A. Capuano, K. Dimiri, D. Palombi, P. Providência (eds.), Archaeology, Landscape, Architecture: Crossings of Reciprocal Learnings, in Joelho. Journal of Architectural Culture, 11 & 12, 2021 (original) (raw)
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This text is the result of an interdisciplinary reflection that tends to lay the foundations for a new concept of architecture, a new architectural paradigm. In light of the transformations occurring at an increasingly rapid pace in the world of science, the sectors of classical knowledge must review their structure and role. In this context, to rediscover its role and cultural meaning, architecture must review its position within the process of transformation of knowledge for which it must somehow account. In other words, to do this, architecture must re-establish the basic assumptions and redefine its specific universe of discourse. Author Graduated in Architecture in the 1970s, he taught at the Italian faculties of Architecture in Rome (Chair of architectural composition, years 73-77) and Naples (Institute of architectural methodology, years 82-83 and 2004) as assistant-presenter of seminars, working on the themes of semiology, representation and design logic. He is currently an independent researcher and for many years has been involved in epistemological and cognitive research on architecture with investigations, currently under development, with fMRI techniques aimed at analyzing the response of the human brain towards architecture.
The paper aims to explore the potential of research by design in architecture 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 similarities 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 programs in schools of architecture and visual arts, and various multi-university and supra-disciplinary programs (architecture and visual arts) which share the intention 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 constructed) 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? Keywords: research by design • epistemologies of architecture • architectural pedagogies • design thinking • architecturology • visual arts • advancement of knowledge • doctoral research in architecture • art-based research • art-informed research • practice-based research • heuristics
Constructing Architectural Theory
s Eupalinos ou l'architecte, Socrates and Phaedrus encounter each other in the afterlife where their conversation takes them to the subject of architecture, and a certain Eupalinos, a master architect whom Phaedrus had known. Phaedrus shares with Socrates the contents of his discussions with Eupalinos regarding the art of architecture, its perfection, and the concern for order that occupied this architect's mind. This discussion of the architect's knowledge and skills and his evident love of his art, evoked a vivid memory in Socrates who then recounted to Phaedrus an event from his youth which had a pivotal significance in his life. Socrates had been walking by the sea when a mysterious object that had washed ashore attracted his attention. Upon examination, the partially eroded object left Socrates unsure as to whether it was a product of nature or of human artifice. This uncertainty compelled him to reflect upon a number of themes: the object, the matter and the form; the indivisibility between the maker and the made; the principles that inform construction; can principles and the act of construction be separated? and what is the relation between the necessary and the beautiful? A difficult choice presented itself to the young Socrates who hesitated between becoming a philosopher or an architect, because he hesitated between to know and to build, between the philosopher that he will be and the architect that he never was. Socrates the philosopher confesses that he always held within him an incomplete architect.
Understanding Architecture : Transforming Philosophy and Vocabulary into Architectural Marvels
JOURNAL OF THE INDIAN INSTITUTE OF ARCHITECTS, 2018
JOURNAL OF THE INDIAN INSTITUTE OF ARCHITECTS showcasing the changes which human race has faced. Since, decade architecture is relatively ignored by philosophers and is largely unsuccessful to draw persistent, detailed attention when compared with other art forms such as film or comic. Even today, principally ancient art forms are livelier and have philosophers focus them rather than architecture. Further, some philosophers have even dabbled in architectural projects: Dewey worked on the Chicago Laboratory School, Wittgenstein took part in designing a house for his sister, and Bentham sketched the Panoptic on design as a plan for prison reform. Architecture has existed since the recognition of civilization with its language analogy being as old as Vitruvius has flourished through the stages of development of human ABSTRACT : Architecture has existed since the recognition of civilization and its language analogy is at least as old as Vitruvius. Architecture and the human sciences such as philosophy, psychology, sociology etc. have always shared common interfaces leaving significant impersonation on each other. Architecture is not just an art but it is the reflection of social and cultural values of a society. Thus, through architecture philosophy is represented whereas philosophy is adopted by architecture for creating an edifice which showcases the prevailing human nature and need. This article offers an overview of concerns in the philosophy of architecture. Essential issues include introductory matters regarding the nature of architecture i.e. a. What kinds of objects are architectural, and what is it defined domain. b. Three Aspects-Beauty, structure and utility defining architecture and further dimensions may include space, sustainability, psychological or social features. Through this article, architectural status of various civilisations is discussed keeping in mind the philosophy and vocabulary of architecture. Renaissance enhanced the status of man in society and introduced Anthropometry in architecture. The Industrial Revolution was another of those extraordinary jumps which aid in erecting the high rise steel structure by using new building materials like cast iron, steel, glass, etc. Further, in the late of 1950s, boredom in architectural structure and look provokes distortion of regular architectural elements and objects calling this style deconstructivism. 'Mankind living and interacting with our environment in a way that can continue' lead to the evolution of a new but established thought viewed as Sustainable Architecture. In short, the paper is an approach to discuss about the philosophy and terms used by architects through their expedition from prehistoric times to the sustainability era.
Architecture after All || After-Narrative: Editor's Preface
2006
Perspecta 38: Architecture After All explores the ever-widening array of political, social, technological, and economic influences in architecture today. Many leading designers and thinkers have turned away from the ideological hegemony of critical theory towards a rediscovered focus on praxis as a means of conceptual positioning.
Is Theory of Architecture in Need of Expansion? -A Pedagogical Quest
This article reflects upon the modalities of ideation and idea representation within the Theory of Architecture disciplinary field, and more specifically in what concerns public space. The main question is if it's possible to academically implement an epistemological architecture approach less dependent and limited by the linearity of the linguistic discourse, and more able to expand to a imagistic discursiveness? Conducted pedagogical experiments in the scope of the curricular unit "Teoria 3" (public space theory) of the integrated master degree in architecture at Architecture School of OPorto in Portugal (FAUP) indicate the feasibility of this reflexive field extension, provide data that points to the added value of such an approach and allows us to question the prevalence of research methodologies that are alien to the architecture field, and argue that within architectural research, the methods and processes that mobilize specific artistic cognitive knowledge, like the projective and synthetic communicational and visual skills, shouldn't be avoided and, by the contrary, it's use should prevail. The description of the conducted experiment will be provided showing how in Teoria 3 the students develop experimental research, a precondition for theory formulation, using the instruments and methods familiar to architecture making. The philosophical principle of continuity from Leibniz to Peirce - and even Deleuze - is the conceptual paradigm presented to students as a starting point to frame public space architecture, complemented by a instrumental reading proposal of public space as "the body on the move" (Fonseca, 2010). The approach main pedagogical instrument is the construction of a tridimensional analogical model, we call the pSm - portable space model, complemented by other processes like freehand drawing, digital drawing, taking measurements, mental calculus, photography, and graphic design. These processes are complemented with traditional discursive processes like bibliographic research, interviews, and writing. Based in the results achieved by students attending to Teoria 3, and participants of the experiment, we will consider the advantages and disadvantages of such a pedagogical process. The findings point to the enhancement of the students ability to deal with space information, as well as the enhancement of the students analytical and synthesizing cognitive processes in a critical and architectonically specific way, that is comprehensive of the issues that can be raised in each case, including forms of residence and forms of collective equipment. In fact, in the era of the debate towards void, sPm, drawings and other representations of the space phenomena in terms of real public spaces are a powerful alternative tool to question the preconceived knowledge we have of space and a critical and fruitful way to guide space intervention strategies. We speculate that the reasons for these advantages may arise from the students direct contact with space, as they produce first hand real space representations as systematic survey. This is provided by three-dimensional models and bi-dimensional freehand observational drawings as both tasks imply an interpretation of space that arises from an inherent confrontation between universal architectonic principles and architectonic circumstantial reasons. The sPm, drawing and the final graphic communication design also have revealed themselves as tools to update the knowledge of the physical organization of public space as a unitary concept of the human institutions form.
MANOAJE(1): a proposal to refound the “language” of “architectural thinking”
Proceedings of the International Conference ‘Between Data and Senses; Architecture, Neuroscience and the Digital Worlds’., 2017
This research explores the problem of the nonexistence and need of an operational and integral definition of “language” in the field of representation in architecture, despite the widespread and historic use and tacit validation of ‘drawing’ and ‘modelling’ as such, both in academic environments and in professional practice.
Architecture as a Way of Seeing and Learning
2021
Since the Renaissance a number of architect-scholars have created methods of intellectual scrutiny of architectural design that rely upon the interplay of drawings, models, textual analysis, intellectual ideas and cultural insights. Yet there is still no cohesive framework or outlet for design research in architecture. This innovative book series-still the only one of its kind-showcases the very best proponents of architectural design research from around the globe, drawing on a range of exemplar positions between practice and academia. Featuring work from Early Career Researchers and leading architect-scholars in practice and academia, books in the series vary in tone and structure, covering aspects such as design method, visual representation, reasoned critique, social processes and strategies for action. The series is deliberately inclusive to encourage a vibrant, novel approach, and is openly international. Each book combines serious historical or theoretical research with creative propositions expressed through drawings, models or texts; indeed, it is the symbiotic interplay between these components that forms the basis for design research in architecture. Now is a fertile time for design research and this book series acts as the heart of these investigations.