Rhetorical Architecture

One of the primary tenets of rhetoric is the ability to influence the action or thought of an audience. While much of this is seemingly reserved for public orators, politicians, celebrities, and personalities alike, there is a fundamental element of influence that is found in everyday common parlance and an individual’s navigation through the public environment. In spoken and implied communication, we learn many things; pedestrians know from adolescence to walk on sidewalks beside the street, through driving test and media drivers understand the requirement to obey streetlights and stop signs. In the consumerist world, a prime physical example of this phenomenon, though waning from the zeitgeist due to the development of the internet, the mall embodies the ways of explicit and implicit forms of civil rhetoric. A specific choice of mine for demonstration will be the Miami mall.

            Many draw the origin of rhetoric to the ancient Greeks, with Plato inventing the word rhetoric to describe a kind of teaching that was common when he and his teacher, Socrates, lived.         According to Lipson and Blinkey, “the classical rhetorical system has built within it an understanding that ethos and pathos are central factors in the success of a text (along with logos), and that ethos and pathos must be appropriately suited for the particular audience. It’s not much of a stretch to look at rhetoric as contextualized culturally, with practices and values and norms differing in different cultural settings.”1

Architecture has innate ties to rhetoric, using symbols and subliminal guiding shapes to influences the observer. “Movements in architecture, such as the Gothic or the International Style, promote certain values and beliefs, and can be studied as rhetorical movements. Like linguistic communication, architecture consists of codes, meanings, semantic shifts, and syntactic units. Innate to the element of persuasion, the implicit and explicit forms of the structure guide the observer and visitor to walk along certain paths to allow the proper flow of traffic, and to read sign which guide them to desired locations.”2 As an example, Gothic architecture often contained statues and carvings which taught the illiterate common folk

parables from the bible.

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Although malls may differ from location to location, they do share an innate structure and purpose. Despite this, I will use an example and staple to its region, the Miami Mall. The Miami Mall, situated at the heart of the bustling city, stands as a testament to the intersection of consumerism and communication. As I entered the sprawling complex, the first thing that struck me was the deliberate design aimed at capturing a diverse audience. The architecture, a blend of modern aesthetics and tropical influences, seemed to communicate an image of vibrancy and leisure. Palm trees lined the entrance, inviting visitors into a world where shopping became an experience, not just a transaction.

 

The spatial arrangement of the mall spoke volumes about its imagined audience. Wide, open areas catered to the influx of weekend shoppers and families, suggesting a space designed for communal gatherings and shared experiences. In contrast, strategically placed benches and seating areas provided resting spots for the elderly, encouraging a sense of inclusivity. The deliberate placement of play areas for children hinted at an acknowledgment of the family-oriented demographic. In addition, the placement of well-known restaurant chains towards the entrances of the mall is likely to entice passersby to enter for the food and stay for the stores.

 

Navigating through the mall, I observed the strategic placement of high-end boutiques and designer stores. These were not randomly scattered; rather, they formed a visual pathway leading towards the center. The mall seemed to imagine a diverse audience, acknowledging both the casual shopper and the luxury connoisseur, creating a tiered experience that echoed the socio-economic diversity of Miami's population. The communication within the space extended beyond the physical architecture. Signage, both explicit and subtle, directed visitors through a carefully curated journey. Bold, colorful advertisements adorned storefronts, employing ethos and pathos to create a persuasive allure. Sales and promotional signs utilized logos, appealing to the rational consumer seeking a good deal. The language of the mall was not confined to verbal communication; it was embedded in the very structure, guiding individuals along a pre-determined narrative of exploration and consumption.

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As I delved deeper into the mall's design, I became aware of the implicit values embedded in its architecture. The emphasis on consumerism was undeniable, with every storefront meticulously curated to entice visitors into a world of products and services. The materialistic values championed by the mall were reinforced by the deliberate placement of high-end brands, creating an environment where luxury was not just accessible but actively promoted. However, the clash of values became apparent when observing the diverse array of people within the mall. While the architectural design and branding communicated affluence and exclusivity, the reality of the audience was far more varied. Families with modest budgets coexisted with fashion enthusiasts seeking the latest trends. The clash of values between the aspirational image projected by the mall and the diverse demographics it attracted highlighted a tension within the space (as seen with a food court with Chik-Fil-A and a Rolex store being with walking distance).

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The Miami Mall, like many commercial spaces, grappled with the challenge of inclusivity. While the physical design attempted to accommodate various demographics, the values embedded in its commercial core created inherent exclusions. The unspoken hierarchy of brands and the emphasis on materialistic pursuits excluded those who did not align with the consumerist narrative. The clash of values between accessibility and exclusivity was palpable, creating an undercurrent of tension within the seemingly harmonious space.

 

As I continued my exploration, I turned my attention to the digital realm, contemplating the mall's online presence. In an era dominated by e-commerce, the virtual extension of the mall played a crucial role in shaping its identity. The website, with its sleek interface and online shopping options, reflected a seamless integration of the physical and digital realms. The language used in online promotions mirrored the persuasive techniques employed within the physical space, emphasizing discounts, exclusivity, and a curated shopping experience.

 

The digital space, however, introduced a new dimension to the communication dynamics. Online reviews and social media interactions became a powerful channel through which the public expressed their opinions. The virtual community surrounding the mall had its own rhetoric, influencing the perceptions of potential visitors. Positive reviews highlighted the mall's accessibility, diverse offerings, and family-friendly atmosphere, creating a positive online narrative that reinforced the mall's intended image.

 

Conversely, negative reviews and social media discussions unveiled a different aspect of the mall's rhetoric. Complaints about high-end exclusivity, inflated prices, and a perceived lack of authenticity reverberated through online platforms. The digital space became a battleground of conflicting values, with the public discourse shaping the mall's online reputation. The clash between the mall's projected image and the lived experiences of its visitors became evident, transcending the physical confines of the space into the virtual realm.

 

While searching through the mall’s history I found a series of events that perfectly capture the culture icon that the location is to the community, as well as the melting pot of chicanery that it can serve. The Miami Mall has been a Miami icon since the mid-20th century, born in the post-war suburbanization boom. What started as a modest enclosed space, catering to convenience, underwent a series of expansions to keep up with the changing tastes of the vibrant Miami community. By the 1980s, the mall transformed into a mega-complex, not just for shopping but as a cultural hub with entertainment and dining spaces. It became a visual spectacle, adapting to evolving retail dynamics and the mall's role as a social center.

 

In a recent playful twist, the Miami Mall made headlines for an alleged alien sighting. A group of teenagers caused a ruckus with fireworks at Bayside Marketplace, sparking chaos and a police response. Despite the Miami Police Department clarifying the incident was due to unruly behavior, social media ran wild with speculation about "Miami Mall Aliens." Imaginative viewers claimed to spot aliens in the videos, turning the situation into a lighthearted online frenzy. Even after the police debunked the alien theory, the online community continued the humorous narrative. "Miami Mall Alien" trended on social media, inspiring creative memes and speculations. Although humorous, it demonstrates the interplay between the audience and the structure that occurs in many facets of architecture. Just as a building influences the thoughts of an observer, the observer influences the perceptions of others, as well in how the structure is designed, as demonstrated in a Gothic church, where the front façade is designed by taking into consideration whom the audience would be.

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All in all, the Miami Mall, like any public space, is a complex network of communication, rhetoric, and values. The architectural design, spatial arrangement, and online presence all contribute to the intricate web of messages conveyed to the public. The imagined audience, though diverse, experiences a clash of values within the space, between accessibility and exclusivity, materialism and authenticity. The dynamic interplay of rhetoric within the mall reflects the broader societal tensions, highlighting the complex relationship between public spaces and the diverse communities they aim to serve. As I left the mall, I couldn't help but ponder the evolving nature of communication within these spaces and the ongoing dialogue between creators, space, and the public they seek to engage.

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