The domestic spaces of the built environment are traditionally associated with residential architecture. But the domestic spaces can also extend out, metaphorically, into familiar public spaces in which one may feel at home, and also extend inwards into self-perception, insofar as you may say that you dwell within yourself. This article begins by recalling Vitruvius’ fundamental notion of architectural utilitas concerns accommodating not a building’s owners but foreigners and strange outsiders. Vitruvius’ view on utility heavily favoured architecture’s socio-political (...) function, and the guests he believed that architecture ought to accommodate were not merely a home’s owners or their visiting friends, but those people who are more distant from a home’s owners: those who are stranger and less well understood, known as xenos and who ought to be respected under the Ancient Greek religious and ethical principle of xenia. It is on these grounds that Vitruvius makes an ethical critique of residential architecture in favour of the virtue of public architecture. Next the reach of xenia is proposed to extend towards those who are different not merely because of ethnic differences but cognitive and sensory differences. Such accommodations are today accounted for as part of accessibility design and salutogenic design. Similar conceptions are noted in Nietzsche’s notion of an “architecture for the perceptive” and the surrealist’s interpretation of the minotaur as a hybrid not only of animal and human but a hybrid of civilised citizen and barbarian outsider. Together these sketch out an expanded sense of the domestic that includes public spaces designed to accommodate strange outsiders and the hybrid forms used to signify them. (shrink)

This paper explores the postmodern elements in Pons’ film Barcelona (un mapa) (2007). Of interest is the screened portrayal of the tolerant relationship between a Catalan husband and wife and the fluid gender notions adhered to by the former; a man who repeatedly engages in gender performativity within the safety of his own home and who by refraining from doing so in a public external space could be considered sexually inhibited as he may feel hindered to express himself in contemporary (...) Spain, conscious of the social stigma that he may attract were he to embrace his dual identity. The paper additionally analyses the representation of Barcelona as a capital that can be mapped and spatially explored, the scenes depicting Barcelona’s eclectic architecture, and the cinematic photo-effect as a method by which Pons connects the pre-democratic past with the global present on screen. Barcelona (un mapa) is based on Lluïsa Cunillé’s 2004 screenplay Barcelona, mapa d’ombres. Translated into English as Barcelona, Map of Shadows, the shadows from the past linger in a visual narrative mainly steeped in the present. The film’s postmodernity is reflected in its collage-like structure, with a cinematic montage challenging a conventionally chronological time pattern. Specifically, the story-line criss-crosses between past and present through regular flashbacks from times gone by and an opening scene featuring black and white footage of the decisive moment when Franco forces entered Barcelona in 1939. The viewer is then swiftly transported into a colour-tinged present. Such a non-linear narrative structure underscores the postmodernity of the film, as does the episodic plot containing lengthy and highly theatrical dialogues between two characters at a time. Rather than on external action, Pons explores the complex relationships between his protagonists and also between these characters and their increasingly postmodern urban habitat. (shrink)

The artist's house is a prism through which to view not only the artistic practice of its inhabitant, but also to apprehend broader developments in sculpture and contemporary art in relation to domestic architecture and interior space. Based on a series of interviews and site visits with living artists about the role of their home in relation to their work, Kirsty Bell looks at the house as receptacle, vehicle, model, theater, or dream space. In-depth analyses of these contemporary examples—including (...) Jorge Pardo, Mirosław Bałka, Danh Vo, Gregor Schneider, Frances Stark, Marc Camille Chaimowicz, Dominique Gonzalez-Foerster, Paweł Althamer, Mark Leckey, Monika Sosnowska, Gabriel Orozco, Rirkrit Tiravanija, and Andrea Zittel—are contextualized by key artists of the twentieth century such as Kurt Schwitters, Alice Neel, Edward Krasiński, Carlo Mollino, and Louise Bourgeois. A two-way flow from the domestic arena to the exhibition space becomes apparent, in which the everyday has a significant role to play in the merging of such developments as installation art, relational aesthetics, expanded collage, and performance art. (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)

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.

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

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)

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)

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)

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)

Papers presented at National Seminar on Jainism held in 1998 at Hyderabad?

In lieu of an abstract, here is a brief excerpt of the content:Kant’s Just War TheoryBrian OrendKant is often cited as one of the first truly international political philosophers. Unlike the vast majority of his predecessors, Kant views a purely domestic or national conception of justice as radically incomplete; we must, he insists, also turn our faculties of critical judgment towards the international plane. When he does so, what results is one of the most powerful and principled conceptions of (...) international justice ever constructed. Kant’s central concept, that it is a demand of our own practical reason that we forge a cosmopolitan federation of free republics, based on the rule of law, human rights, and cultural and commercial development, still resonates today as a plausible and hopeful prescription for humanity’s future.Much of Kant’s international theory has recently received searching analysis and evaluation. But the bulk of this consideration has focused on Kant’s descriptive, as opposed to prescriptive, claims. Lavish attention, for example, has been showered on his assertion that perpetual peace is inevitable—that our natural antagonism will irresistibly incline us, after many failures, to establish an international juridical condition. Comparatively little has been done on thoroughly evaluating Kant’s normative claims of international justice, particularly with regard to his ideal corpus of international law and his concrete recommendations for moving from a global state of nature to a cosmopolitan civil society.1In this paper, I would like to contribute to the latter task by focusing on the moral problem that war poses as, arguably, the most frequent and severe cause [End Page 323] of ruptures in the functioning of the international system.2 In particular, I would like to argue in favour of the controversial, and original, thesis that Kant has a just war theory.3 I would then like to develop that theory in some detail and to explain its strength and suggestiveness. The focus on war seems both helpful and timely. It is helpful in that it provides a specific, graphic example with which one can apprehend more clearly the abstract architecture of Kant’s international vision. It is timely in that, in the wake of the very recent conflicts in Bosnia and Rwanda, and in light of the subsequent formation of the International War Crimes Tribunals at The Hague, renewed attention has been paid to considering what, if anything, constitutes a just war and what is permitted, and what punishable, in terms of conduct in war. A rigorous consideration of what one of the true giants of moral philosophy thought about these issues can only serve to illuminate our understanding of these current events.1. THE TRADITIONAL READING OF KANT: NO JUST WARNearly every commentator on Kant’s international theory of justice who discusses the problem of war in any detail believes that Kant not only has no just war theory, but that he is, moreover, a vicious critic of the core propositions of classical just war theorists, such as Augustine, Aquinas, and Grotius. Howard Williams, for example, says that “Kant has no theory of just war … (j)ustice and war are in conflict with one another and it is our duty as human beings to try to overcome war.” Fernando Teson contends that “Kant dismisses the idea that there could be a just war” and Georg Geismann asserts that, for Kant, “there is no such thing as a just war.” Similarly, W. B. Gallie asserts that “Kant agreed … that nothing but confusion and harm resulted from regarding any wars as just … ” There is a bevy of quotes in the Kantian corpus to support this reading.4One prominent anti-just war quote occurs in Perpetual Peace, when Kant [End Page 324] reflects on the contributions of traditional just war theorists and arrives at the following judgment:It is therefore to be wondered at that the word right has not been completely banished from military politics as superfluous pedantry, and that no state has been bold enough to declare itself publicly in favour of doing so. For Hugo Grotius, Pufendorf, Vattel and the rest (sorry comforters as they are) are still dutifully quoted in justification of military aggression, although their philosophically or diplomatically formulated codes do not and... (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)

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.

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

A collection of essays that takes stock of the current impact of the image and imagination of the catastrophe in art, science and philosophy.

How aesthetics—understood as a more encompassing framework for human activity—might become the primary discourse for political and social engagement. These essays make the case for a reignited understanding of aesthetics—one that casts aesthetics not as illusory, subjective, or superficial, but as a more encompassing framework for human activity. Such an aesthetics, the contributors suggest, could become the primary discourse for political and social engagement. Departing from the “critical” stance of twentieth-century artists and theorists who embraced a counter-aesthetic framework for political (...) engagement, this book documents how a broader understanding of aesthetics can offer insights into our relationships not only with objects, spaces, environments, and ecologies, but also with each other and the political structures in which we are all enmeshed. The contributors—philosophers, media theorists, artists, curators, writers and architects including such notable figures as Jacques Rancière, Graham Harman, and Elaine Scarry—build a compelling framework for a new aesthetic discourse. The book opens with a conversation in which Rancière tells the volume's editor, Mark Foster Gage, that the aesthetic is “about the experience of a common world.” The essays following discuss such topics as the perception of reality; abstraction in ethics, epistemology, and aesthetics as the “first philosophy”; Afrofuturism; Xenofeminism; philosophical realism; the productive force of alienation; and the unbearable lightness of current creative discourse. Contributors Mark Foster Gage, Jacques Rancière, Elaine Scarry, Graham Harman, Timothy Morton, Ferda Kolatan, Adam Fure, Michael Young, Nettrice R. Gaskins, Roger Rothman, Diann Bauer, Matt Shaw, Albena Yaneva, Brett Mommersteeg, Lydia Kallipoliti, Ariane Lourie Harrison, Rhett Russo, Peggy Deamer, Caroline Picard Matt Shaw, Managing Editor. (shrink)

Online gaming creates unique public spaces of interaction. These spaces are both highly controlled but also able to slip through the regulatory net, as domestic legislation struggles to respond to fast-changing interjurisdictional environments. Inter- and transdisciplinary research hold potential to respond to questions surrounding the regulation of these online spaces, by exploring multiple perspectives. The authors of this paper each come from a unique starting point in their exploration of these issues. The paper will examine three spaces of regulation (...) in online game world environments. It will look at (1) rules and regulations that governs online interaction in virtual spaces, (2) the ‘code’ that controls behaviour through game architecture, and (3) the laws that are developed by players inside the game world. The first part will analyse whether domestic law can be adequate to regulate a space that is not geographically fixed. The second will discuss how the coding of the game and its architecture regulate behaviours within the space. The last is a “bottom-up” regulatory system, originating within the gaming community. Where do these three layers of regulation interact with each other? What are the unique languages of these spaces? This paper is a starting point for further investigation into the regulation of online behaviours through interwoven rule systems. (shrink)

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

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)

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)

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 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)

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)

_ 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)

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)

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 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.

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)