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  1. Russell L. Ackoff (1947). Mr. Rieser on Architecture. Philosophical Review 56 (6):690-694.
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  2. Virgil C. Aldrich (1975). The Architecture of Ludwig Wittgenstein. Southwestern Journal of Philosophy 6 (1):168-169.
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  3. Daiki Amanai (2007). The Founding of Bunriha Kenchiku Kai: "Art" and "Expression" in Early Japanese Architectural Circle, 1888-1920. Bigaku 57 (4):69-82.
    The author examines architectural theories that lead to the founding of Bunriha Kenchiku Kai in 1920, in line with four phases focusing on the understandings of "expression". First of all, the notion of architecture was divided into "art" and "science/utility" when it was introduced to Japan from the West. Secondly, the "art" was relegated to a lower importance through Sano Toshikata's nationalistic view of architecture. Sano's follower Noda Toshihiko subordinates architectural design only to the theory of structural mechanics. Their understandings (...)
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  4. Wayne Andersen (1994). On the Genius of Architecture. History of European Ideas 18 (5):741-745.
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  5. Diana Aurenque (2016). Heidegger On Thinking About Ethos And Man’s Dwelling. Architecture Philosophy 2 (1):39-53.
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  6. R. J. B. (1968). Architecture and Politics in Germany. Review of Metaphysics 22 (2):381-381.
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  7. Christoph Baumberger (2015). The Ethical Criticism of Architecture: In Defense of Moderate Moralism. Architecture Philosophy 1 (2):179-197.
    Abstract: The practice of architectural criticism is supercharged with ethical evaluations. But do they have any bearing on the architectural value of a building? And how are the ethical value of an architectural work and its aesthetic value related? I defend the following answers, which define a version of moderate moralism with respect to architecture: An architectural work will in some cases be (1) architecturally flawed (or meritorious) due to the fact that it has ethical flaws (or merits), (2) aesthetically (...)
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  8. Christoph Baumberger (2015). Architekturphilosophie: Ihre Abgrenzung von der Architekturtheorie und ihre Verortung in der Philosophie. In Jörg H. Gleiter & Ludger Schwarte (eds.), Architektur und Philosophie: Grundlagen, Standpunkte, Perspektiven. Transkript 58-73.
    In den letzten Jahren ist verschiedentlich vorgeschlagen worden, die philosophischen Ansätze zur Architektur in einer eigenständigen Disziplin der Architekturphilosophie zu-sammenzufassen. Im vorliegenden Beitrag gebe ich eine allgemeine Charakterisierung der Architekturphilosophie, indem ich sie einerseits von der Architekturtheorie abgrenze und andererseits in der Philosophie verorte. Im ersten Teil diskutiere ich verschiedene Ideen, die Abgrenzung von der Architekturtheorie über autorbezogene oder über inhaltliche Kriterien zu leisten, und mache einen Vorschlag, der mit stärker formalen Kriterien operiert. Im zwei¬ten Teil wende ich mich der (...)
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  9. Christoph Baumberger (2014). Gibt es architektonische Zitate? Zeitschrift Für Semiotik 36 (1-2):95-124.
    Summary. Does architecture allow for quotations in a precise and non-metaphorical sense? To answer this question, I formulate with Nelson Goodman for the clearest case, i.e. linguistic quotations, three indi-vidually necessary and collectively sufficient conditions and ask whether they can be satisfied by build-ings or their parts. On the one hand, I argue that in most cases which architectural theorists and critics describe as architectural quotations, what in fact is present is some kind of allusion. On the other hand, I (...)
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  10. Christoph Baumberger (2014). Gebaute Zeichen. Zu den Bedeutungsweisen von Bauwerken. In Jörg H. Gleiter (ed.), Symptom Design. Vom Zeigen und Sich-Zeigen der Dinge. Transkript 93-113.
    Architekturkritiker und -historiker verwenden eine Vielzahl von Ausdrücken, um anzugeben, was Bauwerke bedeuten. Es ist beispielsweise die Rede davon, dass sie etwas ausdrücken, repräsentieren, zitieren, manifestieren, darstellen oder aussagen; man kann von Gebäuden lesen, die mehrdeutig sind, als Metaphern fungieren oder auf etwas anspielen. In diesem Aufsatz frage ich, wie Bauwerke bedeuten können, um die Grundzüge einer Theorie der Bedeutungsweisen von Bauwerken und ihren Teilen vorzustellen, die als Rahmen für Einzelanalysen und historische Untersuchungen verwendet werden kann. Anstatt die meist unklaren (...)
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  11. Christoph Baumberger (2014). Konstruktive Schönheit. Zur ästhetischen Erfahrung und Wertschätzung von Architektur. In Mario Rinke & Josef Schwartz (eds.), Holz: Stoff oder Form. Transformation einer Konstruktionslogik. Niggli 187-207.
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  12. Christoph Baumberger (2013). Architekturphilosophie. Eine Einleitung. In Architekturphilosophie. Grundlagentexte. Mentis 7-29.
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  13. Christoph Baumberger (ed.) (2013). Architekturphilosophie. Grundlagentexte. Mentis.
    Ist die Architektur eine Kunst, obwohl Bauwerke meistens keine Kunstwerke sind? Was macht Bauwerke zu Kunstwerken und was bestimmt ihren ästhetischen Wert? Was ist spezifisch für unsere Erfahrung architektonischer Werke? In welcher Weise, wenn überhaupt, tragen Bauwerke Bedeutung? Was ist gemeint, wenn von der Identität von Bauwerken die Rede ist? Hat die Architektur eine ethische Funktion? Brauchen wir eine Ethik der Architektur? Die hier versammelten Aufsätze nehmen zu solchen Fragen Stellung. Der Band führt so anhand exemplarischer Positionen in die zeitgenössische (...)
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  14. Christoph Baumberger (2011). Structural Concepts and Spatial Design – On the Relationship Betweeen Architect and Engineer. In Aita Flury (ed.), Cooperation. The Engineer and the Architect. Birkhäuser 57-70.
    The profession of the master builder has become differentiated in the course of the technological developments stemming from industrialization, separating into the professional disciplines of the architect (in the modern sense) and the structural engineer. Ever since, the question has been about the relationship between architect and structural engineer and the nature of their collaboration. Differing responses have been propagated in architectural theory and exemplified by building practice. In this essay, I distinguish between the models of the monologue by an (...)
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  15. Christoph Baumberger (2010). Gebaute Zeichen. Eine Symboltheorie der Architektur. Ontos.
    Gebaute Zeichen zeigt am Beispiel der Architektur, wie auf der Grundlage der Arbeiten von Nelson Goodman eine leistungsfähige Symboltheorie entwickelt werden kann. Neben der bisher umfassendsten Rekonstruktion enthält das Buch wichtige Modifikationen und wesentliche Erweiterungen von Goodmans Theorie. Die resultierende Symboltheorie der Architektur bietet ein weit reicheres Instrumentarium zur Interpretation von Bauwerken als bestehende Architektursemiotiken. Zudem entgeht sie einer Reihe von Einwänden, welche gegen diese vorgebracht wurden. Vorbereitend wird gezeigt, inwiefern Bauwerke und ihre Teile als Symbole funktionieren können. Der Hauptteil (...)
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  16. Christoph Baumberger (2010). Kunst aktiviert Kunst. Ein Framework für eine funktionale Analyse der Museumsarchitektur. In Jakob Steinbrenner & Julian Nida-Rümelin (eds.), Kontextarchitektur. Hatje-Cantz 49-76.
    Im Zusammenhang mit der Museumsarchitektur wie auch sonst in der Architekturtheorie und der Philosophie der Architektur werden die Ausdrücke »Funktion« und »funktional« sehr häufig verwendet, aber kaum je expliziert. In diesem Aufsatz schlage ich eine Explikation des architektonischen Funktionsbegriffs vor, um am Beispiel der Museumsarchitektur ein Framework für eine funktionale Analyse von Bauwerken zu entwickeln. Im Anschluss an meinen Explikationsvorschlag, der es erlaubt, verschiedene Funktionstypen zu unterscheiden, behandle ich die praktischen und die ästhetischen Funktionen von Museumsbauten. Abschließend weise ich auf (...)
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  17. Christoph Baumberger (2009). Ambiguity in Architecture. In G. Ernst, O. Scholz & J. Steinbrenner (eds.), Nelson Goodman: From Logic to Art. Ontos 293--319.
    Buildings are frequently described as ambiguous and, indeed, they often involve the ambivalence associated with ambiguous symbols. In this paper, I develop a theory of architectural ambiguity within the framework of a Goodmanian symbol theory. Based upon Israel Scheffler’s study of verbal and pictorial ambiguity, I present a theory of denotational ambiguity of buildings which distinguishes four types of ambiguity: elementary ambiguity, interpretation-ambiguity, multiple meaning and metaphor, which proves to be a special case of multiple meaning. Denotationally ambiguous buildings are (...)
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  18. Christoph Baumberger & Georg Brun (2013). Identität, Charakter und Stil von Bauwerken. In Architekturphilosophie. Grundlagentexte. Mentis 141-166.
    In der Architekturtheorie ist häufig von der Identität von Bauwerken oder Städten die Rede. Der Ausdruck „Identität“ bezieht sich dabei auf etwas, was man „spezifischen Charakter“ nennen könnte. Wir schlagen eine symboltheoretische Explikation dieses Identitätsbegriffs vor und zeigen, in welchem Sinn ein Bauwerk verschiedene, sich verändernde oder gar konfligierende Identitäten haben kann. Identitäten von Bauwerken werden oft als mehr oder weniger klar, positiv, angemessen oder stark bewertet. Solche Attribute diskutieren wir, indem wir epistemische, materielle und strukturelle Bewertungen von Identitäten unterscheiden. (...)
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  19. William Behun (2009). To the Center of the Sky. Environment, Space, Place 1 (1):7-25.
    Heidegger’s sense of the holy is an important aspect of his thought, especially in the form that it takes in his later work. By juxtaposingHeidegger’s thinking on the sacred with traditional metaphysician René Guénon’s examination of the symbolism of the sacred pole, we can bring both elements into clearer focus. This paper undertakes to draw together these two radically disparate thinkers not to undermine either’s project, but rather to demonstrate one way in which the sacred can be more thoroughly understood, (...)
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  20. Walter Benjamin & Gevork Hartoonian (eds.) (2010). Walter Benjamin and Architecture. Routledge.
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  21. Jurgen Bey, Joost Grootens, Erik Rietveld, Ronald Rietveld, Saskia Van Stein & Barbara Visser (eds.) (2010). Vacant NL, Where Architecture Meets Ideas. NAI.
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  22. Otto Böcher (1975). Pre-Romanesque Church Architecture. Philosophy and History 8 (1):117-119.
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  23. Albert Borgmann (2009). Enclosure and Disclosure on Content and Form in Architecture. AI and Society 25 (1):11-18.
    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 (...)
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  24. Ole Bouman, Anneke Abhelakh, Mieke Dings & Martine Zoeteman (eds.) (2009). Architecture of Consequence: Dutch Designs on the Future. NAI Publishers.
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  25. Nicholas Boyarsky, Nicola Murphy & Duncan Mccorquodale (1998). Action Research. Monograph Collection (Matt - Pseudo).
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  26. Kenneth Boyd (2006). Giving New Functions to Old Forms: The Aesthetics of Reassigned Architecture. Postgraduate Journal of Aesthetics 3 (2):66-75.
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  27. Adam Brown (2012). Time Travel on the Instalment Plan: The Index and Future Form in Building. Philosophy of Photography 3 (1):141-153.
    The contemporary architectural rendering, digitally engineered and published in advance of construction, has come to resemble an image of an existing building so closely that it is hard to tell future from past. In constructing an appearance of an existing lived reality, which previously arose from the camera's re-presentation of the trace of past circumstances, has it now become possible to speak of the trace of future events? With regard to property as commodity, the more believable these projected forms, the (...)
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  28. Eric Buck (2006). Love and Tectonics: Epikurean Philosophy and Reparative Architecture. Philosophical Forum 37 (4):457–476.
    To highlight care in architecture, I resuscitate Epicurus’ valorization of friendship in philosophy, contending that friendly love of wisdom is a practice of well-being, ataractic know-how. I emphasize the body as the instrument of the ataractic project of living. John McDermott and architect Christopher Alexander argue that affection has a place in contemporary design: what a person feels love for in the initial situation guides design. I argue that friendship with things leads us to care for and repair them. Repair (...)
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  29. Leonardo Caffo (2012). L'architettura Morale Della Città. BLOOM - Trimestrale di Architettura 15 2012 (15):5-8.
    Basandomi su (Harvey 2012) argomenterò che la struttura architettonica della città deve seguire un determinato modello morale: gli edifici devono adattarsi alla persone e alle loro esigenze, e non il contrario. Definita la città come un particolare tipo di oggetto sociale, difenderò la tesi della possibilità di cambiamento “qui e ora” delle strutture architettoniche delle città sulla base del modello che, come mostra (Sudjic 2011), è attualmente ribaltato in una situazione in cui gli agglomerati urbani seguono sostanzialmente una struttura che (...)
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  30. Noël Carroll (2015). Architecture and Ethics: Autonomy, Architecture, Art. Architecture Philosophy 1 (2):139-156.
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  31. David Chappell (1987). The Architect in Employment. Architectural Press.
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  32. S. D. Chrostowska (2015). Collision: A Collision of Gargoyles. Evental Aesthetics 4 (1):32-41.
    FEATURED IN EVENTAL AESTHETICS RETROSPECTIVE 1. LOOKING BACK AT 10 ISSUES OF EVENTAL AESTHETICS. This article addresses the aesthetic status of gargoyles in medieval Gothic architecture. Irreducible to the grotesque yet manifestly discrepant with the core of cathedral and monastic buildings, the gargoyle serves as an entry point for an exploration of the stylistic relations comprising the Gothic and reflecting the cultural duality of the ecclesiastic sites of its historical emergence. The relation between gargoyles and the bulk of Gothic structures (...)
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  33. P. E. Cisek (1997). GW Theory in the Spotlight of Evolution. Journal of Consciousness Studies 4 (4):310.
    The global workspace architecture is examined from an evolutionary perspective. It is argued that certain aspects of the theory are difficult to account for in terms of a sequence of evolutionary elaborations. These notably include distinct actors and audience members, and the lingua franca by which they communicate. An alternative metaphor of a ‘global arena’ is suggested, along with speculation on how this bottleneck of behavioural competition may have evolved toward a more sophisticated architecture, perhaps even a theatre . . (...)
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  34. Nathaniel Coleman (2015). The Myth of Autonomy. Architecture Philosophy 1 (2):157-178.
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  35. Jane Collier (2006). The Art of Moral Imagination: Ethics in the Practice of Architecture. [REVIEW] Journal of Business Ethics 66 (2/3):307 - 317.
    This paper addresses questions of ethics in the professional practice of architecture. It begins by discussing possible relationships between ethics and aesthetics. It then theorises ethics within concepts of 'practice', and argues for the importance of the context in architecture where narrative can be used to learn and to integrate past and present experience. Narrative reflection also takes in the future, and in the case of architecture there is a positive but not yet well accepted move (particularly within the 'academy') (...)
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  36. Ananda Kentish Coomaraswamy, Michael W. Meister & Indira Gandhi National Centre for Arts (1995). Essays in Architectural Theory. Monograph Collection (Matt - Pseudo).
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  37. Cesar A. Cruz (2016). Appendix: Heidegger’s “Man’s Dwelling” (Companion to Diana Aurenque's Heidegger On Thinking About Ethos And Man’s Dwelling). Architecture Philosophy 2 (1):55-62.
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  38. Rafael De Clercq (2015). Architecture. In Anna Christina Ribeiro (ed.), The Bloomsbury Companion to Aesthetics. Bloomsbury
    This survey chapter discusses four issues in architectural aesthetics: architectural design, architectural style, the justification of “optical correction”, and the metaphysics of reconstruction.
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  39. Rafael De Clercq (2014). Building Plans as Natural Symbols. Architecture Philosophy 1 (1):61-78.
    Carroll William Westfall has claimed that building types can serve as natural symbols of (the purposes served by) activities such as venerating, celebrating, trading, and dwelling. The aim of this paper is to interpret Westfall’s claim in a way that makes it non-trivial and yet worthy of further investigation. In particular, an attempt is made to explain the connection between building types and what they symbolize without appealing to convention. The question is also answered whether a non-conventional connection is compatible (...)
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  40. Rafael de Clercq (2011). Modern Architecture and the Concept of Harmony. British Journal of Aesthetics 51 (1):69-79.
    The aim of this paper is to achieve a better understanding of why modern buildings do not easily harmonize with one another. After proposing, and defending, an analysis of the concept of architectural harmony, the paper turns to three possible views on whether we can expect more harmony from modern architecture in the future.
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  41. Rafael De Clercq (2009). Scruton on Rightness of Proportion in Architecture. British Journal of Aesthetics 49 (4):405-414.
    In The Aesthetics of Architecture, Roger Scruton makes at least four claims about rightness of architectural proportion. The present paper lists those claims, briefly discusses the way they are related, and, finally, selects one as the topic of discussion: the claim that there cannot be an exact, mathematical definition of rightness of proportion. Scruton’s arguments for this claim are reviewed. The first is found to be substantially correct, whereas the second is found to rely on a mistaken assumption, namely the (...)
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  42. Rafael De Clercq (2008). Lopes on the Ontology of Japanese Shrines. Journal of Aesthetics and Art Criticism 66 (2):193–194.
    This article is a reply to Dominic McIver Lopes, 'Shikinen Sengu and the Ontology of Architecture in Japan,' published in The Journal of Aesthetics and Art Criticism 65 (2007). The reply explains how the standard ontology of architecture is able to accommodate Japanese shrines such as Ise Jingu.
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  43. Rafael De Clercq (2004). The Legitimacy of Modern Architecture. Philosophical Forum 35 (2):135–146.
    The aim of this article is to reconstruct and evaluate the main argument in Roger Scruton's book The Classical Vernacular: Architectural Principles in an Age of Nihilism.
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  44. Jasper de Haan & Michael Speaks (1996). The Critical Landscape. Monograph Collection (Matt - Pseudo).
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  45. Richard De la Riva, Architecture and Music : On Rhythm, Harmony and Order.
    This paper examines the relationship of architecture to music in terms of rhythm, harmony and order in both the Greek Antiquity and the early Middle Ages. These basic concepts are crucial because they emphasize 'fullness' of experience and demonstrate the extent to which our own regulating experience of the world has become empirical (or formal). The discussion thus places architectural theory within the movement of ideas between mythical thought and metaphysical construct; it places architectural practice within the movement between bodily (...)
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  46. Mark H. Dixon (2009). The Architecture of Solitude. Environment, Space, Place 1 (1):53-72.
    As a spiritual or meditative practice solitude implies more than mere silence or being alone. While these are perhaps indispensablecomponents, it is possible to be alone or to live in silence and nevertheless be unable to reconfigure these into genuine solitude. Solitude is also more than being in some remote or inaccessible place. Even though geographical isolation might be conducive to solitude, with rare exceptions human beings have seldom sought solitude in complete seclusion in the wilderness. The places where human (...)
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  47. Maria Isabel Aldinhas Ferreira (2012). Interactive Bodies: The Semiosis of Architectural Forms. Biosemiotics 5 (2):269-289.
    In this paper architectural forms are presented as symbolic forms issued from the complex semiosis that characterises human cognition (Ferreira (2007, 2010)). Being semiotic objects, these symbolic forms are, consequently, context- dependent_they emerge and have meaning, i.e., they are assigned a functional and/or aesthetic value, in particular physical, social and cultural frameworks. As it happens with all semiotic objects, architectural forms, whatever their nature, are not static but highly interactive. In fact, they act as agents of specific semiotic processes, engaged (...)
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  48. Filippo Fimiani (2010). Dal mondo dell'arte al regno delle ombre (e ritorno). Arthur Danto, Maya Lin e la bellezza interna. Aisthesis. Pratiche, Linguaggi E Saperi Dell’Estetico 3 (2).
    Arthur Danto asserts that Maya Lin’s Vietnam Veterans Memorial in Washington embodies the rhetoric paradigm of internal beauty’s meaning. However, the relationship to the Kant’s pulchritudo adhaerens is not an easy one: Danto’s recalls against the self-referent formalism of Greenberg’s Modernism and his tacit issues about the environmental non-monumentality of Richard Serra’s Minimalism, are, most importantly, haunted by the unquestioned spectral logic of the image embodiment. The beholders’ reflecting shape on the funeral Wall is, finally, both a pathetic index and (...)
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  49. Saul Fisher, Philosophy of Architecture. Stanford Encyclopedia of Philosophy.
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  50. Saul Fisher (2000). Architectural Notation and Computer Aided Design. Journal of Aesthetics and Art Criticism 58 (3):273-289.
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