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  1. 建筑的 “主体 “是如何被解释的？(350字)
    罗宾-埃文斯在他的文章 “数字、门和通道 “中描绘了建筑主体（即居民）的历史，即从在空间中不同程度地联合起来的身体（在16-19世纪之间）转变为被功能名称分开的身体（在20世纪初）。 这一转变也可以理解为 “家庭 “主体向 “用户 “的转变，正如让-鲍德里亚在他的文章《室内设计的结构》中所说，后来建筑 “主体 “的其他分类已经让位。建筑的 “主体 “还被解释为哪些方式？请用上面给出的例子以外的例子来回答这个问题（如家庭的、用户的）。
  2. 2.建筑在哪里？(4 x 200-250字段落)
    在他为第11届威尼斯建筑双年展（2008年）绘制的日本馆图纸中，石上纯也在表现项目时省略了传统元素，如墙、门、窗和poche（见上图和下图）。在理解建筑可以采取多种形式和解释的前提下，请用四个200-250字的段落解释石神的绘画如何通过以下类别被理解为建筑。1. 物体，2.室内，3.环境，和4.主体。主题。每段应在各自的标题下分别涉及上述每个主题，应正式分析石神的绘画，并对建筑提出明显不同的解释。请参考我们在课堂上讨论过的理论和历史观点。
  3. 建筑师以何种方式参与研究？(500字)
    Giovanni Borasi在她的目录文章《另一个建筑师》中写道：”建筑不再被理解为一种不可避免地带来人工制品的建造的实践，而是一种思考、观察和分析现在和我们所处的社会的方式；确定和提出问题，同时标记出行动的领地；寻找或发明合适的工具；最后做出慷慨和简洁的反应”。(第362页）这种 “思考、观察和分析 “的一种模式可能包括建筑 “研究”。建筑师以何种方式参与研究？为了回答这个问题，请写一个500字的回答，既要定义特定类型的建筑研究，又要阐述建筑师为什么要使用这些研究（例如，为了设计、为了证据、为了分析、为了展览？请用我们在课堂上讨论的文献和例子来回答这个问题。
  1. How has architecture’s “subject” been interpreted? (350 words)
    In his essay “Figures, Doors, and Passages,” Robin Evans plots a history of architectural subjects (i.e. inhabitants) shifting from being bodies variously co-joined in space (between the 16th—19th centuries) to bodies separated by functional designations (in the early 20th century.) This shift, which might also be understood as the transformation of a “familial” subject into a “user,” as Jean Baudrillard put it in his essay “The Structures of Interior Design,” has since given way to other categorizations of the architectural “subject.” In what other ways has architecture’s “subject” been interpreted? Please answer this question with examples beyond those given above (i.e. familial, user).
  2. Where is the architecture? (4 x 200-250 word paragraphs)
    In his Japanese Pavilion drawings for the 11th Venice Architectural Biennale (2008), Junya Ishigami omits conventional elements such as walls, doors, windows, and poche in representations of the project (see image above and below). With the understanding that architecture can take multiple forms and interpretations, please explain, in four, 200-250 word paragraphs, how Ishigami’s drawings can be understood as architecture through the following categories: 1. Objects, 2. Interior, 3. Environment, and 4. Subject. Each paragraph, which should separately engage each of the above topics under their respective subtitles, should formally analyze Ishigami’s drawing and put forward a distinctly different interpretation of architecture. Please make reference to the theoretical and historical ideas we have discussed in class.
  3. In what ways have architects engaged with research? (500 words)
    In her catalogue essay, “The Other Architect,” Giovanni Borasi writes that “architecture is no longer understood as a practice that inevitably brings about the construction of an artifact, but as a way of thinking, observing, and analyzing the present and the society in which we operate; of identifying and asking questions while marking a territory to act; of looking for or inventing suitable tools; and finally of responding generously and concisely.” (p. 362) One mode of such “thinking, observing, and analyzing” might include architectural “research.” In what ways have architects engaged with research? To answer this question, please write a 500–word response that both defines particular kinds of architectural research and elaborates on why architects have deployed them (e.g., for design? for evidence? for analysis? for exhibition?). Please engage the literature and examples we have discussed in class to answer the question.

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