This paper addresses questions of ethics in the professional practice of architecture. It begins by discussing possible relationships between ethics and aesthetics. It then theorises ethics within concepts of 'practice', and argues for the importance of the context in architecture where narrative can be used to learn and to integrate past and present experience. Narrative reflection also takes in the future, and in the case of architecture there is a positive but not yet well accepted move (particularly within the 'academy') (...) to realise the imperative nature of architecture's responsibility with respect of global sustainability. Architects, more perhaps than other professions, use the faculty of imagination in their work, and this paper therefore maintains that architects as artists are uniquely qualified to exercise 'moral imagination' when it comes to situations where moral deliberation is needed. Pragmatism has given a new impetus to the importance of imagination in moral reflection, and I focus on John Dewey's categories of 'empathy' and 'dramatic rehearsal' as descriptors of moral imagination as applied in situations. I argue in conclusion firstly that empathy between end-users and architects is an essential but not always realised part of morality in architecture, and secondly that 'dramatic rehearsal', when extended more widely that a given situation, may lead architects to question the social, political and ecological contexts of their work and thus motivate them to prioritise the 'ethical' in all the choices they make. (shrink)

Philosophy & Architecture special number of philosophy@LISBON (International eJournal) 5 | 2016 edited by Tomás N. Castro with Maribel Mendes Sobreira Centro de Filosofia da Universidade de Lisboa ISSN 2182-4371.

The paper examines three themes from the recent philosophical literature on place: the status of places as “concrete universals”; the narratively mediated agency of places; and the various ways in which human identity proves to be relative to place. I argue that these themes throw into new relief a set of correlative issues in philosophical theology concerning, respectively, God’s supra-individuality, God’s status as a final cause, and the divine grounding of human identity. On this basis, the paper proposes that knowledge (...) of place is analogous to, and partly constitutive of, knowledge of God. (shrink)

Name der Zeitschrift: Deutsche Zeitschrift für Philosophie Jahrgang: 66 Heft: 6 Seiten: 802-804.

Hans Jonas accuses Heidegger of “never bring[ing] his question about Being into correlation with the testimony of our physical and biological evolution.” Neither the early nor later Heidegger has a “philosophy of nature,” Jonas charges, because Naturphilosophie demands a new concept of matter, a monistic account of cosmogony and evolution, and the grounding of ethical responsibility for future generations in an ontological “first principle.” Jonas’s ontological rethinking of Darwinism allows him to overcome the nihilism that a mechanistic interpretation of evolution (...) forces upon us: a nihilism allegedly shared by Heidegger. I imagine a Heideggerian response to Jonas, and ask whether the dream of recovering a synthesis between cosmogony and moral insight has been irrecoverably shattered by modern natural science. (shrink)

This article explores the significance that environments play in terms of the learning process. In the United States, the legacy of John Dewey's intellectual efforts left a theoretical understanding that views the architectural composition of learning environments as instrumental mediums which house the educational process. This understanding of learning environments is precipitated by a separation of human agents as subjects and their environments as objects. By contrast, Martin Heidegger's theory of ontology, and its reconfiguration of the subject and object relationship, (...) lends itself to an understanding of the architectural composition of learning environments as dwellings. (shrink)

Discussions of green design and sustainable architecture have become common in the architectural profession, but not in philosophy. This is unfortunate, as philosophers could make important contributions to this discussion, given that these terms rife with ambiguities and that the relationships between these ideas and the traditional Vitruvian values of architecture (beauty, structure, and utility) are unclear. In a recent article, Tom Spector addresses some of these issues to assess whether the notion of sustainability could underpin an entire design philosophy. (...) He concludes that it cannot. I argue that Spector’s argumentsare flawed. After discussing the history of green design, I connect a number of theories in the new field of environmental aesthetics to the question of architectural aesthetics to show how sustainability might inform architecture. (shrink)

Through established modern theories of design thinking, the internalization of environmental design through studio education is fundamentally a construct of ego-centrism. This fact subsequently inhibits an intersubjective and discursive professional ethic. Alternatively, a pedagogy set within a construct of practical discourse could ground an ethical construction of practice which more accurately reflects the realities of intersubjectivity found in human learning, in the best possibilities of studio education, and in the discursive processes fundamental to environmental design in society.

In this paper the author explores certain fulfilling personal experiences that he describes as the presencing of space, i.e. the way in which an individual’s spatial involvement may put him or her in contact with reality as a whole. These experiences are investigated from a phenomenological perspective, and the differences between them and other similar experiences, such as that of the sublime or topophilia, are highlighted. A neologism is introduced: topoaletheia to name a distinctive type of spatial experience. This concept (...) may enrich the discussion about our involvement with space in our built environments. (shrink)

Unlike human beings, landscapes, cities and buildings cannot feel anything in the literal sense. They do not have nervous systems. Nevertheless, we attribute “Stimmungen” such as peacefulness and melancholy to them. On what basis? With what right? And why does it matter anyway? This paper attempts an answer to this bunch of questions. The first section clarifies the concept of “Stimmung,” by distinguishing its three major meanings, namely harmony, mood and atmosphere. Section two discusses various models of how “Stimmung” is (...) infused into our natural and artificial environment. Section three lists several ways of how we experience atmosphere, preparing the ground for the specifically aesthetic claim in section four: how, when we experience atmosphere aesthetically, we respond to it by resonating or feeling at home. (shrink)

What would it take to design a real place online where real learning would happen?

Structural interventions to historic stone masonry buildings require that both structural and heritage values be considered simultaneously. The absence of one of these value systems in implementation can be regarded as an unethical professional action. The research objective of this article is to prepare a guideline for ensuring ethical structural interventions to small-scale stone historic masonry buildings in the conservation areas of Northern Cyprus. The methodology covers an analysis of internationally accepted conservation documents and national laws related to the conservation (...) of historic buildings, an analysis of building codes, especially Turkish building codes, which have been used in Northern Cyprus, and an analysis of the structural interventions introduced to a significant historic building in a semi-intact state in the walled city of Famagusta. This guideline covers issues related to whether buildings are intact or ruined, the presence of earthquake risk, the types of structural decisions in an architectural conservation project, and the values to consider during the decision making phase. (shrink)

: Based on the premise that ugliness looms large in both cultural and women's consciousness of vaginas, I create a representation of the vagina's beauty as rich and sweet. Smell, taste, and touch play predominant roles as I use scholarly analysis and my own autobiographical narratives and poems and poetic language in order to redress the vagina's culturally inherited ugliness.

Kolb discusses postmodern architectural styles and theories within the context of philosophical ideas about modernism and postmodernism. He focuses on what it means to dwell in a world and within a history and to act from or against a tradition.

Central issues in philosophy of architecture include foundational matters regarding the nature of: (1) architecture as an artform, design medium, or other product or practice; (2) architectural objects—what sorts of things they are; how they differ from other sorts of objects; and how we define the range of such objects; (3) special architectural properties, like the standard trio of structural integrity (firmitas), beauty, and utility—or space, light, and form; and ways they might be special to architecture; (4) architectural types—how to (...) consider abstract groups of architectural objects and their instances; (5) meaning and other language-like phenomena in architecture and its objects; (6) formation of and warrant for our basic grasp, and considered judgment, of architectural objects; and (7) social and moral features of architectural objects and architectural practice. Yet other questions engage applied philosophical concerns regarding architecture, such as the character of architectural notation; intellectual property rights; and client-architect obligations. A far-reaching philosophy of architecture extends beyond even a broadly aesthetics-based assessment, to include considerations of ethics, social and political philosophy, and philosophical reflections on psychology and the behavioral sciences. The aesthetics of architecture, by itself, spans traditional issues mooted in philosophy of art, as well as aesthetics of the everyday, and environmental aesthetics. Such traditional issues include the nature of the work; the possibility of classes, kinds, or types in the domain; the character and roles of representation, intentionality, and expression; and the warranted foundations for criticism. The ethics of architecture also addresses traditional issues, including delineation of rights, responsibilities, the good, virtues, and justice in architectural milieus. Still other aspects of philosophy of architecture concern social and technological characteristics. (shrink)

This essay discusses the situation of philosophy today in an era of mixed modern, postmodern, and traditional values and social patterns. It argues, with reference to postmodern architecture and to the German philosophers Hegel and Heidegger, that we should reject polarizing conceptual dualities, and that we need to seek out new kinds of less centered and less hierarchical unities that take advantage of the internal tensions and spacings within intellectual and cultural formations. It concludes with a discussion of the promises (...) and problems of dialogue between Eastern and Western philosophies in today’s world. (shrink)

How the interpretation of architecture differs from that of other artworks.

The paper is focused on Genesis 1 – 3 where the primordial man [adàm] is created ‎and he was given the proper name Adam [adàm]. ‎ In Hebrew man and Adam are the same word, spelled the same way – [adàm]. ‎Different translations of Genesis 1-3 use for the first time the proper name Adam in ‎different places versions Gen 2:25; The German Luther ‎Bible Gen 3:8; Some English Protestant versions Gen 3:17; Bulgarian Protestant and many ‎English Protestant versions Gen (...) 3:20-21). The paper decodes the phenomenon by ‎studying the Hebrew original and several semiotic views on common and proper names ‎‎. Through these opinions the ‎important question “Who wrote the Bible?” is discussed. The analysis interfaces the new ‎linguistic relativity theory.‎ Four layers of symbolism are decoded: 1. The man became Adam; 2. The two men in ‎Gen 1:27 and in Gen 2:7 man [adàm] ‎is made by earth, ground [adamà]; 3. The two men in the New Testament ; 4. Edom, Adam and cultural discourses in both Testaments.‎. (shrink)