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1
Becheru, Raluca. "The philosophy of architecture in analytic tradition: An enquiry on the possibility of the field and its themes." SAJ - Serbian Architectural Journal 8, no. 2 (2016): 309–21. http://dx.doi.org/10.5937/saj1602309b.
Testo completoAbstract (sommario):
The paper focuses on the new field of philosophy of architecture in analytic tradition. The research presented in this paper is part of an ongoing doctoral research concerning the connection between ethics and aesthetics in architecture. The connection between architecture and philosophy is not a novelty. Architectural theory has always looked up to philosophy for inspiration but only recently philosophers have started to study architecture in detail. Architectural theory is still a field that is in search of a better conceptual frame after the failure of the theoretical premises of the Modern Movement and the rise of the "theory speak". Architecture's features as a public art ask for a certain amount of objectivity. The philosophy of architecture in analytic tradition can contribute to a more objective conceptual frame. The principal concerns are familiar to those acquainted with continental philosophy: What makes architecture special among the arts? What is the essence of an architectural work? How we can better define architecture's social mission? But the way of answering them is different. The ethical dimension of architecture is one of the most debated subjects among architects in recent years. There are several contributions on the connection between ethics and aesthetics in the philosophy of architecture in analytic tradition. They have the potential to have an impact on architectural theory and practice.
2
Budi Santosa, Revianto. "Recharting The Philosophy of Technology in Contemporary Architecture." SHS Web of Conferences 41 (2018): 04012. http://dx.doi.org/10.1051/shsconf/20184104012.
Testo completoAbstract (sommario):
Technology is an indispensable aspect of architecture. In fact, it is being an essential part of the human effort in making architecture. Since the early modern era, technology that rapidly change has been seen as the sign of progress, not only pertaining to the technology itself, but also architecture and even civilization. Modern architectural theoreticians, from Sant’Elia to Le Corbusier, enthusiastically embraced the progressive side of technology and engineering. Philosophically, however, modern technology is regarded pessimistically. Heidegger and Jaspers considered technology as the source of alienation to the human being themselves and to the reality they face. To overcome this gap, Alan Drengson, proposed the four philosophy of technology to rechart the variety of tendency towards technology in Western society, consisting of (1) technological anarchy, (2) technophilia, (3) technophobia, and (4) technological appropriateness. In this explanation, he coined the terms “creative philosophy” to include many aspects and ways of thinking which might be incorporated in the creative activities like architectural design. This paper attempts to evaluate the appropriatenes of Drengson’s philosophical scheme as a platform for architectural education in Indonesia in general, by relating his framework with the architectural theories and practices in Indonesia. The result of this effort is while the formulation of his scheme is the very inclusive and closely related with creative activity like architectural design, it contains bias of industrial technology appearing in the Asian scene brought by Western European colonials. Discussing philosophy underlying Gandhi’s movement in India to reject oppressive technology, we may arrive at the conclusion that the philosopy of non-violence, truth and justice based on the principle of self restrained are relevant to figure out the ideal of appropriate technology in Asia.
3
Grebinnyk, T. O., V. V. Belopoly, and O. I. Plaksina. "Philosophy in architecture: a modern view." Bulletin of Prydniprovs’ka State Academy of Civil Engineering and Architecture, no. 6 (December 27, 2018): 83–88. http://dx.doi.org/10.30838/j.bpsacea.2312.261218.83.452.
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4
Suharjanto, Gatot. "Konsep Arsitektur Tradisional Sunda Masa Lalu dan Masa Kini." ComTech: Computer, Mathematics and Engineering Applications 5, no. 1 (June 30, 2014): 505. http://dx.doi.org/10.21512/comtech.v5i1.2644.
Testo completoAbstract (sommario):
It is known that traditional architectures are a product of human conception full of culture and philosophy, while modern architectural concepts prioritize functionality and simplicity that tends to be simple or quick. Now the architectural concept slowly changes according to the conditions of time, then so is the existence of works of architecture that also changes. This condition can be found in almost major cities in Indonesia, where many houses or buildings built still in traditional architecture theme but combined and matched with modern architecture concept. One of many diverse cultures of Indonesia archipelago architecture that has evolved is West Java. There are a lot of people trying to apply the concept of Sundanese traditional house in their residence. Shifting sacred values in traditional concept seems indeed to be lost along with the differences in modern human civilization.
5
Rabboh, Emad H., and Ali A. Elmansory. "The Correlation of Deconstruction Architecture to Arab Architectural Identity." Academic Research Community publication 2, no. 4 (January 1, 2019): 319. http://dx.doi.org/10.21625/archive.v2i4.369.
Testo completoAbstract (sommario):
The Arab architectural identity is characterized by the originality of the various Arab
 cultures. Islamic culture is what makes Arab societies unique and it is what inspired
 Arab architecture. Consequently, the Arab architecture encounters contemporary
 challenges. If modern architectural trends influenced Arab civilization, it could then
 obliterate its identity over the years. Moreover, positively interacting with modern
 architectural trends must take place rather than negative interactions. The aforementioned reasons leave this phenomenon the subject of discussion and research
 and thus the lack of update and development of the vocabulary of Arab architecture.
 The proposed study discusses the problem of the correlation of deconstructive
 architecture with the architectural and Arabic identity through the end of the 20th
 century until 2017. In order to arrive at the definition of the philosophy of
 deconstruction architecture and the appropriate relationship between it and the Arab
 architectural identity, the study utilizes a qualitative descriptive methodology that tries
 to give a generic image of philosophy and characteristics. Deconstruction architecture
 attempts to link the positive aspects of architecture and Arab identity through the
 analysis of the frameworks of this philosophy of particular architectural works of
 various architects who adopt this philosophy of architecture. Responding to the above,
 the current study shows that it is better to strip the modern trends and take what suits
 the Arab culture.
6
Šuvaković, Miško. "Architecture and philosophy: Relations, potentialities and critical points." SAJ - Serbian Architectural Journal 4, no. 2 (2012): 160–75. http://dx.doi.org/10.5937/saj1202160q.
Testo completoAbstract (sommario):
In the debate "Architecture and Philosophy / the relations, potentialities and critical points" the notions of "philosophy of architecture" and "aesthetics of architecture" will be discussed. The differences between traditional and contemporary philosophy and aesthetics of architecture will be introduced. In a separate sub-chapter the status of "theory" and "theorizing" during the times of late modernism and postmodern culture will be discussed. It has been pointed to the modalities of theory outside philosophy and aesthetics. The discourses from philosophy, humanities, free theorizing and architectural theories are brought closer together. In the final sub-chapter the status of contemporary philosophy and cotemporary architecture have been discussed. The notion of contemporaneity has been particularly elaborated. The central thesis of this paper is the relation of architecture and philosophy, i.e. the theory constituent for modern, postmodern and contemporary architecture. The derived thesis of the discussion is that critical theory of architecture and architectural yearning for "critical architecture" have acquired exceptional significance at the time of global conflicts and, presently at the time of global economic crisis. The theoretical, aesthetic and philosophical attention has essentially been shifted from the immanent questions about architecture (form, function, spectacularity) to the external i.e. transcendental questions about the culture and society, i.e. about the economy, power, governance, supervision, forms of life, flexibility of architectural production, exchange and consumption.
7
Jász, Borbála. "Architectural Theory and Analytic Philosophy in the Interwar Period." Acta Universitatis Sapientiae, European and Regional Studies 14, no. 1 (December 1, 2018): 41–53. http://dx.doi.org/10.2478/auseur-2018-0010.
Testo completoAbstract (sommario):
Abstract The basis of the connection between analytic philosophy and architecture theory was developed in the interwar period. The results of analytic philosophy – especially the neo-positivism of Vienna Circle – and modern, functionalist architecture theory were utilized in an interdisciplinary approach. The comparison was based on language puzzles, science-based building processes, the method of justification and verification, and designing an artificial language in order to express the theoretical (philosophical) and the practical (architectural) approach as well. The functionality was based on the modern way of architectural thinking that relied on the results of Carnapian neo-positivism. Interpreting modern architecture is possible by referring to the keywords of logical positivism: empiricism, logic, verification, unity of language, and science. In my paper, I first list the bases of the comparison between the philosophy of the Vienna Circle and the architecture theory of the interwar period – the Bauhaus and Le Corbusier. In the 2nd and 3rd sections, I show the dialectical succession between form and function. After that, I discuss the aesthetic verification of the turn of the century and the scientific justification of the interwar period. I focus on the interwar period with the positivist approach and the theory of the ‘new architecture’. I emphasize the importance of the language of science and the machine paradigm – in contrast to historicism.
8
Negulyaeva, T. V., and S. F. Dyadchenko. "Architecture and philosophy of antiquity: The formation of classical architecture." Vestnik Tomskogo gosudarstvennogo arkhitekturno-stroitel'nogo universiteta. JOURNAL of Construction and Architecture 23, no. 1 (February 26, 2021): 73–84. http://dx.doi.org/10.31675/1607-1859-2021-23-1-73-84.
Testo completoAbstract (sommario):
The classical architecture is being constantly developed in time, and, consequently, is relevant nowadays. The paper deals with the development of classical architectural in antiquity up to the present time. This is necessary for further study of modern architecture. The aim of this work is to identify the most stable formation of the classical antique architecture. Scientific novelty lies in the systematic approach to the studying the evolution of ancient architectural theory, taking into account a variety of external factors and based on ancient philosophy. The main level of scientific knowledge is a theoretical (historical) method, which involves a study of graphic and textual information covering the era as well as a systematic analysis of the material for the identification of basic principles of the antique architecture. It is shown that the main principles of the antique architecture are being developed in a close connection with philosophy, and determine the further development of the classical direction in architecture.
9
De Clercq, Rafael. "The Legitimacy of Modern Architecture." Philosophical Forum 35, no. 2 (June 2004): 135–46. http://dx.doi.org/10.1111/j.0031-806x.2004.00166.x.
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10
Maciuika, John. "Review of: Architecture and Nihilism: On the Philosophy of Modern Architecture." Modernism/modernity 3, no. 2 (1996): 115–17. http://dx.doi.org/10.1353/mod.1996.0027.
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Al mosawi, Aqeel Qusay. "Sustainable Architectural Concepts (Green Architecture) and its Application in Modern Iraqi Architecture." Kufa Journal of Engineering 3, no. 1 (May 6, 2014): 1–25. http://dx.doi.org/10.30572/2018/kje/311265.
Testo completoAbstract (sommario):
Sustainable design… Green architecture… Sustainable constructions…Green Buildings these are all new ways and methods for designing and constructing. The environmental and economical challenges of this era are affecting many sectors. New buildings are being designed and executed and operated by modern technologies which reduces the environmental impact and at the same time leads to reduction in cost especially running costs and it participates in providing a safe and comfortable architectural environment so the need to develop the concept of sustainability in the architectural sector does not differ much from the needs that led to the development of sustainable development with its environmental, economic and social dimensions. As this term is one of the new concepts in the field of Iraqi architecture and engineering, so it necessitates the presence of researches concerning this idea from all its aspects in order to make use of the current international and so this research will define the concept of sustainability and green architecture and the important international standards and scales used in this field and highlighting it as a means to increase the efficiency and quality of Iraqi architectural projects. We have focused on international architectural examples as case studies and analyzed them architecturally and environmentally in order to understand the designing and engineering philosophy that the designer depended on.
12
Stępnik, Małgorzata. "The House that Lars Built. The Architecture of Transgression." Arts 9, no. 4 (December 8, 2020): 127. http://dx.doi.org/10.3390/arts9040127.
Testo completoAbstract (sommario):
This article discusses the motif of the “architecture of transgression”, which is present most implicitly, in Lars von Trier’s The House that Jack Built. The analysis concerns both the construction of cinematic narrative itself and the subtle allusions, inserted in the script, to two architectural metaphors: the Nietzschean (and Jungian) labyrinth and the Heideggerian die Hütte. Von Trier’s film may be read as an oeuvre immersed in literary tradition—from Dante’s Divine Comedy to the modern Bildungsroman—as well as inspired by modern philosophy, particularly George Bataille’s philosophy of transgression, (as expound in his Erotism and his short 1929 essay on Architecture).
13
Šuvaković, Miško. "Revisionist philosophy of architecture: Fundamental dispositives." SAJ - Serbian Architectural Journal 6, no. 1 (2014): 119–35. http://dx.doi.org/10.5937/saj1401119q.
Testo completoAbstract (sommario):
The discussion points to the issue of defining and re-defining the notion of the "critical theory". The notion of critical theory has been considered since the introduction of the notion at the Institute for Social Research in Frankfurt until the modern, postmodern and contemporary theories of critical and decentering of the critical. The notion of critical theory is associated with the problem of politicization of architecture and urbanism. It is pointed to the case of critical theory of the Frankfurt circle. Particular attention is paid to the art/architecture theory of Theodor Adorno and to the theory of architecture and urbanism of Walter Benjamin. Adorno's critique of architectural functionalism has been considered. It is discussed about methodological approach to Benjamin's analysis and the debate on Paris as metropolis. The aim of the discussion is to indicate to transformations and modalities of critical theory in modernism, post-structuralism, postmodernism and contemporary global neoliberalism.
14
Park, Sung Chun, Yun Sook Oh, and Sun hee Moon. "A study on the characteristics of Zaha Hadid's architecture from a multi-perspective perspective." Korea Institute of Design Research Society 9, no. 2 (June 30, 2024): 223–42. http://dx.doi.org/10.46248/kidrs.2024.2.233.
Testo completoAbstract (sommario):
Zaha Hadid began to make a name for herself with deconstructionist architecture in the post-structuralist era of the 1980s, and led the way in organic, non-linear architecture as digital architecture became common after the 2000s. The numerous buildings she left behind before her death left a significant mark on the development of modern architecture. The multi-semantic perspective is a model used as an analysis framework for deconstructivist architecture in space philosophy. It is a perspective that can recognize modern architecture inherent in the pluralistic diversity of modern society by discovering the metaphors and essential meanings of architectural forms and spaces. As such, studying the architectural characteristics of her architecture from a multi-semantic perspective is judged to be of great significance in understanding the direction of the future of modern architecture. Therefore, this study traces Zaha Hadid's overall architectural works, analyzes the characteristics of her works from a multi-semantic perspective, and draws conclusions. In conclusion, Zaha Hadid started from deconstructionism, showed a change to digital architecture, and changed the function-oriented architecture seen in structuralism into a space that can be interpreted multiple times. She created the expandability of multi-perspectives through the diagonal lines and acute angles of deconstructivism, and brought about the expandability of multi-perspective space through the non-linear organicity shown in digital architecture.
15
De Clercq, Rafael. "The Dehumanization of Architecture." Journal of Aesthetic Education 56, no. 4 (December 1, 2022): 12–28. http://dx.doi.org/10.5406/15437809.56.4.02.
Testo completoAbstract (sommario):
Abstract 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 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.
16
Zhang, Ning. "The Role of Ancient Chinese Philosophy in the Designs of Chinese Buildings." Open House International 41, no. 3 (September 1, 2016): 81–85. http://dx.doi.org/10.1108/ohi-03-2016-b0014.
Testo completoAbstract (sommario):
Buildings are the condensation of the national, ethnic, or cultural identity. They are also the specific materialized form of the national social systems, folk customs, and ideologies. Architectural design and philosophy constitute an isomorphic relationship with each other. This study focuses on the Chinese traditional philosophy. Using Kuanzhai Alley in Chengdu as an example, philosophical expressions, such as “holistic thinking,” “group form layout,” “heaven and man,” “yin–yang and the five elements,” “ancient architecture design,” “good” aesthetic concepts, and “conformal”rationalism, are discussed from the aspects of the selection of the environment, spatial layout, architectural symbol, planning, and design significance. The traditional architectural forms and types are analyzed and interpreted based on the Chinese traditional philosophy. The role of the ancient Chinese philosophy in the Designs of Chinese Buildings is summarized. Traditional ideas on Chinese architecture should be recognized from the aspect of philosophy to propose a new design direction for developing modern Chinese architectural designs.
17
De Clercq, R. "Modern Architecture and the Concept of Harmony." British Journal of Aesthetics 51, no. 1 (January 1, 2011): 69–79. http://dx.doi.org/10.1093/aesthj/ayq053.
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18
Hayward, Richard. "Cacciari, Massimo, "Architecture and Nihilism: On the Philosophy of Modern Architecture" (Book Review)." Town Planning Review 66, no. 1 (January 1995): 115. http://dx.doi.org/10.3828/tpr.66.1.2052079h6j375561.
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Zhao, Zhi Qing, and Li Tao. "Differences of Philosophy and Culture between Chinese and Western Reflected in Construction." Advanced Materials Research 953-954 (June 2014): 1533–36. http://dx.doi.org/10.4028/www.scientific.net/amr.953-954.1533.
Testo completoAbstract (sommario):
Globalization had the great influence on architectural culture. Rational and fighting spirit, the individual and subject consciousness, religion and willpower of Western culture were represented on buildings. And Confucianism and Taoism, with other various internal and foreign Buddhist, complement each other, became the main line of ancient China thought, were penetrated and cohered in all aspects of Chinese buildings. In the globalized world, the architect should explore the rational core and objective laws of architectural development, and consciously promote the continuous development of traditional regional architecture, activate special cultural value of regional architecture. Based on the absorption, blend and innovation of both ancient and modern, Chinese and foreign architectural excellence culture, the Chinese architectural culture will be full of vitality.
20
Sun, Yuran. "ARCHITECT YO MING PEI. THE ART OF ARCHITECTURE OF MUSEUM BUILDINGS." Scientific and analytical journal Burganov House. The space of culture 19, no. 6 (November 15, 2023): 17–30. http://dx.doi.org/10.36340/2071-6818-2023-19-6-17-30.
Testo completoAbstract (sommario):
Famous Chinese-American architect I.M. Pei was born in Guangdong, China in 1917.He traveled to the United States in 1935. Initially educated at the University of Pennsylvania, he continued his studies at the Massachusetts Institute of Technology (Bachelor of Architecture in 1940) and Harvard Graduate School of Design (Master of Architecture in 1946). I.M. Pei is widely praised for his bold design and clear geometric forms in his project. His career spanned 60 years and left many outstanding architectural works. I.M. Pei, revered as "the consummate master of modern architecture," his architectural philosophy was deeply influenced by modern art. During that era, New York City was known as the center of modern art. Among them, abstract expressionism, conceptualism and minimalism were on full display here. Many famous artists held grand exhibitions here and established their own studios. I.M. Pei spent most of his life in this place. When American modern art reached its peak in New York, many architects decided to use primitive forms to convey a concise and powerful artistic language, which also became their iconic design style. I.M. Pei's design philosophy is global. He emphasized: "In the architectural design process, there are three key aspects that require special attention: the first is the integration of the building with its environment; the second is how to handle space and form; and finally, from the user's point of view, to correctly solve functional problems. In this paper, the study analyzes the structural features of 12 architectural spaces of art museums designed by I.M. Pei in the context of the time line. It compares the similarities and differences in the spatial structure of the architecture of art museums built in the same time period as well as between different historical eras. The study focuses on analyzing the form and content of space and draws on the theoretical framework of contemporary architecture, namely the concepts of space within modernism. As a result of the analysis, two key characteristics of Pei's architecture are highlighted: sculptural and geometric.
21
Opolev, Pavel. "Naturalistic Turn in Modern Philosophy: Philosophy and Neuroscience." Ideas and Ideals 15, no. 2-1 (June 28, 2023): 49–71. http://dx.doi.org/10.17212/2075-0862-2023-15.2.1-49-71.
Testo completoAbstract (sommario):
The development of biology stimulates a naturalistic turn within the framework of philosophy, actualizes the problem of the dialogue between philosophical and scientific knowledge. In modern philosophy there is a tendency to imitate the empirical sciences. An attempt to conceptualize the empirical knowledge accumulated in modern brain sciences finds its expression within the neurophilosophy project. In classical philosophy, there was a skeptical assessment of the idea of a total reduction of the life of consciousness to the forms of motion of matter, which contributed to the preservation of dualism. The basis of modern neurobiology is the idea of the identity of physical and mental processes, the statement according to which information in our brain is encoded by the activity of neurons, neural networks. As a result, on the border of philosophy and science, corresponding ontological and epistemological programs are formed, designed to comprehend the classical philosophies of the opposition on naturalistic grounds. The author proposes an understanding of the naturalistic trend in modern epistemology, a reflection of the problem of the relationship between physical and mental processes on the example of the conceptualization of the achievements of modern neurosciences within the framework of the neurophilosophy project. The paper notes the diversity of interpretations of the concept of “neurophilosophy”, fixes the prerequisites for its occurrence, development problems and features of interpretation. In the definitions of the concept of “neurophilosophy” one can see a specific form of being of philosophy, the philosophy of neurosciences, a variant of biophilosophy, a form of the philosophy of consciousness. The paper highlights the problems that complicate the implementation of the neurophilosophy project: constant rethinking and supplementing the baggage of scientific knowledge about the brain, the lack of a unified theory of neurosciences, an interdisciplinary language, one-sided reductionism. To build neurophilosophy in the language of neuroscience means to liken it to a special scientific discipline. The project of neurophilosophy initiates, but does not offer models of a constructive dialogue between philosophy and neurosciences, reducing philosophical problems to the achievements of special scientific knowledge, which allows us to consider neurophilosophy, at this stage of its development, as a ‘scientific manifesto’, another attempt of science to do without philosophy. Against the background of the active appeal of philosophy to the special sciences, there is a need to build an empirical-ontological approach, which is based on the current achievements of the sciences, and makes it possible to bring empirical knowledge to the level of philosophical generalizations.
22
Daraban, Adria. "Representations of the fragmentary in modern architecture." SAJ - Serbian Architectural Journal 10, no. 3 (2018): 157–72. http://dx.doi.org/10.5937/saj1802157d.
Testo completoAbstract (sommario):
The notion of the fragmentary in philosophical and artistic discourses marks the beginning of modern aesthetics and their detachment from the concept of the whole. This paper illustrates possible resonance fields of the concept of the fragmentary in architecture raising questions such as: Can architecture be a form of expression of the modern condition fragmentaire? Does the notion of fragment develop in architecture in a similar way it did in visual arts, philosophy and literature, or is it being reduced in architecture to a mere form of representation of the fracture? Can the fragmentary be defined as a time based notion and thus emancipate from the usual interpretation of the term as the image of the broken?
23
Ma, Ting, Nong Wu, Zhi Xiong Yang, and Yue Xi Ai. "A Study on the Colors of the New Tang Dynasty Architectural Style." Applied Mechanics and Materials 438-439 (October 2013): 1786–90. http://dx.doi.org/10.4028/www.scientific.net/amm.438-439.1786.
Testo completoAbstract (sommario):
As the outerwear of a building, its color is one of the most significant features of a city. During thousands years of development the colors not only served for protection and decoration, but have been endowed with many intensions in the field of philosophy, politics, religion, culture and so on. Hence there has been formed a unique and integrated culture of colors. As many other cities, Xian is faced with the problem of maintaining its feature in the course of its development. On the basis of protecting the original style and features of the old town, delivering the profound cultural deposits, exploring the connection between traditional culture and modern architectural creation has become a common starting point for the architects in Xian. Based on the culture of Tang dynasty, the new Tang dynasty architecture is a bold attempt to shape a modern city and is also a direct reflection of the architects feeling about Chinese traditional architecture. In this paper, the writer studied the relationship between the colors of the new Tang dynasty architectural style and the creation of the modern Xian architecture from the point of architectural history and architectural design. Also, the paper explored its impact and inspiration on the modern architectural creation of Xian from the perspective of time feature. Moreover, it disclosed the value of the new Tang dynasty architectural style in a modern way and provided references, enlightenments and new ideas for the modern architectural creation in a historic city.
24
Figurny, George N. "Phenomenological Approaches in the Theory of Architecture in the Context of Modern Cognitive Science." Voprosy Filosofii, no. 6 (2021): 65–73. http://dx.doi.org/10.21146/0042-8744-2021-6-65-73.
Testo completoAbstract (sommario):
The article is a fragment of the scientific research devoted to the analysis of modern approaches to the understanding of architecture. It considers the problems of phenomenological approach to architecture. Applied to architectural issues, the phenomenological approach can be considered as very productive and promising, but only as it appears to be practiced by K. Norberg-Schulz and J. Pallasmaa. The article notes the fundamental unity of views, which is demonstrated by representatives of the phenomenological approach, despite the individual specificity of the each representative’s position. Probably, the integrity and depth of the phenomenological concept (in its “primordial form”) is consonant with the comprehensiveness of each individual act of perception. The author also draws attention to the significant circumstance, that the phenomenological approach is in fundamentally irreconcilable contradiction (conceptual and methodological) to the numerous attempts by “architectural semiotics and structuralists” to explain the whole by breaking it up into “semantic fragments”. He analyzes the correlation between the position of representatives of the phenomenological approach to architecture and scientific views in the sphere of modern psychology and analytical philosophy. The article notes the basic similarity of the phenomenological concept with M. Polanyi’s theory of “tacit knowledge”, in which those kinds of knowledge (and also practical skills) are considered and which cannot be formalized (partially or completely) for the purpose of transferring to others. The author also offers for consideration the introduction of concept of “phenomenology of semi-instinctive behavior in its dynamic formation”.
25
Arana, Andrew. "The architecture of modern mathematics." Mathematical Intelligencer 30, no. 4 (September 2008): 57–61. http://dx.doi.org/10.1007/bf03038097.
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Cukic, Iva, Ksenija Pantovic, and Jasna Kavran. "Methodology and philosophy of architecture and urban planning: Analysis of three methodological models in the field of architectural discourse." Facta universitatis - series: Architecture and Civil Engineering 13, no. 2 (2015): 87–96. http://dx.doi.org/10.2298/fuace1502087c.
Testo completoAbstract (sommario):
Architecture reflects on itself since Vitruvius, but it is difficult to define its epistemological base, so interpretations are sometimes developed in other disciplines. Thinking about architecture is about reflection on and extension of architectural concepts, cultural practices, and interrelated areas of art, philosophy, politics, etc. Incompleteness of understanding is obvious, and it points us toward a paradigm of complex thinking. Contemporary theoretical field of architecture is largely a product of postmodern architectural thought. This paper examines the position from which to build a modern architectural phenomenological opinion through three methodological models - creative, emotional and rational. This research should contribute to the way of understanding contemporary architectural phenomenon, with the intention of providing a general level of credibility and understanding in order to open the possibility of methodological application for a specific job or field.
27
Lægring, Kasper. "Exemplification as explanation: The negative reception of modern architecture revisited." SAJ - Serbian Architectural Journal 10, no. 1 (2018): 25–36. http://dx.doi.org/10.5937/saj1801025l.
Testo completoAbstract (sommario):
What are the reasons for the negative reception of modern architecture in the 1960s and 1970s? If we consult the critics themselves, the counter-reaction is a result of the overflow of new semantic insights from disciplines such as psychology and sociology in architecture. But if we turn to philosophy of architecture, Nelson Goodman's notion of exemplification might provide some answers; not only to the critiques of modern architecture but also to the epistemic turn affecting architecture. This article argues that it was the extensive use of a formalist aesthetics of exemplification which led to condemnation of the International Style, Brutalism and Structuralism for producing monotonous, self-referential and meaningless works of architecture. By examining the historical critiques of modern architecture under the lens of Goodman's notion of exemplification, a picture emerges where it is the hegemony of one symbol system, exemplification, that may well be the culprit for the negative response to modernism.
28
Suhanov, V., and O. Tyurikova. "MODERN ARCHITECTURAL PROCESS AND CURRENT TASKS OF ARCHITECTURAL ACTIVITY." Modern construction and architecture, no. 7 (March 6, 2024): 58–65. http://dx.doi.org/10.31650/2786-6696-2024-7-58-65.
Testo completoAbstract (sommario):
The article is devoted to the identification of the features of the modern architectural process and the establishment of actual tasks of architectural activity. Today's society, science, and practice are experiencing phenomena that radically change the approaches and paradigms of the architectural process. The paper highlights the contradictions in the theory and practice of architecture that need to be resolved; considers aspects of the modern ideology of architecture; develops certain provisions of the theory of the environmental approach, namely, the features of "understanding" design, the communicative component of architectural activity; emphasizes the interaction of various actors in the process of architectural activity, the dialogue of the architect with stakeholders. The author emphasizes the decisive role of the architect as an organizer and coordinator of the design process, the interpretation of the architectural process as a component of the overall socio-cultural process. The biggest shifts are taking place in the field of the environmental approach to architectural activity. Environmental issues, which bring people and their lifestyles to the forefront, give impetus to the development of architectural management and marketing. These changes in priorities have led to a problematic situation in the theory of architecture and opened up a new space of work: the identification and recording of environmental experiences and images, the production of these experiences and the management of this process. The environmental approach outlines the future trajectories of architectural work, the essence of which is the inclusion of the designer in the life of the population, the materialization of their own version of life processes, the identification of a set of specialized activities that support the ideology of social progress and cultural development. Scientific research and architectural practice should be based on the achievements of the philosophy of architecture, understanding of new value orientations, taking into account the differences and pace of social change, etc. There is a need to recognize the importance of such a factor as the subject of the architectural process. Changing the basic guidelines of the consumer of an architectural object requires ensuring at the design stage the possibility of transforming an architectural object in the process of its further operation, predicting the emergence of new functions and the formation of their new material shell. The article outlines the contours of scientific innovations in the field of architecture - the theory of architectural activity in the conditions of intersubjective interaction; suggests forms of correct introduction of the concept of "design subject", which is active in the architectural environment, into design practice and theory of architectural activity.
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Igibayeva, M. S., and R. U. Chekayeva. "Determination of virtual reality as an architectural tool." BULLETIN of L.N. Gumilyov Eurasian National University. Technical Science and Technology Series 134, no. 1 (2021): 50–57. http://dx.doi.org/10.32523/2616-7263-2021-134-1-50-57.
Testo completoAbstract (sommario):
The subject of study is the phenomenon of "virtual reality" in architectural industry. The article provides an overview of VR (virtual reality) ideas in the connection with science, philosophy and architecture. The flow of metaphorical content at various levels of the humanitarian approach is examined in detail. The article focuses on the theoretical issues of the emergence of the term, the characteristic features of VR and interaction with architectural foundations, as a new trend, both philosophical and fundamental theories. Also, there is considered a new concept of digital and technical thinking as a modern innovative method of researching shaping within the boundaries of virtual reality. The article presents difference between "3D" architecture, virtual architecture, and augmented reality.
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Kwaśniewski, Artur. "The origins of "healthy architecture". Health, hygiene and the quality of life in theory and practice of pre-modern architecture – an outline of research issues." BUILDER 284, no. 3 (February 24, 2021): 12–14. http://dx.doi.org/10.5604/01.3001.0014.7363.
Testo completoAbstract (sommario):
The article presents the research issues related to the origins of healthy architecture – methodological assumptions, scope of the study, objectives, and main theses. The subject of study is the issue of human health, hygiene, and psychophysical well-being from the perspective of theory of pre-modern architecture, as well as the philosophical and medical basis of solutions proposed by architects and hygienists in the modern period (16th-19th centuries). The research is based on a critical analysis of source texts – such as architectural treatises, manuals of hygiene, and written statements concerning the rules of designing and using buildings. The author identifies the most relevant contexts, including the ancient and medieval traditions in architecture and medicine, the philosophy, culture, and customs of social elites, the level of knowledge about architecture, engineering, natural sciences, and medicine, building and urban code, and public health regulations. The article briefly discusses the evolution of views on health and disease prevention and the transformation of elements of the "health-promoting" architectural program of buildings.
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Wihardyanto, Dimas, and Sudaryono Sudaryono. "ARSITEKTUR KOLONIAL BELANDA DI INDONESIA DALAM KONTEKS SEJARAH FILSAFAT DAN FILSAFAT ILMU." LANGKAU BETANG: JURNAL ARSITEKTUR 7, no. 1 (April 20, 2020): 42. http://dx.doi.org/10.26418/lantang.v7i1.35500.
Testo completoAbstract (sommario):
Arsitektur merupakan salah satu produk budaya hasil pemikiran manusia yang mampu menggambarkan secara komprehensif bagaimana hubungan dirinya dengan konteks sosial maupun seting lingkungan yang ada. Tidak terkecuali arsitektur kolonial Belanda di Indonesia. Kolonialisasi di Indonesia terutama yang dilakukan oleh Belanda merupakan salah satu babak sejarah penting di Indonesia karena mampu merubah cara berfikir arsitektur di Hindia Belanda semakin modern mendekati yang terjadi di Barat. Pengaruh modernisme dalam arsitektur tersebut tentunya tidak dapat dilepaskan dari perkembangan cara berfikir masyarakat barat yang bertitik tolak dari cara memandang alam dan manusia melalui pendekatan kategorisasi dan analogi. Setelah melalui kurun waktu yang cukup panjang arsitektur kolonial Belanda di Indonesia akhirnya tidak dapat memaksakan penggunaan arsitektur barat secara penuh. Konteks sosial budaya serta seting lingkungan dan iklim yang berbeda akhirnya mampu mengajak para arsitek untuk mengedepankan cara berfikir yang bertitik tolak pada alam melalui pendekatan analogi alih-alih menonjolkan arsitektur barat sebagai simbol manusia modern melalui pendekatan kategorisasi. Kemunculan arsitektur Indis adalah salah satu buktinya. Selanjutnya melalui metode kajian literatur terhadap sejarah perkembangan filsafat barat, metodologi penelitian arsitektur, dan teori-teori mengenai arsitektur kolonial Belanda di Indonesia peneliti mencoba merunut dan merumuskan bagaimana Posisi keilmuan arsitektur kolonial Belanda di Indonesia dalam konteks sejarah filsafat dan filsafat ilmu. Hasil yang didapatkan dari penelitian ini adalah bahwasanya perkembangan arsitektur kolonial di Indonesia berawal dari cara berfikir dualisme dengan mengambil alam sebagai tidak tolak, kemudian beralih menjadi cara berfikir monisme dengan revolusi industri sebagai latar belakang, dan kemudian kembali ke cara berfikir dualisme dengan menempatkan alam sebagai titik tolak pada abad ke 20.DUTCH COLONIAL ARCHITECTURE IN INDONESIA IN THE HISTORICAL CONTEXT OF PHILOSOPHY AND PHILOSOPHY OF SCIENCE Architecture is one of the cultural products of human thought that can to comprehensively describe how its relationship with the social context and the existing environmental settings. Dutch colonial architecture in Indonesia is no exception. Colonialism in Indonesia, especially those carried out by the Dutch, is one of the important historical phases in Indonesia because it can change the way of thinking architecture in the Dutch East Indies increasingly modern that is happening in the West. The influence of modernism in architecture indeed cannot be separated from the development of western society's way of thinking, which starts from the way of looking at nature and humans through a categorization and analogy approach. After a long period of time, Dutch colonial architecture in Indonesia finally could not force the full use of western architecture. The socio-cultural context and the different environmental and climatic settings were finally able to invite the architects to put forward the way of thinking that starts with nature through an analogy approach instead of highlighting western architecture as a symbol of modern humans through the categorization approach. The emergence of Indis architecture is one of the proofs. Furthermore, through the method of studying literature on the history of the development of western philosophy, architectural research methodology, and theories about Dutch colonial architecture in Indonesia researchers try to trace and formulate the scientific position of Dutch colonial architecture in Indonesia in the context of the history of philosophy and philosophy of science. The results obtained from this study are that the development of colonial architecture in Indonesia started from the way of thinking of dualism by taking nature as not rejecting, then turning into monism with the industrial revolution as a background, and then returning to the way of thinking of dualism by placing nature as a point starting in the 20th century.
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Frohburg, Jan. "Ellington under Glass." BAc Boletín Académico. Revista de investigación y arquitectura contemporánea 9 (November 4, 2019): 45–68. http://dx.doi.org/10.17979/bac.2019.9.0.4582.
Testo completoAbstract (sommario):
In November 1957 Mies van der Rohe’s Crown Hall at IIT broke with convention when it became the venue for a jazz concert by Duke Ellington and his orchestra. This extraordinary event is reconstructed based on personal recollections, campus newspapers and other archival material. In the context of architectural pedagogy Crown Hall is appreciated as a supreme expression of Mies’s architectural philosophy, both for its spatial openness and its spiritual character. Here, influences from Mies’s own evolution as an architect intersected with developments in modern music and performance art it inspired. Parallels are uncovered between Ellington’s jazz and Mies’s steel and glass architecture, both distinctly American idioms that characterise post-war modernity. The Ellington concert at Crown Hall presented the perfect synthesis of people, space, light, music and nature. At the same time it attested to the disruptive potential that exists in jazz and modern architecture alike.
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Stillman, Damie, and Alberto Perez-Gomez. "Architecture and the Crisis of Modern Science." Journal of Interdisciplinary History 16, no. 2 (1985): 309. http://dx.doi.org/10.2307/204183.
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Abu-Hammad, Numan. "MODERN ARCHITECTURAL APPROACHES TO SMART CITIES AND EDUCATIONAL FACILITIES." Architecture and Engineering 8, no. 3 (September 29, 2023): 3–13. http://dx.doi.org/10.23968/2500-0055-2023-8-3-3-13.
Testo completoAbstract (sommario):
Introduction: This article aims to provide readers with an overview of significant modern architectural approaches to creating sustainable smart city models. Different architectural approaches have piqued the interest of many researchers that study ancient and modern buildings, specifically their characteristics and execution methods. Purpose of the study: Interest toward smart architecture has grown due to the extensive development of technology and its integration into all aspects of human and city life, including the learning environment, the psychological effect of various spaces, and environmental impact. Methods: Architects, designers, engineers, and psychologists alike must consider these key developments and choose approaches to spaces and buildings that properly reflect the smart building philosophy. Many case studies have been adopted in the current investigation. Results: Over the recent years, due to the increasing strain of real estate demands, which led to overcrowding in cities, the need to find the most suitable housing solutions has emerged as a key problem. Architects and researchers are considering the best modern architectural approaches to building a sustainable model for smart cities.
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Savrey, Valery. "Philosophy of the Modern Era and Postmodernism." Ideas and Ideals 15, no. 4-1 (December 25, 2023): 11–26. http://dx.doi.org/10.17212/2075-0862-2023-15.4.1-11-26.
Testo completoAbstract (sommario):
In the history of philosophical thought the past twentieth century was marked by a great turning point caused by the collapse of the previous intellectual, cultural, and attitudinal paradigm characteristic of the classical modern era. Acting as the destroyer of this paradigm, postmodernism prioritized the “effectiveness of language”, freeing it from morality and truth, and reducing it to the transmission of information regardless of the degree of honesty or dishonesty of the position taken by the interested party. It is in the philosophy of postmodernism that language in its functional and especially in its axiological relation has undergone a violent degradation. Unlike postmodernism, the philosophy of the modern era has never ceased to live the history and heritage of world philosophical thought, the importance of which in the history of cultures and civilizations has always been recognized as the beginning of all subsequent intellectual and technical achievements of mankind. The key place in the article is occupied by the analysis of Heidegger’s fundamental ontology, which creates a “theology without God” and rejects divine reality, without the realization of which the only possibility remains despairing pessimism. In postmodernism, language ceases to be an instrument of cognition of reality, remaining an instrument of the strategy of persuasion. Thus, philosophy should not abandon its own purpose in the search for teleological meaning in the evaluation and interpretation of human being in the world. The new conceptualization of the existence of the world and man was formalized in the philosophy of existentialism and postmodern. These approaches to the interpretation of man, his language, thinking, consciousness and faith inherent in the philosophy of J.-P. Sartre, N.A. Berdyaev, K. Jaspers, M. Heidegger, J. Derrida, M. Foucault and R. Rorty form the subject of this article. The author shows that it is the philosophy of classical modernity, based on Christian doctrine with its orientation to the life of the future century, is an alternative to postmodernism.
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Gruzdeva, Evgeniya. "Directions of the research into a style in wooden architecture of Siberia." проект байкал, no. 69 (November 13, 2021): 68–71. http://dx.doi.org/10.51461/projectbaikal.69.1852.
Testo completoAbstract (sommario):
Globalization and widespread active introduction of architectural forms, techniques, materials and building technologies pose a problem of finding regional identity, particularity and uniqueness of the style in architecture. Consideration of history and traditions of regional architecture is one of the ways to reveal this identity and uniqueness. Wooden architecture is traditional for Siberia. It has hardly evolved stylistically since the 1920s. Studying stylistic formation in wooden architecture of Siberia in the late 19th – early 20th centuries, including modern, will help to identify the peculiarities of the local style and culture. The style can be considered from the point of view of philosophy of architecture and art as a unique manifestation of regional culture, as one of the ways to create (recreate) cultural identity, particularity and uniqueness, and as a source of information on a variety of techniques and forms of wooden architecture in Siberia.
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Hurol, Yonca, and Ashraf M. Salama. "Editorial: Urban Transformations in Rapidly Growing Contexts." Open House International 44, no. 4 (December 1, 2019): 4. http://dx.doi.org/10.1108/ohi-04-2019-b0001.
Testo completoAbstract (sommario):
Cities have always been sources of inspiration for poetry. However, the modern western cities, which are the origins of secularity, have inspired poets in different ways. Charles Baudelaire captured the poetic dimensions of modernity in Paris in the 19th century. He wrote about the night life of Paris which became possible after street lighting. He wrote about corruption. Baudelaire also wrote about the changing character of commercial places in cities and tried to grasp the feelings of people as a ‘flaneur': an individual stroller at city streets. The philosopher Walter Benjamin got inspired by Baudelaire's poems and formed his philosophy, which relates poetics to modernity during the 20th century. Modern cities take an important role in his philosophy too, because Benjamin was making a collection of political event news in the cities of Germany. Then he had to leave Germany because of the growth of fascism. He left his collection behind. When he went to Paris he wrote about the passages and the poetic dimensions of modern city life. When Nazi army came to France, he had to leave Paris too. The poetry of Baudelaire and the philosophy of Benjamin are evidences for the poetic nature of modern city life. The relationship between the modern city and the free individual can easily be felt in their works. However, when you read heir work, you can easily understand that today's Paris is not the same Paris any more. It is still poetic, but in another way.
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Tyapin, Igor N. "The Revival of the Russian Idea Ethic and Aesthetic Traditions in the Anthropologic Social and Conservative Paradigm." Almanac “Essays on Conservatism” 64 (June 30, 2021): 471–79. http://dx.doi.org/10.24030/24092517-2021-0-2-471-479.
Testo completoAbstract (sommario):
Russian idea formation in the framework of mental and artistic forms largely determines its ethic and aesthetic trends. The following philosophic conceptualization of the Russian idea turned out to be connected not only with the empire project, but also with the expression of national traditions in the classic culture, from architecture to philosophy. Under the conditions of the global technological crisis of spiritual culture that has captured the quasi-westernized modern Russia, the conservative progress understanding implies in fact the integration of anthropological and social conservatism. Russian idea modernization as an important direction of the domestic philosophy renewal, implies the critical analysis of post-philosophic –suicidal in relation to man, national sovereignty, fundamental social institutions, - doctrines and substantiation of absolute importance of classic and national spiritual traditions, moral and aesthetic context of material and technical progress, cultural self-sufficiency and originality. The panhuman character of the Russian idea in the 21st century consists in the project of co-evolutionary preservation of man, philosophy and culture.
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Hu, Yin An, Yong Ping Wang, and Yun Xue. "Influence on Design Education by the Architectural Trend of Deconstructivism." Applied Mechanics and Materials 638-640 (September 2014): 2222–25. http://dx.doi.org/10.4028/www.scientific.net/amm.638-640.2222.
Testo completoAbstract (sommario):
The ideology of deconstructivisim is a relatively new design style, and has a profound philosophical connotation. Deconstruction works usually pay attention to reflecting the diversity of buildings, and their design techniques are more exaggerated and weird to make people unable to understand their law. By the study of the deconstructive architects' design career, we can conclude as follow: the kind of trend has a great influence on architecture, also deeply affects modern design education; education philosophy of many famous architectural colleges in America and Europe with their students’ design works reflect design concept of the ideology. Southern California Institute of Architecture in Los Angeles is the homeland that deconstructive educators live up to their ideal. The design ideology of deconstruction has important status in the United States and far-reaching influence on American architectural education.
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Lillie, Kate. "Modern hospice design: the architecture of palliative care." Mortality 15, no. 2 (May 2010): 187–88. http://dx.doi.org/10.1080/13576270903573414.
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Noelle, Louise. "Modern architecture since 1900, de William J.R. Curtis." Anales del Instituto de Investigaciones Estéticas 14, no. 55 (August 6, 1986): 270. http://dx.doi.org/10.22201/iie.18703062e.1986.55.1295.
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Tafahomi, Rahman. "Tracing Hegel’s Philosophy and Thoughts in Educational Styles of Architecture Design Studios." Journal of Design Studio 5, no. 1 (July 20, 2023): 119–44. http://dx.doi.org/10.46474/jds.1292904.
Testo completoAbstract (sommario):
This paper aims to trace the influences of Hegel’s philosophical thoughts and ideas on the architecture design studios’ activities. Hegel is a key figure in the modern history of philosophy that lived in the time of establishing Beaux Art on the skeleton of Academie d’Architecture. Despite the many developments in different areas of education, seemingly, there are still some common grounds between Hegelian philosophy and architecture design studio activities that need to be highlighted and criticized. Content analysis and storytelling based on the structured observation applied in this research to compare two foundations. The results reveal four connections between Hegelian philosophy and architecture design studio activities, including precedents studies and historical dialectic, learning by doing and self-consciousness, crits (critiques) and idealism, and master-apprentice and master-slave theories, respectively. The findings highlight that activities in architecture design studios regenerate through studios, which run based on traditions, disciplines, and styles under the influences of Hegel’s philosophy. In conclusion, while Hegelian thoughts spread through successor philosophers in phenomenology, hermeneutics, existentialism, Marxism, and structuralism, education in architecture design studios has continued without the regeneration of ideas.
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Viazinkin, Aleksei, and Irina Vladimirovna Dvukhzhilova. "Conservative approach towards aesthetics of architecture: Roger Scruton's philosophy." Архитектура и дизайн, no. 2 (February 2019): 1–6. http://dx.doi.org/10.7256/2585-7789.2019.2.32686.
Testo completoAbstract (sommario):
The subject of this research is the conservative approach towards aesthetics of architecture in the philosophy of British thinker, aesthetician and theorist of conservatism Roger Scruton. The cultural situation of postindustrial society – consumerism and commodification of culture – requires new approaches in art history, which are capable of establishing protective trends in the social life. Scruton offers an alternative approach towards art, which represents not so much a return to the traditional values, as revival of cultural situation. Such situation implies the existence of art as a translator of traditional values that strengthen social ties. This article is the first within the Russian scientific literature to examine the aesthetics of Scruton’s architecture in the context of his conservative philosophy, which defines the scientific novelty and outlines new horizons for research in the fields of aesthetics of architecture and philosophy of modern British conservatism. The conclusion is made that Scruton's appeal to the topic of aesthetic experience expands the problematic from pure aesthetics to the unity of ethics, theory of solidarity, and axiology of traditional culture.
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Kursova, Marina, and Evgeniya Repina. "CATEGORY OF EMPTINESS IN THE WORLD ARCHITECTURE: JAPAN, WEST, RUSSIA." INNOVATIVE PROJECT 4, no. 10 (December 2019): 20–25. http://dx.doi.org/10.17673/ip.2019.4.10.2.
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The article analyzes the philosophical and psychological meaning of the category of emptiness and its reflection in art and architecture. The sacred meaning of emptiness in Zen Buddhism and its influence on Japanese architecture are considered. Differences in interpretations of the concept of “emptiness” in Eastern, Western and Russian philosophy and architecture are analyzed, it is highlighted how echoes of Zen teachings and the category of emptiness contributed to the emergence of the empty canon in the avant-garde. The devaluation of “emptiness” in the aesthetics of modernity and its transformation under the conditions of postmodernism are considered. In the course of analyzing the attitude of the modern generation to the categories of emptiness and space, the preconditions for the return of the attitude to emptiness and space as sacred categories of architectural culture are revealed.
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MATTENS, FILIP. "The Aesthetics of Space: Modern Architecture and Photography." Journal of Aesthetics and Art Criticism 69, no. 1 (February 2011): 105–14. http://dx.doi.org/10.1111/j.1540-6245.2010.01451.x.
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Nabiyev, Abdulkhalyk. "El fenómeno de la arquitectura digital: los problemas y las perspectivas." Innovaciencia 10, no. 1 (December 1, 2022): 1–14. http://dx.doi.org/10.15649/2346075x.2967.
Testo completoAbstract (sommario):
Introduction: The article discusses the current problems of the digital age in nonlinear formation, the problems of digital formation arising in the context of digital architecture, the prerequisites for new synergies between architecture and digitalization. The problems of the influence of digital culture on the formation of architecture are revealed. The concepts of architectural theorists in the development of nonlinear architecture based on the topic under study are presented. Contradictory aspects of modern design related to the limitations of new technologies and the difficulties of their integration into architectural processes are presented. Materials and Methods: Possible methods of solving some of the considered problems of shaping are also proposed. Special attention is paid in the article to the identification of the phenomenon of digital architecture based on internal factors - house theory, complexity theory and catastrophe theory. Examples of the work of architects and digital performers performed using the generative method of practice, including in the design processes, are given.. Results and Discussion: The practical value of the work, despite the generality of the problems posed in the article, has many "exits" to various levels of knowledge about digital architecture, from techno-philosophy to the culture of digital opportunities in architecture. The article can be used in the course of further research of digital architecture in its philosophical understanding as a whole, in the study of digital architecture at the present stage of its development, in a combined architectural and technological perspective. Conclusions: The work can be useful to researchers of architecture, culture and philosophers in the digital direction.
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Williamson, James F. "Louis I. Kahn, teacher." Architectural Research Quarterly 17, no. 3-4 (December 2013): 313–24. http://dx.doi.org/10.1017/s1359135514000128.
Testo completoAbstract (sommario):
Louis I. Kahn was not only an architect of powerful buildings; he was also an unconventional teacher and a radical philosopher whose influence on his students was far-reaching. It is through his many former students, especially those in his Master's Class at the University of Pennsylvania, 1960–74, that Kahn's distinctive philosophy of education and unique pedagogy have continued to influence the teaching and making of architecture in the late modern era.Focusing on a neglected area of Kahn scholarship, the author argues that Kahn's legacy as a teacher should be remembered as among his greatest accomplishments. The study examines Kahn's philosophy of education, his unique pedagogy, and his motives for teaching. It draws upon the author's experience as a student in the Master's Class and extensive research at the Louis I. Kahn Collection housed in Penn's Architectural Archives, the comprehensive repository of records relating to Kahn's academic and professional career. It is the first study to be based upon interviews with numerous fellow Master's Class alumni, reflecting the views expressed by Kahn's students about their teacher and the lasting impact of his teaching on their professional lives.
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Meenakumari, P. "THE HUMANITIES THROUGH ARCHITECTURE." International Journal of Engineering Technologies and Management Research 5, no. 2 (February 8, 2020): 190–93. http://dx.doi.org/10.29121/ijetmr.v5.i2.2018.162.
Testo completoAbstract (sommario):
Architecture has taken various impression and expression of what it is and its intent through the perspective of man, by the reflection of the place and its existence through time. The architecture being viewed as humanities was one progressive perspective by man, spanning from the period when buildings were erected in the past to the present. Architecture is a peculiar public art with buildings having a social function, and many buildings have public interface. The paper discusses architecture as discipline, which personifies man as the important entity and is define through primary humanistic disciplines philosophy, history, language, literature and theology .The appropriate conclusive contention is to view architecture through the atmosphere of humanities which affirms meaning and purpose to modern science, rather than merely comprising a series of supplementary fields of intellectual enquiry, alongside with scientific counterparts.
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Trachtenberg, Marvin. "Architecture and Music Reunited: A New Reading of Dufay's Nuper Rosarum Flores and the Cathedral of Florence." Renaissance Quarterly 54, no. 3 (2001): 741–75. http://dx.doi.org/10.2307/1261923.
Testo completoAbstract (sommario):
The proportions of the voices are harmonies for the ears; those of the measurements are harmonies for the eyes. Such harmonies usually please very much, without anyone knowing why, excepting the student of the causality of things.—Palladio(1567)The chiasmatic themes of architecture as frozen music and music as singing the architecture of the world run as leitmotifs through the histories of philosophy, music, and architecture. Rarely, however, can historical intersections of these practices he identified. This study proposes a transient nexus of architecture, sacred music, and theology in early modern Florence.
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Heynickx, Rajesh. "Conceptual Debts: Modern Architecture and Neo-Thomism in Postwar America." European Legacy 22, no. 3 (March 2017): 258–77. http://dx.doi.org/10.1080/10848770.2017.1288440.
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