Architecture and Design

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 (...) better than in the past when ‘research’ was whatever went on in building science, history or people/environment studies. In this paper, I begin with some common assumptions about design, considered in relation to research, and suggest how the former can constitute or be a mode of the latter. Central to this consideration is an understanding of research as the production of publicly available knowledge. (shrink)

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.

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.

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 (...) make his thoughts more pertinent for current debates, Hegel's views are adapted to fit three contemporary secular institutions. (shrink)

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 (...) Kant, Ranke, Niebuhr, Humboldt, and others. It must appear as surprising that philosophy, the field from which architectural Critical Regionalism extracted its theoretical foundations, has never developed its own Critical Regionalist tradition. The present article attempts to formulate the relationship between regionalism and philosophy in a different fashion: is it possible and useful to retrospectively use the philosophical insights gained by architectural Critical Regionalism for a definition of the practice of regionalism in contemporary philosophy? (shrink)

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 (...) » de l’habiter en architecture. Il est maintenant permis d’envisa- ger et de construire le portrait global de cette activité en usant de toutes les palettes de cou- leurs que comprend le spectre des facultés de l’esprit humain : la poétique, la logique, la phénoménologie, l’herméneutique, la rhétorique, la mystique et, bien sûr, l’éthique. (shrink)

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 (...) in general, and to the domain of digital architectural design in particular. On our account, the affordance-concept supplies a useful theoretical basis for conceptualizing the relationship between environments and occupants with respect to the form and behavioral meaning of geometrically constructed layouts. -/- Donald Norman (1988) first introduced affordances to interaction design theorists, as a conceptual tool for predicting how agents will interact with a given product. The extensive body of literature that has since emerged, from human-computer-interaction studies (Ackerman, 1996; Conn, 1995; Moran, 1997; Norman, 1999) to architectural theory and practice (Koutamanis, 2006; Maier and Fadel, 2009), has followed Norman’s lead in defining affordances, somewhat amorphously, as whichever action-related properties of objects are sufficient to elicit the intended forms of behavioral interaction between the agent and object. However, while this is correct, it is only half the story. It leaves unexplained how human perceivers detect and “pair down” on the potentially vast range of possible affordances (at a given time), to select the ones that will be relevant to the coordination and guidance of the targeted actions. Call this the “selectivity problem,” a proper treatment of which is missing from the literature. This is no small matter. If the theory of affordances is to be useful to architects and designers, if it is to have explanatory and predictive power over how perceivers will interact with their surroundings, then some account of the cognitive procedure by which affordances are selected for the deployment of specific behaviors is necessary. Otherwise, it is unclear what the theory hopes to predict or explain. -/- To this end, we maintain that the couching of affordances in a framework of human intentionality is not only consistent with Gibson’s theoretical views (i.e., the action-oriented definition of the concept of affordances not only suggests an intentional perspective), indeed, such a perspective is necessary if we are to succeed in implementing the affordance-concept into an architectural design context in a way that addresses the selectivity problem. This is one of the goals of “Dragonfly,” a first attempt at implementing the affordance-based control of perceptually guided-action into a digital design simulation. Dragonfly enables human interaction with geometry by encoding the basic principles of ecological psychology (including a rudimentary form of intentionality) into an interactive CAD environment. New vistas for future research and interdisciplinary approaches to design are then discussed, with a special emphasis on their applicability to architecture. (shrink)

In this paper, I study some aspects of urban environment using the concept of non-place intro- duced by Marc Augé in 1995. I first define the concepts of space, place and non-place. I then explain why nomadism plays an important role in the way that we appropriate urban space. I discuss the role of narrative architects and how they intervene in the politics of space. And I conclude by questioning the supposedly superiority of places over non-places.

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 (...) these particular cinematic efforts as being built around the same theme: that transgression (of a violent, misogynous nature) is the path to transcendence. (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)

While many papers may claim that virtual environments have much to gain from architectural and urban planning theory, few seem to specify in any verifiable or falsifiable way, how notions of place and interaction are best combined and developed for specific needs. The following is an attempt to summarize a theory of place for virtual environments and explain both the shortcomings and the advantages of this theory.

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 (...) interventionism of the International Community, who strives to create a climate of understanding and to enlarge the moral space so as to reduce the divisiveness between opposing parties. It is in this way that the hyperintellectual acts as a catalyst for the creation of a democratic culture within the civil societies of Bosnia and Kosovo. (shrink)

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 (...) implicit values, research in this field lacks sustained attention to largely unconscious background biases or values, rooted in cultural attitudes and personal interests, that lead theorists and planners—often too narrowly—to promote design organized around specific values such as defensibility. In examining these points, I draw on J. J. Gibson, a central figure for some writing on aesthetics and cities, and whom pragmatists and phenomenologists in turn influenced. Taking a cue from pragmatists in particular, I argue Gibson’s perceptual theory of affordances entails a theory of values, meaning our perception and therewith movements are inherently value-based. I advocate design that accounts for relatively constantly held values such as safety, while also handling the vast pluralism that exists and not crushing the aesthetic vibrancy of city life. (shrink)

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.

A reading of two essays by Certeau against spatialized critical theory and in support of a critical rhetorical approach to dialectic. (Draft.). (2010).

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 (...) to be historical. This reframing in turn is shown, via an discussion of Maison Dom-ino, to have something constructive to say about the nature of architecture and architectural practice. (shrink)

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 (...) deliberative cooperation between designers and the people they design for. In this view, a design is inclusive when it is produced by exploiting the information and competences at the disposal of the designer and the people she designs for in qualified circumstances. (shrink)

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 (...) paper proceeds to demonstrate that architecture chronicles the achievements of peoples in creatively constructed concrete forms, which it infuses with the histories of abstract concepts in time and space. Conversely, the paper points out that history, which highlights the living memories of humanity, chronicles the antecedences, precedence, sequences, and consequences of man’s concrete achievements incogent abstract forms. Consequently, the paper concludes that while architecture builds conceptualized concrete forms from and for history; history builds its concrete abstract forms from and for architecture. Thus, the paper concludes that The Architecture of History and The History of Architecture ultimately coincides in their complementarity, as mutual witnesses to the activities of man in time and space. (shrink)

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.

Ludwig Wittgenstein famously declared that philosophy “ought really to be written only as a form of poetry,” and he even described the Tractatus as “philosophical and, at the same time, literary.” But few books have really followed up on these claims, especially as they relate to the special literary and artistic period in which Wittgenstein worked. This book offers the first collection to address the rich, vexed, and often contradictory relationship between modernism—the twentieth century’s predominant cultural and artistic movement—and Wittgenstein, (...) one of its preeminent and most enduring philosophers. In doing so it offers rich new understandings of both. Karen Zumhagen-Yekplé and Michael LeMahieu bring together scholars in both twentieth-century philosophy and modern literary studies to put Wittgenstein into dialogue with some of modernism’s most iconic figures, including Samuel Beckett, Saul Bellow, Walter Benjamin, Henry James, James Joyce, Franz Kafka, Adolf Loos, Robert Musil, Wallace Stevens, and Virginia Woolf. The contributors touch on two important aspects of Wittgenstein’s work and modernism itself: form and medium. They discuss issues ranging from Wittgenstein and poetics to his use of numbered propositions in the Tractatus as a virtuoso performance of modernist form; from Wittgenstein’s persistence metaphoric use of religion, music, and photography to an exploration of how he and Henry James both negotiated the relationship between the aesthetic and the ethical. -/- Covering many other fascinating intersections of the philosopher and the arts, this book offers an important bridge across the disciplinary divides that have kept us from a fuller picture of both Wittgenstein and the larger intellectual and cultural movement of which he was a part. (shrink)

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 (...) Homo ludens to be possible and desirable. Possibility can today be most urgently equated with sustainability.I will argue that New Babylon is not sustainable. I will also argue Homo ludens is not desirable, and 1960s intuitions about the good life have dated. Constant forecloses on creative activity such as we might find in improving science and technology. (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.

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 (...) publication of On the Nature of Things: Contemporary American Landscape Architecture (Birkhauser, 2001), primarily as a means of escaping the then-formulaic production of texts common to Landscape Architecture and Architecture. (shrink)

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” (...) (uniform) adjustments (as above), applied to the original BB images, reference the early strictures applied to filmmaking by Lars von Trier. The above-mentioned, black-and-white adjustments notwithstanding, all images are used “as captured,” without cropping. The series begins and ends in Botwnnog, Northwest Wales, in May and August of 2013, respectively, with interregnums and brief idylls in Rijeka, Croatia, Trieste and Ancona, Italy, and Igoumenitsa, Ioannina, and Athens, Greece. Tracking the peregrinations of the author of the poems across Europe, and intimately associated with the then-nascent research and exhibition project, “Not-I/Thou: The Other Subject of Art & Architecture,”* the poems are also a compressed form of scholarship, albeit operating in the shadow-lands of knowledge per se, and evoking the non-discursive side of literary-artistic production, a penumbral zone within cultural production that nonetheless references the discursive arts (essay and/or full-blown treatise), but favors the paradox and/or tautology – privileging, then, the much-desired destruction of dialectics. (shrink)

Photo-essay/travelogue from 2004 regarding the gentrification of San Francisco.

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)

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)

Photo-essay on six cities: New York, Melbourne, Hong Kong, London, Paris, and Ljubljana.

“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 (...) in this regard is “landscape,” figure of the Other and figure of the Real. Engaging forms of spectrality, and not necessarily speculative intelligence per se, architecture is also “conscious” of its own complicity in capitalist orders, a complicity that in part underwrites its avant-garde forms of agitation since the onset of modern architecture. As a result, and over the course of the twentieth century, architectural vanguards have successively been depleted such that they return only as reified half-measures in the late-modern production of difference. As such, the essay “Actually Existing Ground” examines the failed promise of Landscape Urbanism. Since the 1960s, as with the allied arts, architecture has evacuated many of the utopian gestures given to modernism and embraced a form of ultra-contingency in a direct alliance with the post-modern and post-Marxist concession to markets and to cultural production as principal means of establishing formal hegemony. This recourse or surrender to the economic-determinist ethos of post-modernity, regardless of attempts to problematize it and/or critique it through types of what Manfredo Tafuri has called “operative criticism” , has, arguably, all but failed, and with the suggestive return circa 2011 of new forms of resistance an exit from the accommodating spirit of the times is indicative of the expectation of strenuous, yet highly formal and non-discursive operations within artistic and architectural production. The essays collected in “Else-where” cross various disciplines, inclusive of landscape architecture, architecture, and visual art, to develop a nuanced critique of an emergent formal regard in the arts that is also an invocation of the highest coordinates given to the arts – formal ontology as speculative intelligence itself – or the return of the universal as utopian thought “here-and-now.”. (shrink)

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.

I will argue here that for many of us the act of dressing our bodies is evidence of intentional expression before different audiences. It is important to appreciate that intentionality enables us to understand how and why we act the way we do. The novel contribution this paper makes to this examination is employing clothing as a means of revealing the characteristics of intentionality. In that, it is rare to identify one exemplar that successfully captures the relationships between the cognitive (...) and physical characteristics of its application. Nevertheless, this paper will not attempt to fully encompass the traditional approaches associated with this concept but instead employ both the early and later writings of French phenomenologist Maurice Merleau‑Ponty and his claim that our lived bodies are an expressive space from which we act intentionally. In other words, that the manner by which we dress our bodies is likely to offer a significant means of revealing the character of intentionality in everyday life and by this, claim that clothing can communicate. Accordingly, this first‑person account closely examines both the cognitive and physical experience of a simple clothing example: ‘what to wear?’ and the experience of an everyday clothing purchase in a store and its subsequent impact when the item of clothing is worn for different audiences. The ensuing discussion systematically examines the significance of marrying Merleau‑Ponty’s writings with this everyday example through private and public audiences and in abstract and public spaces. (shrink)

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 (...) using architectural discourse. Descartes always uses the examples of architecture and urban planning when he intends to introduce his great project of a new beginning in philosophy. This new beginning is manifest in two levels: first, as a denial of traditional metaphysics of the Schools in the Discourse, and second, as a denial of one’s own beliefs in the Meditations using methodical doubt. In the conclusion, the article emphasises through Derrida's analysis of metaphor that, given the metaphysical nature of any metaphor, Descartes’ metaphor also cannot appear as a mere rhetorical figure. (shrink)