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| Drawing by Barie fez-Barringten |
By Barie Fez-Barringten
www.bariefez-barringten.com
2,103 words on 10 pages
email:chrisbarie@yahoo.com
Consciously
acknowledged or not, by both creators and users, the man- made built
environment is a potential symbol which creators and users can either ignore or
recognize; not only a symbol but a metaphor.
It is the intention of
this monograph to validate, and, hopefully, encourage the intentional,
controlled, and designed making of metaphors because building metaphors are actual, real and consequential. The matter of applying the technology and
ideas to make such metaphors are abundant.
What is at question is the will and intention of using these resources.
In other words, whether we intentionally make a metaphor or not, the building
is a perceived metaphorically as a metaphor.
Even if a builder
intentionally aims at not making a metaphor the building is still
perceived as a metaphor.
Creators of the
environment perceive the created work. In different ways and for different
reasons. These differences are in the effort, time and intensity of involvement
with the creation and subsequent use of the work.
The result of creator's
efforts becomes a symbol and a metaphor, this phenomena is serious, important
and with its consequences worthy of validating.
The creator, well-motivated or
not, will be at the beginning with an idea and involved in the process of using
technology to convert ideas into a reality.
The user, perceiving or not, is involved with the product of this
process and for a much longer period of time., perhaps attaching to it meaning, significance and importance
often different and unexpected by its
author.
When by chance, the
importance and consequences of the authors concerns are successfully imparted
and manifested in the work and perceived by the users we can observe that this
phenomena is rooted in the author's own sensitivity and concern about what his
context means to him and his family. What importance is the built environment
in his own life and how would its improvement, change, or modification affect
him. It has been personal, cerebral, and willful. The architect chose to do it
and followed his decision by a sustained effort.
Have architects ignored
there right, authority and unwritten mandate by being careless about this
creative goal. The goal of making
metaphors and symbols, and, if revived what would change?
Would they be more
uplifted and would their lives improve? Would the perception of there lives
improve?
Unintended
Metaphors
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| Axonometric by Barie Fez-Barringten |
What about the social,
psychological and, yes the spiritual life of users.
Metaphors architects
make have a significant impact on both the users and the context in which their
works are set.
This phenomenon is
being exacerbated by computer aided designing and virtual reality.
Computer aided design
miniaturizes and abstracts the bounding and limiting characteristics of
environments. Alternatively, it could be a metaphor maker’s tool just as a word
processor and Internet are to writer.
There was a time when
architects could only be religious men vested with a known calling from the
creator of all things to carry out his calling to provide buildings symbolizing
God's message to man and later his blessings. They were kinds of prophets given
a burden by God. Today, both theists and
atheists practice forming the environment.
Works are derived from user's program of requirements; technology;
context; and concerns for their health, safety and welfare.
Yet the built
environment and its works of architecture are uneven in quality and apparent
maintenance and upkeep.
Unintended
Metaphors
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| Sheba Land by Barie Fez-Barringten |
(1.0, pg.24)Jean Piaget expresses psychology as an Idealist. (1.0)Idealism is perhaps the oldest systematic philosophy in western
culture, dating back at least as early as (pg.31)Plato (427‑347 B.C.) in ancient Greece
If the
architectural profession basis its practice on idealism with out a vision from
God then even its few ideas will be fruitless and without benefit. A house
built without God has no foundation.
Without a vision a nation will perish.
God and not man is our true source.
It is God's truth, and not man's that will set us free.
Systematic
philosophy is sophisms. that is man's efforts to replace what God has already
given to us in his word. The Holy Spirit
is our true daily source of vision. God said, “come let us reason
together". This is God's invitation to every architect to let Him and not the
architect conjure his own idea, but to let go, and, let God.
Ozman,
H.A., and Craver, S.M., "Philosophical
foundations of education"
Unintended
Metaphors
The
1metametaphor theorem is
then idea‑ism. John Locke (1632‑1704) said that ideas are
not innate as Plato maintained; rather, they came from experience, that is,
sensation and reflection. The very
things of which man's metaphors are
made. As people are exposed to
experiences, they are impressed on the mind.
These experiences are all imprinted on the mind through one or more of
the five senses. Once they are in the
mind they can be related in a variety of ways through the use of
reflection.
We can acquire the idea of milk through the sense
of taste; perfume through the sense of smell; velvet through the sense of
touch; and green through sense of sight.
One can create ideas of green
milk or perfumed velvet. These are all
mundane and profane. Man not relying
upon God, but upon his own and very limited life. Alive with God we are urged to let God's full
knowledge of all He has created be accessible to the architect. With man God can create so much more than
man. As God judges the universe so He
provides man the ability to judge, and with judgement the ability to know His
will.
1. Meta : used with the discipline of the metaphor to designate a new but related
discipline designed to deal critically the original metaphor. It is more
comprehensive and transcends the literary metaphor.
(1.0)
Ozman, H.A.,
and Craver, S.M., "Philosophical
foundations of education"
Locke believed that as people have more experience
they have more ideas imprinted on the mind and more to relate. More to exude, reify and translate. These expressions we perceive and can apply
as metaphors. He believes that the only way we can verify
the correctness of our ideas are in the world of experience. Whereas the word of God gives us His peace,
conviction of the holly spirit, and the word as the ultimate test. Does the
creation conform to God's word: is it
fruitful, profitable, uplifting, encouraging, strong, safe, compatible and
helpful to is context, neighbors and society; and, most importantly does it
glorify God
"Information gathering" perceiving
and reifying process. Which solidifies
and forms by juxtaposing the conditions, operations, ideals and goals
(C.O.I.G.) of a project? It is the
synapse, transformation and interrelationships of these (C.O.I.G.) which
creates the composition we call metaphor. The content of the work of architecture is
the experience with these program elements that are brought about by the (4.1) technique of creativity. "Technique reveals what content itself cannot". These are the remembered mental schema where a prior experience is accumulated nurtured and
encouraged.
Unintended
Metaphors
Architects
learn to learn; and, learn to research, program, analyze, develop sources and
resources, dimension, scale, volume, limits, boundaries, scope, depth,
movement, context, etc where none existed before. The maker
of architectural metaphors sees in an "open-ended" seamless
situation very specific parameters where the inexperienced fails. It is in the phenomena of his 1a
prior; holistic experience with (4.1) techniques of making that the individual with all the elements is
able to take a new content into yet another metaphor. A new metaphor
which never did exist before yet is based upon every known experience of
architects, his or heir’s profession, the school they attended the way they
learned and knowledge they accumulated. Each is unique yet well related by the
commonality of the uniformity of the information, the
(4.1) Dodds, G., "On the place of architectural speculation"
1. A
priori: from the former, deductive; relating to or derived by reasoning
from self-evident propositions; presupposed
by experience; being without examination or analysis. Formed or conceived beforehand. Presumptive as compared do a posteriori: from the latter,
inductive, relating to or derived by reading from observed facts.
Experiences,
contexts, teaching foundation, schools of philosophy, family
and
social contexts, etc. The exercise
prepares future architects to be in
their
own time, with their own history, venues and contexts and yet be
able
to originate works of architecture which are peculiar, particular,
tailor-made,
and indigenous. Such transcends but
adapts well to culture,
tradition
and heritage.
Unintended
Metaphors
(4.1)It is the metaphor
that reveals the content. It is the metaphor that was
composed
of the content that has all the cues, limits, bonds, and sense
stimulants
so organized on the basis of the program that, when perceived,
recalls
the content to users. This remaking is a
restoration of knowledge
that
does not resemble the original so much as it leads to the essential
condition
of the 1referent. The 1referent may include every experience of
the
architect, the process of creating this very project, and all the elements
which
form the building. Indeed the process is
2heuristic as a
restoration
or
remaking of a condition that is no longer present. The metaphor
too
reveals
whatever does not bring itself forth.
This is the mission of the
composer
which is endued in the residue of his experience: the metaphor.
It
all is an extension of his identity and the vehicle by which he is
(manifests,
asserts, confirms, tests, and again becomes) the architect.
(4.1) Dodds, G., "On the place of architectural speculation"
1. Referent:
the "thing" that a symbol stands for.
2. Heuristic:
to discover; as an aid to learning, discovery, or problem-solving by
experimental and especially trial and error methods. It is exploratory self-educating, and
improves performance.
Unintended
Metaphors
"The metaphor's correlations"
Can
a metaphor composed by one be read by
another? If both have been similarly
cultured
by the same experiences the reader and composer may communicate through
the
work. No two people, even in identical
situations perceive and retain in the same
way.
Mark Gelernter
explains that (2.0) the individual
culture gives explicit guidance about which solutions work and which solutions
other members of the culture will understand. Certainly this is true for the standard
expectations any society values it’s' neighborhoods, building types and
styles. These become the measures by
which an individual values his or her success and accomplishments, and by which
he or she can compare him or herself to others in society. It is a primary function of any metaphor and the metaphors in a society which cue us toward our relative
positions. This is a function of art,
architecture and all other metaphors.
It enters the culture's general repertoire.
(2.0)Cultural
traditions provide rapid competence when recurring and familiar problems are
faced, and when new problems emerge they provide the essential base of
knowledge from which new ideas are derived.
Indeed
there are many published standards for graphics, layouts, detailing, design
organization,
specifications, contracting, management and construction. These are
never
meant to be copied, but along with manufacturer, context, site, program and
personal
specific information metaphorically 1created
to produce the appropriate and
relevant
metaphor. They can be emulated.
Gelernter, M., "Teaching designs
innovation through design traditions"
Create: to bring into existence; to invest with a new form
using imaginative skill as design and invention.
Unintended
Metaphors
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| On-site pen and ink by Barie Fez-Barringten |
Biographic references:
1.0. Howard A. Ozman, and Samuel M.Craver,
"Philosophical Foundations of
education", (2nd ed.), Charles E.Merril (1981)
2.0. Mark Gelernter (School of Architecture University of Colorado Denver
3.0. "Main
currents in Modern thought" Sept‑Oct 1971 Vol. 28, # 1; Journal of the
Center for Integrative Education.
3.1. William J. Gordon, "The metaphorical way of knowing"
3.2. Paul Weiss, "The metaphorical process"
4.0. Journal of Architectural Education,
Nov.1992, Vol.46, No.2, Journal of the Association of the Collegiate Schools of
Architecture (ACSA).
4.1. George Dodds, "On the Place of Architectural Speculation"
5.0. M. Seuphor (1972 N.d.) "Piet Mondrian, Life and Work". H.N. Abrams Inc. New York
6.0. Mehdi Nakosteen, "The history and philosophy of
education". Ronald Press, New York
Unintended
Metaphors
Researched
Publications: Refereed and Peer-reviewed Journals: "monographs":
Barie
Fez-Barringten; Associate professor Global University
1.
"Architecture the making of metaphors" ©
Main
Currents in Modern Thought/Center for Integrative Education; Sep.-Oct. 1971,
Vol. 28 No.1, New Rochelle, New York.
2."Schools
and metaphors"
Main
Currents in Modern Thought/Center for Integrative Education Sep.-Oct. 1971,
Vol. 28 No.1, New Rochelle, New York.
3."User's
metametaphoric phenomena of architecture and Music":
“METU” (Middle East Technical University: Ankara, Turkey): May
1995"
Journal
of the Faculty of Architecture
4."Metametaphors
and Mondrian:
Neo-plasticism and its' influences in architecture"
1993 Available on Academia.edu since
2008
5.
"The Metametaphor©
of architectural education",
North Cypress, Turkish University. December, 1997
6."Mosques and metaphors" Unpublished,1993
7."The basis of the metaphor of Arabia" Unpublished, 1994
8."The conditions of Arabia in metaphor" Unpublished, 1994
9.
"The metametaphor theorem"
Architectural
Scientific Journal, Vol. No. 8; 1994 Beirut Arab University.
10. "Arabia’s metaphoric images" Unpublished, 1995
11."The context of Arabia in metaphor" Unpublished, 1995
12.
"A partial metaphoric vocabulary of Arabia"
“Architecture: University of Technology in Datutop; February 1995
Finland
13."The
Aesthetics of the Arab architectural metaphor"
“International Journal for Housing Science and its applications” Coral
Gables, Florida.1993
14."Multi-dimensional
metaphoric thinking"
Open House, September 1997: Vol. 22; No. 3, United Kingdom: Newcastle
uponTyne
15."Teaching
the techniques of making architectural metaphors in the twenty-first century.” Journal of King Abdul Aziz University Engg...Sciences; Jeddah: Code: BAR/223/0615:OCT.2.1421 H. 12TH EDITION; VOL. I and “Transactions”
of
Cardiff University, UK.
April 2010
16. “Word
Gram #9” Permafrost: Vol.31
Summer 2009 University of Alaska Fairbanks; ISSN: 0740-7890; page 197
17. "Metaphors and Architecture."© ArchNet.org. October,
2009.at MIT
18. “Metaphor as an inference from sign”;© University of Syracuse
Journal of Enterprise Architecture;
November 2009: and nomnated architect of the year in speical issue of Journal
of Enterprise Architecture.Explainging the unique relationship between
enterprise and classic building architecture.
19.
“Framing the art vs. architecture
argument”; Brunel University (West London); BST: Vol. 9 no. 1: Body, Space & Technology Journal:
Perspectives Section
20.
“Urban Passion”: October 2010;
Reconstruction & “Creation”; June
2010; by C. Fez-Barringten; http://reconstruction.eserver.org/;
21.
“An architectural history of metaphors”:
©AI & Society:
(Journal of human-centered and machine intelligence) Journal of Knowledge,
Culture and Communication: Pub: Springer; London; AI & Society located in
University of Brighton, UK;
AI &
Society. ISSN (Print) 1435-5655 - ISSN
(Online) 0951-5666 : Published by
Springer-Verlag;; 6 May 2010 http://www.springerlink.com/content/j2632623064r5ljk/
Paper copy: AIS Vol. 26.1. Feb. 2011; Online ISSN 1435-5655; Print ISSN
0951-5666;
DOI 10.1007/s00146-010-0280-8; : Volume 26, Issue 1 (2011), Page
103.
22.
“Does Architecture Create Metaphors?; G.Malek;
Cambridge; August 8,2009
Pgs
3-12 (4/24/2010)
23.
“Imagery or Imagination”:the role of
metaphor in architecture:Ami Ran (based on Architecture:the making of
metaphors); :and Illustration:”A Metaphor of Passion”:Architecture oif Israel
82.AI;August2010pgs.83-87.
24.
“The soverign built metaphor”
© monograph converted to
Power Point for presentation to Southwest Florida Chapter of the American
Institute of Architects. 2011
25.“Architecture:the making of metaphors”©The Book;
Cambridge Scholars Publishing
Published: Feb 2012
12 Back Chapman Street
Newcastle upon Tyne
NE6 2XX
United Kingdom
12 Back Chapman Street
Newcastle upon Tyne
NE6 2XX
United Kingdom
Edited by
Edward Richard Hart,
0/2
249 Bearsden Road
Glasgow
G13
1DH
UK
Lecture:
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| Metagraphic by Barie Fez-Barringten |
Barie Fez-Barringten Is the originator (founder) of “Architecture: the making of metaphors(architecture as the making of metaphors)" First lecture at Yale University in 1967 In 1970, founded New York City not-for-profit called Laboratories for Metaphoric Environments (LME) and has been widely published in many international learned journals. First published 1971 in the peer reviewed learned journal:"Main Currents in Modern Thought"; The book “Architecture: the making of metaphors" has been published in February 2012 by Cambridge Scholars Publishing in New Castle on Tyne,UK5C4N79C86BUW, Architecture is a metaphor, change, instability, Jean Piaget, metametaphor, metaphor, Metaphors, psychological, Social, symbol, technique of creativity, Unintended, Unintended Metaphors
Architecture is a metaphor, change, instability, Jean Piaget, metametaphor, metaphor, Metaphors, psychological, Social, symbol,unintended metaphor,Barie Fez-Barringten,environment
