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)

In this article, I apply Australian logician and ecofeminist philosopher Val Plumwood’s Feminism and the Mastery of Nature, specifically its alternative logic of “the dance of interaction,” to a controversial community-engagement program in my home state of Alabama. At Rural Studio, Auburn University students design free housing and public works for one of the poorest regions in the United States, known as the “Black Belt.” Through the lens of Plumwood’s ecofeminist dancing logic, the marginalized source of Rural Studio’s survival is (...) revealed to be the resilience of the disempowered majority-Black community. Inspired thereby, I sketch an ecofeminist choreography with three “dancing” concepts (namely Plumwood’s “the master model,” Vandana Shiva’s “nature’s logic,” and Ariel Salleh’s “holding”), acknowledging the resilience of the disempowered as a necessary step toward an ethically-sustainable aesthetics. (shrink)

Thepaperaimstoexplorethepotentialofresearchbydesigninarchi- tecture and visual arts. The main objective of the paper is to analyze the different models and epistemological positions advanced in the academic milieus as far as doctoral research by design is concerned, to explore the differences and similar- ities between research by design in the field of architecture and in the field of visual arts. Even though the research by design in the fields of architecture and visual arts is focused on the production of knowledge through visual, associative, (...) and experimental research, the models of research by design in visual arts differ from those prevailing in architectural programs. The paper focuses on a corpus of models of doctoral research by design carried out within different university pro- grams in schools of architecture and visual arts, and various multi-university and supra-disciplinary programs (architecture and visual arts) which share the inten- tion to develop their research projects through creative practice. Two questions to which this paper aims to respond are the following: Under which circumstances and conditions a work in the field of architecture (drawn, graphic, or con-structed) or its formulation (verbal or written) can be recognized as active in the constitution of knowledge? What are the modes of inquiry specific to architectural and artistic practices that make it possible to build knowledge that can be transmitted and shared? (shrink)

The goal of this paper is to argue that the Neptuno Alegórico and the Theatro de Virtudes Políticas, which were composed in 1680 by the Novohispanic philosophers Sor Juana Inés de la Cruz and Carlos de Sigüenza y Góngora to accompany respectively two arches erected to celebrate the entry of the Spanish viceroy to Mexico City, are notable not only as examples of panegyrical Baroque literature but also as philosophical texts aimed at moral instruction. To be specific, I argue that (...) the Neptuno and the Theatro belong to a hybrid genre that I label ekphrastic moral mirrors. Ekphrastic moral mirrors, which constitute a subset of the traditional speculum principis, are characterized by offering moral instruction to a prince indirectly, by means of an elaborate ekphrasis of a work of art (which, in the case of the Neptuno and the Theatro, were the two arches that they were paired with). I also argue that, insofar as the Neptuno and the Theatro create different audiences that are mutually aware of each other in virtue of systematically relying on ekphrasis deployed in a public setting, they are potentially more effective for moral instruction than other traditional mirrors of princes. (shrink)

Departing from the intention to explore Frank Gehry’s drawings serving to their own designer to grasp ideas during the process of their genesis, the article examines Frank Gehry’s concern about the revelation of the first gestural drawings and all the sketches and working models concerning the evolution of his projects, and his intention to capture the successive transformation and progressive concretisation of architectural concepts. The article also compares Gehry’s design process with that of Enric Miralles, Alvar Aalto, Bernard Tschumi, and (...) Le Corbusier. It sheds light on Miralles, Aalto, Le Corbusier and Gehry’s interest in a holistic understanding of all the parts of an architectural project, which is expressed through their tendency to draw the different sketches concerning the same project on the same sheet of paper. At the core of Gehry’s design approach is the osmosis of function and morphology. This aspect of his design vision could be compared to Alvar Aalto’s design process. At the core of the article are the distinction between communication drawings and conceptual drawings, and Gehry’s concern about achieving an osmosis between function and morphology. The article also investigates Gehry’s use of uninterrupted self-twisting line in his sketches, exploring his intention to enhance a straightforward relationship between the gesture and the decision-making regarding the form of the building. (shrink)

This essay follows the fascinating mythology of grace and gift exchange to construct an argument about appearances as transcending the boundaries of things through a form of radiance or shining. The latter is based on the primary figure of the Graces, Aglaea, whose name literally signifies shining. The question arises how the obligatory rules of gift exchange—giving, receiving, and returning—apply to appearances, which leads to a cyclical “alternating current” of shining and working. It now becomes clear why the ancient Greeks (...) married the ethereal figure of Aglaea to the sweaty, clubfooted smithgod Hephaestus: shining things are necessarily linked to the making of shining things. In the magic realm of Hephaestus shining and automation are fully merged: automata are without exception made of gold or silver, while the abundantly embellished objects he creates always evoke movement. At this point in the essay the term “phenotechnology” is coined: the work of making things lies in their overworking (hypergon) which is sharply contrasted to the classic notion of ornament as parergon, as by-work, or in the words of Aby Warburg, as bewegtes Beiwerk. Instead of viewing movement as added-on (Alberti) to structure we find that the figural movement of pliant motifs in fact creates structure, a structure that according to Gottfried Semper undergoes “the mystery of transfiguration,” which reverses the relationship between surface and space: space is the very depth of radiating surfaces. (shrink)

Mimarlık diğer sanat dallarından iki bakımdan ayrılır. İlk olarak mimari yapıtlarla etkileşim kaçınılmazdır. Müzik dinlemeden, tiyatro veya sinemaya gitmeden, resim veya heykel sergilerini gezmeden yaşamımızı sürdürebiliriz ancak mimari yapılar olmadan bu olanaklı olmaz. Bu bakımdan mimarlık sanatlar içinde belki de insan yaşamını en fazla etkileyen daldır. İkinci olarak mimarlık bir yaşam gereksinimini karşılayan, böyle bir işlevi olan belki de tek sanat dalıdır. Örneğin resim, heykel, şiir, sinema veya tiyatro yapıtlarını sanatsal açıdan değerlendirirken hangi gereksinimimizi karşıladıkları sorusunu sormayız. Buna karşılık mimari (...) yapılar barınma başta olmak üzere bir dizi maddi gereksinimimizi karşılarlar. Hangi gereksinimi karşılamak amacıyla yapıldıkları sorusu onların sanatsal açıdan değerlendirilmesinde önem taşır. Bu yazıda mimarlığın sanatlar içindeki bu iki özgünlüğünü dikkate alan bir düşünürün, Ömer Naci Soykan'ın mimarlık konusundaki görüşlerini sırasıyla “mimarlıkta temel nitelikler”, “mimarlık etkinliği”, “mimarlık dili” ve “mimarlık estetiği” başlıkları altında ele alacağız. (shrink)

The article explores the relationship between Baukunst and Zeitwille in the practice and pedagogy of Ludwig Mies van der Rohe, and the significance of the notions of civilization and culture for his philosophy of education and design practice. Focusing on the negation of metropolitan life and mise en scene of architectural space as its starting point, it examines how Georg Simmel’s notion of objectivity could be related to Mies’s understanding of civilization. Its key insight is to recognize that Mie’s practice (...) and pedagogy was directed by the idea that architecture should capture the driving force of civilization. The paper also summarizes the foundational concepts of Mies’s curriculum in Chicago. It aims to highlight the importance of the notions of Zeitwille and impersonality in Mies van der Rohe’s thought and to tease apart the tension between the impersonality and the role of the autonomous individual during the modernist era. (shrink)

The article examines the collaborations between the pensionnaires of the Villa Medici in Rome and the members of the French School of Athens, shedding light on the complex relationships between architecture, art, and archeology. The second half of the 19th century was a period during which the exchanges and collaborations between archaeologists, artists, and architects acquired a reinvented role and a dominant place. Within such a context, Athens was the place par excellence, where the encounter between these three disciplines took (...) place. The main objective of the article is to render explicit how the revelations of archeology, actively disseminated by the members of the French School of Athens—the “Athéniens”—had an important impact on the approach of certain pensionnaires of the Villa Medici in Rome. Particular emphasis is placed on certain pensionnaires, who decided to devote their envois to ancient monuments of Greece. In parallel, the article intends to shed light on the methods that helped the pensionnaires-architects of the Villa Medici in Rome appropriate archaeological discoveries concerning Greek antiquities. The article takes, as a starting point, the following hypothesis: to better understand the figure of the architect-archaeologist, of whom Jacques Ignace Hittorff is an emblematic example, it is pivotal to bear in mind that before the second half of the 19th century neither the figure of Hellenic archeology nor the figure of the architect had yet acquired their autonomy. Taking into account that Johann Joachim Winckelmann, in the middle of the 18th century, forged an ideal Greek model, which was criticized during the second half of the 19th century, the article also sheds light on the fact that the revelations of archaeologists have called into question the Winckelmannian image of Greece. Another aspect that is explored in the article is Jacques Ignace Hittorff’s studies concerning the polychromy of ancient Greek monuments, paying special attention to his Restitution du temple d’Empédocle à Sélinonte ou l’Architecture polychrome chez les Grecs. The article also explores how the shifts of the status of philhellenism are related to the mutations of the meaning of travel to Greece. In parallel, it investigates the impact of Greek independence on the ideals of beauty and nature in arts, as well as how Greek independence is related to the intensification of the interest in the excavations of Greek antiquities. (shrink)

The article examines the impact of the study for Levittown of urban sociologist Herbert Gans on Denise Scott Brown’s thought. It scrutinizes Denise Scott Brown, Robert Venturi, and Steven Izenour’s ‘Remedial Housing for Architects or Learning from Levittown’ conducted in collaboration with their students at Yale University in 1970. Taking as its starting point Scott Brown’s endeavour to redefine functionalism in ‘Architecture as Patterns and Systems: Learning from Planning’, and ‘The Redefinition of Functionalism’, which were included in Architecture as Signs (...) and Systems: For a Mannerist Time (2004), the article sheds light on the fact that the intention to shape a new way of conceiving functionalism was already present in Learning from Las Vegas, where Robert Venturi, Denise Scott Brown and Steven Izenour suggested an understanding of Las Vegas as pattern of activities. Particular emphasis is placed on Scott Brown’s understanding of ‘active socioplastics’, and on the impact of advocacy planning and urban sociology on her approach. At the core of the reflections developed in this article is the concept of ‘urban village’ that Gans uses in US in The Urban Villagers: Group and Class in the Life of Italian-Americans (1972) to shed light on the socio-anthropological aspects of inhabiting urban fabric. (shrink)

Modern buildings do not easily harmonize with other buildings, regardless of whether the latter are also modern. This often-observed fact has not received a satisfactory explanation. To improve on existing explanations, this article first generalizes one of Ortega y Gasset’s observations concerning modern fine art, and then develops a metaphysics of styles that is inspired by work in the philosophy of biology. The resulting explanation is that modern architecture is incapable of developing patterns that facilitate harmonizing, because such patterns would (...) humanize buildings and modern architecture is a homeostatic property cluster with a dehumanizing motive at its core. (shrink)

The culturally pervasive tendency to identify aspects of the body as aesthetically imperfect harms individuals and scaffolds injustice related to disability, race, gender, LGBTQ+ identities, and fatness. But abandoning the notion of imperfection may not respect people’s reasonable understandings of their own bodies. I examine the prospects for a practice of aesthetic assessment grounded in a notion of the body’s function. I argue that functional aesthetic assessment, to be respectful, requires understanding the body’s functions as complex, malleable, and determined by (...) the projects and interests of the person whose body it is. Aesthetically relevant functions, on this account, are determined neither by the body’s status as organism nor by cultural assumptions about how bodies should function or be used. (shrink)

RAAAF [Rietveld Architecture-Art-Affordances] is an interdisciplinary studio that operates at the crossroads of visual art, experimental architecture and philosophy. RAAAF makes location- and context-specific artworks, an approach that derives from the respective backgrounds of the founding partners: Prix de Rome laureate Ronald Rietveld and Socrates Professor in Philosophy Erik Rietveld.

Why are cities looking more and more alike? Why do hipster coffee shops and clothing boutiques all share that same vibe? One answer is that gentrification represents an invasive force that forcibly re-models cities, from the top-down, to meet the monotone eye of the gentrifier. Gentrification brings in external developers and designers, who create new businesses which all meet that one monotonous aesthetic mold. But I suggest, using work from Quill Kukla and Jane Jacobs, that this top-down model of gentrification (...) is incomplete. Gentrification also incentivizes local residents to remake their own businesses and properties to meet that monotone eye. Gentrification is a pressure which pushes cities to meet a universalized and therefore homogenized taste, rather than letting diverse tastes flourish. (This piece originally published as part of a symposium on Quill Kukla's City Living.). (shrink)

Once known as the city of silk, Suzhou 苏州 has become the centre of wedding dress production, selling paradise on earth for one day, including copies of the last royal wedding dress, out of shops at the foot of mythic Tiger Hill. Suzhou is also the host of what is known as the Silicon Valley of the East. It has attracted millions of migrants searching for a better future; millions of tourists visit every year to experience the past, strolling through (...) the gardens and courtyards of its Old Town. The contrasts could hardly be more apparent. Slow time, and fast time, and the time of the in-between, are woven into the city’s complex spatial fabric. This is a conversation by eight authors in eight frames on a city that connects them. (shrink)

The article examines the principles of Giancarlo De Carlo’s design approach. It pays special attention to his critique of the modernist functionalist logic, which was based on a simplified understanding of users. De Carlo′s participatory design approach was related to his intention to replace of the linear design process characterising the modernist approaches with a non-hierarchical model. Such a non-hierarchical model was applied to the design of the Nuovo Villaggio Matteotti in Terni among other projects. A characteristic of the design (...) approach applied in the case of the Nuovo Villaggio Matteotti is the attention paid to the role of inhabitants during the different phases of the design process. The article explores how De Carlo’s “participatory design” criticised the functionalist approaches of pre-war modernist architects. It analyses De Carlo’s theory and describes how it was made manifest in his architectural practice—particularly in the design for the Nuovo Villaggio Matteotti and the master plan for Urbino—in his teaching and exhibition activities, and in the manner his buildings were photographs and represented through drawings and sketches. The work of Giancarlo De Carlo and, especially, his design methods in the case of the Nuovo Villaggio Matteotti can help us reveal the myths of participatory design approaches within the framework of their endeavour to replace the representation of designers by a representation of users. The article relates the potentials and limits of De Carlo’s participatory design approach to more contemporary concepts such as “negotiated planning”, “co-production”, and “crossbenching”. The article also intends to explore whether there is consistency between De Carlo’s theory of participation and its application. (shrink)

The automobile has reshaped our conceptions of space and our modes of accessing and penetrating the urban and non-urban territory in multiple ways, revolutionizing how architects perceive the city and contributing significantly to the transformation of the relationship between architecture and the city. Despite the fact that many architects and architectural critics and theorists have been attracted to automobile vision, in the field of history and theory of architecture and urban design, many questions concerning the impact of the automobile on (...) our perception of the city and its territory have not yet been explored in depth. This is surprising when one considers that no other single factor changed the city so drastically during the twentieth century as the pervasive presence of the automobile. The article examines three different cases of architects—John Lautner, Alison and Peter Smithson, and Aldo Rossi—who tried to construct new visual regimes in photography from the car. The main objective is to present how new visual regimes in photography from the car informed in various ways the visual attitudes in their designs of buildings. The interexchange between the ways of capturing the views from the car and the formation of new design methods can explain the necessity to establish a new theoretical framework offering the possibility to historians of architecture and urban design to address in a sharp and concrete way the reciprocal relation between automobile vision and design approaches. (shrink)

This paper seeks to refute the claim that architectural value is one and the same value as the artistic value of architecture. As few scholars explicitly endorse this claim, instead tacitly holding it, I term it the implicit claim. Three potential motivations for the implicit claim are offered before it is shown that, contrary to supporting the claim, they set the foundations for considering architectural value and the artistic value of architecture to be distinct. After refuting the potential motivations and (...) offering some counterexamples to the claim, I provide some comments upon the interaction(s) between aesthetic, artistic, and architectural values, which are benefitted and supported by Louise Hanson’s discussion of attributive value in the artistic domain. (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)

periphery looks at you with hate. This phrase in red neon struck the visitors of Landscapes, an exhibition by Domenico Antonio Mancini in the Lia Rumma Gallery in Naples, in 2019. It was not addressed to the public but to the nineteenth-century pictorial views relocated in the last room of the exhibition, as if repainted by the immaterial vandalism of the colored light. The exhibition’s theme was the visibility of contemporary suburban environments, now accessible through Google street view visualizations. Mancini’s (...) non-representational Landscapes are Google addresses, not aesthetically appreciable but pragmatically challenging: the visitor must type on a touch screen to access to the outskirts of Naples, Palermo, Catania, Rome and Milan. The words at the end of the exhibition almost literally replicated a black graffiti drawn on Palazzo Missori in Milan. Are these relocation and remediation just about artification? What happens when, browsing Google street view, I take a close look at that graffiti recalling the political protests during the streets the 1960s? The deictic transitability in space and time of the hypermediated image can activate a fortuitous narrative and an open interpretation by looking back on the present as if it were past. Even a digital landscape is a moral landscape like that of public art for Danto, with a «internal beauty» whose meaning is not already embodied in architectural and artistic media but accessible and shareable through our portable devices. (shrink)

Choreographing Space is a reflection on the collaborative work of e+i studio, a New York City based architecture practice. Founders Eva Perez de Vega and Ian Gordon guide the reader through a dynamic selection of projects, each one opening us up to their relationship with the choreography of human and nonhuman forces at play. -/- Born as a retrospective and future-oriented book, it engages philosophical thought with architectural projects located in Europe, Asia, and the US, as well as speculative scenarios (...) that offer an alternative, less human-centric way of practicing architecture. -/- Organised into four parts, each part opens with a philosophical text that acts as an insightful prelude to the topics, questions and reflections posed by each project. Each part concludes with a speculative scenario, where one of the projects is imagined thriving in a future where life is now almost extinct. These are not intended as apocalyptic or even nostalgic scenarios, but rather as affirmative alternatives to the bleak imaginary arising from the world’s current climate crisis. (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)

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)

Departing from the fact that László Moholy-Nagy’s Von Material zu Architektur (1929), had been an important source of inspiration for Alvar Aalto, this article examines the affinities between László Moholy-Nagy and Alvar Aalto’s intellectual positions. The article places emphasis on two particular ideas: how Aalto and Moholy-Nagy conceived the connection of biology with standardization and technology and its relationship to light and perception. Special attention is paid to the notions of “flexible standardisation” and rationalisation in Aalto’s thought, as well as (...) to his belief that nature and standardization should be conceived are closely interconnected. In regard to their shared intellectual development, the article sheds light on the first encounters of the two men including: their meeting at the second Congrès International de l’Architecture Moderne (CIAM) in 1929; the June 1931 Finish meeting of Aino Marsio-Aalto, Alvar Aalto, Moholy-Nagy and Ellen Frank; the June 1931 exchanges between Aalto and Moholy-Nagy during the inner circle CIAM meeting in Berlin; and the common stay of the Aaltos and Moholy-Nagy in London in 1933 are discussed. Particular emphasis is placed on Aalto’s “The Reconstruction of Europe is the Key Problem for the Architecture of Our Time”, in which he argued that standardization in architecture should draw upon biological models. (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.

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)

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.

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)

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.

This article explores the relationship between the bodily presence of other humans in the lived urban world and the experience of everyday architecture. We suggest, from the perspectives of phenomenology and architecture, that being in the company of others changes the way the built environment appears to subjects, and that this enables us to perform simple daily tasks while still attending to the built environment. Our analysis shows that in mundane urban settings attending to the environment involves a unique attentional (...) mode, which does not rely on concentrating on, or appreciating the architectural objects, but rather on social attention and on the subject’s kinesthesis in relation to the built environment. (shrink)

The paper argued for the obligation of architects to make buildings buildings that people will find 'beautiful'. Whilst an obligation to accessible beauty is universal to humanity, its satsfaction can be local for a ny culture. Four objections to the thesis are discussed, but the conclusion is that, amongst the several moral obligations architects are faced with, that to provide accessible beauty is a fundamental obligation.

It is a fact that there is ethical criticism about art. Art critics, the general public and even artists point out moral flaws in artworks while evaluating them. Philosophers, however, have maintained a hot debate on the meaning of such criticism. This debate can be understood as a disagreement about the kind of relation between the artistic value of artworks and their alleged moral value. While some claim that moral value can contribute to artistic value (moralism), others claim that there (...) cannot be such a contribution (autonomism). Since at least some works of architecture are artworks, that debate also concerns architecture. A moderate moralist view claims that some works of architecture have moral flaws/merits that bear on their artistic evaluation. In an apparently promising version, the contention is that some moral flaws/merits are aesthetically relevant. In this paper I argue against such contention and defend an autonomist view. Following some taxonomy remarks I distinguish the views in the debate and present two points in favour of autonomism: its simplicity and not having the burden of proof. Then I discuss Carroll’s merited response argument for moralism and I argue that in its best interpretation either it begs the question against autonomism or it is compatible with it. I conclude with some possible objections that may help further investigations on the subject. (shrink)

Carroll William Westfall has claimed that building types can serve as natural symbols of (the purposes served by) activities such as venerating, celebrating, trading, and dwelling. The aim of this paper is to interpret Westfall’s claim in a way that makes it non-trivial and yet worthy of further investigation. In particular, an attempt is made to explain the connection between building types and what they symbolize without appealing to convention. The question is also answered whether a non-conventional connection is compatible (...) with one and the same building type having a different significance in different cultures. (shrink)

The German philosopher Martin Heidegger’s seminal essay “Building, Dwelling, Thinking”, published in 1954, is one of the texts which has had most influence on architectural thinking in the second half of 20th and early 21st century. What much of modern and postmodern architectural thinking extracts from Heidegger’s text and revolves around is the understanding of building and dwelling as more or less abstract forms of being without taking into account the people inhabiting space. In these traditions little has been said (...) about what the Danish architect Jørn Utzon adds to the term “being” and announces as the most important aspect of architecture: Well-being understood as human well-being. The present paper means to re-interpret Heidegger’s text critically in order to rethink dwelling and building within an architectural context, presenting Jørn Utzon’s work and thinking as a lifelong search for the architecture of well-being. (shrink)

The term "pastiche" originally means a "pasty" or "pie" dish containing several different ingredients. It has come to be used synonymously with a variety of terms whose meanings are rarely fixed with clarity: parody, montage, quotation, allusion, irony, burlesque, travesty, and plagiarism. Al;though some definitions of pastiche strive to remain neutral, others have taken on a pejorative sense. Still others are more positive, especially within the realms of twentieth-century postmodern art and architecture.

Basandomi su (Harvey 2012) argomenterò che la struttura architettonica della città deve seguire un determinato modello morale: gli edifici devono adattarsi alla persone e alle loro esigenze, e non il contrario. Definita la città come un particolare tipo di oggetto sociale, difenderò la tesi della possibilità di cambiamento “qui e ora” delle strutture architettoniche delle città sulla base del modello che, come mostra (Sudjic 2011), è attualmente ribaltato in una situazione in cui gli agglomerati urbani seguono sostanzialmente una struttura che (...) sposa le sole esigenze dei costruttori. Una volta argomentato che la città deve tenere conto degli interessi di tutti, modificando di continuo le proprie strutture, mi baserò su (Frau 2009) per sostenere che la città deve anche trasformarsi in un luogo in cui anche i “ diversi” (malati mentali, ecc.) trovano un loro spazio non dissimile da chi è definito “normale”. (shrink)

“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)

Discussions of place and whom need to take more account of the multiplicity of centers in the modern city/suburban environment.

Assessing the success or failure of a work of architecture typically requires determining its function. However, architectural criticism often founders on apparently intractable disputes concerning the 'true' function of particular works. In this essay, I propose that the proper function of an architectural work is a matter of empirical fact, and can be determined by examining the history of the relevant architectural type. I develop this claim by appeal to the so-called 'etiological theory of function'.

This paper illustrates how affordance-based design can contribute to solutions for the grand challenges that society faces. The design methodology of ‘strategic interventions’ is explained.

The revised and expanded edition of The Sympathy of Things with Bloomsbury Academic, which appeared in 2016. The pdf sample contains the new preface to the second edition and the foreword by Brian Massumi.

The first chapter of The Sympathy of Things published in Research & Design: Textile Tectonics (2011). It develops the notion of a “gothic ontology” which inverts Deleuze’s baroque ontology of the fold. Where in the universe of the fold continuity precedes singularity, in the gothic singularity precedes continuity. The reversal is based on the Ruskinian notion of the rib, which is the source of “changefulness”, expressed through “millions of variations” of figures. Figures move and change only to interact with or (...) connect to other figures, i.e. to build configurations. Ruskin’s notion of savageness, which is always categorized as an ethics-over-aesthetics, now becomes a notion of craft that is inherent to matter, not to humans. (shrink)

Arthur Danto asserts that Maya Lin’s Vietnam Veterans Memorial in Washington embodies the rhetoric paradigm of internal beauty’s meaning. However, the relationship to the Kant’s pulchritudo adhaerens is not an easy one: Danto’s recalls against the self-referent formalism of Greenberg’s Modernism and his tacit issues about the environmental non-monumentality of Richard Serra’s Minimalism, are, most importantly, haunted by the unquestioned spectral logic of the image embodiment. The beholders’ reflecting shape on the funeral Wall is, finally, both a pathetic index and (...) a medial incarnation–e.g. a Verkörperung–of the underworld. (shrink)

A shortened version of the second chapter of The Sympathy of Things as it was published in The Politics of the Impure (V2_NAI Publishers, 2010). It relates John Ruskin’s “Wall-Veil” to the better-known “Wall-Dress” (Gewand) of Gottfried Semper by understanding both as occurring at the intersection of matter and force. Matter tends to generate patterns in two ways, either downward or upward in dimensions. The first relates to tessellated ornament (cf. Owen Jones); the second to the ribboned ornamentation as we (...) find it in Morris’s work. (shrink)

Heidegger’s sense of the holy is an important aspect of his thought, especially in the form that it takes in his later work. By juxtaposingHeidegger’s thinking on the sacred with traditional metaphysician René Guénon’s examination of the symbolism of the sacred pole, we can bring both elements into clearer focus. This paper undertakes to draw together these two radically disparate thinkers not to undermine either’s project, but rather to demonstrate one way in which the sacred can be more thoroughly understood, (...) especially in light of our increasing disregard for the experience of the divine in the modern world. The Heideggerian event of the sacred is played out in a way that is uniquely informed by polar symbols in the architecture of the great gothic cathedrals, and these prove to be a site for the opening up of the holy within space. When these elements are drawn together, they serve to reciprocally inform one another, deepening our understanding of the performative and spatial dimensions of our experience of the divine and opening the possibilityof a relationship with God that is not bound by onto-theological constructions of the Godhead. (shrink)