This paper aims to pay tribute to Figal’s comprehensive and innovative analysis of the artwork and beauty, while challenging both his realist position on the immediacy of meaning and his monist stance that reduces sublimity to beauty. To enquire into the origin of aesthetic feelings and sense, and thus, to break the hermeneutic circle, we first trace the origin of this reduction to the reception of Burke’s concept of the sublime by Mendelssohn and Kant. We then recur to Husserl and (...) Dufrenne to trace the origin of the sense of the feeling of sublimity in the realm of affectivity or sensuousness. This genesis takes place in passive experience, where we identify an excess of sensuous sense over categorial meaning that is constitutive of the affective sense that our bodily sensations give to hyletic material. It is argued that this sensuous excess evokes a sublime experience in the phenomenological sense, involving an affective and disruptive bodily experience and an endless process of sense formation. Affective or sensuous sense is thus an event that irreversibly affects the bodily surface. To elucidate this phenomenon, we draw on the theoretical framework of Breton and Bataille, positing it as a form-transgressive ‘convulsive’ sublime, which we then illustrate in the architectural works of Tschumi and Eisenman. In short, we have retrieved the origin of aesthetic experience and redefined the feeling of the sublime as a phenomenological ‘convulsive’ sublimity. (shrink)

»Consciousness and Its Place in Nature« (Chalmers 2003) is the title of an article written by David Chalmers, which deals with the so called hard problems of consciousness, that means, with those problems that do not concern how functions are performed (Chalmers 1997:4), but deal with the emergence of consciousness in the sense of subjective experience. On the one hand, it is important to treat architecture from the very beginning not only as somehow stylish and useful heaps of (...) stones that are additionally embedded in political and philosophical contexts (whatever that means). On the other hand, architecture belongs to nature just as much as trees, apes, and what apes produce. So architecture is situated between what can be grasped from a ›materialistic‹ point of view, on the one hand, and what depends on subjectivity, on the other hand. As far as a general theory of architecture is able to examine what is essential to architecture, one should keep in mind that we would probably not accept a set of characteristics as sufficient for a building being a piece of architecture as we have learned from Wittgenstein and others concerning categories in general (Kleiber 1993). Finding necessary conditions is not as simple as one may expect either. There is a closely related phenomenon however: Are not some individual buildings more representative of architecture as such than others? Gropius once designed a pigsty for the manufacturer Rosenthal. We are inclined to acknowledge it as a part of his architectural work due to the fact that the famous architect Gropius designed it and gave it a typical International Style appearance. Its being purely a pigsty, not a castle or a dwelling, however may be a reason to deny it this status as architecture (Isaacs 1984:1105). (shrink)

In this article we move beyond the problematic distinction between ‘higher’ and ‘lower’ cognition by accounting for so-called ‘higher’ cognitive capacities in terms of skillful activities in practices, and in terms of the affordances exploited in those practices. Through ethnographic research we aim to further develop the new notion of skilled intentionality by turning to the phenomenon of the tendency towards an optimal grip on a situation in real-life situations in the field of architecture. Tending towards an optimal grip (...) is an inherently affective and dynamic phenomenon. It has been under explored in philosophy, despite its central place in Merleau-Ponty’s phenomenology. When the architects experience discontent, attention is typically solicited by the affordances through which possible ways of continuing the improvement of the design can be explored. In various ways this tension or disequilibrium - fueling a tendency towards an optimal grip - is encountered in the complex architectural design practices that we observed. Based on our field material we distinguish between: a) grip in visual perception, b) grip on the design, and c) grip on ‘how to design’. The move towards an optimal grip takes shape by joining forces with a landscape of affordances. This landscape includes, for instance, affordances for grasping a cup of coffee, affordances provided by a cardboard model to improve it, as well as for engaging with a person who is not physically present. Because they are skilled, the architects can be responsive to these different affordances in similar ways. Furthermore, in practice the architects are responsive to multiple affordances simultaneously. Through our analysis of the tendency towards an optimal grip we show that our surroundings contribute to skillful action and cognition in a far more complex way than is currently acknowledged in philosophy and cognitive science. (shrink)

It has become fashionable recently to speak of linguistic inquiry as biolinguistics, an attempt to frame questions of linguistic theory in a biological context. The Minimalist Program (Chomsky 1995, 2001) is of course the most prominent stream of research in this paradigm. However, an alternative stream within the paradigm, the Parallel Architecture, has been developing in my own work over the past 30 years; it includes two important subcomponents, Conceptual Structure and Simpler Syntax (Jackendoff 2002, 2007b; Culicover and Jackendoff (...) 2005). The present article will show how the Parallel Architecture is in many ways a more promising realization of biolinguistic goals than the Minimalist Program, and that it is more conducive to integration with both the rest of linguistic theory and the rest of cognitive science. (shrink)

Virtual globes, like Google Earth, are increasingly being used by experts and lay publics in the process of 'defending place' against rapidly shifting energy geographies. Drawing upon the fields of visual studies, landscape architecture and geography, this article examines the use of geospatial tools by conservation campaigns challenging new developments. With a focus on wind energy, the article describes the strategic advantages and risks associated with using virtual globes in campaign work. The article suggests that conservation campaigns need (...) to make more judicious use of visualization technologies. While Google Earth may enable distant viewers to 'witness' change, it may add limited value to how local citizens experience their own topographies. (shrink)

On Surface and Place is a rich and poetic exploration of surfaces which foregrounds their significance in our understanding and experience of place. Adopting weaving as its overarching metaphor, it departs from Gottfried Semper's discussion of correspondences between architecture and textiles, and emerges from the reading of photographs, a swatch of Harris Tweed and curtain wall façade juxtaposed. In juxtaposing the fabric of the city with the weave of Harris Tweed the book charts an original course across (...) a range of connected ideas and questions, combining many different themes, writers and disciplines. It presents integrated and innovative rethinkings on a number of fundamental relationships, including correlations between body and building, word and image, and between the rural and the metropolitan, and the hand-crafted and the mass-reproduced. In doing so, it seeks to foreground the very interrelationship of surface and place, as it makes a claim for the relational nature of the world in which we live. (shrink)

It may seem reasonable, even inevitable, that architectural practice should be based on an understanding that architects, like lawyers and doctors, should discover their clients' needs and accommodate them to the best of their abilities. But current discussion within the legal and medical professions of the conflict between service to private individuals who can pay, and to the public who cannot, suggest an expanded or altered definition of professional responsibility. Actually, the conflict between public and private interest may be more (...) acute in architecture than in other professions: the kind of buildings architects design are costly and are made possible only by the wealth of a small segment of the population or the state, yet every one raised affects the lives of people other than the one who makes the program and pays the architect for his services. Furthermore, the decisions of architects are embodied in buildings that last for generations, even for millennia, so that the overwhelming majority of people in our culture live and work in places designed not only for other people but for other times and conditions. For this reason, even the "private" practice of architecture involves responsibilities to a widespread constituency. James S. Ackerman is the author of The Architecture of Michelango, Art and Archaeology, The Cortille del Belvedere, Palladio and Palladio's Villas and is professor of fine arts at Harvard University. He has contributed "On Judging Art without Absolutes" to Critical Inquiry. (shrink)

The article examines the reorientations of the appreciation of ugliness within different national contexts in a comparative and relational frame, juxtaposing the Australian, American, British and Italian milieus. It also explores the ways in which the transformation of the urban fabric and the effect of suburbanization were perceived in the aforementioned national contexts. Special attention is paid to the production and dissemination of how the city’s uglification was conceptualized between the 1950s and 1970s. Pivotal for the issues that this article (...) addresses are Ian Nairn’s Outrage: On the Disfigurement of Town and Countryside, Robin Boyd’s The Australian Ugliness, Donald Gazzard’s Australian Outrage: The Decay of a Visual Environment, and the way the phenomenon of urban expansion is treated in these books in comparison with other books from the four national contexts under study, such as Ludovico Quaroni’s La torre di Babele and Reyner Banham’s The New Brutalism: Ethic or Aesthetic?. Particular emphasis is placed on Boyd’s articles in The Architectural Review between 1951 and 1970. At the core of the article is the analysis of the debates around ugliness between the 1950s and 1970s within the British, Italian, American and Australian contexts. (shrink)

Photographer John Humble has lived in Los Angeles for thirty years. In that time he has created a strong body of work that captures the unique architecture and natural environment of Southern California. A Place in the Sun is a celebration of Humble's distinctive view of Los Angeles, from the concrete channels of the Los Angeles River to the instantly recognizable cityscape through which that river winds.

The article scrutinizes the impact of the 1968 student protests on architectural education and epistemology within the Italian and American context, the advocacy planning movement and the relationship of architecture and urban planning with the socio-political climate around 1968. It aims to demonstrate how the concepts of urban renewal and ‘nuova dimensione’ were progressively abandoned in the USA and Italy respectively. It presents how the critique of these concepts was related to the conviction that they were incompatible with socially (...) effective architecture and urban design approaches. The article sheds light on the complexity of the reorientations that took place in both contexts, taking into consideration the impact of student protests, and the 1968 Civil Rights Action the architects and urban planners’s task on the curricula of schools of architecture. It also investigates certain counter-events and counter-publications in the USA and Italy, shedding light on how they reinvented the relationship between architecture and democracy. It reveals the tensions between enhancing equality in planning process and local bureaucracy in the case of advocacy planning strategies. (shrink)

The chapter explores how architectural historiographies could challenge the dichotomies Western/non-Western and Eurocentric/non-Eurocentric. It also aims to explain why the politics of resistance characterizing the endeavours of shaping historiographical methods that try to represent the other go hand in hand with the intention to challenge concepts and historiographies that are based on Zeitgeist. In other words, the rejection of colonialist models of writing architectural history is related to the endeavour of placing Eurocentric narratives and Zeitgeist theories under critical scrutiny. Models (...) of architectural historiography that intend to challenge Eurocentrism should place particular emphasis on revealing the different agents that contributed to the realization of architectural and urban projects under study. Archival research plays a major role in bringing to light the aspects concerning these different agents. The chapter places particular emphasis on Edmund Husserl’s understanding of Europe, Immanuel Wallerstein’s critique of Eurocentrism, and Reinhart Koselleck’s theory of overlapping temporal layers. (shrink)

This article examines how in his influential 1964 Fun Palace project the late British architect Cedric Price created a unique synthesis of a wide range of contemporary discourses and theories, such as the emerging sciences of cybernetics, information technology, and game theory, Situationism, and theater to produce a new kind of improvisational architecture to negotiate the constantly shifting cultural landscape of the postwar years. The Fun Palace was not a building in any conventional sense, but was instead a socially (...) interactive machine, highly adaptable to the shifting cultural and social conditions of its time and place. This constantly varying design for a new form of leisure center began in 1962 as a collaboration between Cedric Price and avant-garde theater producer Joan Littlewood. Littlewood had conceived of a new kind of theater designed to awaken the passive subjects of mass culture to a new consciousness. Her vision of a dynamic and interactive theater provided the programmatic framework on which Price would develop and refine his concept of an interactive, performative architecture, adaptable to the varying needs and desires of the individual. By assembling their own pedagogical and leisure environments using cranes and prefabricated modules in an improvisational architecture, common citizens could escape from everyday routine and serial existence and embark on a journey of learning, creativity, and individual fulfillment. The Fun Palace was one of the more innovative and creative proposals for the use of free time in postwar England. It also provided a model for the 1976 Centre Pompidou in Paris. (shrink)

Despite what might seem to be the case, "Virtual" reality can be used to create fully "real" places with their own grammar and norms, where real events take place.

Memoires by eminently creative people often describe architectural spaces and qualities they believe instrumental for their creativity. However, places designed to encourage creativity have had mixed results, with some found to decrease creative productivity for users. This may be due, in part, to lack of suitable empirical theory or model to guide design strategies. Relationships between creative cognition and features of the physical environment remain largely uninvestigated in the scientific literature, despite general agreement among researchers that human cognition is physically (...) and socially situated. This paper investigates what role architectural settings may play in creative processes by examining documented first person and biographical accounts of creativity with respect to three central theories of situated cognition. First, the embodied thesis argues that cognition encompasses both the mind and the body. Second, the embedded thesis maintains that people exploit features of the physical and social environment to increase their cognitive capabilities. Third, the enaction thesis describes cognition as dependent upon a person’s interactions with the world. Common themes inform three propositions, illustrated in a new theoretical framework describing relationships between people and their architectural settings with respect to different cognitive processes of creativity. The framework is intended as a starting point toward an ecological model of creativity, which may be used to guide future creative process research and architectural design strategies to support user creative productivity. (shrink)

Architecture as Experience investigates the perception and appropriation of places across intervals of time and culture. The particular concern of the volume is to bring together fresh empirical research and animate it through contact with theoretical sophistication, without overwhelming the material. The chapters establish the continuity of a particular physical object and show it in at least two alternative historical perspectives, in which recognisable features are shown in different lights. The results are often surprising, inverting the common idea of (...) a historic place as having an enduring meaning. This book shows the insight that can be gained from learning about earlier constructions of meaning which have been derived from the same buildings that stand before us today. (shrink)

The chapter’s central question is how place and memory connect so intimately and how the architecture of buildings and rooms can play such a powerful role in memory. I develop an initial answer in two steps. First, I explicate Merleau-Ponty’s argument in the passivity lectures (IP ) that, contra classical concepts of memory as purely passive recording or purely active construction, memory entails a peculiar passivity that is not, however, wholly passive. Merleau-Ponty’s argument entails some deep conceptual points (...) about the ontology of temporality and spatiality that I briefly tackle. In the second step I flesh out these ontological points in terms of a passivity granted by bodily levels and habits. This let me show how place, as that through which we move and as intrinsic to movement, also grants a passivity crucial to memory, such that our memorial activity is fringed with and draws on a passivity that is beyond us in the places we inhabit. I make sense of this by conceptualizing such passivity, specifically as granted by places through which we move, as an “I already can” that is kin to a habit—but outside us. We thus find ourselves fringed with a peculiar habit through which we find our movements already passively woven into surrounding places. I suggest that architecture works to actively articulate this fringing habit, and that, like bodily habits, this fringing habit opens our future by keeping our past going—and thus garbs our movement with our past. To move in architectural places is thus to move to one’s future through the garb of one’s past and is thence to be fringed with memory. The key to this linkage between memory and place is the passivity of memory. (shrink)

Architectural Drawings as Investigating Devices explores how the changing modes of representation in architecture and urbanism relate to the transformation of how the addressees of architecture and urbanism are conceived. The book diagnoses the dominant epistemological debates in architecture and urbanism during the 20th and 21st centuries. It traces their transformations, paying special attention to Le Corbusier and Ludwig Mies van der Rohe’s preference for perspective representation, to the diagrams of Team 10 architects, to the critiques of (...) functionalism, and the upgrade of the artefactual value of architectural drawings in Aldo Rossi, John Hejduk, Peter Eisenman, and Oswald Mathias Ungers, and, finally, to the reinvention of architectural programme through the event in Bernard Tschumi and the Office for Metropolitan Architecture (OMA). Particular emphasis is placed on the spirit of truth and clarity in modernist architecture, the relationship between the individual and the community in post-war era architecture, the decodification of design process as syntactic analogy and the paradigm of autonomy in the 1970s and 1980s architecture, the concern about the dynamic character of urban conditions and the potentialities hidden in architectural programme in the post-autonomy era. This book is based on extensive archival research in Canada, the USA and Europe, and will be of interest to architects, artists, researchers and students in architecture, architectural history, theory, cultural theory, philosophy and aesthetics. (shrink)

Arendarcikas, Birute Since the Second Vatican Council and the historic embrace of Paul VI and the Patriarch of Constantinople Athenagoras I in January 1964, the pope and the hierarchs of the Roman Catholic and Eastern Orthodox Churches have, after centuries of mutual separation, embraced each other once again as sister churches. On many occasions the pope and the hierarchs of the respective churches have drawn attention to the loving veneration of, and special devotion to, Mary, the Mother of God, which (...) both churches hold in common and which unite them as sister churches. In his apostolic exhortation Marialis Cultus on devotion to the Blessed Virgin Mary, Paul VI affirms that 'in venerating with particular love the glorious Theotokos and in acclaiming her as the "Hope of Christians", Catholics unite themselves with their brethren of the Orthodox Churches, in which devotion to the Blessed Virgin finds its expression in a beautiful lyricism and in solid doctrine'. Similarly, in a shared homily with Pope John Paul II, delivered during Vespers in the Basilica of St Mary Major in Rome on 5 December 1987, Ecumenical Patriarch of Constantinople Dimitrios I said: Of all the entire Christian world our two sister Churches have maintained throughout the centuries unextinguished the flame of devotion to the most venerated person of the all holy Mother of God, dedicating to her the finest and most inspired artistic works of song, architecture and painting, turning to her sweetest figure the hearts' desires and the hopes of the devout people of every epoch. (shrink)

The focus here will be on the tension between architecture’s symbolic role and its function as a space to house and present art. ‘Symbolic’ refers both to a building as an aesthetic or sculptural form and secondly to its role in expressing civic identity. ‘Function’ refers to the intended purpose or practical use apart from its role as a form of art. As an art form, it serves important symbolic purposes; its practical purposes are linked to serving individual and (...) community functions requiring the delineation of space. In the present context of museum architecture, certain museum buildings are more likely to be seen as a sculptural object than as functioning buildings. The reasons for this development derive in part from unresolved issues pertaining to the respective roles of symbolic and practicalfunction as is seen in the analysis of architecture provided by G. W. F. Hegel, Rudolf Arnheim and Nelson Goodman. The vocabularies of contemporary architects such Frank Gehry and Santiago Calatrava do not follow the abstract geometrical patterns of Le Corbusier or Louis Kahn who envisioned a universal vocabulary of architectural forms derived from industrial technical forms that underscored Modernist conventions in architecture.By looking at this issue in the contexts provided by the theoretical discussions of Hegel, Arnheim and Goodman, it is possible to see more clearly the importance of examining with a critical eye the relative place of symbolism and function in museum architecture, and to question whether current museum practice has gone astray in allowing the sculptural symbolism to become the dominant element. When either its symbolic or its practical aspects are out of balance the result is sure to be unsatisfactory architecture. If the past is a reliable guide, it works best when the symbolic (sculptural) and the practical in architecture are worked out in harmony with each other. (shrink)

Form Follows Force : Greg Lynn -- Relational Architecture : Rafael Lozano-Hemmer -- Making to Place : Simryn Gill -- Concluding Remarks : Immanence (Many Lives).

Bringing together leading scholars in the fields of criminology, international law, philosophy and architectural history and theory, this book examines the interrelationships between architecture and justice, highlighting the provocative and curiously ambiguous juncture between the two. Illustrated by a range of disparate and diverse case studies, it draws out the formal language of justice, and extends the effects that architecture has on both the place of, and the individuals subject to, justice. With its multi-disciplinary perspective, the study (...) serves as a platform on which to debate the relationships between the ceremonial, legalistic, administrative and penal aspects of justice, and the spaces that constitute their settings. (shrink)

Abstract:Adaptive architecture has been investigated in its functional as well as technological capacities and potentials to respond to changing environmental conditions as well as user interactions – from kinetic façades to variable interiors. Yet, its dynamic aesthetics of various spatial, visual, and auditive states require further exploration, especially in relation to occupant perception and experience. We propose the phenomenological concept of atmospheres as a lens through which the aesthetics of adaptive architecture can be observed as fundamentally relational: as (...) co-constituted by “ambient qualities and human condition.” As these ambient qualities are getting more dynamic and are becoming increasingly manipulable with adaptive architecture, their critical reflection and negotiation is urgent; it has to involve occupants. (shrink)

In this essay on ancient architectural technologies, I propose to challenge the largely conventional idea of the transcendent origins of philosophy, that philosophy dawned only when the mind turned inside, away from the world grasped by the body and senses. By focusing on one premier episode in the history of western thinking – the emergence of Greek philosophical thought in the cosmic architecture of Anaximander of Miletus – I am arguing that the abstract, speculative, rationalising thinking characteristic of philosophy, (...) is indeed rooted in practical activities, and emerges by means of them rather than in repudiation of them. The spirit of rational inquiry emerged from several factors but the contributing role of monumental architecture and building technologies has been vastly under-appreciated. In the process of figuring out how to build on an enormous scale that the eastern Greeks had never before tried, the architects discovered and revealed nature’s order in their thaumata, the very experience with which Aristotle claims that philosophy begins. Ancient architecture and building technologies were on display for decades with monumental temple building. In front of Anaximander and his community, a new vision of nature spawned that, surprisingly, humans could grasp and command. The building of these thaumata, these objects of wonder, offered proof of the human capacity to control nature, and opened a new vision of our human rational capacity to understand the world and our place in it. (shrink)

Writing, or calligraphy, in China is strongly influenced by ancient techniques of making art. Chinese characters have evolved from the patterns of bronze drawings, and China’s earliest hieroglyphs usually retain the traces of their origin in paintings. These paintings usually recorded daily life, and the related Chinese characters have evolved from these with general, simplified and abstract features. The composition that makes Chinese characters is a manifestation of ancient Chinese philosophy, of which Confucianism, Taoism and Buddhism are the three key (...) strands. They have affected Chinese culture and aesthetics in all dynasties. Chinese philosophy emphasizes the integration of individuals in their surrounding environment. The art of ancient China consequently combines skills that relate to the artificial, or constructed, and to natural patterns. Chinese characters make a perfect example of this. The article/presentation will outline the research that I have so far undertaken on the relation between Chinese calligraphy and architectural space, between writing and constructing environments. It will also present some experimental design research that aims at developing from the above-mentioned basic research new architectural typologies that are contemporary, resonant and sensitive to the Chinese context. (shrink)

Changing Ideals in Modern Architecture revolutionized the understanding of modernism in architecture, pushing back the sense of its origin from the early twentieth century to the 1750s and thus placing architectural thought within the a broader context of Western intellectual history. This new edition of Peter Collins's ground-breaking study includes all seventy-two illustrations of the original hard cover edition, which has been out of print since 1967, and restores the large format.

In this paper we present a set of good practices in the design of a security-centric architecture for a Communication Channel that can be used to secure a Loosely-Coupled distributed platform, over unreliable communication mediums. The proposed practices are derived from designing a complete architecture that is modular and designed to support principles of Service Oriented Architecture (SOA) and the common functional requirements of a wide range of applications, including cybersecurity, smart power grids and industrial Internet of (...) Things (IoT). The architecture was developed and implemented as part of the BIECO project, and is based around open standards such as Open Platform Communications United Architecture (OPC-UA). The key feature of the architecture is that it enables secure asynchronous near-real-time communication between a large number of nodes in a multimodal setup, without the need of any Service to know its place within the tool-chain. Based on our experience with building this system and based on the good results obtained, we are presenting a list of lessons learnt, recommendations for better communication channel modules within loosely coupled distributed systems. (shrink)

Why do some types of settings and some combinations of sensory information induce a sense of dread in humans? This article brings empirical evidence from psychological research to bear on the experience of horror, and explains why the tried-and-true horror devices intuitively employed by writers and filmmakers work so well. Natural selection has favored individuals who gravitated toward environments containing the “right” physical and psychological features and avoided those which posed a threat. Places that contain a bad mix of these (...) features induce unpleasant feelings of dread and fear, and therefore have become important ingredients of the settings for horror fiction and films. This article ap­plies McAndrew and Koehnke’s theory of creepiness to the study of classic horror settings and explores the role played by architecture, isolation, association with death, and other environmental qualities in the experience of creepiness and dread. (shrink)

In this paper, we set out to inquire into how exactly testimony is and should be placed within the framework of virtue epistemology, and more specifically within Ernest Sosa’s exposition and defense thereof. We begin this inquiry (in Sect. 3.2) by formulating conditions of adequacy that can be extracted from recent criticisms of virtue epistemological approaches more generally. In Sect. 3.3, we reconstruct two branches of Sosa’s treatment of testimony, with respect to which we point out problems of inner coherence (...) and compatibility. We won’t stop there but then go on to see first (in Sect. 3.4) whether and, if so, how the two branches can be balanced out within the architecture of Sosa’s theory of knowledge. And second (in Sect. 3.5), we offer and outline a more comprehensive account that solves not just the problems formulated at the outset, but also a number of problems identified along the way. (shrink)

Martin Heidegger’s Discourse on Thinking lays out a troubling view of the world which holds true today much as it did at the time of the speech: "The world now appears as an object open to the attacks of calculative thought, attacks that nothing is believed able any longer to resist. Nature becomes a gigantic gasoline station, an energy source for modern technology and industry. This relation of man to the world as such, in principle a technical one, developed in (...) the seventeenth century first and only in Europe. It long remained unknown in other continents, and it was altogether alien to former ages and histories" (50). As an architecture professor in an age of modern technology, I believe it critical that design students cultivate an ability to see more comprehensively and learn how to think more meditatively (as Heidegger later suggests). Coming into a state of attunement with context, culture, and environment must be considered to be the most basic criteria for building in the world, as these are the elements that preserve the feeling and identity of ‘place’. Considering being-in-the-world as a stance that necessarily moves more toward complex understandings of the environment, this paper outlines an effort given to the pedagogical implementation of Martin Heidegger’s description of the phenomenon of ‘world’, the three-fold structure for Being-in as a means of teaching students a more attuned comportment toward place, building, and site. I will discuss how these ideas were used in an preliminary design exercise, then clarified and elaborated through a lecture on Terrance Malick’s film The New World. (shrink)

Le plus ancien exemple de l'utilisation de statues féminines pour remplacer des colonnes se trouvant à Delphes, l'article suggère que ce sont les exigences du sanctuaire, avec son espace réduit, qui sont en quelque sorte à l'origine de ce type. Ces figures peuvent être mises en relation avec un petit groupe de trésors éoliques et ioniques de Delphes qui étaient ornés d'une profusion de moulures au décor élaboré. La richesse de l'architecture y était rehaussée par l'addition de la sculpture (...) et par l'introduction d'une frise ionique sculptée continue à la place des denticules. La grande taille des moulures suggère qu'à Delphes les architectes ioniens tentèrent de reproduire en miniature la profusion et l'élégance des grands temples monumentaux de leur patrie. C'est dans le cadre de ce processus de miniaturisation que la figure féminine isolée aurait été introduite, à la place des tambours de colonnes sculptés utilisés dans les temples colossaux d'Ionie de l'Est. L'idée, reprise ensuite par l'architecte de l'Érechthéion, se serait répandue à partir d'Athènes. (shrink)

I consider the role of cognitive modeling in cognitive science. Modeling, and the computers that enable it, are central to the field, but the role of modeling is often misunderstood. Models are not intended to capture fully the processes they attempt to elucidate. Rather, they are explorations of ideas about the nature of cognitive processes. In these explorations, simplification is essential—through simplification, the implications of the central ideas become more transparent. This is not to say that simplification has no downsides; (...) it does, and these are discussed. I then consider several contemporary frameworks for cognitive modeling, stressing the idea that each framework is useful in its own particular ways. Increases in computer power (by a factor of about 4 million) since 1958 have enabled new modeling paradigms to emerge, but these also depend on new ways of thinking. Will new paradigms emerge again with the next 1,000‐fold increase? (shrink)

Michel Foucault's critical studies concerning regimes of power are of special interest when applied to architecture. In particular, he warned of the hazards of building surveillance into architectural structures for the purpose of monitoring people and took as his historical exemplar English philosopher Jeremy Bentham's ?Panopticon,? a structure originally used to assist in rehabilitating prisoners. He felt this kind of regulatory control resulted in maintaining power of one group over another. This article discusses what Foucault called the general ordering (...) of the visible and the invisible by examining architecture as he viewed it?as an operation of power, control, and domination. More to the point, it places this belief in the context of power constructions in both sacred and school architecture and how this, in turn, creates a carceral society. This article also puts forward some of Foucault's thinking on architecture and connects this to his ideas of perceptual visibles and invisibles. The suggestion of schools as institutions of conformity and how their built environment functions as a regulatory force for this conformity is also explored. (shrink)

The Lancashire Independent College in Whalley Range, Manchester, was built to train Congregational ministers. As the first of a number of Nonconformist educational institutions in the area, it illustrates Manchester‘s importance as a centre of higher education generally and Nonconformist education in particular. The building was designed by John Gould Irwin in Gothic style, mediated through references to All Souls College in Oxford by Nicholas Hawksmoor, whose architecture also inspired Irwins Theatre Royal in Manchester. The College was later extended (...) by Alfred Waterhouse, reflecting the growing success of the institution, which forged links with Owens College and went on to contribute, with other ministerial training colleges, to the Universitys Faculty of Theology established in 1904. The building illustrates an interesting strand in early nineteenth-century architectural style by a little-known architect, and has an important place in the history of higher education in north-west England. (shrink)

This article explores the arguments for architecture having an identifiable essence equivalent to Heidegger's concept of 'dwelling' and place identity, versus those who claim it is no more than a 'hybrid' collection of many different technical, social and cultural practices. The opposing positions in architecture are compared by analogy with the opposing theories of language which underly them, the latter position being associated with the universalist theory of language propagated by Chomsky, while the purpose of architecture (...) in identity formation is compared with Wittgenstein's theory of the interdependence between language and human behaviour as a 'form of life'. As an example, the author points to colonial architecture as a clear case where people retain 'that part of their identity which is their architecture'. The author concludes that, in so far as objects also have meanings, then the physical environment must also be taken into account in the evolution of mind. (shrink)

Pedagogy is an inherently spatial practice. Implicit in much of the rhetoric of physical space designed for teaching and learning is an ontological position that assumes material space as distinct from human practice, often conceptualising space as causally impacting upon people’s behaviours. An alternative, and growing, perspective instead theorises infrastructure as a sociomaterial assemblage, an entanglement, with scholarly learning, teaching, institutional agendas, architectural intent, technology, staff, students, pedagogic outcomes, and built form all participants in an active symbiosis of becoming. This (...) article synthesises and works with spatial theories to elaborate on the emergent literature and illustrates a sociomaterial understanding through narratives of self and staff, teaching and learning in a university context. The terms sociomaterial, assemblage and entanglement allude to a relational ontology underlying spatial-social being-becoming. This understanding can support the realisation of the intent underlying transformations of material spaces to create collaborative and inclusive university environments, where staff and students can learn, belong, and become as part of a scholarly community. I argue that sociomaterial theory is valuable to make meaning of the inseparable mélange of people, place, technologies, interaction, discourse, feeling, value and power that is teaching and learning. (shrink)

At the moment of its decline, we clearly see that painting in oils developed an original poetics, and one that was all of a piece, throughout a renascent and modern West. From its birth and during a development lasting half a millennium we see it— in Florence, Bruges, Venice, Rome, Toledo, Nuremberg, Amsterdam and Paris—attentive to the sources of signification: languages, rites, myths, theater, tools, techniques and sciences and the urban context that wove them all together. In each case, for (...) one or the other of them, it brought a new relationship to the way of life and then left them to their social order of assimilation, keeping the initial contact for those who would be interested. It studded the West with centers of production that carried the practice and knowledge of art to their limits; engaged with the collective imagination, it punctuated history with decisive works, in which the desire to paint takes action and explains it. Marked by an impatience for change, oil painting revealed itself in a rapport with creativity akin to the other works of civilization. It is at the level of the bases of invention of the imaginary—which are in any expression the most profound structures—that the unfolding of oil painting is tightly bound. The establishment of modern national languages, the orderly rise, around a syntax and because of architecture, sculpture, music, song, tragedy, the systematic construction of scientific and technical expression, arose and grew quickly in importance in Western Europe during the same centuries as painting and with reciprocal correspondence. Dürer “who was the first to publish a treatise in which is collected all knowledge having to do with the expression of forms… wrote in his native tongue and in so doing was revealed as the creator of technical and scientific German.”. (shrink)

Can architecture help us find our place and way in today's complex world? Can it return individuals to a whole, to a world, to a community? Developing Giedion's claim that contemporary architecture's main task is to interpret a way of life valid for our time, philosopher Karsten Harries answers that architecture should serve a common ethos. But if architecture is to meet that task, it first has to free itself from the dominant formalist approach, and (...) get beyond the notion that its purpose is to produce endless variations of the decorated shed. In a series of cogent and balanced arguments, Harries questions the premises on which architects and theorists have long relied—premises which have contributed to architecture's current identity crisis and marginalization. He first criticizes the aesthetic approach, focusing on the problems of decoration and ornament. He then turns to the language of architecture. If the main task of architecture is indeed interpretation, in just what sense can it be said to speak, and what should it be speaking about? Expanding upon suggestions made by Martin Heidegger, Harries also considers the relationship of building to the idea and meaning of dwelling. Architecture, Harries observes, has a responsibility to community; but its ethical function is inevitably also political. He concludes by examining these seemingly paradoxical functions. (shrink)

The Weimar-Republic, and the modernist architecture and planning that was born there, is still a contested place, from whence liberals, reactionaries and Marxists can all trace their lineage. Sabine Hake’s Topographies of Class attempts to clarify this contestation, through an interdisciplinary study of the modernist geography of the interwar-capital, Berlin. The book offers many new insights into the Weimar-era city, countering a tendency on the Left to reject the twentieth-century city in favour of the romanticised ‘capitals of the (...) nineteenth century’, with their insurgent proletariat and their lushly ornamented boulevards. Topographies of Class is a reminder that, irrespective of the era’s rejection of ornament and romanticism, it was a site of class-struggle as intense as that of the Paris of the 1870s. However, Hake’s study is dominated by a conception of class as an ‘identity’, akin to the identity-politics of race or gender, leading to an argument centred on the suppression or expression of ‘class-difference’ rather than class-struggle. In the process, her reading of the city’s modernism becomes overly one-sided, as a period of tension between labour and capital is read, under the influence of Manfredo Tafuri and Italian post-Marxist architectural theory, as being governed almost solely by the logic of Fordist capital. (shrink)

Using theories by Pierre Bourdieu and the Frankfurt School that causally link art to class interests, this article examines the differential development of modern architecture in the United States and central Europe during the early 20th century. Modern architecture was the aesthetic expression of technocracy, a movement of the new class of professionals, managers and engineers to place itself at the center of rationalized capitalism. The aesthetic of modernism, which glorified technology and instrumental reason, was weak and (...) undeveloped in the US, because this class defined by its cultural capital was quickly integrated into modernizing corporations, where it was compelled to cater to the emerging mass market and drop its distinctive aesthetic. Modern architecture emerged mainly in interwar central Europe, because here industrial modernization was blocked, forcing the new class to pursue an alliance with state managers pushing modernization. Thus unencumbered by the demands of the mass market, modern architects were free to express their machine aesthetic in state-financed housing projects. (shrink)

Much of our everyday, embodied action comes in the form of smooth coping. Smooth coping is skillful action that has become habituated and ingrained, generally placing less stress on cognitive load than considered and deliberative thought and action. When performed with skill and expertise, walking, driving, skiing, musical performances, and short-order cooking are all examples of the phenomenon. Smooth coping is characterized by its rapidity and relative lack of reflection, both being hallmarks of automatization. Deliberative and reflective actions provide the (...) contrast case. In Dreyfus’ classic view, smooth coping is “mindless” absorption into action, being in the flow, and any reflective thought will only interrupt this flow. Building on the pragmatist account of Dewey, others, such as Sutton, Montero, and Gallagher, insist on the intelligent flexibility built into smooth coping, suggesting that it is not equivalent to automatization. We seek to answer two complementary challenges in this article. First, how might we model smooth coping in autonomous agents at fine granularity? Second, we use this model of smooth coping to show how we might implement smooth coping in artificial intelligent agents. We develop a conceptual model of smooth coping in LIDA. LIDA is an embodied cognitive architecture implementing the global workspace theory of consciousness, among other psychological theories. LIDA’s implementation of consciousness enables us to account for the phenomenology of smooth coping, something that few cognitive architectures would be able to do. Through the fine granular analysis of LIDA, we argue that smooth coping is a sequence of automatized actions intermittently interspersed with consciously mediated action selection, supplemented by dorsal stream processes. In other words, non-conscious, automatized actions often require occasional bursts of conscious cognition to achieve the skillful and flexible adjustments of smooth coping. In addition, never-conscious dorsal stream information and associated sensorimotor processes provide further online adjustments during smooth coping. To achieve smooth coping in LIDA we introduce a new module to the LIDA cognitive architecture the Automatized Action Selection sub-module. Our complex model of smooth coping borrows notions of “embodied intelligence” from enactivism and augments these by allowing representations and more detailed mechanisms of conscious control. We explore several extended examples of smooth coping, starting from basic activities like walking and scaling up to more complex tasks like driving and short-order cooking. (shrink)

In the southern regions of China, the Mulao ethnic group is regarded as one of the most ancient ethnic communities. This group possesses a long-standing history and a rich cultural heritage, making it a crucial component in the study of regional ethnic histories. It holds a significant place in the historical evolution of China's ethnic diversity. The traditional residential architecture of the Mulao people, along with its decorative elements, forms a vital part of the cultural heritage of the (...) Mulao community. These structures serve not merely as places of residence but also as venues for cultural transmission and practice, reflecting the profound historical and cultural depth of the Mulao people. As carriers of history, these buildings document the culture, art, and spiritual qualities of the ethnic group, playing an indispensable role in the preservation and development of Mulao culture. This paper conducts an in-depth study of the historical evolution of traditional Mulao residential architectural decoration, aiming to explore its traditional features and modern innovations while, the dissertation examines the various challenges currently faced by conservation efforts. The study extensively compares the traditional features and modern innovations of Mulao residential architectural decoration, showcasing unique styles in form, color, and patterns. Through case analysis, successful preservation practices are identified, providing valuable experiences.This provides invaluable experience and profound insights for future cultural preservation efforts.This research contributes to a better understanding and respect for Mulao cultural heritage, offering substantial support for the continued preservation and evolution of Mulao traditional architectural decoration. (shrink)

Cette contribution s’intéresse à la position problématique des arts mécaniques dans les systèmes médiévaux du savoir. Remplaçant la position secondaire assignée aux arts mécaniques du début du Moyen Âge, les solutions proposées par Hugues de Saint-Victor et Gundissalinus eurent une influence forte durant le XIIIe s. Alors que l’intégration des arts mécaniques dans le système de connaissance de Saint-Victor trahit leurs positions encore accessoires vis-à-vis de la considération des arts libéraux, Gundissalinus propose deux principales nouveautés. D’un côté il place (...) les arts mécaniques aux côtés de l’alchimie et des arts de prédiction et de magie. D’un autre côté cependant, utilisant la théorie avancée par Avicenne, il subordonne ces « sciences naturelles » à la philosophie naturelle elle-même, établissant ainsi une architecture du savoir plus vaste et plus organisée hiérarchiquement. Notre contribution examine les implications découlant de ces développements ainsi que leur réception à Paris durant le XIIIe s., soulignant la pertinence des solutions proposées par Gundissalinus dans les discussions qui ont suivi, concernant la structure de la connaissance humaine. (shrink)

Twentieth-century art historians have primarily regarded the interior of medieval churches aesthetically, in part as a result of the impression these churches left after the turmoil of the French Revolution and their subsequent rebuilding and reconstruction in the spirit of bourgeois enlightenment. The choir screens had disappeared, and reformed cathedral chapters and monastic communities installed themselves as best they could in the remaining space, but the real centerpieces of medieval piety could no longer shape the interior of these churches. On (...) Paris's Place de Grève in 1793 the bones of St. Geneviève were publicly burned and her golden shrine melted down; in similar ways the remaining churches of France—and, in the wake of the Napoleonic occupation, other countries—lost their saints' relics . What remained of the medieval saints' bodies the church, in the aftermath of the Enlightenment, no longer dared to display. (shrink)

This paper discusses the representation of Jewish religion and culture in the architecture of the YMCA Building in Jerusalem, a prominent edifice built by the New York architect Arthur Loomis Harmon for the American YMCA. Within it, Jewish place and space were reconstructed as part of an architecture planned to promote Jewish, Christian and Moslem co-existence through an American secular cultural curriculum and a Christian vision of peace.

Industrial heritage as a relatively recent phenomenon is the production of mid-20th century. The industrial heritage represents the culture, historical situation, processes, technologies and outstanding achievements of each region. Based on the value of contemporary architecture, It is necessary to protect them. Nowadays, the protection of industrial heritage has become an international challenge. One of the prerequisites of the protection of industrial heritage is recognizing their value and their position. Proper protection of industrial heritage needs to study and deep (...) understanding it in a large- scale and recognition of the value of the heritage for conservation process, in a regional scale. However, these kind of buildings, due to the large-scale, locating in the proper point of the city, flexible plans (due to the modular structure) etc. have a great ability to transform into various functions, specially public and urban services. One of the most important values that can be imagined for industrial heritage, is architectural identity of the region. Therefore, it is necessary to understand the effect of this types of structures through survey survey. The aim of this paper is to evaluate the effectiveness of the industrial heritage on architectural identity in historic cities. The case study was selected by purpose - Dezful & “The MAKINEH of Flour” of Dezful, which now has become the mainstream of bazaar. The variable which is used in order to define local identity, is using this element in address, which the residents giving to someone else to mention the accurate location of specific place, near the “MAKINEH”. The statistical population are selected from among people who lives in eastern sahrabedar mahallah. The results of the paper shows that the industrial heritage has the value of architectural and urban identity in local level. The results indicate significance of comprehensive approach toward reunderstanding and redevelopment of contemporary buildings and industrial heritage sites. (shrink)