The aesthetic appreciation of environmental architecture under different conceptions of environment

Journal of Aesthetic Education 40 (4):77-88 (2006)
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In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 40.4 (2006) 77-88 MuseSearchJournalsThis JournalContents[Access article in PDF]The Aesthetic Appreciation of Environmental Architecture under Different Conceptions of EnvironmentAllen CarlsonIntroductionIn what is in retrospect easily recognized as one of the three or four truly groundbreaking essays in environmental aesthetics, Francis Sparshott distinguishes a number of different ways of conceptualizing our relationships to our environments. Such different conceptualizations, he argues, deeply influence the ways in which we aesthetically experience both environments and the things that occupy them. 1 It follows that understanding of, and thus education about, our environmental conceptualizations are of the utmost importance to our aesthetic appreciation. In this article I follow up some of Sparshott's insights by considering the ways in which a number of rather common conceptualizations of environments relate to what is an increasingly important feature of our built environments—what is commonly referred to as "environmental architecture." In doing so, I hope to make clear how aesthetic education concerning these common conceptualizations is vital for the appreciation of not only environmental architecture but the whole of our built environment.Initially, however, some clarifications are in order. First, due to the emphasis in environmental architecture on environments in general, there is, within this area of concern, somewhat of a shift away from the idea of architecture as a fine art. Traditionally, architecture, along with painting, sculpture, poetry, and music, was regarded as one of the five founding art forms of the so-called modern system of the arts. 2 And, although architecture, given its utilitarian dimensions, has often been the poor sister of the famous five, some individuals nonetheless regard it essentially as a fine art. 3 However, given my focus on environmental architecture, I here pay equal attention to what is known as "vernacular architecture." [End Page 77]Second, the phrase "environmental architecture" refers to architecture and architectural practices that are typically promoted as "working with the environment" or as being "environmentally friendly." Such characterizations bring to mind ideas such as ecological design, sustainable development, and green architecture. They are associated with design and building practices that rely on renewable energy and materials, stress recycling and efficient use of resources, and attempt to maintain the long-term integrity of both natural and human environments. Consequently, whether exemplified in the fine art of architecture or in the vernacular, such design and building practices point initially to the ecological and, more broadly, the ethical issues associated with architecture, which are best approached within environmental ethics or traditional ethical theory. 4 Although these ethical matters are of the greatest importance, I here primarily address, as noted, aesthetic issues involved in environmental architecture.Aesthetics and Environmental ArchitectureThe aesthetics of environmental architecture, as the ethics of environmental architecture, concerns most generally the relationships between structures and their environments, and especially the environmental effects of the former on the latter. Of course, unlike ethics, which in the case of architecture considers the environmental benefits or harms brought about by design and building practices and the resultant structures, aesthetics focuses first and foremost on appearances, on that which is perceived by the senses. As is well known, the discipline takes its name from the Greek aisthetikos, meaning "of sense perception." However, to recognize that aesthetics is concerned with appearances is not necessarily to relegate it to the realm of the superficial. Even though, since the aesthetics of environmental architecture considers the relationships between structures and their environments, it initially focuses on the appearances of such relationships, it need not be restricted to questions of whether such relationships are simply "pleasing to the eye" or "pretty." Rather, the basic question in the aesthetics of environmental architecture is whether structures reside in their environments such that they appear as they should. By this I mean that they and their environments are related in such a way that the structures appear appropriate or proper within their environments. 5An emphasis on whether structures appear appropriate within their environments immediately moves the matter beyond simple appearances. This is because...

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C. David Allen
University of Southampton

Citations of this work

Toward a Productive and Creative Curriculum in Architecture.Tsungjuang Wang - 2009 - Arts and Humanities in Higher Education 8 (3):277-293.

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References found in this work

Getting Back into Place.Edward S. Casey - 1996 - Human Studies 19 (4):433-439.
Aesthetics and Environment: Variations on a Theme.Arnold Berleant - 2006 - Environmental Values 15 (4):534-535.
On aesthetically appreciating human environments.Allen Carlson - 2001 - Philosophy and Geography 4 (1):9 – 24.
Ethics and the Built Environment.Warwick Fox - 2002 - Environmental Values 11 (4):509-511.

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