Landscape architectural sketches as a painter in real life performance of the most simple and efficient means of drawing attention to the form of linguistic diversity to pursue both a true reflection of objective reality, but also further demonstrate the unique inner experience, mining personality, weaknesses, enrich and improve the artistic quality.

Rudolf Arnheim has been known, since the publication of his groundbreaking _Art and Visual Perception_ in 1974, as an authority on the psychological interpretation of the visual arts. Two anniversary volumes celebrate the landmark anniversaries of his works in 2009. In _The Power of the Center_, Arnheim uses a wealth of examples to consider the actors that determine the overall organization of visual form in works of painting, sculpture, and architecture. _The Dynamics of Architectural Form_ explores the unexpected (...) perceptual consequences of architecture with Arnheim's customary clarity and precision. (shrink)

Technological advancement and a new understanding of complex life processes have contributed to the development of radical decentralized thinking in architecture. Architecture is no longer regarded as a straightforward matter of design, construction and use; instead it is now seen as an inter-disciplinary field which provokes issues of life, survival and complexity. This article questions the behaviour of architectural forms. It proposes the creation of an active model of the fusion of biologically inspired systems and dynamic perception, which allows (...) this behaviour to be generated and analyzed. It then evolves this notion, considering multi-layers of complexity derived from natural phenomena and observation. The narrative of this work is derived from the notion of conceptualizing architectural form based on a cybernetic model, arguing that architecture needs to consider a collective dynamic space in between, the form, its environment, the user, the observer and the theorist. It approaches issues of living processes, survival and emergence, and conveys the concept of behavioural architectural form through a pre-programmed model that encapsulates the ideas of complex systems and perception. (shrink)

Rudolf Arnheim has been known, since the publication of his groundbreaking _Art and Visual Perception_ in 1974, as an authority on the psychological interpretation of the visual arts. Two anniversary volumes celebrate the landmark anniversaries of his works in 2009. In _The Power of the Center_, Arnheim uses a wealth of examples to consider the actors that determine the overall organization of visual form in works of painting, sculpture, and architecture. _The Dynamics of Architectural Form_ explores the unexpected (...) perceptual consequences of architecture with Arnheim's customary clarity and precision. (shrink)

Nature and civilisation -- Climate and the forms of the atmosphere -- Surface and the forms of the land -- Living forms -- The forms of metabolism -- Humans - anatomical and cultural forms -- City forms -- The forms of information, energy and ecology -- Emergence.

In this paper architectural forms are presented as symbolic forms issued from the complex semiosis that characterises human cognition (Ferreira (2007, 2010)). Being semiotic objects, these symbolic forms are, consequently, context- dependent_they emerge and have meaning, i.e., they are assigned a functional and/or aesthetic value, in particular physical, social and cultural frameworks. As it happens with all semiotic objects, architectural forms, whatever their nature, are not static but highly interactive. In fact, they act as agents of specific semiotic (...) processes, engaged in a permanent dialectic relationship with the environment they are embedded in. From this dialectics important physical, social, cultural and economic changes frequently arise, redefining this way the original framework for decades to come. As Pallasmaa (2009) points out: “Architecture is existentially rooted, and it expresses fundamental existential experiences, the complex condensation of how it feels to be human being in this world. Architecture grounds and frames existence and creates specific horizons of perception, understanding and identity.” Architecture happens in the context of particular landscapes both natural and man-made, individuating spaces, assigning them an identity, turning the frequently undifferentiated physical environment into “locus”, “place”, “site”, “ort”, definitely contributing to the definition of the mental map that individual minds are able to share collectively. The fundamental role played by architectural forms in the definition of “place” and identity and in the shaping or reshaping of a physical, social and cultural environment is analysed in this paper through a case study that observes the consequences of this dynamics in the development of the social and cultural tissue of a particular city. (shrink)

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

An interdisciplinary exploration of the forms, implications, and potentials of cinematic thinking.

Important philosophical volume by foremost architectural conceptualist emphasizes organic design, interrelated study of all arts. He provides introductory, retrospective, and prospective analysis, explores the creative instinct, organic order, form and vitality, form and time, form and logic, form and function, the dogmatic, mechanized, and the creative mind, and more.

It is through the dialectics of form and function in architecture, and in particular in the contradiction between the two, that the artistic and aesthetic dimensions of architecture can be developed: its expression of ideas, reflection of human identity, its ethics of responsibility to engage human culture, and its beauty. Architecture is capable of facilitating intellectual development, and of expressing ideas which transcend its material, programmatic and structural functions; in short, architecture is capable of being art, or poetry. Through (...) its forms, and in the dialectic between form and function, architecture is capable of expressing important aspects of individual and cultural identity, as a humanistic art form. As a form of artistic expression, architecture can have more value in people’s lives. (shrink)

It is a characteristic feature of our mental make-up that the same perceptual input situation can simultaneously elicit conflicting mental perspectives. This ability pervades our perceptual and cognitive domains. Striking examples are the dual character of pictures in picture perception, pretend play, or the ability to employ metaphors and allegories. I argue that traditional approaches, beyond being inadequate on principle grounds, are theoretically ill equipped to deal with these achievements. I then outline a theoretical perspective that has emerged from a (...) theoretical convergence of perceptual psychology, ethology, linguistics, and developmental research. On the basis of this framework, I argue that corresponding achievements are brought forth by a specific type of functional architecture whose core features are as follows: (1) a perceptual system that is biologically furnished with a rich system of conceptual forms, (2) a triggering relation between the sensory input and conceptual forms by which the same sensory input can be exploited by different types or systems of conceptual forms, and (3) computational principles for handling semantically underspecified conceptual forms. Characteristic features of the proposed theoretical framework are pointed out using the Heider–Simmel phenomenon as an example. (shrink)

L’analogie classique entre les proportions du corps humain et celles des formes spatiales de l’architecture reçoit chez le premier Wölfflin une inflexion particulière que l’article s’attache à penser à partir de la dimension corporelle du concept de Miterleben, dans la mesure où le corps, au lieu d’être pensé comme une simple structure de proportions, est considéré dans sa dimension vitale, subjective et historique. Le corps propre ( Leib ) devient ainsi, non seulement ce qui rend possible l’expressivité des formes, mais (...) aussi l’élément depuis lequel leur historicité doit être explicitée, celle-là même qui imprime, dans les formes mêmes, les représentations que les hommes d’une certaine époque se font de leur bien-être corporel et des conditions de leur épanouissement vital. (shrink)

Previous chapter In 1910, Hans Hermann Russack, one of August Schmarsow's students in Leipzig, published an essay entitled Der Begriff des Rhythmus bei den deutschen Kunsthistorikern des XIX. Jahrhunderts – The Concept of Rhythm in the German Art Historians of the 19th Century. This study was far from complete: it barely mentioned Aloïs Riegl and the competitors of the Viennese school; it referred only indirectly to Wilhelm Pinder and gave - Architecture – Nouvel article.

In discussions regarding models of cognition, the very mention of “computationalism” often incites reactions against the insufficiency of the Turing machine model, its abstractness, determinism, the lack of naturalist foundations, triviality and the absence of clarity. None of those objections, however, concerns models based on natural computation or computing nature, where the model of computation is broader than symbol manipulation or conventional models of computation. Computing nature consists of physical structures that form layered computational architecture, with computation processes ranging (...) from quantum to chemical, biological/cognitive and social-level computation. It is argued that, on the lower levels of information processing in the brain, finite automata or Turing machines may still be adequate models, while, on the higher levels of whole-brain information processing, natural computing models are necessary. A layered computational architecture of the mind based on the intrinsic computing of physical systems avoids objections against early versions of computationalism in the form of abstract symbols manipulation. (shrink)

Diaristic, mixed notes on: John Ruskin's The Poetry of Architecture (1837) and Modern Painters (1885); Caravaggio, Victorian Aesthetes, G.K. Chesterton, and Tacita Dean; Jay Fellows' Ruskin’s Maze: Mastery and Madness in His Art (1981); Slavoj Žižek at Jack Tilton Gallery, New York, New York, USA, April 23, 2009, “Architectural Parallax: Spandrels and Other Phenomena of Class Struggle”; “Titian, Tintoretto, Veronese: Rivals in Renaissance Venice”, Museum of Fine Arts, Boston, Massachusetts, USA, March 15-August 16, 2009; Janet Harbord, Chris Marker: La (...) Jetée (2009); The Politics of the Envelope, Princeton Envelope Group (PEG), ARC504, Princeton School of Architecture, Princeton, New Jersey, USA, Friday, May 8, 2009; Rhode Island School of Design, Degree Project Reviews, Division of Architecture & Design, Providence, Rhode Island, USA, May 16, 2009; etc. (shrink)

The DNA in a eukaryotic nucleus is packaged into a nucleosome array, punctuated by variations in the regular pattern. The local chromatin structure of inducible genes appears to fall into two categories: preset and remodeling. Preset genes are those in which the binding sites for trans‐acting factors are accessible (;i.e. in a non‐nucleosomal, DNase I hypersensitive configuration) prior to activation. In response to the activation signal, positive factors bind to cis‐acting regulatory elements and trigger transcription with no major alterations in (...) the chromatin structure of the promoter region. In contrast, remodeling genes are those in which some of the required cis‐acting regulatory elements are packaged into nucleosomes. The nucleosomes must be perturbed in response to an activation signal in order for the trans‐acting factors to gain access to cis‐acting elements; a chromatin remodeling process which forms DNase I hypersensitive sites must occur. In both cases, precise positioning of nucleosomes along the promoter region of a gene appears to be critical for appropriate regulation of expression. (shrink)

In modern cities, many old or abandoned buildings occupy valuable land without providing a comparably valuable service. In the past they have often met with the fate of being demolished and replaced, but modern day sentiment, be it foolhardy nostalgia or legitimate concern for architectural heritage, often leads to a building’s refurbishment. As a result, buildings save themselves from the wrecking ball by providing a service that satiates modern day demand.

Th is paper uncovers how demolition has served as a collective way of forgetting violent pasts. It explores several examples in Canada, including the 1992 demolition of the notorious Mount Cashel Orphanage in St. John’s, Newfoundland, a building we claim was purposefully razed to the ground in order to forget egregious crimes of sexual abuse that had taken place on the site. We contend that as with other sites associated with difficult memories, this was a valiant effort to forget by (...) removing all traces of the setting. We note that even when buildings are not demolished following violent events, echoes of their architectural forms are often recast in the forms of memorials, both real and virtual. (shrink)

Rudolf Steiner, the often undervalued, multifaceted genius of modern times, contributed much to the regeneration of culture. In addition to his philosophical teachings, he provided ideas for the development of many practical activities including education--both general and special--agriculture, medicine, economics, architecture, science, religion, and the arts. Today there are thousands of schools, clinics, farms, and many other organizations based on his ideas. Steiner's original contribution to human knowledge was based on his ability to conduct spiritual research, the investigation of metaphysical (...) dimensions of existence. With his scientific and philosophical training, he brought a new systematic discipline to the field, allowing for conscious methods and comprehensive results. A natural seer from childhood, he cultivated his spiritual vision to a high degree, enabling him to speak with authority on previously veiled mysteries of life. Topics include: the origins and nature of architecture the formative influence of architectural forms the history of architecture in the light of human spiritual evolution new architecture as a means of uniting with spiritual forces art and architecture as manifestations of spiritual realities metamorphosis in architecture aspects of a new form of architecture the first and second Goetheanum buildings the architecture of a community in Dornach the temple is the human being the restoration of the lost temple. (shrink)

People cannot contemplate a proposition without believing that proposition. A model of belief fixation is sketched and used to explain hitherto disparate, recalcitrant, and somewhat mysterious psychological phenomena and philosophical paradoxes. Toward this end I also contend that our intuitive understanding of the workings of introspection is mistaken. In particular, I argue that propositional attitudes are beyond the grasp of our introspective capacities. We learn about our beliefs from observing our behavior, not from introspecting our stock beliefs. -/- The model (...) of belief fixation offered in the dissertation poses a novel dilemma for theories of rationality. One might have thought that the ability to contemplate ideas while withholding assent is a necessary condition on rationality. In short, it seems that rational creatures shouldn‘t just form their beliefs based on whatever they happen to think. However, it seems that we are creatures that automatically and reflexively form our beliefs based on whatever propositions we happen to consider. Thus, either the rational requirement that states that we must have evidence for our beliefs must be jettisoned or we must accept the conclusion that we are necessarily irrational. (shrink)

In his different analyses of ancient Egypt, Hegel underscores the marked absence of writings by the Egyptians. Unlike the Chinese with the I Ching or the Shoo king, the Indians with the Ramayana and the Mahabharata, the Persians with the Avesta, the Jews with the Old Testament, and the Greeks with the poems of Homer and Hesiod, the Egyptians, despite their developed system of hieroglyphic writing, left behind no great canonical text. Instead, he claims, they left their mark by means (...) of the architecture and art. This paper explores Hegel’s analysis of the Egyptians’ obelisks, pyramids, sphinxes, etc. in order to understand why he believes that these are so important for understanding the Egyptian spirit. This analysis illustrates Hegel’s use of history and culture in the service of philosophical anthropology. (shrink)

Might architecture be reconceived as a form of performance? I draw upon Nelson Goodman’s writing on architecture—including his account of architectural notation—and David Davies’s performance theory, which claims that artworks should be considered not as products made by generative performances, but rather as the performances themselves. I tie the exemplification that Goodman identifies as the primary way architectural works ‘mean’ to the role of the architectural ‘score’, recast not as a mere ‘constraint’ but as integral to (...) the creative processes by which architecture establishes an ‘artistic statement’ and a distinctive ‘virtual’ realm. In so doing, I reconcile such a position with an aesthetics of reception, whereby the situated encounter with the physical building is seen as essential to the critical retrieval of any given architectural performance. I test this position against a late work by Sigurd Lewerentz, completed when he was in his eighties, and examine the extraordinary lengths necessitated by his idiosyncratic imperative not to cut any bricks, thereby articulating an artwork every bit as radical as contemporaneous works by conceptual artists. (shrink)

Martin Heidegger and Vincent Scully, writing from very different positions, agree that the enclosure of human life and the disclosure of a moral universe are the chief functions of architecture, and they agree further that the traditional house best exemplifies the first function and the Greek temple the second. The culture of technology has emptied the home of many substantial engagements, and it has reduced the monumental structures, the high-rises and expressways, to instrumental status. Architects need to understand the cultural (...) force of technology, the ways buildings shape the conduct of our lives, and the responsibilities that follow from the comprehension of contemporary culture. (shrink)

Following Theodor W. Adorno’s reading of architecture as a purposeful art, the article explores how the social dimension is inscribed into the purposes ascribed to architecture by establishing a relation between what Adorno calls a sense of architectural space and the distribution of the sensible as defined by Jacques Rancière. Considering Rancière’s understanding of the political dimension of different “regimes of art”, the article attempts to show how similar observations can be made regarding architecture. What implications do these regimes (...) of architecture have for the constitution of a common world, given architecture’s vast spatio-temporal presence? (shrink)

Iannis Xenakis (1922–2001), composer, architect, engineer and media artist, designed together with Le Corbusier the Philips-pavilion for the 1958 Brussels World Fair. This pavilion is an early example of (“hybrid”) combined media and architectural space as it contained a Poème Électronique, an electronic synthesis of visual projections (conceived by Le Corbusier ) and acoustic events (composed by Varèse). The pavilion's architecture with its hyperbolic-paraboloid shells had a dynamic expression. Xenakis continued this research into complex material architectural forms. He (...) also worked on the complex ephemeral architectures of light and sound events. What is specific to Xenakis is the way he used forms in different fields and transferred them from one field to another, from engineering to music, from music to architecture and visual events. This experience of working simultaneously and applying the same (mental) structures in different fields opened him the way (partly supported by the universal computer instrument) for the practice of transferring mathematical-scientific structures into artistic production. In this context Xenakis pleads for the development of a “General Morphology”, a research concerned with the understanding of form and its generation. Xenakis's ‘material’ architectural work is to be seen in continuity with his architectures of music and light. (shrink)

This article explores how the shift from print to electronic calendars materializes and exacerbates a distinctively quantitative, “spreadsheet” orientation to time. Drawing on interviews with engineers, I argue that calendaring systems are emblematic of a larger design rationale in Silicon Valley to mechanize human thought and action in order to make them more efficient and reliable. The belief that technology can be profitably employed to control and manage time has a long history and continues to animate contemporary sociotechnical imaginaries of (...) what automation will deliver. In the current moment we live in the age of the algorithm and machine learning, so it is no wonder, then, that the contemporary design of digital calendars is driven by a vision of intelligent time management. As I go on to show in the second part of the article, this vision is increasingly realized in the form of intelligent digital assistants whose tracking capacities and behavioral algorithms aim to solve life’s existential problem—how best to organize the time of our lives. This article contributes to STS scholarship on the role of technological artifacts in generating new temporalities that shape people’s perception of time, how they act in the world, and how they understand themselves. (shrink)

This essay samples and describes the state of architectural scholarship across various platforms in the age of Cognitive Capitalism. The premise is that, much like scholarship in the Arts and Humanities generally, architectural scholarship suffers from the Either/Or schism between traditional academic research of a non-utilitarian form and the heavily mediatic practices of the mainstream – “mainstream” defined as both online and print publications that eschew the long-form essay or book in favor of the populist modality (...) that serves the neo-liberalization of the discipline. -/- The sampling includes the devolution of the thesis or dissertation to socio-cultural report and/or pseudo-scientific study, with speculative works relegated to the margins of architectural discourse. This shift, while emblematic of the “trade school” mentality of many architecture schools today, also signals a bias at large in the post-recession 2010s where research must be monetized to justify funding, or speculative work must adhere to a format that is dictated from the outside (from the regimes of capitalization imposed by publishers). (shrink)

Architectural theory arises from building, when the mind considers its symbolic relations to its own constructions. The intent of this essay is to discuss the intellectual causes that precede building and precede theory. It considers certain fundamental dualities in our thinking about architecture—such as image and word; type and model; imitation and invention—and the role they play in its making, its perfection as an art, and the eventual elaboration of its tenets into a theory. At a time when theories (...) of architecture proliferate as expressions of ‘personal philosophies,’ a careful and incisive philosophical approach to if, how, and when does theory become formative of building, may ensure that architecture remain faithful to its intrinsic purposes. (shrink)

Architectural style is a medium for the promotion of cultural identities and cohesion. South Asian Association for Regional Cooperation nations provide a prism through which all forms of vernacular architecture can be viewed. This study is presented through the lens of the soul of the eye coupled with the power of technological probing. This synthesis affords a most appealing and lyrical exploration of the course of the development of cities within the SAARC nations. It showcases research results combining the (...) above stated synergy—starting from some of SAARC’s sophisticated historic cultures, cultures that ebbed and flowed along its shores and valleys. This paper shall touch upon unique cultural roots stretching back to the Dravidian civilization that flourished over 3500 years ago and also look at the grouping of houses within the Indus Valley Civilization in Lothal and the Sarasvati Valley Civilization in Kalibangan. The sensitivity underlying SAARC architecture and its traditions are seen in many communal settlements, profoundly so in the Indian subcontinent and in Sri Lanka. The paper shall showcase two specific, but nevertheless, distinct styles of communal functioning within unique architectural strongholds in the ancient Ratnagiri University in Odisha, India, and also touch upon a unique blend of styles of landscape architecture in Sri Lanka. The overarching emphasis of this study is that throughout SAARC’s history, architecture has been creatively adopted to the need of its users and the characteristics of its climate and location. It has always fulfilled the needs and nourished the spirit of its people, promoting cultural cohesion even today. In this context, it is interesting to explore traditional techniques of vernacular architecture in houses in Andhra, Tamil Nadu and Kerala. The common thread linking mass housing in Lothal, Kalibangan, Anuradhapura and Ratnagiri about 2 millennia ago, with present day housing patterns, is in the application of sustainable building practices using intelligent building forms, fabric and orientation. This paper explores this commonality from a modern perspective using CFD. As the SAARC countries still struggle to get a fuller understanding of their unique ecology and the complexity of their diverse cultures, revisiting the architectural legacy of their indigenous societies might prove insightful. The need for this revisit becomes even more relevant in the wake of the Paris Agreement and more recently the Kigali Agreement. The discourse on providing indoor thermal comfort to the SAARC people cannot be decoupled from the climate change story—heating, ventilation and cooling consume a large amount of energy and have a deep underlying link with the targets set at Paris and Kigali. The onus will be on a large number of stakeholders to meet these targets—engineers, architects, manufacturers, policy-makers, researchers and consumers. This paper aims at reminding the stakeholders of the richness and the usefulness of their vernacular architecture in upholding the ideal of sustainability. (shrink)

This article explores the arguments for architecture having an identifiable essence equivalent to Heidegger's concept of 'dwelling' and place identity, versus those who claim it is no more than a 'hybrid' collection of many different technical, social and cultural practices. The opposing positions in architecture are compared by analogy with the opposing theories of language which underly them, the latter position being associated with the universalist theory of language propagated by Chomsky, while the purpose of architecture in identity formation is (...) compared with Wittgenstein's theory of the interdependence between language and human behaviour as a 'form of life'. As an example, the author points to colonial architecture as a clear case where people retain 'that part of their identity which is their architecture'. The author concludes that, in so far as objects also have meanings, then the physical environment must also be taken into account in the evolution of mind. (shrink)