2,411 research outputs found
Et fænomenologisk-hermeneutisk blik på Rafaels intentioner i Chigikapellet i Santa Maria del Popolo i Rom
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Thinking Things and Thinging Thoughts. Architecture and Building in Postphenomenological Perspective
No full textArchitecture and urban design are typically considered as a result of artistic creativity performed by gifted individuals. Postphenomenology and Architecture: Human Technology Relations in the Built Environment analyzes buildings and cities instead as technologies. Informed by a postphenomenological perspective, this book argues that buildings and the furniture of cities—like bike lanes, benches, and bus stops—are inscribed in a conceptual framework of multistability, which is to say that they fulfill different purposes over time. Yet, there are qualities in the built environment that are long lasting and immutable and that transcend temporal functionality and ephemeral efficiency. The contributors show how different perceptions, practices, and interpretations are tangible and visible as we engage with these technologies. In addition, several of the chapters critically assess the influence of Martin Heidegger in modern philosophy of architecture. This book reads Heidegger from the perspective of architecture and urban design as technology, shedding light on what it means to build and dwell
Sydney Opera House: The Poiesis of Tectonic Architecture in the Age of Digital Augmentation
No full textIn this chapter, we shall try to capture some existential qualities in a specific work of architecture by the Danish architect Jørn Utzon, namely, the Sydney Opera House (1969). It is the claim that these qualities are to a very high degree the result of the conjunction of critical, reflexive, and phenomenological thinking of the creator himself, which in the end epitomized in concrete architecture. It is also the assumption that in the building happens a gathering of the world, which means that philosophical, cultural, historical, contextual, geographical, and topographical issues are simultaneously brought forth in the building. The building is an exemplary sample of how the ideal and the everyday practical can, or even should, meet in order for poiesis to happen.The chapter is structured according to these philosophical, cultural, his-torical, geographical, and topographical qualities, even though not considered as distinct with separate paragraphs, but more as an overall framework for understanding.The last part of the chapter will deal with how recent uses of the monument as screen for digital projections are critical, and in some cases, even morally wrong, as if disrupting the existential qualities of the building.The philosophical framework of the chapter is mainly phenomenological, referring to, namely, Martin Heidegger, Christian Norberg-Schulz, and Juhani Pallasmaa. In the last part of the chapter, we will try to reflect on the new appropriations of the building through postphenomenological lenses, because hopefully this will provide some sort of understanding in relation to these new appropriations.<br/
Postphenomenology and Architecture: Architecture as Measurer for Human and World
No full textA Postphenomenological framework is not only enlightening for understanding our interactions with the built environment but it also provides structure for an analysis of the mediated creation of architectural drawings. There has been numerous postphenomenological studies into visualizations, but predominantly in what I define as empirical visualisations in the sciences. The article opens by establishing the differentiation between empirical and ideational visualisations. Ideational visualization is important for architectural drawing as a creative practice. It then explores particularly what is seen as an alterity relation in the creative work with the drawings and parallels this to the back-talk from material theorized by Donald Schön (Schön 1987). This work points to that the understanding of digital and analogue in architectural drawing which has been hotly debated is too narrowly defined. An alternative definition of analogue and digital is sought in Goodman (Goodman, 1976). Architectural drawing is a puzzling case between what Goodman defines as auto- and allographic (Goodman, 1976), as is demonstrated and discussed through the case of the burnt architectural drawings from the Copenhagen building archive. Goodman’s definitions of analogue and digital are transformed into more relational notions where the dense ambiguity of the analogue is argued to be connected with the ideational visualization
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