Memmo, in Alberto Pérez-Gomé4 Statics and Strength of Materials, tn Architecture and the Crisis of Mdent Science, p254. Joseph Rykwert, The First Mdens: The Architects of the Eighteenth Century, pp297,330.

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Notes to The Representation of Illusion I Archítecture as Fìgure and/or Ground: A Questìon of Space, Archítecture: Fígure ønüor Ground or the Questíon of Structure

39. Sylvia Lav'tn, Quatremére de Quincy and the Invention of a Mdern Langøge of Architecture, Cambridge, Massachusetts, London, England: The MIT Press, 1992, ppLll,252n32.

40. Colin Rowe, Mannerism and Modem Architecture, in The Mathematics of the Ideal Villa and Other Essays, fourth printing, Cambridge, Massachusetts and London, England: The MIT Press, 1985, p40.

4I. ibid.,p4}

42. Mark Wigley, Architectrual Theory and the Crisis of Representation, in Jacques Derrida and Architecture: The Deconstructive Possibilities of Architectural Discourse, pl}.

43 This refers to the ambivalent lineage of modem thinking which reconsiders the status ofthe Idea-object from Descartes to Derrida. For a discussion on this convolution see Mark Wigley, Derrida's Reading on the Crisis of Representation, in Jacques Deruida and Architecture: The

De c oru truct iv e P os s i b i I i ti e s of Ar chi t e ctura I D i s c ours e, pp29 -32.

44. ibid., p10

45 Edward Said, American "Ieft" , n The World the Text and the Critic, Great Britain: Vintage, I99l,ppl74-175,20.

46 The concept of architecture as text is not new. It can be attributed to eighteenth century writers like Quatremére de Quincy and Viøor Hugo. Sylvia Lavin, Quatremére de Quincy and the Invention of a Mdern Language of Architecture, p184.

47 Martin Heidegger, The Origin of the Work of Art, in Basic l(riting, pl67

48 Ibid., p185.

49 Ibid., ppl85-86.

85 Gillian McFed Lin PhD.Aróitecture & Urbo Desip The University of Adelaide The Colo n i s alion of A(a )rchitecture The Depiction of the Concept SECTION C.C

Notes to The Representation of Illusion I Architecture as Fígure and/or Ground: A Question of Spøce, Architeaure: Fígure ond/or Ground or the Questìon of Structure 50 Boden lists the representation of systems to make the point that '1n general, the problem-solving is critically affected by the representation ofthe problem that is used by the problem-solver." She lists examples of the represørtation of Longuet-Higgins harmonic theory, William Harvey's çomparison of the heart and blood vessels as a hydraulic system, the representation of Arabic numerals, chemical formulae and musical notation together with programming language as a more recent example... that make it possible to state - and to develop - effective procedures of many kinds." Although she approaches the issue of heuristics and memory she does not distinguish the difficulty in using the term 'representation.' Margaret A. Boden, Concepts q-f Computation nThe Creative Mind, C¡reat Britain: Abacus, 1993,p94.

51. Wigley cites Derrida stating:

Derrida argues that representation is not an addition to presence. The privileged interior to presence is always already inhabited by the exterior, by a zubversive nonpresence. Representation is the possibility ofpresence rather than a departure from it.

Wigley does not use the italics for the words always already as they appear in Derrida's text. This may be that he does not place importance on the concept of philosophical construction as always already, a pre-fabrication. Mark Wigley, Architectural Theory and the Crisis of Representation, Jacques Derrida and Architecture: The Decoratructive Possibilities of Architectural Discourse, p24. See also Jacques Derrida, Freud and the Scene of Writing, Writing and Dffirence, p209.

52. Edward Said, Criticism between Culture and System, n The World the Text and the Critic, p200.

53. Alberto Pérez-Gomé4 Introduction, p10. Mark Wigley, Architectural Theory and the Crisis of Representation, Jacques Derrida arú Architecture: The De cons truct iv e P os s i b i I i t i e s of A rchi te c tur a I D i s cours e, pl0.

54 Mark Wigley, The Edifice, in Jacques Derrida and Architecture: The Deconstn¿ctive Possibilities of Architectural Discourse, p73.

55. Alberto Pérez-Gomé2, Introduction. Architecture and Íhe Crisis of Mdern

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Notes to The Representation of lllusion I Architeaure as Fìgure and/or Ground: A Questíon of Space, Archítecture: Fígure and/or Ground or lhe Questíon of Structure 55 Alberto Pérez-Gomé4 Introduction. Architecture and the Crisis of Mdern Science, p7.

56. Rykwert discusses Algarotti and Lodoli on the topic of translatability between timber and stone. Joseph Rykwert, The First Mdents: The Architects of the Ei ghteenth Ce ntury, p3 3 0n5 1 .

57 The following quotation is from Jacques Derrida, White Mythology, in Margirc of Philosopþ, translated, with Additional Notes, by Alan Bass, Great Britain: The Harvester Press, I982,p254.

Philosophy, as a theory of metaphor, first will have been a metaphor of theory. This circulation has not excluded but, on the contrary, has permiued and provoked the transformation of presence into selÊ presence, into the proximity or properness of subjectivity to and for itself

58. Wigley cites Husserl and Pérez-Gomézin Architecture and the Crisis of Mdern Science ibid.,ppI4,56n47 and n48.

59. ibid., ppl6-17

87 Gillian McFed Lin PhD.Aróitecturo & [Jrban Design The lJniversity of Adelaide The Co Io nìs allo n of A(a )rchitecture The Depícllon of the Concept SECTION C-C

Notes to The Representation of trlusion II Archíteclure: Boundary and/or Lìnkage, Boundary or Línkagd Contradíctíon, Lìnkoge, Boundary and/or Línkage: Allilìatìon

Architecture: Bou ndary ønd./or Linkage I The word 'traditional' is meant to include mythos which complements logos. As zuch, a 'traditional' theory promotes representation as symbolic. See Alberto Pérez-Goméz in Introduction, Architecture and the Crisis of Mdern Science, Cambridge, Massachusetts: MIT, 1983, p9. Mark Wigley, Architectural Theory and the Crisis of Representation,p2, andpp2-17,37, 54n3. See also, Jeftey Kipnis, Forms of Irrationality, in Strategies in Architectural Thinking, edited by John Whiteman, Jeffrey Kipnis and Richard Burdett, Cambridge, Massachusetts: The MIT Press, 1992,pI55.

2 The following passage is cited in Jacques Derrida, Discussion after Structure, Sign and Play.

Perception is precisely a concept, a concept of an intuition or of a given originating from the thing itse[ present itself in its meaning, independently from langaage, fromthe system of reference. And I believe thatperception is interdependent with the concept of origin and of center and consequently whatever strikes atthe metaphysics of which I have spoken also strikes at the very concept of perception. I don't believe there is any perception.

Jacques Derrida, Discussion after Structure, Sign and Play rn llriting and Difference, translated by Alan Bass, Chicago: University of Chicago Press, 1978,p272, and also in Mark Wigley, Derrida's Reading of the Crisis of Representation in Jacques Derrida and Architeclure: The Deconstntctive Possibilities of Architectural Discourse, New Zealand: University of Auckland, 1986, pp25,59n87.

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Notes to The Representation of Illusion II Arc h itecture: B ou ndary and/or Li nkage, Bou ndary or Li nkage/ Contrødìctíon, Lìnkage, Boundary and/or Linkage: Alfilíation

J Wigley suggests that there is a difference 'between the thing-in-itself and its appearance, between the presence ofthe object and its representation." For architecture as buildingthat moment is the beginning of an evolution. The material building over time is affected by use, weathering and alteration. For the Idea ofArchitecture, time dissipates a representation ofthe Idea which is diluted through. interpretation and repetition. It is in this sense that a present perception of A(a)rchitecture locates it as in transition, unable to depend on a single definition or a tradition for its grounding. Wigley cites Edmund Husserf Philosophy and the Crisis of Modern Humanity, p286. See Mark Wigley, Architectural Theory and the Crisis of Representation, in Jacques Derrida and Architecture: The Deconstructive Possibilities Archilectural Discourse, pp9,55n28. Wigley understands difference as that which "always follows the selÊidentity of an origin." and is thereby underpinned by an history. ibid., pp32-33.

4 Gilles Deleuze and Félix Guattari, Translator's Foreword, in A Thousand Plateaus: Capitalism and Schizophrenia, Translation and Forward by Brian Massumi, University of Minnesota Press, Minneapolis, and London, 1987, pxüi ppix-xv.

5 ibid., pxi.

6 ibid., pxüi. See also Edward Said, Yeats and Decolonisation, for an account of the absolute manifest as Eurocentric dominance of the late nineteenth cørtury, which was a period of flourishing for the overlord and confusion of identity for the subservient. In this essay Edward Said describes the moment of decolonisation occurring uÀen strategies of reason against violence are sought and found, and on pages 79 and 80, he defines the necessity for creating a third nature in the search for authenticity amongst the newly- emergent decolonised people. He cites Yeats's Tower as marking that moment, but also points out that Yeats's "poetry shares with Caribbean and African writers the predicament of a common language with the colonial *overlord, and of course he belongs in so many important ways to the Protestan Ascendancy whose Irish loyalties to put it mildly, were confused." p.80. Yeats and Decolonisation, in Nationalism, Colonialism and Literature, Introduction by Seamus Deane, Minneapolis: University of Minnesota Press, 1990, pp69-95. See Homi K. Bhabha on Fanon who describes the overlord as both father and oppressor. Homi K. Bhabha, The Location of Culhtre, l,ondon and New York: Routledge, 1994, pp63,40-45. 89 Gillian McFe¡t Lin PhD.Ardtitecture & [-kban Design The [-lnivasity of Adelaide The Co lo n i s øt io n of A(a )rchitecture The Depíction of lhe Concepl SECTION C-C

Notes to The Representation of Illusion II Architecture: Bou ndary a nd/or Lí nkage, Bou ndøry or Línkagd Co ntradictìon, Lì n kage, B ou n dary a nd./or Li n kage : Affílíatío n

7 Massumi suggests that difficulty appears at the moment of institution where: More insidious than the well-known practical co-operation between university and govemment (the burgeoning military funding of research) is its philosophical role in the propagation of the form of representational thinking itseld that 'þroperly qpiritual absolute State."7 Gilles Deleuze and Félix Guattan, Translator's Foreword , in A Thousand Plateaus: Capitalism and Schizophrenia, pxi.

8 Mark Wigley, Architectural Theory and the Crisis of Representation. Jacques Deruida and Architecture: The Deconstructive Possibilities ol Architectural Discourse, New Zealand: University of Auckland, 1986, pp2,54n3. See Claude Perrault, Ordonnance des Cinq Espèces de Colonnes, Paris, 1683, p)o(. Cited in Alberto Pérez-Goméz pp31,333n38,385. Technology now includes computer technology.

9 Jeftey Kipnis, Forms of Inationality, in Strategies in Architectural Thinking, p157.

10. ibid., p157

11 Beatnz Colomina, Privacy and Publicity: Mdern Architecture as Mass Media, Cambridge, Massachusetts, I-ondon, England: MIT Press, 1994, pp130,311.

12. This definition ofthe uncanny is located in Martin Heidegger, Parmenides, translated by André Schuwer and Richard Rojcewicz, Bloomington: Indiana University Press, 1992, p101. It is also cited in Wigley, Mark, Architecture and Deconstruction: Derrida's Haunt, second printing, Cambridge, Massachusetts, [,ondon, England: The MIT Press, 1993,pp239- 240 n42, p269. The uncanny is also not what has never been present; it is what comes into presence always already and in advance prior to all 'uncanniness'... it surrounds, and insofar as it is everywhere surrounds, the present ordinary state of things and presents itself in everything ordinary, though without being ordinary." See also Mark Wigley, The Dornestication of the House, Deconstruction and the Visual Arts: Art, Media, Architeclure, edited by Peter Brunette and David Wills, U.S.A.: Cambridge University Press, 1994, p218. See, Martin Heidegger, Being and Tinrc, translated by J. Macquarie and E. Robinson, New York: Harper Roq 1962, pp233-234 and cited in Leslie Paul Thiele, Tintely Meditatiotts: Martin Heidegger and 90 Gillian McFe¡t Lin PhD Ardtitectu¡o & Lhban Design The [.Iniversity of Adelaide The Colo n is al ío n of A(a)rchitecture The Depictíon of lhe Concept SECTION C-C

Notes to The Representation of Illusion If Archileaure: Bou ndary a nd/or Línkage, Bou ndøry or Lí n kage/ Contradictìon, Linkage, Boundary and/or Línkoge: Alfilíatìon Postmdern Politics, Princeton, New Jersey: Princeton University Press, 1995, p177.

13. Hubert Dreyfus and Harrison Hall, editors, Heidegger: A Critical Reader, Oxford UK and Cambridge USA: Blackwelt reprinted 1993, ppl06, 120, See Denis Hollier, Against Architecture: The lV'ritings of George Bataille, translated by Betsy Wing, Cambridge, Massachusetts, U.S.A.: MIT Press, 1992, p6. See Susan Buck-Morss, The Dialectics of Seeing: IMalter Benjamin and the Arcades Project, Cambridge, Massachusetts and London, England: MIT Press, 1995, pll4. Hollier refers to antecedence and origin, while Buck- Morss use of 'hot yet" is in its anticipatory sense. "Going beyond" is used in the Hegelian sense of Aufhebung meaning '(... each moment supersedes that is, simultaneously does away with and preserves - its antecedents). t4. Albert Hofstadter & Richard Kubns, editors, tleg4 n Philosophies of Art & Beauty: Selected Readings in Aesthetics from Plato to Heidegger, Chicago: University of Chicago Press, 1976,p431.

15 Mark Wigley, The Slippery Art of Space, in Architecture and Decotutruction: Derrida's Haunt, p73.

16. The difference between the concepts of tasting and conzuming are translations of interiority and exteriority. They pertain to the separation of the economy of the aesthetic in terms of expression and representation. See Mark Wigley, The Displacement of Modernitlr in Architectural Discourse in Jacques Derrida and Architecture: The Deconstructive Possibilities of Architectural Discourse, pp48-49. His readings are based on Kant's The Critique of Judgment and the following works of Denida. They are: Spurs: Nietzsche's Style, Differance, Tympan, Outwork and Cogito and the History of Madness. t7 Carol Burns, The Gehry Phenomenon, in Thinking the Present: Recent American Architectur¿. I( Michael Hays and Carol Burns, editors, New York: Princeton Architectural Press, 1990, p87.

18. Marco Frascari, Monsters of Architecture,U.S.A.: Rowan & Littlefield Publishers Inc., 199 l, p 1 13.

19. Jean Baudrillard, The ldeolosical Genesis of Needs, in For a Critique of the of the translated Introduction Political Economy ^Sþr, with an by Charles Levin, St. Louis, MO: Telos Press, 1981, pp63'64.

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Notes to The Representation of Illusion II Architecture: Boundary and./or Linkage, Boundary or Linkage/ Contradictíon, Línkage, Boundary and/or Linkage: Alfiliatíon

20. Gilles Deleuze, Difference and Repetition, translated by Paul Patton, NewYork:Columbia University Press, 1994, p207. See in this thesis, The Architecture of Colonisation, Chapter 1 Difïerence li, Architecture as ldiom: The Otherwise of Difference, Repetition. Both/And, Same, p25,27,29 where Deleuze's position on differenss is s¡¿minsd.

2L. Ibid., pp63-64.

22. The translator's note explains investissement as follows:

... the standard, and literal, French equivalent of Freud's Besetzung, which also means investment in ordinary German. The English, however, have insisted on rendering this concept by coining a word that sounds as¡s fsshnical: cathexis, to cathect etc. The term has been used here mainly to draw attention to the psychoanalytic sense, which varies in intensity and precision, of Baudrillard's investissement, investir. Loosely, Freud's concept involves the quantitative transfer of psychic energy to parts of the psyche, images, objects, etc. ibid., pp63-64n2.

23. ibid., pó4

Boundary or Línkøge: Contrødìction 24. Jeftey Kipnis, Forms of lrrationality, in Strategies in Architectural Thinking, pp 150,1 5 8.

25 Differenciation is "the actualisation of that virtuality" [of the idea] 'Into a species of distinguished parts..." Gilles Deleuze, Difference and Repetitiort, translated by Paul Patton, New York: Columbia University Press, 1994, p207 and in The Archilecture of Colonisation, Chapter One, Difference li Architecture as ldiom: The Otherwise of Difference, Repetition. Both/And, Same, p28 in this Thesis The concept of deferral is recalled in The Architecture of Colonisation, Chapter liv, Difference, Deferral. to Defer and to defer to.

92 Gillian McFed. Lin PhD.Arúitectu¡e & IJrban Desip The l-hiversity of Adelaide The Colon isøtio n of A(a)rchitecture The Depiclíon of the Concept SECTION C.C

Notes to The Representation of Illusion II Archíteclure: Bou ndary a nd./or Li n kage, B ou ndary or Linkage/ Contradìctìo n, Linkage, Boundary and/or Linkage: AfJilíatíon 26. The words in italics are the author's. Christine Macy, The Authority of Drawing, in John MacArthur, editor, Knowledge and/or/of Experience: The Theory of Space in Art and Architecture, Queensland: Institute of Modem Art,1993,p146.

Línkøge: 27. Michel Foucault, The Order of Things: An Archaeologt of Human Science, translated fromthe French, Great Britain: Tavistocþ L970,p68.

28. Richard Rorry, Philosophy and the Mirror of Nature, Princeton, New Jersey: University of Princeton, 1980, p3.

29. '"This power of recall implies at least the possibility of causing two impressions to appear as quasi-likenesses (as neighbours or contemporaries, existing in alnost the same way) when one ofthoss impressions only is present, while the other has ceased, perhaps a long time î9o," Michel Foucault, The Order of Things: An Archaeologt of Human Science, Ctreat Britain: Tavistock Publications, p69.

30 ibid., p69.

31. ibid., p69.

32 ibid., p69. See also Edward Said, Criticism between Culture and System, in The llorld the Text and the Critic, [-ondon, C¡reat Britain: Vintage, p2I7.

33. ibid., p69-70.

34 Gilles Deleuze and Félix Guattari, Translator's Foreword, in A Thousand Plateaus: Capitalism and Schizophrenia, 1987, pxii.

35. ibid., pxüi.

36. 1bid.,p69-70.

37. ibid., p70.

38. ibid., p69.

93 Gillian McFed. Lin PhD.Ardritecturo & IJrban Design The University of Adelaide The Co Io n is atío n of A(a )rchitecture The Depíctíon of lhe Concept SECTION C-C

Notes to The Representation of trlusion II Archítecture: Boundary and./or Linkage, Boundary or Línkøge/ Contradìction, Línkage, Boundøry and/or Línkage: Afiliation

39 In posing a dialectical location for the inside-outside dilemma, including studies in the area of cognitive science, adds an other facet to the problem- Zhang poses that little work in the field of cognition has been done on extemal representation. He says that this "... may be because very little knowledge aboutthe intemal mind can be gained from studying extemal representations, or due to the view that external representations are nothing but inputs and stimuli to the internal mind, e¡ simply due to a lack of suitable methodology for studyrng extemal representation." See hang JiaJie, The Nature of Representation in Problem Solving, Cognitive Science, L997,2I(2), 179-217. This quotation appeared on the first page ofthe transcript sent to me. See also, the next chapter of this Thesis, The Colonisation of A(a)rchitecture, Chapter 3üi The Representation of Illusion: The Tradition of Thinking as a Structure and an Enclosure, Notel7.

Bou ndary and/or Línkøge: Alfi líøtion 40. Edward Said, Secular Criticism, nThe World the Text and the Critic,p23.

41. ibid.,p}l and p19 for a discussion on affiliative theory

42. Jeffiey Kipnis, Forms of Inationality, n Strategies in Architectural Thinbing, pI52.

43. Immanuel Kant, A Critique of Pure Reason, quoted in Paul-Alan Johnson, Architectural Theory, Concepts, Themes and Practlces, New York: Van Nostrand ftsinhold, 1994, p357 .

44. Beatnz Colomina, Privacy and Publicity: Mdern Architecture as Mass Media, pp13-14.

45. ibid., pp13-14

46. Martin Heidegger, Building. Dwelling Thinking, Poetry, Language, Thought, in Basic Writing: Front Being and Tinte (1927) to The Task of Thinking (1964), English translation 1977, 1993 by HarperCollins Publishers [nc., revised and expanded edition, with General Introduction and lntroduction to each Selection by David Farrell Krell, London: Routledge, 1993, p357. Deleuze and Guattari take the notion of spalium to mean groundlessness. For a discussion see Ronald Bogue, The Grand Synthesis, Deleuze attd Guattari, London and New York: Routledge, 1989, p63.

94 Gillian McFed Lin PbD.Ardriteau¡o & Urbm Desigr The Llniversity of Adelaide The Colonísallon of A(a)rchitecture The Depictlon of the Concept SECTION C-C

Notes to The Representation of Illusion II Arc hítecture: ßou ndary ø nd/or Linkage, Bou ndary or Li nkage/ Contradíclion, Linkage, Boundary and/or Línkage: Affilíatíon

47 Jeftey Kipnis, Forms of Inationality, in Strategies in Architectural Thinking, p157.

48 Alterity (altérité) as used by Levinas describes the condition of 'that which cannot be reduced to the Same, that which escapes the cognitive powers of the lnowing subject." Simon Critchley, The Ethics of Deconstruction: Derrida and Levirns, Oxford UK & Cambridge USA: Blackwell, 1992,p5.

49 Glles Deleuze and Félix Guattari, 1730-Becoming-Intense. Becoming- Animal nA Thowand Plateaus: Capitalism and Schizophrenia, p260.

50 Michel Foucault, The Order of Things, An Archaeologt of the Human Scierrces,pp238-239. See also Gary Gutting, Michel Foucault's Archaeologt of Scientific Reason, Cambridge: Cambridge University Press, 1989, p182.

51. Michel Foucault, The Order of Things, An Archaeologt of the Human Sciences, p239.

52. íbid.,p239

53. lbid.,p239

54. ibid.,p239

55 John MacArthur, Experiencing Absence, in Knowledge and/or/of Experience: The Theory of Space in Art and Architecture, edited by John MacAfhur, Brisbane, Queensland: Institute of Modern Art, 1993, p114. See Massimo Cacciari, Architecture and Nihilisnt: On the Philosophy of Mdent Architecture, New Haven and London: Yale University Press, l993,ppl9-21.

95 Gillian McFeât Lin PhD.A¡chitectr¡¡e & IJ?ban Dcsigr The [Jnivusity of Adelaide The Colonisation of architecture The Depíaíon of the Concept SECTION C.C

Notes to The Representation of Illusion III Tradìtìon of Thinking: Struclure, Enclosure Monument: The Questìon of Tradítìon; Becoming, Lìke Monument: The Questíon of Becomíng; Same Monument: The Question of Depíctìon; Enclosure-Dísclosure or Interíor - Exteríor

Tradìtìon of Thínking: Structure, Enclosure 1. For a discussion on arborescence, see Gilles Deleuze and Félix Guattari, Introduction, nAThousand Plateaus: Capitalisnt and Schizophrenia, Translation and Forward by Brian Massumi, University of Minnesota Press, Minneapolis, and London, 1987, ppl6'17.

2. Mike Gane, Baudrillard Live: Selected Interviews, London and New York: Routledge, 1993, p110.

J ibid., p110

4 Walter Benjamin, The Work of Art in the Age of Mechanical Reproduction, rn llluminatiorn, Introduction by Dr. Hannah Arendt, English translation @ 1968 by Harcourt, Brace and World Inc., Great Britain, Fontana, 1973, p225.

5 Martin Heidegger, The Origin ofthe Work of Art, tn Basic Ll/ritings: From Being and Time (1927) to The Task of Thinking (1964), English translation 7977, 1993 by HarperCollins Publishers Inc., revised and expanded edition, with General Introduction and Introduction to each Selection by David Farrell Ikell London: Routledge, 1993, p179. Martin Heidegger, What is a Thing? Translated by W.B. Barton and Vera Deutsch, Chicago: Henry Regnery Company, I967,pI23.

6. Jacques Derrida, Letter to a Japanese Friend, in Derrida and Différance, David Wood and Robert Bernasconi, editors, Evanston, Illinois: Northwestern University Press, 1988, p4.

7 Martin Heidegger, Being and Time, in Basic lI/ritings, pp44 ,45. Jacques Derrida, Of G ranmtat o logt, translated by G. C. Sp ivak, Baltimore, Massachusetts: Johns Hopkins University Press, 1976, p24.

8. Jacques Derrida, Of Gramntatologt,p24

9 Martin Heidegger, The Origin of the Work of Art, in Basic Writings, ppl78-179,209. l0 The word 'make-up' carries three connotations. It is used to suggest structure, façade, as well as a form of invention. All three meanings are represented in the idea of architecture.

96 Gillian McFe.* Lin PhD.Architectwe & lJrbao Desigr The IJniversity of Adelaide The Colonisation of architecture The Depíctíon of the Concept SECTION C.C

Notes to The Representation of lllusion III Traditíon of Thinking: Struclure, Enclosure Monument: The Questíon of Traditìon; Becoming, Like Monument: The Question of Becoming; Søme Monument: The Questíon of Depìction; Enclosure-Disclosure or Interíor - Erterior

Monument: The Questíon of Trødítìon; Becoming, Líke 11. Ibid., pp343'364. See Jacques Derrida, Roundtable on Autobioe¡aphy. in The Ear of the Other: Otobiography, Trarsference, Translation, Enghsh edition edited by Christie McDonald. A translation by Peggy Kamuf of the French edition edited by Claude Lévesque & Christie McDonald., Lincoln and London: University of Nebraska Press, 1985, p86. Mark Wigley, Jacques Derrida and Architecture: The Decorstructive Possibilities of Architectural Discourse. (A thesis submified npafüal fulfilment of the requirements for the degree of Doctor of Philosophy in Architecture, University of Auckland, 1986, pll7. See Mark Wigley, Architecture and Dec orstruction : Deruida's H a unt, second printing, Cambridge, Massachusetts, Inndon, England: The MIT Press, 1993, pp7-9,25,37- 38,4I-42,5 6,86,99,120,16I,L85,225n9,230n68. t2. Essence (lilesen) historically embraces the idea of "essential unfolding." Martin Heidegger, On the Essence of Truth, and The Ouestion Concerning Technology,in Basic Writings, ppl14,309. See John D. Caputo,

D e my tho I o gi z i ng H e ide gge¡,, Blo om in glon, Indianap oli s : Indiana University Press, 7993, p124. Dewey suggests that essence alludes to correctness and to the 'brganization of meanings that have been dispersed and more or less obscured by incidents attending avanety of experiences." See also John Dewey, Art as Experience; New York: Capricom Books, 1958, pp216,293.

13 Mark Wigley, Architecture and Deconstruction: Derrida's Hantnt, ppl1l- rtz.

14. Martin Heidegger, Building Dwelling Thinking, in Basic Writings, p33ó.

15 Catherine Ingraham, Lines and Linearity, in Drawing/Building/Text, Andrea Kahn, editor, Drawing/Building/Texd New York: Princeton Architectural Press, 1991,p80n29.

16. Ibid., p80n29.

97 Gillian McFe¿t Lin PhD.Ardritecture & Ilbao Design The lJniversity of Adelaide The Colonisation of architecture The Depíctìon of the Concept SECTION C-C

Notes to The Representation of lllusion III TradÍtion of Thinking: Structure, Enclosure Monument: The Questìon of Tradilìon; Becomìng, Lìke Monument: The Question of Becoming; Same Monument: The Question of Depictíon; Enclosure-Dísclosure or Interìor - Exterior I7 In the field of cognitive scienc e, Zhang's study on the interaction between intemal and extemal representations is relevant to the argument; that for architecture, the presence of the always already convolutes its definition. In cognitive science, representation is an externalisation or outcome of an "intemal model". Zhang has said that according to a traditional view held, "all cognitive processing only occurs in the internal model of the extemal environment." He adds that " Extemal representations are so intrinsic to the tasks that they guide, constrain and even determine the pattern of cognitive behavior and the way the mind functions." The convolution is particularly interesting from a spatio-temporal perspective because of the e,normity of coryrehending the pre-emptive mental image from the biases of processing which must come from the mixing of the external and the internal. Zhang says that a "lookahead activity of imagining and evaluating altemative sequences of actions before actually selecting an action.", includes the interaøion between "inte¡play between perception and cognition. See Zhang, Jialie, The Nature of Representation in Problem Solving, Cognitive Science, 2I(2), 17 9-217, pp2,3,5. My thanks to Thomas Kvan for providing the paper and for subsequent comments and also to Jiajie Zhang for his correspondence concerning this paper.

18 Quatremére de Quincy was one of many eighteerúh century theorists who devoted scholarly research into the question of origin. He eventually gave up without drawing conclusive evidence on the matter. See Sylvia Lavin, Quatremére de Quincy and the Invention of a Mdern Language of Architecture, Cambridge, Massachusetts, [,ondon, England: The MIT Press, l992,II Architectural Etymoloey, pp62-113.

19. Jean Baudrillard, For a Critique of the Political Econonty of the Sign, translated with an Introduction by Charles Levin, St Louis, Missouri, Telos Press, 1981, p64.

20 Glles Deleuze, Difference and Repetition, translated by Paul Patton, New York: Columbia University Press, 1994, p207. See The Architecture of Colonisation, Chapter One Ii, Difference, Architecture as ldiom: The Otherwise of Difference. Repetition, Both/And. Sarne, pp27-28 in this Thesis.

2l Neil Dinari, Inquiries. Projects in RIEA/Research Institule þr Experinterttal Architechre: The First Conference, New York: Princeton Architectural Press, 1990. (Page numbers have not been used in this edition)

98 Gillian McFed. Lin PhD.Architecture & L-hbm Desip The IJnivcrsity of Adelaide The Colonisation of architecture The Depíction of the Concept SECTION C.C

Notes to The Representation of lllusion III Tradition of ThinkÍng: Structure, Enclosure Monument: The Questíon of Trødìtìon; Becomíng, Lìke Monument: The Question of Becomíng; Same Monument: The Questìon of Depíctíon; Bnclosure-Dìsclosure or Interíor - Exteríor

22 Gilles Deleuze and Félix Guattari, 1227: Treatise on Nomadology, in r4 Thousand P lateaus : Capi talism and S chizophreni a, pp407 -408.

23 Ibid., pp407-408.

24 Denis Hollier, Against Architecture: The l4/ritings of George Bataille, translated by Betsy Wiog, Cambridge, Massachusetts, [,ondon, England: The MIT Press, 1992,p9.

25 Jerurifer Bloomer, Towards Desiting Architecture, in Andrea Kåhn, editor, Drøwing/Building/Texd New York: Princeton Architectural Press, I99I, p52.

26 Catherine Ingraham, Lines and Linearity, tn Drawing/Building/Text, L99I, pp66-67.

27 Mark Wigley, Architecture and Decorstruction: Deruida's Haunt, pp109- 110,114-115,239-401142. See Anthony Vidler, The Architectural Uncanny: Essays in the Múern Unhomely, Cambridge, Massachusetts: The MIT Press, I992,pp4x\6-8.

28 Martin Heidegger, The Ouestion concerning Technology, in Basic Writings, p336.

Monument: The Question of Becomìng; Ssme 29. Sylvia Lavin, Quatremére de Quincy and the Invention of a Modern Language of Architecture, pll9.

30. ibid., p336

31. Mark Wigley, The Contract in Jacques Derrida and Architecture: The De c ons truclive P os s i b i I i t i e s of Arc hi te c tura I D i scou rs e, pp7 5, 1 06n3 6.

32. Martin Heidegger, Letter on Humanism. in Basic Writings, p256-57

JJ Gusevich refers to Paul Ricoeur, The ktle of Metaphor: Multidisciplimry Studies of the Creatiott of Meaning in Language, Toronto: University of Toronto Press, 1977,pp7,248,254. Miriam Gusevich, The Architecture of Criticisrn, in D rcw i t ry/ B u i I d i ng/T ex t, pp I 7,24n29 .

99 Gillian McFe.t Lin PhD.Aråitecture & I-Lban Design The lJniversily of Adelaide The Colonisation of architecture The Depíaion of the Concept SECTION C-C

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34. See The Colonisation of Architecture Chapter 3ü, The Representation of Illusion, Linkage, pL24 and Note55 in this Thesis. See John MacArthur, Expe¡iencing Absence, in Knowledge andlor/of Experience: The Theory of Space in Art and Architesture, edited by John MacArthur, Brisbane, Queensland: Institute of Moderr Art, 1993, pll4.

35 The sentence does not conclude with a question mark as it is intended as a rhetorical question.

36. Jean Baudrillard, For a Critique of the Political Economy of the Sign,p5I.

37 Ibid., p63-64. See in this Thesis, Chapter 3 i, The Representation of Illusion Architecture: Figure and /or Ground A Ouestion of Space, of The Colonisation of Architecture, pll1 which refers to designation in representation.

Monument: The Questìon of Depìclíon; Enclosure - Dísclosure or Interìor - Exterior 38. Jean Baudrillard, For a Critique of the Political Economy of the Sign, pp63-64.

39 "The electric light is pure information. It is a medium without a message, as it were, unless it is used to qpell out some verbal ad or name. This fact, characteristic of all media, means that the content of any medium is always another medium- The content of writing is speech, just as the written word is the content of print is the content of the telegraph." Marshall Mcluhan, Understanding Media, New York: McGraw Hill, Signet, 1964,p23.

40 Federico Zuccari, "L'idea de' pittori e scultori e architetti", Scritti d'arte di F. Zuccari, Florence: Olski, 1961 quoted in Marco Frascari, Monslers of Architecture, U.S.A.: Rowan & Littlefield Publishers Inc., I 991,pp104, 138, pp104, 138.

4t Richard Rorty, Contingency, Irony, and Solidarity, Cambridge, New York, New Rochelle, Melbourne, Sydney: Cambridge University Press, 1989, pl1.

42. Marshall Mcluhan, Understandirry Media, p23

100 Gillim McFed Lin PhD.Aróitedure & I-hbao Desip The lJnivcrsity of Adelaide The Colonisation of architecture Depíctíon of the Concept SECTION C.C

Notes to The Representation of Illusion III Tradítíon of Thínking: Structure, Enclosure Monument: The Question of Tradítìon; Becoming, Líke Monument: The Question of Becomíng; Same Monument: The Questìon of Depictíon; Enclosure-Disclosure or Interior - Exterior 43. Martin Heidegger, The Origin of the Work of Art. tn Basic lV'ritings, pp209 - 1 0,3 09, 325 -2,329 -338.

44. Conflict arises from the opposite forces of the world and the earth, from which can be extrapolated notions of content and matter, unconcealment and concealment. ibid., ppl74, I79.

45. ibid., p188.

46. Ibid., p188.

47. ibid., p188. See also Albert Hofstadter & Richard Kuhns, editors, Heidegger, n Philosophies of Art & Beauty: Selected Readings in Aesthetics front Plato to Heidegger, Chicago: University of Chicago Press, 1976,pp687-88.

48. Heidegger uses the word 'enfrarcing'to mean a revealing ofthe acfual rather than a confining or bracketing. Martin Heidegger, The Question Concerring Technology, in Bas ic Writings, pp325, 329,320-322

49 Martin Heidegger, The Origin ofthe Work ofArt , p189. See also Albert Hofstadter & Richard Kuhns, Heidegger, pó88.

50 Michael Linzey, Some Binary Architecture - Sites for Possible Thought, Accessory Architecture, Conference Proceedings, New Zealand: University of Aucklan d, 1995, p3.

51 Leslie Paul Thiele, Timely Meditations: Martin Heidegger and Postmodern Politics, Princeton, New Jersey: Princeton University Press, 1995, p111.

52. Denis Hollier, Against Architecture: The ll'ritittgs of George Bataille, p33

53. Rogets Thesaunts, New Edition Great Britain: Longman, 185.

54. Catherine Ingraham, The Burdens of Linearity. in Strategies in Architectural Thinking, edited by John Whiternan, Jeffrey Kipnis and Richard Burdett Cambridge, Massachusetts: The MIT Press,l.992, ppl33- t37.

55. lbid., pp133-137 t0l Gillian McFed Lin PhD.Ardritectr¡¡e & L-Lbæ Desip Tho LJnivasity of Adelaide The Colonisation of architecture The Depíctíon of the Concept SECTION C-C

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56. Hanno-Walter Kruft, A History of Architectural Theory from Vitruvius to the Presend translated by Ronald Taylor, Elsie Callander and Antony Wood, New York: Princeton Architectural Press, 1994, p387. See K Michael Hays, Inscribing the Subject of Modemism, in Strategies in Archite c tural Thi nki ng, pplL 5 - L29.

57. TheArchitecturalReview, VolcboodxNo 1133, July 1991, pp42-46.

58. ICJ. Wyatt, Shear Force and Bending Moments, in Principles of Structure, Austraha: New South Wales University Press Ltd,I978,pp71-83.

59 ibid.,p74. See also Amold I. Davidson, Archaeology. Genealogy, Ethics, tn Foucault: A Critical Reader, edited by David Couzens Hoy, Oxford, U.I(: Basil Blackwel[ 1989, p223. See Gary Gutting, 1989, Michel Foucault's Archaeologt of Scientific Reasoning, Cambridge: Cambridge University Press, pp246-249. Jeremy Bentham intended to introduce reformthrough a central surveillance systen! hence the desþ of the Panopticoq n 1787. According to Robin Evans, by "... condensing the prison into a single volume he changed the nature of the principle itself ... the panopticon [surveillance] became the very source of morality." This reference is located in Andrea Khan, The Invisible Mask, in Drawing Bui lding Text, p106n23.

60 Beatnz Colomina, Privacy and Publicity: Mdern Architecture as Mass Media, Cambridge, Massachusetts, London, England: The MIT Press, 1994, pp13-14. A foundationalist position ascribed to eighteenth century theorists emerging in the 1960's prioritises organising principles that precede and formulate the underlying principles of form. See Aldo Rossi, The Architecture of the City, Cambridge, Massachusetts and London, England: The MIT Press, 1982,p40.

61. The 'end' in this sense is the destination and not the limit.

62 Catherine lngraham, Lines and Linearity, in Drawittg/Building/Text, pp71- 72.

63 Ibid., p74.

r02 Gillia¡r McFed Lin PbD.A¡chitectu¡e & I-kbm Desip Tho lJnivcrsity of Adelaide The Colonisation of architecture The Depíction of the Concept SECTION C-C

Notes to The Representation of Illusion III Traditìon of Thínkíng: Structure, Enclosure Monument: The Question of Tradítìon; Becomíng, Lìke Monument: The Questíon of Becoming; Same Monument: The Questíon of Depictíon; Enclosure-Disclosure or Interíor - Exterìor 64 See Leon Battista Alberti, On the Art of Building in Ten Bool

65. Mark Wigley, The Architecture of Deconstruction: Derrida's Haunt,p27

66. ibid.,p27.

67. ibid., pp27,224n36.

68. ibid.,p27.

69. ibid.,p27.

70. ibid.,p27.

7I. Catherine lngraham, Lines and Linearity. tn Drawing/Building/Text, Thinking, p80. See also Andrea Kahn, the Editor's Foreword, Draw i ng/ Bui ldi ng/Text, pp 5 - 6.

72. Jeffiey Kipnis, Forms of Irrationality, in Strategies in Architectural Thinking, p156.

73. Ibid., p156

74. Ibid., p156.

75. Jacques Derrida, Structure Sign and Play, in Writing and Dffirence, p279.

76. ibid.,279

77. Here Kipnis refers to architecture (in terms of theory and design) as teleological, that is, "achieving solutions" and therefore as the internalising of what he poses as 'the incorrect" although 'lmplicitly devoted to a 'correct' architecture." This reference is frorn Forms of Irrationality, in StraÍegies in Archilectural Thirúirry, p 156.

103 Gillian McFe.d. Lin PhD.Architectwe & IJrban Design The lJniversity of Adelaidc The Colonisation of architecture The Depíclíon of the Concept SECTION C-C

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78. Mark Wigley, The Architecture of Deconstruction: Dewida's Haunt, p130.

104 Gillian McFed Lin PhD.fudritecture & l-irba Desip Thc lJniversity of Adelaide Thle Colonísølion of A(a)rchitecture

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CHAPTER4

DEPICTION

105 Gilia¡r McFed Lin PhD.Arùite

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A Twoþld Theory of Impuríty or the Represenlation of Repressíon 1. Ludwig Wittgenstein, Culture and Value, edited by G.H. von Wright in collaboration with Heikki Nyman, translated by Peter Winch, Oford: Basil Blackwelt 1980, 16e, fI97T.

2. In his discussion on Derrida, Benjamin cites Descafes, Hegef Heidegger, and Kant whose writings identif, architectural metaphors for 'þhilosophical argument." Andrew Benjamin, Derrida. Architecture and Philosophy, in Deconstruction in Architecture, Architecfural Design, London, St. Martin's Press. New York: Academy Editions, 1988, p8.

J Mark Wigley, Architecture and Decorntruction: Derrida's Haunt, second printing, Cambridge, Massachusetts, London, England: The MIT Press,1993, ppI9-20.

4 Paul Heyer, American Architecture: Ideas and ldeologies in the Late Twentieth Century, New York: Van Nostrand Reinhold. I993,p5.

5 A system is an ordered set oftenets while a structufe is a model which may be a parody of that system- To illustrate this difference, post-revolutionary Russian Constructivism was to be appropriated much later, by Arquitectonica, an American firm of architects who were creating "luxurious capitalist office buildings realrcdthrough reference to formal and synthetic models of another era and of another system totally outside what is generally accepted as appropriate by capitalist clients." See Anthony C. Antoniades, Poetics of Architecture: Theory of Design, U.S.A.: Van Nostrand Reinhold, L992, p57- Antoniades goes on to cite the anomaly Bofill creates in his public housing schemes at St. Quentin-Yvellin that resemble palaces. While it is in order to ask '\vhy not" according to a postmodern thinking, the question which is harder to answer is this; is all architecture a form of parody on the outside, and a model of habitation on the inside? This question reiteratesthe thesis of the always-olready asserted as a form of colonisation and colonisatiott.

106 GiIIian McFeat Lin PhD.Ardritecture & IJrbar Desigr The lJniversity of Adelaide Thle Colonísøtion of A(a)rchitecture

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Notes to Depiction I A Twoþld Theory of Impuríty or the Representation of Repression, Føce: Inter Face, Depictìon: Face: Intedace: Twoføced, Inter Face 6. Jacques Derrida, Summary of Impromptu: Remarks from ANYONE, ed. Cynthia Davidson, I99l,pp39-45, cited on the Internet, http://www.lake.del sonst/homep ages/Z44àlsum-html See also Leslie Paul Thiele, Timely Meditations: Martin Heidegger and Postmdern Politics, Princeton, New Jersey: Princeton University Press, 199 5, pp17 5-17 9.

7 Jean Baudrillard, Translator's Introduction, in For a Critique of the Pol¡tical Economy of the Sign, translated by and with an Introduction by Charles Levin, St Louis, Missouri, Telos Press, p5.

8. Marcos Novaþ Transmitting Architecture: The Transpþsical City, Article 34,951tU29 htt n architecture- arch. html

9 The word pre-emptionmeans one person's right to appropriate and occupy land by purchasing before others by bridging or raising the bid excessively, thus eliminating the competition. See The Concise Oxford Dictionary, New Edition, 1976.

10. Jean Baudrillard, Translator's Introduction , in For a Critique of the Political Economy of the Sign, plZ.

11 Benrard Tschumi, The Pleasure of Architecture,in Architecture and Disjunction, Cambridge, Massachusetts, London, England: The MIT Press. 1994,p86.

12. ibid., p86

Føce: Inter Face 13. Jean Baudrillard, Design and Environment,in For a Critique of the Political Economy of the Sign, pl87.

14. Anthony C. Antoniades, Poetics of Architecture: Theory of Design, p55.

I5 Jean Baudrillard, Design and Environment,in For a Critiqu.e of the Political Economy of the Sign, p186.

16. ibid., 185

17. ibid., p 188

18. ibid., pl I t07 Gillian McFea Lin PhD.fuóitectu¡e & lJrbør Design The tlniversity of Adclaide The C olon is alio n of A(a)rchitecture

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19. ibid., p188

Depíctìon: Face: Intedace: Twofaced 20. Martin Heidegger, The Origin of the Work of Art, in Basic lI/ritings: From Being and Time (1927) to The Task of Thinking (1964), English translation 1977, 1993 by HarperCollins Publishers Inc., revised and expanded edition, with General Introduction and Introduction to each Selection by David Farrell I(relt London: Routledge, 1993, p168.

2L Dom H., Van der Laan, Architectonic Space: Fifteen Lessons on the Disposition of the Human Habitat, translated by Richard Padovan, Leiden: E.J. Brill. 1983, p13.

22 ibid., p5. For an exposition on walls see Van derLaan, Chapter K, ppl33- t44.

23 Martin Heidegger, The Origin ofthe Work of Art , in Basic Writings: From Being and Time (1927) to The Task of Thinking (1964), p168.

24 Dffirence and Repetition, translated by Paul Patton, New York: Columbia University Press, L994, ppl7,Z|. See The Architecture of Colonisation, Chapter 1, Difference Ii, Architecture as ldiom: The Otherwise of Difference. Repetition, Both"/And, Same. pp27-33 in the Thesis.

108 Gillian McFe.at. Lin PhD.Architeclwe & I-hbm Design Thc Ifriversity of Adclaide Thre C olon i s at i on of A(a)rchitecture

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25 The following excerpt comes from Jacques Derrida, Summary of Impromptu: Remarlcs from ANYONE, ed. Cynthia Davidson, 1991, pp39-45, cited on the Internet. The editor adds that " (The following remarks were presented in an improvised translation. They have since been transcribed, edited, reedited, and so forth. Therefore, caveat lector.)"

Here, the sþature may continue to mean unique as Heidegger said: the unique is not the identical, not the same. It is difference. We must distinguish here among one, sel{ same, unique, singular, individual and so on. The one is the difference. We can accent the one so that it does not mean identity with itself but rather the difference that holds together the singularity and its difference.

http : //www. lake. delsonst/homep a ges/ s2442 lsum. html

26. DomH., Van der Laan, Architectonic Space: Fifteen Lessotts on the Disposition of the Human Habitat, ppl3-14,5.

27. ibid., p14

28 The main difference is established at the outset when building as shelter depended on the purpose of its erection. It follows that hrurter, gatherer and agricultural groups would fashion their shelters according to their lifestyles. Hence the origin of building and the original building are to be regarded as differing. While both pertain to ekistics, the notion ofthe original building relates to the question of the source of architecture - the concept of the primitive hut. See Joseph Rylavert, On Adam's House in Paradise: The ldea of the Primitive Hut in Architectural History, second edition, Cambridge, Massachusetts, and London, England: The MIT Press, 1981.

109 Gillian McFed Lin PhD.Ardritecture & t-hbm Desigr The l-Ìrivasity of Adelaide The Colonísalion of A(a)rchitecture

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29 In the third Boyer Lecture in the series The View from the Bridge - Aspects of Culture, Piene Ryckmans discusses the concept of the usefulness ofthe useless. The transcript referred to is located on the Intemet at

http : /www. abc.net. aulm/boyerVtboyerl3.htm It is also published in one volume r¡nder the same title by the Australian Broadcasting Corporation, Sydney, Australia. See also John Dewey, Art as Experiencø, New York: Capricorn Books, 1958, pl15.

30. Jean Baudrillard, Design and Environment , in For a Critique of the Political Economy of the Sign, p187.

31. MarcosNovaþ TransUrban Optimism after the Maul of America, a rwiew of William J. Mitchell, City of Bits, Place and Infobah4 Review 4I,96/01124,

http : //www. ctheory. co ml 14 l -t ansurþ ¿n opti mi sm- html

32. Martin Heidegger, The Origin of the Work of Art, pp208-209,187. Dissipation in this sense is closer to the conce,pt of à contre emploi as used by Tschumi to interpret the paradox of the social construct called architecture. See Benrard Tschumi, Architecture and Disjunction, p19. Baudrillard on the other hand, speaks of an ephemeral architecture in an other se,nse in opposition to a durable architecture. Ephemeral architecture for Baudrillard e,ncapsulates "detachable, vanable and mobile structures" more zuited to social mobility. Jean Baudrillard, For a Critique of the Political Economy of the Sign,p5I.

JJ. The opinion that I offer does not coincide with Van der Laan's theory whereby architecture occurs with the coming together of experience-space and natural-space as a healed whole. Van der Laan says that '"The limited space that we relate to our being has made way for the unlimited outside coupled with the inside of the house." Dom H., Van der Laan, Architectonic Space: Fifteen Lessotu on the Disposition of the Hunnn Habitat, ppl3-14.

34. John Dewey, Art as Experience, pllT

35. ibid., pl l7

36. Bernard Tschumi, The Pleasure of Architecture,in Architechre and Disjtutction, p83,

110 Gilliaû McFed Lin PhD.Arditocure & IJrban Design Tho University of Adelaide Tkre Colonìsatlon of A(a)rchitecture

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Notes to Depiction I A Twoþld Theory of Impurity or the Representation of Repression, Face: Inter Føce, Depiaion: Føce: Intedace: Twofaced, Inter Face 37. ibid., p83.

38. ibi

39. ibid., p91

40. Catherine Ingrahanq Lines and Linearity, in Drawing/Building/Texl, p80.

4r. Martin Heidegger, The Origin of the Work of Art. tn Basic lV'ritings: From Being and Time (1927) to The Task of Thinking (1964), pL79.

Inter Face 42. Tafuri defines architecture as an institution as "first in the anticipation of ideologies, then as a process directly involved in modern produøion processes and the development of capitalist society." Architeøure is a cultural and political statement and thus an institution. See Man-fredo Tafuri Note to the Second (Italian Edition) in Theories and History of Architecture, New York: Ha¡per and Row, L976, øted in Beatnz Colomina, Guest Editor, ArchitectureReprduction, Revisions 2, U.S.A.: Princeton Architectural Press, 1988, p10.

43. Mark Wigley, Architecture and Deconstruction: Derrida's Haunt, p20.

44 Tschumi expresses the re-examination of architecture as a 'dis-structuring' of 'the order, techniques and procedures that are entailed by any architectural work." Inhabiting the wall-space precedes this position, See Bernard Tschumi, Parc de la Villette. Paris, in Architecture and Philosophy, in Deconstruction i n Architecture, p33.

lrt Gillian McFed Lin PhD.Ardritætu¡o & I-Lbm Dsign Thc lJniversity of Adelaide The C olo n ìs atio n of A(a)rchitecture

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45 According to Critchley, 'Derrida says that one must think 'tout autrement' (,8¡f 30), in a manner that cennot be presented or represented in terms of a closure of presence or representation." Here, the concept of the otherwise of difference explored in this Thesis, (or autrement) comes into play with the dispensing of origin or tradition, hence the selÊdeferral that 'brise from the other, from others (des envois de I'autre, des aurtres) (EN 25)." Simon Critchley, Heidegger and Derrida, in The Ethics of Deconstruction: Derrida and Levinas, Oxford UK & Cambridge USA: Blackwell 1992,p86.

46. Geoffiey lsnnington, The Rationality of Postmodem Relativity, in Philosophy and Architecture, Andrew Benjamin, coordinating editor, Philosophy and Architecture, London: Academy Editions, New York: St.

Martin's Press, 1990, p3Ln37 .

47 Bemard Tschumi, Parc de la Villette. Paris, in Architecture and Philosophy, in Deconstruction in Architecture, p200.

48. ibid., pp38-39

49 See The Architecture of Colonisation, Chapter I Dfference li, Architesture as Idiom: The Otherwise of Difference, Repetition. Both/And, Same, pp25'3l where the Deleuzian concept of difference is introduced in the Thesis.

50 Gilles Deleuze and Félix Guattari, Year Zerc Faciality. in A Thousand Plateaus: Capitalism and Schizophrenia, Translation and Forward by Brian Maszumi, University ofMinnesota Press, Minneapolis, and London, 1987, especially pp168,170 and 168-170.

51. ibid., pp180, L70

52. ibid., p170.

53. ibid., p168.

54. Catherine lngraham, Lines and Linearity, rn Drawing/Building/Text, Andrea Kahn, editor, Drøui ng/ Bu i Id i ng/Texl, p64.

55. Jean Baudrillard, For a Critique of the Political Econonty of the.lrgzl, pp63- 64. t12 Gillian McFed Lin PhD.Architectu¡e & IJrbar Desigp The University of Adelaide Thrc Co lo n is atio n of A(a )rchitecture

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56. Mark Wigley, The Architecture of Deconstruction: Derrida's Haunt,ppS- 9,43, 8L-2, 99-100, r02.

57. ibid., p82.

58. Kipnis suggests that"no architectural design has ever actualized the content of any theory as second order application " Jef&ey Kipnis Forms of Irationality, rn S trate gies in Archite ctural Thinking, p I 5 8.

59. Benrard Tschumi, Abstract Mediation and Strategy, in Architecture and Disjunction, pI97.

60. ibid., p198.

61. Paul Crowther, Art. Architecture and SelÊConsciousness: An Exploration q-f Hegel's Aesthøic, tn Philosophy and Architecture, Ctreat Britain: Academy Group, 1990, pp65-73, 68.

62. ibid., p68. Dewey defines the conce,pt of a medium saying '\Mhat makes a material a medium is that it is used to express ¿ ms¿ning which is other than that which it is in virtue of its bare physical existence: its meaning not of what it physically is, but of what it e4presses. For architecture, the aqpect of indeterminacy is precisely because ofthe oscillation between the physical and the metaphysical, both of which are realities of sensual experience. See John Dewey, Art as Experience, New York: Capricorn Books, 1958,p201.

63. Mario Gandelsonas, Editorial, Oppositions, Summer, 1976.

113 Gillian McFea Lin PhD.Aróitectu¡e & I-hbo Desigr Tho tlnivcsity of Adelaide Thie Colo n ís ati o n of A(a)rchitecture

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64 These are the slnnbolic edi-fices known to us as the Tower of Babel, and religious objects like the stupa, whose function is spiritual. Central to its meaning is the representation of the architectural figure as a metaphor for qpiritual doctrine. See Denis Hollier, Tte Hegelian Edifice. tn Against Architecture: The lVritings of George Bataille, translated by Betsy Wing, Cambridge, Massachusetts, London, England: MIT Press, 1992,pp9-I3. 65 Rafael Moneo, lntroduction, n Thinking the Present: Recent Anrcrican Architecture, 1990, pl.

66 Geoffiey Clive, Art and Beauty, The Philosopþ of Nietzsche, edited and with an Introduction by Geoftey Clive New York: Mentor Booþ I965,p523.

67 Jeffiey Kipnis, Forms of krationality,in Strategies in Architectural Thinking, p153.

68 Andrea Moed, Digitization Can Mediate a Building's Presence in the Future. Part 6 in an On-going Series about Our Realig¡ment as Models of Reality Shift fr om b eing Analo g to Di gital http ://www. metrop oli s mag. com/j an97 I mixed.html

69. William J. Mitchell, City of Bits: Space, Place, and the Infobahn, Cambridge, Massachusetts, London, England: The MIT Press, 1995, p8.

70. ibid., p10

77. ibid., p170

72. Jeffiey Kipnis, Forms of Irrationality, rn Strategies in Architectural Thinking, ppl5l-153.

73. Kipnis states that "- all architecture ultimately represents an idealization of its occupant." The question is whether this is a fact or provable truth. ibid., p 153.

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74. For a discussion on cyborg habitation see Anthony Vidler, The Architectural Uncanny: Essays in the Múern Unhomely, Cambridge, Massachusetts: The MIT Press , 1992, ppl47-164,243nn37 ,39.

75 See Richard Sennett, The Corccience of the Eye: The Design and Social Life of Cities, London, Boston: Faber & Faber, I993,pll. See Eduardo Tenazas, Mexico City. its Foundations: A Posmodem City, in Susan Yalevich, editor, The Mge of the Millennium: An International Critique of Architecture, Urban Planning, Prduct and Communication Design, New York: Whitney Library of Design, 1992, p 1 00.

76. This abstract was located on the Internet. It is ûom an interview given by Paul Virilio. The interviewer is Carlos Oliveira. An endnote to the transcript adds that "This interview was conducted and originally publishetl in German by Franldurter Rundschazl, September 2,1995. Patrice Riemens is an associate research fellow atthe Institute for Development Research at the University of Amsterdam-l' Carlos Oliveira, translated by Patrice Riemens, Global Algorithm 1.7: The Silence of the Lambs: Pqul V¡r¡l¡o in Conversation, 96 /06/ 12. http :i/www. ctheory. coml gaLT -srlence.html

77 Jacques Derrida, Suntmary of Impromptu: Remarks from ANYONE.

http : //www. lake. delsonst/homepag esl s2442 / srm. html

ll5 Gillia¡r McFe¿t Lin PhD.Ardriteduro & Lhbæ D*ign Thc lJnivcrsity of Adelaide Thc C o lon ìs alíon of A(a)rchitecture

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Draníng the Línq The Meøning of Lines Authoríty, Drawìng the Line, Drawìng øs Notatíon, The Locatíon of Drawíngs, Drawíng: The Independent Obiect, Drawing ìs not Artwork, Drawíng ís Artwork, Drawing Conclusìons

Drawíng the Líne

1 'Working in philosophy - like work in architecture in many respects - is really more a working on oneself On one's own interpretation. On one's way of seeing things." Ludwig Wittgenstein, Culture and Value, edited by G.H. von Wright in collaboration with Heikki Nyman, translated by Peter Winch, Oxford: Basil Blackwe[ 1980, 16e, 11977]. See also, The Colonisation of A(a)rchitecture, C\apter 4,li De,piction: Twofold: A Theory of Impurit-v or the Representation of Repression, in this Thesis, p141 and Note 1.

2. Takehiko considers drawings to be important tools through which designs develop through the 'lnteraction between an architect and such a vehicle as drawings." This practice privileges the drawing over model making or other constructive modes of production. It shifts the idea of building into the preferred realn of two-dimensional production. Pressman qualifies the preference for d¡awing by saying, "Architects like to communicate with drawings. But that is not how most clients perceive. Not everyone can rcad a blueprint;" .It may be added that drawings from diagrams to line drawings are ambiguous and open to varying tnterpretations eve,n among practitioners. See Takebiko Nagakura, Shape Recognition and Transformation in Malcolm McCullough, ryilliam J. Mitche[ Patrick Purcell editors, The Electronic Design Studio: Architectural Knowledge and Media in lhe Computer Era, Cambridge, Massachusetts, Lnndon, England: The MIT Press, 1990, p150. Andy Pressman, The Fountainheadache: The Politics of Architecture-Client Relations, New York: John Wiley and Sons lnc., 1995, p148. For a collection of definitions on design see the Glossary in this Thesis.

J See Christine Macy, The Authority of Architectural Drawing, in Knowledge and/or/of Experience,: The Theory of Space in Art and Architecture, Iohn MacArthur, Editor, Queensland: Institute of Modern Art,1993 ,p146.

4 See Catherine Ingraham, Lines and Linearity, in Drawing/Buildittg/Text, Andrea Kahn, editor, Drawing/Building/Texd New York: Princeton Architectural Press, 1991, p65.

116 Gillia¡r McFed Lin PhD.Architecture & I-Irban Design The University of Adelaide The Co Io n is at io n of A(a)rchitecture

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5 See Gilles Deleuze and Félix Guattari, AntiOedipus: Capitalism and Schizophrenia, transltted from the French by Robert Hurley, Mark Seem, and Helen R Lane, New York: The Viking Press, 1977,pp36-37.

6. ibid., pp36-37. Where is the origin of form to be found if it always begins with its transmission? Broadfoot and Butler have said that:

That sign on the sand which opens up the possibility of agreement between two parties also opens up the possibility oftheir disagreement because they will never see the same thing in it or can never be sure they will. Every re,petition of the same diagram, passed between the two parties, will always be different. What must be forgotten, in other words, or form to be realised is the origin of u¡hat the two interlocutors are speaking about, the first appearance ofthe idea as a mark in the sand. To apprehend form, one must forget its empirical manifestation, how it first came about.

See Keith Broadfoot and Rex Butler, The Røelling of Architeøure. in Knowledge and/or/of Experience: The Theory of Space in Art and Architecture, p3I.

7 Desley Luscombe & Anne Peden, Graphic Presentation Techniques in Aus trali an Archi tectural Practi ce, Australia: Craft sman House, 1992, p22.

8. I have said about A(a)rchitecture, 'oThe neologism applies to the concept of a prelocation for thinking about architecture as the bracketed, built objeø or, Architecture as the transcendent zubject. To think in terms of a deconstructive discourse is to seek a pre-structural location within a posstructural dialectic." See the Glossary in this Thesis.

9 Tom Heath, Good Technology Comes in Packages, in I4/høt, if Anything, is an Architect? Australia: Architecture Media Pty. Ltd. 1991,p120. The concept of relationship between parts and wholes is a particularly Eastern mode of thinking and afforded equal or the same value. Kisho Kurokawa, The Philosophy of Symbios¡i, Great Britain: Academy Editions, 1994, pp83-84. For a computational view of parts and wholes see William J. Mitchell, The

t17 Gillian McFe.d Lin PhD.Ardritoauro & Lhbo Design The University of Adelaide The C o lon is al io n of A(a)rchitectrre

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Logrc of Architecture: Design, Computation and Cognition, Cambridge, Massachusetts, London, England: The MIT Press, 1990, ppl4-21.

10. The issues that Heath raises concern how to think of architecture. When looking at or into buildings we consider architecture as a representation of integrity. This perspective views architecture as a system that represents integrity by which is meant, there is sense of fitness between the structure and the façade, between the use of mate¡ials and the construction, which present a holistic picture of the system It could be said that Postmodern architecture represents a perversion of the system of architecture. To look at a building now in postmodern terms, is to look differently at architecture not as the re,presentation of integrity but as an architecture of integration. There is a difference. Heath citing Alexander, speaks of "overlap" of 'bombination" of "mature systems" and:

various requirements of support, enclosure, assembly and so on have been met but in ways which do not necessarily ensure that each bit is the most "efficient" for its '1nain job", but which do en*tre that the total system represents a "local minimum" of material and effort for a given set ofresults.

It could be posed that the "main job" can only be differentiated to a point. Tom Heath, Good Technology Comes in Packages, in lY'ho\ if Anything, is an Architect? pI20.

11. Jean Baudrillard, Translator's Introduction,in, For a Critique of the Political Econonty of the Sign, translated by and with an Introduction by Charles Levin,

St Louis, Missouri, Telos Press, pp186-187. See The Colonisation of A(a)rchitecture, Chapter 4, Depiction li, Twofold: A Theory of Impurity or the Representation of Repression. p146, and Notesl5,l6 in this Thesis.

12. Explored in the previous section, the figure-ground analogy is a useful but subversive strategy. See The Colonisation of A(a)rchitecture, Chapter 4, Depiction liv, Interface, p148-l5l in this Thesis.

13. See Glossary lt8 Gillia¡r McFest Lin PhD.Arùitecfuro & Lhban Design The Lhiversity of Adelaide The Colonisation of A(a)rchitecture

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Drawíng the Línq The Meanìng of Lines Authoríty, Drawíng the Line, Drawìng øs Notation, The Locøtíon of Drawings, Drawìng: The Independent Object, Drawíng ìs not Artwork, Drawíng ís Artwork, Drawíng Conclusions t4 Martin Heidegger, The Origin of the Work of Art, in Basic Ll'ritings,: Front Being and Time (1927) to The Task of Thinking (1964), English translation L977, 1993 by HarperCollins Publishers Inc., revised and e4panded edition, with General lntroduøion and Introduction to each Selection by David Farrell Kre[ London: Routledge, 1993, p189.

15. ibid., p189 t6. Martin Heidegger, Being and Time, h, h Basic Writings,: From Being and Time, pp7 4,7 5 and pp7 4-7 6. t7 Heidegger also distinguishes betweerr appearance and appearing stating that" Appearing is a making itself lcnotn through seasthing that shows itself." ibtd.,p76.

18 Desley Luscombe & Ame Peden, Graphic Presentation Techniques in Aus tral i an Ar chi t e ctura I P rac ti c e, 1992, p28.

19. ibid., p28.

20 ibid., pp66-67. See Joseph Rykwert, The Dancing Column: On Order in Architecture, Cambndge, Massachusetts, and London, England: Tle MIT Press, 1996,p3.

The Meaníng of Línesz

2t Catherine Ingraham, Lines and Linearity, in Drawing/Building/Text, Andrea Kahn, editor, Drawing/Bui lding/Text, p67.

22 ibid., p67

23 For an interesting analysis of approaches to thinking in architecture via Cesariano, see Desmond Hui, Ichnographia, Orthographia, Scaenographia: an analysis of Cesare Cesariano's illustrations of Milan Cathedral in his cornmentary of Vitruvius. l52l in Ktrcwledge and/or/of Experience: The Theory of Space in Art and Architechre, pp79,82. "Dispositio refers to the 119 Gillian McFed Lin PhD.Aróitectu¡o & l-kban Dcsign The tlniversity of Adelaide Thre Co lon ìs atío n of A(a)rchitecture

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artistic design, for which cogitatio and inventio are necessary." It also encompassesdiathesis and ideae as they pertain to the'tompetent use of rules and compasses, by which by which ground plans aÍe laid out on site." Hanno-Walter Kruft, A History of Architectural Theory from Vitruvius to the Present, translated by Ronald Taylor, Elsie Callander and Antony Wood, New York: Princeton Architectural Press, 1994, pp25-27. See also R- Wittkower, Architectural Principles in the Age of Humanism, fourth edition" Great B¡itain: Academy Editions, 1988, p65.

24 Orthography in architecture includes drawings in plan, section, and elevation. See Desley Luscombe & Anne Peden, Graphic Presentation Techniques in Australian Architectural Practice, p8. The meaning of the word other than that understood as projeøed perspective, refers to a "Correct or conventional qpelling; qpelling with reference to its correctness." Concise Oxford Dictionary, New Edition (1979), s.v. "Orthogaphy."

25. John Dewey, Art as Experience, New York: Capricorn Books, 1958, pp100- 101.

26. ibid., p101

27. Douglas R Hoßtadter, Metamagical Themas, Great Britain: Penguin Books. 1986, p389.

28. Gilles Deleuze, and Félix Guattari, A Thousand Plateaus: Capitalism and Schizophrenia, Translation and Forward by Brian Massumi, University of Minnesota Press, Minneapolis and London, 1987, pl l6 and ppl2l-122. For elucidation on the abstract line see Ronald Bogue, Deleuze and Guattari, London and New York: Routledge, 1989, p146. The term "signifiance" is understood as a "signiSing regime of signs." See Notes on the Translation and Acknowledgments in A Thousand Plateaus: Capitalism and Schizophrenia, p9 and the Glossary in this Thesis,

29. See Ronald Bogue, Deleuze and Guattarl, p1l0

30 Gilles Deleuze, and Félix Guattari, A Thousand Plateaus: Capitalisnt artd Schizophrenia, p9. t20 Gillign McFed Lin PhD.A¡chitectu¡o & I-hbwr Design The l-Lriversity of Adelaide Thre Colonisalio n of A(a)rchitecture

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31. Gilles Deleuze, and Félix Guaftari, A Thousand Plateaus: Capitalism and Schizophrenia, p9. The line in this sense converges disparate multþlicities. It flatte,ns or converges situations by transformation into becoming something else.

32. On lins5, see Ronald Bogue, Deleuze and Guattari, ppl10,111,153. According to Hampden-Tumer, 'Divergence is the making in the mind of many from one. Convergence is the making of one from many. The mind is conceived of as constantly branching out (from left) before narrowing to a point of decision (right) and so on in cyclical pattern. Creativity involves the e,ntire cycle." See Charles Hampden-Tunter, Maps of the Mind: Charts and Concepts of the Mind and its I^aby'inths, New York: MacMillan Publishing Co. Inc.,1981, p105.

33 'Nature, in other words, does not present us with lines in isolation. As experienced, they arethe lines of objects; boundaries ofthings. They define the shapes by which we ordinarily recogni5s objects about us. Flenss linss, wen when we try to ignore werything else and gaze upon them in isolation, carry over the meaning of the objects of which they have been constituent parts." John Dewey, Art and Experience, p100.

34 '"There are lines which are monsters ... A line by itself has no meaning; a second one is necessary to give expression to meaning. Important Law." Derrida cites Delacroix in Jacques Derrida, Force and Signification, in llriting and Dffirence, tralslated with an Introduction and Additional Notes, by Alan Bass, London and Henley: Routledge & Kegan Paul, 1978, p15.

35 Martin Heidegger, The Ouestion Concerning Technology in, Basic Writings: Front Being and Time (1927) to The Task of Thinking (1964), pp325-326.

Authority: Drawing the Lìne: 36. The term'scientific' is used to denote measurability through what Luscombe calls the 'laws' of technical drawing. It alerts one to the difference between a system of categorising and a system of assessing often confused in the process of design. See Desley Luscombe & Anne Peden, Graphic Presentatiott Techniques in Australian Architectural Practice, pl3. t2l Gilüa¡ McFed. Lin PhD.Ardritccturo & Lhba Dosip The Lhriversity of Adelaido Thre C o Io n is øti o n of A(a)rchitecture

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37 William J. Mitchell, (L994), The Reconfigured Eye: Visual Truth in the Post- Photographic Era, Cambridge, Massachusetts, London, England: The MIT Press.

38. Christine Macy, The Authority of Architectural Drawing, in Knowledge and/or/of Experience: The Theory of Space in Art and Architecture, pL47.

39. ibid., p146. The knowledges referred to are those that underpin issues, facts, rules, precedents, experiences, perceptions and predictions. It is aszumed that a drawing is able to successfully re-present an assorfment of knowledge bases into a $atement of intent. Itmay argted to what extent a drawing is ever an accurate and complete re-presentation when design is dependent on a process of negotiation. For a useful discussion on knowledge representation see Edward Steinfeld, Toward Artificial Users, in Yehuda E. l(alay, editor, Principles of Computer-Aided Design: Evaluating and Predicting Design Perþrmance, New Yorl/Chichester/BrisbaneÆoþo: John Wiley & Sons, Inc. 1992,pp329-345.

40. Christine Macy, The Authority of Architestural Drawing, in Knowledge and/or/of Experience: The Theory of Space in Art and Architecture, pl45

41. ibid., p145

42. ibid., p146

43. ibid., pp146-147

Drøwíng as Notatíon: 44. Meaning strictly speaking, signifies the'tpon which" the projection of Being is founded. See John D. Caputo, Demythologizing Heidegger, Bloomington, Indianapolis: Indiana University Press, I993, pl5.

45 Desley Luscombe & Anne Peden, Graphic Presetúation Techniques in Australian Architectural Practice, p2.

t22 Gilliân McFeât Lin PhD.Ardriteaure & Lhban Dcsip Thc I-Ioivcsity of Adelaide The Co lo n ls alio n of A(a)rchitecture

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The Locøtíon of Drøwíngs: 46. Zhang view that the 'technology of writing" as an 'bxtemal symbolic system-' of the 'lnodern mind" would zupport the Derridean privileging of speech since "Olson (1996) has made a convincing argument that writing does not merely transcribe but rather brings structural properties of speech into consciousness, that is, the development of uniting was also the discovery of the representable structures of speech." Jiajie Zhang, The Nature of Representation in Problem Solving in Cog¡itive Science, 1997, 2l(2), 1'79' 2L7. Achowledgments to Thomas Kvan for providing this paper'

47. Douglas R Hoßtadta, Metamagical Themas,pl9l.

48. Ronald Bogue, Deleuze and Guattari, p110

Drmting: The Independent Object 49. Acknowledgments to Professor Judith Brine for pointing out that the nature of drawings can also be instrumentalrathet than documentary.

50. In the opinion of Wigley, drawing as a means of the depiction of architecture is not a simple matter of abstracting essences or drawing off or in order to mediate between 'ldea andbuilding, the formal and the mateial, the soul and the body, the theoretical and the practical." Mark Wigley, Architecture and De construction : De rrida's H aunt, second printing, Cambridge, Massachusetts, London, England: The MIT Press, 1993,p20.

51. ibid., p6

52 The use of the word 'modern' separates the time when art was used as a form of instruction. It applies to the time when the mass population of England for example, could not read and religious art in particular, before Henry VIII and the Reformation, was used to inform and to communicate. In the last two centuries, the strict boundaries defining art and architectural diawing have become bluned. Previous to that, the Renaissance can be seen as a period when the compact between conceptual design and building was broken. See Desley Luscombe & Anne Peden, Graphic Presentatiott Tecfuüques in Australian Architectural Practice, pp6,9.

t23 Gilli¡n McFed Lin PhD.Aróitecluro & lJrban Dcsip The Llniversity of Adelaide Thre C olo n is alio n of A(a)rchitecture

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53. ibid., p6.

54. Desley Luscombe & Anne Peden, Graphic Presentation Techniques in Arctralian Architectural Practice, p6.

55. ibid., p6.

56. ibid., p6.

57 In Tschumi's opinion on the drawing, 'tsy their very nature, they usually refer to something outside themselves (as opposed to those art drawings that refer only to themselves, to their own materiality and device.)" See Bernard Tschumi, Architecture and Disjunction, Cambridge, Massachusetts Lnndon, England: The MIT Press, 1994,pI06.

58. Desley Luscombe & Anne Peden, Graphic Presentation Techniques in Australian Architectural Practice, P8.

59. ibid., p8.

60. ibid., p20

Drawíng ìs not Artworkz 61. Mark Wigley, Architecture and Deconstruction: Derrida's Haunt, p20.

62 ibid., p20. The separation between kurst (art) and kurctwerk (art proper) is discussed in Joseph Rykwert, The Dancing Column: On Order in Architecture, p377. On the concepts of pragmatism and populism as phenomena of the twentieth century, see Richard Coyne, Designing Information Technolog,t in the Postntdern Age: Front Methd to Metaphor, Cambridge, Massachusetts, London, England: The MIT Press, L995,p40.

63 Analogous with transportation is the device of transposition in music whereby the sense of totality is achieved elsewhere (in another key), by the literal relocating of notes by intervals as means of aural and notational measurement. While the sense of the music when compared to the original appears intact, the rnusic when played is perceived differently because t24 Gillian McFed Lin PhD.Ardritecture & IJrbar Design The l-hiversity of Adelaide The C o lo n is al lo n of A(a )rchitecture

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intrinsic to every key are nuances of coloration (tonality) which make a particular key qpecial and different.

64 Beatnz Colomina, Privacy and Publicity: Múern Architecture as Mass Media, Cambridge, Massachusetts, London, England: The MIT Press,1994, pp253,274-275.

65 Donald Schön, Mucating the Reflective Practitioner: Toward a New Design for Teaching and Learning in the Professions, San Francisco: Josse-Bass Publishers, 1987,p13.

66 Loos for one made a distinction between life and art. Life was always das Andere or the Other to art. The purpose of architecture \ /as to address life and not art. According to Colomina, Loos made exceptions for the monument (Denhnat) and tomb (Grabmal) as types which otherwise are commemorative places or internal places or places of internalisation. See Beatriz Colomina, Guest Editor, ArchiteclureReprduction, Revisions 2, Rwisions 2, U.S.A.: Princeton Architeøural Press, 1988, p13. Rylavert interprets Loos' approach to ornament as the application of historical context or a "quotation" to "establish historical legitimacy through such tlpified themes." See also Joseph Rykwert, The Dancing Column: On Order in Architecture,p3T8

67 A deconstructivist approach would consider the possibility of overlap between life and death. About deconstruction Derrida has this to say:

I am very happy there is a conference on deconstruction. I have heard it is on the wane, dyittg, for the last 30 years. I tell you it is dead. If there is a diflerence between deconstruction and any other fashion, discipline and so forth, it is that it started with dying.

A n I nte rv i ew w i t h D e r r i d a, http : //www. lake. delson st/homep a ge sl s24 42 I applied.html

t25 Gillian McFed Lin PhD.Archit€ctuñ & {-kba Dcsign The l-hivcrsity of Adel¡ide The Co lo n i s alio n of A(a )rchitecture

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ó8. Two differing viewpoints are offered on the subject of Loos and his position on architecture and art. Reflecting Loos' position on the division between art and architecture Rykwert says:

most buildings have no business to try and be '\vorks of art" anyway, since art is reserved for the high emotional charge of the monument and the tomb.

Colomina's interpretation on the other hand seems to zuggest that although Loos separated art from life and aligned architecfure with the function of living, exceptions were made for the building tlpes of the monument and the tomb. She identifies that as:

The most rldical architect of this century, Adolf Loos, dwoted his life to demonstrattng that betvteen art and life there was no possible bridge. Life was necessarily 'the Other" (dos Andere) of art. But for Loos architecture,like everything else which serves a purpose, did not belong to the reahn of art; the only exceptions were the tomb and the monument, that is to sy, those programs from which life is necessarily excluded.

Joseph Rykwert, The Dancing Column: On Order in Architecture, p378. See also, Beatriz Colomina, Guest Editor, ArchitectureReprducllon, Revisions, pl3.

69 "Because a drawing cannot convey the tension between the other senses and sight it cannot adequately translate a building." Beatnz Colomina, Privacy and Publicity: Mdern Architecture as Mass Media, pp269,270. Had he lived, would Loos have taken to Computer-Aided Design. For example, a recent electronic deconstruction of elements performed on his Lido House demonstrates the gøreration of his architectural language without the addition of interpretation. See [Ilrich Flemming, Syntactic Structures in Architectu¡e in Malcohn McCullough, Williarn J. Mitchell, Patrick Purcell, editors, The Electronic Design Sndio: Architectural Knowledge and Media in Íhe Contputer Era,p35.

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Drawíng ís Artvvork 70. Richard Neutra in Beatnz Colomina, Privacy and Publicity: Modern Architecture as Mass Media, pp270,373n29. Ervin argues that the order in which design proceeds is not predictable. The drawing is a form of 'þaphical distinction" which can be said to be 'hseful" "implementable" and 'testable." See Stephen M. Ervin, Designing with Diae¡ams n The Electronic Design Studio: Architectural Knowledge and Media in the Computer Era, p109.

7r. As Colomina notes, without completed working drawings Loos "allows himself to be manipulated by the construction. Like the occupants of his houses, he is both inside and outside the object. The object has as much authority sys¡ him as he over it. He is not simply the author." ibid., p279. Stiny puts forward an opposite argument in favour of the pencil. He writes that 'Because the pencil and paper drawing has no inherent structure, it can be deconryosed and manipulated in any ma ner of interest to the designer. An wolving design may thus have alternative descriptions that may change from time to time in unanticipated ways; rt may be decomposed and manipulated in this way now and in another way Later without difficulty." Elsewhere he states 'lilith pencil and paper, one shape is changed into another shape by drawing and erasing lines. In the algebra of shapes, a sequence of these operations is defined in a rule.".

This reference is found in George Stiny, What Designers Do That Cornputers Should n The Electronic Design Studio: Architectural Knowledge and Media in the Computer Era,ppl9,Z1.

72. For examples of architecture as art see Emilio Ambas4 The Poetics of the Pragmatic: Architecture, Exhibit, Industrial and Graphic Design, New York: Rizzoli, 1988. For the drawings of Day, Collin and Lilley see Desley Luscombe & Anne Peden, Graphic Presentation Techniques in Australian Architucntral Practice, pp36,118-1I9. See also Lebbeus Woods, Anarchitectare: Architecture is a Political Act,New York: St. Martin's Press, t992.

73 The drawings of Day, Collin and Lilley, Jahn, Burgess, Wood, Rogers and Richards are cited and referenced respectively in Desley Luscombe & Anne Peden, Graphic Presentation' Techniques in Australian Architectural t27 Gillian McFed. Lin PhD.Aråitectwo & Ilbar Design The University of Adelaide Thre Colonìsatlo n of A(a)rchitecture

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Practice, pp36-37, 168-169, ll8-lzl, 90-91, I9GI97, 124-125, 126-127, trz-tr3.

74 Norman Day, Konindaris House, Brighton, Victoria and Mowbray College, Melton, Victoria in Desley Luscombe & Anne Peden, Graphic Presentation Technique s in Australian Archi tectural P racti ce, pp3 6-37, I 68- 1 69.

75. Architectural Schemes, Arthur Collin and Brian Lilley, in Desley Luscombe &, Anne Peden, Graphic Presentation Techniques in Australian Architectural Practice, ppl l8-121.

76. C'reg Burgess, Meditation Chapel Project, Richmond, Victoria and Brambuk Living Cultural Centre, Grampians, Victoria, in Desley Luscombe & Ame Peden, Graphic Presentation Techniques in Australian Architectural P rac ti c e, ppL9 6-197,200-20I.

77 hiriki Resort Project, Drawing artist, Les Wood for Devine, Erby, IÙ'{.az.lìn 6al Hyatt Resort, Coolum, Queensland, Drawing artist, Geg Rogers for Bligh Voller Architects in Desley Luscombe &, Anne Peden, Graphic Presentation Techniques in Australian Architectural Practice, ppL24-I25, 126-127 .

78. Capitol Central Sydney, Lawrence Nield and Partners in association with Travis Partners in Desley Luscombe & Anne Pedøt, Graphic Presentation Te chniques in Austral ian Archi tectural Practi ce, ppl L2-I13.

79. References to The Com Exchange Cornpetition, Sydney, Kringas and Jahn Architects, Drawing Artist, Cnaham Jahn, Painting Artist, Catherine Fisk, are found in Desley Luscombe & Anne Peden, Graphic Presentation Techniques in Australian Architectural Practice, pp90-91.

80 The terms 'differentiation' and 'differenciation' are discussed in this Thesis with reference to Glles Deleuze, Dffirence and Repetition, translated by Paul Patton, New York: Columbia University Press, 1994, p207. See The Architecture of Colorúsatiort, Chapter 1, Difference Ii, Architecture as ldiom: Both/An p28 in this Thesis.

128 Gillian McFe¡t Lin PhD.Ardritecturo & I-hban Dcsip Thc Llniversity of Adelaide The Co lo n lsallo n of A(a)rchitecture

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Notes to Depiction II

Drawíng the Line, The Meaníng of Lìnes Authority, Drawing the Líne, I)rawíng øs Notation, The Location of Drøwings, Drawing: The Independent Obiect, Drawíng ìs not Arhoork, Drawíng ìs Artwork, Drawíng Conclusions

81. The accompanying text describes a zuite of glassfronted office buildings "shielded from the direct westem sun by timber and metal sunscreens,". Desley Luscombe & Anne Peden, Graphic Presentation Techniques in Australian Architectural Practice, pp90-9 l.

82. Baudrillard comments that 'behind the transparency of the object ... behind the general scheme of synthesis (art-technique, form-function), a whole labor of dissociation and ab*ract restructuation in fact takes place: " Jean Baudrillard, Design and Environment, in For a Critique of the Political Economy of the Sign, p187.

83 Pytheos was the architec| of the temple of Minerva at Priene. Yitruvias, The Ten Bool

84. Desley Luscombe & Anne Pede,n, Graphic Presentation Techniques in Australian Architectural Practice, p5.

85 1bid., p2. For a discussion on the difference between the concepts of 'agent' and that of 'agency' see Doug Riecken, A Corwersation with Mawin Mtnsky about Agents in Communications of the ACM, JuIy 1994No137, no 7, p24. My thanks to Nino Bellantonio for providing the article.

Drawíng Conclusíons: 86. William J. Mitchell, A New Agenda for Computer-Aided Design, n The Electronic Design Studio: Architectural Knowledge and Media in the Computer Era, p5.

87 Antoniades prudently qualifies his affirmation of drawing by quoting Alex Wall who has said in reference to the deconstructive approach of Eisenman and Hadid among others:

The goal of transforming architecture requires a literacy and analytical capacity rarely found in fourth or fifth year srudents, and it is only through the zuggestive power of drawings that these aims can be approached. The danger is that the drawing can, become too fluent, 129 Gillia¡r McFeet Lin PhD.Ardriteau¡o & IJrbæ Design The l-hriversiry of Adelaide Tbe C olonìsation of A(a)rchitecture

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Notes to Depiction II

Drøwing the Línq The Meaníng of Línes Authoríty, Drawìng the Line, Drawìng as Notatíon, The Locøtíon of Drawíngs, Drawing: The Independent Obiect, Drawíng ìs not Artwork, I)rawìng ís Artwork, Drøwing Conclusìons

skating over the real issues, and, in a breathless whit of brush and pen, create startling images with no authority.

Anthony C. Antoniades, Poetics of Architecture: Theory of Design, U. S.A. : Van Nostrand Reinhold, 1992, pp67,70.

88. Antoniades cites Silvetti. ibid., p70.

89. William J. Mitchell, A New Agenda for Comuter-Aided Design, in The Electronic Design Studio: Architectural Knowledge and Media in the Computer Era, p3 and ppl-16. See Anthony C. Antoniades, Poetics of Architecture: Theory of Design, pp67'7I.

90 Nagakura alludes to transformation in terms of movement or the reuniting of a notation zuch as language or graphics. The rationale is based on the production principle of iÊthen. The 'if clause is presented as a left pattern and the 'then' clause as the right side. He states:

Transformation" means rewriting the found pattern using the pattern provided in the then-clause of the rule; that is, erasing the left pattern and drawing the right pattern.

Takehiko Nagakura, Shape Recognition and Transformation , tn The Electronic Design Studio: Architectural Knowledge and Media in the Computer Era, ppl5l-I52.

9l The maúmal line is a solo line. It does not combine with other lines but is thought of as co-linear. A conce,ptualisation of the maximal line is the stand- alone column. There is no possibility of meeting, intersection to become the beginnings of a shape. It could be argued though, that the single line can be subdivided, each segment thus independent (maximal) in its own right. See George Stiny, What Desig¡ers Do That Cornputers Should in The Electronic Design Sntdio: Architectural Krcwledge and Media in the Contputer Era, pzl.

92. See The Architechre of Colorúsatiort, Chapter 2i, Transference in of this Thesis.

130 Gillian McFed Lin PhD.Architêcturc & Lhban Dasign The l-friversity of Adelaide Tllre Colon isalion of A(a)rchitecture

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Notes to Depiction II

Drawíng the Linq The Meaníng of Lines Authority, Drøwing the Líne, Drøwing as Notatíon, The Locatíon of Drawíngs, Drøwing: The Independent Obiect, Drawìng ìs not Artwork, Drawing is Artwork, Drawìng Conclusions

93 Mitchell qpeaks of a destructive transformation and a preservative transformation. The latter is relevant to the discussion which states that to modi$ a state is to also alter the essence or intrinsic properties of an Idea. See William J. Mitchell, The Logrc of Architecture: Design, Computation and Cognition, pplL2-223. On decomposition as a form of transformation see George Stiny, What Designers Do That Computers Should n The Electronic Design Snd¡o: Architectural Knowledge and Media in the Compu.ter Era, p18. There is no way of assessing the validity of transformation. Nagakura alerts us to the problem of ambiguity in transformation. "Ambiguity lies in the relationship between patterns of the if-clause and the then-clause." He presents a series of cross shapes to demonstrate this premise. See Takehiko Nagakura, Shape Recognition and Transformation, in The Electronic Design Studio: Architectural Knowledge and Media in the Computer Era, p153.

94. See in this Thesis, The Architecture of Colonisation, Chtpter 1, Difference li, Architecture as Idiom: The Otherwise of Difference, Re,petition. Botb/And. Same, p29.

95. B eatnz Colomin ¿, Guest Editor, A r c hi te c htr e Re pr duc t i on, p7

96. Dewey supplies a selÊcontained definition saying that , 'Expression, like construction, ... signifies both an action and its rezult."John Dewey, Art as Experience, p82.

97. Beneath the drawn surface, the tecbniques of production draw from different knowledge bases. See Hubert L. Dreyfus, Stuart Dreyfrrs with Tom Athanasiou, Five Steps from Novice to Expert, in Mind over Machine: The Power of Hunnn Intuitiott and Expertise in the Era of the Computer, New York: The Free Press, 1986, pp16-17.

98. Paul Richens, Does Knowledee Really Help? CAD Research at the Martin Centre in G. Carrara, and Y.E. Kalay, editors, Knowledge-Based Contputer- Aided Architecfiral Design, Netherlands: Elsevier, 1994, p308.

r31 Gillie¡ McFed. Lin PhD.ArchiteAuro & IJrbo Dcsign The Llnivcrsity of Adelaide Tllre C o lo nís ølìo n of A(a)rchitecture

The Depíctìon of the Concept SECTION IÞI)

Notes to Depiction II

Drøwing the Líne, The Meøníng of Línes Authorìty, Drawìng the Líne, Drawing as Notatíon, The Locatíon of Drawings, Drawìng: The Independent Obiect, Drawing ís not Artwork, I)rmtíng ís Artwork, Drawing Conclusions

99 Takehiko Nagakura, Shape Recognition and Transformations: A Script-Based Approach, n The Electronic Design Studio: Archiþcnral Knwledge and Media in the Computer Era, pI49.

100. As Colomina suggests:

... architecture as distinct from building, is an interpretive, critical act. It has a linguistic condition different from the practical one of building. A building is interpreted when its rhetorical mechanism and principles are rwealed.

B eatnz Colomin a, Gue st Editor, A r c hi t e c tur e Re pr duc t i on, Rwisions 2, p7 .

101. MichelFoucault, Language, Counter-Mentory, Practice: Selected Essays and Interviews, p168. The conce,pt of the Same is discussed in The Architecture of Colonisation, Chapter 1 Difference Ii, Architecture as Idiom: The Otherwise of Difference. Repetition. Botb/And, Same, P28, and Note 22 ofthis Thesis.

L02. The repetition of the Same is examined in The Architecture of Colonisation, Chapter I Dfference li, Architecture as Idiom: The Otherwise of Difference. Repetition, Both/And. Same,p29 tn this Thesis. See also Takehiko Nagakura, Shape Recognition and Transformation n The Electronic Design Studio: Architectural Knowledge and Media in the Computer Era, ppl5G'151.

103. According to Heidegger, to e-rect is to allow the nature of being to be the guiding measure or the sense in which something is tmderstood. This definition is close to the Idea of Architecture that is examined in this Thesis. See Albert Hofstadter & Richard Kuhns, editors, Philosophies of Art & Beauty: Selected Readings in Aesthetics from Plato to Heidegger, Chicago: University of Chicago Press, 1976, p672. See, The Architecture oÍ Colonisation, Chapter 2ii, Transfer: Language Game, p58 and Notel6 in this Thesis.

104 Tarkko Oksala, KAAD: Evolutionary and Cognitive Aspects, in G. Carrara and Y.E. Kalay, editors, Knowledge-Based Contptned-Aided Architecfitral Design, p40. r32 Gillian McFed Lin PhD.Ardritecturo & I-Lban Dcsign The [Jniversity of Adelaide Thre Co lo n ìs atío n of A(a)rchitecture

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Notes to Depiction II

Drawìng the Lìnq The Meøning of Línes Authorþ, Drawing the Líne, Drawing as Notøtìon, The Locøtíon of Drawíngs, Drawíng: The Independent Object, Drawíng is notArtwork, Drawíng is Artwork, Drøwing Conclusìons

105. For an interesting readirg on this topic see Pierre-Alain Croset, The Narration of Architecture in Beatriz çs[emina, Guest Editor, ArchitectureReprduction, Revisions 2, pp20L-ZII.

106. William J. Mitchell, Ihe Logrc of Architecture: Design, Computation and Cognition, p38,2I7. According to Colomin a, architects like Loos would abjure the se,paration between the two worlds. See Beatriz Colomina, Guest

Editor, Ar c hi t e c tur e Re pr oduc t i on, Revisions 2, pp l3,I 5 .

t07 All characters (aþhabets and numbers) are represented by 8 on-off switches r'Brr called bits (binary digit) For exaryle, "4" is "1000 0001", is "1000 0010" etc. The combination of these 8 switches gives us 256 representations, some of which are the alphabets or numbers and others are symbols plus the whole instruction set.

133 Gillian McFed Lin PhD.Ardritedu¡e & IJrban Desip Tbe Lh,iversity of Adelaide The Colonisation of A(a)rchitectrrre The Depiaíon of the Concept *

SECTION D.I)

Notes to Depiction III Electroníc Technologt: The Question of Ontologìcal The Aspect of Technologt: The Ontíc Questíon, Heurístics and Technologt A Parallel Paradìgm: Knowledge AND NOT Information Processing Or The Questìon of Computer Learníng, A Díscontìnuous Lineørþ or the Parallax Paradìgm

Electroníc Technologt: The Questíon of Ontologícal 1. The concept of linearity is discussed in the previous section of this Thesis, The Colonisation of A(a)rchitecture, De,piction 2i, Drawing the Line. pI62. On extension and space and time, Benedikt says extension is the "classical word for space, used by Descartes, Spinoza, Leibntz, and their conteryoraries." Heidegger uses the word spatium in conjunction with exteraio. The'thingly structure of buildings." fs a locale or house of things 'that shelter men's lives." Martin Heidegger, Building Dwelling Thinking, in Basic l\/riting: Front Being and Tinte (1927) to The Task of Thinking, (1964), revised and e4panded edition, with General Introduction and Introduction to each Section by David Farrell Krell, London: Routledge, 1993, p360. The word'space' in the Thesis is now exte,nded to include the space of electronic technology in an age of emergent postmodernity, which further complexifies the location for meaning. On space, see Michael Benedikt, Cyberspace: Some Proposals in Michael Benedikt, editor, Cyberspace: First Steps, Cambridge, Massachusetts, London, England: The MIT Press, l994,ppl8'24,2I3n24. See Mark Poster, Postmodern Virtualities in Mike Featherstone and Roger Burrows edit ors, Cy b e rspa c e / Cy b e r b di e s / Cy b e rpunk : C u I tur e s of Technological, I-ondon . Thousand Oaks . New Delhi: Sage Publications, 1996, p88.

2. See the opening section of this Thesis, The Architecture of Colonisation, Difference li. Architecture as ldiom: The Otherwise of Difference. Repetition. Both/And, Same, p25.

J Martin Heidegger, The Ouestion Concerning Technology in Basic lI/ritings: Front Being and Time (1927) to The Task of Thinking, (1964),p312.

4. ibid., p3l2

5. ibid., p312

6. ibid., p312

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Notes to Depiction III Elec'tronìc Technologt: The Questìon of Ontological The Aspect of Technologt: The Ontíc Questíon, Heurístics ønd Technologt A Parallel Paradigm: Knowledge AND NOT Informatìon Processing Or The Question of Computer Learníng, A Díscontìnuous Linearìty or the Parallax Paradigm

7 See Richard Coyme, Deconstruction and Information Technology, in Designing Information Technologt in the Postmdern Age: From Methd to Metaphor, Cambridge, Massachusetts, London, England: The MIT Press, 1995, pl2S.Heidegger distinguishes between ontology and ontic in Being and Time, Basic Writings: Front Being and Time (1927) to The Task of Thinking (l 964), pp4l-87,49,53.

8. Martin Heidegger, The Ouestion Conceming Technology tn Basic ll/ritings: From Being and Time (1927) to The Task of Thinking (1964),p312.

9 ibid., p312. According to Coyne who cites Kockehnang Heidegger on Art and Art Works, Heidegger differentiated between 'being" from the entity of a productionist metaphysic" otherwise, the:

'trse of technology as the driving metaphor for how we understand things in nature, as constructed, like technological equipment, though without purpose. Similarly, the productionist metaphysic preserús art as somethingmade,like equipment, but with 'lalue added-"

See Richard Coyne, Representation and Reality, in Designing Infornntion Technologt in the Postmodern Age: From Method to Metaphor, pp189,352n42.

10. It is to be reminded of the persistent dualism of empirical knowledge. On human intelligence and artificial intelligence, see Hubert L. Dreyfus, Stuart Dreyfus with Tom Athanasiou, Prolosue, in Mind over Machine: The Power of Hunnn Intuitiott and Expertise in the Era of the Contputer, New York: The Free Press, 1986, pp3-5. The Heideggerian concept places technology among Man's objects which dominate the "entire earth and even the planets", Hubert L. Dreyfus, Introduction to the Revised Edition, in ll'hat Computers Still Can't Do: A Critique of Artificial Reason, Cambridge, Massachusetts, London, England: The MIT Press, 1994, p336n16. Heidegger views technology not in terms of 'lnaking and manipulating" but as a 'bringing forth" of poiesis. There is always a gap therefore between searching for

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Notes to Depiction III Eleclronìc Technologt: The Question of Ontological The Aspect of Technologt: The Ontic Question, Heuristics and Technologt A Pørallel Parødígm: Knowledge AND NOT Inþrmation Processíng Or The Questíon of Computer Learnìng, A Dìscontìnuous Linearíty or the Parallax Paradigm

reasons (mechanism-tool), the reason for searching and the search for truth. Truth, fact and the essence of truth are again identifiable reminded that interpretation and zubjectivity, or the element of the irrational must be admitted. þffi¿ming is the desire for control and the essence of technology 'Ts our will to control manipulate, manufacture, dissect, reduce." See Martin Heidegger, The Ouestion Conceming Technology, in Basic Writings: Front Being and Time (1927) to The Task of Thinking (1964), pp318-320. See Richard Cowe, Deconstruction and Information Technology. rn Designing Information Technologt in the Postmdern Age: From Methd to Metaphor, p299. See Richard Coyme, Metaphors and Machines, in Designing Information Technologt in the Postmdern Age: From Methd to Metaphor, p270.

11 Coyne pitches the theory of pragmatism against that of rationalism- ibid., pp3L-51,43,95. To add involution to the mix typifies the postmodern condition through which deconstruction enables the convergence of binary opposites. Deconstruction as atactic (a tool for thinking), works against itself in the atlemptto expose the nature of formalising and, as the 'interpreter' of contexts, discovers (or uncovers) itself as 'instituted' or contextualjsed. This is the paradox of conventionalising when the means of institution is itself overcome. Thus the study on colonising disturbs the notions of certainty.

L2. Michael Heim, The Metaphysics of Virtual Reality, New Yorþ Oxford: Oxford University Press, 1993, pp14,18. On modem logic as determined by Venn and Boole, see ppl6-19.

13. Heim says "lnstead of the human mind puz,zling over how language fits the systenl the computer does the fitting; it transforms our alphabet into maniputable digits," ibid., pZl.

T4 ibid., pl l7. Computation is a form of calculated reasoning which turns insight into order. In this sense, its technology is considered to be a fonn of design. Langton calls computers the idiot savants. They are relegated to the difficult tasks of calculating which then allows an opening for the 'lealm of exploration." See Christopher G. Langton, Artificial Life, in Margaret A.

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Notes to Depiction III Electronìc Technologt: The Question of Ontologìcal The Aspect of Technologlt: The Ontic Question, Heurístics ønd Technologt A Parallel Paradigm: Knowledge AND NOT Information Processìng Or The Questìon of Computer Learnìng, A Discontìnuous Línearíty or the Pørallax Paradígm

Boden, editor, The Philosophy of Artificial Life, New Yorlq U.S.: Oxford University Press, 1996. ffthe computer program is likened to the architectural ptogram, it is on the basis thatthey both systematise aspects of function and define design as the langaage of order. It is to suggest that the paradox of likening (of sameness, the 'as if and the 'as it were') which merges systems through the association of analogy assimilates one knowledge-base through association. It also assumes that fhe linearity of architecture's system or design reasoning progresses in the same way as a computer progfam- Are computer pfograms to be matched with 1þs mind and ability of say, a refined and sophisticated designer? As the cognitive scientists Carroll and Rosson suggest, one approach is dealing with the 'the system on its own terms, as it were," and not "as'L?' it were similar to something else they already know about." This is not possible when that system is one relied on for produøion. See John M. Carroll and Mary Beth Rosson, Paradox of the Active User, in John M. Carroll, editor, Interfacing Thought: Cognitive Aspects of Hunnn- Computer Interaction, p95. See also David Wood, Difiárance and the Problem o.f Strategt, tn Denida and Différance, edrted by David Wood and Robert Bemasconi, Evanston, Illinois: Northwestern University, 1988, p63. The paradox cif the 'as if comes in another guise in this Thesis in the chapter The Representation of Iltusion, II Monument: Philosophy, The Question of Becoming, Same, pl32.It presørts architecture as privileged by the tool which is the metaphor or mnemonic. I have said that:

The impasse is created when 'is like' and 'becomes' are confused as the same; when appropriation and circumventing of transfer and translation is praøiced. When the real house is appropriated to become a metaphor for itself, it finds itself displaced not only in the depiction of the object but in its representation because the metaphor is always a deviation, a transgression and an intrusion into an existing order which underpins the ambiguity between 'is', 'is like', 'is not' and 'becomes as'.

Heidegger says that quid, Quiddifas, quiddity 'þrovides the answer to the question concerning essence." See Martin Heidegger, The Ouestion Concerning Technology in Basic ll'ritittgs: From Being and Tinrc (1927) to

t37 Gillia¡r McFe¿ Lin PhD.Arùitedure & t-hbcr Design The llnivershy of Adelaide The Colonisation of A(a)rchitecture The Depictíon of the Concept *

SECTION D.D

Notes to Depiction III Electronic Technologt: The Question of Ontological The Aspect of Technologt: The Ontíc Questíon, Heuristics and Technologt A Parallel Pøradigm: Knowledge AND NOT Inþrmøtíon Processíng Or The Question of Computer Learning, A Dìscontinuous Linearìty or the Parallax Paradìgm

The Task of Thinking (1964), p334. The concepts of 'as if and 'as it were' become relevant in relation to the Deleuzian concept of 'each' discussed in this Thesis. See, in this Thesis, The Architecture of Colonisation, Chapter 1,

Repetition. Both/And. Same, p27 and Notel4.

15 For example, Nagakura has said "... given the enormous potential power of the computer, it seems quite natural to think about expanding the use of the computer beyond its present role of a simple drawing medium, to improve the process of design itself " To string together in the one sentence such words as 'þotential" 'hafural" 'Improve" and 'þrocess of design" is to assume compatibility between systems and knowledge bases which can occur without surrender or loss. See Takehiko Nagakura, Shape Recognition and Transformation in Malcolm McCullough, William J. Mitchell Patrick Purcell, editors, The Electronic Design Studio: Architectural Knowledge and Media in the Computer Era, Cambridge, Massachusetts, London, England: The MIT Press, 1990, p152. Akin has said 'It is clear to whose who grasp the real potential of this still new technology - as in the case of many other major technological innovations - that it continues to change the way we design, rathe.r than to merely augment or replace human designers." My view is that it will do both. See Ömer Akin, Coryutational Design Instruction Toward a Pedagogy, in The Electronic Design Studio: Architectural Knowledge and Media in the Computer Era, p30I.

16. Ulrich Flemming, Artificial Intelligence and Desig¡: A Mid-term Review, in G. Carrara, and Y.E. Kalay, editors, Knowledge-Based Contputed-Aided Architectural Desigtt, Netherlands: Elsevier, 1994, ppl-z and Note28 of this chapter. Coyne poses that:

Technologies are commonly advanced as the solutions to particular problems, yet it is apparørt that the technologies have brought about the metaphor shifts that define and even create the problem in the first place. Thought is shaped by technologies in such a way that the technologies are readily accommodated. lnfonnation processing

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SECTION D-D

Notes to Depiction III Electronic Technologt: The Question of Ontologícal The Aspect of Technologt: The Ontíc Question, Heuristícs and Technologt A Parøllel Parødígm: Knowledge AND NOT Informatíon Processíng Or The Questìon of Compuler Learning, A Díscontìnuous Lìnearìty or the Parallax Paradìgm

provides a good example ofthis complex play between technology, metaphor and the problem.

Richard Colme, Metaphors and Machines,in Designing Information Technologt in the Postmodern Age: From Methd to Metaphor pp282-283

T7 Heidegger's nss is examined in detail n The Colonisation of A(a)rchitecture,

Chapter-r 3. The Representation of Illusion, Monument i. The Tradition of Thinking as a Structure and an Enclosure, ppl33-135, in this Thesis.

18 On problem-solving architecture, see Ulrich Flemming, Artificial Intelligence and Design: A Mid-term Review tn Knowledge-Based Contputed-Aided Architectural Design, pI4.

19. On Top-down specifications see, Christopher G. Langton, Artificial Life, in Margaret A. Boden, editor, The Philosopþ of Artificial Life, p54

20 William J. Mitchell, Design Media and Design World in The Logic of

Archi tecture : Des ign, Computati on and C ogniti on, p3 8. See Martin Heidegger, The Way to Languaqe, in Basic Writings: From Being and Time (1927) to The Task of Thinking (1964), p422.

21 The interpretation of "artwork" relates to its application to the subject. In this Thesis, the artwork of architecture is interpreted as the 'thingness" of something that is created in the mind and by the hand. Heidegger interprets 'thingness" as the 'Being" of matter and form and their structural relationship. The question raised than, concerns translation. The importance of this question turns on the concept of the re-placement (location) of the subject when the tool-agent is used. See Martin Heidegger, The Origin ofthe Work of Art. in Basic lI/ritirtgs: Front Being and Tinrc (1 927) to The Task of Thinking (l 964), pp I 54-l 55.

22 Despite the disanalogies which apply to rules and roles of function that structure the system of architectural design and distinguish it from computer design, the rebus once posed, that Man is the figure of architecture as

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Notes to Depiction III Electronic Technologt: The Questìon of Ontologícal The Aspect of Technologt: The Ontíc Question, Heurìstícs and Technologt A Parallel Paradígm: Knowledge AND NOT Informatíon Processìng Or The Questíon of Computer Leørning, A Díscontinuous Lìnearity or the Parallax Paradìgm

architecture is the figure for Man can be re-stated thus: that architecture is the virtual machine of computer technology or as Dreyfüs says, a Turing Machine. On the concept of machines which is examined see, The Architecture of Colonisation, Chapter 2vi. Translation. Where does

object, p76 andNote 8 in this Thesis. On metaphors that ate apatent lie, see Richard Co1me, Metaphors and Machines, in Designing Information Technologt in the Postmdern Age: From Methd to Metaphor, pp26I'263. Venturi among others has observed that the "essential technical basis is twentieth-century electronic technology - rather than nineteenth-century engineering rhetoric," Robert Venturi, Iconograpþ and Electronics upon a Generic Architecture: A View from the Drafting Room, London, England, Massachusetts: MIT Press, 7996, pl3. CAD is understood as a computational tool for architectural drawing. See G. Canara and Y.E. Kalay editors, Knowledge-Based Computational Support for Architectural Desi8n, in Know ledge-Based Contputer-Aided Architectural Desi gn, pl 47 . While the evaluative software is available as a toof there is îo gaaraîtee that users of CAD document or use waluative software to learn from technology. Evaluative proglams should narrow options but not dictate design decisions. There is the temptation to invest in computer progfams for what they appear to promise. See John M. Canoll and Mary Beth Rosson, Paradox ofthe Active User. in John M. Carroll, editor, Interfacing Thought: Cognitive Aspects of Human- Computer Interaction, Cambridge, Massachusetts, London, England: The MIT Press, L987,p85. The word 'direction' is used to imply teleology. On the notion of calculated reason, see Hubert L. Dreyfus, Introduction, in What Computers Still Can't Do: A Critique of Artificial Reason, p70 and pp67-72. The reference to Man as a Turing machine is also found in What Contputers Still Can't Do: A CritiEte of Artificial Reason, p189.

23 Tlte raster grid is, according to Mitchell, the digital encoding of images achieved by "dividing the picture plane into a finite Cartesian grid of cells (known as pixels) and specifoing the intensity of color of each cell by means of an integer number drawn from some limited range. The resulting two dimensional array of integers (the raster grid) can be stored in the computer

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SECTION D.I)

Notes to Depiction III Electroníc Technologt: The Questìon of Ontologìcal The Aspect of Technologt: The Ontic Questíon, Heurístics and Technologt A Parallel Paradigm: Knowledge AND NOT Inþrmatíon Processíng Or The Question of Computer Learníng, A Dísconlínuous Línearìty or the Parallax Paradigm

memory transmitted electronically, and interpreted by various devices to produce diqplays and printed images." See William L Mitchel\ The Reconfigured Eye: Visual Truth in the Post-Photographic Era, Cambridge, Massachusetts, London, England: The MIT Press, 1994,p4.

24 See Hubert L. Dreyfus, Stuart Dreyfus with Tom Athanasiou, Prologue, in Mind over Machine: The Power of Human Intuition and Expertise in the Era of the Compu.ter, p156.

25 This passage is based on the text Knowledge-Aided Design, edited by Marc Gree,n, London San Diego New York Boston Sydney Toþo Toronto: Harcourt Brace Jovanovich, Publishers, 1992, pL57. For example, definitions in computer jargon for an Expert Designer refer to people involved in the routine design of computer design systems. A Design Expert is not a person but an expert system þp16,18,49,67,9I) Likewise, shells refer to softwares that provide interface between the 'trser and the rules encoded by the programmer." Oste,nsibly, a shell can record and file design decisions in a data structure and display it. A shell is not a habit nor form of shelter but an information structure. William J. Mitchell, Robin S. Liggett, and Milton Tan, Too-Down Knowledge-Based Design. in The Electronic Design Studio: Architectural Knowledge and Media in the Computer Era, ppl42-143.

26. Mitchell has said that the:

drawing is treated as a set of geometric primitives (lines, surfaces, or solids) and subshapes are thus zubsets of primitives. A structural description ofthe drawing can then be produced by picking out and classifoing subshapes and speciSing their relationships. Interpretation becomes a matter of establishing the references of subshapes and considering their relationships. A CAD system may automatically produce interpretation of various kinds by reporting from a database structure in this wây, by applying analysis procedures, or by performing inference based or extracted facts.

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Notes to DePiction lTt Electronìc Technologt: The Question of Ontologìcal The Aspect of Technologt: The Ontìc Questìon, Heurístìcs and Technologt A Parallel Paradìgm: Knowledge AND NOT Informatìon Processíng Or The Questîon of Computer Learning, A Discontínuous Lìnearity or the Parallax Paradigm

See William J. Mitchelt A Computational View of Design Creativity, in Mdeling Creativity and Knowledge-Based Creative Design, Hillsdale, New Jersey, Hove and London: Lawrence Erlbaum Associates, Publishers, 1993, pp28-29. As discussed in the previous chapter, the concept of the implicit production of drawings depends on agreement rather than e4plicitly dictated rules. See The Colonisation of A(a)rchitecture, Chapter 4ü, Depiction: Drawing Conclusions, pp20,22.

27 William J. Mitchell, Design Media and Design World. n The Logrc of Architecture: Design, Computation and Cognition, p38.

28. For further discussion on Pollitt's Ancient View of Greek Art: Criticism, History and Terminologt, see Paul-Alan Johnson, Architectural Theory Concepts, Themes and Practices, New York: Van Nostrand Reinhold,1994, pxx-xxi. On "electrobricollage" or the art of computer painting, see William J Mitchell, The Reconfigured Eye: Visual Truth in the PosÞPhotographic Era, p6.

29 Computer symbols are regarded as empty or context-free. They merely represent a formalisation of precise rules for "simulating process." Numerical values are thus dwoid of meaning. They can be said to refer or show the existence of a line for example without the attachment of meaning. Hence, the argument of this Thesis; that a discrepancy or gap of translation is encountered between the medium of hand drawing and electronic production. Dimensioning or meazured drawing is not the same as drawing lines that are re-presentations of numerically ordered rules. For a discussion on this matter or context-free symbols, see Hubert L. Dreyfus, Stuart Dreyfus with Tom Athanasiou, Logic Machines and their Limits in Mind over Machine: The Power of Huntan Intuitiott and Expertise in the Era of the Computer, p53.

The Aspect of Technologt: The Ontíc Question 30. Mitchell, William J., (1994), The Recortfigttred Eye: Visual Truth in the Post- Photographic Era, p3.

t42 Gillian McFe¡t Lin PhD.Architedu¡o & lJrbn Desip Thc l-Iniversity of Adelaidc The Colonisation of A(a)rchitecture The Depíaíon olthe Concept*

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31. An Euclidean point for example, is context-free. It has no intrinsic qualities since it has no physical point. On this issue, see Michael Benedikt, Cyberspace: Some Proposals, ppI34-I35. According to proponents of the Platonic "split-brain" theory, the context-free 'zone' belongs to the logical, left-hemisphere, language processing side ofthe brain. For a discussion on the work of Minsþ and Wiezenbaum on this matter, see Hubert L. Dreyfus, Introduction to the Revised Edition, in What Computers Still Can't Do: A Critique of Artificial Reason, pp6Ç65,3l3n140. Miller comments that "Architectural decisions made in the absence of context are the tegacy of the worst modem movement, and designers do not need tools which encourage them in these bad habits." See Frank C. Miller, Form Processing Workshop, n The Electronic Design Studio: Architechtral Knowledge and Media in the Compu.ter Era, p452.

32. On the question oftransfer and translation Mitchell con-firms that: We assume that some procedure exists for translating graphic tokens, and properties and relations, into corresponding objects, properties, and relations, in the larger worlds. In this sense, the design world is used to depict possibilities in the larger world. But the potørtial translation into physical realtty may or may not actually take place or have any prospect of taking place; it sufüces that such translation is possible in principle.

William J. Mitchell, Design Media and Design World in The Logic of Architecture: Design, Computation and Cognition, p38. The Colonisation of A(a)rchitecture, Chapter 4ii, Depiøion: Drawing Conclusions pl78 and Notel03 in this Thesis refers to Heidegger's concept of e-rect. The possibility of translation in principle is not articulated or documented it is a kind of non- sense. Graphic tokens are the means for the symbols that designers create. Architectural symbols are the'toded instructions and descriptions of essential part of the decision." As coded infonnation, they incorporate function with the principles of design. They also indicate the development of ideas. They are therefore not cÆntext free and remain ambiguous depending on the user. The problem lies therefore, in the translatability of the content of the architectural symbol, a composition of tokens or its shape grammar. Here,

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Notes to Depiction III Elec'tronic Technologt: The Questìon of Ontologìcal The Aspect of Technologt: The Ontìc Questíon, Heurístìcs and Technologt A Parallel Paradigm: Knowledge AND NOT Information Processìng Or The Question of Computer Learning, A Dìscontínuous Lìnearíly or the Parallax Paradígm

reductionism is at work which assumes that a shape or token translates (+ ) into a computer rymbol (which is not an architectural graphic token) and which may not be translated (+-) back intact but emerges as something else. For syrnbols that can be misread see, Mark de Vries and Harry Wagter, A CAAD Model for Use in Early Design Phases n The Electronic Design Studio: Architectural Knowledge and Media in the Computer Era, pp22l-222.

JJ. See William J. Mitchell Design Media and Desien World n The Logtc of Architecture, p38.

34. Mitchell expresses the frightening thought that "If you take the common view that the role of CAD technology is to automate laborious and difficult tasks within the framework of a basically traditional design process, then artificial intelligence tecbniques must be coryared with the altemative of employing human intelligence." An extension of this idea is to eliminate human employment altogether. See, William J. Mitchelt Three Paradigms for

Design, tn Know ledge-Based C omputed-A ided Archi tectural Desi gn, p3 8 8.

35 Knowledge in Architectural De si gn, in Know I edge - B as e d C ompu t e d-A i de d Archi te ctural Des ign, p3 89.

36 William J. Mitchell, Th¡ee Paradigms for Computer-Aided Design: The Future Roles of Artificial Intelligence in Design. in Knowledge-Based

Comptted-A ided Archi tec lura I Des i gn, pp384-387 .

37. Fernando Catalano, The Comouterized Design Firm. n The Electronic '"' Desigtt Studio: Architectural Knowledge and Media in the Conryuter Era, p321.

38. ibid., p32l

39. ibid., p321

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Notes to Depiction III Electronìc Technologt: The Question of Ontologìcal The Aspect of Technologt: The Ontíc Questíon, Heurístics and Technologt A Parøllel Paradìgm: Knowledge AND NOT Inþrmøtíon Processíng Or The Questìon of Computer Learníng, A Dìscontìnuous Linearíty or the Parallax Parødígm

40. ibid., pp32L-322.

4L. ibid., p319

42. ibid., p323. The argument of this Thesis is that not all spaces can be nor can they become architectural qpaces. Virtual spaces are rcal tbrough the medium of telecommunications but they are not the spaces to which \À/e are physically and emotionally attached;the spaces which glue architecture to meaning.

43 Bottom-up computer systems are designed as the appellation zuggests from the ground up; from detail to the whole. Likewise, working 'top down' implies the opposite or working from a global position towards the details. See Tim McFadden, Notes on the Structure of Cyberspace, in Michaef Benedikt, editor, Cyberspace: First Steps, p351. As the alternative to the pencil Mitchell, Liggett and Tan say that:

Traditional cornputer drafting systems and three-dimensional geometric modeling systems work in bottom-up fashion. They provide a raîge of graphic primitives zuch as vectors, arcs, and qplines, togøther with operators for inserting, deleting, combining and transforming instances of these. They are conceptually very similar to word processors, with the difference that they operate on two- dimensional or three-dimensional patterns of graphic primitives rathe¡ than one-dimensional strings of characters."

Working top-down refers to progressing from a high level as opposed to bottom-up which begins with details. It also refers to computer information systems.

See, William J. Mitchell, Robin S. Liggett, and Milton Tan, Top-Down Knowledge-Based Design, in The Electronic Desigtt Sndio: Architectural Knwledge and Media in the Contputer Era, p137. See also N19 in this section. The concept of dis-closure is discussed in the chapter, The

Ouestion of Space, The Colorüsatiott of A(a)rchitecture of this Thesis. The

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anomaly of A(a)rchitecture is explained as a condition of enclosing. This is seen as the difference between the concept and its realisation.

44 This following quotation is from Umberto Ec,o, Semiotics and the Philosophy of Language. He says "...the mirror is the prosthesis and at times has the same intrusive action as the periscope." The miror "is doing a mise en scène, and therefore a semiosic contrivance." He also says 'Mirrors are always 'fr¿ming' devices, and inclining them in a certain way is away to exploit this specific quality ofthem-" (pZI9) Here Eco points out the possibility of intentional distortion, a 'chanelling' hence re-presenting ofthe truth.(pZ}}) See, Umberto Eco, Semiotics and the Philosophy of Language, Houndmills, Basingstroke, Harnpshire and L,ondon, The Macmillan Press Ltd,1984, pp2l9-220. On the Principle of Indiference, one of seven which underpin principles of dimensionality, continuity, curvature, dørsity and limits Benedikt explains the principle as an identifier of a "critical juncture in the system of possible correlations between behaviors of physical space and cyberspace." The Principle of Indffirence he says, "states that the felt realness of arry world depends on the degree ol its indifference to the presence of a particular 'user' and on its resistance to his/her desire." He also describes the principle as reality or what is real, always resisting or pushing back. Benedikt says that the Principle of Indffirence or, the principle of 'I-ife goes on" can best be described in tenns of computer applications. "Some go on hold when you stop typing or iszuing commands; some only when you log off" Michael Benedikt, Cyberspace: Some Proposals, in Michael Benedikt, editor, Cyberspace: First Steps, ppl32, 160-l61.The other Principle of Indifferenc¿ refers to the theory that "if there is no lmown reason for asserting one rather than another out of several alternatives, then relative to our knowledge they have an equal probability." The Oxford Dictionary of Philosophy, 1994 edition,l9l. Taking a Heideggerian view allows one to assert the presence of difference. I take the view that reality and truth are enclosed within such entrenched contexts or traditions of thought that when an issue like virtual reality appears, generated by a linearity which cannot yet prove connection or correspondence, it remains an oxymoron. Correspondence theory relates facts with truth mediated or irnpeded by beliefl

t46 Gillian McFe.d Lin PhD.Ardritecture & I-Irban Design The lJniversity of Adelaide The Colonisation of a tecture +

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45 The neologism 'different/ciated' appears throughout this Thesis. It is defined n The Architecture of Colonisation, Chapter li, Architecture as Idiom: The Otherwise of Difference. Repetition, Botl/And, Same , p27 and applied in the discussion on the conce,pt of interiority n The Architecture of Colonisation Chapter 2v, Transference, Transferring: The Identity of the Name, pp69-71, and on p202 of thts chapter.

Heurístìcs and Technologt 46. According to Boden, 'teuristics is a form of productive lazjness." This meaning conforms with one of selÊlearning by trial and error in humans and to the other application that pertains to problem-solving in computing. The problem of convergence ot interface therefore, is interesting. See Margaret A. Bode,n, Chance. Chaos. Randomness, Unpredictability, in The Creative Mind, Ctreat Britain: Abacus, L993,p53.

47. According to Dreyfu s, the ground a cts a s'that-which-i s-not-the-figure. " Without this understanding of indeterminacy, a perception that humans experience, the concept of the figure cannot emerge. Hubert L. Dreyfus, The Role ofthe Body in Intelligent Behavior,inWhat Computers Still Can't Do: A Critique of Artificial Reason, pp240-24L Described as inference engines, Dreyfus says that computers are abstracting or logic machines that can 'butperform experts." Hubert L, Dreyfus and Stuart E. Dreyfus, Expeft systems versus Intuitive Expertise in Mind over Machine: The Power of Human Intuition and Expertise in the Era of the Contputer, p109.

48 Flemming distinguishes between' step-wi se'' structured' programming' from artificial intelligence. The italicised words are the author's. Ulrich Flemming, Artificial Intelligence and Design: A Mid-term Review, in Knowledge-Based Computed-Aided Architectural Design, ppl-z and Note 13 ofthis chapter. On heuristics, see Hubert L. Dreyfus, Il.hat Contputers Srill Cail't Do: A Critique of Artificial Reason ppl l6-l17. On heuristics and computer learning, see A Preliminary to Development of Expert Systems for Total Design of Entire Buildings, in Yehuda E. Kalay, editor, Principles of Contputer-Aided Desigtr. Evaluatin.g and Predictirtg Desigrt Perfornnnce,

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Notes to Depiction III Electronic Technologt: The Question of Ontologícal The Aspect of Technologt: The Ontic Questíon, Heurístícs and Technologt A Porallel Paradígm: Knowledge AND NOT Inþrmatíon Processìng Or The Questíon of Computer Learníng, A Díscontinuous Linearity or the Parallax Paradigm

New York/ ChichesterlBrisbaneÆoþo: John Wiley & Sons lnc., 1992, p2I9.

On computer problem-solving, Dreyfus and Dreyfus list five steps to learning. They are novice, advanced beginns¡, competence, proficiency, expertise and equal the five steps to skill-acquisition to knowledge. Hubert L. Dreyfus and Stuart E. DreyÂrs, Five Steps from Novice to E)rpert n Mind over Machine: The Power of Human Intuition and Expertise in the Era of the Computer pp16-51,108-109. On human skills and computers, Dreyfus has said "The important thing about skills is that, althougþ science requires that the skilled performance be described according to rules, these rules need in no way be involved in producing the performance." He suggests that the physical enaction is not accompanied with the articulation of the task; the example he cites is that human beings are not 'tnconsciously running through with incredible speed through the calculations which would be involved in programming a computer to perfo¡m ¿ similar task." See Hubert L. Dreyfus, Introduction n lYhat Computers Still Can't Do: A Critique of Artificial Reason, pp252-253.

49 The concept of the Ideal architecture is discussed in this Thesis in the chapter Transference i The Architeøure of Colonisation, p55. It refers to the presence of difference and the gap of translation which leaves as unrepresentable or ineffable; the Ideal. See Note 32 of this chapter on Mitchell's principle of possible translation. On ditrerence and the gap of translation I have said:

Transference then, as the becoming space, allows difference to divide or come between constructions and locations, or, between the vision and the image. In that space, transference intervenes between concept, representation and materiality. It points to the shape of things rror visible yet exclusive or permanent that exceeds the production of the built object. The shape refers to the ineffable and the untranslatable, which are the remnants of transfer that remain as the remainder that may be called ldeal Architecture.

r48

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50. Stiny comments on ambiguity stating that it'has important uses in desipn where it fosters imagination and creativity, and encourages multilayered expression and reqponse. But ambiguity is conspicuously absent from design when it is computer-aided, even in the basic case where designs are given in line drawings. The reason for this is the structured nature of coryuter drawings as described by Ivan Sutherland (1975)." See George Stiny, What Designers Do That Computers Should, in The Electronic Design Studio: Architectural Knowledge and Media in the Computer Era, pl9.

51 On Artificial Intelligence, Clark interprets 'reductionism' saying "'.. in many cases (especially biology and artificial intelligence), what we might otherwise naturally think of as reductive e4planations do not take this form- Instead, they involve the development of partial mdels which speciry components and their modes of interaction, and explain some high-level phenomena (e.g. being a television receiver) by advertingto a description of lower-level components and interactions." Andy Clatk, Happy Couplings: Emergence and Explanatory Interloch n The Philosophy of Artificial Life, Margatet A. Boden, editor, pp263-264. On disjunction, see Bernard Tschumi, Architecture and Limits, 'tn Architecture and Disjunction, Cambridge, Massachusetts London, England: The MIT Press, 1994, pp101-105. In comparing computer design systems, C¡reen has said that design is similar to language. He states that'Bothpossessasyntax consisting of (l) a vocabulary of primitive elements (e.g. gates in a logic circuit) and (2) a gtammar that specifies legal configurations of elements (how the gates may be connected) as well as a semantics referring to the meaning (functional mapping of inputs to outputs). The task of design is to find an intersection of spaces defined by a syntax (what is possible) and semantic (what the desired is)." Marc Crreen, editor, Knowledge Aided Desi gn, p6.

t49 Gillian McFed Lin PhD.Architecture & I-Lbm Desip The lJniversity of Adelaide The Colonisation of a tecture e +

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Notes to Depiction III Electroníc Technologt: The Question of Ontological The Aspect of Technologt: The Ontíc Questíon, Heuristícs and Technologt A Parøllel Pørødìgm: Knowledge AND NOT Inþrmation Processíng Or The Question of Computer Learning, A Díscontinuous Lìneøríty or the Parallax Paradigm

52. Dreyfuscommentsthat:

Du.iog the past two thousand years the importance of objectivity; the belief that actions are govemed by fixed values; the notion that skills can be formalized; and in general one can have a theory of practical activity, have gradually exerted their influence in psychology and social science. People have begun to think of themselves as objects able to fit into 1þs inflexible calculations of disembodied machines: n¿çhinss for which the human-form-oÊlife must be analyzed into meaningless facts, rather than a field of concern organaed by sensory- motor skills. Our risk is not the advent of superintelligent cornputers but of subintelligent human beings.

Hubert L. Dreyfus, Introduction n What Computers Still Can't Do: A Critique of Artificial Reason, p280. Expertise comprises not only knowledge but skill. Here knowledge is alluded to as a deep prestructure or, a grasp of architecture. A skill is the demonstration of intention. It is the ability to make visible the invisible. See Sally Mclaughlin, Emergent Value in Creative Design and Brian I-ngan and Tim Smithers, Creativity and Desig¡ as Exploration n Mdeling Creativity and Knowledge-Based Creative Design, pp72,155. See Tarkko Oksala, KAAD: Evolutionary and Cognitive Aspects in Know ledge-Based Computed-Aided Archite ctura I Des i gn, pp34,40.

53 Fernando Catalano in his presentation of case studies on computerised design firms draws the analogy with law firms who use para-legal help. Design offices are the "suppliers of information-integration technology" See Fernando Catalano, The Computerized Design Firm in The Electronic Design Studio: Architectural Knowledge and Media in the Contputer Era, p323. Oksala says 'human intentions are difücult to model, as they ^te prepropositional and based on tacit knowledge [Hilpinen, 1986]. Intentions are born in a dialogue with the development or wolution of the design candidate. lnvolved in the dialogue are the designer's knowledge about cultural evolution and his knowledge about the general expected level of such knowledge." Tarkko Oksala, KAAD: Evolutionary and Aspects, in Know I ed ge- B as ed C onryu t ed -A i d ed A r c h i te c tu r a I D es i gr t, p3 4.

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54 As Mitchell has said, there is "simply no equivalent to a permanent archive" nor can the 'lecording time and date of creation" be taken as proof positive of the 'þrovenance of a digital image." Mitchell draws attention not only to the fleeting nature of the digital image but what is more important or overlooked is the difference between an original an copy and a synthesized rendering. He says that the 'briginal image file may be destroyed within a short time of its creation, but many of its descendants may live on. In some cases, digital images aÍe not captured but qynthesized by application of rendering procedures to geometnc data. Is the geometric database, then the original?" See rWilliam J. Mitche[ The Reconfigured Eye: Visual Truth in the Post- Photographic Era, pp49-5 1.

55. According to Mitchell 'Emergent shapes and conditions may structure unexpected altematives for consideration as a design develops. You might never have imagined somethin g that zuddenly shows up, but once you see it you can decide whether or not you want it." William J. Mitchell, 4 Computational View of Design Creativity, in Modeling Creativity and Knowledge-Based Creative Design, p40.It is a fair statement to suggest that the tool of technology is seductive. If rigour is the measure of the worþ the extent of the designer's knowledge and contribution, that is, thei¡ ultimate dependence on tecbnology becomes a moral and an ethical dilemma.

56. Viøor Bazjanac, Architectural Desien Theory: Models of the Design Process, Basic Questiors of Design Theory, edited by William R Spillers, North- Holland: American Elsevier, 1974, pl4. See also Note 129 of this chapter for the entire quotation.

57 An agent is an expert in a sense that one need not necessarily know what or how an agent operates. For example, is it necessary for the client to larow what an architect does or how she does it as long as the contract is met. See Doug Riecken, A Conversation with Marvin Minsky about Agents, in Conmnuúcatiotts of the ACM, July I994No137, no 7, p24. In this context, an agent is a computer progfam or a human. It can be the nerve cell in a brain, or species within an ecology. Agents appear everywhere "But regardless of how l5l Gillien McFst Lin PhD.A¡dritecture & LIrban Desip The IJniversity of Adelaide The Colonisation of A(a)rchitecture The Depíclìon of the Concept *

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you define them, each agent finds itself in an environment produced by its interactions with the other agsnts in the system-"

The relevance of the concepts of the agent and that of agency is their connection, relationship seen in terms of building blocks and structures by which the concept of an 'environment' remains integral. There is however, the question of dif,Ference between instanciation and participation. For useful references on agents and agency see, M. Mitchell Waldrop, Complexity: The Emerging Science at the Mge of Order and Chaos, U.S.A: Simon and Schuster Inc., L992, ppI45,L65. See also Ernest A. Edmonds, Linda Candy, Rachel Jones, Bassel Soufi, Sappo¡t lot ColTaborative Design: Agents and Emergence. in Comntunication of the ACM, JuIy L994No137.No.7, p4l. See Richard Coyne, Systematic Design. tn Designing Inþrmation Technologt in the Postmdern Age: From Method to Metaphor,p237.

58 The difference between reproduction and re-production are examined in this Thesis in the section titled, Transfer üi: Communication orthe Re- presentation of Language in Chapter 2Transference, of The Architecture of Colonisation: The Concept of Depiction.

59 For example, does activating the command'array' which multiplies, stacks and arranges a simple object like a cube (twelve lines) into a form that resembles a house, constitute a definition of design as a form of cornplete architectural knowledge? Does Bernis' 'house' of stacked, four inch cubes for example, qualifu as architecture and/or design? See William J. Mitchell, The Logic of Architecture: Design, Contputation and Cogtition, pp40-41.

60. Deleuze cites Borges in Gilles Deleuze, Preface, in Kant's Critical Philosophy The Doctrine of Faculties, translated by Hugh Tomlinson and Barbara Habberjam, London: The Athlone Press, 1984, pvii. Also in the Introduction to this Thesis, Note 2.

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6l Jean Baudrillard, Design and Environment, in For a Critique of the Political Economy of the Sign, translated with an Introduction by Charles Levin, St Louis, Missouri, Telos Press, p187. On 'thinghood', The Colonisation of

A(a)rchitecture, Chapter 3, The Representation of lllusio4 Monument üi : The Tradition of Thinking as a Structure and an Enclosure, pl29 and Note 22 in this Thesis,

62. The primary source is located in Martin Kemp (ed), Leornrdo on Painting, New Haven: Yale Universþ Press, 1991, pl5. The secondary source is in William J. Mitchell, The Reconfigured Eye: Visual Truth in the Post- Photographic Era, ppl2l,244n6.

63 On the description of dimensionality and zuperstring theory see Margaret Wertheim, Pythagoras' Trousers: Gd, Pþsics and the Gender lüars, London: Fourth Estate, 1997, p214. Dimensionality, or seeing the world ontologically is whole topic for another thesis. Dimensionality is also discussed by Benedikt who asks the question " But what is a dimension in our context? And what does it mean to say that a space 'has' three of them-" Michael Benedikt, Cyberspace: Some Proposals in Michael Benedikt, editor, Cyberspace: First Steps, p133.

64. Richard Coyne, Systematic Desien. in Designing Inþrmation Technologt in the Postmodern Age: From Method to Metaphor,pp285,54

65. Even if knowledge that humans hold is programmable, there is the question the volume of information, the limit of information, the rules for its application and the matter of translatability. Dreyfus concludes from the studies done in the area of knowledge engineering, that the ambiguities and assumptions present in natural language all but preclude for the present, the replication of knowledge as understood by human beings. He says, "Only il one rejects the ontological assumption that the world can be analyzed as a set of facts - items of information - can one legitimately move beyond practical impossibility." See Hubert L. Dreyfus, The Role of the Body in Intelligenl

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Behavior n What Computers Still Can't Do: A Critique of Artificial Reason, on knowledge enginee nng pp27,29 ; knowledge re,presentation p 5 3, ambiguity pp337,214-218.

66 According to Mitchell, cites Ivan E. Sutherland, Structures in Drawings and the Hidden-Surface Problem, in N. Negroponte (ed), Reflectiorc on Computer Aids to Design and Architecture, l975,New York: Pørocelli/Charter. "The usefulness of computer drawings is precisely their struøured nature." [and] is "critically de,pendent upon the topological and geometric structure built up in the computer memory as a result of drawing operations." Mitchell adds that 'Traditional drawings, by contrast, have no inherent structure and are merely *dkty marks on paper"." William J. Mitchell, A New Agenda for Conryuter- Aided Design in Malcobn McCullough, William J. Mitchell, Patrick Purcelt editors, The Electronic Design Studio: Architectural Knowledge and Media in the Computer Era, pp3,16.

67 Stiny like Mitchell alludes to Sutherland regarding the uselessness of coryuter drawings. He says'ït would appear that the uselessness of computer drawings in design is precisely their structured nature. Because the pencil and paper drawing have no inherent structure, it can be decomposed and manipulated in any manner of interest to the designer. An evolving design may thus have alternative descriptions that may change from time to time in unanticipated ways; it may be decomposed and manipulated in this way now and in another way later without difüculty." A CAD drawing cannot be de- composed but is re-composed. This hypothesis is founded on the otherwise and dis-location; these issues are brought up in this chapter. See George Stiny, What Desig¡ers Do That Cornputers Should, in The Electronic Design Studio: Architectural Knowledge and Media in the Computer Era, pl9. This reference also appears in The Colonisation of A(a)rchitecture, Chapter 4 Depiction 2viii: Drawing is Artworb pL74 and and Note 71 this Thesis.

68. On the problern of encoding shape grammar in the computer, Nagakura says '"Thus what a shape grarnmar rule intends to describe is a category of shape, a set that probably includes an infinite number of instances, and yet it graphically shows only one exemplar of these instances." Iìe adds that as long

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as the media of drawing production 'try to serve only the drawings and not the process, and as long as this process is administered only by architects, we encounter no new difFçufti.t." It has to be concluded that electronic technology is ineffect redefining the training of architects. Assumptions cannot be made about the architectural process nor what and how architects perceive as domain specific knowledge. See Takehiko Nagakura, Shape Recognition and Transformation in Malcoln McCullough, William J. Mitchell, Patrick Purcell, editors, The Electronic Design Studio: Architectural Knowledge and Media in the Computer Era, ppl5l-153.

Theoretically Mitchell poses, a 'CAD system can support desþ within the language specified by a shape gr'ammar by providing recognition operators for shapes that appear on the left sides of rule and instantiation operators that appear on the right sides." He adds that a '.CAD system can potentnlly tell you that you are in such a position by automatically recognizing and reporting that the left side of an appropriate rule can be matched in the drawing." According to an If'-TIIEN logic, the right sides of the shape rules are sub- shapes and an "exhaustive summary of all the things that you might want to achieve (tenrporarily or permanently) as you dwelop the design. This is too much to think about all at once. Conversely, you can think of the left sides of the rules as an exhaustive summary of all the conditions that might merit your attention. This is also too much. You need some way to sort out the relatively few rules that are relevant to your goals and interests at a particular moment from the mâny more that are not." See, William J. Mitchell, A Computational View of Design Creativity, in Mdeling Creativity and Knowledge-Based Creative Desi grt, pp3 0,3 8-39,40.

69 ibid., p30. Dreyfus believes that it is impossible for humans to make completely explicit, that which is implicitly understood. Hubert L. Dreyfus, The Role of the Body in Intelligent Behavior in What Computers Still Can't Do: A CritiEte of Artificial Reason, pp210,336n10.

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70 On shape emergence see William J. Mitchell, A New Agenda for Computer- Aided Design, see Takehiko Nagakura, Shape Recognition and Transformation: A Script-Based Approach, and Milton Tan, Salog What it 1s by What it is Like Describing Shapes Using Line Relationships, n The Electronic Design Studio: Architectural Knowledge and Media in the Computer Era, pp3,149,I54,20L,205-207. See also, Michael A. Rosenman, John S. Gero and Mary-Lou Maher, Knowledge-Based Research at the Key Centre of Design Computing, in Knowledge-Based Computer-Aided Architectural Desi gn, p347 .

7T It is generally accepted that the difference between humans and computers is that humans are able to form and process holistically, images and patterns together with language ela*ically as well as by reasoning step-by-ste,p. Dreyfus poses that'þattern recognition requires a certain sort of indeterminate global anticþation. This set or anticipation is characteristic of our body as a "machjrr.e" of nerves and muscles whose function can be studied by an anatomist, and also of our body as experienced by us, as our power to move and manipulate objects in the world." He argues that a'body cannot be reproduced by a heuristically programmed digital computer." He also $ates the case for phenomenologists q¡ho argûe that humaas perceive and experience globally and that it is only a posteriori that we analyse in order to describe (depiø) and re,present and thereby make sense of our place in the world. Dreyfus sees the phenomenological e4planation as standing in the way (boundary and not the link) of complete success of the Artificial Intelligence enterprise. See Hubert L. Dreyfus, The Role of the Body in Intelligent Behavior. in Wrhot Computers Still Can't Do: A Critique of Artificial Reason, pp237-239. Nagakura, whose research area is in emergent shape recognition, has said that the rule of an iÊthen logic that assists in the transformation of shapes, is obvious to architects. It is a faú that architects see and understand graphic representations (shapes and derivations) as "obvious." His observation leads back to the area of tacit knowledge in order to ex¡llore (deconstruct) the concepts of difference. See Takehiko Nagakura, Shape Recognition and Transformation: A Script-Based Approach. in The Electronic Desigtt Snd¡o: Architectural Knowledge and Media in the Contputer Era,pl53.

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72 Hubert L. fheyfus, Stuart Dreyfirs with Tom Athanasiou, Miltd over Machine: The Power of Humnn Intuition and Expertise in the Era of the Computer,p57.

73 Takehiko Nagakura, Shape Recognition and Transformation: A Script-Based Approach, nThe Electronic Design Studio: Architectural Knowledge and Media in the Computer Erappl52-I53.

74. ibid., p150.

75. ibid., p151.

76. ibid., p153,

77. ibid., pp152-153

78. On Parmenides'void, see Bertrand Russelt History of Western Philosophy and its Connection with Political and Social Circumstances from the Earliest Times to the Present Day. London: George Allen & Unwin, 1946,pp89-90. See also Michael Benedikt, Cyberspace: Some Proposals, in Michael Benedikt, editor, Cyberspace: First Steps, p725.

79 Mark Gross, Relational Modelling, rn The Electronic Design Studio: Architectural Knowledge and Media in the Computer Era, pL24.

80 The italics are the author's ¡1s1 mins. ibid., plT4

A Parallel Paradigm: Knowledge AND NOT Inþrmation Processìng Or The Question of Computer Learning 81. The concept of hendiadys or the conjunction of complex ideas (the and-or dialogue) is explored in this Thesis in The Architecture of Colonisatiort, Chapter 2 i, Transference, p49.For a definition of parallel processing, see Hubert L., Dreyfus, lI/hat Contputers Still Can't Do: A Critiqtte of ArtiJticial Reason, p320n42. See also The Architecture of Colonisation, Chapter l, Difference li,

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Both/And. Same, p28 n this Thesis which introduces the idea of parallelism- Dreyfus e4plains parallel processing with a coryutational paradigm stating:

In serial processing the program consists ofa series ofoperations, each one depending on the results of the prwious ones. In parallel processing several zuch series of cornputation are performed simultaneously. Parallel processing can be simulated by a serial progfam but the important logical difference remains that in a serial program each step depends on the previous ones, while in a parallel program, the operations in each series aÍe independent of the operations in any other series.

82 Donald A. Schön, Hucating the Reflective Practitioner: Toward a New Design for Teaching and Learning in the Professions, p38 and pp36-40. In L990, de Vries and Wagter, were to write that Computer Aided Architectural Design (CAAD) tools in the early stages of design are not responsive to the unstructured, "open-ended" nature of the earþ design phase. They pose a case against the intervention of CAAD saying that it is the "specific nature of the architectural desþ process" raises "difficulties for the designer." They quali$, this statement saying 'First, the architectural design process is ill- structured. It is not possible to describe a series of steps that will finally lead to a successful solution for a design problem. The best that a designer can do in zuch a process is to create a solution and veritr that it satisfies tbe constraints." Mark de Vries and Harry Wagter, A CAAD Model for Use in Early Design Phases, in The Electronic Design Studio: Architectural Knowledge and Media in the Contputer Era,pLl7 andppZt6-217,

83 "Computer learners engage in abductive learning. Abduction (Peirce, 1958) is the reasoning process by which causes are inferred from their consequences. Thus if an event I is observed, and it is known that a circurnstance ,B would explain A, then the truth of ,B may be hypothesized." Clayton H. Lewis, Learnins about Computers and Learning about Mathematics in John M. Carroll, editor, Interfacing Thought: Cogtitive Aspects of Hunnn-Contputer Interaction, Cambridge, Massachusetts, Lnndon, England: The MIT Press, 1987, p31.

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Rose,nman and Gero e4plain an abductive rule as follows:

IF type of application OF wall IS teryorary OR emergency Or marine AND required height OF earth retaining structure = <3000 AND NOT deflection at top OF wall IS critical TFIEN suitable type OF structure IS sheet pile AND design OF earth retaining structure IS cantilever sheet pile

Michael A. Rosenman and John S. Gero, Creativity in Design Using Design a Design Prototlpe Approach. nModeling Creativity and Knowledge-Based Creative Design, pll6.

84. Colme defines misfit as the problem between context and form- See Richard Coyne, Systematic Design, in Designing InforntationTechnology in the Postmúern Age: From Methd to Metaphor, p220. On inconsistency and design see also Tapio Takala, A Neurops-vchologically-Based Approach to Creativity, in Mdeling Creativity and Knowledge-Based Creative Design, p104.

85 Tarkko Oksala, KAAD: Evolutionary and Cognitive Aspects, rn Knowledge- Based Comptted-Aided Architectural Desi grt, p4l

86 ibid., p41.

A Dìscontinuous Línearity or the Parallax Paradigm 87. The problem with the concept of unpredictability is its relative state or as Boden says "Sometimes, however, what is R-unpredictable today is not R- unpredictable tomorrow." She goes on to add "If we discover a new scienti-fic law, invent a more accurate measuring instrument, or build a more powerfi,rl

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computer to do our calculations, our ability to predict may be much improved." See Margaret A. Boden, Chance, Chaos, Randomness Unpredictability, n The Creative Mind, p229.

88. See John M. Carroll and Mary Beth Rosson, Paradox ofthe Active User, in

I nt e rfa c i ng Thought : C o gni tiv e A sp e c t s of H uman- C omput e r I nt e r a c t i on, ppl06, 86,95,I02.

89. Reference is made to architecture and machines elsewhere in this Thesis. See The Architecture of Colonisation: Translation vi. Where does architecture site , p76 and nn8,10. See M. Mitohell Waldrop, Complexity: The Emerging Science at the Edge of Order and Chaos, pp145,I47,289. See Margaret A. Boden, Creative Connections in The Creative Mind, ppll8,I24. See Richard D. Coyne, Sidney Newton, and Fay Sudweeks, A Connectionist View of Creative Design Reasoning, in Modeling Crea1ivrty and Knowledge-Based Creative Design, pL92. See Richard Coyne, Systematic Design, in Designing Information Technology in the Postmodern Age: From Methocl to Metaphor,pp233-235.

90 On "synthetic life in a computer", adaptive systems, see Thomas S. Ray, An Approach to the Synthesis of Life, Richard M. Burian and Robert C. Richardson, Form and Order in Evolutionary Biology, in Margaret A. Bodør, editor, The Philosophy of Artificial LiÍ", ppLll-172. See Richard Coyne, Systematic Desien n Designing Inþrmation Technologt in the Postmúern Age: From Methd to Metaphor, pp235,24l. See Richard D. Coyne, Sidney Newton, and Fay Sudweeks, A Connectionist View of Creative Design Reasoning in Mdeling Creativity and Knowledge-Based Creative Design, ppl77-209. See Nino Bellantonio, On Emergence: Designing þr Quality. Complex Adaptive Systems. A Thesis submitted as requirement for Master of Environmental Design Degree by Research, Centre for Environmental Philosophy, Planning and Design, Faculty of Environmental Design, University of Canberra, August 1997, pp5-7 . See A Corwersation wtth Marvin Minsky about Agents, in Communications of the ACM July 19944/ol.37.no 7, p25. For a diatribe lobbed at Minsky, the 'father' of artificial intelligence, see Hubert L. Dreyfus, Introduction in llrhn Contputers Still Can't Do: A Crilique

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of Artificial Reason, pp8G8l. Phenomenlogically we perceive and experience ow world and objects not as an information-processing machine. In terms of computers, the hardware responds to the coryuter software which allows functions to be performed. Human behaviour is unpredictable as it is complex and the question of ontology refers to the question if behaviour can be produced thus simulated. On the 'production' of behaviotu see, Hubert L. fheyfus, What Conryuters Can't Do, Introduction m, l4/hat Computers Still Can't Do: A Critique of Artificial Reason, p232. On phenomenology Heidegger has said:

Now, if the phenomenological concept of phenomenon is to understood at al7 (regardless of how the selÊshowing may be more closely determined), we must inevitably presuppose insight into the sense of the formal concept of phenomenon and the legitimate application of phenomenon in its ordinary meaning. Howwer, before gettnghold of the preliminary conce,pt of phenomenonology we must define the meanin g of logos , in order to meke clear in which sense phenomenology can be a "science" ofphenomena at all.

Phenomenology "sipni-fies primarily a concept of methd." It characterises method and not quiddity. Martin Heidegger, Being and Time, in Basic I4lritings: From Being and Time (1927) to The Task of Thinking, (1964), pp77,72. Benedikt suggests that through a phenomenological approach, qpace and cyberspace can be defined. He says '?henomenology, after all, entails nothing less than taking appearances seriously, aîd, containing no material objects, no energies, no physical dynamics, cyberspace is just zuch a realm of appearances to be taken seriously." Michael Benedikt, C)rberspace: Some Proposals, in Michael Benedikt, editor, Cyberspace: First Steps,pL26.

9l M. Mitclrell Waldrop, Complexity: The Enterging Science at the Mge of Order and Chaos, ppll-LZ.

92. Langton says that organisms "have been compared to extremely complicated and finely tuned biochemical machines. Since we know that it is possible to abstract the logical form of a machine from its physical hardware , it is natural

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to ask whether it is possible to abstract the logical form of an organism from its biochemical wetware." see Christopher G. Langton, Artificial Life , in Margaret A. Boden, editor, The Philosophy of Artificial Life, pp54-55. The concept of linearity is not fancifirl. Linearity is promoted in this Thesis as a legitimate line of thinking when one considers that the '1nost salient characteristic of living systems" is a string of genetic instructions, "encoded in the linear sequence ofnucleotide basesthat make up an organism's DNA." ibid., p55. See also Michael A. Rosenman, John S. Gero and Mary Lou Maher, ) Knowledge-Based Computer-Aided Architectural Design, p34I. A useful text on transdisciplinarity and knowledge production is Michael Gibbons, Camille Limoges, Helga Nowotny Simon Schwartzman,Peter Scott, Martin Trow, The New Prúuction of Knowledge: þrnmics of Science and Research in Contemporary Societies, London, Thousand Oaks, California, New Delhi: Sage Publi cations, I99 4.

93. M. Mitchell Waldrop, Complexity: The Emerging Science at the Mge of Order and Chaos, ppl45,I8l-193. At the time of writing and according to Colme, Newton, and Sudweeks, theories on the 'behaviours' of computer models and the 'þrediøions of behaviours are not well understood. The approach to research is generally empirical, and the properties of connectionist models are determined and zupported by e4perimentation rather than proof" See Richard D. Co1me, Sidney Newton, and Fay Sudweeks, A Connectionist View of Creative Desien Reasoning, tn Mdeling Creativity and Knowledge-Based Creative Design, p179. The application of a connectionist neural network to architecture is explained by Coyne in terms of a process model of 'landscapes' and features of 'landscapes'. See Systematic Desieu, in Designíng Infornntion Technolog,t in the Postmdern Age: Front Methd to Metaphor, pp235-236. The adaptive landscape is a means of te$ing the effect of gene mutation. See Richard M. Burian and Robert C. Richardson, Form and Order in Evolutionary Biology, in The Philosophy of Artificial Life, ppl5l-152. See Steven L",.y, Garage-Band Science. in Artificial Life: The Quest for a New Crealio¡t, London, England: Penguin Books, 1992, ppl I 3- 1 14. The unavoidable association of strings with linearity is embedded in the reality of gene structure, which are encoded in linear

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sequence. See Christopher G. Langton, Artificial Life, in Margaret A. Boden, editor, The Philosophy of Artificial Life, p55 and Note 103 in this chapter.

94 Waldrop says that the 'fuay toward a very precise theory of what Langton and the artificial lifers mean when they say that the essence of life is in the organtzation and not the molecules." Complexity: The Emerging Science at the Mge of Order and Chaos,pZ9Z.

95 It is generally acknowledged that in westem culture, thinking is extemalised as verbal, mathematical or visual. Designers generally think visually. See Robert R Kumlin, Architectural Programming: Creative Techniques for Design Professionals, USA.: McCrraw-Hill Inc., 1995, pp115-116. On connectionist theory, see Richard D. Co1me, Sidney Newton, and Fay Sudweeks, A Connectionist View of Creative Design Reasoning, rn Mdeling Creativity and Krnwledge-Based Creative Design, ppl77-209. On randomness Boden says three categories of randomness prevail. First there is Absolute randomness or A-randomness whereby no structure or order exists. Then there is E-randomness where there is a 'total lacþ in princþle, of any explarøtion or cause." A and E implicate each other but finally, there is R- randomness. Boden says that '?oker-dice, for example, fall and tumble R- randomly with respect to both the lcnowledge and the wishes of the poker player - as you know only too well. They also fall R-randomly with respect to the pattern on the wallpaper, but nobody would bother to say so. In praúice, R-randomness is always identified with reference to something people might have regarded as relevant (if you shut your eyes very tight and whisper, 'Sbq six, six...' will the poker-dice oblige?)." Children and some adults play this intuitive game all the time. See Margaret A. Bodan, Chance. Chaos. Randomness, Unpredictability n The Creative Mind, p223. Randomness is accompanied by paradox. Dreyfus says that the dilemma for artificial intelligence workers is storing every bit of relevant information in which case, a machine would not be able to complete its calculations and predict an outcome. To complete its calculations, information that might possibly be relevant, would have to be excluded. The point being made is fi.rstly, whether human beings are not already capable of performing as well as machines and secondly, any explicit list provided to machine, of possible relevant

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information, would have to be finite,determinate and not inordinately large. Dreyfrrs says "411 the weryday problems - whether in language translation, problem solving, or pattem recognition - come back to these two basic problems: (1) how to restrict the class of possibly relevant frcts, whle preserving generality, and, (2) how to choose among possibly relevant facts those which are actually relevant." Hubert L. Dreyfus, Orderly Behavior Without Recourse to Rules, in'W'hot Computers Still Can't Do: A Critique of Artifi cial Reason, pp258-259

96. Co1me, Newton and Sudweeks describe as the'hniform distribution of information across networks of relatively simple elements (weighted arcs and units). Units have numericalparameters. At the level ofthe arc and unit, the behavior ofthe system is generally opaque to human interpretation." Richard D. Co¡me, Sidney Newton, and Fay Sudweeks, A Conneøionist View of Creative Desipn Reasoning, tn Múeling Creativity and Knowledge-Based Creative Design, ppI78-I79,187 ,192-193 .

97. Elliot Sober, Leaming from Funstionalisna- n The Philosophy of Artificial Life,p364.

98. Heidegger says "Technology is a way of revealing." He also says 'Modern technology, as a revealing that orders, is thus no mere human doing. Therefore we must take the challenging that sets upon man to order the actual standing-reserve in accordance with the way it shows itself. That challenging gathers man into ordering." Challengin g, revealing, gathenng, unfolding, selÊ revealing, destining, are integral to the idea of enframing () as a location for apprehending. Martin Heidegger, The Ouestion Concerning Technology in Basic l|/ritittgs: From Being and Time (1927) to The Task of T hi nki ng, ( I 9 6 4), pp3 18,324, 3 19, 324 -325, 43 4.

99. ibid., p338.

100 Douglas R. Hoßtadter, A Coffeehouse Conversation on the Turing Test, in Metamagical Thenns, Crreat Britain: Penguin Books, 1986, p505. See also Hubert L. Dreyfus, Orderly Behavior Without Recourse to Rules,in What Conrputers Still Can't Do: A Critique of Artificial Reason, p269. t64 Gillian McFe¡t Lin PhD.Architeaurc & Lhbm Dcsign Thc l-lriversity of Addaide The Colonisation of A(a)rchitecture The Depictíon of the Concept *

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101 For a discussion on the difficult assignment of establishing coryarison between Artificial Intelligence and human intelligence see Hubert L. Dreyfus, Introduction to the Revised Edition, tn What Computers Still Can't Do,pp62- 64. Artificial Intelligence is based on a concept ofnon-biological parallel processing machines. See Roger Lewin, Complexily: Life on the Mge of Chaos, C¡reat Britain: J.M. Dent, London: Phoenix Paperbacks,1993, p161.

102. A network may comprise, CAD, BASIC programs activated by DOS, Lotus 1- 2-3 spreadsheet models saved in ASCIL See, Fo$er Nicholls, Jr., Isabel J. Canete, Sagun Tuladhar, Designing for Pedestrians: A CADNetwork Analysis Approach. rn Principles of Computer-Aided Design: Evaluating and Predicting Design Performance, pp383-386. Architectural work is repetitive in the sense that the different aspects of practice follow the same format or simil¿¡ forms of re-production. As forms of depiøion used throughout the various stages of a project, a distinøion bet\reen drafting and drawing can be made; between the dirty marks on paper and free hand drafting, and certainly between the corrrputer generated line and the drafted line. The issue of essence and ontology is therefore always presant and if communication involves understanding logic and or meaning.

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Notes to Depiction III Electronìc Technologt: The Questíon of Ontologìcal The Aspect of Technologt: The Ontíc Questíon, Heurístics and Technologt A Parøllel Paradígm: Knowledge AND NOT Inþrmatíon Processìng Or The Question of Computer Learning, A Díscontinuous Linearìty or lhe Parallax Paradigm

103. For definitions of 'know-how', see Hubert L. Dreyfus, Stuart Dreyfus with Tom Athanasioq Mind over Machine: The Power of Human Intuition and Expertise in the Era of the Computer, New York: The Free Press, 1986, pp3-4,16-17,19,2Ù 29,36,4I,43,81-82,88,99,1I7,139-140,160-161,L71,174,I77,L82,184,193,196,201. For definitions of 'know that" see pp3-4,16-I7,19,81-82,184,201. On the difference between declarative and procedural knowledge see Douglas R Hofstadter, Lisp: Recursion and Generality, in Metamngical Thentas, p44L. The term'procedural' presumes encoded knowledge that can be said tobe genotypic.ln biology, the term refers to the "corylete set of genetic instruøions encoded in the linear sequence of nucleotide bases that makes up an organism's DNA." The term is used to articulate the conditions or rules that prescribe or enable fonns Qthenotype) to emerge. The question of coryuter technology seen as a form of artificial life-reality always refers to the difficult question of haecceity. For a definition of genotype and phenotype, see Christopher G. Langfon, Artificial Life, inMargaret A. Boden, editor, The Philosoplry of Artificial Life, p55 and Note 93 in this chapter. See also Michael A. Rose,nm¿n, John S. Gero and Mary-Lou Maher, , lll Knowledge-Based Computer-Aided Architectural Desi gn, p346.

104 See John M. Carroll and Mary Bøh Rosson, Paradox of the Active User, in John M. Carrolt editor, Interfacing Thought: Cognitive Aspects of Human- Computer Interaction, pp82-83. See The Architecture of Colonisation, Chapter li, Difference: Architecture as ldiom: The Otherwise of Diff€rence. Repetition. Both/And, Same where the distinøion is made between production and the process of production. Deleuze and Guattari pose that difference is between the production of production and the production of recording. See, Gilles Deleuze and Félix Guattari, Anti-Oedipus: Capitalism and Schizophrenia, second printing, New York: Viking Press, 1982, pL2. On production, see in this Thesis, The Architecture of Colonisatiott, Chapter li, Difference, Architecture as Idiom: The Otherwise of Difference. Repetition. Both/And. Same, p30 and Note 45.

105 Steinfeld adds that "going back to the early stages of CAD, there has been a strong emphasis on creating artificial designers, but no has yet considered the artificial user." Edward Steinfeld, Toward Artificial Users, in Principles of

166 Gillian McFe¡t Lin PhD.Arô.itccturo & IJrbm Dæip The Univcrsity of Adelaide The Colonisation of A(a)rchitecture The Depíclíon of the Concept *

SECTION D-D

Notes to Depiction III Electronic Technologt: The Question of Ontologícøl The Aspect of Technologt: The Ontic Question, Heurístics and Technologt A Parøllel Pøradígm: Knowledge AND NOT Inþrmation Processíng Or The Question of Computer Learnìng, A Discontinuous Linearity or the Parallax Paradigm

Computer-Aided Design: Evaluating and Predicting Design Performance, p337.

106. John M. Caroll and Mary Beth Rosson, Paradox of the Active User, in Interfacing Thought: Cognitive Aspects of Human-Computer Interaction, p106.

107. ibid., p106.

108. In relation to the concept of agency Minsþ has said'"Thsre's the paradox of having a very smart slave. If you keep the slave from learning too much, you are limiting its usefulness. But, if you help it become smarter than you are, then you may not be able to trust it not to make bøter plans for itself than it does for you." A Conversation with Marvin Minsky about Agents. in Communications of the ACM IuIy I994Nol.37.no 7,p25. See also Hubert L. Dreyfus, Introduction, tnWhat Computers Still Can't Do, pp80-81.

109 According to cognitive scientists Carroll and Rosson, " People apply what they already know to interprø new situations." What they do not add is how the knowledge was enabled which consequently conditions the interpretation of new situations. John M. Carroll and Mary Beth Rosson, Paradox of the Aøive User,rn Interfacing Thought, pBl.

110 Carroll and Rosson say "[Jsers apply prior knowledge even when it does not apply." ibid., p102.

111. The deontic problem considers knowledge, cognitive faculties and emotions. It addresses as Oksala says 'tow things ought to be." See Tarkko Oksala, KAAD: Evolutionary and Cognitive Aspects in Knowledge-Based Contputed- Aided Architectural Design, p33. Schön cites Pollyanna in Donald A. Schön, Mucating the Reflective Practitioner: Toward a New Desigrt þr Teaching and Learning in the Professlons, San Francisco: Jose-Bass Publishers, 1987, pp86-87. See also Richard Coyne, Computers and Practice, in The Electronic Desigrr Studio: Archilectural Knowledge ard Media in Íhe Contputer Era, p48.

t67 Gillian McFc¡t Lin PhD.ArchitocturÊ & fJrbør Dsign The University of Adclaide The Colonisation of A(a)rchitech¡re The Depiction of the Concept t

SECTION IÞD

Notee to Depiction III Electronic Technologt: The Questìon of Ontological The Aspect of Technologt: The Onlíc Question, Heuristícs and Technologt A Parallel Paradigm: Knowledge AND NOT Information Processìng Or The Questíon of Computer Learning, A Díscontìnuous Lineørity or the Parallax Paradìgm

II2. Tarkko Oksala, KAAD: Evolutionary and Cog¡itive Aspects, in Knowledge- Bas ed C omputed-A ided A rc hi t e c tura I De s i gn, p3 4.

113. ibid., p34.

lI4. ibid., p34.

115. Carroll and Rosson explain the paradox of assimilation stating that 'IJsers apply previous knowledge even when it does not apply." 45similation tends towards association through comparison, metaphor, analogy and finding simil¿¡i1y. Carroll and Rosson point out that managing learning is thus about managing corylexity. In the context of this thesis, the complexity of architecture is bridging the gap befween disparate knowledges in the production of drawings. ibid., ppI02,97.

116. Martin Heidegger, The End of Philosophy and the Task of Thinking, in Basic Il'ritings: From Being and Time (1927) to The Task of Thinking, (1964), pp434^ 435.

117. ibid., p435

118. See in this Thesis, Transfer iii: Communication or the Re-presentation of Language, The Architecture of Colonisation: The Concept of Depiction,p64.

119 On Mnemons)me, see Martin Heidegger, Wïat Calls for Thinking?, in Basic lI/ritings: Front Being artd Time (1927) to The Task of Thinking (1964\, pp376-377. Also see, Jacques Derrida, Menrcires þr Paul de Man, revised edition, translated by Cecile Lindsay, Jonathan Culler, Eduardo Cadava, and Peggy lfumuf, New York: Columbia University Press, 1986, p86.

120. ibid., p86

I2l. Douglas R. Hofstadter, Melantagical Thenrus, p388.

168 Gillian McFe¡t Lin PhD.Ardritecturo & I-hban Dcsign The [Jnivasity of Adelaide The Colonisation of A(a)rchitecture The Depiaíon of the Concept *

SECTION D.D

Notes to Depiction III Electronìc Technologt: The Questìon of Ontologícal The Aspect of Technologt: The Ontíc Questíon, Heurístics and Technologt A Porallel Paradígm: Knowledge AND NOT Inþrmatìon Processing Or The Questìon of Computer Learníng, A Dìscontìnuous Lìnearìty or the Parallax Parødigm

I22. Richard Co1me, Tools for Exploring Associative Reasoning in Design, in The Electronic Design Studio: Architectural Knowledge and Media in the Computer Era,p9I.

I23. ibid,p92.

I24. Martin Heidegger, Martin Heidegger, What Call for Thinking, in Basic Writings: From Being and Time (1927) to The Task of Thinking (L964),p376.

L25. Carroll has said:

In basic cognitive science it is possible to study arr area like word recognition as if human langtage behavior and experience really occu¡red word by word but for an applied endeavor such an unrealistic idealizztion is unacceptable; it is too obvious that the real situation is more corylicated. To make an adequate analysis, we need to take multiple disciplinary perspectives - psychology, linguistics, anthropology, sociology, and computer science - simultaneously." Architecturalpractice aheady takes this into account. The question is how successful are transplants? See John M. Carroll, Preface. in I nt e rfa c i ng Than ght : C o gni t iv e A spe c t s of H uman-C ompu te r Interaction, ppx-xi. See also, the Glossary in this thesis which defines cognitive science as corryrising sets of analysis techniques and a sets of theorøical formalisms. Weizenbaum has said that this mechanical method does not take into how the mind takes in or process information therefore assimilates through association into knowledge that which can be represented or re-presanted.

Dreyfus doubts that the mind is even an information processing mechanism Hubert L. Dreyfus, Notes to lntroduction to the Revised Edition, in llrha Computers Still Can't Do: A Critique of Artificial Reason, pp3 1 3-3 14nI47,55.

t69 Gilliân McFe.d Lin PhD.Architedure & IJrbm Desig Tho l-hivcrsity of Adelaide The Colonisation of A(a)rchitecture The Depictíon of the Concept *

SECTION IÞD

Notes to Depiction III Electronìc Technologt: The Question of Ontologìcal The Aspect of Technolog: The Ontíc Question, Heuristícs and Technologt A Parøllel Paradigm: Knowledge AND NOT Information Processíng Or The Question of Computer Learning, A Díscontìnuous Línearity or the Pørallax Parødigm

126. See Judith Reitman Olson, Cognitive Analysis of People's Use of Software, in InterfacingThought: Cognitive Aspects of Human-Computer Interaction, pp26I,263,262-263.

I27. ibid.,p263

I28. Richard Colme, Tools for Exploring Associative Reasoning in Desig¡, in The Electronic Design Studio: Architectural Knowledge and Media in the Computer Era,p92.

I29. Dreyfus brings Husserl and Heidegger together to recall that structuring demands a context, horizon or 'background of cultural practices." But I suggest that it is the establishment ofthe context, (because it is expanding and thereby unstable), that complexi-fies approaches to thinking. It leads to the aszumption that the context is seen as an objectthat can be represented or, re- presented. See Hubef L. Dreyfüs, Introduction to the Revised Edition, in I4rhat Computers Still Can't Do: A Critique of Artificial Reason,pp5l,37,24l, 56.

130. Richard Co1me, Tools for Exploring Associative Reasoning in Desien, rn The Electronic Design Studio: Architectural Knowledge and Media in the Computer Era, p92. On memory, The Architecture of Colonisation, Chapter 2üi,Transference, Transfer: Communication or the Re-presentation of Langaage, p64 and Note 27 in this Thesis.

131. ibid,, p91. Coyne proposes that:

... recalling information by association can be seen as a smaller part of reasoning by analogy as a means of solving problems and producing design decisions. Research by analogical reasoning by computer generally involves getting the computer to find solutions to problems on the basis of similarities with problems that have already been solved. Solutions and explanations of solutions are stored in the computer system, and some reasoning mechanism is used to establish

t70 Gilliaû McFe€t Lin PhD.Arúite{rwe & I-kb

SECTION D.D

Notes to Depiction III Elec'tronic Technologt: The Queslion of Ontologìcal The Aspect of Technologt: The Ontic Questíon, Heurístícs and Technologt A Pørallel Paradígm: Knowledge AND NOT Inþrmatíon Processíng Or The Questìon of Computer Learníng, A Discontinuous Lìnearìty or the Parøllax Paradìgm

associations between problems and explanations at different levels of abstraction."

Richard Coyne, Tools for Exploring Associative Reasoning in Design, in The Electronic Design Studio: Architectural Knowledge and Media in the Computer Era, p9l.

132. Richard Coyme, Systematic Desig¡" tn Designing Inþrmation Technologt in the Postmodern Age: From Methd to Metaphor, p236. Rosenman and Gero cite the e,ntropy model of Shannon and Weaver Q9a9) See also Michael A. Rosenman and John S. Gero, Creativity in Design Using Design a Design Prototwe Approach, tn Mdeling Creativity and Knowledge-Based Creative Design, pllZ.

133 See William J. Mitchell Three Paradigms for Computer-Aided Desipcr, in Knowledge-Based C omputed-Aided Archi te ctural Desi gn, p3 80.

I34. Victor Bazlanac, Architectural Design Theory: Models of the Design Process, Basic Questions of Design Theory, edited by William R. Spillers, North- Holland: American Elsevier, 1974, pl4. Coyne also refers to Rittel's 'fuicked" problem with an ill-defined state or a disanalogy. See Richard Coyne, Systematic Design. n Designing Information Technologt in the Postmdern Age: From Methú to Metaphor, pp227,356n52.

135 According to Bazlanac, design is a learning process where 'the designer formulates the problem and then proceeds with the search for the definition of the solution. The formulation of the problem is not final: it reflects the understanding of the problem that is based on the knowledge that the designer has at that time. Any solution, however, is already basically determined by the definition of the problem."l The "search for solution" is then the search for definition of the specific solution which fits best the knowledge the designer has at that time. Once the specific solution is defined it is documented. Documentation may start during the definition of the problem and continue sporadically during the definition of the solution-in fact, all three phases may at times take place simultaneously. The ultimate purpose of the 17l Gillian McFst Lin PhD.Ardritectu¡o & IJrban Design Thc llnivcrsity of Addaide The Colonisation of A(a)rchitecture The Depictíon of the Concept *

SECTION D-D

Notes to Depiction Iil Electronìc Technologt: The Question of Ontologìcal The Aspect of Technologt: The Ontic Questíon, Heurístícs ønd Technologt A Pørallel Paradigm: Knowledge AND NOT Inþrmatìon Processing Or The Questìon of Computer Learníng, A Discontìnuous Lìnearíty or the Parallax Parødìgm

documentation is to communicate the definitions of the problem and the solution2; its immediate purpose is to aid the designer in the definition of the problem and the solutions-to help him detect new aspects ofthe problem and the solution and to detect inconsistencies in his view. During the search for the definitions of the problem and the solutions and their documentation something very important is continuously taking place: the designer keeps learning more about the problem and the solution. He gains new insights into the problem (and the solution) which ultimately result in the formulation of a new view-the problem and the solution are redefined. Learning more is perhaps the most important part of the process; redefinition and communication of the new fonnulation of the problem and the solution result only if more knowledge about them is acquired.

tThis is one o,f the most significant cha¡acleristics of "wicked" problems (see Property 2), Nttel (1972 b) states that "...understanding the [wicked] problem is identical with solving iL Whichever statement is made about the problem is a statement about the solution" (p.392) Tne imprtance of communication of design solutions was first empltasizæd by Archer (1963) in his model of the design process.

Victor Bazjanac, Architectural Design Theory: Models of the Design Process, Basic Questioru of Design Theory, edited by William R Spillers, North- Holland: American Elsevier, 1974, p14. The underlined emphases and use of (--) as punctuation are that of the author's. For a differing view on the problem-solution heuristic, Polya says "First. \À/e must understand the problem- \Me have to see clearly what the data are, what conditions are imposed, and what the unknown thing is that we are searching for. Second, we must devise a plan that will guide the solution and connect the data to the unknown.." The primary source is located in George Polya, "How to Solve il". The secondary source is found in Hubert L. Dreyfus, Phase I (1957- 1962)_Coenitive Simulation , in Whnt Contpulers Still Can't Do: A Crilique of Artifcial Reason,p 1 I 6.

t72 Gillian McFe.rt Lin PhD.Ardritecture & lJrb

MONTJMENT

MOI\IIMENT Conclusion

173 Gillisr McFcd Lär PhD.Ardritoctu¡o & I-Lbm Dcsign Tbe Lúriversity of Adelaidc The Architecture of Colonisalíon Colon The Colo n isalio n of A(a)rchitecture

MONTJMENT

Theoretìcal Posítìon 1. Deconstruction is preceded by the concept of lcritischer abbau or critical dismantling attributed to Heidegger. Wigley cites Heidegger tn, The Basic Problems of Phenomenologl, translated by Alfred Hofstadter, Bloomington: Indiana University Press, 1982,p22.Mark Wigley, The Domestication of the House Deconstruction After Architecture. in Peter Brunette, David Wills, Deconstruction and the Visual Arts: Art, Media, Architecture, U.S.A.: Cambridge University Press, 1.994, pp20G207. For Heidegger, the ground may also be the abgntnd or abyss. The 'tautological circle" refers to the principle of reason which Heidegger says both grounds but ungrounds because ofthe 'building' of meaning which leaves the foundational principle of reason groundless. Martin Heidegger, The Principle of Reason, translated by Reginald Lilly, Bloomington: Indiana University Press, 1991, pl3. The secondary source is from Mark Wigley, Unbuilding A¡chitecture: Taking Flims_v Cover in Architecture, Architecture and Decorutruction: Deruida's Haunt, second printing, Cambridge, Massachusetts, London, England: The MIT Press, 1993,pp38,39-41,62.

) The pre-location engages with the concept of dos as an inqpired way of thinking; a thinking way and a meta-language oflangaage which Derrida circumscribes historically to a period beginning with Descartes. A principle is a form of ordering and a form of control. It appears in many forms. One definition states that "Principles, as pertaining to the inns¡ realn of architecture, and intentions, as means of extending principles into reahty night circumscribe the interdependence of theory and practice." F,ditonal, On Rigor, Richard Burdett, and Wilfried Wang, editors, 1989, Cambridge, Massachusetts: The MIT Press: 1989. de Vries and tffagter say " The ordering principle is in a sense a minimal design. It consists of an abstraction of the essential parts of a design, considering only one or two requirements. Because it is so limited it can be designed fairly easily. The only important rule is that it is both simple and consistent with a basic idea for the building. Mark de Vries and Harry Wagter, A CAAD Model for use in Early Design Phases in Malcolm McCullough, William J. Mitchell, Patrick Pwcell, editors, The Electronic Design Studio: Architectural Knowledge and Media in lhe Conrputer Era, Cambridge, Massachusetts, London, England: The MIT Press, 1990,p219.

t74 Gillian McFed Lin PhD.Arùitecfuro & lJrbm Design The l-hrivasity of Adelaide The Architecture of Colonisalion colon The Co Io n is alio n of A(a )rchitecture

MONT]MENT

A deconstruction of the subject is to rethink the identity of architecture, of its traditional ground, of its link to philosophy, of its enjoining of history to philosophy, of its function to house, of its purpose now tele-deflected into the realn of virtual technology. It zuggests that architecture itse[ is an un¡easonable principle. See Andrew Benjamin, Eisenman and the Housing of Tradition, n Rethinkittg Architecture: A Reader in Cultural Theory, Nerl Leach, editor, London and New York Routledge, 1997,pp286,I54. An un- 1s¿ssning on the other hand, is two-edged. It is understood as a form of deconstruction but also, as an uncritical approach which is located in generality.

J T\e absurd is discussed in this Thesis in terms of being beyond the rationality of the surd. Reference to the absurd is taken from Jeftey Kipnis, Forms of krationality, in Strategies in Architectural Thinking, edited by John Whiteman, Jeftey Kipnis and Richard Burdett, Cambridge, Massachusetts: The MIT Press, 1992, plóI. See The Representation of Illusion I. Architecture as Figure and/or Ground: A Question of Space, The Colonisation of A(a)rchitecture: The Depiction of the Concept, note 34.

4 Mark Wigley, Unbuilding Architecture: Taking Flimsy Cover in Architesture, Architecture and Decorctruction: Deruida's Haunt, p38.

5. ibid., p38.

6. To use the words stepping back into is to iterate progression in terms of the 'tautological circle." Colonisation and architecture are concspts tangled within this thinking. Assembling one construct is the outcome of dissembling of other constructs. The certainty with which a theory of architecture may be posed is conditioned by uncertainty and the anomaly encountered in reconstruction or assembling of the construct. Herice the issues of represantation, depiction, translation and reproduction examined in this Thesis.

7 Tradition, Heidegger warns, covers up ontological understanding where obviousness obscures the original. Heidegger says'What has been handed down it hands over to obviousness; it bars access to those original 'wellsprings' out of which traditional categories and concepts were in part genuinely drawn." Heidegger separates provenance frorn what he calls the 'þernicious relativizing of ontological standpoints. The destructuring has just as little the negativ¿ sense of disburdening ourselves of the ontological tradition. On the contrary, it should stake out the positive possibilities ofthe

T75 Gillia¡r McFe¡t Lin PhD.Ar&itectwc & LJrba Desip The l-Inivasity of Adelaide The Architecture of Colonísation Colon The C olon is ali on of A(a )rchitecture

MOIYTJMENT tradition, and that always means to fix its boundaries. These are factually given with the qpecific formulation ofthe question and the prescribed demarcation ofthe possible field of investigation." Martin Heidegger, Being and Time, tn Basic lYritings: From Being and Time (1927) to The Task of Thinking (1964), revised and expanded edition, with General Introduction and Introduction to each Section by David Farrell Krell, San Francisco: Harper, 1993, p65 and pp66-67. The else and elsewhere refer to the question of i4 the present and the was of tradttion, traditional ties, and the notion of context. It draws attention to the Deleuzian concept of difference examined in this Thesis, and the subsequent enabling of re-presentation or re-production, if tradition represents the concept of the Same as unique and therefore unreproducible.

8. Wigley puts up a challenge to architecture by saying "A-fter all, to deconstruct the most conqpicuously spatial ofthe arts would precisely be, atthe very least, to understand to what extent architecture is not spatial and actually derives its force from its capacity to conceal that which at once exceeds space and makes space possible." Mark Wigley, The Domestication ofthe House Deconstrustion Aft er Architesture, p203.

9 The concept of the Interval and its sweral interpretations are explained in the Glossary ofthis Thesis. They are the intervening and provisional spaces and pre-locations forthinking architecturally. Derrida says, "Chora is the spacing which is the condition for werything to take place, for werything to be inscribed. The metaphor of impression or printing is very strong and recogntzable in this text. It is the place where everything is received as an imprint." Kipnis poses that "... chora is neither word nor concept, neither proper noun nor common noun, and it is a condition of absolute anteriority." Jacques Derrida, Transcript, Se,ptember 1985, Ann Bergren, Architecture Gender Philosophy, John Whiteman, Jeffiey Kipnis and Richard Burdett, editors, Stralegies in Architectural Thinbing, Cambridge, Massachusetts: The MIT Press, 1992, p45nl48 and nl43 respectively.

10. This refers to linguistic categorisation discussed in the chapter on Transference, Transfer üi: Communication or the Re-presentation of Laneuage, in The Architecture of Colonisation: The Concept of Depictiott, note 7 in this Thesis.

It Jacques Derrida, Différance, in Margins of Philosophy, translated with additional notes by Alan Bass, Great Britain: The Harvester Press, 1982,p13.

176 Gìlli¡¡ McFe¿ Lin PhD.Arúitectr¡rc & thban Design The l-Ioiversity of Adelaide The Architecture of Cobnisalion Colon The Colonísatíon of A(a)rchitecture

MONTIMENT L2 The concept ofthe Same and the concept ofDifference are discussed in the füst chapter on Difference, Architecture as ldiom: The Otherwise of Difference, Repetition. Botl/And, Same n The Architecture of Colonisation: The Concept of Depiction, pp3-7,9, and note 37 .

13 Heidegger has said that destructuring 'Îs not negatively related to the past: its criticism concems 'today' and the dominant way to treat the history of ontology , whether is be conceived as the history of opinions, ideas or problems. Howwer, the destructuring does not wish to bury the past in nullity; it has a positive intent. Its negative function remains tacit and indirect." Martin Heidegger, Being and Time, in Basic ÍI/ritings: From Being and Time (1927) to The Task of Thinking (1964), p67. See also Mark Wigley, The Domestication ofthe House Deconstruction After Architecture, p206n10.

L4. Theodor W. Adorno, Negative Dialectics, trans. E.B. Ashton, Routledge & Kegan Paul: C¡reat Britain, 1990, p5.

15. Arendt has said, "\Mherever you go, you will be a polis: these famous words became not only the watchword of Greek colonization, they expressed the conviction that action and speech çreate a space between the participants which can find its proper location alnost any time and anywhere. It is the space of appearance in the widest se,nse of the word, namely, the qpace where I appear to others as others appear to me, where men exist not merely like other living or inanimate things but make their appearance erplicitly." Hannah Arendt, The Human Condition, fifth impression, Chicago and London: The University of Chicago Press, 1969, pp198-199. See George Baird, The Space of Appearance, U.S.A.: MIT Press, 1995, p305. See also Introduction, The Architecture of Colonisation Colon The Colonisation of A(a)rchitecture, pI6, and note 69. The quotation is cited to indicate that wen the explicit appearance of action and qpeech is enigmatic, never fully revealed and open to conjecture.

16. The Thesis began as research into order as the direction for architectural thinking. Here, notions of a polis located by the concepts of centres and peripheries, centrality and marginality, and thereby duality eventually arrived at the concept of difference as always already present (inherørt) in thinking. t7. As Wigley says, the architectu¡al 'lgures cannot be detached from philosophical discourse. The architectural metaphor is not simply one metaphor among others. More than the metaphor of fowrdation, it is the foundational metaphor. It is therefore not simply a metaphor." He also says that the 'tond is contractual not in the sense of an agreement signed by two parties but a logical knot of which the two parties are but a side ef,Fect. More

177 Gillisû McFed. Lin PhD.Aróitecture & I-hban Design The [Jniversity of Adelaide 'fhe Architecture of Colonisatíon Colon The Colonlsafion of A(a)rchitecture

MONUMENT than thc tcrms of oxchange and within these discourses, it produces each discourrc as a discoursc. Thc translation contract between architecture and philosophy works both ways. Each constructs the other as an origin from which thcy arc detached. Each identifies the other as other. The other is contructed as a privileged origin that must be then discarded. In each there is this momcnt of inversion."The Translation of Architecture The Translation of Babel, in Slralegies in Archilectural Thinking, p247.

l8 These Deleuzian differents appe r throughout the Thesis but are explained in Architeæure as [diom: The Otherwise of Difference, Repetition, Both/An4 Same, The Architecture of Colonisation: The Concept of Depiction, p27 and

note 2l .

t9 InTransfer'. Language Game, the reference to a pseudo text suggests the voice of the translator that is the one heard. I say that the "... insight into the realm of language games as a thinking dwice is useful to constructing a thinking for Architect\úe. [t provides an inverse (chiastic) means by which Architecture may be analysed on l/s terms as spatial vocabulary and not as pseudo text." A(a\rchrteær,re as a theoretical position as agent or enabler for an other view, is a pseudo text. See T¡ansfer: Lanenrage Game, The Architecture oÍ Colonisation, The Concept of Depiction, p57 andnote I ofthis Thesis.

20. This is a position argaed in the Thesis that relates to a compromised archtteçture. CAD, FAX CAD conferencing provides the mechanisms for consructing a rationale for expression, but drawing becomes supplementary as the medium, like writing, an individual action.

2I. Læ Corbusier describes architecture as "a thought which reveals itself without word o¡ sound, but solely by means of shapes which stand in a certain relationship to one another. These shapes are such that they are clearly rwealed in light." Le Corbusier, The Illusion of Plans, Towards A New Architeclure, translated from the French by Frederick Etchells, London: The Architectural Press, 1974, p165. The problem of translation is not considered with such certainty.

22. See in this Thesis, The Representation of Illusion ii Architecture: Boundary and./or Linkage, The Colorüsatiott of A(a)rchitecture: The Depictiott of the Concept. pl22 and note 46.

178 Gilliæ McFca Lin Ph-D.A¡chitcclurÊ & IJrba Dcsip The [.]nivcrshy of Àdclaide The Architecture o1 Colonísation Colon The Colonlsatlon of A(a)rchitecture

MONUMENT

The Thesís 23. Closing the gap of technology's biological corryuterised model biology driven by function not forms, proposes architecture as the idiom for a formal housing of the machine of process. The function drives the process of digestion. On digestion, see Elliott Sober, Learning from Functionalism - Prospects for Strong Artificial Life, in Margaret Boden, editor, The Philosophy of Artificial LiÍ", New Yorþ U.S.: Odord University Press, L996, p374 and p364 for explanations of mind and body respectively. Deconstruction theory understands the breach of difference as both a bridging and an annulling.

24 An electronic, design 'world' is the ultimate tool of deconstruction. An electronic, design 'world' examined in the final chapter of the Thesis is a technical domain whose technology constructs artifice dependent on the mechanical and re-production of the virrual. I.acated in a virtual reatn as a differentiated knowledge base, the zubject A(a)rchitecture is thought of as fluid and indeterminate, liquefied by a technology rt depends on for its enunciation. By virtual immersion, the metaphor or appearance of its identity inherent in thought itself is further abstracted or located elsewhere. The architectural figure is not a metaphor but a privilefpng of new meaning. There is no place for the built thing; the architecture is but a cover for the coryuter hardware as well as the operator. The architecture exists in the machine and in the mind of the operator who is both environmentalist and controller. You have to log on to enter this space-world that is quite different from being part of and within the world-environment. Reality, it could be argued has meaning if it is real. Architecture and design, in Artificial Intelligence terminology describe a virttral environment whose logic and langaage have no equivalence to physical space nor to buildings that provide shelter for people. Again, the question returns to one of location or how to bridge technology, techne and logos, the essences of which belong not to the technological but to poiesis; a logic in which the question of ontology is irrelevant. There is no room for the built thing; the foundational idea of architecture cannot be referred to. The realms of experiencing are not the same. This is the notion of cobnisation, of confinement always within an environment controlled by the software designer. The question of colonisation or prescription relates to the extent of the software designer's knowledge relevant to architectural design and the skill is dependent on the sophistication ofthe software.

179 Gillia¡ McFed Lin PhD.A¡chitecture & I-hbæ Design The lJoiversity of Adelaide The Architecture of Colonísalion Colon Thte C o lon is alì o n of A(a )rchitecture

MONTJMENT

25 Tranche, trencher, and transfert are discussed in connection with the concepts of likening translation (übersetzung) and transcription (Unschrift'¡ inTransference i Transference p52 and n19 and to identifo the parts logos and logo play are in Transference iv Translation: Difference. Transference, Displacement. pl and n4 n The Architecture of Colonisation,The Concept of Depiction of this Thesis.

26. Benjamin discusses Descartes understanding of architecture from Discourse on the Methd of Rightly Conducting the Reason, and Seeking Truth in the Sciences in the sense of the tradition being both the foundation and the other (autrul). He says "The relationship between self and other has become mapped onto the possibility of a departure from tradition. Tradition here, within this framework, is presented as the other. The other is the already present. The other here is history. The self becomes that possibility that emerges within the break from that conception of the self/other relation that views both parts as inextricably linked." Andrew Benjamin, Andrew Benjamin, Eisenman and the Housing of Tradition, Rethinking Architecture: A Reader in Cultural Theory,pp287-288.

27 Peter Eisenman, House of Cards, New York: Oxford University Press, 1987, pp182-183 and Andrew Benjamin, Andrew Benjamin, Eisenman and the Housing of Tradition, Rethinking Architecture: A Reader in Cultural Theory, p292.

28. The word 'trait'is used in the Deleuzo-Guattarian sense. It is described in this Thesis in the fourth section ofthe chapter entitled Transference, in Translation: Difference. Transference. Displacement. T he A rchi tecture of Colonisation, The Concept of Depiction, note 3.

Conclusìons 29. The concept of architecture as representing'integnty' is discussed in the sixth section of the chapter on Transference, titled Translation. Where does

object. in The Architecture of Colonisatiott, The Concept of Depictiott, p75. The concept is also discussed in the chapter on Depiction titled Depiction 2i: Drawing the Line in The Colonisation of A(a)rchitecttre, ppl60,168,17l,and note 10 ofthis Thesis

30. Despite exhortations of postfunctionalism, the plethora of examples of postrnodern designer pieces and signature pieces would indicate otherwise.

180 Gillian McFe.qt Lin PhD.Ardritccture & IJrban Design The univoshy of Adelaide 'fhe Architecture of Cobnlsation Colon The Colo n lsallon of A(a)rchitecture

MONUMENT

3l 'l'hc human body is scaled up to become the building; valorised. Jamcson says "lî an architecture wished to dissent from the status quo, how would it go about cloing this? I have come to think that no work of art or culturo can set out to be political once and for all, no matter how ostentatiously it labels itself as such, for there can never be any guarantee it will be used the way it demands." Ofthe several ways this statement may be interpreted,two areput forward. Firstly, that meanings are attached to what is seen as an inanimate object. It suggests that architecture is a shell or \¡r'orse, a façade or surface to which meaning is applied. Secondly, his thinking exclurles the producer-designer from the frame of reference Qtarergon). The relationship bew,rcen architect and architecture ¡'s a form ofpolitical activity already in action before the public become acquainted with and take up residence. It is to say that the replication of social logic is the repeating of something aheady understood or implicit in the way we perceive architecture. Itis already politicised. Frederic Jameson, Is Space Political, in Neil I-each, Rethinking Architecture: A Reader in Cultural Theory, London and New York: Routledge, 1997, p258. See, Jacques Derrida, 'Point de Folie - mainteîant|'archtteúvre', and in Neil l-each, Rethinking Architecture: A Reader in Cuhural Theory,p326. Also in the Introduction to the Thesis, p2 and N5.

181 Gillim McFc¿t Lin PhD.Architôúùre & LJrba Dcsip Thc LJnivcshy of Adelaide