Architecture and Design

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 (...) (2009); The Politics of the Envelope, Princeton Envelope Group (PEG), ARC504, Princeton School of Architecture, Princeton, New Jersey, USA, Friday, May 8, 2009; Rhode Island School of Design, Degree Project Reviews, Division of Architecture & Design, Providence, Rhode Island, USA, May 16, 2009; etc. (shrink)

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.

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 (...) Angel City and its critics; charges of “lite (postmodern) neo-functionalism” here and there; a cooked “open” competition for a proposed Kupka museum in an old mill on the island of Kampa (in the Vltava); a tourist-dodging transit through Josip Plečnik’s gardens at Prague Castle; and stories and legends regarding the Star Pavilion and oak wood at White Mountain. 4/ “The Body of the City” (2001) – Critique of Richard Meier and Partners’ proposed ECM Radio Plaza, a series of towers meant to complete an unfinished, communist-era “Rockefeller Center” in the Pankrác district of Prague. 5/ “Gnomic Works: The Sculptural Works of Kurt Gebauer” (2002) – Essay on the sculpture of Czech artist Kurt Gebauer with images from his exhibition in Zlín in 2001. 6/ “House of the Wind: May Day” (2004) – Prose poem written on May Day 2004 regarding wandering around Olšanské hřbitovy, a mostly 19th-century cemetery in the Žižkov district of Prague. 7/ “Architectural Eyewash” (2004) – An essay surveying: various complaints within the Czech architectural community regarding an outbreak of “architectural eyewash” in the 2004 Chamber of Architects’ Grand Prix competition; rumors and innuendo regarding a proposed Kupka museum on Kampa; complaints about Daniel Libeskind’s proposed Dalí House, Prague; etc. 8/ “Moravian Shadows” (2004) – Essay on “cultural shadows” in the context of Czech architecture, with a nod to Nietzsches’ The Birth of Tragedy. 9/ The Near & The Far: Moravian Garden (2006) – Notes and discurses on a very small, yet “immense” South Moravian country garden in Skryje, Czech Republic. (shrink)

Among the extant masterworks of Roman art, there is probably none that has generated more scholarly debate than the Portland Vase over the interpretation of its elegant frieze. No fewer than forty-four different theories attempting to interpret the scenes on the vase have appeared in the last 400 years. In the main, the theories fall into two categories, those relating the frieze to Greek myth, and those linking the figures to Roman personages. Moreover, there is no consensus whether the frieze (...) is two separate scenes or one continuous story. The obstacle to interpreting the frieze is that all but one of the figures lack identifying attributes. This paper will demonstrate (1) that in lieu of standard iconography, a synthesis of visual and literary tropes in the form of hidden letters, that is, cryptograms, tells the viewer how to read the frieze; (2) that scene A of the frieze illustrates specifically lines 26-30 of Catullus 64 by visually rendering the epithets and tropes used in those lines; (3) that visual reproductions of other tropes in Catullus 64 further substantiate the relationship between frieze and poem; (4) that scene B of the frieze is an intentional aberration from the poem; (5) that there is a complex and unfinished interaction between scenes A and B which the viewer must complete; and (6) that in the final analysis, the frieze duplicates both the theme and central structure of Catullus 64.10 . (shrink)

'The most famous of sanctuaries of Asclepius had their origin from Epidaurus’, Pausanias writes in his Hellados Periegesis (‘Description of Greece’). All across the Aegean and beyond, word of the salutary reputation of Epidaurian divinity had spread. And as tales of Epidaurus’ sanctuary of Asclepius travelled the lands and crossed the seas, so did the urge to ensure that the Epidaurian success formula was, as we say, coming soon to a place near you. So we know Epidaurus had managed to (...) make a name for itself: all the way from the Argolid Peninsula to Asia Minor and the shores of Northern Africa. But what exactly had led to its rise in prominence? What about Epidaurus allowed for it to transcend its local cult-status? And how did its celebrated reputation and meaning change across places and time? What, in other words, is the story of what is often simply referred to as the sanctuary of Asclepius at Epidaurus? (shrink)

This article studies the architectural design and cultural significance of Villa Namazee, a modernist building designed by Italian architect Gio Ponti in Tehran. The study explores how the building, once a symbol of modernity and progress, has been neglected, delisted from the national heritage, and fallen into disrepair. Focusing primarily on the case of Villa Namazee in Tehran, Iran, as an example of Ponti’s projects in the Middle Eastern context, the second part of this paper aims to reconsider and re-narrate (...) Gio Ponti’s project in Tehran. In this context, the article sheds light on the nationally and internationally prominent concepts, ideas, collaborations, and design elements of Gio Ponti’s project in Tehran. The paper argues for reevaluating our understanding of heritage and recognizing the importance of preserving modern architectural masterpieces such as Villa Namazee. (shrink)

The 2023 edition of the Venice Architecture Biennial Time Space Existence will draw attention to the emerging expressions of sustainability in their numerous forms, ranging from a focus on the environment and urban landscape to the unfolding conversations on innovation, reuse, community, and inclusion. In response to climate change, exhibited projects will investigate new technologies and construction methods that reduce energy consumption through circular design and develop innovative, organic, and recycled building materials. Participants will also address social justice by presenting (...) living solutions envisioned for displaced communities and minorities, while others will examine the tensions between the built urban environment and the nature surrounding it, identifying opportunities for coexistence. Time Space Existence not only aims to be a display but also a living workshop where established and emerging practitioners can work together and present their own visions of the status of architecture and the built environment nowadays. By bringing together ideas from across the world, the exhibition presents itself as a platform for exchange and experimentation and strives to stimulate an engaging dialogue that is inclusive of all voices. (shrink)

Considering the impact of COVID-19 outbreak on the foundation of our socio-economic and environmental systems, it is imperative to apply multi-faceted sustainability approaches for the current and post-pandemic era. The built environment plays a key role in the spatial engagement of humans and their workspace in the urban environment. Proposing new concepts for the post-pandemic era that combine the built environment and sustainability techniques may provide an opportunity for better integration into the essence of sustainability. In this regard, this paper (...) recommends applying circular economy idea in adaptive reuse practice of industrial heritage to create circular workplaces for the post-pandemic period. As an example of this given proposal, a scheme for a textile factory in Isfahan, Iran is presented. (shrink)

Space configuration of industrial heritage sites, which have been adaptively reused, are modeled in the depth map. Simultaneously, by using in-situ observation the actual patterns of pedestrian movement in these sites are captured. Finally, the results of simulated patterns and actual patterns are compared and interpreted. Findings show a notable impact of built heritage on the natural movement's patterns. Consequently, the significance of determinative factors of natural movement in these sites differs from regular sites. Therefore, this exception could develop a (...) tourism policy towards these sites. By acknowledging the fact that the functions of selected case studies are not the same, yet those are the only adaptive reuse practice of industrial heritage in that region. This paper aims to assess the possible impact of built heritage as an influential attraction on distribution patterns of natural movement and develop natural movement theory in these sites. The use of natural movement theory, which provides accurate data that proves the impact of industrial heritage scientifically, is the main indicator of this research. this theory has not been used as an exact tool to identify the behavioral-movement attributes of heritage and needs some consideration to be applied in cultural heritage sites. (shrink)

Even those who consider themselves lucky to have escaped trauma, long-term illness and death, have experienced radical changes to their conception of life in its relation to public and private domains due to the COVID-19 pandemic. When public space turned into a dangerous realm, private interiors were assigned a new role and with these shifts, also new questions about the relation of interiority to any type of exteriority emerged. The first four contributions in this ‘Projected Interiorities’ issue of Technoetic Arts (...) (TA) reflect from an architectural and urban point of view on the conception of the public and private, their past, present and future. Yet, the pandemic contributed more widely to a re-evaluation of interiority, not least because the public and private realms seemingly coalesced via digital processes. While this journal issue cannot cover all these questions, it indicates the range of the pandemic turn in thought, collecting contributions from theory and practice, including architecture, art, philosophy and literary studies. With authors of a variety of disciplinary backgrounds based in China, India, Norway, France, the United Kingdom and the United States, this issue of TA covers not only a multiplicity of methodological approaches but also diverse regional and cultural perspectives on the idea of ‘Projected Interiorities’. (shrink)

C’est la CEPT (a.k.a. “Emptiness within Emptiness”) as open-ended, performance-based cinematic project grounded in ambient architectural and scenographic utility, utilizes a semi-abandoned building (badminton court) in Ahmedabad, India, origin of the School of Architecture (c.1962), later CEPT University, for a polemical and tragi-comic investigation of the vagaries of institutional memory, inclusive of intentional repressions. The pseudo-psychoanalytical prospects of the project question whether “emptiness” is a concept relative to subjective versus objective states. By hypothetically placing one form of emptiness within another (...) – i.e., via submission of the theatrical-cinematic work to a design competition for an installation at the EMST, a never-opened museum in Athens, Greece – an empty “ancient” building in India (the East) is conjoined with an empty new (i.e., never-opened) building in Greece (the West), the conflation becoming a means for doubling the subjective states under investigation and inducing hoped-for catharsis on all accounts. (shrink)

Die Einsicht, dass Sprache performativ Geschlecht herstellen kann, markiert seit langem den Kern des feministischen Mainstreams. Welche Rolle Alltagsgegenstände bei der Produktion spielen, ist in der Forschung bisher allerdings ein blinder Fleck. Eingebettet in das Feld des diskursiven Konstruktivismus und im Anschluss an Judith Butler und Michel Foucault zeigt Julia Krumme, welche affirmativ und subversiv performativen Möglichkeiten die Oberflächen gestalteter Objekte in sich bergen. Durch ihre interdisziplinäre Auseinandersetzung mit produktsprachlichen Theorien ermöglicht sie den Blick auf potenzielle Erweiterungen des Design-Begriffs.

As urbanization happens, more and more buildings are built, leading to the increasing deaths of birds due to collisions with buildings, especially in the United States (US). According to a systematic estimate based on 26 datasets from North America, around 365 and 988 million birds are killed annually by crashing into buildings in the US. Collisions with low-rise buildings (4 to 11 stories tall) account for the highest proportion of mortality, with 56%.

This book is dedicated to clarify ambiguous concepts from the world of creativity and innovation. One of the initial triggers for the development of the book was the perceived ambiguity of the binomials Design vs. Design Thinking and Innovation vs. Invention. Frequently, designers and innovation consultants are questioned by their clients about the relationships between these kind of concepts. Has the second emerged through the first, or vice-verse? Is one part of the other? Where are the similarities and which are (...) the differences? This conceptual incomprehension makes itself noticeable between many ambiguous concepts in the world of innovation and creativity. What is the difference between Radical and Disruptive Innovation? Or is Social Innovation the same as Social Intervention? And regarding Creativity, are Creativity and Creative Thinking the same? In this book the reader will find answers to these kinds of questions and doubts. 28 authors from 10 different countries and cultural backgrounds are questioning current definitions and perceptions, by comparing different sources and ideas, or simply by giving their personal opinions. Some of the authors have an academic background, others a practical one, being either entrepreneurs, working with innovation in companies, or being innovation/design consultants. (shrink)

The function or intended use of a device such as a fire escape is escape from fire, whether or not it is ever actually used as such or it acquires other uses. Biological function, on the other hand, depends, in one way or another, on actual use. Philosophical attempts to explain artifact function by analogy with biological function or to build a unified theory of function are nonetheless common. What such attempts routinely overlook, however, is the role of forethought in (...) intentional function. I defend the traditional intended use view of function, emphasize the role of forethought and argue that design intentions are rationally grounded in a design brief, for which there is no obvious natural analogue. (shrink)

The article scrutinizes the impact of the 1968 student protests on architectural education and epistemology within the Italian and American context, the advocacy planning movement and the relationship of architecture and urban planning with the socio-political climate around 1968. It aims to demonstrate how the concepts of urban renewal and ‘nuova dimensione’ were progressively abandoned in the USA and Italy respectively. It presents how the critique of these concepts was related to the conviction that they were incompatible with socially effective (...) architecture and urban design approaches. The article sheds light on the complexity of the reorientations that took place in both contexts, taking into consideration the impact of student protests, and the 1968 Civil Rights Action the architects and urban planners’s task on the curricula of schools of architecture. It also investigates certain counter-events and counter-publications in the USA and Italy, shedding light on how they reinvented the relationship between architecture and democracy. It reveals the tensions between enhancing equality in planning process and local bureaucracy in the case of advocacy planning strategies. (shrink)

Every art-work has a different perceptual aspect that is related to some issues such as aesthetic perception and knowledge of users. The important point is how users get that and the difference between architectural perception and users that is a controversial issue in modern architecture and cause disagreement between users and designers. According to the importance of vernacular architecture and the need to adapt to its pattern with modern architecture, this paper aimed to evaluate principles of visual Gestalt and aesthetics (...) between users and designers (non-experts and experts1) in the traditional live district in Dezful city in Iran. The methodology of this research is combined with descriptive-surveying methods and field and library studies. So, a semi-structural interview by using a targeted questionnaire was distributed to the experts and non-experts to quantify the differences, and by describing and analyzing these data by SPSS statistical software, the root of the differences between these groups was identified. Due to the analysis of the data, besides searching, studying, and being in that district, two types of questionnaires between users and designers have been used. The result of this study shows that in the ancient city of Dezful, the opinions of experts and users also differ in terms of aesthetic perception so that for users, shape, and context, and experts, symmetry is the first principle. So unexpectedly, it can be argued that sensible visual Gestalt principles, such as symmetry and closure for experts, are of the highest importance, while these principles are of less importance to the user group. The findings of this study made it possible to compare the views and opinions of people and experts. It makes clear the difference between the perception criteria of those who create the landscape and the people who are confronted with and live in the environment. (shrink)

What ends should designers pursue? To what extent should they care about the societal and environmental impact of their work? And why should they care at all? Given the key influence design has on the way people live their lives, designing is fraught with ethical issues. Yet, unlike education or nursing, it lacks widespread professional principles for addressing these issues. -/- Rooted in a communitarian view of design practice, this lively and accessible book examines design through the lens of professions, (...) offering a critical vision that enables practitioners, academics and students of design in all disciplines to reflect on the practice’s overarching purposes. Considering how these are connected to others' flourishing and moulded by community interactions, "The Goods of Design" argues for a practice-based approach to cultivate professional ethics; it provides a normative direction that can meaningfully guide professional design activity, both individually and collectively. The volume also looks into the implications work has for the designer's self-growth as a person, offering ways to discover and navigate the complex tensions between personal and professional life. (shrink)

Onur Karamercan, Heidegger'de Sanat Eserinin Yeri: Sanal Müzeler Çağında Sanat ve Mekân adlı yazısında, iki yıldır yaşamakta olduğumuz salgınla birlikte çok daha sık biçimde görülmeye başlayan “sanal müze” veya “elektronik müze” uygulamalarına yakından bakar. Dünyanın en meşhur müzelerinin ve sanat galerilerinin sanatsal ve kültürel etkinliklerden mahrum kalmak istemeyen ziyaretçilerine "kapılarını" elektronik ortamda açtığı ve birçok müzenin de koleksiyonlarını tamamen ya da kısmen dijitalleştirdiği bu ortamda, şu iki soruyu yanıtlamayı amaçlar: 1) Bir mekân olarak bir müzeyi uzaktan ziyaret etmek ve bir (...) müzede sergilenen sanat eserlerini internet üzerinden “deneyimlemek” ne anlama gelmektedir ve 2) bu estetik-dijital “deneyim” (Erlebnis) insanın sanat ve mekân ile olan ilişkisi ve sanat eserinin “tecrübesine” (Erfahrung) dair ne söylemektedir? (shrink)

The idea of the “film essay,” from Alexandre Astruc to Harun Farocki, concerns arguments for and/or against cinema and its truth-telling apparatuses. For example, as discordant and often-dark elegy for themes present in everyday cultural criticism, yet themes often eclipsed by rationalist and neo-positivist biases, the subjective states of the “film essay” hold considerable promise toward new visual methodologies or procedures for psychogeographical inquiry in landscape-architectural discourse – through foregrounding novel forms of so-called vision plans toward the much-needed short circuit (...) of persistent analytical models grounded in programmatic hubris. When applied to environmental design disciplines, the reverie-inducing “film essay” acts as a critique of the usual rules and biases of project design development and presentation methodologies, conjuring possible futures for sites that do not automatically default to utilitarian concerns and/or mere political expediency. (shrink)

“Noverim me, noverim te.” – Saint Augustine, Confessions, 10.1.1. (397-400 AD). -/- What would and will an urban commons look like that is slowly and incrementally being re-socialized? How would that affect urban planning “now” and in times of crisis? How do we prepare for the likelihood of rolling similar crises with an eye on returning the urban commons to citizens? -/- There is the old adage that under capitalism, risk is always socialized and profit is always privatized. We are (...) seeing it now, under the COVID-19 crisis. The huge bailouts launched by governments are symptomatic of the crisis in political economy, just as they were post-2008. “Too big to fail” has sponsored monsters that refuse to back off without threatening the collapse of the entire system. Francisco Goya’s “The sleep of Reason produces monsters …” comes to mind. -/- Physical and immaterial culture, in our current Western civilisation, are intimately linked. Yet the focus for urban design is generally on the material or physical side, with the immaterial left to its own devices. Increasingly, urban design measures are merely ameliorative and aesthetic, with the larger share shaped by a political economy dictated by market ideology or “politicalology.” What transpires, nonetheless, is an immaterial commons that constitutes a public or private intellectual commons – often a mix of the two; but, in the case of domination by market ideology, the privatization of “general intellect” proceeds by abject appropriation. In such a technocratically driven model, subjective states become increasingly important. As Indian architect Balkrishna Vithaldas Doshi once said, “Smart cities are smart people.” -/- How might these two otherwise contiguous and synchronous systems be brought back into a properly civic-minded rapport with or without crisis-driven change? Are there alternate models for the urban commons? What measures might be put in place in advance, or as provisional intercessions? (shrink)

The book consists of articles in various fields written by graduate students. The articles were selected among many which applied to the "International Student's Work Competition". Then divided into two categories and published a two-volume "The World After the Pandemic" book series. Articles in this volume are related to "Life Sciences and Medicine", "Lifestyle and Urban Planning", "Technology" and "Education" regarding the world after the COVID-19 pandemic.

Art museums are built to elicit a wide variety of feelings, emotions, and moods from their visitors. While these effects are primarily achieved through the artworks on display, museums commonly deploy numerous other affect-inducing resources as well, including architectural solutions, audio guides, lighting fixtures, and informational texts. Art museums can thus be regarded as spaces that are designed to influence affective experiencing through multiple structures and mechanisms. At face value, this may seem like a somewhat self-evident and trivial statement to (...) make. However, in this article, I argue that niche construction theory enables us to make several illuminating observations about the ways in which art museums are engineered to influence our feelings. To expound on this claim, I single out for discussion the Museum of Non-Objective Painting, which for its entire lifespan (1939–52)—and prior to its evolution into the Solomon R. Guggenheim Museum—was expressly organized to kindle in its visitors a special, spiritual form of aesthetic experience: a liberating feeling of cosmic rhythm and order, no less. -/- The argument will proceed as follows: In Part 1, I introduce the basics of niche construction theory and specify the sense in which I apply it to museums and aesthetic affective experiencing. In Part 2, I outline the origins and ethos of the Museum of Non-Objective Painting, after which I pin down the type of affective experience it fostered by drawing from visitors’ self-reported reactions to the artworks on display. Then, in Part 3, I use niche construction theory to explain how the Museum consciously fashioned itself, by means of various mutually supportive resources and technologies, into a fertile setting for the specified feelings. Finally, in Part 4, I extend beyond the discussed case to assess the implications of niche construction theory for a broader understanding of how art museums make us feel. In other words, by tracing the early steps of the Museum of Non-Objective Painting towards the present-day Guggenheim, I call attention to the general variation in affective niches as regards their structure, technologies, and affective aims. Overall, the article elucidates the functioning of art museums as affective niches and furthers the conceptual development of niche construction theory in aesthetics. (shrink)

The objective of Working Group 4 of the COST Action NET4Age-Friendly is to examine existing policies, advocacy, and funding opportunities and to build up relations with policy makers and funding organisations. Also, to synthesize and improve existing knowledge and models to develop from effective business and evaluation models, as well as to guarantee quality and education, proper dissemination and ensure the future of the Action. The Working Group further aims to enable capacity building to improve interdisciplinary participation, to promote knowledge (...) exchange and to foster a cross-European interdisciplinary research capacity, to improve cooperation and co-creation with cross-sectors stakeholders and to introduce and educate students SHAFE implementation and sustainability. To enable the achievement of the objectives of Working Group 4, the Leader of the Working Group, the Chair and Vice-Chair, in close cooperation with the Science Communication Coordinator, developed a template to map the current state of SHAFE policies, funding opportunities and networking in the COST member countries of the Action. On invitation, the Working Group lead received contributions from 37 countries, in a total of 85 Action members. The contributions provide an overview of the diversity of SHAFE policies and opportunities in Europe and beyond. These were not edited or revised and are a result of the main areas of expertise and knowledge of the contributors; thus, gaps in areas or content are possible and these shall be further explored in the following works and reports of this WG. But this preliminary mapping is of huge importance to proceed with the WG activities. In the following chapters, an introduction on the need of SHAFE policies is presented, followed by a summary of the main approaches to be pursued for the next period of work. The deliverable finishes with the opportunities of capacity building, networking and funding that will be relevant to undertake within the frame of Working Group 4 and the total COST Action. The total of country contributions is presented in the annex of this deliverable. (shrink)

Adolf Loos is one of the few figures that Wittgenstein explicitly named as an influence on his thought. Loos’s influence has been debated in the context of determining Wittgenstein’s relation to modernism, as well as in attempts to come to terms with his work as an architect. This paper looks in a different direction, examining a remark in which Wittgenstein responded to Heidegger’s notorious pronouncement that ‘the Nothing noths’ by reference to Loos’s critique of ornamentation. Wittgenstein draws a parallel between (...) the requirement to start philosophy with an inarticulate sound and the need, in certain cultural periods, to highlight the borders of tablecloths using lace. Paying heed to Wittgenstein’s remark sheds further light on a Loosian influence at work in his thinking about modern civilization, both in his well-known ‘Lectures on Aesthetics’ and in the earlier notes from his 1930 lectures at Cambridge. (shrink)

In this paper, I argue that the benefits that smart cities purport to provide cohere poorly with a number of our shared phenomenological intuitions about the relationships between authentic experience and technologised society. While many of these intuitions are, strictly speaking, pseudo-problems, they deserve our attention. These issues will only grow more pressing as our ‘dumb cities’, already so opaque to experience, give way to hyper-technologised ‘smart cities’. However, it is possible to design our way out of these pseudo-problems. Assuming (...) we accept my argument that the distinction between authenticity and the device paradigm is premised upon a certain kind of category error, there is no categorical or definitional reason why it is not possible for urbanised, technologised spaces to feel authentic, whether by virtue of their aesthetic properties, or because they facilitate ‘authentic’ behaviour. Indeed, I argue that ‘inauthenticity’ is an aesthetic rather than an ontological category, with feelings of inauthenticity serving as evidence of a basic failure of design. Redressing these failures of design requires that we adopt a novel approach to the design and use of technical objects. Consequently, in the concluding analysis of the chapter I outline how the feeling of authenticity can be invoked in the smart city and, consequently, how these failures of design can be avoided. (shrink)

The author publishes the initial fragment of an unknown treatise by Leon Battista Alberti on the casting of statues written around 1455 and preserved in cod. Ottob. lat. 1870. The fragment contains a discussion on the nature of light and the element of fire.

In view of the current progress of what has been named the ‘visual turn’ or the ‘pictorial turn’,1 it is exciting to witness Sam Rose’s return to early aesthetic formalist-modernism, which was so passionate about the medium, its appearance, and visuality. Rose’s project shares a recent inclination to think anew the advent of aesthetic modernism.2 It is founded on the presumption that visual art ought to be – and actually has always been – theoretically subsumed under one meta-project. This meta-project (...) does not necessarily have a clear telos, but it does have a history. In support of this view, Rose appeals to Stanley Cavell’s claim that ‘only masters of a game, perfect slaves to that project, are in a position to establish conventions which better serve its essence. This is why deep revolutionary changes can result from attempts to conserve a project, to take it back to its idea, keep it in touch with its history’ (p. 155). According to Rose’s post-formalist view, the idea of art’s meta-project is the idea of form. (shrink)

Trees belong to humanity’s heritage, but they are more than that. Their loss, through catastrophic fires or under business-as-usual, is devastating to many forms of life. Moved by this fact, we begin with an assertion that heritage can have an active role in the design of future places. Written from within the field of architecture, this article focuses on structures that house life. Habitat features of trees and artificial replacement habitats for arboreal wildlife serve as concrete examples. Designs of such (...) habitats need to reflect behaviours, traditions and cultures of birds, bats, and other animals. Our narrative highlights the nonhuman aspect of heritage, seeking to understand how nonhuman stakeholders can act as users and consumers of heritage and not only as its constituents. Our working definition states that more-than-human heritage encompasses tangible and intangible outcomes of historical processes that are of value to human as well as nonhuman stakeholders. From this basis, the article asks how the established notions of heritage can extend to include nonhuman concerns, artefacts, behaviours and cultures. As a possible answer to this question, the hypothesis tested here is that digital information can (1) contribute to the preservation of more-than-human heritage; and (2) illuminate its characteristics for future study and use. This article assesses the potential of three imaging technologies and considers the resulting data within the conceptual framework of more-than-human heritage, illuminating some of its concrete aspects and challenges. (shrink)

The aim of the study is to develop theoretic and methodological recommendations and practical activities for the positive social, managerial, organizational and economic development of historical and cultural tourist destinations. In theoretical terms: the role of historical and cultural tourist destination in the development of the region has been established; the historical and cultural tourist destinations have been identified; the author’s classification of historical and cultural tourist destinations has been developed basing tourist visiting activeness; the author’s methodological approach to the (...) diagnosis and creating tools for development of historical and cultural tourist destinations, comprehensively taking into account resource and factor components, has been presented. In practical terms: variations of the activities aimed at the positive development of historical and cultural tourist destinations have been proposed; the description of measures aimed at the creation of a historical and cultural complex on the example of the designed historical and cultural complex “Stara Samar” has been given. The results of the study are applicable for a wide range of historical and cultural tourist attractions: territories, landscapes and elements of landscapes, historical settlements, parks, film studios, historical and cultural heritage sites, history and culture monuments, burial sites, places of worship, sites of social cultural infrastructure. The author’s recommendations provide obtaining commercial results and ensuring a social and cultural effect for businessmen, managers, local communities in the management of existing or in the creation of new historical and cultural tourist destinations. (shrink)

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.

A pdf sample that contains the cover, contents page, preface and the back cover with endorsements and blurb.

The Routledge Handbook of Philosophy of the City is an outstanding reference source to this exciting subject and the first collection of its kind. Comprising 40 chapters by a team of international contributors, the Handbook is divided into clear sections addressing the following central topics: -/- • Historical Philosophical Engagements with Cities -/- • Modern and Contemporary Philosophical Theories of the City -/- • Urban Aesthetics -/- • Urban Politics -/- • Citizenship -/- • Urban Environments and the Creation/Destruction of (...) Place. -/- The concluding section, Urban Engagements, contains interviews with philosophers discussing their engagement with students and the wider public on issues and initiatives including experiential learning, civic and community engagement, disability rights and access, environmental degradation, professional diversity, social justice, and globalization. -/- Essential reading for students and researchers in environmental philosophy, aesthetics, and political philosophy, The Routledge Handbook of Philosophy of the City is also a useful resource for those in related fields, such as geography, urban studies, sociology, and political science. (shrink)

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 (...) demeure humaine, les philosophes s’interrogent souvent dans leurs écrits sur l’existence d’un réel concept de l’habiter, est-il marqué par une rupture entre sa conception architecturale et son instanciation physique ? Où peut-on distinguer l’écart qui réside entre la synchronie de la conception et la réalisation diachronique du projet architectural de l’habiter ? (shrink)

This chapter aims at describing the role of housing in the ageing population, on the example of Poland, which is one the fastest ageing country in the world. This issue is significant because housing well suited to the needs of older people means lower expenses in medical and social care. Seniors living in proper conditions remain not only longer healthy, but they may also stay longer active in the labor market. Housing adoption to the needs of an older population means (...) a particular challenge for Poland, where the majority of the housing stock was created in socialism and is inhabited by large by older people. It is crucial to raise awareness of age-friendly housing among the seniors, their relatives, architects, and policymakers. This purpose serves the first model apartment for seniors in Poland, which was created by the chapter's authors. (shrink)

The post-conflict societies of Bosnia and Kosovo continue to be plagued by the deleterious effects of ethno-nationalism and ethnic enclaves. Unfortunately, this mix impedes both democracy and peace building within these Balkan countries. One way to promote such building is for these enclaves to collapse, thereby allowing multiethnic societies to develop. This essay proposes that enclaves be dealt with physically by ridding them of those evocative objects that help to create and maintain enclaves. By getting physical in this way, however, (...) we find ourselves in a dilemma, caught on the horns of legality and expediency. Yet there is a promising path between the horns that involves civic design. This essay offers a physicalist theory of managing these impediments to democracy and peace building, beginning with four hypotheses, followed by an abstraction and mathematization in the form of a matrix, a dilemma arising from these hypotheses, and possible solutions. (shrink)

This paper introduces the reconciliation as well as an analysis of the divide between contemporary and classical aesthetics in architecture. The analysis outlines the segmentation as one of the standards rather than of aesthetic appeal, concluding with a proposal for the reconciliation by means of integrating modern and contemporary art into today’s architecture. This reconciliation would not only serve as an artistic take on architecture but also raise awareness of the subjectivity of beauty in architecture. In the conclusion of this (...) paper, there are highlighted illustrations demonstrating the picturesque outcome of using this proposed method of integration. (shrink)

A common understanding of the role of a game developer includes establishing (or at least partially establishing) what is interactively and perceptually available in (video)game environments: what elements and behaviors those worlds include and allow, and what is – instead – left out of their ‘possibility horizon’. The term ‘possibility horizon’ references the Ancient Greek origin of the term ‘horizon’, ὄρος (oros), which denotes a frontier – a spatial limit. On this etymological foundation, ‘horizon’ is used here to indicate the (...) spatial and operational boundaries that a (video)game environment affords its players. This book chapter discusses a particular feeling that emerge in relation to playful encounters with the ‘possibility horizons’ of videogames. I am referring here to the realization, as a player, that a game environment can be experientially exhausted and is, as such, ultimately banal. In other words, I will examine how our deliberate engagement with the interactive environments of digital games can trigger sensations that are analogous to what Romantic authors referred to as Weltschmerz (‘world-weariness’). (shrink)

Старовинним об’єктам, які створені давніми майстрами та демонструють колишні моди й технології, завжди гарантована увага нащадків. Що давніший об’єкт, то більше захоплення та інтерес він викликає. У центрі уваги статті – дерев’яна архітектура м. Чернігова ХІХ – початку ХХ ст., прикрашена різьбленням, яка представляє традиційну забудову міста в позаминулому столітті і є безсумнівною естетичною та художньою, а інколи – й історичною цінністю. У статті охарактеризовано стан, кількість та райони розташування в Чернігові дерев’яних будинків, що мають історико-культурну або естетичну цінність, порушено (...) питання щодо їх збереження, окреслено шляхи їх використання як туристичних ресурсів. -/- . (shrink)

This article presents an analysis of the bust of Galileo that Vincenzo Vela created for his house and studio at Ligornetto. The work carries symbolic significance in that it was conceived by the Ticinese artist for the pilaster on the right hand side of the principal entrance to the villa, as a counterpart to the bust of Christopher Columbus on the left. It thus served to perpetuate a long-standing literary topos which started at the beginning of the 17th century and (...) which was made use of during the Risorgimento to celebrate Italian ascendency within a European context. Through this work Vela reveals his adherence to patriotic ideals that he had previously expressed through his active participation in the first Italian War of Independence, fighting in the anti-Austrian ranks. (shrink)

Die Rezeption von Walter Benjamins Arbeiten ist von einer Paradoxie durchzogen: Obwohl Konsens darüber besteht, dass er seine Begriffe in ›enger Fühlung‹ mit dem jeweiligen Material entwickelt, werden seine Schriften häufig ohne ein eigenständiges Studium seiner Quellen gelesen, losgelöst vom jeweiligen Problem- und Debattenzusammenhang. Das verstärkt den Eindruck einer Esoterik seiner Texte und kann zu der Annahme verleiten, Benjamin entnehme Motive willkürlich aus seinem Material- und Quellenstudium und nutze sie als Vehikel eines an sich schwer in eine Tradition einzuordnenden Denkens. (...) Die Autorinnen und Autoren des vorliegenden Bandes legen das Gewicht auf Benjamins Material, sei es Literatur, Theater, Metaphysik, Rechts- und Moralphilosophie, Zeitschriftenprojekte, soziale Bewegungen oder Stadtarchitektur. Anhand von Texten unterschiedlicher Werkphasen untersuchen sie das Verhältnis von Material und Begriff aus beiden Blickrichtungen. Dieses Vorgehen ermöglicht es, auch Licht auf theoretische Beziehungen und Arbeitszusammenhänge zu werfen, die bisher eher unbeachtet blieben. (shrink)