1,720,973 research outputs found
Preserving Destruction: Philosophical Issues of Urban Geosites
Full text linkThis article examines the philosophical issues that arise when preserving urban geological sites or urban geosites. These are preserved not only because of their geological value but also because of aesthetic, cultural, and economic reasons. To do so, it examines the geosite constituted by Olot and its surroundings, a city in Spain that extends amid four dormant volcanoes. It explores the metaphysical paradox that these geosites have become what they are due to the preservation of destruction: humancaused interventions, mostly extraction of materials and exploitation of the land, are precisely what made these geosites visible as sites worth preserving and determining their metaphysical status. It further explores the preservation criteria and shows how they have determined the status of the geosite. Second, it shows how in such urban geosites the collapse of two diametrically opposed conceptions of time – the geological eon and the lived human time – occurs. Lastly, it discusses aesthetic aspects of such geosites by considering aesthetic experience as a primarily cognitive endeavor and shows how metaphysical, epistemological, and aesthetic issues of preservation of geosites are inextricably linked
Construing reconstruction : the Barcelona Pavilion and Nelson Goodman's aesthetic philosophy
Full text linkThesis (S.M.)--Massachusetts Institute of Technology, Dept. of Architecture, 2007.Includes bibliographical references (p. 86-93).This thesis explores Mies van der Rohe's Barcelona Pavilion through the lens of Nelson Goodman's philosophical categories of the autographic and the allographic in order to determine what constitutes the building's identity. The Pavilion was originally designed as a temporary structure for the 1929 International Exposition in Barcelona and rebuilt in 1986 as a permanent building. The reconstruction of this iconic building provokes a complex questioning about the identity of the Barcelona Pavilion in particular and of any architectural work in general. Goodman's notions are unique criteria to deal with issues of identity and authenticity in architecture. The autographic identifies a category of works that cannot be replicated, i.e., every difference between a work and even its closest copy makes a difference to the work's identity. In contrast, the allographic identifies a category of works that can be replicated, i.e., the difference between an original and its duplication is irrelevant to the work's identity. By examining the Barcelona Pavilion through the lens of these notions, this thesis shows that Mies's building is a hybrid case in which the autographic and the allographic criteria are inextricably linked.(cont.) To consider the 1986 Pavilion simply as a copy does not completely define its identity status; conversely, to conclude that they are two instances of the same work or that they are two different buildings is not accurate, either. This case illustrates the complexity that arises when trying to establish what constitutes the identity of an architectural work in general and, at the same time, allows us to reconsider Goodman's statements regarding architecture.by Remei Capdevila Werning.S.M
En busca de tres ratones ciegos
Full text linkEsta nota crítica sobre la reciente reedición de Los lenguajes del arte de Goodman compara la presente traducción con el original y la primera versión del texto publicada en castellano considerando la concepción de traducción de Goodman así como las traducciones al castellano de otras obras de Goodman. Además de analizar críticamente cuáles son las consecuencias filosóficas de ciertas opciones traductológicas (como la eliminación de "tres ratones ciegos"), esta nota se pregunta por la veraderda autoría de la presente traducción, casualmente la obra donde Goodman examina cuestiones de autenticidad y falsificación de obras de arte
Constructing the Absent — Preservation and Restoration of Architecture
Full text linkArchitectural conservation aims to preserve, restore, and reconstruct damaged, decayed, and no longer extant buildings. This purpose entails that architectural conservation is constantly facing absence: a physical absence, when material parts are missing from a building, and an intangible one, when the physical absence stands for a missing people or culture. The role of preservationist interventions is to make all these absences present. This paper deals with the relationship of absence and presence in preservation practices. By examining several preservation processes, it aims to show the implicit and explicit ways in which absences are made present and also how the very task of making absences present may alter or even distort the absences’ meaning. Depending on how each kind of preservationist intervention deals with absence, one can find reasons to prefer certain interventions over others. It can also be seen how the very process of restoring the past is simultaneously a corruptive one and how these preservationist procedures affect our aesthetic experience of such buildings
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