Architecture and Phenomenology

In this chapter, I draw on Merleau-Ponty’s philosophy to explore environmental embodiment—the various lived ways, sensorily and motility-wise, that the body in its pre-reflective perceptual presence engages and synchronizes with the world at hand, especially its architectural and environmental aspects. First, I consider Merleau-Ponty’s interpretation of perception, giving particular attention to his claim that perception involves a lived dynamic between perceptual body and world such that aspects of the world—for example, the heavy hardness of a granite block or the cool smoothness of a chrome railing—are known because they immediately evoke in the lived body their experienced qualities.

Second, I consider the architectural and environmental significance of what Merleau-Ponty calls body-subject—pre-reflective corporeal awareness expressed through action and typically in sync with and enmeshed in the physical world in which the action unfolds. I focus on the taken-for-granted sensibility of body-subject to manifest in extended ways over time and space. I ask how routine actions and behaviors of individuals coming together regularly in an environment can transform that environment into a place with a unique dynamic and character—a lived situation I term place ballet. For both perception and body-subject, I consider how qualities of the physical and designable world—for example, materiality, form, and spatiality—contribute to the lived body’s engagement with and actions in the world.

Note: This chapter was written in 2014 for a proposed edited collection on Merleau-Ponty and architecture. Unfortunately, the editors did not find a publisher(though I was never officially informed of this fact). The chapter has been rewritten, revised, and updated; see the above entry: "Merleau-Ponty, Environmental Embodiment, and Place" (2022)
"

This article examines the conception of the everyday city as presented in the work of architect Christopher Alexander and architectural theorist Bill Hillier: Both thinkers suggest that, in the past, lively urban places arose unself-consciousty through the routine daily behaviors of many individual users coming together in supportive space and place. In different ways. both thinkers ask whether, today, a similar manner of vital urban district can be made to happen self-conscioustv through explicit understanding transformed into design and policy principles. The aim for both Alexander and Hillier is place-based urban communities marked by lively streets, serendipitous public encounters, and informal sociability. The article begins by examining commonalities and differences in Alexander and Hillier's conceptions of environmental wholeness and urban place. Next. the article considers implications for urban design and, last, indicates the considerable value that the two thinkers' ideas offer environmental philosophy, particularly for understanding environmental wholes.

The introduction and use of post-processual theory in cultural heritage studies has led to an understanding that heritage is a cultural construct, it’s significance being ascribed to it in the present rather than being an intrinsic quality. We also now recognise that individuals, groups and communities ascribe significance to heritage sites for a variety of different, and often competing, reasons. However, despite a shift in heritage policy and guidance in England towards what would appear to be a more phenomneological approach, as is evidenced in documents such as Conservation Principles, PPS5, and the associated good practice guide and government statement; the underlying philosophical basis for conservation and protection remains firmly tied to the materiality of heritage, and ‘traditional’ ideas of inherent value. Even Conservation Principles, which makes reference to all the ‘big ideas’ in recent archaeological theory, continues to favour a materialistic, objective, assessment of heritage, prioritising the evaluation of historic fabric and the definition of its significance by experts at English Heritage over ‘communication’ with people and communities. This paper, therefore, will discuss this apparent reluctance in practice to acknowledge the multivocality of significance, arguing that it results from the desire of heritage professionals to retain their ‘expert’ status in the field of heritage protection.

Mit Laugiers Urhütte wurden die zeitgenössischen Entwurfsmethoden bezüglich ihres Anspruchs zur totalen Dynamisierung des architektonischen Entwurfsprozesses kritisch beurteilt. Wie ist diese Dynamik als rein rationalisierte Form geometrischer Idealgestalten zu denken, ohne dass auch ein hier klassischer " Analogieschluss " vorliegt? Diese Frage richtet sich auf den Ursprung des Analogiebegriffs in der Architektur, der in Vitruvs Anthropomorphismus wurzelt. Der historische Rückblick auf Vitruvs Analogiebegriff soll zunächst seine genaue Verwendung aufzeigen. Auf dieser Grundlage wird geprüft, warum der Anthropomorphismus zum Streitobjekt moderner Theorien wurde. Schlussendlich steht aber zur Frage, ob die zeitgenössischen Entwurfsmethoden ihren Anspruch, das alte anthropomorphe System und damit die " Metaphysik der Architektur " aufzuheben, eingehalten haben oder vielmehr einen Analogieschluss verbergen, um das eigene System aufrecht zu halten.

La critica condivisa da Paci e Sini alla concezione scientifico-matematica di spazio e tempo che sorregge la concezione tradizionale di storia e la concezione razionalistica dell’architettura si sostanzia dell’appello al mondo della vita, alla spazialità e temporalità della vita vissuta, della durata e della relazione.
Nell'indagare il rapporto tra memoria e progetto tutto ciò ha un ruolo essenziale, così come l'apertura d'orizzonte offerto dalla genealogia e dalla sua costitutiva capacità di farsi carico di
quella circolarità delle estasi temporali per cui il passato necessita del futuro per acquistare il suo senso compiuto.

Shota Bostanashvili (1948-2013), a practising architect and a pioneer in developing the poetics of architecture, was a cultural theorist. His philosophy centred around an architectural discourse specifically addressing architecture and linguistic play, and the semiotics of architecture. The objective of this paper is to identify the themes underpinning his philosophy of architecture and his legacy relative to his contemporaries. This paper is based on primary sources including Bostanashvili’s buildings, monuments and publications together with unpublished material from the Shota Bostanashvili Archive (Tbilisi). Reference is also made to video footage from the Georgian Public Broadcast, conferences and other sources. This paper concludes by identifying outstanding milestones in Bostanashvili’s legacy, both on a pragmatic and a theoretical level. The former relates to the poetics and metapoetics of architecture whilst the latter correlates to architecture as a unique individual spiritual experience and to the poetics of space as part of cultural history rather than phenomenology. He opted for paper architecture as a mode of abstract and poetic expression to approach architecture design education. This paper delves into the margins of normative European architectural historiography. It is a first in documenting in detail the legacy of Shota Bostanashvili, an outstanding Georgian architect, academic, sculptor and poet who is barely known in Western countries, thereby highlighting his impact on the theory of architecture.

1 ‫העורכת‬ ‫דבר‬ 3 ‫אלדור‬ ‫גבי‬ | 2014 ‫מסך‬ ‫הרמת‬ 7 ‫צירקילביץ‬ ‫ותומר‬ ‫הירש‬ ‫מיכל‬ | Auf Wiedersehn ‫כותבים:‬ ‫יוצרים‬ -)Teledoll( ‫טלדול‬ ‫כותבים:‬ ‫יוצרים‬ 12 ‫טל‬ ‫ברוד‬ ‫אניה‬ | ‫יצירה‬ ‫לתהליכי‬ ‫חלון‬ 18 ‫אריה‬ ‫גור‬ ‫דרורית‬ | ‫ג'ולי‬ ‫ואיציק‬ ‫גודר‬ ‫יסמין‬ ‫של‬ Climax ‫לפה:‬ ‫אקדח‬ ‫בכפר‬ ‫הלפרין‬ ‫אנה‬ :Parades and Changes 20 ‫טוראל‬ ‫שרון‬ | ‫ורטיגו‬ ‫האקולוגי‬ ‫האמנותי‬ 23 ‫פדר‬ ‫ועדו‬ ‫דגון‬ ‫גדי‬ ‫בין‬ ‫שיחה‬ ‫מחול.‬ ‫לא/עצור‬ 29 ‫רוטמן‬ ‫יונת‬ | ‫התמונה‬ ‫מאחורי‬ ‫מסתתר‬ ‫מה‬ ‫היסטוריות:‬ ‫אנקדוטות‬ 30 ‫בורשטין‬ ‫זוהר‬ | ‫(סובל)‬ ‫קאסל‬ ‫רוזלין‬ ‫עם‬ ‫ראיון‬ ‫הבלט:‬ ‫הוראת‬ -Continuum Movement ‫ממדים:‬ ‫בין‬ ‫רצף‬ 34 ‫שכטר‬ ‫בתיה‬ | ‫קונרד‬ ‫אמילי‬ ‫עם‬ ‫ראיון‬ 39 ‫בדש‬ ‫רנה‬ | ‫דיבואה‬ ‫אוליביה‬ ‫של‬ ‫טרגדיה‬ ‫עירומה:‬ ‫קומפוזיציה‬ 42 ‫לנד‬ ‫רונית‬ | ‫ריכטר‬ ‫פאלק‬ ‫של‬ ‫יצירתו‬ -‫לא‬ ‫לעולם‬ ‫תאמר‬ ‫אל‬ ‫לעולם‬ ‫שוואן‬ ‫אלכסנדר‬ | Dance as an écriture corporelle -‫גוף‬ ‫ככתב‬ ‫מחול‬ 44 ‫ברפמן‬ ‫אורה‬ ‫ותרגום:‬ ‫לדפוס‬ ‫הבאה‬ 48 ‫אלרון‬ ‫שרי‬ | ‫ריקוד‬ ‫על‬ ‫מאמרים‬ ‫סקירת‬ ‫ריקוד:‬ ‫חוקר‬ -‫חוקר‬ ‫ריקוד‬ ‫ללאומיות:‬ ‫אקזוטיות‬ ‫בין‬ ‫נע‬ ‫הפולקלורי‬ ‫המחול‬ 51 ‫גרשון‬ ‫אורי‬ | ‫הרוסי‬ ‫בבלט‬ ‫ה-02‬ ‫במאה‬ ‫קונטקסטים‬ 56 ‫טוראל‬ ‫שרון‬ | ‫המצרי‬ ‫הריקוד‬ ‫של‬ ‫היסטוריה‬ 58 ‫לחמן‬ ‫הילית‬ ‫בעריכת‬ | 2014 ‫דצמבר‬ ‫עד‬ ‫יוני‬ -‫בכורות‬

The article is aimed to reconstruct the intention of the historian of architecture Joseph Rykwert as the author of the monograph «The idea of a town: the anthropology of urban form in Rome, Italy, and the ancient world». The analysis relies on the methodological principles proposed by the Cambridge School (intellectual history): Quentin Skinner and John Pocock. The author's intention, contained in the text, can be identified by comparing his language and arguments with other texts of a given historical era, devoted to a similar plot. The book was conceived as a challenge to functionalism and the "picturesque style" in architecture. Published in 1963, it already resists neoavantgarde, the principles of the Ulm School of Design and the Italian rationalism of Aldo Rossi and Manfredo Tafuri.

Статья посвящена реконструкции авторской интенции историка архитектуры Джозефа Рикверта как автора монографии «Идея города. Антропология формы города в Риме, Италии и Древнем мире». Представленный анализ, прежде всего, опирается на методологические принципы, предложенные Кембриджской школой интеллектуальной истории: Кв. Скиннером и Дж. Пококом. Авторское намерение, заключенное в тексте, можно идентифицировать путем сопоставления его языка и аргументов с другими текстами данной исторической эпохи, посвященными схожему сюжету. Книга задумывалась как вызов функционализму и «живописному стилю» в архитектуре. Опубликованная в 1963 году, она противостоит неоавангарду, принципам Ульмской школы дизайна и итальянского рационализма А. Росси и М. Тафури.

ansal ler kentin kolbine b ( YürüYüŞ Ömüı Hormonsoh ''Sczgilcıiııin kcnclisini -vanıLıal:iltıcclğiııtl irrıııırlıyiı 1ıı'sIarsı Ştllriıde (3ylııılaçağınclen kıışkrısu vcıIıtu hiç: Hilüiiyelelali kdlalisini ayarl(ta trt1iıö. ]]ir kairi]ıı ely<ııclaııı-vla b\ılr]P taı]ı(iığı ncsı]olcI gibi sezgileıiylc brılup qliaıclığı hikıvc]cı. ijç: gilııdijr şcJıiıclc yiizc-vJcre lırırıır nu silrte siirte dolaşırken işııcılerc1cıı biı hikı'ıır: kurıbildiİi için avektf, kalabilırristi' (.evtesinclelii iııslın]ırın clı lıi1iaycicr yiiziiııcleıı ay:ıkıt cllu-alıilcliğ,rn,,, ,,,.:'r:::[::: ()ıhan Pamı'ık , ,,,ırı Kitap' istırıllul 1990. s. 206. Gündelik yaşam pratikleri ile toplumsal mekanın üretimi arasındaki ilişkinin tekrar tekrar ele alınması kentsel yaşamln ve mekanlarının 'inşa'sına dair önemli tartışmaları gündeme getiriyor'. Kent_ sel yaşamın bu kural İafllmaz, ele avuca ge|mez, dile dökülmez pratikleri kentsel mekanlarl işgal ediyor, dönüştürerek yerlerinden oynatlyoI. Bu pratiklerle kuru]an bellek, kentin mekanlarını olumladığı, desteklediği sürece mekanlar varlı]<larını sürdürebiliyor. Kent]inin, gündelik (kentse]) yaşam pratikleri içinde mekan üzerine yazageldigi Öyküsel örüntüler, kentse] mekanı 'toplaylcl bellek' denen o saydam ve şiirsel soykütüğüne kaydeder.

In recent years, the rate of development in lighting and material technologies has increased to such an extent that the contemporary designer needs to constantly keep pace with the engineering innovations available to them. The control of light now far exceeds the specification and diffusion of appropriate lamps as new technologies such as data projection, light emitting diodes, plasma screens, optical films and sensors systems present a whole new set of parameters in the approach to lighting. Beyond the technical specification of appropriate light sources is the scope for light to engage the mind of the viewer and imbue qualities that are both beautiful as well as functional. In order to be able to employ contemporary lighting technologies a designer needs to be equipped with a sensibility that can assimilate the potentials of new lighting media and forge new and refined methods of their manipulation.

"This study gathers and interprets the earliest extant references to architects in ancient Greek philosophy, as found in select works of Plato and Aristotle.  Throughout this review, Plato and Aristotle [are] shown to consistently present architectonic agents as exemplary civic and intellectual leaders, acting in awareness of their own (and others’) limits, with knowledge of the most appropriate archē, and with a view to the most comprehensive aims—the common good. This discloses an alternative and more accurate etymology of architects: not as master-builders but as leaders and makers of beginnings (archai). The aim of this essay has been not only to rediscover the discursive beginnings for a renewed philosophy of architecture, but to suggest how these philosophical 'archai' might help present-day architects reimagine the full relevance of their still contested role."

“The transparency essay,” as it is known in schools of architecture around the world, remains required reading in many programs. With it comes the trap of conflating theoretical exegesis and design methodology – a danger that increases in inverse proportion to the age and experience of the audience. As Colin Rowe and Robert Slutzky construct a complex relation of ideas expressed with sophisticated and nuanced language they resort to verbal and visual slights of hand – creating an articulate, albeit problematic architectonic frame around the early paintings of Picasso, Leger, Ozenfant, and Le Corbusier. I examine how Rowe and Slutzky tell their story of transparency, the structure of which is fundamentally obtuse and mythic, yet is delivered as if it were the product of a transparent and logical imperative, free from belief systems and subterfuge.
To help illuminate this argument I focus on the discourse surrounding the “Modernist” or “Cubist” garden in early twentieth-century France – specifically the work of the architect and garden designer, Gabriel Guévrékian. During the last twenty years, evaluations of Guévrékian’s designs of gardens were criticized and largely discounted, owing to the relatively transparent influence of “the transparency essay.” If the received view of such a relatively obscure figure as Guévrékian can be so substantially manipulated by the undiminished provocations of Rowe and Slutzky’s essay, this suggests the necessity for further exploring how their text has created other modernist myths, that remain concealed behind, what Levi-Strauss called, “a veil of belief.”

The paper explores Tati's use of new film media in 'Playtime' in ways that reveal more fundamental modes of social, mimetic and situational mediation as performed in the film by architects, and architect-like characters, and by the architectural settings which Jacques Tati devised.

This paper was presented as a keynote lecture at the international conference Designing and Planning the Built Environment for Human Well-Being, held at the University of Oulu in Finland, 23-25 October 2014. It is an expanded version of a paper first given at the Royal Danish Academy of Fine Arts in Copenhagen in November 2012, and published as a chapter in the book Towards an Ecology of Tectonics: Rethinking Construction in Architecture, edited by Anne Beim and Ulrik Stylsvig Madsen (Stuttgart: Edition Axel Menges, 2014).

The paper also builds on the arguments first presented in the book chapter Architecture, Technology and the Body: From the Prehuman to the Posthuman (2012), which set out a new theoretical framework for understanding the relationship between architecture and embodiment by questioning the now commonplace view of the body’s prosthetic relationship with technology. Drawing on the work of contemporary thinkers such as Bernard Stiegler, Raymond Tallis, and Tim Ingold, it argues that rather than treating new technological extensions of the body as in some way threatening to our sense of self, we should instead see them in a more positive way as part of a longer developmental trajectory in which ‘the human’ and ‘the technological’ are in fact mutually co-constitutive. By considering these issues within the framework of recent advances in evolutionary, cognitive and neuroscientific theory, the paper tries  to draw out some of the more significant implications of both human and technological embodiment for designing, making and thinking about architecture today.

This article examines five common misunderstandings about case-study research: (a) theoretical knowledge is more valuable than practical knowledge; (b) one cannot generalize from a single case, therefore, the single-case study cannot contribute to scientific development; (c) the case study is most useful for generating hypotheses, whereas other methods are more suitable for hypotheses testing and theory building; (d) the case study contains a bias toward verification; and (e) it is often difficult to summarize specific case studies. This article explains and corrects these misunderstandings one by one and concludes with the Kuhnian insight that a scientific discipline without a large number of thoroughly executed case studies is a discipline without systematic production of exemplars, and a discipline without exemplars is an ineffective one. Social science may be strengthened by the execution of a greater number of good case studies.

AIARG 2016, Fifth Annual Conference.
Jacques Lecoq is recognized as one of the most influential pedagogues of modern theatre. Nevertheless, his
contribution to architectural education is little known and quite underestimated. Lecoq starts to apply his
research on mime, gesture and movement to architectural pedagogy in 1968, when he is invited to teach at
the École Nationale Supérieure des Beaux-Arts in Paris. From then on, along with the theatre courses
offered in his own school, he develops, over 20 years, a mimodynamic approach to architects’ training. Based also on my direct experience of Lecoq’s method at the School of Mimodrama of Teatro Arsenale in
Milan, my discursive, and - possibly - also non-discursive, contribution aims to show how embodiment and
en-acting exercise can help architects to rediscover the value and authentic meaning of the architectural
environment as theatre of life.

In this interview with OASE Juhani Pallasmaa discusses how atmospheres are constructed in, for instance, painting, literature and music, adjoining professional fields that, according to him, also reveal the essences of the field of architecture. Concerning the role of the architect, Pallasmaa identifies a need for a certain balance between naivety and expertise to develop a sensibility for atmospheres. Pallasmaa argues that atmosphere is immediately experienced as a unity, in which all senses are simultaneously at work. The experience of atmospheric quality in architecture, then, is by definition an embodied experience. However, since architecture is subject to use, atmosphere is by no means a merely individual task. Pallasmaa notes, moreover, that it is crucial for architects to empathise with users, clients and other perceivers of architecture, no matter how anonymous or distant they may seem. He thus considers, next to embodiment, compassion as a necessary skill for architects to be able to build atmosphere.

In this chapter, I review the origins and nature of phenomenology and delineate some of its key philosophical assumptions. I then indicate the relevance of phenomenological research for interior design by focusing on the three themes of place, environmental embodiment, and architectural sustenance. I emphasize that a major value of phenomenological research for interior design is revealing aspects of environmental and place experience that are typically unnoticed so that they might be pondered and made better use of in the design process.

Everyday objects can have an extra dimension or quality that has no relation to functionality, form, a concept or a trend. So what is it that gives a particular glass an “aura”? Why should one thing have more shine, passion and “mystical allure” than another? A Wild Thing attempts to identify and describe these often intangible qualities.

There seems to be an inner light that shines from certain things. Unlike the blinding spotlight of media and marketing, this light is gentle and clear and reflects the methodology and intention of the maker. Ancient craftsmen designed from a place of unity with matter and the cosmos, putting themselves at the service of the making process and thereby creating a moment of transference from maker to thing.

A Wild Thing focuses on how this unity between a person, a thing and the universe can be attained through a particular manner of both designing and experiencing objects. This approach is in stark contrast to that of the star designer, who frequently conceives useless products that are nothing more than status symbols designed to generate wasteful consumption.

In a series of essays, Hilde Bouchez reflects on design history and the latest movements within the design world. She also presents a phenomenological methodology that opens up a new, more poetic approach to everyday objects for both maker and consumer. The texts are linked by the author’s search for a sustainability and meaning that transcends the organic component of materials.

Hilde Bouchez writes, thinks and teaches on the subject of our material culture and especially on the aspects that are closest to humans. She worked as a journalist, founded BEople, was editor-in-chief of A-magazine and a lecturer at Design Academy Eindhoven. Bouchez holds a doctorate in Fine Arts from KU Leuven and teaches at KASK, which provided the research funds that made the writing of this book possible.

With the support of KASK / School of Arts Gent

12 x 18 cm, 296 p, ills colour, paperback, english


Misschien is de essentie van dit boek het idee dat dingen leven. De stoel waarop we zitten, de kapstok waar we onze jas aan hangen, het kopje waar we elke ochtend thee uit drinken. Of misschien beter, dat al die dingen ook kunnen leven, want de meeste consumptieproducten zijn dood, zoals ook de meeste consumenten in wezen dood zijn. Maar er zijn dingen, veel dingen die een intrinsiek licht in zich dragen en dat licht speelt met het licht dat ook door ons mensenlichaam waart. Wanneer iets vanuit een bepaalde plek ontstaat (zowel in tijd als ruimte): die plek waar passie ontvlamt, liefde groeit en waanzin heerlijkheid wordt, leeft het ding. Dan leeft het heel hard, en lacht het en streelt het en danst het. Dit soort dingen zijn wilde dingen. Ze raken onze lippen zoet, strelen onze rug zacht en laden onze jas elke ochtend weer op met nieuwe goesting. Hilde Bouchez, schrijft, denkt en doceert over onze materiele cultuur en in het bijzonder, over datgene wat dicht bij de mens staat. Ze werkte als journalist, was oprichter van BEople, hoofdredacteur van A-magazine, docent aan de Design Academy Eindhoven. Ze behaalde een doctoraat in de kunstwetenschappen aan KUleuven. Dit boek schreef ze dank zij een onder-zoeksfonds van het KASK, waar ze tevens docent is. www.artpapereditions.org

One of the architects who incorporated and realized phenomenology in his work is Peter Zumthor. His buildings incorporate his knowledge of materials into modernist construction and detailing, while they explore the tactile and sensory qualities of spaces and other materials, maintaining a minimalistic feel.
This essay will explore the initial hypothesis about architecture producing intangible experiences by using physical materials and light through the prism phenomenology, introducing a case study on a building that I recently visited, Therme Vals baths, designed by Peter Zumthor. This visit was part of a field trip organized by the University of Brighton and provided me with a unique opportunity to visit the Spa Complex in Switzerland, one of the most famous spas in Switzerland offering a complete sensory experience. By exploring the characteristics of this construction, we will be able to look at phenomenology in action, along with its limits, which in theory may seem unimpeded, since the senses can be unimpeded as well.

The Therme Vals Spa in the small alpine village of Vals is one of the most famous works of the Swiss architect and it is a modern structure with horizontal slates of stones, based on the ancient baths. It was opened to the public in 1996 and since then, thousands of visitors have visited in to enjoy the natural hot springs that spurt from the mountain. 
Peter Zumthor was the winner of 2009 Pritzker award and lives and works in a small village in Switzerland. His work has been closely studied and discusses the phenomenological approach to architecture adopted by Heidegger. Sharr (2007:4) suggests that Therme Vals is also famous as it presents an intriguing correspondence between Heidegger’s writings and Zumthor’s architecture, so Therme Vals is the perfect example to explore the phenomenological approach to architecture.

Stanley Kubrick’s The Shining is ostensibly a film about hauntings within a hotel. More specifically, it is a film about hauntings as a particular articulation of the traumatic past erupting into the present. In this case, the trauma centres on the hotel’s foundations as being built upon an ancient Indian burial ground. In this paper, I aim to interrogate what The Shining can tell us about the nature of the past, especially as it articulates itself as an irrecoverable depth, which can only be understood in archaeological rather than experiential terms. The usage of “archaeological” here refers to a past that is less one of experience and more a layer of sedimented meaning that effects the present without ever being reducible to the present. To this end, the very experience of horror—such as horror is able to maintain an experiential dimension—is the limit the film’s characters contends with in the face of a past violates the present but at the same time refuses to integrate with the present.
In short, an archaeology of the past provides us with the conceptual language to understand how artefacts such as The Overlook Hotel can retain a latent history that is marked by a sense of depth rather than being a distance “behind” us. Indeed, one of the insights of The Shining is to show us that the past is the ground beneath oneself, contemporaneous with the present, rather than consigned to a void. To understand this relation between the trauma of the past and the materiality of the present, I draw on both the phenomenology of Merleau-Ponty and the late psychoanalysis of Freud. As I argue, only by staging phenomenology and psychoanalysis together can the sedimented burial ground of the past be brought to life in such a way that we can begin to understand the nature of The Shining as a film as much about what Kubrick terms the “murderous bidding” of Jack Torrance as it is the eternal recurrence of a time that can never be assimilated into the present.

This chapter introduces Boundary Line Type (BLT) mapping, a vector GIS based cross-culturally and diachronically comparative method, used for mapping the socio-spatial significance of urban built environments. This new research method is related to other methods currently used to study contemporary as well as historical urban built environments such as urban morphology, space syntax, and GIS based approaches. BLT mapping uses GIS technology in order to apply an ontology of formal boundary conceptualisations expressing the constitutive differences among the materially constructed subdivisions which shape built environments and are inhabited by urban society. This ontology resulted from a firm socio-spatial theoretical grounding (Vis in Sp Flows: Int J Urb ExtraUrb Stud 2(4): 15–29, 2013a; Vis 2013b; Vis in J Borderland Stud, forthcoming) and is here operationalised on the basis of contemporary, historical, historically reconstructed, and archaeological ground-level city plans of the historic city of Winchester (UK) and Chunchucmil (Classic Maya, Mexico). The research processes of data preparation and the analytical mapping of BLTs by identifying them in empirical data contexts are presented. This alerts the prospective user to the challenges and practical measures involved in using spatial datasets of different origin. The interpretive opportunities of the resultant formal redescription of the urban landscape and the potential of the BLT data structure for both advanced spatial analysis and visualisation is explained. Facilitating this interpretive and analytical mapping practice is expected to stimulate future research to systematically explore societyspace relations as manifest and developing in cities over time and in socioculturally contrasting urban traditions. Devising and conducting this methodology advances the qualitative GIS research agenda for the spatial humanities and social sciences by marrying theoretically informed ideational concepts to quantifiable empirical units of information.

Studying the application of the metaphor the primary objective of this seminar is to enhance AIA member's practical day-to-day work to the more ideal aspects of architecture and architectural design. This seminar will provide members the opportunity to discuss architectural ideas and their meanings.

There are many ways of explaining the perceived failure of the Millennium Dome in London, which opened to commemorate the new millennium in 2000. But this chapter—from the collection edited by Peggy Deamer, Architecture and Capitalism: 1845 to the Present (New York: Routledge, 2013)—argues that the Dome's failure was phenomenological: it failed as a spectacle, because its program was unable to pinpoint what was to be celebrated. And this inability was ultimately attributable to the philosophical and moral lacunae of late capitalism: the Dome's creators were embarrassed by a tacit program of "reskilling" devised to satisfy its sponsors' demand for flexible labor and the state's unease about the loss of traditional industries. The state and capitalism alike lost their ability to induce the wonder of the 1851 Great Exhibition and 1951 Festival of Britain, and late capitalism, we can speculate, is beyond representation.

Phronetic organizational research is an approach to the study of management and organizations focusing on ethics and power. It is based on a contemporary interpretation of the Aristotelian concept phronesis, usually as ‘prudence’. Phronesis is the ability to think and act in relation to values, to deliberate about ‘things that are good or bad for humans’ in the words of Aristotle (1976:1140a24–b12). Phronetic organizational research effectively provides answers to the following four value-rational questions, for specific problematics in management and organization studies: 1. Where are we going with this specific management problematic? 2. Who gains and who loses, and by which mechanisms of power? 3. Is this development desirable? 4. What, if anything, should we do about it?

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This presentation considers how the phenomenological work of Maurice Merleau-Ponty (1908–1961) contributes to an understanding of architecture and place experience via his emphasis on the lived body. The focus is on architect Thomas Thiis-Evensen's " architectural archetypes " and architectural theorist Bill Hillier's " space syntax. " The presentation highlights three claims: First, that Thiis-Evensen provides a language for locating unself-conscious, visceral aspects of buildings & architectural meaning (Merleau-Ponty's perception and phenomenal field); second, that Hilllier illustrates how the spatiality of place—i.e., pathway configuration— supports or inhibits particular actions & routines of lived bodies as they come together or remain apart spatially (Merleau-Ponty's body-subject and intercorporeality); and, third, that both Thiis-Evensen & Hillier illustrate ways via architecture and place whereby pre-reflective bodily awareness and actions play an important role in the lifeworld (Merleau-Ponty's emphasis on the lived body as intentional but pre-reflective agent).

Le concept de « planète » inclue une vision matérialiste du monde qui s’éloigne de la pensée cosmologique au sein de laquelle il est né. Selon la théorie pythagoricienne de l’harmonie des sphères, le monde (κόσμος, kósmos, chez les grecs) constitue l’ensemble des étants dont les planètes font partie, lesquelles suivent un ordre cosmique qui s’oppose au chaos. Elles sont ainsi des astres qui « errent » autour de la Terre, la Terre étant comprise comme le centre de l’univers, l’ensemble étant régi par des lois naturelles présidées par les Dieux, où la vie de l’Homme s’installe et dont la Cité fait partie. Dans notre communication, nous voulons montrer que si le concept de planète supplée aujourd’hui celui de « monde », c’est en raison d’une attitude scientiste témoignant d’une crise spirituelle profonde de la modernité, laquelle réduit la planète à un « fonds » (Bestand) et lui ôte son caractère d’ « arche » primordiale (Arche Erdboden). Alors, si la Terre constitue la troisième planète du système solaire (après Mercure et Vénus depuis le Soleil) et qu’elle est composée de matériaux physico-chimiques, elle est avant tout un « sol » primitif (Grundlage) sur lequel l’Homme a les pieds et à partir duquel il vit et perçoit le monde (Lebenswelt). Dans ce sens, penser la planète Terre, c’est d’abord comprendre son origine en tant que phénomène et percevoir les différentes valeurs d’une époque qui peuvent lui être appliquées, car elle constitue, en fait, un « milieu » (Umwelt) que l’être humain habite (bauen). Alors, c’est seulement à partir de là que la possibilité d’un (ré)enchantement du monde peut être envisagé.

Archaeology, as the discipline that searches to explain the development of society by means of material remains, has been avoiding the big issues involved with its research agenda. The topic of social evolution is concealed by anxiety about previous paradigmatic malpractice and the primary archaeological division of the world in culture areas still suffers from the archaic methods by which it was established. Archaeological inference of developing societies is weighed down by its choice of particularism within agency approaches and overtly reductionist due to the prevalence of statistical, classificatory and biological approaches. This book addresses these issues through a perspective on the spatial analysis of the built environment. As one of the principal properties of our dataset, as well as being the first materialisation of sociality, such spatialities are suggested to be a fundamental key for enabling an understanding of the developing social identity of places, regions and ar...

This article discusses recent work by Peter Sloterdijk, who has developed a phenomenological analysis of human spaces. The aim of my contribution is to put this spatial theorization in rela- tion with political constructions. Sloterdijk’s undertaking presents itself as a long history of the cosmological and architectural elements that shape the very spaces of human-production. He also puts it forward as a new pathway for understanding the human topos which has been subsumed for too long by the metaphysics of the ‘beyond’ and which is currently liquefied by contemporary processes of mobilizing capital.

Steven Holl is one of architects who tries to conceptualize his approach to architecture. He interprets some phenomenological concept of French philosopher Maurice Merleau-Ponty. He needs phenomenology to reflect on his own work, to give it theoretical justification. Despite the systematic character of his method, Holl remains poetic architect and he focuses more on architectural practice. He develops strategies of thinking in accordance with some phenomenological basis in each project individually. This approach could be described as a practical architectural phenomenology.

This paper begins to articulate how biophilic design may be experienced through mankind‘s ontological sense with which we perceive the world. New research and insights from the neurosciences, endocrinology and other fields will be looked upon in order to address how biophilia impacts us, and how we may be able to draw connections between fields of study and human experience within a built space. This will potentially highlight psychophysiological and cognitive benefits that come about through biophilic design.

The Aalborg Project may be interpreted as a metaphor of modern politics, modern administration and planning, and of modernity itself. The basic idea of the project was comprehensive, coherent, and innovative, and it was based on rational and democratic argument. During implementation, however, when idea met reality, the play of Machiavellian princes, Nietzschean will to power, and Foucauldian rationality-as-rationalization resulted in the fragmentation of the project.

The following essay sketches varieties of imagination operative in the best architectural work. It was published in Warehouse Journal, a student-edited journal produced annually by the Faculty of Architecture, University of Manitoba. Student editors for Warehouse 25 were, Alena Rieger and Ally Pereira-Edwards.