Architectural Philosophy is the first book to outline a philosophical account of architecture and to establish the singularity of architectural practice and ...

Volume 23, Issue 2, April 2024, Page 187-223.

The fundamentals of Kahn's architectural philosophy begin with his personal history: his inherent talent; his family background and childhood experiences; his education, from elementary school through architectural school; the influences of Paul Philippe Cret and Beaux Arts architecture; and his travels, especially those to study the antique monuments of Egypt, Greece, and Rome. Because the causal aspects of these experiences were absorbed by him, rather than being the products of Kahn's own thinking, he rarely acknowledged them. His conclusions (...) led to a philosophy that echoed some of the thoughts of earlier philosophers, like Spinoza and Heidegger, but were arrived at independently.1 Kahn expressed his philosophy in lectures, seminars, writings, interviews, conversation, and often through sketches. However, he habitually expressed himself elliptically-his phrasing poetic, his metaphors original and apt. Therefore, his meaning was often felt rather than understood. Extensive studies of Louis Kahn's architecture exist, but few focus on his fully developed architectural philosophy.2 This text addresses that subject, incorporating his own words (in italics) and relating them where relevant to his final work, the Yale Center of British Art (hereafter, "the Center"). Kahn died during the construction of the building, the last material expression of his architectural philosophy. I was the first director of the Center, a participant in the selection of the architect and throughout the building's planning and creation. Coincidental with the early years of Kahn's planning for the Center, two young architectural historians-John Cook and Heinrich Klotz-interviewed several leading architects, including Kahn. Working with a verbatim transcript of the Kahn interviews, made by Karen Denavit, I produced an edited version of the interviews in book format. Louis I. Kahn in Conversation: Interviews with John W. Cook and Heinrich Klotz (hereafter, "Kahn in Conversation") is the source for many of the Kahn quotations included here. A researcher can consult the full, verbatim transcript of the interviews in the Center's Institutional Archives, in the Manuscripts and Archives collections in Sterling Memorial Library at Yale University, and in the Architectural Archives of the University of Pennsylvania. (shrink)

JPVA Journal of Philosophy and the Visual Arts No 6 Complexity Architecture / Art / Philosophy 'Beginning with complexity will involve working with the recognition that there has always been more than one. Here however this insistent "more than one" will be positioned beyond the scope of semantics; rather than complexity occurring within the range of meaning and taking the form of a generalised polysemy, it will be linked to the nature of the object and to its (...) production. Complexity, therefore, will be inextricably connected to the ontology of the object. What this means is that complexity, in resisting the hold of a semantic idealism on the one hand, and the attempt to give to it the position of being the basis of a new foundationalism on the other, becomes a way of thinking both the presence and the production of objects.' Andrew Benjamin The Journal of Philosophy and the Visual Arts has set new standards in its exploration of themes central to philosophy's relation to the visual arts, illuminating areas of art criticism, architecture, feminism as well as philosophy itself. Rather than simply reflecting current trends it provides a forum in which the real developments in the analysis of the visual arts and its larger cultural and political context can be presented. Articles by well known philosophers and theorists, as well as some lesser known, together with writings by artists and architects allow a strong interdisciplinary approach reflecting the Journal's roots in post-structural theory. Previous issues include: Philosophy & the Visual Arts (No 1) Philosophy & Architecture (No 2) Architecture, Space, Painting (No 3) The Body (No 4) Abstraction (No 5). (shrink)

Les architectures molles, sculptées, transparentes, immatérielles prétendent se libérer des contraintes géométriques, comme si la géométrie ne revendiquait que la droite et la forme orthogonale ou le cercle! Certains architectes s'abandonnent aux " hasards " informatiques et construisent des édifices à la géométrie chahutée par un logiciel. Des urbanistes opposent encore le plan radioconcentrique au plan en damier en ce qui concerne l'expansion des villes et, refusant d'imaginer d'autres morphologies, laissent faire la promotion immobilière, les opportunités foncières et le chacun (...) pour soi. La géométrie, dans notre culture marquée par la philosophie grecque, est constitutive et de l'architecture et de l'urbanisme. Elle est mise en débat par le jeu extraordinairement varié des formes et de leurs agencements, aussi bien que par des régulations qui donnent une mesure au monde et suscitent des questionnements quant à ce qui est à la mesure de l'existence. Depuis le simple pas jusqu'aux théories les plus sophistiquées, la géométrie - qui n'a jamais cessé de se complexifier depuis Pythagore ou Euclide jusqu'aux géométries algébrique, infinitésimale et variable - se rappelle à nous. C'est ce rappel qu'il nous faut entendre, comme une invitation à penser aussi bien notre corps que le paysage, aussi bien la maison que la ville et la cité. Cet ouvrage collectif veut questionner géométriquement et philosophiquement l'urbain contemporain et les architectures qu'il provoque. En d'autres termes, il espère saisir à partir de la confrontation entre mathématiciens, géomètres, historiens, architectes, urbanistes, paysagistes et philosophes l'expérience existentielle de l'espace-temps des lieux. (shrink)

What might be meant by the phrase “architecture and philosophy”? I distinguish what it might mean from three other possibilities, “philosophy of architecture,” “philosophy as architecture,” and “architecture as philosophy.” The first refers to a subfield of academic aesthetics, itself a subfield of academic philosophy; the second to the use of architectural metaphors in philosophical writing; the third to the idea that works of architecture should express abstract, philosophical ideas. I (...) discuss the pitfalls in the last of these. Instead, I argue, going back to Vitruvius, that the phrase “architecture and philosophy” should be taken to connote the architect’s obligation to satisfy through her building (firmitas) the program for her work, thus the client’s and users’ needs (utilitas) as well as aesthetic considerations (venustas), but beyond that to be sensitive to all ethical issues broached by her work and to have an understanding of the way or ways of life in which her work and its use will become involved.”. (shrink)

In this book of the world's greatest architects explores the original aims and principles of modern architecture.

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)

The philosophy of architecture illuminates the nature of architectural objects, properties, and types—and the sorts of things they are; how we know about and judge architectural objects; and ethical and political considerations of architectural objects and practice. As intersects with the philosophy of the city, one set of questions focuses on (a) how the design process for built structures, and structures designed, relate to specifically urban contexts; (b) how our experience of built structures relates to urban contexts; (...) and (c) how urban contexts relate to their constituent built structures—temporally, process-wise, structurally, behaviorally, and so on. The task, in sum, is to identify what built structures and their urban environments contribute to one another. One promising thesis in this regard is compositionalism, that cities are composed of built structures, and dependent for their character on the character of those structures. A further set of philosophical questions, also at the nexus of matters architectural and urban, focus on such political and ethical issues as the nature of rights and obligations for architectural design in urban milieu and the rights of those who dwell in cities to architectural value, whether aesthetic or practical. Thus, architecture shapes the urban fabric, one piece at a time and—in the opposite direction—cities shape architecture through building code. (shrink)

Originally published in 1940, this book by famous Plotinus scholar Arthur Hilary Armstrong assesses how the philosopher's hierarchy of reality fits into the wider universal order, and how the historical and philosophical tradition gave rise to Plotinus' own philosophies. Armstrong also supplies a bibliography broken down by topic for those who wish to pursue any aspect of the text in greater depth. This book will be of value to anyone with an interest in Plotinus, Neoplatonism and in the pagan roots (...) of Christian philosophy. (shrink)

William Whewell’s work on historical science has received some attention from historians and philosophers of science. Whewell’s own work on the history of German Gothic church architecture has been touched on within the context of the history of architecture. To a large extent these discussions have been conducted separately. I argue that Whewell intended his work on Gothic architecture as an attempt to (help) found a science of historical architecture, as an exemplar of historical science. I (...) proceed by analyzing the key features of Whewell’s philosophy of historical science. I then show how his architectural history exemplifies this philosophy. Finally, I show how Whewell’s philosophy of historical science matches some developments in a science (biological systematics) that, in the mid-to latenineteenth century, came to be reinterpreted as a historical science. I comment briefly on Whewell as a potential influence on nineteenth century biology and in particular on Darwin. (shrink)

This volume provides the reader with an integrated overview of state-of-the-art research in philosophy and ethics of design in engineering and architecture.

Contents: PART I: AESTHETICS OF ARCHITECTURE: QUESTIONS. Francis SPARSHOTT: The Aesthetics of Architecture and the Politics of Space. Arnold BERLEANT: Architecture and the Aesthetics of Continuity. Stephen DAVIES: Is Architecture Art? PART II: NATURE OF ARCHITECTURE. B.R. TILGHMAN: Architecture, Expression, and the Understanding of a Culture. David NOVITZ: Architectural Brilliance and the Constraints of Time. Michael H. MITIAS: Expression in Architecture. Ralf WEBER: The Myth of Meaningful Forms. Michael H. MITIAS: Is Meaning in (...) Architecture a Myth? A Response to Ralf Weber. PART III: AESTHETIC EXPERIENCE IN ARCHITECTURE. Allen CARLSON: Existence, Location, and Function: The Appreciation of Architecture. Martin DONOUGHO: Spaced Out or Folded In? Trends in Architectural Choreography. Tom LEDDY: Dialogical Architecture. Roy T. DECKER: Tactility and Imagination: Considerations of Aesthetic Experience in Architecture. Robert GINSBERG: Aesthetics in Hiroshima. The Architecture of Remembrance. (shrink)

Central issues in philosophy of architecture include foundational matters regarding the nature of: (1) architecture as an artform, design medium, or other product or practice; (2) architectural objects—what sorts of things they are; how they differ from other sorts of objects; and how we define the range of such objects; (3) special architectural properties, like the standard trio of structural integrity (firmitas), beauty, and utility—or space, light, and form; and ways they might be special to architecture; (...) (4) architectural types—how to consider abstract groups of architectural objects and their instances; (5) meaning and other language-like phenomena in architecture and its objects; (6) formation of and warrant for our basic grasp, and considered judgment, of architectural objects; and (7) social and moral features of architectural objects and architectural practice. Yet other questions engage applied philosophical concerns regarding architecture, such as the character of architectural notation; intellectual property rights; and client-architect obligations. A far-reaching philosophy of architecture extends beyond even a broadly aesthetics-based assessment, to include considerations of ethics, social and political philosophy, and philosophical reflections on psychology and the behavioral sciences. The aesthetics of architecture, by itself, spans traditional issues mooted in philosophy of art, as well as aesthetics of the everyday, and environmental aesthetics. Such traditional issues include the nature of the work; the possibility of classes, kinds, or types in the domain; the character and roles of representation, intentionality, and expression; and the warranted foundations for criticism. The ethics of architecture also addresses traditional issues, including delineation of rights, responsibilities, the good, virtues, and justice in architectural milieus. Still other aspects of philosophy of architecture concern social and technological characteristics. (shrink)

The paper analyses possible contributions of philosophy and philosophers to architecture and architects’ work. During the twentieth century, a number of dominant positions in philosophy, such as the view that all thinking is verbal or that conceptual thinking determines the contents of perception, significantly limited the ground for productive intellectual interaction between architects and philosophers. With the demise of such positions in recent decades, one can hope that philosophy and philosophers could make genuine contributions to architectural (...) theory. (shrink)

_Phenomenology, Architecture and the Built World_ is an introduction to phenomenological philosophy through an analysis of the phenomenon of the built world as an embodiment of human understanding. It aims to establish the value of phenomenological description in establishing the philosophical importance of architecture.

Architecture Theory is a comprehensive and groundbreaking one volume overview of, and introduction to, contemporary critical discourse in architecture. In bringing critical theory and Continental philosophy to bear upon architecture, it provides a solid framework for a fully up-to-date theory of architecture, one that reflects the latest developments and concerns. The book is divided into four sections—groundwork; constructing the "individual"; pluralities; instrumentality—each covering a core theme in contemporary architecture theory. In each section an introductory (...) essay by Andrew Ballantyne provides valuable context, exposition, and analysis. This is followed by a selection of writings on architecture and other related cultural concerns from major contemporary thinkers, including Zvizvek, Irigaray, Lefebvre, Lyotard, Kristeva, Nancy, Virilio, Deleuze, and Negri. (shrink)

Essays centred on the methods, pleasures, and pitfalls of architectural interpretation.

_ Source: _Volume 46, Issue 1, pp 35 - 53 In a letter written at the end of July 1930, Jean Cavaillès singled out two of his successful students at the _Ecole Normale_, Merleau-Ponty and Lautman, “full of interest in the philosophy of mathematics”. While both would play an important role in French philosophy in the coming decades, one almost never thinks of their names together. Indeed, only rarely do we think of Merleau-Ponty and Cavaillès together. This paper (...) will argue against this rarity. Cavaillès would write a treatise on logic that in retrospect is often viewed to advance French philosophy—but precisely at the expense phenomenology. I will argue that this evaluation is overblown. Merleau-Ponty’s philosophy, on the other hand, is often viewed in opposition to this as defending a Husserlian account of perception, a view equally too narrow. Between them, instead, I argue, we can see both transforming the Husserlian account of a transcendental logic and a transcendental aesthetic. Both provide resources for understanding phenomenology as a dialectical and historically emergent theory. Notwithstanding Cavaillès initial characterization of Husserl’s “exhorbitant use of the Cogito”, or his “aggressive” description of acts, to use Merleau-Ponty’s term, the result, in both cases, focuses on phenomenology as an emergent experience of philosophy as an “architecture” of signs. (shrink)

This edited volume, aimed at both students and researchers in philosophy, mathematics and history of science, highlights leading developments in the overlapping areas of philosophy and the history of modern mathematics. It is a coherent, wide ranging account of how a number of topics in the philosophy of mathematics must be reconsidered in the light of the latest historical research and how a number of historical accounts can be deepened by embracing philosophical questions.

To highlight care in architecture, I resuscitate Epicurus’ valorization of friendship in philosophy, contending that friendly love of wisdom is a practice of well-being, ataractic know-how. I emphasize the body as the instrument of the ataractic project of living. John McDermott and architect Christopher Alexander argue that affection has a place in contemporary design: what a person feels love for in the initial situation guides design. I argue that friendship with things leads us to care for and repair (...) them. Repair familiarizes one with materials, makes one a maker, increases bodily skill. Reparative architecture revivifies natural human affections for place. (shrink)

The purpose of this article is to present the understanding of architecture within the field of hermeneutic philosophy by describing the ideas of three great hermeneutic philosophers: Heidegger, Gadamer and Vattimo, who approach architecture from the ontological and aesthetic point of view. Heidegger interprets architecture as a fundamental trait of existence; Gadamer values it as the artistic form par excellence, with the form surpassed by the contents, too; and Vattimo discusses three possible ways of perceiving (...) class='Hi'>architecture in the postmodern society, related to simultaneity, simulacra and the question of ornamentality. (shrink)

The authors writings are based on his lecture series presented in 1968 at Yale University called "Architecture: The Making of Metaphors" which was then published in part in Main Currents in Modern Thought, then in many other journals including research into the works of Paul Weiss, Andrew Ortony, David Zarefsky and W. J. J. Gordon.

Research necessarily entails the close interrelation of concepts and arguments, including solutions to a range of meta-questions, whether acknowledged explicitly or not. Despite this, few detailed accounts currently exist that support researchers to develop their complex conceptual architectures, especially in critical realist spheres. Indeed, many published accounts often omit much of this ‘messiness’ that sits behind, yet is foundational to, research projects. Those accounts that do seek to portray how/why researchers have made decisions (e.g. about connections between research philosophy, (...) methodology, methods, theory and empirical evidence) tend to focus on one set of meta-questions, or occasionally on the relationships between two sets, at a time. Therefore, this paper presents a flexible framework – supported by specific examples from studies – that we hope will be useful in supporting researchers from all traditions, but especially critical realists, to carefully think through and develop more holistic connections in their conceptual architecture. (shrink)

Louis I. Kahn is one of the most influential and poetic architects of the twentieth century, a figure whose appeal extends beyond the realm of specialists. In this book, noted Kahn expert John Lobell explores how Kahn's focus on structure, respect for materials, clarity of program, and reverence for details come together to manifest an overall philosophy. Kahn's work clearly conveys a kind of transcendent rootedness, a rootedness in the fundamentals of architecture that also asks soaring questions about (...) our experience of light and space, and even how we fit into the world. In Louis Kahn: The Philosophy of Architecture, John Lobell seeks to reveal how Kahn's buildings speak to grand humanistic concerns. Through examinations of five of Kahn's great buildings, the Richards Medical Research Building in Philadelphia; the Salk Institute for Biological Studies in La Jolla; the Phillips Exeter Academy Library in New Hampshire; the Kimbell Art Museum in Fort Worth; and the Yale Center for British Art in New Haven, Lobell presents a clear but detailed look at how the way these buildings are put together presents Kahn's philosophy, including how Kahn wishes us to experience them. An architecture book that touches on topics that addresses the universal human interests of consciousness and creativity, Louis Kahn: The Philosophy of Architecture helps us understand our place and the nature of well-being in the built environment. (shrink)

The first book to look architectural narrative in the eye Since the early eighties, many architects have used the term "narrative" to describe their work. To architects the enduring attraction of narrative is that it offers a way of engaging with the way a city feels and works. Rather than reducing architecture to mere style or an overt emphasis on technology, it foregrounds the experiential dimension of architecture. Narrative Architecture explores the potential for narrative as a way (...) of interpreting buildings from ancient history through to the present, deals with architectural background, analysis and practice as well as its future development. Authored by Nigel Coates, a foremost figure in the field of narrative architecture, the book is one of the first to address this subject directly Features architects as diverse as William Kent, Antoni Gaudí, Eero Saarinen, Ettore Sottsass, Superstudio, Rem Koolhaas, and FAT to provide an overview of the work of NATO and Coates, as well as chapters on other contemporary designers Includes over 120 colour photographs Signposting narrative's significance as a design approach that can aid architecture to remain relevant in this complex, multi-disciplinary and multi-everything age, Narrative Architecture is a must-read for anyone with an interest in architectural history and theory. (shrink)

This volume presents new essays on the propositional imagination by leading researchers. The propositional imagination---the mental capacity we exploit when we imagine that everyone is colour-blind or that Hamlet is a procrastinator---plays an essential role in philosophical theorizing, engaging with fiction, and indeed in everyday life. Yet only recently has there been a systematic attempt to give a cognitive account of the propositional imagination. These thirteen essays, specially written for the volume, capitalize on this recent work, extending the theoretical picture (...) of the imagination and exploring the philosophical implications of cognitive accounts of the imagination. The book also investigates broader philosophical issues surrounding the propositional imagination. The first section addresses the nature of the imagination, its role in emotion production, and its sophistication manifestation in childhood. The essays in the second section focus on the nature of pretence and how pretence is implicated in adult communication. The third section addresses the problem of 'imaginative resistance', the striking fact that when we encounter morally repugnant assertions in fiction, we seem to resist imagining them and accepting them as fictionally true. In the final section, contributors explore the relation between imagining, conceiving, and judgements of possibility and impossibility. The Architecture of the Imagination will be an essential resource for the growing number of philosophers and psychologists studying the nature of the imagination and on its role in philosophy, aesthetics, and everyday life. (shrink)

Essays at the intersection of philosophy and architecture explore how we understand and inhabit space. To be outside allows one a fresh perspective on the inside. In these essays, philosopher Elizabeth Grosz explores the ways in which two disciplines that are fundamentally outside each another—architecture and philosophy—can meet in a third space to interact free of their internal constraints. "Outside" also refers to those whose voices are not usually heard in architectural discourse but who inhabit its (...) space—the destitute, the homeless, the sick, and the dying, as well as women and minorities. Grosz asks how we can understand space differently in order to structure and inhabit our living arrangements accordingly. Two themes run throughout the book: temporal flow and sexual specificity. Grosz argues that time, change, and emergence, traditionally viewed as outside the concerns of space, must become more integral to the processes of design and construction. She also argues against architecture's historical indifference to sexual specificity, asking what the existence of (at least) two sexes has to do with how we understand and experience space. Drawing on the work of such philosophers as Henri Bergson, Roger Caillois, Gilles Deleuze, Jacques Derrida, Luce Irigaray, and Jacques Lacan, Grosz raises abstract but nonformalistic questions about space, inhabitation, and building. All of the essays propose philosophical experiments to render space and building more mobile and dynamic. (shrink)

Is Architecture Today Still an Art?Theoretical Considerations and Ethical Consequences Architecture has been proposing, for many decades now, more and more spectacular buildings. This could lead to believe that architecture has reached the top of its art. But this question requires first to define art in general, and also the authentic art of architecture. For this purpose, we will use a Bergsonian methodology in order to unveil in an unprecedented way the two different natures of art. (...) The first nature, "ephemeral art", will be analyzed as an artistic performance, which is powered by the creative gesture. The second nature, "persistent art", relies on durable productions. Using a multidisciplinary approach, we will create links between the two natures of art and German musicology: "pathogenic" and "logogenic" architectural productions will be presented to validate if architecture respects its own profound nature. We will finally analyze the modern paradigm of occidental "occulocentric" way of creating with its lack of hermeneutic substance and, thus, its important ethical consequences. (shrink)