RIBA Architecture Parts 1, 2 and 3 Architectural History, Theory and Criticism Flashcards

24 sample cards from the Architectural History, Theory and Criticism deck

Sampled from the end of the deck, so these are different cards from the ones shown on the syllabus page.

1. What is Heidegger's concept of 'dwelling' as used in architectural phenomenology?

   From 'Building Dwelling Thinking' (1951): to build is fundamentally to dwell — to be at peace within a place that gathers the 'fourfold' (earth, sky, mortals, divinities). Building should let people authentically dwell.

2. What is semiotics, and how is it applied to architecture?

   The study of signs and meaning. Applied to architecture, it treats buildings as systems of signs that communicate; it distinguishes the 'signifier' (form) from the 'signified' (meaning/concept), after Saussure and Peirce.

3. In architectural semiotics, distinguish denotation from connotation.

   Denotation is a sign's primary, functional meaning (a stair denotes 'means of going up'); connotation is its secondary, cultural/symbolic meaning (a grand stair connotes prestige). Umberto Eco analysed this for architecture.

4. Define Charles Sanders Peirce's three sign types as relevant to architectural meaning.

   Icon (resembles its object), Index (causally/physically linked to its object, e.g. smoke→fire), and Symbol (related by convention, e.g. a cross signifying a church).

5. What is 'Critical Regionalism' and who coined the term?

   An architecture that resists placeless global modernism by mediating universal civilisation with local climate, light, topography and culture — without nostalgic mimicry. Coined by Alexander Tzonis and Liane Lefaivre, theorised by Kenneth Frampton (1983).

6. List three strategies Frampton associates with Critical Regionalism's 'resistance'.

   Privileging the tactile over the purely visual; responding to local light, climate and topography rather than universal technology; and treating the building as a 'place-form' (architecture) rather than free-standing 'scenography'.

7. What did Kenneth Frampton mean by the opposition between 'place-form' and 'megalopolitan' development?

   'Place-form' is bounded, site-specific architecture that creates identifiable, rooted places; the 'megalopolitan'/placeless is the universal, optimised, commercially-driven sprawl that erodes regional identity.

8. In the study of gender and space, what is the feminist critique of the public/private dichotomy?

   That the gendering of space — associating men with the public sphere and women with the domestic/private — is socially constructed and reinforced by built form (e.g. the suburban house), naturalising women's confinement and unpaid labour.

9. Whose concept of the 'production of space' is foundational to architectural studies of power and space?

   Henri Lefebvre, in 'The Production of Space' (1974), with his triad of perceived (spatial practice), conceived (representations of space) and lived (representational spaces) — arguing space is socially produced, not neutral.

10. What is Michel Foucault's concept of the 'Panopticon' and its significance for architecture and power?

    Jeremy Bentham's prison design where a central tower can observe all cells while inmates cannot tell if they are watched. Foucault used it ('Discipline and Punish', 1975) as a diagram of disciplinary power, showing how spatial arrangement produces self-surveillance and control.

11. What are the key components of a well-formulated architectural research question?

    It should be focused, researchable within the time/resources available, arguable (not merely descriptive), original/significant, and clearly bounded in scope — often framed as 'how' or 'why' rather than a yes/no question.

12. What is the difference between a research question, an aim, and an objective in a dissertation?

    The research question is the central problem to be answered; the aim is the broad overall purpose/goal; objectives are the specific, measurable steps undertaken to achieve the aim and answer the question.

13. In the Harvard referencing system, what does a standard in-text citation contain?

    The author's surname and the year of publication in parentheses, e.g. (Frampton, 1983); for a direct quotation a page number is added, e.g. (Frampton, 1983, p. 17).

14. Give the Harvard reference-list format for a printed book.

    Author surname, Initial(s). (Year) 'Title in italics'. Edition (if not first). Place of publication: Publisher. Example: Frampton, K. (1992) Modern Architecture: A Critical History. 3rd edn. London: Thames & Hudson.

15. What is the difference between a reference list and a bibliography?

    A reference list contains only the sources actually cited in the text; a bibliography lists all sources consulted (including background reading) whether or not they are cited.

16. What constitutes plagiarism in academic architectural research, and how is it avoided?

    Presenting another's words, ideas, images or designs as one's own without acknowledgement. Avoided by accurate citation, quotation marks for verbatim text, paraphrasing properly, and referencing all sources including images and data.

17. Name three core ethical requirements when research involves human participants (e.g. interviews, surveys).

    Informed consent, confidentiality/anonymity and data protection, and the right to withdraw — together with ethics-committee approval and a risk assessment to avoid harm to participants.

18. What is the conventional macro-structure of an architectural dissertation?

    Introduction (context, question, aims), Literature review, Methodology, Analysis/Case studies/Findings, Discussion, and Conclusion — framed by an abstract, contents, references and appendices.

19. What is the purpose of a literature review within a dissertation?

    To survey, synthesise and critically evaluate existing scholarship, establish the theoretical context, identify a gap in knowledge, and justify how the dissertation's research question addresses that gap.

20. What is the architect's role in the climate emergency, and what is the related industry pledge in the UK?

    To radically reduce buildings' operational and embodied carbon, design for low energy, and prioritise reuse. UK practices have signed 'Architects Declare' (2019), and the RIBA 2030 Climate Challenge sets targets for operational energy, embodied carbon and water use.

21. Distinguish 'operational carbon' from 'embodied carbon' in a building's life cycle.

    Operational carbon is emitted in use (heating, cooling, lighting, power); embodied carbon is emitted in producing, transporting, constructing, maintaining and disposing of materials. Reuse/retrofit chiefly saves embodied carbon.

22. What does 'decolonising the architectural canon and curriculum' involve?

    Critically questioning the Eurocentric, Western canon and its colonial roots; broadening histories and references to include non-Western, indigenous and Global South architectures and voices; and examining how the discipline's narratives were shaped by empire and power.

23. What is the 'retrofit-first' agenda and the principle behind adaptive reuse?

    Prioritising the upgrading and re-use of existing buildings over demolition and new build, because the greenest building is one already standing — adaptive reuse retains embodied carbon and heritage while adapting structures to new uses. Captured in the slogan 'the most sustainable building is the one that already exists.'

24. What is meant by 'social value' and 'spatial justice' in contemporary architecture?

    Social value is the wider social, economic and environmental benefit a project creates for communities beyond the building itself; spatial justice (after Edward Soja and Lefebvre) concerns the fair distribution of spatial resources, access and the 'right to the city' across society.

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