download - Ijsrp.org

International Journal of Scientific and Research Publications, Volume 3, Issue 2, February 2013 316
ISSN 2250-3153
typical terms in its formal language. He considers that, modern
architecture abolished the symbolic types of the past and
replacing them by the functional dogma, which believes that
forms are generated by functions. Thus its architecture had
inclined toward simple competence. It, for instance, reduces the
city hall into a managerial building and the Cathedral into a
meeting hall. Therefore there had been a need for the emergence
of new archetype and prototype forms in new assemblies and
interpretations that introduce symbolic and original architecture
(Schulz:1986:14).
He also considers that classes of architectural works are
usually known as being architectural models types. He confirms
that the type becomes apparent in the unique work as an mental
image or a figure (Schulz:1985 :26:29).
Schulz further explains his point of view towards the
relationship of type with language by saying the types is the
essences of architecture, corresponding to the names of spoken
language. Names belong to things, and thus designate the content
of our everyday life world (Schulz: 1985:29).
He then defines the typical terms as tangible realism,
indicating to the things that constitute our man - made
environment and its meaning is expressed by its symbolic formal
quality like a tower, a column, a house, a temple and a
street…He classified these terms into:
General terms: represented by prototypes that are
distinguished by being, representing no single special
thing but a large number of phenomena that have a
common essence like a tower.
Functional terms: represented by the functional types
that are distinguished by being, representing a sub group
of general phenomena , and which can be easily
recognized in certain place and time like a tower of a
German Gothic cathedral (Schulz: 1986: 18).
Schulz maintains that functional types are based on the
prototypes and that prototypes are distinguished by being
constant over history and having a general credibility. They
disappear and come out again and are - in any time - subdued to
new interpretations. These interpretations don’t completely
change from a state into another, as local and temporal situations
have certain invariability containing special memories added to
the symbolic prototype figure (Schulz:1985:129).
Schulz considers that the meanings borne by the symbolic figures
as typical outputs that invest the mental image in denoting
prototype. He affirms that they include an additional meaning
and decries the semiological point of view which regards the
figures as representing signs or symbols (Schulz:1986:19).
6.c. The Root of Type in Andrea Kahn’s Study
Andrea Kahn , in his presentations, affirms two basic
hypotheses on the concept of type, which are:
First: The idea of type is submitted to transformations
according to changes in the epistemological cultural
climate.
Second: These changes lead to a point of view confined
to a specific category, which is not in harmonious
contemporary critical orientations regarding meaning
and representation in architecture (Kahn:1991:107).
Andrea Kahn admits the double nature of the concept
of type are as follows:
First: The type is an analyzing tool for classifying
architectural works via form or function by which the
type becomes a formal and functional denotation.
Second: The type is a principle more platonic and less
realistic. It is a basic but not a determinant factor for the
constructed form. It stands for the actual idea of
architecture (Kahn:1991:109) (Abdul Aziz : 2007).
Kahn criticizes the wrong interpretations of Quatremère de
Quincy’s definitions which includes type as a principle that
allows for invention. Type emerged from needs and nature and
generating similar forms for similar usage carrying the meaning
of norm, tradition and history on the concept of type, which has
been understood as a kind of dualism leading to adopt one of the
interpretations at the expense of the other. He considers that the
one-sided nature of the previous interpretations of type from
Jean-Nicolas-Louis Durand to Giulio Carlo Argan is
questionable. Affirming that dualism in the concept of type with
one supports originality and novelty, whereas the other supports
norm , tradition and history, it can be associated with a
relationship identical to the one found in the literal and the
figural meanings accompanying figurative literary statements
(Kahn:1991:109:110).
Kahn calls for composing both cases of type where norm
and novelty integrate in a dual relationship, instead of being a
replacement. He aims at a new reading for the type related to
yielding meanings in architecture, as well as investing the
relationship - is like / is not - a model set up by the theory of
metaphor such that can be in agreement with the dual
composition of Quatremère de Quincy’s definition
(Kahn:1991:110).
Kahn makes clear the nature of his new vision on type by
comparing it with the concept of imagination defined by Paul
Ricœur (1913 - 2005) the French philosopher and which
represents, the ability to produce new classes by means of
comprehension, producing and investing in spite of differences.
Imagination is marked by being able to yield new classes and
new meaning similar to the figurative structure of the concept of
type - is like / is not - which invests strain between similarity and
dissimilarity and allow for yielding new meaning and new forms
(Kahn: 1991:111:112).
He further criticizes the contemporary architectural climate,
which reduces type and makes it confined on the meaning only,
notwithstanding whether this meaning was the inherited or the
acquired one borne by the form. He also confirms that his
presentations are consistent with the current epistemological
point of view according to which the contemporary theory and
criticism fields are characterized by the deterioration of its
conceptual structures that are confined to specific interpretations
in their attempt to address post-Modernism state.
Kahn explains the importance of his concept of type in
considering the dual concept of type guarantees the critical
applicability from the one hand and keeping it away from
oversimplification from the other. Hypothesizing the base for
developing a point of view on type in the capacity of being a
designing tool not confined on a given category can be utilized as
being a critical structure closely related to the treatment of
www.ijsrp.org