This paper aims to pay tribute to Figal’s comprehensive and innovative analysis of the artwork and beauty, while challenging both his realist position on the immediacy of meaning and his monist stance that reduces sublimity to beauty. To enquire into the origin of aesthetic feelings and sense, and thus, to break the hermeneutic circle, we first trace the origin of this reduction to the reception of Burke’s concept of the sublime by Mendelssohn and Kant. We then recur to Husserl and (...) Dufrenne to trace the origin of the sense of the feeling of sublimity in the realm of affectivity or sensuousness. This genesis takes place in passive experience, where we identify an excess of sensuous sense over categorial meaning that is constitutive of the affective sense that our bodily sensations give to hyletic material. It is argued that this sensuous excess evokes a sublime experience in the phenomenological sense, involving an affective and disruptive bodily experience and an endless process of sense formation. Affective or sensuous sense is thus an event that irreversibly affects the bodily surface. To elucidate this phenomenon, we draw on the theoretical framework of Breton and Bataille, positing it as a form-transgressive ‘convulsive’ sublime, which we then illustrate in the architectural works of Tschumi and Eisenman. In short, we have retrieved the origin of aesthetic experience and redefined the feeling of the sublime as a phenomenological ‘convulsive’ sublimity. (shrink)

Open peer commentary on the article “Radical Constructivist Structural Design Education for Large Cohorts of Chinese Learners” by Christiane M. Herr. Upshot: Herr’s target article outlines a teaching approach that illustrates and explains how radical constructivism can be used to teach architectural design principles to a large cohort of students. Herr’s approach consists of a hybrid set of instructional activities whose implementation was supported by her establishment of a social climate in the classroom that encouraged the contributions (...) of individuals in the learning process. The activities included the integration of lectures with other teaching formats, the use of open‑ended problem solving tasks, and the use of small‑group projects. I will discuss each of these activities and offer a recommendation for future research. (shrink)

The first book to look architectural narrative in the eye Since the early eighties, many architects have used the term "narrative" to describe their work. To architects the enduring attraction of narrative is that it offers a way of engaging with the way a city feels and works. Rather than reducing architecture to mere style or an overt emphasis on technology, it foregrounds the experiential dimension of architecture. Narrative Architecture explores the potential for narrative as a way of interpreting (...) buildings from ancient history through to the present, deals with architectural background, analysis and practice as well as its future development. Authored by Nigel Coates, a foremost figure in the field of narrative architecture, the book is one of the first to address this subject directly Features architects as diverse as William Kent, Antoni Gaudí, Eero Saarinen, Ettore Sottsass, Superstudio, Rem Koolhaas, and FAT to provide an overview of the work of NATO and Coates, as well as chapters on other contemporary designers Includes over 120 colour photographs Signposting narrative's significance as a design approach that can aid architecture to remain relevant in this complex, multi-disciplinary and multi-everything age, Narrative Architecture is a must-read for anyone with an interest in architectural history and theory. (shrink)

In this article we move beyond the problematic distinction between ‘higher’ and ‘lower’ cognition by accounting for so-called ‘higher’ cognitive capacities in terms of skillful activities in practices, and in terms of the affordances exploited in those practices. Through ethnographic research we aim to further develop the new notion of skilled intentionality by turning to the phenomenon of the tendency towards an optimal grip on a situation in real-life situations in the field of architecture. Tending towards an optimal grip is (...) an inherently affective and dynamic phenomenon. It has been under explored in philosophy, despite its central place in Merleau-Ponty’s phenomenology. When the architects experience discontent, attention is typically solicited by the affordances through which possible ways of continuing the improvement of the design can be explored. In various ways this tension or disequilibrium - fueling a tendency towards an optimal grip - is encountered in the complex architectural design practices that we observed. Based on our field material we distinguish between: a) grip in visual perception, b) grip on the design, and c) grip on ‘how to design’. The move towards an optimal grip takes shape by joining forces with a landscape of affordances. This landscape includes, for instance, affordances for grasping a cup of coffee, affordances provided by a cardboard model to improve it, as well as for engaging with a person who is not physically present. Because they are skilled, the architects can be responsive to these different affordances in similar ways. Furthermore, in practice the architects are responsive to multiple affordances simultaneously. Through our analysis of the tendency towards an optimal grip we show that our surroundings contribute to skillful action and cognition in a far more complex way than is currently acknowledged in philosophy and cognitive science. (shrink)

The design studio and the associated design review can be regarded as the signature pedagogy of architectural education, where students garner the essence of what it means to be an architect. Here,...

Form, function and the relationship between the two serve a crucial role in design. Within architectural design, key aspects of the anticipated function of buildings, or of spatial environments in...

It may seem reasonable, even inevitable, that architectural practice should be based on an understanding that architects, like lawyers and doctors, should discover their clients' needs and accommodate them to the best of their abilities. But current discussion within the legal and medical professions of the conflict between service to private individuals who can pay, and to the public who cannot, suggest an expanded or altered definition of professional responsibility. Actually, the conflict between public and private interest may be (...) more acute in architecture than in other professions: the kind of buildings architects design are costly and are made possible only by the wealth of a small segment of the population or the state, yet every one raised affects the lives of people other than the one who makes the program and pays the architect for his services. Furthermore, the decisions of architects are embodied in buildings that last for generations, even for millennia, so that the overwhelming majority of people in our culture live and work in places designed not only for other people but for other times and conditions. For this reason, even the "private" practice of architecture involves responsibilities to a widespread constituency. James S. Ackerman is the author of The Architecture of Michelango, Art and Archaeology, The Cortille del Belvedere, Palladio and Palladio's Villas and is professor of fine arts at Harvard University. He has contributed "On Judging Art without Absolutes" to Critical Inquiry. (shrink)

A half-century ago the Dutch architect Aldo van Eyck encouraged designers to think about “space and time” not as abstractions in themselves but rather as cultural events better approached through the medium of “place and occasion.” Van Eyck made this point on the basis of his own travels and through his extensive readings in cultural anthropology, and his prescience is only now acquiring the credibility that it deserves through the work of a multitude of interdisciplinary researchers. Phenomenologists argue that we (...) are embodied organisms-acting-within-environments, and these inhabiting abodes are constructed of both material and cultural dimensions. We are thus preeminently social in our range of self-consciousness, and intensely ceremonial in every facet of our being. Evolutionary psychologists and anthropologists are currently locating the origin and development of our most basic social behaviors far in our pre-human past; neuroscientists are today modeling our social circuits in the deepest reaches of our brains. Architecture would gain much from an updated cultural theory grounded in these new models of human existence. (shrink)

In this article, we use an entry to an international architectural student competition on future care to explore how social norms about older bodies may be challenged by designs that are sensitive to the spatial contexts within which we age. The power of the My Home design by Witham and Wilkins derives from its hand-drawn aesthetic and thus we consider the architects’ insistence on drawing as a challenge to the clear and unambiguous image-making typically associated with digitally aided (...) architectural designs. The hand-drawn images of My Home prompt a focus on care as enacted through the relations between material environments and things, and the atmospheric qualities these relations evoke. Throughout our analysis, we argue for greater attention to the ways in which embodied practices, everyday affects and materialities can be represented within architectural design, and the role of hand drawing as a creative methodology in this process. (shrink)

In this chapter we consider computer tools for architectural design based on shape grammar design systems, and evaluate the advantages and disadvantage of handing over these tools to inhabitants for the design of their apartments. This evaluation is qualitative by considering the values of inhabitants, architects, and cities that are affected by this hand-over. Shape grammar design systems when applied to architecture enable computer tools to generate new designs and adjustments of existing designs of apartments (...) on the basis of design rules. First, focussing on individual housing, it is argued in this chapter that the use of shape grammar design systems by inhabitants for designing their apartment realises the values of customisation and inhabitant autonomy without compromising design quality and structural safety. Second, focussing on cities, it is argued that a wide-spread use of these grammar design systems creates for cities a bottom-up inhabitant-led renewal of neighbourhoods and urban structures that maintains the social fabric in neighbourhoods and the architectural identity of cities. Values that are less realised by the hand-over are financial feasibility and ecological sustainability. Third, shifting to philosophy of technology, we present shape grammar design systems as a technology for design for values in architecture that allows for flexibility in the values designed for over the longer time periods characteristic to architecture. These systems are a technology that enables the incorporation of values of inhabitants, architects, and cities by the designs of apartments, and they are a technology that enables inhabitants to adjust their apartments through time to their developing needs and wishes. (shrink)

Simple chemical agents with lifelike properties can be termed a protocell, meaning the earliest form of a natural living cell. These agents are not necessarily alive but are examples of living technology, namely technology that possesses lifelike qualities. Given that the protocell can respond to environmental cues with directional and controlled movement it can be thought of as being able to make decisions whilst navigating through a complex environment. In this way a mobile protocell agent can be considered to exhibit (...) a form of computation. The development of smart protocell agents can be used as experimental model systems for the investigation of abstracted living processes that can subsequently be physically and chemically manipulated to produce architectural design outcomes. (shrink)

This book critically examines the philosophy of the term 'transgression' and how it shapes the utopian vision of contemporary urban design scenarios. The aim of this book is to provide scholarly yet accessible graphic novel illustrations to inform narratives of urban manifestos. Through four select case studies from the UK, Cyprus and Germany, the book highlights the paradoxes and contradictions in architecture and provides detailed evaluation of the limits and contemporary forms of sustainable urban regeneration. The book proposes an (...) 'utopian urban vision' approach to social, political and cultural relations, trends and tensions both locally and globally, and seeks to inspire an awakening in architectural discourse. The book argues that the philosophical undermining of transgression is the result of a phenomenon from a different perspective -- its philosophical background, its social construction, its experimental research process and its design implications on the city. As such, the book provides a critical examination of how architectural design interventions contribute to sustainable urban regeneration, gentrification and can impact local communities. This book provides a significant contribution to both undergraduate and postgraduate students, as well as early career researchers working in architecture, planning and sustainable urban design. It offers effective guidance on adopting the state-of-the-art graphical illustrations into their own design projects, while considering contradictions between architectural discourse and the philosophy of transgression. (shrink)

The dynamic nature of design studio pedagogy has witnessed numerous paradigm shifts as tools and technologies associated with its professional practice have evolved. Generative artificial intelligence (particularly text-to-image) appears to be one such emerging tool with the potential to impact architecture pedagogy. Grounded in two semesters of jury observations and discussions across five design studios, this paper presents a debate addressing the advantages and disadvantages of employing emerging technology in the workflow of the architectural design studio. (...) The debate is based on the self-declared usage of generative AI across 41 instances among 221 public juries. The debate table was developed in the first semester and completed and refined in the second semester. The outcome presents an argument for the necessity of developing a framework for the utilization of generative AI in the design studio pedagogy. While AI image generation offers benefits such as design versatility and enhanced creative exploration, this research critically analyses its drawbacks, including potential bias, loss of attention to essential architectural qualities such as human scale, abstraction, and a tendency to produce designs that defy the reality of architectonics. The debate argues for a balanced approach, advocating for the harmonious coexistence of AI with traditional design methods. As generative AI becomes increasingly prevalent in architectural practice, its inclusion in the curriculum is essential. We propose that AI can empower students to confidently express their design ideas, but emphasize the need for a human-centric design approach. Ultimately, this debate extends its relevance beyond architecture to encompass various creative disciplines, highlighting the importance of navigating the transformative impact of AI on design education. (shrink)

The process of urban landmark-based navigation has proven to be difficult to study in a rigorous fashion, primarily due to confounding variables and the problem of obtaining reliable data in real-world contexts. The development of high-resolution, immersive virtual reality technologies has opened exciting new possibilities for gathering data on human wayfinding that could not otherwise be readily obtained. We developed a research platform using a virtual environment and electroencephalography to better understand the neural processes associated with landmark usage and recognition (...) during urban navigation tasks. By adjusting the architectural parameters of different buildings in this virtual environment, we isolated and tested specific design features to determine whether or not they served as a target for landmarking. EEG theta band event-related synchronization/desynchronization over posterior scalp areas was evaluated at the time when participants observed each target building along a predetermined self-paced route. A multi-level linear model was used to investigate the effects of salient architectural features on posterior scalp areas. Our results support the conclusion that highly salient architectural features—those that contrast sharply with the surrounding environment—are more likely to attract visual attention, remain in short-term memory, and activate brain regions associated with wayfinding compared with non-salient buildings. After establishing this main aggregate effect, we evaluated specific salient architectural features and neural correlates of navigation processing. The buildings that most strongly associated extended gaze time, location recall accuracy, and changes in theta-band neural patterns with landmarking in our study were those that incorporated rotational twist designs and natural elements such as trees and gardens. Other building features, such as unusual façade patterns or building heights, were to a lesser extent also associated with landmarking. (shrink)

Biometrics readers are deployed in many public sites and are used for user identification and verification. Nowadays, most biometrics readers can be connected to local area networks, and consequently, they are potential targets for network attacks. This article investigates the robustness of several fingerprint and iris readers against common denial of service attacks. This investigation has been conducted using a set of laboratory experiments and DoS attack generator tools. The experiments show clearly that the tested biometric readers are very vulnerable (...) to common DoS attacks, and their recognition performances deteriorate significantly once they are under DoS attacks. Finally, the article lists some security consideration that should be taken into consideration when designing secure biometrics readers. (shrink)

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

In his Languages of Art, Nelson Goodman proposes a theory of artistic notation that includes foundational requirements for any system of symbols we might use to specify and communicate the features of an artwork, in architecture or any other art form. Goodmans' theory usefully explains how notation can reveal linguistic-like phenomena of various art forms. But not all art forms can enjoy benefits of a full-blown notational system, in Goodman's view, and he suggests that architecture's symbol systems fall short in (...) this regard. It is a shortcoming of architecture, he believes, that its notation cannot communicate the sum of a given work's essential features. Against this view it may be argued that artworks are generally and inimically historical in character, such that an inability to capture this dimension may result in a failure to pick out the identity of a work. As a consequence, the suggestion of that inability looks like a shortcoming of the general notational theory rather than of the art form or its notation per se. I defend Goodman's background formalism against the criticism that an ahistoricist notation cannot possibly be adequate. But I reject his view that no actual architectural notation can satisfy the formal criteria of his theory. In particular, I propose that the foundational theory for Computer Aided Design (CAD) described by the architect William Mitchell satisfies Goodman's criteria and so yields a notation that enables communication of an architectural work's essential features. If, as I suggest, such a notation is feasible, then we have an additional result that Goodman foresees: a means of abstracting future architectural works from their historical contexts. This in turn yields a consequence at which Goodman only hints-that such architectural works can be intellectually grasped and physically constructed along purely formalist lines. One practical result here is that we introduce economical solutions to architectural design. On a theoretical level, we also expose the inessential character of historical properties to creating or understanding architecture, at least with respect to future possible works. (shrink)

Using the example of architecture, this article defends the thesis that designing should not be regarded as a kind of experimenting. This is in contrast to a widespread methodological claim that design processes are equivalent to experimentation processes. The contrary thesis can be proven by focusing on actual practices, techniques and design strategies. Closely connected with the thesis is an even more important epistemological claim, which contends that designing serves not only to develop artefacts but is also a (...) means of acquiring genuine knowledge. When the epistemic relevance of said practices, techniques and strategies is reassessed, designing emerges clearly as an independent epistemic praxis. To defend the thesis, the present article draws on and analyses empirical material from an ethnographic field study in order to back up the conceptual analysis. (shrink)

A discussion of the many-faceted relationship between aesthetic theory and architecture. It analyzes the relationship between buildings and designs, explores the notion of architectural experience, and covers modern architecture's aim to deepen the connection between usefulness and design.

If there is nothing more to architecture than design –and to its attendant thinking processes–than design thinking, then core dimensions of the architectural enterprise from the perspective of (a) production and (b) use have no special character, over and above their counterparts in general design. Yet that does not appear to be true by the lights of architects or design specialists or the public at large. So what is it, at the core or periphery of (...) the discipline or its objects, that makes architecture not design? The ways in which architecture and design constitute artistic enterprises, drawing on and promoting aesthetic interest, differ such that architecture is not, or at least not only, a branch of or variation on design generally construed. (shrink)

Architectural ethics has only begun to consider in earnest what it means, in a moral sense, to be an architect.1 The academy, however, has yet to adequately to explore the ethical problems raised,2 to evaluate the types of moral issues that arise, and to develop moral principles or moral reasons that should guide decisions when encountering these moral issues inherent in certain project types. This is the case despite the practice of architecture entailing “behaviours, our choices of which may (...) be illuminated by ethical analysis.”3 Although distinguishing practice from product allows ethical critique of the practice involved in designing buildings, and recognises the significance of the architect’s moral agency, there remains very little empirically-based understanding of how the architect, once identified as a moral agent, operates as such, and still less about the circumstances in which ‘professional’ conduct may be at odds with ‘ethical’ behaviour. (shrink)

Drawing on a series of exhibitions curated and installed at the Canadian Centre for Architecture in Montréal throughout the 1990s and the early millennium, this essay analyzes how architecture and its representation in museological exhibitions have innovated forms of communication and display practices, transcending the traditions established by the fine arts paradigm since the late eighteenth century. The author argues that in addition to providing a heightened recognition of the narrative and performative potential of the exhibitionary setting, the discourses and (...) tensions specific to architecture and architectural practice have led to a rethinking of the communicative potential of the exhibition environment. Principles inherent to architecture—spatiality, materiality, and the experiential—are fruitful when considering the possibilities of exhibition design to elucidate multiple levels of meaning, and these principles have led to architecture’s coming-of-age in the museological environment in ways that are specific to re aedificatoria—the art of building itself. (shrink)

Over the past decades, due to the course towards digitalization of all areas of life, interest in modeling and creating intelligent systems has increased significantly. However, there are now a stagnation in the industry, a lack of attention to analog and bionic approaches as alternatives to digital, numerous speculations on “neuro” issues for commercial and other purposes, and an increase in social and environmental risks. The article provides an overview of the development of artificial intelligence (AI) conceptions toward increasing the (...) human likeness of machines: from the key ideas of A. Turing and J. von Neumann, who initiated the digitalization of society, to discussions about the definition of AI and the emergence of conceptions of strong and weak AI. Special attention is paid to the approach of A. Sloman, to ideas about the architecture and design of complex artificial systems are considered, which make it possible to “emotionally” expand the idea of weak/strong AI. In the article's section on the necessity and possibility of incorporating emotions into the architecture of AI, the authors reveal the goals and methodological limitations for creating an emotional artificial agent. In addition, the article briefly presents the main principles of the authors' architectural approach to the creation of emotional intellectual systems on the example of the cognitive-affective model of architecture, which allow modeling the impact of emotions on the cognitive processes involved in decision-making processes. The described architectural approach to modeling intelligent systems can be used as a conceptual basis for discussing and formulating a strategy for the development of neurocomputing, philosophy of artificial intelligence, and experimental philosophy, for developing innovative research programs, formulating and solving theoretical and methodological problems. (shrink)

The debate on whether and how the Internet can protect and foster human rights has become a defining issue of our time. This debate often focuses on Internet governance from a regulatory perspective, underestimating the influence and power of the governance of the Internet’s architecture. The technical decisions made by Internet Standard Developing Organisations that build and maintain the technical infrastructure of the Internet influences how information flows. They rearrange the shape of the technically mediated public sphere, including which rights (...) it protects and which practices it enables. In this article, we contribute to the debate on SDOs’ ethical responsibility to bring their work in line with human rights. We defend three theses. First, SDOs’ work is inherently political. Second, the Internet Engineering Task Force, one of the most influential SDOs, has a moral obligation to ensure its work is coherent with, and fosters, human rights. Third, the IETF should enable the actualisation of human rights through the protocols and standards it designs by implementing a responsibility-by-design approach to engineering. We conclude by presenting some initial recommendations on how to ensure that work carried out by the IETF may enable human rights. (shrink)

The Evolution of Designs tells the history of the many analogies that have been made, since the end of the eighteenth century, between the evolution of organisms and the human production of artefacts – especially buildings.

This volume provides the reader with an integrated overview of state-of-the-art research in philosophy and ethics of design in engineering and architecture.

Cognitive architectures are unified theories of cognition that take the form of computational formalisms. They support computational models that collectively account for large numbers of empirical regularities using small numbers of computational mechanisms. Empirical coverage and parsimony are the most prominent criteria by which architectures are designed and evaluated, but they are not the only ones. This paper considers three additional criteria that have been comparatively undertheorized. (a) Successful architectures possess subjective and intersubjective meaning, making cognition comprehensible to individual cognitive (...) scientists and organizing groups of like-minded cognitive scientists into genuine communities. (b) Successful architectures provide idioms that structure the design and interpretation of computational models. (c) Successful architectures are strange: They make provocative, often disturbing, and ultimately compelling claims about human information processing that demand evaluation. (shrink)

Networked service organisations are increasingly adopting a ‘smarter networking’ philosophy in their design of more agile and customer-focused supply models. Changing consumer behaviours and the emergence of transformative technologies—industry 4.0, artificial intelligence, big data analytics, the Internet of Things—are driving a series of innovations, in terms of ‘products’ and business models, with major implications for the industrial enterprise, in their design of more ‘digitalised’ supply chains. For B2B systems, emerging ‘product-service’ offerings are requiring greater visibility, alignment and integration (...) across an increasingly complex network of multiple partners and collaborators, in order to deliver a better service and customer ‘experience’. To support the design and operation of these multi-organisational service networks, we outline a concept of operations architecture here, underpinned by the literature and network theory, and demonstrate application using a series of exemplar case studies. Focusing on relational elements and the processes key to network integration within service supply networks, the cases inform a set of operating principles and protocols—applicable to all stakeholders ‘cooperating’, within a ‘shared’ environment. Equally critical is to understand how digital technologies may influence future operating philosophies. This article extends our theoretical understanding of network organisations, from a traditional ‘product’ perspective to that of ‘services’, and presents the case for developing a common, unified approach to designing diverse forms of multi-partner service networks. (shrink)

Habermas's conception of deliberative democracy could be fruitfully supplemented with a discussion of the "institutional design" of civil society; for example the architecture of public spaces should be considered. This paper argues that Hegel's discussion of architecture in his 'Aesthetics' can speak to this issue. For Hegel, architecture culminates in the gothic cathedral, because of how it fosters reflection on the part of the worshiper. This discussion suggests the possibility that architecture could foster a similar kind of intersubjective reflection. (...) To make his thoughts more pertinent for current debates, Hegel's views are adapted to fit three contemporary secular institutions. (shrink)

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