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)

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

This article explores the theoretical and substantive connections between iconicity and consumerism in the field of contemporary iconic architecture within the framework of a critical theory of globalization. Iconicity in architecture is defined in terms of fame and special symbolic/aesthetic significance as applied to buildings, spaces and in some cases architects themselves. Iconic architecture is conceptualized as a hegemonic project of the transnational capitalist class. In the global era, I argue, iconic architecture strives to turn more (...) or less all public space into consumerist space, not only in the obvious case of shopping malls but more generally in all cultural spaces, notably museums and sports complexes. The inspiration that iconic architecture has provided historically generally coexisted with repressive political and economic systems, and for change to happen an alternative form of non-capitalist globalization is necessary. Under such conditions truly inspiring iconic architecture, including existing architectural icons, may create genuinely democratic public spaces in which the culture-ideology of consumerism fades away. In this way, a built environment in which the full array of human talents can flourish may begin to emerge. (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)

Womanist religious thought centers the experiences of black women but addresses the holistic liberation of communities from multiple and hybridized religious, spiritual, and cultural identities, offering valuable insight for examining the moral aims of the common good and identifying challenges to the good of particular communities. This paper offers a womanist analysis of prevailing conceptions of the common good and accounts of architecture and urban planning’s relation to the common good and civic virtue within the work of Christian theologians. (...) It explores the architectural implications of the common good from a womanist lens and articulates a liberatory vision of the common good and its relation to architectural design and construction. Womanist critiques and insights suggest that the spirituality and participation of common people are vital for shaping architecture for the common good, especially as it addresses whose interests are to be served and how common ground is pursued. (shrink)

Architecture and Deconstruction Case of Peter Eisenman and Bernard Tschumi -/- Introduction Towards deconstruction in architecture Intensive relations between philosophical deconstruction and architecture, which were present in the late 1980s and early 1990s, belong to the past and therefore may be described from a greater than before distance. Within these relations three basic variations can be distinguished: the first one, in which philosophy of deconstruction deals with architectural terms but does not interfere with real architecture, the (...) second one, in which a collaboration between Jacques Derrida and a group of architects interested in his concepts is commenced, and the third one, in which completed or only designed objects or new concepts of deconstruction created by architects gain their supremacy over philosophy. The following book analyses these three possible ways, first of all with the reference to Peter Eisenman and Bernard Tschumi. -/- Peter Eisenman -/- Misreading… and Other Errors -/- The issue of relations between Peter Eisenman’s work and philosophy of deconstruction may be referred to his activity more than ten years preceding his direct collaboration with Jacques Derrida (in 1985) and organisation of the exhibition Deconstructivist Architecture at Museum of Modern Art in New York (in 1988). As soon as at the stage of designing the first houses (House I-III, 1967-1970), which almost entirely inscribed in formalistic aesthetics of Modernism, the architect analysed the problem of architecture dependence on its assumptions. All his later designs may be treated as consequence of this initial interest in relations between practice and theory, and at the same time as an introduction to manipulations later on led at the level of metaphysics of architecture. Beginning with the issue of presence, considered in comments to House VI (1972), the number of ideas having their analogies in philosophy of deconstruction increased. The text entitled The End of the Classical: The End of the Beginning, The End of the End (1984), in which Eisenman criticised questions of representation in architecture, its delusive strive for truth and comparably unattainable attempts at ultimate definition of elementary rules, should be acclaimed the breaking point. This attitude was extended by numerous strategies disturbing architecture rules defined at metaphysical level in an essay Moving Arrows, Eros, and Other Errors: an Architecture of Absence (1986). The issue of Eisenman’s passage from formalism to deconstruction has already been much discussed in the literature (Rosalind Krauss, Thomas Patin among others), still it should be mentioned that the threads similar to Derrida’s concept included in Eisenman’s writing reveal untranslatability of architecture and philosophy. -/- Choral Works or Separate tricks -/- In 1985-1986 a series of seven disputes between Jacques Derrida and Peter Eisenman took place. The pretext for them were designs concerning Parc de la Villette in Paris. The situation of many months of collaboration between a notable philosopher of the second half of the 20th c. and an architect that already had a huge theoretical oeuvre, ended up with a publication of a large volume entitled Chora L Works and it became at the same time a vast study area for historians of contemporary architecture and philosophers. Derrida’s contribution to concept works were his considerations over the idea of chôra, the properties related to this concept were about to be reflected in shapes of the park. Therefore, Chora L Works became an example of the abilities of contemporary art, both in its capability of translation from philosophical ideas to artistic forms and its resistance to tradition of representing in architecture some phenomena and values originating outside this discipline. In the final period of their collaboration both interlocutors started to polemicise with each other more decidedly, what became a separate part of their thought exchange. The exchange of letters between Derrida and Eisenman at the turn of 1989 ended up the period of their direct contacts, nevertheless, at this time precisely a large group of experts in issues of deconstruction joined the discussion and extended the revealed in the former dispute problems into more than ten years of further considerations and publications. Except for a long text by Jeffrey Kipnis, who had participated in the meetings of the philosopher and the architect, there appeared also comments of researchers of artistic theories (K. Michael Hays, Thomas Patin), philosophers (Andrew Benjamin), and even experts in Greek literature (Maria Theodorou or Ann Bergren). Following these debates a contemporary reflection on architecture has saturated with indeed numerous concepts originating in philosophy of deconstruction. -/- Architecture which imitates mute philosophy -/- The series of Jacques Derrida and Peter Eisenman meetings, which took place in the period of 1985-1987, induced many authors to make comments. Some of them (Jeffrey Kipnis, Ann Bergren, Maria Theodorou) developed the subject of chôra which was introduced to the discussion by Derrida. The problem that was about to be solved was the question of tying up the concept of chôra with architecture, including Eisenman’s architecture and the series of meetings within frames of Chora L Works project. Kipnis on this occasion paid attention to chôra and its character of anachronia which infects any being created within chôra. In other words any event has its counterpart (analogon) in another, earlier event. He demonstrated the similarity of structure of many events and statements from the times of Derrida and Eisenman’s meetings to the almost identical behaviour of figures in Plato’s dialogue Timaeus. The loss of beginning present in this phenomenon was appropriate to both features of chôra and the effects of typical analyses of philosophy of deconstruction. Bergren’s analyses focused on accentuating gender of chôra, which, according to this author, had been neglected hitherto in discussions. She collated chôra descriptions with characteristics of women in myths, early Greek epic and philosophy and she arrived at a conclusion that chôra has features of a single woman and a married one at the same time. And yet Theodorou’s studies showed that in the Homeric epics chôra is not treated as an idea but is related with single things and events. The other part of the comments (represented by Andrew Benjamin and K. Michael Hays’ utterances) concerns Eisenman’s attitude to tradition which was treated as a variety of iteration understood philosophically. Benjamin commenced his considerations at the point of closeness between a definition of tradition and a concept of chôra understood as perpetuation (placement). A problematic issue was for him Eisenman’s complex relation to tradition based on its contest and affirmation at the same time. Overcoming the simple subordination to tradition – according to Benjamin – was based on awareness of the role of repetition in culture not known before. Hays made an attempt to explain the pleasure and torment of repetition with the support of Sigmund Freud and Roland Barthes’ concepts. According to Hays repetitions are attempts of a single being to a certain primal state perceived as free of any tension. In a similar way Rosalind Krauss explained a motif of a grate present in Modernistic art and also exceptionally frequent in Eisenman’s work. -/- Annex Architecture is still writing Balzac novels. Peter Eisenman and literature -/- Architecture’s approach to writing, script or literature, present within Peter Eisenman’s work, is an exceptional phenomenon, furthermore a complex one. The article considers four possible relations. The first one relates to Eisenman’s characteristics as a person extremely gifted with the ability to wordplay, which very ‘play’ reveals skills to create architectural images. In the second approach the attention has been paid to Eisenman’s interests – in the first period of his oeuvre – in linguistic works by Noam Chomsky and his transformational-generative grammar. The third kind of relations applied to overcoming the need for autonomy of architecture (and of modernist aesthetics at the same time) and renew interests in questions of meaning in architecture. The fourth sort of relations occurred when Eisenman started to create reflections of historic or literary narrations in architecture – ‘stone stories’ and architectural fictions of their kind. -/- Bernard Tschumi -/- From perversion to deconstruction In Bernard Tschumi’s writings from the 1970s and 1980s we can find a transposition of important threads of post-structuralist ideas deriving from Georges Bataille, Roland Barthes and Jacques Derrida’s works. The analysis of the architect’s writings also shows roots in Phillippe Sollers, Michel Foucault and Denis Hollier’s works. The analysis of borrowed elements from the beginnings of Tschumi’s theoretical activity may be helpful in explaining the contents of his later writings motre inspired by philosophy of deconstruction. The set of his earliest views was inspired by Marxism, Neo Marxism and French Structuralism, mainly by the writings of Henri Levebre and Guy Debord. From the thought of Levebre Tschumi took interest for city as not only a question of urbanistics but also a political issue. From Debord’s concepts he borrowed a conviction about the role of situational violation for changes in the society structure. Some of these beliefs were preserved in his own concepts of architecture as an event. From this period derived also his will to change conservative elements of social structure not by means of political revolution but of theoretical and creative activity. Tschumi acknowledged that the effective way of the proceedings towards achieving his aims would be accepting the role of both a critical intellectualist and architecture expert who would not hide away his left-wing orientation. The speculations defined by the architect as ‘revolting analyses’ were about to characterise contradictions which tear the society apart, penetrate architecture and constitute the basis of culture. Spreading away of the conscience of false assumptions hidden away in various disciplines could have weakened cohesion of a conservative society and influence the will to change among the elites. This way the beginnings of political revolution were rooted in philosophy of architecture. In 1977 Tschumi published his text entitled The Pleasure of Architecture inspired by Roland Barthes’s The Pleasure of the Text, it also included some concepts derived from Georges Bataille and Jacques Derrida. First of all the author used Barthes’s concept which made an assumption that literary activity is pervaded by the spirit of resistance towards social rules, and Tschudi transferred this remark onto architecture. From the ideas of Bataille, acquainted via Holier’s work, he derived his belief that two concepts of space, a conceptual one (defined as Pyramid) and a sensual one (defined as Labirynth), not losing their distinct features, they join in the concept of experienced space which exceeds contradictions. The exceeding itself was defined as the basic rule of architecture and it was referred to situations in which architecture not only negates social needs, but also disavows its own tradition. Crossing the borders applies not only to political issues or permanent rules of the very discipline but also interfering with other fields (especially literature and film). The fact that architecture is associated with organising events turned Tschumi’s attention to questions of violence that result from upsetting architectural order of a given building by its users and the one hand, and on the other from forcing the users to specific acts imposed by this very order. The analysis of the concepts used by Tschumi in his early writings indicates that they are close to definitions that would occur in his reflection in the following years influenced by philosophy of deconstruction. -/- Approaching deconstruction Tschumi in his theories developed in the 1980s presumed that the current social world had undergone a deep process of decay, and the reaction against which ought to be based on ordering-up actions, and also preserving the main outline of disintegration of the whole and its elements in the state of conflict. The statements concerning the nature of the contemporary to Tschumi social relations were applied by him to the world of architecture, this led him to coming up with designing strategies that took into consideration the destabilised character of conditions in which works of architecture were created. New ways of conduct invented by Tschumi drew their inspiration from literature and research on literature, psychoanalysis, structural linguistics, structuralism and post structuralism, and eventually also deconstruction philosophy. The proposed methods were opposed by their author both to functionalism continuity trends and postmodern architecture. Tschumi’s proposals contradicted any forms of conservatism or traditionalism in political sphere as well as in reference to tendencies in architecture. They were not simple contradictions of social or architectural rules, they intrude them from the inside, weaken or escalate the already existing incongruities, they move the boundaries between the areas. Revolutionary illusions about the possibility of radical changes were replaced with strategies which completed, tainted or test former rules in the series of formal games of permutation and combination. Quite different from avant-garde formalism Tschumi’s games were not about maintaining the autonomy of a given area, but on the contrary – polluting it with other areas’ influences. Tschumi enjoyed demonstrating illusions of architecture concerning simple relations between form and function, or between form and meaning. Making use of Freud, Lacan and Foucault’s research he introduced a category of “madness” into architecture allowing an observation that the recognised norms are nothing but merely ones of many possible principles of behaviour, and their recognised status resulted from unjustified hindering innovativeness which is crucial for architecture. To reborn architecture’s capability of changing Tschumi also made use of Barthes’s discoveries concerning rules of narration and works by writers who applied in their writing knowledge on linguistics. Making a work’s author unclear by various mechanical transformations of its elements was however apparent only, and formal rigours imposed on the process of designing liberated possibilities difficult to obtain in more traditional creative action. Another mode of acting introduced by Tschumi was combining his work of elements deriving from outside architecture; joining space records with notation of motion and events accompanying architectural objects among others. These architectural and extra-architectural elements were not unified, on the contrary their heterogenous and conflictual character was stressed. This is how shock, anxiety and instability, typical for live in great metropolises, infiltrated architecture. Taking some ideas of deconstruction philosophy as a pattern Tschumi also took into critical consideration in his essays traditional in architecture oppositions between form and figuration, or theory and practice. By combining various inspirations he eventually worked out an idea of architectural event, which he understood as a series of actions contesting its own field, redefining its sources, principles and elements. An event, understood in this way, was not so much producing works as rather creating conditions of their production and at the same time designing the society different from a hierarchic one. -/- Park of deconstruction Among numerous philosophical strategies of deconstruction most frequently used was questioning the practice of strong opposition of two reasons. In many cases Bernard Tschumi’s writings just consider functioning of the conflict juxtaposition of the ideas of structure and ornament or theory and practice in history of architecture. Violation of traditional relations between terms of this kind, both old and modern, raised Jacques Derrida’s objections, when he was induced for the first time to co-operate with architects’ milieu. During this long lasting thought exchange the philosopher eventually acknowledged Bernard Tschumi’s arguments for reasoning the encroachment of architecture’s fundamental rules. Deconstruction applied in architecture was not a simple transposition or analogy of practices that had been applied by philosophy of deconstruction. We may even say that considering architectural terms became an important formula of deconstruction. Architecture understood in philosophical way became something beyond the practice and theory of its own discipline, a sort of metaphysics of both philosophy and architecture. The deliberate encroachment of simplicity of dividing architecture into theory and practice, for the first time became a clear aim for Tschumi in his drawings and texts entitled The Manhattan Transcripts. The contents of this series of works was a record of characteristic features of this New York district in such a way that not only objects were the subject of the record but also relations between objects, people and events. The record was about to take into consideration a conflict character of elements of this representation and at the same time to avoid applying to them the rule of mimetism. The record became a form of reflection over the very record by an increased control over the ways of representation. Architecture which was considered in the The Manhattan Transcripts was not directed to fulfill the needs of inhabitation or production, it was rather related with hitherto usually marginalised liminal situations: building ostentatiously big monuments, religious cult, war etc. Architecture operating in these relations focused also the attention on the included in it continuous tendency to overpass its own restrictions, the role of violence as its not recognised factor, or the meaning of excess and shock in its operation. Architecture moving from reason towards madness became even more visible in the design of Parisian Parc de la Villette, whose pavilions were defined as folies (in French it means both small park buildings and follies). The park was supposed to be on the one hand a reflection of traditional society disintegration while on the other it questioned basic rules of producing a work of architecture. The traditional rules of designing, based on ordering up, were replaced with the strategies of dysfunction and dissociation. In Tschumi’s opinion methods of this kind may be equivalent of what Derrida named différance. Instead of aiming at mergence, any diversity, plays or variations were strengthen. Tschumi’s texts, in which he explained his attitude, were completed by Derrida’s extent statement entitled Point de folie – Maintenant l’architecture. Derrida’s article is the most significant of all his statements on architecture as a form of thinking and activity. According to the philosopher, architecture should divide space (in French defined as espacement), what enables both thinking and action – it arranges the space of an event. Tschumi’s buildings, defined as folies, in an essential way destabilise any created order, and at the same time they refresh it. Derrida’s statement suggests that architecture may become both metaphor of an order merging a language or a society but also of inner forces which deconstruct and reconstruct it. Therefore architecture is at the same time a construction, a deconstruction and a reconstruction. Parc de la Villette stands out in this system with its attempt to step beyond the scheme of an easy repetition and its heading for chances of achieving more radical otherness. -/- Conclusion Destruction as construction. Paradoxes of deconstruction in architecture -/- Scepticism about persistence and common importance of fundamental values of human culture evinced in philosophers and writers’ works as early as in Greek antiquity, nevertheless it was not expressed so strongly as in the second half of the 20th century. Especially in Heidegger’s work Being and Time (although originated in 1927, still influential in all later philosophy) the following states were characterised: the state of losing the ground (Abgrund), of being out of sight (Unheimlichkeit) and of being out of dwelling (Un-zuhause-sein) – as the basis of self-confidence of conscious being there (Dasein). The entire criticism of philosophy of home and dwelling draws the inspiration from this early writing of the German philosopher, it combines crisis of basic terms of metaphysics with social conditions which are dictated by living in large metropolis. The crisis of both metaphysical foundation and home appears to be similar to the situation of weakening the relations between a man and his dwelling in extensively expanding cities. Whereas philosophy, as well as many disciplines of social sciences, have diagnosed for a long time the destabilisation of fundamental ideas of Western culture and crucial changes in the ways of dwelling, architecture itself occurred to be “the last fortress of metaphysics” (J. Derrida). Among contemporary architects, Peter Eisenman and Bernard Tschumi were the ones who engaged most decidedly in the issues of critical analysis of architecture foundation and its social role. Both the architects noticed new formulas of contemporary social and individual existence, tremendously different from the entire history, and at the same time they affirmed lack of adequacy of architecture concepts to new situations. Both Eisenman and Tschumi used to describe the existing architecture as a tool for consolidation of highly integrated and hierarchised societies, and also as a discipline extremely uncoincidental with the current character of social life based on ideas of freedom and diversity. The means to transform architecture and make a factor of further social changes out of it, was a concept that accentuated revealing the inner contradictions of this discipline, and considering them in designing strategies. Eisenman’s activity, in regard of what has just been noticed, was focused on questioning the basic rules of traditionally comprehended architecture, especially the rule of purpose. The American architect noticed that the concept of architecture as fulfilment the need of location, hides away the fact that the location has to be constantly reconsidered, and hence it is overtaken by change (dislocation). Therefore new concept of architecture propounded architectural activity to translocate the concept of location – more than before – but also to change its status perpetually. Such comprehended architecture should claim, as its main purpose, the constant revision of this purpose and create itself anew permanently. Even Eisenman’s earliest designs of houses nos. I-IV broke with such values as the sense of safety, closeness and familiarity, and just on the contrary they accentuated senses of strangeness, homelessness and loss of confidence. The contradictions within architecture noticed by Tschumi referred to combination of intellectual and sensual values in architecture, when their non-appropriation was defeated by an additional condition, namely the way of experience based on pleasure of excess, marked by insanity. The features of folly were especially visible in his designs of gardens, where the order of planning was mixed with sensual experience introduced by particular elements (both the ones created by nature, and the buildings defined as folies). Parc de la Villette designed by the French architect in Paris put in question not only the common understanding of purpose in architecture but also the ideas of order and integrity, as its plan was based on the combination of independent layers with records of grids of points, various lines and planes. The architecture that collides inadequate elements with each other was supposed to be a kind of an event with no beginning and no end. The architecture treated as an event became a form of a space weakened articulation that maintains its diversity and lack of accordance of the elements building it up. The analyses of Eisenman and Tschumi’s theoretical writings indicate how much the aims of architecture have actually changed; instead of supporting social persistence, the architecture is rather intensifying contradictions, and instead of providing people with the sense of safety, it sublimes danger. From simple acts of defamiliarisation, increasing the distance to itself and enhancing the role of theory, through discomfort, anxiety, not feeling someone at home, weirdness, excess, shock and violence, architecture reached the edge of stability and uncertainty, only to make an attempt at penetrating what is impossible and unutterable, and recording what cannot become the subject of any records. -/- . (shrink)

This book discusses concepts of good design from social perspectives grounded in anthropology, sociology and philosophy, the goal being to provide readers with an awareness of social issues to help them in their work as design professionals. Each chapter covers a specific area of good practice in design, explaining and applying a small set of related concepts to a series of case studies, and including a list of additional sources recommended for further study. The book does not assume any specialized, (...) technical background knowledge; it is not a how-to book that offers technical instruction. Yet, it focuses on the assessment of designs, addressing concepts qualitatively. Based on an established university course on Design and Society at the Centre for Society, Technology, and Values that the author offers for students from a variety of disciplines, the book represents a valuable resource for students in engineering, architecture and industrial design – helping prepare them for careers as design professionals – and for all readers in design-related professions interested in understanding a side of design that they may well never have considered systematically. Because of its broad scope and non-technical presentation style, the book may also appeal to general readers interested in social issues in design and technology. (shrink)

This book critically examines the philosophy of the term 'transgression' and how it shapes the utopian vision of contemporary urban design scenarios. The aim of this book is to provide scholarly yet accessible graphic novel illustrations to inform narratives of urban manifestos. Through four select case studies from the UK, Cyprus and Germany, the book highlights the paradoxes and contradictions in architecture and provides detailed evaluation of the limits and contemporary forms of sustainable urban regeneration. The book proposes an (...) 'utopian urban vision' approach to social, political and cultural relations, trends and tensions both locally and globally, and seeks to inspire an awakening in architectural discourse. The book argues that the philosophical undermining of transgression is the result of a phenomenon from a different perspective -- its philosophical background, its social construction, its experimental research process and its design implications on the city. As such, the book provides a critical examination of how architectural design interventions contribute to sustainable urban regeneration, gentrification and can impact local communities. This book provides a significant contribution to both undergraduate and postgraduate students, as well as early career researchers working in architecture, planning and sustainable urban design. It offers effective guidance on adopting the state-of-the-art graphical illustrations into their own design projects, while considering contradictions between architectural discourse and the philosophy of transgression. (shrink)

What the Emperor Built: Architecture and Empire in the Early Ming. By Aurelia Campbell. Seattle: University of Washington Press, 2020. Pp. xiv + 217. $65.

This handsomely produced volume contains 22 contributions from international scholars, which were originally presented at the 2000 Conference of the International Society for Phenomenology, Fine Arts, & Aesthetics. The papers center around the theme of gardens and include a wide range of topics of interest to phenomenologists but also, perhaps, to gardeners with a philosophical bent. A sampling of topics: Leonardo's Annunciation Hortus Conclusus and its reflexive intent; hatha yoga--a phenomenological experience of nature; the Chinese attempt to miniaturize the (...) world in gardens; conflating and compressing time in commodified space and architecture; constructing the deconstructive landscape (the ruin aesthetic); and a phenomenological-anthropological aproach to Zen gardens. The volume is lightly indexed by name (mostly philosophers). Annotation (c)2003 Book News, Inc., Portland, OR (booknews.com). (shrink)

This collection of essays explores different perceptions of space, taking the reader on a journey from the inner space of the mind to the vacuum beyond Earth. Eight leading researchers span a broad range of fields, from the arts and humanities to the natural sciences. They consider topics ranging from human consciousness to virtual reality, architecture and politics. The essays are written in an accessible style for a general audience.

This paper acknowledges the fact human beings are social animals, as they tend to live in well-organized societies. However, human population expansion explodes into internal implosions that continue to wreck havoc globally on the social, economic, political, architectural, and aesthetic environments. To harness the universal territorial imperatives, of contending components harmoniously, the world requires synergy and dialogue.

Worldly Gurus and Spiritual Kings: Architecture and Asceticism in Medieval India. By Tamara I. Sears. New Haven: Yale University Press, 2014. Pp. 300, illus. $75.

Habermas's conception of deliberative democracy could be fruitfully supplemented with a discussion of the "institutional design" of civil society; for example the architecture of public spaces should be considered. This paper argues that Hegel's discussion of architecture in his 'Aesthetics' can speak to this issue. For Hegel, architecture culminates in the gothic cathedral, because of how it fosters reflection on the part of the worshiper. This discussion suggests the possibility that architecture could foster a similar (...) kind of intersubjective reflection. To make his thoughts more pertinent for current debates, Hegel's views are adapted to fit three contemporary secular institutions. (shrink)

Designing a virtual environment within a digital game occupies a large part of the design procedure, requiring holistic attention and a broad arrangement of the game constituents. Considering other design disciplines, they occupy a unified design methodology; however, a comprehensive literature review reveals the lack of the intended design methodology in the digital game domain's virtual environment development, despite a currently proposed theoretical methodology trying to dissolve the issue. Hence, this research aims to determine the industry's requirements and provide a (...) set of assets included in current digital games as an initial step of providing such a design methodology for the domain. In this regard, the researchers reverse-engineered ten selected digital games, understanding the current condition of digital games via adopting the mentioned currently available design methodology. This dataset reveals a lack in the assets of the story layer in the recent digital games, despite their focus on being story-based. This dilemma leads to long text or speech conversations between game characters, disrupting the players while following the game. The current design focuses on environmental resources only, however, as a virtual landscape, the story needs to be reinforced to be a balanced and well-designed game. Hence, increasing the ratio of the assets in this layer will advance the games' interactivity. Also, as future work, this data set could pave the way for a digital game industry design tool regarding the virtual environment. (shrink)

The Nabataean Temple at Khirbet et-Tannur: Volume 1—Architecture and Religion. Final Report on Nelson Glueck’s 1937 Excavation. By Judith S. Mckenzie et al. Annual of the American Schools of Oriental Research, vol. 67. Boston: American Schools of Oriental Research, 2013. Pp. xxvii + 340, illus. $89.95. [Distributed by ISD, Bristol, Conn.] The Nabataean Temple at Khirbet et-Tannur: Volume 2—Cultic Offerings, Vessels, and Other Specialist Reports. Final Report on Nelson Glueck’s 1937 Excavation. By Judith S. Mckenzie et al. Annual of (...) the American Schools of Oriental Research, vol. 68. Boston: American Schools of Oriental Research, 2013. Pp. xx + 329, illus. $89.95. [Distributed by ISD, Bristol, Conn.]. (shrink)

The article presents a socio-philosophical analysis of artificial intelligence (AI) integration into public administration systems. The research focuses on identifying an optimal balance between enhancing administrative efficiency and preserving humanistic values. The author examines diverse perspectives on AI’s role in contemporary society, ranging from techno-optimistic concepts that view AI as a tool for qualitative improvement of human life, to critical theories warning of dehumanization risks and increased social control. The paper conducts a comparative analysis of national AI development strategies (...) among leading global powers, identifying their common features and significant differences shaped by cultural, political, and economic factors. Potential risks and threats associated with the implementation of AI systems in public administration are explored, including issues of personal data protection, information security, and the ethical dimensions of algorithmic decision-making. The concept of a human-centered approach to AI is examined as a potential guiding principle for the development and deployment of these technologies. Various levels of control over AI systems are characterized, encompassing legal regulation, professional and public evaluation. Particular attention is given to the prospects of artificial general intelligence (AGI) development and its potential impact on the transformation of state institutions and social relations. The study argues that AGI architecture, enabling genuine system agency, must incorporate a level responsible for actualization functions (strategic goal-setting, ethics, knowledge, and self-identification). Special emphasis is placed on the system’s awareness of its finite existence as a necessary condition for developing meaningful operational strategies and ethical principles. The article concludes that as AI technologies advance, the importance of ethical norms, value systems, and responsibility principles increases since these core societal factors cannot be fully replaced even by the most sophisticated regulation. The author highlights the growing significance of mutual trust between state and society in an environment where AI systems provide unprecedented opportunities for social control. (shrink)

For over a decade neuroscience has uncovered that appropriate decision-making in daily life decisions results from a strong interplay between cognition and covert biases produced by emotional processes. This interplay is particularly important in social contexts: lesions in the pathways supporting these processes provoke serious impairments on social behavior. One important mechanism in social contexts is empathy, fundamental for appropriate social behavior. This paper presents arguments supporting this connection between cognition and emotion, in individual as well as in social contexts. (...) The central claim of this paper is that biologically inspired cognitive architectures ought to include these mechanisms. A taxonomy of computational models addressing emotions is presented, together with a brief survey of the research published in this area. The Prisoner Dilemma game is used as a case study exposing the trade-off between individual rationality and cooperative behavior. Experiments using a simple implementation of empathy and emotion expression, employing an Iterated Prisoner Dilemma setup, illustrate the emergence of a cooperative behavior mutually beneficial for both players. (shrink)

Countering the fake news phenomenon has become one of the most important challenges for democratic societies, governments and non-profit organizations, as well as for the researchers coming from several domains. This is not a local problem and demands a holistic approach to analyzing heterogeneous data and storing the results. The research problem we face in this paper is the proposition of an innovative distributed architecture to tackle the above-mentioned problems. The architecture uses state-of-the-art technologies with a focus on (...) efficiency, scalability and also openness, so that community-created components and digital content analyzers could be added. Moreover, we prove the usability of the prototype on Kaggle Fake News dataset. In particular, we consider different configurations of the proposed deep neural network and present the results reflecting the effectiveness, scalability and transferability of the proposed solution. (shrink)

Temple Building and Temple Cult: Architecture and Cultic Paraphernalia of Temples in the Levant. Edited by Jens Kamlah. Abhandlungen des Deutschen Palästina-Vereins, vol. 41. Wiesbaden: Harrassowitz Verlag, 2012. Pp. xxiv + 586, 73 plates. €68.

Ethics, architecture and philosophy -- Architecture, ethics and aesthetics -- Architecture and culture -- Experiencing architetcure -- Writing on 'the Wall': memory, monuments and memorials -- Building community: new urbanism, planning and democracy.

Architecture, Power, and Religion: Hatshepsut, Amun & Karnak in Context. By David A. Warburton. Beiträge zur Archäologie, vol. 7. Vienna: LIT Verlag, 2012. Pp. xxi + 400, illus. €76.90.

The methodology of eunomics -- Means, ends, and the idea of freedom -- The politics of affirmative freedom -- Natural law, sovereignty, and institutional design -- Why pluralism fails a pluralist society -- Obsolescent freedoms.

This article analyzes articulations among urban enclaves, finance capital, and glass architecture by exploring MGM’s corporate investments in the Las Vegas CityCenter development and the Chinese enclave of Macau. CityCenter is an unsuccessful $9 billion master-planned urban community financed by MGM and Dubai World. Macau is a former Portuguese colony and Special Administrative Region of the People’s Republic of China which has, since its return to the PRC in 1999, replaced Las Vegas as the world’s most lucrative site of (...) casino gaming revenue. Taken together, CityCenter and Macau are illustrative of the political economy and cultural logics of financialization. Foreign investment from Las Vegas entrepreneurs has vitrified Macau, transforming it into a phantasmagoria of glass resorts. Macau in turn plays a crucial functional role in capitalism’s recomposition in East Asia, similar to the autochthonous role of the Italian city-states of Venice and Genoa in the historical origins of capitalism. In order to ‘read’ the cities of Las Vegas and Macau, I explore intertextual legibilities among fictitious capital that relies on glass fiber-optic technology to enable grand architectural projects; expressionist fictional representations of glass architecture and its utopian transformative potential; and glass buildings that themselves dissimulate in a manner not unlike fiction. (shrink)

In this wide ranging volume of philosophical essays John Haldane explores some central areas of social life and issues of intense academic and public debate. These include the question of ethical relativism, fundamental issues in bioethics, the nature of individuals in relation to society, the common good, public judgement of prominent individuals, the nature and aims of education, cultural theory and the relation of philosophy to art and architecture. John Haldane is Professor of Philosophy, and Director of the (...) Centre for Ethics, Philosophy and Public Affairs in the University of St Andrews. He is also a former Royden Davis Professor of Humanities at Georgetown University and is currently a Senior Fellow of the Witherspoon Institute, Princeton. As well as being a prominent academic philosopher he is well known in Britain, in North America and elsewhere in the English-speaking world as a public intellectual and social commentator. 'In Practical Philosophy, John Haldane eloquently makes the case for an approach to ethics that is distinctively practical — thought with a view to action. Taking his inspiration from a tradition that includes Aristotle, Aquinas, and Elizabeth Anscombe, Haldane argues that an orthodox dichotomy has long dominated both philosophical and everyday thinking: we must be either dualists or material reductionists. Both of these alternatives, however, neglect a subtle approach to intentionality and agency offered by the Aristotelian tradition. Haldane uses his illuminating approach to advance arguments on a number of controversial moral and political issues: the status of the foetus, the importance of the family, compensation for victims of crime, the basis of human solidarity across national boundaries. Although his conclusions are frequently controversial, Haldane always avoids polemics and the ideological parti pris, thus giving a welcome example of respectful and civil public argument.' — Martha Nussbaum 'What resources can philosophy bring to bear, when its enquiries are not theoretical, but practical? In Practical Philosophy John Haldane answers this question in a brilliant survey of key issues, showing us how a variety of theories can obscure or distort our view of the practical realities of life, family, and society. With admirable clarity he also shows us how philosophy can rescue us from such theorizing.' — Alasdair MacIntyre. (shrink)

Local reports from different international societies have considered the achievement of the successful Glocalized architecture model in line with the 2030 UN Sustainable Development Goals (SDGs). The Aga Khan Cultural Foundation’s International Program for Islamic Architecture has also prioritized the understanding of the success drivers in architectural projects. This study aimed to detect the potentials of the common global indicators to access qualitative design assessment through analyzing the Aga Khan Award’s reports. The selected methodology in the present study (...) is a quantitative approach using the systematic content analysis and coding techniques for qualitative data obtained from the technical. The physical, non-physical, modern, and traditional factors that have contributed to the success of the works as well as their combinations were extracted and analyzed using Sensible and Abstract international, national, and local indications. There is a relative superiority for Sensible indications (A combination of modern and physical factors). The hybrid data distribution provides the ground to assess the works, and this can be used to manage the globalization challenges in the contemporary architecture of Muslim societies. (shrink)

Architectural style is a medium for the promotion of cultural identities and cohesion. South Asian Association for Regional Cooperation nations provide a prism through which all forms of vernacular architecture can be viewed. This study is presented through the lens of the soul of the eye coupled with the power of technological probing. This synthesis affords a most appealing and lyrical exploration of the course of the development of cities within the SAARC nations. It showcases research results combining the (...) above stated synergy—starting from some of SAARC’s sophisticated historic cultures, cultures that ebbed and flowed along its shores and valleys. This paper shall touch upon unique cultural roots stretching back to the Dravidian civilization that flourished over 3500 years ago and also look at the grouping of houses within the Indus Valley Civilization in Lothal and the Sarasvati Valley Civilization in Kalibangan. The sensitivity underlying SAARC architecture and its traditions are seen in many communal settlements, profoundly so in the Indian subcontinent and in Sri Lanka. The paper shall showcase two specific, but nevertheless, distinct styles of communal functioning within unique architectural strongholds in the ancient Ratnagiri University in Odisha, India, and also touch upon a unique blend of styles of landscape architecture in Sri Lanka. The overarching emphasis of this study is that throughout SAARC’s history, architecture has been creatively adopted to the need of its users and the characteristics of its climate and location. It has always fulfilled the needs and nourished the spirit of its people, promoting cultural cohesion even today. In this context, it is interesting to explore traditional techniques of vernacular architecture in houses in Andhra, Tamil Nadu and Kerala. The common thread linking mass housing in Lothal, Kalibangan, Anuradhapura and Ratnagiri about 2 millennia ago, with present day housing patterns, is in the application of sustainable building practices using intelligent building forms, fabric and orientation. This paper explores this commonality from a modern perspective using CFD. As the SAARC countries still struggle to get a fuller understanding of their unique ecology and the complexity of their diverse cultures, revisiting the architectural legacy of their indigenous societies might prove insightful. The need for this revisit becomes even more relevant in the wake of the Paris Agreement and more recently the Kigali Agreement. The discourse on providing indoor thermal comfort to the SAARC people cannot be decoupled from the climate change story—heating, ventilation and cooling consume a large amount of energy and have a deep underlying link with the targets set at Paris and Kigali. The onus will be on a large number of stakeholders to meet these targets—engineers, architects, manufacturers, policy-makers, researchers and consumers. This paper aims at reminding the stakeholders of the richness and the usefulness of their vernacular architecture in upholding the ideal of sustainability. (shrink)

Martin Heidegger and Vincent Scully, writing from very different positions, agree that the enclosure of human life and the disclosure of a moral universe are the chief functions of architecture, and they agree further that the traditional house best exemplifies the first function and the Greek temple the second. The culture of technology has emptied the home of many substantial engagements, and it has reduced the monumental structures, the high-rises and expressways, to instrumental status. Architects need to understand the (...) cultural force of technology, the ways buildings shape the conduct of our lives, and the responsibilities that follow from the comprehension of contemporary culture. (shrink)

ABSTRACT Born in periods of crises, utopias adopt a threefold structure: a critique of society, a spatial arrangement, and a new society sustained by this spatial arrangement. Accordingly, space and architecture are recognized as spatial levers to address crises and change societies. However, three problematic characteristics emerge from an analysis of past and contemporary utopias. First, utopias do not always advocate for new societal orders, as some tend to consolidate the existing ones. Second, they have evolved to (...) be increasingly tangible. Third, while appearing as collective narratives, they are written by a single hand, allowing little variations. To address these issues and revitalize their critical potency, utopias could act as beacons rather than concrete projects, work on processes rather than goals, and build collective narratives rather than monologues. Eventually, the article illustrates architecture’s twofold rationale: a means to physically build space and a critical tool to reflect on society. (shrink)