An Analysis of the Dimensions and Characteristics of Popular Architecture in the Contemporary Era

Volume 21, Issue 137
November 2024
Pages 37-50

Document Type : Original Research Article

Authors

1 Ph.D. Candidate in Architecture, Faculty of Architecture, College of Fine Arts, University of Tehran, Iran.

2 Associate Professor, Faculty of Architecture, College of Fine Arts, University of Tehran, Iran.

Abstract
Problem statement: Social and demographic evolutions, as well as the escalating growth of collective technologies, have led to the formation of urban mass culture, the tendency toward standardization, and the widespread sharing of beliefs, values, and tastes. This standardization of tastes generates popular art and architecture to come up with an answer that is understandable for everyone and is accepted by the majority. By emphasizing the nature of popular architecture, this study seeks to answer these questions: What is popular architecture? What dimensions and features can be defined for popular architecture?
Research objective: The aim of the research is to define popular architecture in the contemporary period and the recognition of the characteristics, dimensions, and components of popular architecture on an international and domestic level.
Research method: The research method is a systematic review. Therefore, 103 researches related to this topic were searched and identified in seven foreign databases and two Persian databases. Based on the relevance of the titles, abstracts, and content, two experts evaluated the searched research and ultimately, 33 articles related to the research were selected.
Conclusion: The results of the research indicate that the characteristics of popular architecture can be expressed in ten sub-categories, which include popular approval, social demonstration, stylistic imitation, lack of expression of a specific identity, comprehensible modernist expression, visual appeal, semantic, emotional, consumerism, and fashionism. These categories are also defined in the form of five main categories which are cultural-social, historical-identity, aesthetic-physical, semantic-emotional, and economic. The main characteristics of this architectural flow are directly or indirectly affected by the aesthetic-physical aspect. In this regard, the expression of popular architecture is mainly in modern appearance has a visual appeal for the general audience, and is expressed with the help of characteristics such as nostalgic expression and historicism.

Keywords

Anderson, R. L. (1990). Popular art and aesthetic theory: why the muse is unembarrassed. Journal of Aesthetic Education, 24(4), 33-46. https://doi.org/10.2307/3333105
Attfield, J. (2006). Redefining kitsch: The politics of design. Home Cultures, 3(3), 201-212. https://doi.org/10.2752/174063106779090758
Barber, K. (1987). Popular arts in Africa. African studies review, 30(3), 1-78. https://doi.org/10.2307/524538
Braun, V. & Clarke, V. (2006). Using thematic analysis in psychology. Qualitative Research in Psychology, 3(2), 77-101. https://doi.org/10.1191/1478088706qp063oa
Brown, G. & Gifford, R. (2001). Architects predict lay evaluations of large contemporary buildings: whose conceptual properties?. Journal of Environmental Psychology, 21(1), 93-99. https://doi.org/10.1006/jevp.2000.0176
Carroll, N. (2001). Mass art: The debate continues. Journal of Aesthetic Education, 35(3), 15-22. https://doi.org/10.2307/3333606
Dambrin, C., & Lambert, C. (2017). Beauty or not beauty: Making up the producer of popular culture. Management Accounting Research, 35, 35-46.‏ https://doi.org/10.1016/j.mar.2016.03.003
Duzenli, T., Alpak, E. M., & Akyol, D. (2018). Impact of Kitsch on Urban Identity: A Case Study on Trabzon City. International Journal of Social Humanities Sciences Reseach, 5(16), 94-99. https://doi.org/10.26450/jshsr.312
Fawcett, W., Ellingham, I., & Platt, S. (2008). Reconciling the architectural preferences of architects and the public: The ordered preference model. Environment and Behavior, 40(5), 599-618. https://doi.org/10.1177/0013916507304695
Fisher, D. (2004). The demonstration effect revisited. Annals of Tourism Research, 31(2), 428-446. https://doi.org/10.1016/j.annals.2004.01.001
Fisher, J. A. (2013). High art versus low art. In The Routledge companion to aesthetics. Routledge.
Greenberg, C. (2004). Avant-garde and kitsch (F. Azarangm, Trans.). The profession: Artist Journal. 7, 194-202.
Gifford, R., Hine, D. W., Muller-Clemm, W., & Shaw, K. T. (2002). Why architects and laypersons judge buildings differently: cognitive properties and physical bases. Journal of Architectural and Planning Research, 19(2), 131–148. http://www.jstor.org/stable/43030605
Glass, C. (1971). The metaphysics of pop architecture. Soundings, 54(2), 202–213. http://www.jstor.org/stable/41177806
Hojjat, I. (2015). Sont sonatgraian va sonatgarai memaran [Traditionalists’ Tradition and Architects’ Traditionalism]. Journal of Fine Arts, 20 (1), 5 -16. [in Persian].
Hosseini, A. (2011). Tabein va tadvin geraishhay memari Iran pas az enghlab islami [Indication and formoulation of attitudes of Iran’s contempoary architecture studings Tehran’s architecture in between 1981-2006]. Hoviatshahr, 8 (1), 17- 26. [in Persian].
Islami, S. G., Ebrahimi, S., & Islami, S. Y. (2012). Confrontation of Iranian contemporary architecture with the electronic era. International Journal of Architectural Engineering & Urban Planning, 22(1), 41-50.
Islami, N., Alborzi, F., & Soltanzadeh, H. (2021). Revisiting the Influence of Modernism on International Style Architecture in Iran and Uzbekistan. Bagh-e Nazar, 18(94), 101-116. https://doi.org/10.22034/bagh.2020.221708.4478
Irazabal, C. (2007). Kitsch is dead, Long Live Kitsch: the production of” Hyperkitsch” in Las Vegas. Journal of Architectural and Planning Research, 199-223.‏ http://www.jstor.org/stable/43030803
Kaplan, A. (1966). The Aesthetics of the Popular Arts. The Journal of Aesthetics and Art Criticism, 24(3), 351–364. https://doi.org/10.2307/427970
Kalantar Motamedi, M. H. (2014). National getaways for the weary trauma surgeon; part 1: kish island. Trauma Monthly, 19(4), 1- 4. https://doi.org/ 10.5812/traumamon.21593
Klaufus, C. (2015). Arquitectura de remesas:‘Demonstration effect’in Latin American popular architecture. In Ethno-Architecture and the Politics of Migration (pp. 99-114). Routledge.‏ https://hdl.handle.net/11245/1.521683
Lauermann, J. (2021). Luxury housing and gentrification in New York City, 2010-2019. Urban Geography, 43(10), 1683-1701. https://doi.org/10.1080/02723638.2021.1956112
Lebensztejn, J.-C., & Cooper, K. (1981). Photorealism, Kitsch and Venturi. SubStance, 10(2), 75–104. https://doi.org/10.2307/3684330
Trocka-Leszczynska, E., & Jablonska, J. (2014). Kitsch in Architecture–Contemporary Polish Hotels. In Universal Access in Human-Computer Interaction. Design for All and Accessibility Practice: 8th International Conference, UAHCI 2014, Held as Part of HCI International 2014, Heraklion, Crete, Greece, June 22-27, 2014, Proceedings, Part IV 8 (pp. 279-290).  Springer, Cham. https://doi.org/10.1007/978-3-319-07509-9_27
Maraini, T. (2020). Some Observations on Traditional Popular Art in Morocco. The Journal of Modern Craft, 13(1), 107–114. https://doi.org/10.1080/17496772.2020.1735131
Mudde, C. (2004). The populist zeitgeist. Government and Opposition, 39(4), 541-563. https://doi.org/10.1111/j.1477-7053.2004.00135.x  
Naghizadeh, M. (2000). Rabete hoviat sonate memari Iran ba Modernism va nograi [The relationship between the identity of  Iranian architectural tradition and modernism"]. Fine Arts, 7, 79- 91.
Novitz, D. (1989). Ways of artmaking: the high and the popular in art. The British Journal of Aesthetics, 29(3), 213-229. https://doi.org/10.1093/bjaesthetics/29.3.213
Nurnazar, P., & Atabek, S. (2021). Mass culture: towards the essence of the concept. Journal of Pedagogical Inventions and Practices, 1, 40-43.
Ozler, H., & Kizilelma, S. (2023). Symbolic Design and Kitsch Production in Architecture in A Hyperreal Postmodern Context. Digital International Journal of Architecture Art Heritage, 2(1), 30-49.
Rahmani, E., Etesam, I., & Mokhtabad Amraee, M. (2016). A Comparison Analysis between Modern and Postmodern “Reading” Architecture Work. Iranian Architecture & Urbanism (JIAU), 7(2). https://doi.org/10.30475/isau.2017.62033
Sadeghipey, N (2007). Olgo paziri az memari sonati baray dastyabi be memari emrozi [Modeling traditional architecture to achieve modern architecture]. Housing and Rural Environment,120, 2-11. [in Persian].
Safdarian, G. (2020). A comparative study on pop, elite and folk art. International Journal of Architecture and Urban Development, 10(3), 61-68. https://doi.org/10.30495/ijaud.2020.15954
Shannon, S. (2002). Critical appraisal of systematic reviews. Canadian Association of Radiologists Journal, 53(4), 195.
Shayganfar, N. (2007). Taghabolhay sonati do metaphysic, do farhang va do honar [Traditional oppositions of two metaphysics, two cultures and two arts]. Shenakht ziba, 19, 205-224. [in Persian].
Taghaboni, A., & Saremi, A. (2020). An Analysis of the Kitsch Typology in Contemporary Iranian Buildings (Case Study: Tehran). Hoviatshahr, 14(43), 17-28. https://www.doi.org/10.30495/hoviatshahr.2020.14219
Tzonis, A. C., & Lefaivre, L. (2005). In the name of the people; the populist movement in architecture, In T.R. Bacon (Ed.), What People Want: A Manager’s Guide to Building Relationships That Work (pp. 298-305). Birkhäuser.. https://doi.org/10.1007/3-7643-7673-2_23
Wang, B., Liu, S., Zheng, F., & Zhong, M. (2020). Research on the application of pop art in modern architectural form design. In IOP Conference Series: Earth and Environmental Science, 495 (1), 1-6. https://doi.org/10.1088/1755-1315/495/1/012049
Ward, G. (2008). Postmodernism (GH. Fakhr Ranjbar & A. Karami, Trans.). Mahi.
Wexman, V. (1971). Pop: the new architecture. Sondings: An Interdisciplinary Journal, 54(2), 191-201.
Wilensky, H. L. (1964). Mass Society and Mass Culture: Interdependence or Independence?. American Sociological Review, 29(2), 173–197. https://doi.org/10.2307/2092122
Winston, A. S. (1995). Simple pleasures: The psychological aesthetics of high and popular art. Empirical Studies of the Arts, 13(2), 193-203. https://doi.org/10.2190/U40C-QXB0-4RXQ-8PQ0 
Winston, A. S., & Cupchik, G. C. (1992). The Evaluation of High Art and Popular Art By Naive and Experienced Viewers. Visual Arts Research, 18(1), 1–14. http://www.jstor.org/stable/20715763