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  1. Greg Bamford (2010). Representational and Realised Design: Problems for Analogies Between Organisms and Artifacts. Copenhagen Working Papers on Design 2010 // No. 2.
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  2. Greg Bamford (2003). Research, Knowledge and Design. In Clare Newton, Sandra Kaj-O'Grady & Simon Wollan (eds.), Design + Research: Project Based Research in Architecture. Second International Conference of the Association of Australasian Schools of Architecture, Melbourne 28 – 30 September, 2003. Association of Architecture Schools of Australasia
    The discussion about relations between research and design has a number of strands, and presumably motivations. Putting aside the question whether or not design or “creative endeavour” should be counted as research, for reasons to do with institutional recognition or reward, the question remains how, if at all, is design research? This question is unlikely to have attracted much interest but for matters external to Architecture within the modern university. But Architecture as a discipline now needs to understand research much (...)
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  3. Greg Bamford (2002). From Analysis/Synthesis to Conjecture/Analysis: A Review of Karl Popper’s Influence on Design Methodology in Architecture. [REVIEW] Design Studies 23 (3):245-61.
    The two principal models of design in methodological circles in architecture—analysis/synthesis and conjecture/analysis—have their roots in philosophy of science, in different conceptions of scientific method. This paper explores the philosophical origins of these models and the reasons for rejecting analysis/synthesis in favour of conjecture/analysis, the latter being derived from Karl Popper’s view of scientific method. I discuss a fundamental problem with Popper’s view, however, and indicate a framework for conjecture/analysis to avoid this problem.
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  4. Greg Bamford (1991). Design, Science and Conceptual Analysis. In Jim Plume (ed.), Architectural Science and Design in Harmony: Proceedings of the joint ANZAScA / ADTRA conference, Sydney, 10-12 July, 1990. School of Architecture, University of NSW
    Philosophers expend considerable effort on the analysis of concepts, but the value of such work is not widely appreciated. This paper principally analyses some arguments, beliefs, and presuppositions about the nature of design and the relations between design and science common in the literature to illustrate this point, and to contribute to the foundations of design theory.
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  5. J. C. Berendzen (2008). Institutional Design and Public Space: Hegel, Architecture, and Democracy. Journal of Social Philosophy 39 (2):291-307.
    Habermas's conception of deliberative democracy could be fruitfully supplemented with a discussion of the "institutional design" of civil society; for example the architecture of public spaces should be considered. This paper argues that Hegel's discussion of architecture in his 'Aesthetics' can speak to this issue. For Hegel, architecture culminates in the gothic cathedral, because of how it fosters reflection on the part of the worshiper. This discussion suggests the possibility that architecture could foster a similar kind of intersubjective reflection. To (...)
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  6. Arnold Berleant (ed.) (2002). The Environment and the Arts. Ashgate Press.
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  7. 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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  8. Thorsten Botz-Bornstein (2010). Is Critical Regionalist Philosophy Possible? Comparative and Continental Philosophy 2 (1):11-25.
    In architecture, the concept of Critical Regionalism gained popularity as a synthesis of universal, “modern” elements and individualistic elements derived from local cultures. Critical Regionalist alternatives are more than a postmodern mix of ethno styles but integrate conceptual qualities like local light, perspective, and tectonic quality into a modern architectural framework. In order to “critically” root architectural works in their corresponding traditions, Critical Regionalists base their conceptual stances on those philosophers that have produced a critical consciousness in European culture like (...)
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  9. Ole Bouman, Anneke Abhelakh, Mieke Dings & Martine Zoeteman (eds.) (2009). Architecture of Consequence: Dutch Designs on the Future. NAI Publishers.
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  10. Rabah Bousbaci (2009). L’habiter ou le bien de l’architecture. Les ateliers de l'éthique/The Ethics Forum 4 (1):20-33.
    Le bâtir est un trait fondamental de la condition humaine. À notre époque, les réflexions en vue de mieux comprendre le sens phénoménologique et anthropologique de l’acte de bâtir se mul- tiplient. La constante qui semble rallier ces réflexions consiste à reconnaître l’enracinement du sens de l’acte de bâtir dans l’habiter : le bâtir puiserait ainsi sa signification première dans l’ha- biter. Ce ralliement et ce consensus semblent marquer ainsi ce que l’histoire pourrait un jour désigner comme le « tournant (...)
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  11. Michael Braund & Daniel Hambleton (2011). Dragonfly: An Ecological Approach to Digital Architectural Design. In J. M. Taron, V. Parlac, B. Kolarevic & J. S. Johnson (eds.), ACADIA: Integration through Computation.
    In his keynote address delivered to The American Society for Esthetics in 1976, James J. Gibson wrote, “Architecture and design do not have a satisfactory theoretical basis.” He then asked, “Can an ecological approach to the psychology of perception and behavior provide it?” (1976, p. 413) We believe that it can, at least in part. In this paper, we expand upon Gibson’s insights into the nature of perceptual experience by applying the concept of “affordances” to the design of architectural objects (...)
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  12. C. Brooke (1967). “Religious Sentiment And Church Design In The Later Middle Ages,”. Bulletin of the John Rylands Library 50 (1):13-33.
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  13. Caroline Bruzelius (2012). New Approaches to Medieval Architecture. AVISTA Studies in the History of Medieval Technology, Science and Art. [REVIEW] The Medieval Review 3.
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  14. Eric Buck (2009). Non-Places: An Introduction to Supermodernity. [REVIEW] Theory in Action 2 (3):134-140.
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  15. D. C. (1965). Notes on the Synthesis of Form. [REVIEW] Review of Metaphysics 19 (1):148-148.
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  16. Melinda Campbell (2011). Hotels on the Border: Cinematic Situations of Transgression and Transcendence. In Hyperborean Wind: Reflections on Design and the City.
    Three important 20th-century American films prominently feature a hotel as the site for morally ambiguous and sexually charged events depicted in the plot: Orson Welles's Touch of Evil (1958), Alfred Hitchcock's Psycho (1960), and Joel and Ethan Coen's Barton Fink (1991). While all three films have a multiplicity of elements that present how hotel spaces open horizons displaying human behaviors both normal and abnormal, moral and immoral, secret and public, sane and insane, the paper presents an extended argument for seeing (...)
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  17. Madjid Chachour, LES CONDITIONS DE L'ECRITURE SUR L'HABITER. LE DEFI DE DEUX DISCOURS SAVANTS : L'ARCHITECTURE ET LA PHILOSOPHIE.
    Les vertus de l’écrit sur l’oîkos (l’habitation chez les grecques) ou les récits du Domus (l’habitation chez les romains) et les conditions dont ces derniers leurs favorisent l’écriture posent l’hypothèse sur la nature des relations qui existent entre l'expérience de l’habiter et sa sémantique spatiale, l’écrit des philosophes contemporains dans ce domaine est, cependant convergeant vers un savoir qui s’articule au niveau de la configuration d’un seuil interprétatif très complexe. En effet, en tant que précurseurs dans la compréhension de la (...)
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  18. C. Cheney (1951). Church-Building In The Middle Ages. Bulletin of the John Rylands Library 34 (1):20-36.
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  19. William Clark (1998). Fortress-Churches of Languedoc: Architecture, Religion, and Conflict in the High Middle Ages. [REVIEW] Speculum 73 (4):1115-1117.
  20. Rory J. Conces (2016). The Hyperintellectual in the Balkans: Recomposed. Global Outlook 1 (1):51-110.
    Although hypointellectuals have long been a part of our cultural landscape, it is in post-conflict societies, such as those in Bosnia and Kosovo, that there has arisen a strong need for a different breed of intellectual, one who is more than simply a social critic, an educator, a person of action, and a compassionate individual. Enter the non-partisan intellectual—the hyperintellectual. It is the hyperintellectual, whose non-partisanship is manifested through a reciprocating critique and defense of both the nationalist enterprise and strong (...)
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  21. Rory J. Conces (2011). Using Public Evocative Objects to Support a Multiethnic Democractic Society in Kosovo (II) Fields of Existence Vs. Fields of Battle. Bosnia Daily:9-10.
  22. Rory J. Conces (2011). Using Public Evocative Objects to Support a Multiethnic Democratic Society in Kosovo (I) Friendly and Enemy Images. Bosnia Daily.
  23. Matthew Crippen (forthcoming). Intuitive Cities: Pre-Reflective, Aesthetic and Political Aspects of Urban Design. Journal of Aesthetics and Phenomenology.
    Evidence affirms that aesthetic engagement patterns our movements, often with us barely aware. This invites an examination of pre-reflective engagement within cities and also aesthetic experience as a form of the pre-reflective. The invitation is amplified because design has political implications. For instance, it can draw people in or exclude them by establishing implicitly recognized public-private boundaries. The Value Sensitive Design school, which holds that artifacts embody ethical and political values, stresses some of this. But while emphasizing that design embodies (...)
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  24. C. E. Emmer (2001). The Senses of the Sublime: Possibilities for a Non-Ocular Sublime in Kant's Critique of Judgment. In Volker Gerhardt, Rolf Horstmann & Ralph Schumacher (eds.), Kant und die Berliner Aufklärung: Akten des IX. Internationalen Kant-Kongresses, Vol. 3. Walter de Gruyter
    It might at first seem that the senses (the five traditionally recognized conduits of outer sense) would have very little to contribute to an investigation of Kant's aesthetics. Is not Kant's aesthetic theory based on a relation of the higher cognitive faculties? Much however can be revealed by asking to what degree sight is essential to aesthetic judgment (of beauty and the sublime) as Kant describes it in the 'Critique of Judgment.' Here the sublime receives particular attention.
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  25. Bennett Gilbert, Certeau: The Question of the Subject.
    A reading of two essays by Certeau against spatialized critical theory and in support of a critical rhetorical approach to dialectic. (Draft.). (2010).
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  26. Timothy Gough, Architectural Thought: History and Theory Entangled.
    This paper revisits a recent essay by Stanford Anderson, where he analyses Peter Eisenman’s take on Corbusier’s Maison Dom-ino. The two takes on that perspective diagram are read in the light of Gadamer’s notion of effective-historical consciousness (in Truth and Method), and Deleuze’s notion of the different/cation of the Idea (in Difference and Repetition). The argument is made in the context of architectural studies and practice that an unconventional framing of through would allow historical consciousness to be theory; and theory (...)
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  27. Ann Heylighen & Matteo Bianchin (2013). How Does Inclusive Design Relate to Good Design? Designing as a Deliberative Enterprise. Design Studies 34 (1):93-110.
    Underlying the development of inclusive design approaches seems to be the assumption that inclusivity automatically leads to good design. What good design means, however, and how this relates to inclusivity, is not very clear. In this paper we try to shed light on these questions. In doing so, we provide an argument for conceiving design as a deliberative enterprise. We point out how inclusivity and normative objectivity can be reconciled, by defining the norm of good design in terms of a (...)
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  28. Ann Heylighen, Humberto Cavallin & Matteo Bianchin (2009). Design in Mind. Design Issues 25 (1):94-105.
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  29. J. F. Humphrey (2012). “Review Essay of George Hinge and Jens A. Krasilnikoff, (Eds.), Alexandria: A Cultural and Religious Melting Pot (Aarhus, Denmark: Aarhus University Press, 1990),”. [REVIEW] Nordicum-Mediterraneum 7 (1).
  30. Napoleon Ono Imaah (2013). The Architecture of History. Dialogue and Universalism 19 (3/5):307-323.
    The paper examines the bond between architecture and history on the premise that everybody is familiar with both architecture and history. The paper views architecture as a profession that is satiated with imaginative and creative thinking; and contends that architecture extends, historically, into wherever human beings live their life. The author opines that architecture easily extends its influence, as a vivid universal metaphor into every sphere of human activity as a synonym, in building either concrete or abstract forms. Thus, the (...)
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  31. Napoleon Ono Imaah (2006). Synergy and Dialogue. Dialogue and Universalism 16 (11/12):57-67.
    This paper acknowledges the fact human beings are social animals, as they tend to live in well-organized societies. However, human population expansion explodes into internal implosions that continue to wreck havoc globally on the social, economic, political, architectural, and aesthetic environments. To harness the universal territorial imperatives, of contending components harmoniously, the world requires synergy and dialogue.
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  32. Gerald Keaney (2012). Free Play and the Foreclosure of New Babylon. Environment and Planning D 30:418-433.
    Automation may be able to completely eliminate the need for labour. But how should we use the freed-up time? In his proposal for a future urbanism, New Babylon, Constant Nieuwenhuys thought people would engage in nonstop free play, remaking surroundings. I argue that at the core of New Babylon is an intuition about a satisfying life, that of Homo ludens. This intuition had a broad appeal in the 1960s. New Babylon is an intuition pump, not a utopia, and Constant wants (...)
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  33. Gavin Keeney, Sub-Calla: Pieces of San Francisco.
    Photo-essay/travelogue from 2004 regarding the gentrification of San Francisco.
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  34. Gavin Keeney, Dossier LANY 2001-2008.
    Landscape Agency New York was founded by Gavin Keeney, c.1997, and encompassed a wide array of activities and effects – e.g., research, writing, design, consulting, and teaching. /S/OMA (Syntactical Operations Metaphorical Affects) was the mobile, and sometimes global design and teaching module within LANY, focusing primarily on entirely hypothetical and/or irreal projects, many becoming the foundation for lectures and courses delivered at institutions in the US, Canada, Australia, and Europe, from 2003 to 2007. Lastly, the LANY Archive-Grotto was established following (...)
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  35. Gavin Keeney, Pure Visuality: Notes on Intellection & Form in Art & Architecture.
    Diaristic, mixed notes on: John Ruskin's The Poetry of Architecture (1837) and Modern Painters (1885); Caravaggio, Victorian Aesthetes, G.K. Chesterton, and Tacita Dean; Jay Fellows' Ruskin’s Maze: Mastery and Madness in His Art (1981); Slavoj Žižek at Jack Tilton Gallery, New York, New York, USA, April 23, 2009, “Architectural Parallax: Spandrels and Other Phenomena of Class Struggle”; “Titian, Tintoretto, Veronese: Rivals in Renaissance Venice”, Museum of Fine Arts, Boston, Massachusetts, USA, March 15-August 16, 2009; Janet Harbord, Chris Marker: La Jetée (...)
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  36. Gavin Keeney, Things Czech 1997-2006.
    Essays and documents surveying the post-communist architectural scene in the Czech Republic. - 1/ “Wild & Wilder” (1997) – A brief travelogue with comments on Kew Gardens, London, and Mies van der Rohe’s Villa Tugendhat (1930), Brno. 2/ “Angel City” (1999) – A short report on Jean Nouvel’s Golden Angel office tower in Smíchov, Prague. 3/ “Read & Weep: Scandal in Bohemia” (1999) – Essay on post-communist machinations within the architectural scene in the Czech Republic, including reports on: Jean Nouvel’s (...)
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  37. Gavin Keeney, Terra Incognita: New York to Ljubljana.
    Photo-essay on six cities: New York, Melbourne, Hong Kong, London, Paris, and Ljubljana.
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  38. Gavin Keeney, Ten Short Theses on Architecture as Art.
    Drops Dripped - WKCD - What Does It Do? - Techne - Faux Year Zero - Commercium as Ethics - Fictitious Space - The Module - The Image - Art, Love, Revolution. A version of this essay appeared in Gavin Keeney, "Else-where": Essays in Art, Architecture, and Cultural Production 2002-2011 (CSP, 2011), pp. 285-306.
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  39. Gavin Keeney, 11 Visual Poems.
    The 11 experimental, pseudo-avantgarde visual poems (wordless, other than title and date) are an indirect homage to the late-great filmmaker and photographer, Chris Marker (1921-2012), foremost to his penchant for utilizing disintegrating imagery in his film-essays and multimedia installations. All images were captured using a Research in Motion, BlackBerry 8520 cellphone, and subsequently 100-percent de-saturated, and 100-percent contrast-adjusted, using Microsoft Office Picture Manager. The images, as a result, resemble the primitive production values given to the pinhole camera, and the “dogmatic” (...)
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  40. Gavin Keeney (2011). "Else-Where": Essays in Art, Architecture, and Cultural Production 2002-2011. Cambridge Scholars Publishing.
    “Else-where” is a synoptic survey of the representational values given to art, architecture, and cultural production from 2002 through 2011. Written primarily as a critique of what is suppressed in architecture and what is disclosed in art, the essays are informed by the passage out of post-structuralism and its disciplinary analogues toward the real Real . While architecture nominally addresses an environmental ethos, it also famously negotiates its own representational values by way of its putative autonomy ; its main repression (...)
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  41. Gavin Keeney & Parsa Khalili, "Upstream": What is "in" Formal Agency?
    A discussion of what operates from "within" formal agency as irreal surplus to artworks and how otherwise discursive systems become abstracted by the artwork. Text by Gavin Keeney. Images by Parsa Khalili.
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  42. Gregor Kroupa (2006). Descartes in arhitektura. Filozofski Vestnik 27 (3):23-38.
    Descartes and Architecture -/- The article analyses the architectural metaphor in Descartes' Discourse on Method and The Seventh replies. The idea of Descartes' project, introduced to the reader as a construction of a building and planning of a city, is much more indebted to its architectural imagery than, or so its critics say, is "sound" for a philosophical theory. Architecture is an analogon of philosophy in Descartes' texts. By producing a figure of philosopher-architect, Descartes tries to legitimate his philosophical theory (...)
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  43. Donald Kuspit (ed.) (1998). Art Criticism.
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  44. Daniel Libeskind (1992). Between the Lines: The Jewish Museum, Berlin. Research in Phenomenology 22 (1):82-87.
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  45. Kevin Melchionne (2002). Front Yards. In Arnold Berleant (ed.), The Environment and the Arts. Ashgate Press
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  46. Kevin Melchionne (1998). Re-Thinking Site-Specificity in Public Art: Some Critical and Philosophical Problems. In Donald Kuspit (ed.), Art Criticism. 36-49.
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  47. Rossano Pancaldi (2000). Uomini, macchine ed ambiente in Giovan Battista Aleotti. Anecdota 10 (1/2):105-137.
  48. Dominique Raynaud (2002). Cinq Essais sur l'architecture. Études sur la conception de projets de l'Atelier Zô, Scarpa, Le Corbusier, Pei. Harmattan.
    Définir, à partir des traces graphiques d'un projet, les actions de conception et les motivations de l'architecte à les entreprendre, voilà l'objectif de l'enquête. Quel est le rôle de la représentation dans le développement de l'idée architecturale? Comment se transforme-t-elle tout au long du projet? En fonction de quoi l'architecte décide-t-il d'altérer ou de maintenir une représentation? Telles sont les questions que ces essais tentent de résoudre en s'appuyant sur les concepts de représentation, d'inférence, de modèle et d'échelle, et en (...)
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  49. Dominique Raynaud (1999). L'émergence d'une sociologie des œuvres: une évaluation critique. Cahiers Internationaux de Sociologie 106:119-143.
    Le regain actuel de la sociologie de l'art semble lié à un essai de constitution d'un programme de 'sociologie des œuvres', différencié de la classique sociologie de la production et de la réception artistiques. Ce programme, épigone des théories de la communication, fait l'hypothèse de codes iconiques et plastiques. L'étude des interprétations des rayures de D. Buren et de la pyramide du Grand Louvre de I. M. Pei invalide l'existence de tels codes. La grande variabilité des interprétations est alors expliquée (...)
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  50. Dominique Raynaud (1998). Architectures comparées. Essai sur la dynamique des formes. Parenthèses.
    "Toute forme a été imaginée avant d'être construite". Cette formule classique, qui met en relief l'un des traits essentiels de la pratique architecturale, soulève plusieurs questions. D'où viennent les images-mères du projet? Sont-elles encore identifiables une fois construites? Existe-t-il des procédés réguliers dans l'imagination des formes architecturales? Cette enquête tente de résoudre ces problèmes par la reconnaissance de schèmes dynamiques de l'imagination. Si le processus de conception architecturale altère les images-mères au points que certains ont pu identifier une "non figurativité" (...)
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