The figures of Charles Jencks, 'Semiology and Architecture

References (564)

1. Charles Jencks, "Semiology and Architecture," in Meaning in Architecture, edited by Charles Jencks and George Baird (London UK: Barrie & Jenkins, 1969), 10-25.
2. Anthony Vidler, "Review. Rethinking Architecture: A Reader in Cultural Theory and The Anaesthetics of Architecture by Neal Leach," Harvard Design Magazine 11 (Summer, 2000). Accessed 26
3. May, 2015, www.harvarddesignmagazine.org/issues/11/rethinking-architecture-a-reader-in-cultural- theory-and-the-anaesthetics-of-architecture-by-neal-leach. Vidler provides one exception -Ulrich Conrads, Programme und Manifeste zur Architektur des 20. Jahrhunderts (Frankfurt DE: Verlag Ullstein, 1964), published in English as Programs and manifestoes on 20th-century architecture, translated by Michael Bullock (Cambridge US: MIT Press, 1970) -but this book was published in English after Meaning in Architecture, anthologizes post-facto a loose collection of authors from Henry van de Velde through the Situationists to Hans Hollein, and importantly for this thesis, contains very few figures, and no multi-figured chapter.
4. Meaning in Architecture edited by Charles Jencks and George Baird follows the special issue of Arena "Meaning in Architecture", edited by George Baird and Charles Jencks (June, 1967).
5. Meaning in Architecture might be said to prefigure Rem Koolhaas and OMA-AMO, Content (Köln DE: Taschen, 2003) in its book-journal (or book-magazine) hybridity.
6. For an analysis of the margins of "Semiology and Architecture", see Andrew P. Steen, "Operation Marginalia: Translations of Semiology and Architecture", in Translations: 31st Annual Conference of the Society of Architectural Historians, Australia and New Zealand, edited by Christoph Schnoor (Auckland NZ: SAHANZ, 2014): 345-354.
7. Charles Jencks, "Preface," in Meaning in Architecture, edited by Charles Jencks and George Baird (London UK: Barrie & Jenkins, 1969), 7.
8. Charles Jencks, "Semiology and Architecture," in Meaning in Architecture, edited by Charles Jencks and George Baird (London UK: Barrie & Jenkins, 1969), 10-25.
9. Charles Jencks and George Baird eds., Meaning in Architecture (London UK: Barrie &
10. Jenkins, 1969). Also published in New York by Braziller in 1969. Reprinted by Barrie & Jenkins and Braziller in 1970. Translated into French (Le Sens de la ville, 1972), Italian (Il significato in architettura, 1974) and Spanish (El significado en arquitectura, 1975). Jencks's "History as Myth" is also a chapter in Meaning in Architecture (244-265). It was not, however, written for the 1969 volume, but rather as chapter 1 of Jencks's PhD, Charles Jencks, "Modern Architecture: The Tradition Since 1945" (PhD Thesis, 15. Charles Jencks, The Language of Post-Modern Architecture 1 st ed. (London UK: Academy Editions, 1977).
11. Gilbert Lupfer, Jürgen Paul, and Paul Sigel, "20th Century," in Architectural Theory: From the Renaissance to the Present: 89 Essays on 117 Treatises (Köln DE: Taschen, 2003), 802.
12. Judith M.C. Brine, "The Nature of Public Appreciation of Architecture: A Theoretical Exposition and Three Case Studies" (PhD Thesis, Adelaide University, 1987). In the same year, another PhD thesis covered Jencks's semiological enterprise within an intensive survey of the broader field: see Paul Walker, "Semiotics and the Discourse of Architecture" (PhD Thesis, University of Auckland, 1987). Both of these texts support this current thesis.
13. In his "Preface," Jencks claims "the book is in the form of a controversy or a debate" - Charles Jencks, "Preface," in Meaning in Architecture, edited by Charles Jencks and George Baird (London UK: Barrie & Jenkins, 1969), 7.
14. The authors are: internationals Françoise Choay, Gillo Dorfles, and Aldo van Eyck (with Paul Parrin and Fritz Morgenthaler); members of the old guard Reyner Banham, Kenneth Frampton, Christian Norberg-Schulz, Joseph Rykwert and Alan Colquhoun; and young turks Jencks, Baird, Geoffrey Broadbent, Martin Pawley, and Nathan Silver.
15. Kenneth Frampton, "The English Crucible," in CIAM Team 10, The English Context, edited by D'Laine Camp, Dirk van den Heuvel and Gijs deWaal (Delft NL: TU Delft, 2002). Accessed 4 October, 2014, www.team10online.org/research/papers/delft1/frampton.pdf.
16. One notable definition is: "[s]omething which gives one a sense of purpose, value, etc., esp[ecially] of a metaphysical or spiritual kind; the (perceived) purpose of existence or of a person's life - [f]req[uently] in [']the meaning of life[']" -"meaning, n.2," OED Online.
17. John Trevisa's translation of Benedectine monk Ranulf Higden's Polychronicon, published sometime before 1387, contains two usage varieties; and sometime in the 16th century, J. Frith promises he "wyll bryflye declare the meaninge of the apostle" -"meaning, n.2," OED Online.
18. "Meaning analysis", Louis Wirth and Edward A. Shils, 1936; "meaning area", Chaim M. Rabin, 1958; "meaning-change", Fred G. Cassidy, 1954; "meaning component", Journal of Anthropological Institutions, 1937; "meaning-content," Journal of Philosophy, Psychology and Scientific Methods, 1906; "meaning-making", Owen Barfield, 1947; "meaning-postulate", Journal of Symbolic Logic, 1952; "meaning potential", Philosophy Review, 1954; "meaning-relation", Journal of Philosophy, Psychology and Scientific Methods, 1904; "meaning-relationship", Quarterly Journal of Economics, 1923; "meaning-unit", Isaac Goldberg, 1938; "meaning-bearing", Noam Chomsky, 1953; "meaning-carrying", Henry A. Gleason, 1965; "meaning-free", Mind, 1949; and "meaning-text model", Aleksandr K. Žolkovsky and Igor A. Mel'čuk, 1965 -"meaning, n.2," OED Online. Hochschule für Gestaltung, Ulm. 32 In the same year, David A. Crane's article "The City Symbolic" explored "meaningfulness" in the urban environment. 33 Christian Norberg- Schulz's Intentions in Architecture, 1963, gives "meaning" intensive and extensive treatment in its examination of the symbolic dimension of architecture. 34 Denise Scott Brown titled an article "The Meaningful City" in 1965; and the argument of Robert Venturi's Complexity and Contradiction in Architecture of the following year was couched in the term. 35 George Baird and Charles Jencks edited a special issue of Arena: The Architectural Association Journal under the title of "Meaning in Architecture" in June 1967. This was revised and considerably expanded into Meaning in Architecture, edited by Jencks and Baird in 1969. 36 Robert G. Hershberger published a doctoral thesis on "meaning" in 1969, and this research extended into a series of articles up to the mid- 1970s. 37 Hershberger's rigorous studies went as far as proposing a general theory of meaning in architecture, and testing the theory with experiments. 38 The comparative anonymity of Hershberger in relation to Jencks is important to note. 39 It sketches an intrinsic theme underwriting this current thesis: the domination of architectural theory not by the referential but by the poetic function; textuality not marked by cogency but rather by mannerism; discourse not cohered and progressed by ideas but rather by names.
19. Joseph Rykwert, "Meaning and Building," Zodiac 6 (1960): 193-196.
20. David A. Crane, "The City Symbolic," AIP Journal 26:4 (November, 1960): 280-292.
21. Christian Norberg-Schulz, Intentions in Architecture (Oslo NO: Universitetsforlaget, 1963).
22. Denise Scott Brown, "The Meaningful City," Journal of the American Institute of Architects 43 (January, 1965): 27-32; Robert Venturi, Complexity and Contradiction in Architecture (New York US: Museum of Modern Art, 1966).
23. Baird was primary editor of the Arena special issue, but left the UK for his native North America before 1969. Jencks took over as primary editor for the edited book.
24. Hershberger begins his dissertation's "Introduction" by writing: "In recent years many architects have been stressing the importance of meaning in architecture. Few, however, have made thorough studies of the nature of this meaning" -Hershberger, "A Study of Meaning in Architecture," 1.
25. Hershberger promotes a "two-stage model of meaning" that "combines the "mentalistic" and "meditational" theories of meaning". His study establishes a "framework of meaning as an internal stimulus-response situation composed of representations and various internalized responses [with] two types of representation: presentational and referential; and three types of internalized responses: affective, evaluative, and prescriptive" -Hershberger, "A Study of Meaning in Architecture," 34, 23; 42.
26. This is not to degrade Hershberger. His career was impressive: he was a Professor at the College of Architecture at the University of Arizona, and Dean from 1988 to 1997; practicing architect with Hershberger and Nichols Architects/Planners; and has continued publishing, most recently on architectural programming. However, Hershberger's name -his celebrity -is not comparable to Charles Jencks within the architectural mainstream.
27. Bernard Tschumi, "Foreword," in Architecture Culture 1943-1968 (New York US: Columbia Graduate School of Architecture/Rizzoli: 1993), 11.
28. Felicity D. Scott, "On the Counter-Design of Institutions: Emilio Ambasz's Universitas Project at MoMA," Grey Room 14 (Winter, 2004): 49.
29. Diane Y. Ghirardo, "Manfredo Tafuri and Architectural Theory in the US, 1970-2000," Perspecta 33 (2002): 45. Quoted in John Macarthur and Naomi Stead, "The Judge is not an Operator: Historiography, Criticality and Criticism," OASE 69 (2004): 116.
30. Michael Speaks, "Design Intelligence: Or Thinking After the End of Metaphysics," Architectural Design 72:5 (September, 2002): 4-6; Michael Speaks, "Intelligence After Theory," Perspecta 38 (2006): 102-107; Michael Speaks, "After Theory," Architectural Record 193:6 (June, 2005): 72-75.
31. Terry Eagleton, After Theory (London UK: Penguin Books, 2004).
32. Bruno Latour, "Why Has Critique Run Out of Steam? From Matters of Fact to Matters of Concern," Critical Enquiry 30 (Winter, 2004): 225-248.
33. Harry F. Mallgrave, Architecture and Embodiment: The Implications of the New Sciences and Humanities for Design (London UK: Routledge, 2013), 131.
34. Mallgrave, An Introduction to Architectural Theory 1968 to the Present, 38; The Unity of Science movement itself can be traced back to the Vienna Circle -see Peter Galison, "Aufbau / Bauhaus: Logical Positivism and Architectural Modernism," Critical Inquiry 16:4 (Summer, 1990): 709-752. For Morris's mission statement, see Charles Morris, "The Contribution of Science to the Designer's Task," in Bauhaus: Weimar, Dessau, Berlin, Chicago, edited by Hans M. Wingler (Cambridge US: MIT Press, 1969), 195. Richard Buchanan gives an interesting account in "Rhetoric, Humanism and Design," in Discovering Design: Explorations in Design Studies, edited by Richard Buchanan (Chicago US: University of Chicago Press, 1995).
35. Morris was a student of George Herbert Read -not to be confused with Sir Herbert Read of the ICA, referent for Reyner Banham, as discussed in chapter 6.
36. Victor Margalin, The Struggle for Utopia: Rodchenko, Lissitzky, Maholy-Nagy, 1917-1946
37. Chicago US: University of Chicago Press, 1997), 223. The date is strangely ambiguous.
38. See Andrew Phelan, "The Bauhaus and Studio Art Education," Art Education 34:5 (September, 1981): 6.
39. Christoph Klütsch, "Information aesthetics and the Stuttgart School," in Mainframe Experimentalism: Early computing and the foundations of the digital arts, edited by Hannah B Higgins and Douglas Kahn (Berkeley US: University of California Press, 2012), 81.
40. Paul Betts, "Science, Semiotics and Society: The Ulm Hochschule für Gesaltung in Retrospect," Design Issues 14:2 (Summer, 1998): 69.
41. Klütsch, "Information aesthetics and the Stuttgart School," 81.
42. Betts, "Science, Semiotics and Society," 79
43. Betts, "Science, Semiotics and Society," 79
44. "Ulm School of Design," in Design Dictionary: Perspectives on Design Terminology, edited by Michael Erlhoff and Timothy Marshall (Basel CH: Birkhäuser, 2008), 418.
45. www.hfg-archiv.ulm.de/english/the_hfg_ulm/timeline.html. See also Herbert Lindinger, "Ulm: Legend and Living Idea," in Ulm Design: The Morality of Objects, edited by Herbert Lindinger and David Britt (Cambridge US: MIT Press, 1991).
46. Betts, "Science, Semiotics and Society," 80.
47. Reyner Banham, "The Revenge of the Picturesque: English Architectural Polemics 1945- 1965," in Concerning Architecture, edited by John Summerson (Harmondsworth UK: Penguin, 1968): 265-273. Banham's tragedy is particularly Shakespearean.
48. See Charles Jencks, "Recent British Architecture: Pop -Non Pop," in Modern Movements in Architecture (Harmondsworth UK: Penguin, 1973).
49. Mark Crinson and Claire Zimmerman eds., Neo-Avant-Garde and Postmodern: Postwar Architecture in Britain and Beyond, (New Haven US: The Yale Center for British Art & The Paul Mellon Centre for Studies in British Art, 2010). See also Sylvia Harrison, Pop Art and the Origins of Post- Modernism (Cambridge UK: Cambridge University Press, 2001). Hal Foster, "What's Neo about the Neo- Avant-Garde?" October 70 "The Duchamp Effect" (Autumn, 1994): 5-32 provides an analysis related to art. 113. See Harold Bloom, Anxiety of Influence: A Theory of Poetry (Oxford UK: Oxford University Press, 1973) for an account that builds from this effect of trans-historical pressure.
50. Schrijver also challenges the freezing of the definitions of "critique", "critical", "radical" and "revolutionary" by the northeast American "Marxist/leftist" milieu -Schrijver, Radical Games, 32. 115. Again, Mallgrave was supervised by Anderson; and Martin was supervised by Colquhoun.
51. Roland Barthes, S/Z (1970), translated by Richard Miller (New York US: Hill & Wang, 1974), 15.
52. Barthes, S/Z, 20.
53. Barthes, S/Z, 3-4.
54. Rosemarie Bletter, "Review. Meaning in Architecture, Charles Jencks, George Baird, Editors," Journal of the Society of Architectural Historians 30:2 (May, 1971): 178-180.
55. Charles Jencks, "Semiology and Architecture," in Meaning in Architecture, edited by Charles Jencks and George Baird (London UK: Barrie & Jenkins, 1969), 10-25.
56. ", "2", and, curiously, "2a" sit with the descriptive captions of Baird's first three figures in "'La Dimension Amoureuse' in Architecture". His other half-dozen images contain no numbers.
57. Dionne Warwick, "A House is Not a Home," Make Way for Dionne Warwick (New York US: Scepter Records, 1964). These words, the song's first verse, were written by Hal David, and accompany music arranged by Burt Bacharach. The song has been much covered, including by Bacharach himself.
58. Joseph Rykwert, "The Sitting Position -A Question of Method," Meaning in Architecture, edited by Charles Jencks and George Baird (London UK: Barrie & Jenkins, 1969), 232-243. Originally published in Italian in Edilizia Moderna 86 (1965); first published in English in the Arena special issue "Meaning in Architecture" (1967), edited by George Baird and Charles Jencks.
59. "Hardoy Butterfly Chair," Weinbaum, accessed 24 February, 2014, www.weinbaum.eu/ epages/63212480.sf/en_GB/?ObjectPath=/Shops/63212480/Categories/MAGAZIN/%22Die%20Moderne% 20im%20Blick%22.
60. Rykwert, "The Sitting Position," 239.
61. Rykwert, "The Sitting Position," 239.
62. Alfred North Whitehead provides another angle. He writes: "We look up and see a coloured shape in front of us, and we say, -there is a chair. But what we have seen is the mere coloured shape. Perhaps an artist might not have jumped to the notion of a chair. He might have stopped at the mere contemplation of a beautiful colour and a beautiful shape. But those of us who are not artists are very prone, especially if we are tired, to pass straight from the perception of the coloured shape to the enjoyment of the chair" -Alfred North Whitehead, Symbolism: Its Meaning and Effect (New York US: MacMillan, 1927), 2-3.
63. In 1976, Banham and Jencks were to have a very public falling out over this basic issue, as discussed in chapter 6.
64. Jencks, "Semiology and Architecture," 11. These two images are used by Jencks in "Adhocism on the South Bank: Review of the Hayward Gallery," Architectural Review 14 (July, 1968): 27-30. Jencks's introduction of "ad hoc" presages Charles Jencks and Nathan Silver, Adhocism: The Case for Improvisation (New York US: Doubleday, 1972).
65. Jencks, "Semiology and Architecture," 11.
66. Jencks, "Semiology and Architecture," 11.
67. Roland Barthes, "Proust et les noms," in To Honor Roman Jakobson (Den Haag NL: Mouton, 1967), 150-158.
68. Joseph F. Graham, "Of Poetry and Names, Science and Things," in The Current in Criticism: Essays on the Present and Future of Literary Theory, edited by Clayton Koelb and Virgil Llewellyn Lokke (West Lafayette US: Purdue University Press, 1982), 123.
69. Graham, "Of Poetry and Names," 123.
70. Barthes, S/Z, 95.
71. Jencks, "Semiology and Architecture," 12.
72. Holger Steen Sørensen, "Meaning," in To Honor Roman Jakobson: Essays on the Occasion of his Seventieth Birthday (Den Haag NL: Mouton, 1967), 1876. Sørensen states this is the same for the Saussurean "biplane view" and the "traditional monoplane view, which is still the predominant one, according to which signs are identified with meaning-bearers" (1876).
73. Jencks, "Semiology and Architecture," 12.
74. Jencks, "Semiology and Architecture," 12. The sources for these quotations are not given. Attribution -to Tristan Tzara, to Kazimir Malevich or Mark Rothko, to Susan Sontag and Ihab Hassan, to Banham -dilutes Jencks's point, which is not specific but generic; and, for him, chronic.
75. Claude J. Summers and Ted-Larry Pebworth, "Introduction," in The Wit of Seventeenth- Century Poetry, edited by Claude J. Summers and Ted-Larry Pebworth (Columbia US: University of Missouri Press, 1995), 2.
76. Quoted in Duncan Smith, "Schlegel on Wit," BOMB 1:2 (1982): 17.
77. Eugene Hnatko, "Tristram Shandy's Wit," The Journal of English and Germanic Philology 65:1 (January, 1966): 47.
78. Sigmund Freud associates wit with obscenity: he claims wit is usually achieved through "allusion, i.e., substitution through a trifle, something which is only remotely related, which the listener reconstructs in his imagination as a full fledged and direct obscenity. The greater the disproportion between what is directly offered in the obscenity and what is necessarily aroused by it in the mind of the listener, the finer is the witticism and the higher it may venture in good society" -Freud, quoted in Hnatko, "Tristram Shandy's Wit," 59.
79. Following Umberto Eco, "The Semantics of Metaphor," this could be characterized as metaphor -see Andrew P. Steen, "Guerrilla in the Midst: The Universitas Project and a New Kind of Institution," in Architecture, Institutions, and Change: Proceedings of the 32 nd Annual Conference of the Society of Architectural Historians, Australia and New Zealand (Sydney AU: SAHANZ): forthcoming. 112. Hnatko, "Tristram Shandy's Wit," 47.
80. "Discussing Euphues: The Anatomy of Wit [: The anatomy of wit very pleasant for all Gentlemen to read, and most necessary to remember: wherein are contains the delights that Wit followeth in his youth by the pleasantness of love, and the happiness he reapeth in age, by the perfectness of wisdom], C.S. Lewis remarks that 'it is no kindness to [the author, John] Lyly to treat him as a serious novelist; the more seriously we take its action and characters the mode odious his work will appear'" -
81. Charles Jencks, "Semiology and Architecture," in Meaning in Architecture, edited by Charles Jencks and George Baird (London UK: Barrie & Jenkins, 1969), 10-25.
82. Jencks, "Semiology and Architecture," 13.
83. By Roman Jakobson, Thomas Sebeok, and Umberto Eco, amongst others.
84. Ferdinand de Saussure, Cours de linguistique générale, edited by Charles Bally, Albert Sechehaye, and Albert Rieldlinger (Paris FR: Payot, 1916). First translated into English in 1959 by Wade Baskin (New York US: Philosophical Library, 1961).
85. Ferdinand de Saussure, Course in General Linguistics, edited by Charles Bally, Albert Sechehaye, and Albert Rieldlinger (New York US: McGraw-Hill, 1966), 16. Italics in original.
86. Saussure, Course in General Linguistics, 16.
87. 1931 saw Volume 1, Principles of Philosophy, published. Subsequent volumes were published in 1932, 1933, 1934, 1935 and 1958. The entire Collected Papers was published in 1958. In the same year, Arthur W. Burks complied a bibliography of Peirce's works. Harvard University, who held the papers from around the time of Peirce's death, committed the works to microfilm in 1967; and in the same year, Richard Robin constructed a catalogue of Peirce's works. Peirce's Chance, Love and Logic: Philosophical Essays (1923) predates Volume 1 of the Collected Papers.
88. Gerard Deledalle, Charles S. Peirce's Philosophy of Signs (Bloomington US: Indiana University Press, 2000), 55.
89. Deledalle, Charles S. Peirce's Philosophy of Signs, 19.
90. Deledalle, Charles S. Peirce's Philosophy of Signs, 15; 18.
91. Chandler, Semiotics, 33.
92. Deledalle, Charles S. Peirce's Philosophy of Signs, 121. and student of Charles W. Morris, was, at a similar time, also working towards "unifying" Saussure and Peirce, semiology and semiotics, "into a single paradigm". 17
93. During the 1960s, activity in sign-based scholarship increased significantly. The first international conference of "semiotics" was held in 1966 behind the iron curtain in Warsaw, Poland. Then, over 21 and 22 January 1969, the International Association for Semiotic Studies (IASS) was established in a meeting in Paris. 18 The society's journal Semiotica was also launched in 1969, with Sebeok installed as Editor-in-Chief. Nominally at least, it was a fully "semiotic landscape" by 1974's First Congress of the International Association for Semiotic Studies, or IASS. 19 The institutional consolidation under the name "semiotics" obscured significant philosophical, methodological, epistemological, and even ontological divisions, reifying a new discipline.
94. 3. Both of the traditions of sign-theory were imported into English-language architectural discourse in the 1960s; and both feature in Meaning in Architecture.
95. George Baird and Françoise Choay are the main proponents of French-Slavic structuralism. Baird uses the opposition of langue (language system) and parole (speech acts) to support his "romantic dimension in architecture"; and Choay frames her semiological presentation of urbanism around synchronic analysis, and the syntagmatic and paradigmatic axes. As discussion below reveals, while Jencks refers to Saussure, he is mainly an advocate for Anglo-American pragmatism within the book. Geoffrey Broadbent includes both Saussure and Peirce in his chapter "Semiology into Architecture", but his overall tone is certainly not one of support. As his title implies, Broadbent positions "semiology" as an unwelcome foreign body. He is particularly disparaging of semiologists, declaring "like so many other people in the philosophy of communications, [Saussure] and his successors were fascinated by the whole business
96. Julia S. Falk, "Saussure and American linguistics," in The Cambridge Companion to
97. Saussure, edited by Carol Sanders (Cambridge UK: Cambridge University Press, 2004), 120. This goal of unification was later taken up by Umberto Eco, and arguably realized in A Theory of Semiotics (Bloomington US: Indiana University Press, 1976).
98. For more see the official IASS website, iass-ais.org/.
99. See A Semiotic Landscape: Proceedings of the First Congress of the International Association for Semiotic Studies. Milan, June 1974 : Panorama Sémiotique: Actes Du Premier Congrès De L'association Internationale De Sémiotique. Milan, Juin 1974, edited by Seymour Chatman, Umberto Eco and Jean-Marie Klinkenberg (Den Haag: Mouton, 1979).
100. Geoffrey Broadbent, "Meaning into Architecture," in Meaning in Architecture, edited by Charles Jencks and George Baird (London UK: Barrie & Jenkins, 1969), 51.
101. Geoffrey Broadbent, "Meaning into Architecture," 53.
102. Ogden and Richards were highly critical of Saussure for "neglecting entirely the things for which signs stand" -C.K. Ogden and I.A. Richards, The Meaning of Meaning: A Study of the Influence of Language Upon Thought and of the Science of Symbolism (San Diego US: Harvest/HBJ, 1989), 6.
103. Arthur W. Burks's bibliography and the commitment of Peirce's works onto microfilm at Harvard University both occurred in 1967, a mere two years before "Semiology and Architecture". While Peircean studies had thus not progressed far in 1969, it was on a swift rise, and has since far exceeded Ogden-Richards scholarship in both quantity and quality. Ogden and Richards were already in 1969 vulnerable to attack, such as that made by Geoffrey Broadbent in the margin of "Semiology and Architecture," as discussed below.
104. Jencks, "Semiology and Architecture," 13.
105. Jencks, "Semiology and Architecture," 15.
106. Jencks, "Semiology and Architecture," 15. Whether this is intended as a pun is ambiguous.
107. Jencks, "Semiology and Architecture," 15.
108. Jencks, "Semiology and Architecture," 14.
109. Jencks, "Semiology and Architecture," 14.
110. Behaviourism is correctly located within psychology; the Whorf or Sapir-Whorf hypothesis is a rather discredited object of linguistics; and while he covered ideas important to semiotics, Plato's body of work is wide ranging, and is best labelled philosophy.
111. Ogden and Richards, The Meaning of Meaning, 6.
112. Jencks, "Semiology and Architecture," 15.
113. Chandler, Semiotics, 28.
114. Ambivalence and "bi-stability" return in chapter 3.
115. Whether Shakespeare was indeed making a simple, crude joke as opposed to metaphysical contention is open to debate. The phrase may largely have been a jibe at The Globe's main competitor, the Rose Theatre, whose poor sanitation was reputed as giving off a less-than-rosy odour. See "The meaning and origin of the phrase: A rose by any other name would smell as sweet," The Phrase Finder, accessed 24 January, 2014, www.phrases.org.uk/meanings/305250.html.
116. Ogden and Richards, The Meaning of Meaning, 10; 11.
117. Ogden and Richards, The Meaning of Meaning, 116.
118. Ogden and Richards, The Meaning of Meaning, 102.
119. Ogden and Richards, The Meaning of Meaning, 117.
120. Ogden and Richards, The Meaning of Meaning, 12.
121. Charles Jencks, "Semiology and Architecture," in Meaning in Architecture, edited by Charles Jencks and George Baird (London UK: Barrie & Jenkins, 1969), 10-25.
122. Jencks, "Semiology and Architecture," 18.
123. Jencks, "Semiology and Architecture," 18.
124. "Panofsky, Erwin, known as 'Pan'," Dictionary of Art Historians, accessed 25 April, 2015, https://dictionaryofarthistorians.org/panofskye.htm.
125. "Gombrich, E[rnst] H[ans Joseph], Sir, Dictionary of Art Historians, accessed 25 April, 2015, https://dictionaryofarthistorians.org/gombriche.htm.
126. W.J.T. Mitchell, Iconology: Image, Text, Ideology (Chicago US: University of Chicago Press, 1986), 12. Eisenman would likely be pleased with the first pairing.
127. Gombrich's critique of Panofsky came into full focus in Symbolic Images (1972) -See
128. Richard Woodfield, "Gombrich and Panofsky on Iconology," International Yearbook on Aesthetics 12 (2008): 151. See also Kim H. Veltman, "Panofsky's Perspective Half a Century Later," in Atti del 45 . Michael Ann Holly, Panofsky and the Foundations of Art History (Ithaca US: Cornell University Press, 1984), 32; Emily J. Levine, Dreamland of Humanists: Warburg, Cassirer, Panofsky, and the Hamburg School (Chicago US: University of Chicago Press, 2013), 277. See also Carlo Ginzburg, "From Aby Warburg to E.H. Gombrich," in Myths, and the Historical Method, translated by John Tedeschi and Anne C. Tedeschi (Baltimore US: The Johns Hopkins University Press, 1989), 39.
129. Quoted in Ginzburg, "From Aby Warburg to E.H. Gombrich," 38.
130. E.H. Gombrich, In Search of Cultural History: The Philip Maurice Deneke Lecture 1967 (Oxford UK: Clarendon Press, 1969), 6.
131. Jencks, "Semiology and Architecture," 16.
132. Jencks, "Semiology and Architecture," 16.
133. Erwin Panofsky, Meaning in the Visual Arts, (Garden City US: Doubleday, 1955), 26-54.
134. Panofsky, Meaning in the Visual Arts, 27.
135. See Adi Efal, "Iconology and Iconicity: Toward an Iconic History of Figures, Between Erwin Panofsky and Jean-Luc Marion," Naharaim 1 (2008): 81-105, for an interesting discussion.
136. Panofsky, Meaning in the Visual Arts, 30. Yve-Alain Bois, Painting as Model (Cambridge US: MIT Press, 1993), xxvii makes an important point relevant to this discussion: Panofsky did not encourage iconological analysis of "non-objective" art. Jencks's foregoing of the duck-rabbit's approximate realism in favour of a more diagrammatic outline makes the "Duck-Rabbit -etc.?" less suitable for iconological analysis than the previous iterations.
137. Panofsky, Meaning in the Visual Arts, 33.
138. Jencks, "Semiology and Architecture," 16.
139. Jencks, "Semiology and Architecture," 16.
140. Jencks, "Semiology and Architecture," 16.
141. Of a supposedly analogous expectation of pilgrims to Jerusalem located in so-called "13th century semiologist" Durandus, Jencks defines the required exercise "an academic tour de force" -Jencks, "Semiology and Architecture," 16.
142. Jencks, "Semiology and Architecture," 16.
143. It can be found in Philosophical Investigations, part II section xi.
144. William G. Lycan argues that Gombrich's theorization of the "Rabbit or duck?" sits in general agreement with Wittgenstein's more elaborated philosophical position related to "seeing as". See William G. Lycan, "Gombrich, Wittgenstein, and the Duck-rabbit," The Journal of Aesthetics and Art Criticism 30:2 (1972): 229-237. See also Mitchell, Picture Theory, 49-50. Mitchell's title page reproduces Gombrich's "Rabbit or duck?"
145. Ludwig Wittgenstein, Philosophische Untersuchungen : Philosophical Investigations, translated by G.E.M. Anscombe, P.M.S Hacker and Joachim Schulte (Chichester UK: Wiley Blackwell, 2010), 205.
146. Gombrich, Art and Illusion, 184-185.
147. Gombrich, Art and Illusion, 184-185. Gombrich uses the Fraser spiral -"which is not a spiral at all but really a series of concentric circles" -to illustrate his point.
148. Gombrich, Art and Illusion, 189. Thus "our weighing of the criteria in a given case is itself affected and conditioned to some extent by representational convention and by our own habitual way of seeing real objects" -Lycan, "Gombrich, Wittgenstein, and the Duck-Rabbit," 232.
149. Jencks, "Semiology and Architecture," 18.
150. Jencks, "Semiology and Architecture," 18.
151. Jencks, "Semiology and Architecture," 18.
152. Jencks, "Semiology and Architecture," 18.
153. Jencks, "Semiology and Architecture," 18.
154. An analogy might be made here to Eco's argument in Umberto Eco, "The Frames of Comic 'Freedom'," in Carnival!, edited by Thomas A. Sebeok (Berlin DE: Mouton, 1984), 1-9. This is significant to the discussion of Banham and Jencks's famous quotation, "Architecture and revolution".
155. Jencks, "Semiology and Architecture," 18. Again, the change from this position to the one Jencks holds in The Language of Post-Modern Architecture is telling. In this later book, Jencks promotes his theory of double-coding: using both duck and rabbit, retaining both, expressing their collision. This will be returned to in chapter 6's conclusion.
156. Jencks, "Semiology and Architecture," 18.
157. Note the appreciation for Archigram is common to both Jencks and Banham (see Nigel Whiteley, Reyner Banham: Historian of the Immediate Future (Cambridge US: MIT Press, 2002) 171-178;
158. and Lara Schrijver, "Revisiting Yesterday's Future: the 1960s and the Internet of Things," Volume 28 (2011): 54). This is an interesting subplot to chapter 6, below.
159. Jencks, "Semiology and Architecture," 18.
160. Gombrich, Art and Illusion, 63-64.
161. George Lakoff, "A Note on Vagueness and Ambiguity," Linguistic Inquiry 1:3 (June, 1970): 357-359.
162. Lakoff, "A Note on Vagueness and Ambiguity," 358. For a contrastive position starring "Whatshisname" see Janet L. Mistler-Lachman, "Comments on Vagueness," Linguistic Inquiry 4:4 (Autumn, 1973): 549-551.
163. Roy Sorensen stresses that "vagueness is not a species of ambiguity [and t]he clue to the fundamentality of the contrast is the impossibility of higher order ambiguity" -Roy Sorensen, "Ambiguity, Discretion, and the Sorites," The Monist 81:2 (April 1998): 215-232. Much philosophical and linguistic debate has been undertaken on the problem of vagueness in relation to a dichotomy. Authors of these papers often use a hypothetical Sorites series and "bald" or not-bald (sometimes "hairy") men,
164. Charles Jencks, "Semiology and Architecture," in Meaning in Architecture, edited by Charles Jencks and George Baird (London UK: Barrie & Jenkins, 1969), 10-25.
165. Jencks, "Semiology and Architecture," 21.
166. Roman Jakobson, "The Metaphoric and Metonymic Poles," in Metaphor and Metonymy in Comparison and Contrast, edited by René Dirven and Ralf Pörings (Berlin DE: Mouton de Gruyter, 2002),
167. See also Roman Jakobson, "Closing Statement: Linguistics and Poetics," in Style in Language, edited by Thomas A. Sebeok (London UK: John Wiley & Sons, 1960). Jakobson also mentions the terms "substitutive" and "predicative" (42).
168. Roland Barthes, The Fashion System (New York US: Hill & Wang, 1983) : Système de la mode (Paris FR: Éditions du Seuil, 1967).
169. The notion of "discourse", as opposed to the more stable basic system of language langue, underwrote the work of Émile Benveniste and Roland Barthes, and their movement from what might be termed structuralist to poststructuralist modes of analysis.
170. Jakobson, "The Metaphoric and Metonymic Poles," 46. "Magic" will be discussed in chapter 6 in the contexts of Claude Lévi-Strauss.
171. Jakobson, "The Metaphoric and Metonymic Poles," 46. The "social" aspect of this conceptualization is hence foregrounded. This opens structuralism up to the investigations ranging from Lévi-Strauss's structural anthropology to Julia Kristeva's semanalysis. Kristeva's definition of a "text" as "a translinguistic apparatus that redistributes the order of language, relating a communicative 'parole' aiming at direct information to different types of previous or synchronic utterances" -Kristeva, quoted in Winfried Nöth, Handbook of Semiotics (Bloomington US: Indiana University Press, 1995), 322 -is pertinent to this thesis.
172. Jakobson, "The Metaphoric and Metonymic Poles," 47.
173. Jakobson, "The Metaphoric and Metonymic Poles," 47.
174. The previous chapter, "Duck-Rabbit-Thingummybob", discussed Jencks's desire to achieve a novel aspect of architecture. This current chapter will again show Jencks probing for another conceptualization of architecture. But rather than seeking an extra, previously unseen, and "radical" object, this discussion will study Jencks's attempts at reaching a solution integrating two established intellectual fields. Central to discussion is Jencks's contention that architectural theory should incorporate both "MULTIVALENCE AND UNIVALENCE": that it should include the central qualities of both "imaginative works" like poetry, and those of "science". 15 To gain traction on this material, this chapter follows Jencks's referential connection not to structuralism, but to literary criticism and experimental psycholinguistics -beginning with the former.
175. 3. In her account of "The Early Critical Bases of the Critic Charles Jencks", Judith Brine spends a subchapter discussing how Jencks's doctoral thesis, "Modern Architecture: The Tradition Since 1945", is supported by the critical apparatus of I.A. Richards. 16 She spends several pages analysing Jencks's key chapter, "A Theory of Value", which was largely dropped for Jencks's follow-up book, Modern Movements in Architecture. 17 According to Brine, Jencks "derives his theory of value directly from that of I.A. Richards." 18 The key Richards text Brine refers to in assessing Jencks's derivation is Principles of Literary Criticism (1924). She argues that Richards's chapter on "The Imagination" is particularly relevant to Jencks's critical position. Richards appropriates his concept of the Imagination from Samuel T. Coleridge. The romantic poet's conceptual and philosophical apparatus for poetry is implicitly based on 15. Jencks, "Semiology and Architecture," 24. "MULTIVALENCE AND UNIVALENCE" is the title of the last section of the text, which itself contains no pictorial figures.
176. Judith Brine, "The Early Critical Bases of the Critic Charles Jencks," in "The Nature of Public Appreciation of Architecture: A Theoretical Exposition and Three Case Studies" (PhD, Adelaide University, 1987), 320-328.
177. Brine, "The Early Critical Bases of the Critic Charles Jencks," 323-328. Modern Movements was published in 1973.
178. Brine, "The Early Critical Bases of the Critic Charles Jencks," 323. Brine examines the theory in fine detail in one of the thesis's appendices -see "Appendix 9: The Work of I.A. Richards Pertaining to Jencks' Criticism," 149-190. As noted in chapter 3 and below in chapter 6, Jencks completed a major in English Literature at Harvard during the tenureship of Professor I.A. Richards. Jencks thus came to his studies in Architecture at Harvard GSD with this theoretical scaffold.
179. According to Bender and Wellbery and Jay, this apparatus contributes to the project of displacing classical rhetoric -see John Bender and David E. Wellbery, "Rhetoricality: On the Modernist Return of Rhetoric," in The Ends of Rhetoric: History, Theory, Practice, edited by John Bender and David E. Wellbery (Stanford US: Stanford University Press, 1990), 19-21; and Paul Jay, Contingency Blues: The Search for Foundations in American Criticism (Madison US: University of Wisconsin Press, 1997), 144- 145.
180. Coleridge quoted in I.A. Richards, Coleridge on Imagination (London UK: Routledge & Keegan Paul, 1950), 57. Some capital letters removed for clarity.
181. Coleridge quoted in Richards, Coleridge on Imagination, 57-58. Some capital letters removed.
182. Coleridge quoted in Richards, Coleridge on Imagination, 58. Some capital letters removed.
183. Richards, Coleridge on Imagination, 59.
184. Richards, Coleridge on Imagination, 59. Anjani Kumar asserts "[i]n Imagination, the mind is growing, in Fancy it is merely reassembling the products of its own creation, stereotyped as objects." - Anjani Kumar, "The Concept of Imagination in I.A. Richards," in Perspectives on Criticism, edited by Mohit K. Ray (New Delhi IN: Atlantic, 2002), 54.
185. Jencks, "Semiology and Architecture," 24. The ellipsis in this quotation hides the terms "multivalence" and "univalence".
186. Jencks, "Semiology and Architecture," 24.
187. Jencks, "Semiology and Architecture," 24.
188. According to Jencks, "[m]ultivalence is of the greatest value in imaginative works and hence architecture" -Jencks, "Semiology and Architecture," 24.
189. Jencks, "Semiology and Architecture," 24. The word "justification" is curious: some latent ideological position underwrites this choice.
190. Jencks, "Semiology and Architecture," 24.
191. In a later article, Jencks offers an anecdote: "Being forced to accept a choice between two such ridiculous alternatives [like individual expression or social science] immediately reminded me of the Rabbi's advice to his son: 'Son, whenever faced with only two alternatives, always pick a third'" - Charles Jencks, "Rhetoric and Architecture," AAQ 4:3 (July, 1972): 4. "Always pick a third" might be seen as the crux to Jencks's position as rhetor.
192. Jencks, "Semiology and Architecture," 24.
193. The book is actually co-authored: Charles E. Osgood, George J. Suci and Percy H. Tannenbaum, The Measurement of Meaning (Urbana US: University of Illinois Press, 1957).
194. Osgood, "Semantic Differential Technique: Ethnocentrics," 16.
195. Osgood, "Semantic Differential Technique: Ethnocentrics," 6.
196. "[C]onfidence in the validity of a particular factor structure grows as this structure persistently reappears in replications of the analysis" -Osgood, "Semantic Differential Technique: Ethnocentrics," 15.
197. Osgood, Suci and Tannenbaum, The Measurement of Meaning, 1-2.
198. Osgood, "Semantic Differential Technique: Ethnocentrics," 21.
199. By 1973, Osgood was theorizing a link extending to Neanderthal Man: the scales of evaluation, potency and activity, he writes, relate a sabre-toothed tiger to an antelope, a mosquito, and a pool of quicksand, respectively -Osgood, "Semantic Differential Technique," 89.
200. Osgood, "Semantic Differential Technique: Ethnocentrics," 38.
201. Osgood, "Semantic Differential Technique: Ethnocentrics," 14.
202. Osgood, "Semantic Differential Technique: Ethnocentrics," 26.
203. Jencks, "Semiology and Architecture," 22.
204. Osgood, Suci and Tannenbaum, The Measurement of Meaning, 21. Synaesthesia might be placed in opposition to the aphasic similarity disorder, and likened with the contiguity disorder. Synaesthesia, however, is generally regarded an advantage, not a disorder.
205. Osgood, Suci and Tannenbaum, The Measurement of Meaning, 21. It is notable that like Jakobson's research, these experiments approached cognitive abnormality: synaesthesia and aphasia.
206. Osgood, Suci and Tannenbaum, The Measurement of Meaning, 104-124. Assessments of Eisenhower were analyzed relative to assessments of more-conservative Republican Robert Taft and Democrat Adlai Stevenson. This scale is not entirely accurate. Scales used were: wise-foolish; dirty- clean; fair-unfair; safe-dangerous; strong-weak; deep-shallow; active-passive; cool-warm; relaxed-tense; and idealistic-realistic. These were factored into three basic oppositions: fair-unfair; strong-weak; and active-passive (107). Subjects were also asked to rate concepts like "Atom Bomb", "Socialism" and "Stalin".
207. Osgood, Suci, and Tannenbaum, The Measurement of Meaning, 104.
208. Osgood, Suci, and Tannenbaum, The Measurement of Meaning, 104.
209. "Parody … is a form of imitation, but imitation characterised by ironic inversion" -Linda Hutcheon, A Theory of Parody: The teachings of twentieth-century art forms (New York US: Methuen, 1985), 6.
210. Jencks, "Semiology and Architecture," 23. This seems an especially apt metaphor for this Cold-War-era example.
211. Jencks, "Semiology and Architecture," 24.
212. Charles Jencks, Architecture 2000: Predictions and Methods (London UK: Studio Vista, 1971), 40; 46-47. Jencks first publication using this trope is Charles Jencks, "The Evolutionary Tree," AD (October, 1970): 527. Jencks uses Evolutionary Tree diagrams throughout his oeuvre to describe Modern, Late-Modern, Post-Modern architecture.
213. Charles Jencks, "Semiology and Architecture," in Meaning in Architecture, edited by Charles Jencks and George Baird (London UK: Barrie & Jenkins, 1969), 10-25.
214. Jencks, "Semiology and Architecture," 14.
215. Jencks, "Semiology and Architecture," 14. As seen in chapter 5, Jencks himself is guilty of using the a priori categories of form, function, and technic/que.
216. Jencks, "Semiology and Architecture," 14.
217. "hypostatize, v.," OED Online, March 2015, Oxford University Press, accessed 13 May, 2015, www.oed.com/view/Entry/90567?redirectedFrom=hypostatization.
218. "reification, n.," OED Online, March 2015, Oxford University Press, accessed 25 May, 2015, www.oed.com/view/Entry/161512?redirectedFrom=reification&. Reification is preferred here due to its more neutral effect: its ability to avoid physical, substantial connotations.
219. Jencks, "Semiology and Architecture," 14.
220. Jencks, "Semiology and Architecture," 14.
221. Jencks, "Semiology and Architecture," 14. This chapter will use the unaccented form -shown in Figure 6 -when referring to this sign.
222. Claude Lévi-Strauss, "The Sorcerer and His Magic," in Structural Anthropology, translated by Claire Jacobson and Brooke Grundfest Schoepf (New York US: Doubleday, 1967), 168.
223. Lévi-Strauss, "The Sorcerer and His Magic," 168.
224. Lévi-Strauss, "The Sorcerer and His Magic," 168.
225. Lévi-Strauss, "The Sorcerer and His Magic," 168. study of several cases of trauma resulting from bombings, battle shock, and even surgical operations; death results, yet the autopsy reveals no lesions." 15
226. Lévi-Strauss tells his reader that the shaman or voodoo sorcerer's effectiveness -their ability to generate physiological effects through psychological mechanisms -largely depends on the socio-psychological structures of the society in question. In short, the efficacy of magic "implies a belief in magic." 16 This climate of belief requires three "complementary" components: "the sorcerer's belief in the effectiveness of his techniques"; "the patient's or victim's belief in the sorcerer's powers"; and "the faith and expectations of the group … within which the relationship between sorcerer and bewitched is located and defined." 17 Magic is "a consensual phenomenon" that requires a matrix of structural relations and social mechanisms. 18 In this dissertation, chapter 4's interrogation of Archigram's architecture has shown that, in like fashion, architecture's institutional mental set may have less to do with factual reality or even visual identity, and more to do with generalized consent a desire to be bewitched or taken in. Later in "The Sorcerer and His Magic", Lévi-Strauss recounts a story first told by Franz Boaz, the so-called father of American anthropology. Boaz writes of Quesalid, a member the Kwakiutl people indigenous to the Vancouver area of Canada. Quesalid was a sceptic: in the words of Lévi-Strauss, he was "[d]riven by curiosity about [his culture's shamans'] tricks and by the desire to expose them." 19 Disguising his scepticism, Quesalid was accepted into the shaman circle, taught empirical knowledge and sacred songs, instructed how to "simulate fainting and nervous fits" and induce vomiting, advised to use spies to "listen into private conversations and secretly convey to the shaman bits of information", and, "[a]bove all", told the key secret, the "ars magna" of the group: during rituals, the shaman keeps a small feather in his mouth, bites his tongue or makes his gums bleed, and at an opportune moment, extracts the bloodied feather. He then "presents it to his patient and the onlookers as the pathological foreign body". 20 The Kwakiutl shaman is effectively saying to the afflicted person, the gathered crowd, and 15. Lévi-Strauss, "The Sorcerer and His Magic," 168.
227. Lévi-Strauss, "The Sorcerer and His Magic," 168.
228. Lévi-Strauss, "The Sorcerer and His Magic," 168.
229. Lévi-Strauss, "The Sorcerer and His Magic," 169.
230. Lévi-Strauss, "The Sorcerer and His Magic," 175.
231. Lévi-Strauss, "The Sorcerer and His Magic," 175.
232. "[T]he [anthropologist] whose committed pursuit of the principles involved has most helped to attract the epithet 'structuralist' to his discipline, was the French anthropologist Claude Lévi-Strauss" - Terence Hawkes, Structuralism and Semiotics (London UK: Routledge, 2003), 19-20.
233. François Dosse, History of Structuralism, translated by Deborah Glassman (Minneapolis US: University of Minnesota Press, 1997), 24.
234. Dosse, History of Structuralism, 23.
235. Dosse, History of Structuralism, 23.
236. Lévi-Strauss did not hide this debt, in "his announcement in his inaugural lecture at the Collège de France in 1961 that he saw anthropology as part of semiology" -Jonathan Culler, The Pursuit of Signs: Semiotics, Literature, Deconstruction (London UK: Routledge & Keegan Paul, 1981), 31. In Structural Anthropology, Lévi-Strauss refers to Nikolai Troubetzkoy as the "illustrious founder of structural linguistics" -Claude Lévi-Strauss, "Structural analysis in linguistics and anthropology," in Structural Anthropology, translated by Claire Jacobson and Brooke Grundfest Schoepf (New York US: Doubleday, 1967), 31.
237. Dosse, History of Structuralism, 12.
238. Claude Lévi-Strauss, quoted in Dosse, History of Structuralism, 21.
239. Lévi-Strauss, "The Totemic Illusion," 84.
240. Lévi-Strauss, "The Totemic Illusion," 84. This shows a development from knowledge in the seventeenth and eighteenth centuries, seen in Linnaeus's taxonomic system, in which the table incorporates all individuated things. Jencks attempts to leverage tables directly in his other chapter in Meaning in Architecture, "History as Myth". Here he collapses architectural historiography, presenting a structuralist alternative for architectural chronicling. While these tables are relevant, this current discussion will continue to stay within "Semiology and Architecture".
241. Poole, "Introduction," 30-31.
242. Poole, "Introduction," 30-31. Indeed for Lévi-Strauss, "[t]he goal of the human sciences is not to constitute man but to dissolve him" -quoted in Culler, "In Pursuit of Signs," 33; "To achieve what is real … one must repudiate, above all, that which has been lived, with the aim of reintegrating it in an objective synthesis drained of all sentimentality" -Lévi-Strauss quoted in Xavier Rubert de Ventos, "The Sociology of Semiology," in Signs, Symbols, and Architecture, edited by Geoffrey Broadbent, Richard Bunt and Charles Jencks (Chichester UK: John Wiley & Sons, 1980), 179-180.
243. Poole, "Introduction," 31.
244. Jeffrey Mehlman characterizes this type of authorial construct as he asserts the "epistemological break" Lévi-Strauss's anthropological predecessor Marcel Maus realized "involve[d] seeing nothing new … but everything anew" -Jeffrey Mehlman, "The 'Floating Signifier': From Lévi- Strauss to Lacan," Yale French Studies 48 (1972): 21.
245. Claude Lévi-Strauss, "The Structural Study of Myth," 213. According to A.C. Goodson, "Lévi-Strauss' account of Oedipus" is itself "well-known": "[i]ntended to illustrate the structural method, it has come instead to exemplify its arbitrariness" -A.C. Goodson, "Oedipus Anthropologicus," MLN 94:4 (May, 1979): 688.
246. Thomas A. Sebeok, Myth: A Symposium (Bloomington US: Indiana University Press, 1 st ed. 1956; 2 nd ed. 1965): 16. The paper was written for "Myth: A Symposium", and originally published as Claude Lévi-Strauss, "The Structural Study of Myth," The Journal of American Folklore 68:270, "Myth: A Symposium" (October/December, 1955): 428-444. The issue was edited by Thomas A. Sebeok, the future long-time editor-in-chief of Semiotica.
247. Lacan in Markos Zafiropoulos, Lacan and Lévi-Strauss or the Return to Freud (1951-57)
248. London UK: Karnac, 2010), 190 -from Lacan's unpublished seminar.
249. Michael P. Carroll, "The Savage Bind: Lévi-Strauss, Myth Analysis and Anglophone Social Science," Pacific Sociological Review 21:4 (October, 1978): 470. See also Robert C. Philen, "Reflections Lévi-Strauss's structuralist analysis of Oedipus bears a strong resemblance to the seminal work by Russian formalist Vladímir Propp, "Morphology of the Folktale" (1928), which breaks down all Russian folktales into 31 functional components. 51 The Oedipus story is reduced by Lévi-Strauss into eleven elements ordered into four columns. The columns express: "the overrating of blood relations", "the underrating of blood relations", "the denial of the autochthonous origin of man", and "the persistence of the autochthonous origin of man". 52 The columns thus form two pairs of symmetrical and inverted relations.
250. Lévi-Strauss fills the columns of his Oedipus myth table with narrative elements. The elements in the columns can be read diachronically or synchronically. According to Lévi-Strauss, "to tell the myth, … disregard the columns and read the rows from left to right and from top to bottom"; but "to understand the myth, … disregard one half of the diachronic dimension (top to bottom) and read from left to right, column after column, each [column] being considered as a unit." 53
251. Lévi-Strauss finds that all variants of the Oedipus myth "refer to difficulties in walking straight and standing upright." 54 His interpretation suggests that the myth, in all its variants, is used to deal with "the inability, for a culture which holds the belief that mankind is autochthonous …, to find a satisfactory transition between this theory and on Meaning and Myth: Claude Lévi-Strauss Revisited," Anthropos 100:1 (2005): 221-228. Interestingly in Tristes Tropiques (1 st ed. 1955) Lévi-Strauss famously nominates Freud as one of "three mistresses" of his intellectual life. Such a nomination avoids alternate classifications as either mother or more likely father.
252. Vladímir Propp, "Morphology of the Folktale", first published in Russian in 1928, and translated and published in English in 1958 and again in 1968 by Indian University and The American Folklore Society. Lévi-Strauss's Oedipus myth can also be likened to the later work by Umberto Eco, "Narrative Structures in Fleming," in The Role of the Reader: Explorations in the Semiotics of Texts (London UK: Hutchinson, 1981), first published in Italian as "Le Strutture narrative in Fleming" in Il caso Bond, edited by O. Del Buono and U. Eco (Milano IT: Bompiani, 1965). Eco breaks James Bond stories down to nine structural events or actions. According to Eco's analysis, the stories manifest some combination of: "(A) M moves and gives a task to Bond; (B) Villain moves and appears to Bond (perhaps in vicarious forms);
253. Bond moves and gives first check to Villain or Villain gives first check to Bond;
254. Woman moves and shows herself to Bond; (E) Bond takes Woman (possesses her or begins her seduction);
255. F) Villain captures Bond (with or without Woman, or at different moments); (G) Villain tortures Bond (with or without Woman);
256. Bond beats Villain (kills him, or kills his representative or helps at their killing); (I) Bond, convalescing, enjoys Woman, whom he then loses" (156).
257. Lévi-Strauss, "The Structural Study of Myth," 215-216 -italics removed.
258. Lévi-Strauss, "The Structural Study of Myth," 214.
259. Lévi-Strauss, "The Structural Study of Myth," 216 -italics removed.
260. Alan Colquhoun, "Typology and Design Method," in Meaning in Architecture, edited by Charles Jencks and George Baird (London UK: Barrie & Jenkins, 1969), 268.
261. Reyner Banham, "The Architecture of Wampanoag," 101. Popper is still being used by Jencks in "Semiology and Architecture" (21). Anderson's use of "Dad" is an articulation of the Oedipal structure underwriting his work at the time. In the "Acknowledgements" section of Stanford Anderson, Peter Behrens and a New Architecture for the Twentieth Century (Cambridge US: MIT Press, 2000), Anderson describes how he was awarded his PhD from Columbia University by Professors Edward Kaufmann and George Collins, Henry-Russell Hitchcock, and Robert Rosenblum, amidst the student unrest in 1968. The defence was heard in Collins' apartment. Anderson "awaited the decision with Christiane Collins, seated on the marital bed" (vii). The scene prompts associations with the Freudian Oedipus.
262. Banham, "The Architecture of Wampanoag," 102. Note the correct accent aigu inclusion.
263. Lévi-Strauss, "The Effectiveness of Symbols," 198.
264. Lévi-Strauss, "The Effectiveness of Symbols," 198.
265. Jencks, "Semiology and Architecture," 14-15.
266. Roland Barthes, Sade/Fourier/Loyola, translated by Richard Miller (Baltimore US: Johns Hopkins University, 1997), 6.
267. Felicity D. Scott, "On the Counter-Design of Institutions: Emilio Ambasz's Universitas Project at MoMA," Grey Room 14 (Winter, 2004): 49. As quoted in chapter 1.
268. Umberto Eco contends architects in general act as shaman. "The visual practices (painting, sculpture) and the environmental practices (architecture, city planning) are in an extreme position: few people know how to draw and nobody knows how to build a house. In this field, people use the product of an unfamiliar skill. Technique is administered by the artist or by the technician, who acts as a shaman" - Umberto Eco, "Critical Essay," The Universitas Project: Solutions for a Post-Technological Society, edited by Emilio Ambasz and Harriet Schoenholz Bee (New York: The Museum of Modern Art, 2006),
269. This thesis suggests that the architectural practitioner's ability to affect this mode is far less pronounced than the architectural writer due to the structural conditions of language and its poetic function.
270. Charles Jencks, "Glossary of Semiological Terms," in Meaning in Architecture, edited by Charles Jencks and George Baird (London UK: Barrie & Jenkins, 1969), 9.
271. Martin Krampen, "Survey on Current Work in Semiology of Architecture," in A Semiotic Landscape: Proceedings of the First Congress of the International Association for Semiotic Studies.
272. Milan, June 1974 : Panorama Sémiotique: Actes Du Premier Congrès De L'association Internationale De Sémiotique. Milan, Juin 1974, edited by Seymour Chatman, Umberto Eco and Jean-Marie Klinkenberg (Den Haag NL: Mouton, 1979), 169-194;
273. Juan Pablo Bonta, "Notes for a Theory of Meaning in Design," in Signs, Symbols, and Architecture, edited by Geoffrey Broadbent, Richard Bunt and Charles Jencks (Chichester UK: John Wiley & Sons, 1980);
274. Louis Martin, "The Search for a Theory of Architecture: Anglo-American Debates 1957-1976" (PhD Thesis, Princeton University, 2002), 676-706; Paul Walker, "Chapter 3. Semiotics and the Modernism of Architecture," in "Semiotics and the Discourse of Architecture" (PhD Thesis, University of Auckland, 1987), 120-132, 150-172.
275. Krampen, "Survey of Current Work in Semiology of Architecture," 179-180; Martin, "The Search for a Theory in Architecture," 678-679. See also Charles Jencks, "The Architectural Sign," in Signs, Symbols, and Architecture, edited by Geoffrey Broadbent, Richard Bunt, and Charles Jencks (Chichester UK: John Wiley & Sons, 1980). The Milan conference was published as Seymour Chatman, Umberto Eco and Jean-Marie Klinkenberg eds., A Semiotic Landscape: Proceedings of the First Congress of the International Association for Semiotic Studies. Milan, June 1974 : Panorama Sémiotique: Actes Du Premier Congrès De L"association Internationale De Sémiotique. Milan, Juin 1974 (Den Haag NL: Mouton, 1979). According to Martin and Jencks, architectural semiotics was also a key topic at several meetings of the Environmental Design Research Association in the early 1970s.
276. Walker, "Semiotics and the Discourse of Architecture," 121.
277. Martin, "The Search for a Theory in Architecture," 850. See Martin, 730-750, for a more in depth history of the decline.
278. "Juan Pablo Bonta's Architecture and it Interpretation; Donald Preziosi's Architecture, Language and Meaning and The Semiotics of the Built Environment; Martin Krampen's Meaning in the Urban Environment …; Signs, Symbols, and Architecture (editors Broadbent, Bunt and Jencks) and Meaning and Behaviour in the Built Environment (Broadbent, Bunt and Llorens); and the English translation of Manfredo Tafuri's Theories and History of Architecture" -Walker, "Semiotics and the Discourse of Architecture," 121.
279. In its ambitions to repackage and define an ailing discourse around "semiotics", Geoffrey Broadbent, Richard Bunt, and Charles Jencks eds., Signs, Symbols, and Architecture (Chichester UK: John Wiley & Sons, 1980), can be positioned as particularly collusive in this process.
280. Charles Jencks and Nathan Silver, Adhocism: The Case for Improvisation (New York US: Doubleday, 1972).
281. Jencks, Adhocism, 15.
282. Jencks, Adhocism, 15.
283. Jencks, Adhocism, 16. Note the correct, accented version of the name.
284. This is the first of a large number of extended quotations included in Adhocism by Jencks. The overall collage effect is in keeping with the "bricological" theory Jencks presents.
285. Claude Lévi-Strauss, The Savage Mind (London UK: Weidenfeld and Nicolson, 1966), 16.
286. Lawrence Alloway, "The Independence Group and the Aesthetics of Plenty," The Independent Group: Postwar Britain and the Aesthetics of Plenty, edited by David Robbins (Cambridge US: MIT Press,
287. See also Catherine Spencer, "The Independent Group's 'Anthropology of Ourselves'," Art History 35:2 (April, 2012): 314-335.
288. See Peter Eisenman, Peter Eisenman, "Building in Meaning. Book Review: Meaning in
289. Architecture, edited by Charles Jencks and George Baird," Architectural Forum 133 (July/August, 1970):
290. See Harold Bloom, Anxiety of Influence: A Theory of Poetry (Oxford UK: Oxford University Press, 1973).
291. Charles Jencks, The Language of Post-Modern Architecture (London UK: Academy, 1978), 6. This description in itself is quite misleading: it conjures images of the commonly-held but erroneous "split-personality" diagnosis of schizophrenia.
292. More subtly, Jencks's ideal position may be related to Barthes's "new criticism" -see Roland
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