In this paper, I will examine the aesthetic implications of the theories which regard the city as an image. Essentially, I will focus on the positions of the two practitioners, Kevin Lynch and Juhani Pallasmaa, who are an urban planner and an architect respectively, in order to confront two very different approaches to the ‘image’; namely, an empirical approach and a phenomenological one. I am interested in what the city becomes when it is looked upon as an image and I (...) will reflect on the experiences of the city‑image in its various aspects. The aim of this discussion is an attempt to outline certain research areas for exploring the aesthetics of the city centred on the image, with the practitioners’ theories enabling us to widen the scope of this exploration. (shrink)

The majority of the world’s population now lives an urban existence, spending as much as 95% of their lives indoors. The olfactory atmosphere in the built environment has been shown to exert a profound, if often unrecognized, influence over our mood and well-being. While the traditionally malodorous stench to be found indoors (i.e., prior to the invention of modern sanitation) has largely been eliminated in recent centuries, many of the outbreaks of sick-building syndrome that have been reported over the last (...) half century have been linked to the presence of a strange smell in the environment. At the same time, however, there is also growing evidence that consumer behavior can be manipulated by the presence of pleasant ambient odors, while various aromatherapy scents are said to improve our mood and well-being. This Anglophone review focuses primarily on indoor western urban developed spaces. Importantly, the olfactory ambience constitutes but one component of the multisensory atmosphere and ambient odors interact with the visual, auditory, and haptic aspects of the built environment. Surprisingly, the majority of published studies that have deliberately chosen to combine ambient scent with other sensory interventions, such as, for example, music, have failed to increase store sales, or to enhance people’s mood and/or well-being, as might have been expected. Such negative findings therefore stress the importance of considering multisensory congruency while, at the same time, also highlighting the potential dangers that may be associated with sensory overload when thinking about the effect of ambient smell on our well-being. (shrink)

This piece focuses on the work of Juhani Pallasmaa who introduces phenomenological aspects of kinesthetic and multisensory perception of the human body into architecture theory. He argues that hand-drawing is a vital spatial and haptic exercise in facilitating architectural design. Through this process, architecture can emerge as the very ‘material’ existence of human embodied ‘immaterial’ emotion, feelings and wisdom. Hence, for Pallasmaa, architecture can be seen as an artistic practice, which entails multisensory and embodied thought in order to establish the (...) sense of being in the world. (shrink)

Digital technology has revolutionized connectivity, but it has also overcome spatial obstacles that used to shield people from subjugating gazes and unlimited exercise of power. The home as an auratic space is dead, and this alienation has hindered our democratic capacities and created complex crises. The Death of Home aims to intellectually engage readers via enhancing spatial literacy to critically confront today’s crises.

The first year of design education is essential for students as it is their initial interaction with the design process. Awareness of the body through dance has the potential to reveal bodily experience in space. Abstraction of embodied experience contributes to realising the significance of the body and its analytical dimension for spatial and structural design. This study investigates the impact of embodied experience and abstraction on the architectural design process and the outcome through correlation and regression analysis. We observed (...) that increasing awareness of the space through bodily movement and its drawn representation positively impacted students’ success in architectural design. Also, the measures related to space and structure mainly advanced students’ success in the final design. However, the association of the abstraction process with the final design remained limited. The study’s contribution is the systematic and statistical evaluation of the relationship between body, movement, abstraction and architectural design by constructing a set of measures from various stages of the design studio. We hope our research will provide a basis for the upcoming discourse. (shrink)

The relationship between space and human occurs through the actions performed with the body. The abstraction study as an exploration of the body is one of the significant practices for first-year design students. However, there are not enough investigations for design students regarding body, space and basic design principles. This paper aims to explore the potentiality and limitations of the body-abstraction process by comparing the impact of two different educational models on students' perception and improvement. The applied methodology includes comparing (...) two design processes of the basic design course depending on parameters: Given example, source of the video, type of movement, the number of the selected-used scenes, mode of sketching, the method for production, requested outcome, the scale of the study, the material of models and critique of the video. The results present that the activation of the body through mental practice, drawing and modelling stages is critical to understand its abstract and spatial capabilities. The realisation of the potentials in the relationship between body and abstraction in spatial perception would enable us to create an advanced design process addressing more original concepts. (shrink)

Fugue and chaos are used in their contemporary meaning. Elements of the fugue, albeit a ‎small number of universals, will be demonstrated in the area of visual and verbal colors. ‎Chaos dominates the internet, fashion, and everyday life. The visual and verbal colors are ‎differentiated and their communicative potential is indicated alongside the diachronic changes. The prototypes of colors are the interface between visual and verbal colors.‎.

Movement and, more particularly, kinesthesia as a modality and as a metaphor has become of interest at the intersection of phenomenology and cognitive science. In this paper I wish to combine three historically related strands, aisthêsis, kinesthesis and aesthetics, to advance an argument concerning the aesthetic value of certain somatic sensations. Firstly, by capitalizing on a recent regard for somatic or inner bodily senses, including kinesthesia, proprioception and the vestibular system by drawing lines of historical continuity from earlier philosophical investigations (...) on bodily background experience, initially from aisthêsis, Aristotle’s concept of the sensory faculty. Secondly, concepts of the sensate body are advanced through discoveries in the nervous system and related discussions of the ‘inner’ senses such as Charles Bell’s ‘muscle sense’ (1826), and what Charles Sherrington later termed ‘proprio-ception’ (1906). Thirdly, we consider the possibility of aesthetic status for those inner senses, where recently aesthetic arguments by Montero (2006) and Cole and Montero (2007) seek to determine aesthetic criteria for proprioception, and similarly in dance theory the aesthetic status of kinesthesia has been questioned (e.g. Foster 2011). Finally we consider whether previous exposure to a ‘grammar’ of movement is a factor in determining the relative aesthetic value. (shrink)

In the town of Odienné, Madou forges his faith in God by performing long sessions of solo zikr after midnight. This article ethnographically explores the theme of light in this Sufi practice of concentration as an experiential form of being. It first describes how the light and darkness of the penumbra of the night co-initiate what I call “the devotional place” of zikr. Following a phenomenological writing, it then describes how, as hours go by, Madou’s concentration navigates towards “yeelen” through (...) the silence of the deep night. In doing so, this article elaborates the “corporeal mind” as synesthetic instants in this journey when the body becomes the mind and the mind faith, as the penumbra becomes silence and silence light. In other words, it explores the sensuous unboundedness of the self that happens in regular and long practice of nocturnal solo zikr. This article therefore offers a corporeal understanding of the light of God among practitioners of prolonged nocturnal solo zikr in West Africa. (shrink)

The purpose of this paper is to introduce everyday aesthetics in education. First, it presents everyday aesthetics as a subdiscipline within philosophical aesthetics, that revisits sensory perception as the backdrop of all experience, claims ordinary life is a proper venue for aesthetic inquiry, and problematizes the impact aesthetic preferences have on habitual decisions. Second, the paper argues that among the diverse matters students learn in school, they learn—explicitly or implicitly—what and how to perceive, as well as the pedagogical purposes of (...) daily perception. School models the relationships that students will develop between what they perceive, what they think about it, and how they act accordingly. Next, the paper elaborates on the notions of “school aesthetic matrixes” and “space and place in school”. School aesthetic matrixes refer to perceptual patterns that allow characterizing relationships between daily perception and the pedagogical project of a school. They manifest through expressions such as prison school, home school, mall school, etc. Space and place in school allude to concomitant experiences, of corporeal basis, that allow describing how we inhabit the world. What distinguishes them is the approach each one gives to the senses and the body. The paper concludes by calling attention to the comprehension and role of perception in education, urging to mind the aesthetic-pedagogical character that students develop throughout 12 years of schooling. Ultimately, the key relationships we develop with ourselves, others, and the world, entail a basic perceptual dimension that can be educated to become more purposefully and integrally present in life. (shrink)

The present study examines the striking similarities between the architectural design and spatial composition of the ancient Egyptian tomb and Sigmund Freud’s office at Berggasse 19 in Vienna, Austria. I argue that the Egyptian tomb elements represented within Freud’s office permitted the enclosed space to play an active role in his psychoanalysis sessions. I supplement this argument by analyzing the office’s spatial and architectural arrangements in relation to ancient Egyptian architectural frameworks, psychoanalytic container theory (Freud, Danze, and Quinodoz), and Freud’s (...) archeological metaphor model. This study contributes to the greater body of work on architecture as an active entity, psychoanalysis, and ancient Egyptian history. (shrink)

Neuroarchitecture uses neuroscientific tools to better understand architectural design and its impact on human perception and subjective experience. The form or shape of the built environment is fundamental to architectural design, but not many studies have shown the impact of different forms on the inhabitants’ emotions. This study investigated the neurophysiological correlates of different interior forms on the perceivers’ affective state and the accompanying brain activity. To understand the impact of naturalistic three-dimensional (3D) architectural forms, it is essential to perceive (...) forms from different perspectives. We computed clusters of form features extracted from pictures of residential interiors and constructed exemplary 3D room models based on and representing different formal clusters. To investigate human brain activity during three-dimensional perception of architectural spaces, we used a mobile brain/body imaging (MoBI) approach recording the electroencephalogram (EEG) of participants while they naturally walk through different interior forms in virtual reality (VR). The results revealed a strong impact of curvature geometries on activity in the anterior cingulate cortex (ACC). Theta band activity in ACC correlated with specific feature types (rs (14) = 0.525, p = 0.037) and geometry (rs (14) = - 0.579, p = 0.019), providing evidence for a role of this structure in processing architectural features beyond their emotional impact. The posterior cingulate cortex and the occipital lobe were involved in the perception of different room perspectives during the stroll through the rooms. This study sheds new light on the use of mobile EEG and VR in architectural studies and provides the opportunity to study human brain dynamics in participants that actively explore and realistically experience architectural spaces. (shrink)

In the last decades, the rapid growth of functional brain imaging methodologies allowed cognitive neuroscience to address open questions in philosophy and the social sciences. At the same time, novel insights from cognitive neuroscience research have begun to influence various disciplines, leading to a turn to cognition and emotion in the fields of planning and architectural design. Since 2003, the Academy of Neuroscience for Architecture has been supporting ‘neuro-architecture’ as a way to connect neuroscience and the study of behavioral responses (...) to the built environment. Among the many topics related to multisensory perceptual integration and embodiment, the concept of hapticity was recently introduced, suggesting a pivotal role of touch and haptic imagery in architectural appraisal. Arguments have thus risen in favor of the existence of shared cognitive foundations between hapticity and the supramodal functional architecture of the human brain. Precisely, supramodality refers to the functional feature of defined brain regions to process and represent specific information content in a more abstract way, independently of the sensory modality conveying such information to the brain. Here we highlight some commonalities and differences between the concepts of hapticity and supramodality according to the distinctive perspectives of architecture and cognitive neuroscience. This comparison and connection between these two different approaches may lead to novel observations in regard to people-environment relationships, and even provide empirical foundations for a renewed evidence-based design theory. (shrink)

Mimarlık felsefesinde ―yer‖, ―mekan‖, ―uzam‖, ―boyut‖ gibi kavramlar sıklıklar tekrar tekrar ele alınıp tartışılır. Bu makalede en temelde aynı şeyin ―içerisi‖ ve ―dışarı‖ kavramları için yapılması denenmiştir. İç mekanlar genellikle binaların içi olarak düşünülür ve söz konusu bir dış mekan olduğunda, bu mekanın ―içerisi‖ olarak düşünülemeyeceği varsayılır. Dışarısı asla tam olarak bir iç mekan değildir. Bu makalede, bu görüş problematize edilmiş ve ―dışarının‖ da bir ―içerisi‖ olarak deneyimlenip deneyimlenemeyeceği araştırılmıştır. İlk olarak mekan sorununu ve bunun insan ile karşılıklı ilişkisini ele (...) alındı. Mekanı deneyimleme şekillerimiz ve bunların insan bedeni ve duyularıyla özsel ilişkisi içerinin ve dışarının anlamını tanımlamada bir zemin oluşturdu. Maurice Merleau-Ponty ve Martin Heidegger üzerinden insan bedeni ve bedenin mekan ile ilişkisine dair fenomenolojik bir yaklaşım ile aynı zamanda Jean-Luc Nancy ve Derrida‘nın ―kutsal‖ üzerine görüşlerini ele alarak dışarıyı bir içerisi olarak deneyimleyebilmemizin nasıl olanaklı olduğu incelenmiştir. (shrink)

Memoires by eminently creative people often describe architectural spaces and qualities they believe instrumental for their creativity. However, places designed to encourage creativity have had mixed results, with some found to decrease creative productivity for users. This may be due, in part, to lack of suitable empirical theory or model to guide design strategies. Relationships between creative cognition and features of the physical environment remain largely uninvestigated in the scientific literature, despite general agreement among researchers that human cognition is physically (...) and socially situated. This paper investigates what role architectural settings may play in creative processes by examining documented first person and biographical accounts of creativity with respect to three central theories of situated cognition. First, the embodied thesis argues that cognition encompasses both the mind and the body. Second, the embedded thesis maintains that people exploit features of the physical and social environment to increase their cognitive capabilities. Third, the enaction thesis describes cognition as dependent upon a person’s interactions with the world. Common themes inform three propositions, illustrated in a new theoretical framework describing relationships between people and their architectural settings with respect to different cognitive processes of creativity. The framework is intended as a starting point toward an ecological model of creativity, which may be used to guide future creative process research and architectural design strategies to support user creative productivity. (shrink)

The idea of immersion research has been explored in various disciplines: Virtual Reality, Interactive Storytelling, Art, etc. However, most researchers focus on constraints of the hardware and software, and are less focused on the conceptual and philosophical implications of immersion and presence. This paper aims to define a certain quality of immersion that has emerged from artisticresearch experiences. Overall, immersion is an integrated conscious state where mind, body and environment are well interrelated and interweaved. Within the concept of immersion, we (...) explore four categories: ambient immersive natural space, body interaction, new consciousness and flow of energy. Finally, the paper presents examples of our artresearch work and offers detailed explorations on the quality of immersion. (shrink)

This paper describes the general concepts of Arnold Berleant's urban metaphors in order to use them as a background for presenting a different perspective on the aesthetics of engagement through the prism of contemporary dance strategies and design practices in architecture and urban planning.

Drawing on research in posthumanism, science and technology studies and biosemiotics, this essay analyses the challenges epigenetic processes pose for our understanding of embodied subjectivity. It uses the work of Charles Sanders Peirce to argue that epigenetic processes are indexical in their patterned logic, that they are meaning-making processes and that, consequently, they can be conceived as a form of attention. To conceive of bodies as paying attention through epigenetic processes is to rupture the distinction between matter and meaning that (...) governs many philosophical categories. This in turn invites us to recalibrate our conception of the relationship between self, body and world. (shrink)

This thesis attempts to describe and interpret the design practice of an American architect, Frank O. Gehry through concepts developed by French philosopher Gilles Deleuze and his collaborator, French psychotherapist, philosopher and activist, Félix Guattari. At the same time, prototyping a website-based interactive project called PLATEAU GEHRY_CONNECTIVES, it explores an alternative form for the Doctoral thesis. In addition to connections with visual arts, such as painting and cinema, the experimental project PLATEAU GEHRY_CONNECTIVES includes references to concepts and phenomena from various (...) areas of knowledge revealing distinctive, unusual qualities of Gehry’s creative approach in the production of design artefacts. The thesis documents and discusses means of representation in architectural design fused into the specific creative culture of Frank O. Gehry. It notices that the discourse in architectural theory and practice, often neglects what occurs on a particular molecular level of the architectural design process. It shows that elements of micro-level of design procedures render Gehry’s idiosyncratic design phenomena intelligible and perceptible in a new way. It claims that it has been possible because Deleuze and Guattari’s concepts become perceptibly operational in the interpretation of such phenomena, at the level of elementary units of Gehry’s design procedures. Moreover, through this close-up perspective, the thesis’ investigations identify certain similarities in the operational modes of the architect and the painter. It demonstrates how Gehry, who has anchored his interest in painting, and specifically in what he defined as ‘immediacy in painting,’ was able to transform the practice of architectural drawing from projective to a cognitive one. It also shows, how the architect re-defines the commonly applied projective geometries from passive, arbitrary role to an active agent, and how the architect links drawing practice with the construction process on a new, almost palpable level. While stressing its the manual character, the thesis demonstrates that Gehry’s explorative culture of challenging means of representation employed in architectural design production facilitates the re-disciplining of architecture culminating in the integration of the CATIA system in the design procedures. This study of Gehry’s design actions and strategies can help the reader to understand the significance of experimental and intuitive design practices. The thesis proposes the Deleuzian interpretation of Gehry’s experiments in the aesthetics of design thinking and acting. It renders perceptions of patterns, according to which, other design practices can operate. (shrink)

We live today within a system in which state and corporate power aim to render space flat, transparent, and uniform, for only then can it be truly controlled. The gaze of power and the commodity form are capable of infiltrating even the darkest of corners, and often, we invite them into our most private spaces. We do so as a matter of convenience, but also to placate ourselves and cope with the alienation inherent in our everyday lives. The resulting dominant (...) space can best be termed totalitarian. It is space stripped of uniqueness, deprived of the “spatial aura” necessary for authentic experience. In Totalitarian Space and the Destruction of Aura, Saladdin Ahmed sets out to help us grasp what has been lost before no trace remains. He draws attention to that which we might prefer not to see, but despite the bleakness of this indictment of reality, the book also offers a message of hope. Namely, it is only once we comprehend the magnitude of the threat to our spatial experience and our own complicity in sustaining this system that we can begin to resist the totalizing forces at work. (shrink)

Since the nineteenth and twentieth century, information has been pivotal both in the cultural tradition and then in the economic tradition. While the Fordism economic model and its specialisation requirements originated a simplistic zoning and single-use development approach to the design of a city. It, however, determined a fragmented growth of cities. Inevitably, the zoning as an urban strategy affected the architectural scale. Nevertheless, the idea of information, commercial goods and thereby people freely able to flow through the city allowed (...) architects and urban designer to conceive new types of urban infrastructures. For example, trains, which were designed on the model of urban “arteries and veins.” Over time, the persistence of urban and architectural segmentation has strengthened social and economic inequalities among urban society. In addition, information has played a more vital role in this strengthening process. The technological achievements of the twenty-first century such as information technologies have significantly affected cities. The new informational patterns have provided new ways of designing, and in turn how societies experience cities. These “quantified cities” consist of digital data that dynamically interacts with “quantified human beings.” Consequently, a renewed urban semiotics is established, which is built around an alternate sociological comprehension. Is this new urban semiotics able to heal an ill and divided urban body? The paper will investigate a new concept of “quantified city” based on the notion of “Hyper-Reality,” and its inhabitants who are entering in a “post-human” condition while living in a dynamic urban environment. In particular, the critical analysis will be used as a “tool” for redefining the perception of the city through inhabitants’ relational patterns which are technologically mediated. The more traditional notion of urbanisation is questioned with a focus on how the an urban society is embedded within the digital condition and the notion of a city. (shrink)

In The Biosemiotic Fundamentals of Aesthetics: Beauty is the Perfect Semiotic Fitting Kull makes a foray into the concept of Beauty. His target article is a welcome contribution not only for providing a biosemiotic notion of beauty but also as a trigger for further enquiry into the matter. Additionally, Kull delivers a new concept: Semiotic Fitting, shining new light on the Umwelt theory. My commentary embraces the challenge Kull presents. Offering an alternate view on beauty, as a matter, and product, (...) of cognition, I suggest reflecting on the philosophy of Alexander von Baumgarten, who coined the term “aesthetics”, offers rich insight that could extend and enrich the definition of beauty Kull presents. (shrink)

Recent social theory that stresses the ‘nonrepresentational’, the ‘more-than visual’, and the relationship between affect and sensation have tended to assume some kind of break or rupture from historical antecedents. Especially since the contributions of Crary and Jay in the 1990s, when it comes to perceiving the built environment the complexities of sensation have been partially obscured by the dominance of a static model of vision as the principal organizing modality. This article returns to some prior historical articulations of the (...) significance of motility in perception, retracing pathways across art history, architectural theory and the history of neuroscience to argue for an alternative model based on the movement of the eye. Along with subsystems that deal with balance and orientation, I offer parallels between spatial motifs of the interior spaces of the body – labyrinths, vestibules, chambers – and those in artefacts and the built environment that contribute to the heightened physicality of the oculomotor subject. (shrink)

Critical posthumanism is an invitation to think differently about knowledge and educational relationality between humans and the more-than-human. This philosophical and political shift in subjectivity builds on, and is entangled with, poststructuralism and phenomenology. In this paper we read diffractively through one another the theories of Finnish architect Juhani Pallasmaa and feminist posthumanists Karen Barad and Rosi Braidotti. We explore the implications of the so-called ‘ontological turn’ for early childhood education. With its emphasis on a moving away from the dominant (...) role of human vision in educational research we show how videoing and photographing works as an apparatus in an analysis of data from an inner-city school in Johannesburg, South Africa. We are struck by children’s seeing with the ‘eyes of their skin’ and ‘seeing’ with/in the world, as their obvious distress is felt when a small tree sapling has been mowed down in a nearby park. We analyse the event with the help of a variation on Deleuze’s notion of ‘becoming-child’: ‘becoming-little’, and Anna Tsing’s ‘the arts of noticing’. ‘Becoming-little’ as a methodology disrupts the adult/child binary that positions ‘little’, younger humans as inferior to their ‘bigger’ fully human counterparts. We exemplify ‘becoming-little’ through 4 and 5 year-olds’ learning with the little tree and adopt Barad’s temporal diffraction to ‘see’ what is in/visible in the park: the extractive, exploitative, colonising mining practices of White settlers. These are still part of the land on which the park was created but are in/visible beneath the ‘skin’ of the earth. (shrink)

This paper explores how touch is key to understanding education—not as an achievement or an instrument of acquisition, but as a process through which one becomes a subject capable of both living and leading a life that matters for ourselves and others. As a process, it is concerned with how we encounter things and others in the world and not solely with what we encounter. In particular, it argues that the dynamics of touch-as both a touching and being touched by-are (...) central for understanding educational encounters as sensory landscapes of contact. This paper turns first to Aristotle’s understanding of touch as central to life itself in order to contemplate how it is not merely one of the senses but signifies as the primary mode of all bodily contact with the world. This vital aspect will then be examined in relation to the specific ways bodies experience contact, through their membranes, morphological make up and their movements. Here, I draw on a number of philosophers and theorists, such as Maxine Sheets-Johnstone, Juhani Pallasmaa and Erin Manning, and a recent art installation The Boarding School by Sisters Hope to demonstrate how bodies matter to the very practices of education. I conclude with some thoughts on what morphologies, membranes and movements can specifically offer to a sensuous understanding of education. (shrink)

Human perception has long been a critical subject of design thinking. While various studies have stressed the link between thinking and acting, particularly in spatial experience, the term “design thinking” seems to disconnect conceptual thinking from physical expression or process. Spatial perception is multimodal and fundamentally bound to the body that is not a mere receptor of sensory stimuli but an active agent engaged with the perceivable environment. The body apprehends the experience in which one’s kinesthetic engagement and knowledge play (...) an essential role. Although design disciplines have integrated the abstract, metaphoric, and visual aspects of the body and its movement into conceptual thinking, studies have pointed out that design disciplines have emphasized visuality above the other sensory domains and heavily engaged with the perception of visual configurations, relying on the Gestalt principles. Gestalt psychology must be valued for its attention to a whole. However, the theories of design elements and principles over-empathizing such visuality posit the aesthetics of design mainly as visual value and understate other sensorial and perceptual aspects. Although the visual approach may provide a practical means to represent and communicate ideas, a design process heavily driven by visuality can exhibit weaknesses undermining certain aspects of spatial experience despite the complexity. Grounded in Merleau-Ponty’s notion of multisensory perception, this article discusses the relationship between body awareness and spatial perception and its implication for design disciplines concerning built environments. Special attention is given to the concepts of kinesthetic and synesthetic phenomena known as multisensory and cross-sensory, respectively. This discussion integrates the corporeal and spatiotemporal realms of human experience into the discourse of kinesthetic and synesthetic perceptions. Based on the conceptual, theoretical, and precedent analyses, this article proposes three models for design thinking: Synesthetic Translation, Kinesthetic Resonance, and Kinesthetic Engagement. To discuss the concepts rooted in action-based perception and embodied cognition, this study borrows the neurological interpretation of haptic perception, interoception, and proprioception of space. This article suggests how consideration of the kinesthetic or synesthetic body can deepen and challenge the existing models of the perceptual aspects of environmental psychology adopted in design disciplines. (shrink)

Many critics have pointed to the failures of modernist urban design, which include its obliteration of thriving neighborhoods, isolation of functions and production of alienating spaces hostile to the human form. Less focus has been placed on defining the source of the modernists’ errors. This essay argues that these errors were in part due to neglect of the nature of fully embodied experience, a neglect manifested in an overwhelmingly visual disposition in embodiment. The author argues that a visual disposition is (...) implicated in the occlusion of place by the modern concept of abstract space. This concept of space and the visual disposition that is implicated in it undergird the utopianism and veneration for abstract forms that characterized the project of modernist urban design. The author concludes by suggesting that the basis for a humanizing urbanism should be the solicitation of all the senses in synesthetic interaction. This phenomenological critique can help us to see precisely where modernist urban design went wrong; it can also help lead us out of the false dichotomy between alienating modernism and orthodox traditionalism by establishing a basis for successful urban environments in embodiment rather than in any rigidly determined formula for urban design. (shrink)

This article proposes the ideas of stochastic resonance and noise as devices with which to think of the body or self as plural and porous. Boundaries and surfaces are proposed as indefinite; cell switching and narratives of the self are discussed in relation to external forces, via Arendt’s inter-subjectivity and La Celca’s colonization as infection. The sonic artwork Ghost, which uses models of spiking neurons to materialize endogenous and exogenous composition in relation to noise and sonic memory is presented as (...) an exploration of the boundary or limit of the notion of self. This paper, which serves as a cogitatum rather than cognitio, articulates the human body as a complex and open system that steers towards chaos by adapting and accepting further complexity as, and within, constantly adaptive networks of creativity. We suggest that by focusing on the porosity of boundaries and the mechanisms that underlie their permeability, problems around identity and subjectivity might be seen in a new light. (shrink)

The article examines the reduction of architecture to the dimension of utility which results in placelessness. The modern redefinition of science as “knowing-making” is essential to this reduction, although it has fundamental and forgotten importance. Drawing upon Martin Heidegger’s and George Grant’s critique of technology, and the ideas of Alberto Pérez-Gómez and Charles-Francois Viel, the significance of the complex relations between theory and practice in architecture will be explored in the context of Kimberly Dovey’s notion of the cycle of lived-space. (...) A re-definition of modern “knowing-making” reveals a semioticlevel which contains new possibilities for meaningful and environmentally attuned architecture within the technological framework. I suggest “designing-building” as an alternative, understood as a process of poetic recreation of meaningful spaces. (shrink)