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)

Architectural theory arises from building, when the mind considers its symbolic relations to its own constructions. The intent of this essay is to discuss the intellectual causes that precede building and precede theory. It considers certain fundamental dualities in our thinking about architecture—such as image and word; type and model; imitation and invention—and the role they play in its making, its perfection as an art, and the eventual elaboration of its tenets into a theory. At a (...) time when theories of architecture proliferate as expressions of ‘personal philosophies,’ a careful and incisive philosophical approach to if, how, and when does theory become formative of building, may ensure that architecture remain faithful to its intrinsic purposes. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Architectural Theory, Volume 1: An Anthology from Vitruvius to 1870Peg RawesArchitectural Theory, Volume 1: An Anthology from Vitruvius to 1870, edited by Harry Francis Mallgrave. Malden MA, Oxford, Victoria: Blackwell Publishing, 2006, 590 pp., $49.95.This anthology is a rich and comprehensive documentation of the key stages that construct Western architectural theory, from Vitruvius's classical writing to Gottfried Semper's theories in late-nineteenth-century Europe. Comprised (...) of 229 texts by these and other significant writers of architectural theory, it represents an extremely valuable resource for architectural design, history, and theory education and, more broadly, for aesthetic education, art history, aesthetics, and visual culture. Professor Mallgrave's career as an architectural historian and theorist at the Illinois Institute of Technology, and editor of Architecture and Aesthetics for the Texts and Documents Series at the Getty Research Institute, has enabled him to bring together a large number of canonical texts by architects and writers, including Alberti, Palladio, Vasari, Perrault, Wotton, Wren, Soufflot, Blondel, Boullée, Ledoux, Soane, Reynolds, Pugin, Viollet-le-Duc, Ruskin, and Greenough. In addition, Mallgrave has selected important contextualizing texts that inform the philosophical, cultural, and aesthetic development of the discipline by writers such as Rousseau, Voltaire, Montesquieu, Morris, Chambers, Winckelmann, Locke, Hume, Ramsey, Burke, Walpole, Price, von Schlegel, Wolff, Jefferson, Emerson, Hugo, Zola, and Leibnitz.Six stages of development are laid out, beginning with the Classical and Renaissance periods in part I. In part II the debates about Classicism in France and Britain develop, leading into part III, in which texts from the Neoclassical and Enlightenment debates in Europe take precedence. In part IV, Picturesque and Sublime theories are documented, from which part V turns to consider the importance of Historicism in the nineteenth century and, finally, in part VI the impact of Historicism is examined in relation to developments in industrialization.Introducing each part, Mallgrave succinctly highlights the historical, cultural, and political structures that underpin the development of architectural ideas and debates during the period. Within each part, internal sections further distinguish the particular ideas that preoccupied specific individuals and groups to comprise different theoretical positions. Part II, for example, is divided into the nationalist differences between "French Classicism: Ancients and Moderns" and "British Classicism and Palladianism," and part IV identifies key texts that contribute to the theorization of eighteenth-century aesthetics in three stages: "Sources of the Picturesque," "Toward a Relativist Aesthetics," and "Consolidation of Picturesque Theory." In addition, Mallgrave introduces each individual text, drawing attention to the author's intellectual ambitions and the contemporary debates in which their contribution is constructed. Architectural [End Page 111] theory is therefore characterized as a discipline that is made up of dynamic discussions, which are frequently unresolved and irregular in their formation. Diverse and opposing agendas are pursued, both within and between different institutions, academies, and communities, including the late-sixteenth-century "stylistic battles" of Alberti and Serlio's treatises, which were developed out of Vitruvius's ten "books" of architecture; the pluralism of styles in the United States in the mid-nineteenth century that was comprised of puritanical influential theories, Gothic and French Classicism, and the new generation of American architectural theorists; and the emergence of a German architectural theory within the political disputes that led to the unification of Germany in 1871. Architectural theory is therefore firmly constructed in relation to social, material, cultural, and political systems and frameworks.This colorful construction of architectural theory is evident, especially in those sections that are central to Mallgrave's ongoing research interests, in the tension between the rational, technical, and empirical discussions that inform seventeenth-, eighteenth-, and nineteenth-century aesthetics. Running through parts II and III, for example, is one of the most drawn-out and bitter disputes, which dominated architectural theory in the seventeenth- and eighteenth-century French Academy of Architecture. Focused on the value of Vitruvius's Roman origins of Classicism, versus revivalist ambitions to retrieve the ornamental Classicism of Greek and Gothic styles, this great quarrel occupies the texts, letters, essays, and articles by architects and writers, including Blondel, Perrault, Piranesi, Soufflot, Winckelmann, Le Roy, Boullée, and Ledoux. But this debate is also important in the context of... (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)

This unique collection of essays will be invaluable to students and scholars as well as to architects and art historians for the range of issues it covers and the depth of analysis it provides.

The nature of architecture Building Architecture and Religion The sense of the past Following the example of antiquity.

This paper seeks to present a kind of skeptical, and, in an indirect way, Wittgensteinian perspective upon purpose and meaning in architecture. The argument presented here revolves around the two notions that, first, there are different categories, which we have available for making architecture seem intelligible to us, and, second, that there are distinct historical discourses in which architecture has been made intelligible in specific ways.

'...deserves serious attention among new theories in architecture, and is recommended for all university architectural collections.'|s CHOICE.

This book brings to light central topics that are neglected in current histories and theories of architecture and urbanism. It traces two models for the practice of architecture. One follows the ancient model in which the architect renders his service to serve the interests of others; it survives and is dominant in modernism. The other, first formulated in the fifteenth century by Leon Battista Alberti, has the architect use his talent in coordination with others to contribute to the common good (...) of a republican civil order that seeks to protect its own liberty and that of its citizens. It stresses the importance and urgency, of restoring traditional practices so that we can build just, beautiful, and sustainable cities and rural districts. (shrink)

In this paper we compare two theories about the cognitive architecture underlying morality. One theory, proposed by Sripada and Stich (forthcoming), posits an interlocking set of innate mechanisms that internalize moral norms from the surrounding community and generate intrinsic motivation to comply with these norms and to punish violators. The other theory, which we call the M/C model was suggested by the widely discussed and influential work of Elliott Turiel, Larry Nucci and others on the “moral/conventional task”. This (...) theory posits two distinct mental domains, the moral and the conventional, each of which gives rise to a characteristic suite of judgments about rules in that domain and about transgressions of those rules. We give an overview of both theories and of the data each was designed to explain. We go on to consider a growing body of evidence that suggests the M/C model is mistaken. That same evidence, however, is consistent with the Sripada and Stich theory. Thus, we conclude that the M/C model does not pose a serious challenge for the Sripada and Stich theory. (shrink)

Relevance Theory (RT) argues that human language comprehension processes tend to maximize “relevance,” and postulates that there is a relevance-based procedure that a hearer follows when trying to understand an utterance. Despite being highly influential, RT has been criticized for its failure to explain how speaker-related information, either the speaker’s abilities or her/his preferences, is incorporated into the hearer’s inferential, pragmatic process. An alternative proposal is that speaker-related information gains prominence due to representation of the speaker within higher level (...) goal-directed schemata. Yet the goal-based account is still unable to explain clearly how cross-domain information, for example linguistic meaning and speaker-related knowledge, is integrated within a modular system. On the basis of RT’s cognitive requirements, together with contemporary cognitive theory, we argue that this integration is realized by utilizing working memory and that there exist conversational constraints with which the constructed utterance interpretation should be consistent. We illustrate our arguments with a computational implementation of the proposed processes within a general cognitive architecture.Abbreviations: ACT-R Adaptive Control of Thought - RationalCOGENT Cognitive Objects within a Graphical ENvironmenTCS/SS Contention Scheduling/Supervisory SystemRBCP Relevance-Based Comprehension ProcedureRT Relevance Theory. (shrink)

'...deserves serious attention among new theories in architecture, and is recommended for all university architectural collections.'|s CHOICE.

My research is centred upon how architecture is invigorated by cyberspace, the blurred boundary between the virtual and the actual, and how the different parameters of these spaces can be used to inform one another. My early experience in practice was that buildings are limited by the inert materials used to construct them and by the unimaginative ideas of what a building should look like and be. My research draws upon a variety of different disciplines to inform one architecture. The (...) areas of research are multidisciplinary and include the changing status of the architectural drawing, smart materials, computer-aided architectural drawing, computer-aided manufacture, emergent systems, responsive environments, the architectural design of cyberspace, interactivity, cybernetics and evolving systems and algorithmic design. To create responsive, non-prescriptive designs for architectural intervention was the starting point that led to an interest in the logic of algorithms and open-ended systems. These problem-solving diagrams used by computer programmers are very useful as a way of describing fluctuating conditions in responsive environments. This led to an interest in other computing paradigms such as cellular automata, complexity and emergence. These and other ideas I attempted to bring into the arena of architectural design to help architects cope with the rapid growth of computational technology, which is starting to revolutionize the way buildings are designed, drawn and built. We are at another of the important perturbations in technology and epistemology that seems to affect us so often these days. Cell biology is the new cyber-space and nanotechnology. Once we fully understand the exact nature of how our world makes us and, indeed how it sometimes kills us, we will be able to make true architectures of ecological connectability. This is our profession's future. Small steps have been made, but much more remains to be done. (shrink)

This paper presents a blueprint for an ecological cognitive architecture. Ecological psychology, I contend, must be complemented with a story about the role of the CNS in perception, action, and cognition. To arrive at such a story while staying true to the tenets of ecological psychology, it will be necessary to flesh out the central metaphor according to which the animal perceives its environment by ‘resonating’ to information in energy patterns: what is needed is a theory of resonance. I (...) offer here the two main elements of such a theory: a framework and a methodology. (shrink)

Is architecture relevant for political theory? That is the key question that structures this excellent collection Political Theory and Architecture, although a number of essays fit a broader formulated theme better, namely, concerning the political relevance of the organization and design of our built environment more generally, including architecture but also spatial planning and urban design. The collection demonstrates that our build environment is not merely a passive backdrop to a political community, but actively shapes aspects of our (...) common political life. This constitutive nature of our built environment figures in many different guises throughout this volume. In this review article, I discuss some of these and conclude that concerns about the ‘common good’ and hence about the discipline of political theory should take reflections on urban design, planning, and architecture into account. (shrink)

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.

The chapter contributes to unravelling how Actor-Network-Theory as a method of inquiry might inform the archaeological understanding of the contemporary world. To illustrate this, the author engages in an inquiry on Shin Takamatsu’s architecture following Guattari’s fascination with his architectural machines in the 1980s. Drawing on two epistemological figures-the hasty sightseer and the slow ethnographer-the chapter demonstrates two different approaches to contemporary architecture. It is argued that ANT methodologies can help to create a space in which the past, (...) present, and future are combined and are still in the process of becoming. Equipped with ANT-inspired methods, contemporary archaeologists can engage in explorations of vibrant processes and emergent world-making techniques. (shrink)

The paper begins as a response to Tom Rockmore's thesis that contemporary pragmatism is a healthy “confusion” of disparate views. While Rockmore sees the need of some of today's pragmatists to provide a motivation for what he calls “epistemic optimism,” I contend that the crucial question of pragmatism, the problem of pragmatism, is the ontological status of pragmatic meaning. Thus rather than a mere “epistemic optimism,” I call upon pragmatists to assert a fallible yet unabashedly metaphysical optimism. The argument supporting (...) this claim is made in the context of Peirce's “The Architecture of Theories.” In “The Architecture of Theories” Peirce opens the door to a pragmatic metaphysics while at the same time committing the error of subordinating truths and reality to “the long run of inquiry.” Rockmore suggest that the solution may lie in a return to Kant's notion of the “powers of the mind.” However, it is my contention that a solution to this problem cannot be found within Kant at all. I shall argue here that until contemporary pragmatism decisively extracts itself from the Kantian paradigm, the pragmatic philosophic value of pragmatic meaning will always be qualified, conditional and ontologically subordinated, having the same effect upon the standing of pragmatism as a philosophy as well. Moreover, I shall endeavor to show that when the Kantian paradigm is finally abandoned, pragmatism's classic difficulties with realism and what Peircc called “the long run” of scientific inquiry can also be resolved. Kantian “powers of the mind” and constructivist “epistemological optimism” would then be transformed into what I shall call unrestricted pragmatism. On the other hand if the Kantian impediment is not overcome, these difficulties will continue to form the basis of a more sceptical and traditionally restricted pragmatism, one which lacks the confidence desired by both Rockmore and myself. (shrink)

This chapter contains sections titled: The Will and Modernity Schopenhauer's Architectonic Idealism An Argument against Hegel In Defense of Classicism Structure, Function and Form Architecture and Contemplation Notes References.

Ontology of Construction explores theories of construction in modern architecture, with a particular focus on the relationship between nihilism of technology and architecture. Providing an historical context to the concept of making, the essays collected in this volume articulate the implications of technology in works by such architects as Le Corbusier, Frank Lloyd Wright, Adolf Loos, and Mies van der Rohe. Also provided is an interpretation of Gottfried Semper's discourse on the Tectonic and the relationship between architecture and other crafts. (...) Emphasising 'fabrication' as a critical theme for contemporary architectural theory and practice, Ontology of Construction is a provocative contribution to the current debate in these areas. (shrink)

There is fast-growing awareness of the role atmospheres play in architecture. Of equal interest to contemporary architectural practice as it is to aesthetic theory, this 'atmospheric turn' owes much to the work of the German philosopher Gernot Böhme. Atmospheric Architectures: The Aesthetics of Felt Spaces brings together Böhme's most seminal writings on the subject, through chapters selected from his classic books and articles, many of which have hitherto only been available in German. This is the only translated version (...) authorised by Böhme himself, and is the first coherent collection deploying a consistent terminology. It is a work which will provide rich references and a theoretical framework for ongoing discussions about atmospheres and their relations to architectural and urban spaces. Combining philosophy with architecture, design, landscape design, scenography, music, art criticism, and visual arts, the essays together provide a key to the concepts that motivate the work of some of the best contemporary architects, artists, and theorists: from Peter Zumthor, Herzog & de Meuron and Juhani Pallasmaa to Olafur Eliasson and James Turrell. With a foreword by Professor Mark Dorrian and an afterword by Professor David Leatherbarrow,, the volume also includes a general introduction to the topic, including coverage of it history, development, areas of application and conceptual apparatus. (shrink)

In modern evolutionary theory, selection acts on particular genes and assemblages of genes that operate through phenotypes expressed in environments. This view, however, overlooks the fact that organisms often alter their environments in pursuit of fitness needs and thus modify some environmental selection pressures. Niche construction theory introduces a reciprocal causal process that modifies natural selection relative to three general kinds of environmental components: abiota, biota (other organisms), and artifacts. The ways in which niche-constructing organisms can construct or (...) modify the components differ. Modification of abiota, for example, may have different consequences from the construction of artifacts. Some changes in abiota may simply be caused by the by-products of metabolisms and activities of organisms. Alternatively, artifacts may be “extended phenotypes” that demonstrate obvious prior “design” and “construction” by organisms in the service of fitness needs. Nevertheless, adaptation should always account for the reciprocity between constructed niches and the living agents that construct them. Looking to well-adapted nature for inspiration for human-built artifacts must account for this reciprocity between phenotype and constructed environment as well as the novel features of human architecture, including frank intentionality of design and novel culturally acquired knowledge. (shrink)

헤겔에 의하면 상징적 예술형식이 건축의 근본전형이지만, 건축은 그 내부에서 다시 상징적 건축, 고전적 건축, 낭만적 건축으로 구분된다. 이 점에서 낭만적 건축을 대표하는 고딕 건축이 어떤 예술형식에 속하는지가 문제될 수 있다. 헤겔은 괴테의 건축론을 수용하면서 고딕 건축이 중세에만 한정되지 않고 그 당대의 건축까지 포괄한다고 생각한다. 고딕 건축이 보여주는 특징은 대립하는 요소들의 공존을 공간적으로 구현함으로써, 인간 정신의 내면성을 강화하면서 유한성을 뛰어 넘을 수 있게 한다는 점이다. 더 나아가 고딕 건축은 살아있는 인간의 다양한 일상이 발생하는 장소이기도 한데, 이를 표현하기 위해 헤겔은 ‘노마드’라는 개념을 (...) 사용하기도 한다. 이러한 점들을 고려하면 고딕건축은 낭만적 예술로 간주되어야 적절할 뿐만 아니라 ‘세상의 축소판’으로 해석될 수도 있다. 이처럼 고딕 건축에 관한 헤겔의 논의는 근대 소설이나 후기 네덜란드 장르화에 관한 그의 논의에 버금갈 정도로 근대적 삶에 대한 예술비평으로 간주될 수 있으므로, 헤겔의 건축론은 다른 예술론에 비해 과소 평가되어서는 안 된다. (shrink)

Arthur Danto's discussions of architecture are sparse. This chapter discusses the place, role, and meaning of architecture in Danto's writings and the extent to which Danto has influenced architectural theory and criticism. In addition to architecture being a key influence on his thought, Danto's writings on art and philosophy have permeated architectural theory and allowed for novel approaches to architecture by contemporary scholars. The most relevant contribution to contemporary architectural history may be Danto's conception of (...) history as a process which involves the use of what he termed “narrative sentences” and which culminates with the end of self‐conscious historical meta‐narratives. The considerations of Danto's thought within the fields of architectural theory and the philosophy of architecture seem only to be brief. His preferences toward Kahn and Holl reflect his interest in what could be called a philosophical architecture: one that embodies philosophical meanings and whose creators think philosophically while designing. (shrink)

Praktykowanie teorii. Koncepty wczesnych prac Daniela Libeskinda jako wzorce realnej architektury Treści wczesnych prac Libeskinda, w tym zwłaszcza idee zawarte w cyklach rysunków pod nazwą Micromegas: The Architecture of End Space (1979) i Chamber Works: Architectural Meditations on the Themes from Heraclitus (1983) oraz trzy maszyny określone jako Three Lessons in Architecture (1985) w decydujący sposób wpłynęły na wszystkie późniejsze realizacje architekta. Prace te w dużym zakresie zmieniły zasady oddzielania teorii od praktyki budowlanej, w tym tak- że odgraniczania architektury (...) od literatury czy filozofii. Już Micromegas były polemiką z traktowaniem rysunku architektonicznego wyłącznie jako utylitarnego narzędzia w procesie stwarzania budowli i postawiły na uczynienie z tej techniki pełnoprawnej postaci realnej architektury. Chamber Works w jeszcze większym stopniu niż prace z serii Micromegas akcentowały samodzielność rysunku i jego odrębność od wszelkiej rzeczywistości czy zewnętrznych źródeł treści. Maszyny połączone w Three Lessons in Architecture streszczały dokonania dawnych epok historii sztuki budowania. Reading Machine opowiadała o rzemieślniczych początkach, Memory Machine o intelektualizmie okresu nowożytnego, Writing Machine zaś o współczesnym okresie mechanizacji pamięci i kreacji. Zadaniem maszyn była metafizyczna refleksja nad głównymi założeniami i mitami architektury, a zarazem przeniesienie tej refleksji na poziom doświadczenia zmysłowego. W berlińskim Jüdisches Museum wymyślone liternictwo architektoniczne połączyło się z narracją na temat zagłady żydowskich mieszkańców miasta. Libeskind wykreował nie tyle budowlę,ile literacką relację o zbrodni przełamującej historię ludzkość. (shrink)

Turing's analysis of computation is a fundamental part of the background of cognitive science. In this paper it is argued that a re‐interpretation of Turing's work is required to underpin theorizing about cognitive architecture. It is claimed that the symbol systems view of the mind, which is the conventional way of understanding how Turing's work impacts on cognitive science, is deeply flawed. There is an alternative interpretation that is more faithful to Turing's original insights, avoids the criticisms made of the (...) symbol systems approach and is compatible with the growing interest in agent‐environment interaction. It is argued that this interpretation should form the basis for theories of cognitive architecture. (shrink)

Psychoanalysis is often divided into two parts: the clinical theory and the metapsychology. Recent historical and philosophical work has led some psychoanalysts to argue that the metapsychology is a cryptic biology and not a psychological theory at all. Evidence for this view is largely that metapsychological concepts can be traced to Freud's "Project for a Scientific Psychology", in which he seems to argue that systems of neurons perform both psychological and neuro-physiological functions. The conclusion these writers have drawn (...) is that Freud's metapsychology represents an attempt to unify two putatively incommensurable conceptual frameworks: the psychological and the physiological. ;In the first chapter I review the dispute between Wernicke and Freud on the issue of aphasia and place it in the context of 19th century psychological explanatory traditions. One of these traditions, developed by Franz Joseph Gall, predominates in Wernicke's work. The other tradition, associationism as developed by John Stuart Mill and Alexander Bain, predominates in Freud's critique of Wernicke. I suggest that Wernicke's cerebral localization strategy amounts to a type-type identity theory, and that Freud presented both empirical and conceptual reasons for rejecting this commitment. ;In the second chapter I explicate Freud's "Project" and chapter VII of The Interpretation of Dreams. In the latter, I argue, Freud develops a version of functionalism. His break with his neurological background is exemplified by his insistence that psychology is autonomous. ;In the third chapter I evaluate critically the arguments presented by Merton Gill, George Klein, and Roy Schaffer that purport to show Freud's metapsychology is not a psychology at all, but a neuro-biology. Against this view I suggest that Freud describes mental structures that serve various design functions. These structures, attributed to persons by the metapsychology of infantile wishes and regression, are cognitively impenetiable. The notion that the design or functional architecture of a system is cognitively impenetiable is used to account for the protracted nature, perhaps interminability, of psychoanalytic therapy. Freud's therapeutic pessimism has its roots in theory rather than therapeutic failure. (shrink)

What is a right? What, if anything, makes rights different from other features of the normative world, such as duties, standards, rules, or principles? Do all rights serve some ultimate purpose? In addition to raising these questions, philosophers and jurists have long been aware that different senses of ‘a right’ abound. To help make sense of this diversity, and to address the above questions, they developed two types of accounts of rights: models and theories. This book explicates rights modelling and (...) theorising and scrutinises their methodological underpinnings. It then challenges this framework by showing why the theories ought to be abandoned. In addition to exploring structural concerns, the book also addresses the various ways that rights can be used. It clarifies important differences between rights exercise, enforcement, remedying, and vindication, and identifies forms of legal rights-claiming and rights-invoking outside of institutional contexts. (shrink)

Might architecture be reconceived as a form of performance? I draw upon Nelson Goodman’s writing on architecture—including his account of architectural notation—and David Davies’s performance theory, which claims that artworks should be considered not as products made by generative performances, but rather as the performances themselves. I tie the exemplification that Goodman identifies as the primary way architectural works ‘mean’ to the role of the architectural ‘score’, recast not as a mere ‘constraint’ but as integral to (...) the creative processes by which architecture establishes an ‘artistic statement’ and a distinctive ‘virtual’ realm. In so doing, I reconcile such a position with an aesthetics of reception, whereby the situated encounter with the physical building is seen as essential to the critical retrieval of any given architectural performance. I test this position against a late work by Sigurd Lewerentz, completed when he was in his eighties, and examine the extraordinary lengths necessitated by his idiosyncratic imperative not to cut any bricks, thereby articulating an artwork every bit as radical as contemporaneous works by conceptual artists. (shrink)

Giuliana Bruno _Atlas of Emotion: Journeys in Art, Architecture, and Film_ London: Verso, 2002 ISBN 1859848028 484 pp.