Cultural Economy - Theory of Architecture 2 – Transcript

00:43to look around, look at the buildings, look at the streets. And I wanted to forget that this is an academic presentation. Just imagine that you are here as a tourist or perhaps someone who has never visited in Tremoros before.

00:59If someone asks you what makes in Tremoros significant, what would you say? Perhaps it's history, perhaps it's culture, perhaps the fact that it allows us to experience a glimpse of what Manila looked years ago.

01:16But let me ask again another question. If we remove the history and the cultural meaning associated with in Tremoros, would we still value it in the same way? Without stories, historical significance, and cultural identity, it represents would they still attract tourists?

01:35Would people still invest in its preservation? Would it still be worthy of protection? This leads to realizing that maybe the value of a place doesn't come from its physical structure alone, but the way we understand, use, preserve, and assign value to it influenced by our culture.

01:55And this leads to our main topic today, the cultural economy. In its simplest sense, cultural economy refers to the relationship between culture and economic activity. It examines how culture influences the economic production and consumption.

02:17So, kung may value ang culture, matik pa siya itens na? Well, ang cultural economy ay ang relationship between cultural meaning and economic activity. So, kung maglalagay ako ng price, problematik lang nalagang?

02:37Dependis sa binabenta mo, at kung paano mo siya nalagay sa seta. Ang nagbibendit ko. So, anong habang cultural economy? Ang nato?

02:52Cultural economy can refer to the economic activities involved in producing and distributing cultural goods and services, like film, music, fashion, art, tourism, and heritage-related business.

03:10It can also refer more broadly to the way culture shapes economic behavior, culture influence what people consider beautiful and valuable. This judgment can affect what businesses produce, what we purchase, and where developers should invest.

03:29Culture can become an economic resource, while activity can also influence which cultural expressions are produced, preserved, promoted, or neglected. Disapin natin at culture shapes the economy, and the economy shapes food.

03:46Texture. We have these three major considerations. The functions, structure, and aesthetics. But in cultural economy, it also asks us, who is the building intended for?

04:04Why was it built in that particular location? How does its cultural identity influence the way people use and value it? Let us use a discussion about shopping malls. At first glance, it is an economic space designed for commercial activities.

04:22It accommodates the stores and businesses. But in a way, this is also a cultural space. Why? Because it reflects our consumer preference. Contemporary lifestyles, ideas about leisure and social expectation of how people spend their time.

04:42Its design can communicate luxury, accessibility, and modernity, or exclusivity. The malls become more than just a container for commercial activities, but also becomes a place where economic behavior and cultural practices intersect.

05:01Going back to intramuros and other historical sites we have, when heritage turns into marketable traction, there is this possibility that its historical meaning may be reduced or simplified to make it more appealing to the stores.

05:16This reminds us that cultural economy is not automatically positive. It can support preservation, employment, development, and also can contribute to commercialization, explosion, and unequal distribution of economic.

05:34Now that we understand the relationship between culture and economic activity, the next question is how does the cultural economy develop and expand?

05:50To answer this, we need to look at how culture moved between people. Culture has never been isolated. People migrate, trade, travel, and communicate to exchange ideas. Through these interactions between cultures, new forms of expression emerge.

06:08Organization allows architectural ideas, construction technologies, design trends, and cultural products to circulate across national boundaries. As it may attract investment by promoting its architectural identity, a local design tradition may gain a wider market, and architect may draw inspiration from multiple cultural traditions and adapt them to a contemporary project.

06:34May these exchanges create tensions. As it is compete for investment and commercial recognition, they may begin adopting similar architectural styles and commercial environments. They may begin to resemble one another featuring similar less towers, little spaces, and standardized public environments.

06:58As different cultures, technologies, and economic interests encounter one another, the boundaries between them become increasingly difficult to define. We appreciate by encounters between different influences, and this lead us to concept that will help us connect cultural change with architectural design, which is hybridity.

07:24To explore this idea further, Hoy, ito kasi! Hello! To explore this idea further, let's turn to Ivana Yavremovich paper. Hybridity in and beyond architecture.

07:40The study starts with a problem. The term hybrid is used in many different fields, but its meaning is not always clearly defined. We often use the word to describe something that combines two or more different elements.

07:58In architecture, for instance, we might call a building hybrid because it accommodates multiple functions, or combines different architectural influences. The paper argues that hybridity should be understood as a condition, characterized by liminality, transformation, multiplicity, and non-filameness.

08:22Let us unpack these terms. Let us unpack these terms. Liminality is a state of being between two conditions, identities, places, or stages.

08:38It describes a transitional space or condition where transformation can happen. Transformation refers to the process where something changes as it encounters different influences. Another, multiplicity. Multiplicity means that an entity can contain several meanings, characteristics, or relationships, rather than expressing only one identity, finally, non-finiteness.

09:06Non-finiteness refers to the idea that something is not necessarily a permanently or finish in close condition. It retains the possibility of becoming something else. The important point is that hybridity is not merely about the final combination of different elements. It is also about the relationships and possibilities that emerge from that combination.

09:33To develop this argument, this study reference many thinkers from different fields. We can understand their contribution in two groups. First are the thinkers who explain cultural hybridity and liminality. And the second are architectural theorists who explore how ideas can inform buildings and cities.

09:55Let us begin with the story Canclini, an anthropologist known for his work on cultural hybridity. Canclini challenges the idea that cultural exists as completely separate and internally uniform entities. We sometimes imagine culture as something that belongs to a particular territory, nation or group with clearly defined boundaries, separating it from other cultures.

10:21But in reality, cultures are constantly influenced by migration, trade, communication, technology and encounters with other societies. For example, consider contemporary Filipino culture, our food and arts have been shaped by historical cultural encounters.