Architecture

This paper explores the Persistence Question about cities, that is, what is necessary and sufficient for two cities existing at different times to be numerically identical. We first show that we can possibly put an end to the existence of a city in a number of ways other than by physically destroying it, which reveals the metaphysics of cities to be partly different from that of ordinary objects. Then we focus in particular on the commonly perceived vulnerability of cities to (...) imaginary relocation; and we make the hypothesis that cities do have among their essential properties that of being surrounded by a specific geographical context. Finally we investigate the pos- sibility that a city can survive relocation in virtue of the capacity of its geographical context to survive it in the first place. We suggest that city contexts may not be essentially context-dependent in turn, and outline a possible description of the cri- teria for their persistence over time. (shrink)

This essay aims to contribute comparative points of contact between two influential figures of nineteenth century aesthetic reflection; namely, Victor Hugo’s artful considerations on architecture in his novel Notre-Dame de Paris and G.W.F. Hegel’s philosophical appraisal of the artform in his Lectures on Fine Art. Although their individual views on architecture are widely recognized, there is scant comparative commentary on these two thinkers, which seems odd because of the relative convergence of their historically situated observations. Owing to this shortage, I (...) note that, while certainly not identical, Hugo and Hegel share an aesthetic family resemblance in how they hold similar ideas on architecture’s symbolic function, cognitive content, and, ultimately, how the artform’s ability to remain a standing paragon of meaning was razed by successive modes of cultural communication. Consequently, the essay works to show some congruent aesthetic affinities between these two great figures, but which appears to be overlooked in the literature. (shrink)

Presence of users as the main actors of each adaptive reuse of a given cultural heritage site heavily depends on the quality of their sensual experience there. This, in turn, seems to stem from how much they trust the integrity and provenance of the heritage attributes and activities pending within such historical sites. This paper aims to define the sincerity and authenticity as influential indicators of the users’ trust in adaptive reuse of cultural heritage sites. To reach the goal, the (...) author hereof has analyzed all the industrial heritage sites in Iran which have been adaptively reused (case studies) and has surveyed 125 visitors. The findings confirm that sincerity and authenticity can largely influence the visitors’ trust and sensitize their experience. (shrink)

L’arte contemporanea è caleidoscopica: può catapultarci in ambienti complessi o minimali richiedendo la nostra attiva partecipazione, ancorarsi a luoghi particolari, porci di fronte a opere apparentemente indistinguibili da oggetti ed eventi della vita quotidiana, appropriarsi illegalmente degli spazi pubblici, e così via. Questo volume muove dalla premessa che uno dei compiti della filosofia dell’arte sia prestare attenzione a specifiche pratiche artistiche e a teorie sull’arte avanzate in altri ambiti di ricerca, per poi organizzare in maniera perspicua la molteplicità dei dati (...) raccolti. I filosofi possono così costruire teorie quanto più generali possibile per cercare di spiegare ciò che emerge da tali dati. Le ricerche qui presentate si concentrano su alcuni fenomeni, accuratamente scelti nell’ampio panorama dell’arte contemporanea: l’installation art e i suoi rapporti con l’installazione espositiva, l’arte sito-specifica e la sua appartenenza alla più ampia tradizione dell’arte situata, il ruolo delle idee nell’arte concettuale e il carattere sovversivo della street art. Sfruttando l’efficacia esplicativa del concetto di medium artistico, nonché della individuazione di forme e generi d’arte, le analisi qui presentate indagano le ragioni per cui in queste pratiche artistiche sono centrali l’esperienza dello spazio, l’interazione fra opere e pubblico, i luoghi d’installazione delle opere e gli oggetti come portatori di significati. (shrink)

A critical note on Peter Lamarque and Nigel Walter’s ‘The Application of Narrative to the Conservation of Historic Buildings’.

While the Vienna Circle had virtually no impact on the Czech-speaking philosophical community during the 1930s, one can find a curious meeting point in the field of theory of architecture. There is now a growing literature on Otto Neurath as a theorist of architecture and urbanism, who emphasized the social aspects of modern building and approached architecture from his idiosyncratic viewpoint of Marxism interpreted as a physicalistic social science. It is less well known that a young Czech architecture critic and (...) theorist, Karel Teige, cultivated strikingly similar views during the same period—from 1920s to 1930s—albeit without any knowledge of Neurath’s thought in particular, or for that matter the Vienna Circle in general. The chapter reveals similarities as well as differences between Neurath and Teige on Marxism, science and architecture, and the Bauhaus, as well as a discussion of the relations of both to the contemporaries, most importantly Adolf Loos, Josef Frank and Hannes Meyer. (shrink)

A response to Saul Fisher’s critical note on Peter Lamarque and Nigel Walter’s ‘The Application of Narrative to the Conservation of Historic Buildings’.

The fourth of eight chapters from my recently published book "Grace and Gravity: Architectures of the Figure." The argumentation builds on terminology introduced in the first three chapters, the most important being the phased structure of the figure: prefiguration, figuration, and transfiguration. Also, the earlier developed interdependence of movement and standstill, which we find both in beauty and in grace, is here expanded in the relationship between the mineral, animal, and vegetable.

In Powers of Horror,1 the psychoanalyst Julia Kristeva presented the first explicit, elaborated theory of ‘abjection,’ which she defines as the casting off of that which is not of one’s “clean and proper”2 self. According to Kristeva, abjection is a demarcating impulse which establishes the basis of all object relations, and is operative in the Lacanian narrative of subject formation in early childhood via object differentiation. Abjection continues to operate post-Oedipally to prevent the dissolution of the subject by repressing identification (...) with that which is other, and particularly that which is only tenuously other: the abject. Though Kristeva’s theory is braided into problematic Freudian premises, this essay will argue that abjection remains operative independent of the Oedipal model. (shrink)

The premium on authenticity attributed to aesthetic appreciation and judgment of ruins is unnecessary, even while valuable for engagement with ruins as historical objects. I contrast values we assign to architectural ruins and to nongenuine, sham ruins. Ruins are components of built past architectural objects; sham ruins are components of fantasy, unbuilt architectural objects. Taking architectural objects as abstractions realized or realizable as built objects, ruins and sham ruins alike are built instances of corresponding abstract objects. Sham ruins do not (...) offer different or fewer sorts of aesthetic value than do actual ruins; the authenticity premium is thereby eliminated. (shrink)

If there is nothing more to architecture than design –and to its attendant thinking processes–than design thinking, then core dimensions of the architectural enterprise from the perspective of (a) production and (b) use have no special character, over and above their counterparts in general design. Yet that does not appear to be true by the lights of architects or design specialists or the public at large. So what is it, at the core or periphery of the discipline or its objects, (...) that makes architecture not design? The ways in which architecture and design constitute artistic enterprises, drawing on and promoting aesthetic interest, differ such that architecture is not, or at least not only, a branch of or variation on design generally construed. (shrink)

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)

I argue that our everyday evaluations of architecture are primarily evaluations of spaces and, in particular, of their inhabitability— that is, whether they serve or can serve to the realization of our individual ideal of life. Inhabitability is not only a functional criterion but an aesthetic one as well. It is aesthetic insofar as the evaluations about inhabitability include evaluations about the quality of the experience of actually doing something in —or simply occupying—a particular space. This aesthetic aspect of our (...) everyday evaluations explains, on one hand, the distinctive features of our everyday preferences for some architectonic spaces over others—namely, their very personal nature; their noticeable value in our daily lives; their inseparability from the activities we plan to realize in those spaces; and the importance of the spaces which are contiguous to the one we are evaluating. And on the other, it both reveals architecture’s significance for the quality of our daily life and serves as a guide for us to choose spaces that improve that quality. (shrink)

Many discussions of Merleau-Ponty’s treatment of the bodily experience of space turn to his opus Phenomenology of Perception, where he most explicitly takes up the theme. Yet in Merleau-Ponty’s own view this treatment, while providing rich and valuable insights into spatial experience, remains unsatisfying: ultimately Phenomenology of Perception does not escape a dualism that, despite the work’s inestimable contributions to the philosophy of embodied experience, situates it within a flawed tradition running back through Husserl, Kant, and Descartes. As Merleau-Ponty himself (...) puts it, “The problems posed in Ph.P. are insoluble because I start there from the ‘consciousness’-‘object’ distinction.” 1 Only in his later philosophy, particularly with his development of the ontology of the flesh, did he approach the fulfillment of his goal to leave this distinction and all its Cartesian corollaries behind once and for all. (shrink)

The paper is a dialogue between a conservation architect who works on medieval churches and an analytic aesthetician interested in the principles underlying restoration and conservation. The focus of the debate is the explanatory role of narrative in understanding and justifying elective changes to historic buildings. For the architect this is a fruitful model and offers a basis for a genuinely new approach to a philosophy of conservation. The philosopher, however, has been sceptical about appeals to narrative in other contexts (...) (for example, self-identity), and rehearses some reasons for this scepticism. The dialogue explores the pros and cons of the narrative approach to conservation and seeks to forge a compromise that acknowledges concerns about inflated claims for narrative while pursuing the merits of this particular application. (shrink)

Neo-picturesque landscapes are former industrial sites redeveloped as parks in a way that preserves, maintains, and shapes memory of the materials, mechanics, and scale of the industrial age. This paper presents case studies of Duisburg Nord, the High Line, and Evergreen Brick Works. It distinguishes neo-picturesque ruins from archaeological ruins on the one hand and mere redevelopment projects on the other hand; traces a continuity between the eighteenth-century picturesque and the neo-picturesque; pinpoints the distinctive form of memory that the neo-picturesque (...) engages; and defends the importance of the neo-picturesque in contemporary life. (shrink)

Architectural ethics has only begun to consider in earnest what it means, in a moral sense, to be an architect.1 The academy, however, has yet to adequately to explore the ethical problems raised,2 to evaluate the types of moral issues that arise, and to develop moral principles or moral reasons that should guide decisions when encountering these moral issues inherent in certain project types. This is the case despite the practice of architecture entailing “behaviours, our choices of which may be (...) illuminated by ethical analysis.”3 Although distinguishing practice from product allows ethical critique of the practice involved in designing buildings, and recognises the significance of the architect’s moral agency, there remains very little empirically-based understanding of how the architect, once identified as a moral agent, operates as such, and still less about the circumstances in which ‘professional’ conduct may be at odds with ‘ethical’ behaviour. (shrink)

The practice of preserving various parts of urban landscapes for historical purposes raises a variety of normative, metaphysical, and conceptual questions that invite philosophical analysis. The normative questions are particularly interesting. Why should we preserve historical sites? What sites are worth preserving? How should they be preserved and interpreted?1 In this essay, I apply Nietzsche’s theories of history and culture as found in the first two Untimely Meditations to provide a fresh critical framework to some normative questions raised by a (...) particularly difficult instance of historical preservation; namely, the preservation of Confederate monuments. This framework allows me to argue that some monuments should be removed from their prominent public sites, while others should be retained and reinterpreted. (shrink)

Статтю присвячено долі споруд 1920–1930 рр., котрих чимало є в Києві. Розглянуто різні можливі дискурси щодо них, зокрема стилістичний, ідеологічний, семіотичний. Особливу увагу приділено можливим критеріям пам’яткозбереження, оскільки споруди цього часу ще менш захищені від руйнування, ніж, скажімо, зведені на самому початку ХХ ст. Запропоновано підхід до споруди як до матеріальної речі, яка, незалежно від належності до однієї з численних тогочасних архітектурних стилістик (конструктивізм, ар-деко та ін.), заслуговує на збереження через свою дотичність до практичної діяльності попередніх поколінь.

We are living through a radicalized, unsettling moment in Western politics as what seemed the drift of history towards democracy, greater individual freedoms, increased fairness and greater international cooperation is at least temporarily reversed. As we finished production of this issue, ISPA was also concluding its 4th Biennial conference at a most overtly political venue— The United States Air Force Academy—which is simultaneously a Mecca for modern architecture lovers as well as an indisputable seat of the projection of American power. (...) This fact was underscored as our philosophical discussions were occasionally interrupted by fighter jets buzzing the campus. Thus, it should make sense that even in the slow-moving world of applied philosophy, the times would lead us to produce this most overtly political issue. This development was not by design but rather by accretion—but one we eventually embraced as a legitimate extension of the exploration of the conjunction of architecture and philosophy. (shrink)

In a profile in the November, 2012 issue of the magazine Architect, activist-architect Raphael Sperry, a founder of the group Architects Planners & Designers for Social Responsibility discussed his petition to amend the AIA’s Code of Ethics and Professional Conduct to include a prohibition on “the design of spaces intended for long-term solitary isolation and execution.”1 This issue is both serious and timely. It deserves contemplative attention before any action is taken. The purpose of this letter is to provide the (...) the architecture profession a condensed analysis of the possible justification for taking the action Mr. Sperry advocates. After review and consideration, we are persuaded that Mr. Sperry’s proposal does merit action by the AIA. (shrink)

Adorno wrote prolifically about modernism in culture and the arts, but little has been written about whether or in what form he might have addressed architectural concerns. The project of exploring this potentially fruitful intersection has been helped in the last couple of decades by authors from philosophy and critical theory contrasting his ideas about dwelling with Heidegger’s and by architectural theorists considering the import of his aesthetic theory.1 If these fall shy of the more immediate connections to architecture that (...) some have hoped to uncover, this is because Adorno almost never wrote about specific buildings and their designers. Neither did he publish any texts dedicated exclusively to architecture or dwelling, which is not to say that he never wrote about them or that architectural concerns are absent from his work. Adorno’s writings on dwelling and architecture live here and there, emerging and then moving on to surface later, if not often as direct commentary then as a kind of architectural gaze his thinking sometimes employs. Dwelling and architecture exist like exiles in his writings even though the question of dwelling—of what it means to inhabit social and space-time worlds as embodied beings—lies as much at the core of Adorno’s philosophy as it did in Heidegger’s. (shrink)

The chapter provides an overview on what it means to be in a world that is uncertain, e.g., how under conditions of limited understanding any activity is an activity that designs and constructs, and how designing objects, spaces, and situations relates to the (designed) meta-world of second-order cybernetics. Designers require a framework that is open, but one that supplies ethical guidance when ‘constructing’ something new. Relating second-order design thinking to insights in philosophy and aesthetics, the chapter argues that second-order cybernetics (...) provides a response to this ethical challenge and essentially it entails a poetics of designing. //// 'A Poetics of Designing' is part of the first book-length collection of texts in Design Cybernetics. It introduces the subject from the point of view of aesthetics. Importantly, the chapter argues that second-order cybernetics circumvents the necessity for a muse inspired artist or genius as a mediator between higher spirits and life, in favour of artists and designers who have true agency. //// Cybernetics is often associated with AI, which is, however, only one of the branches that developed on the basis of the interdisciplinary research begun in the 1940s and entitled cybernetics. I hope the chapter contributes to a better understanding of the second-order cybernetics that has been conceived in close relationship with art and design from the late 60s onwards. (shrink)

Der Tagungsband versammelt Beiträge des 2. Forums Architekturwissenschaft zum Thema Architektur im Gebrauch, das vom 25. bis 27. November 2015 im Schader-Forum in Darmstadt stattfand. Die Beiträge nähern sich dem Thema grundlegend in zwei Perspektiven. Zum einen interessiert die lebensweltliche Verankerung von Architektur: die Gebrauchserfahrungen und die vielfältigen Weisen, in denen das Gebaute im Alltag jedes Menschen in Erscheinung tritt. Zum anderen werden die Vorstellungen vom Gebrauch in Prozessen des Planens und Bauens untersucht. Dabei treten unweigerlich auch Spannungsverhältnisse auf - (...) zwischen Planerinnen und Nutzern, aber auch zwischen unterschiedlichen Gebrauchsweisen. Sowohl in theoretischen Auseinandersetzungen zu einem Begriff von Gebrauch in der Architektur als auch in empirischen Studien zu einzelnen Bauten und Bautypen, zeitgeschichtlichen Gebrauchsphänomenen und Situationen des Alltags wird dem auf den Grund gegangen. (shrink)

The great railway of Iran was established in the early years of the 20th century connecting Bandar-e-Shapur (Bandare-e-Emam) to Bandar-e-Pahlavi (Bandr-Torkman) in order to speed the trading through Iran and between its two naval borders. This railway possessed stations, track, tunnels and bridges, but the longest bridge for the railway was built over the river Karun in the heart of Ahwaz. As there was another bridge named the white bridge, and for the color of the new bridge, people called it (...) the Black Bridge. The Black Bridge of Ahwaz was built in 1929 and was also named the Victory Bridge by the Allies in world war two as it played an undeniable role in transporting forces and supplies from the south to the north of the country. This bridge is registered on national list of cultural heritages of Iran since February, 2000. (shrink)

Less than fifty years after the Brooklyn Bridge, the piles of the world’s fourth suspension bridge was firmed in Iran. Ahwaz is the most important city of the south and the pioneer city in industrialization of Iran. The White Bridge of Ahwaz is considered the most significant monument of the city, which no visitor would miss.

The industrial heritage of Iran as a clear sign of industrialization in the late Qajar and Pahlavi dynasty was the result of pure efforts, knowledge transfer, and governmental budget. The remains of these sites, includes ample evidence which possess valuable data in various aspects such as construction technology and industrialization in Iran. mainly being ignored or abandoned, Industrial heritage of Iran need serious measures to be protected and being registered as UNESCO world heritage would be a real boon in preserving (...) these sites. This books tries to provide prerequisite for registering industrial heritage of Iran as UNESCO world heritage and analyze the impact of this registration through a holistic attitude. (shrink)

The Seven Heavenly Palaces were created by Anselm Kiefer to inaugurate the HangarBicocca in Milan in 2004, and, after an intervention on the site in 2008, were transferred, preserved and repaired, finally relocated differently for a new and definitive exhibition, with some paintings, in 2015. Erected around prefabricated containers, these monumental ruins in reinforced concrete, are in fact assembled, reconstructed and restored ruins, nonarchitectural and metaphorical buildings with a mass of complementary materials considered an integral part of the work and (...) credited as produced by the artist in person. According to what preunderstandings and values the operation of conservation and operation has been established and carried out ? According to which idea of the ontological, perceptual and semantic identity of the work of art the aesthetic experience of this high problematic site-specific installation has been reconfigured ? (shrink)

Der Landschaftsarchitekt geht bei der Gestaltung von Landschaften immer wieder mit Natur um. Auf welche Weise soll er dies tun? Auf diese Frage gibt der vorliegende, naturethische Beitrag eine Antwort. Zunächst kläre ich, was das Tun des Landschaftsarchitekten ausmacht und was hier unter „Natur“ zu verstehen ist. Zweitens nenne ich drei Argumente dafür, dass der Landschaftsarchitekt Natur schützen soll: Das Existenzargument, das ästhetische Argument in empirisch-demokratischer Form und das pathozentrische Argument. Drittens untersuche ich, wie der Landschaftsarchitekt mit Natur umgehen soll, (...) falls er sie nicht schützen will oder kann, sondern in sie eingreifen will oder muss. Dabei zeigt sich, dass es verschiedene Kriterien zu berücksichtigen gilt, die miteinander auch in Widerspruch geraten können. Am Ende zeige ich, wie diese Widersprüche aufzulösen sind. (shrink)

In this essay Noël Carroll explores the question of whether a moral defect in a work of architectural art can ever also count as an aesthetic /artistic defect. Adopting the stance of a moderate moralist and mobilizing what has been called the “uptake argument,” he argues against the moderate autonomist that sometimes a moral defect in an architectural artwork can also be an aesthetic/artistic defect.

The post-modernist approach to architecture often presents tradition as a problem of image. Postmodernism prioritizes the display of stylized images of historic buildings in order to prompt one to deal primarily with the visual appeal of the historic forms rather than the experience of the buildings.