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Philosophy exercises a massive influence on contemporary architectural culture and the understanding of the built environment. Discussions of architects and architectural academics are heavily loaded with theoretical ideas, concepts and views imported from the works of philosophers. At the same time this architectural employment of philosophy rarely goes beyond the tendency to mine philosophical works for ideas, words and phrases and use them, often without much understanding, in order to promote architectural agendas and embellish theoretical claims made by architects and academics. The book presents the history of this phenomenon for the past hundred years. It describes and analyzes numerous, often funny, entertaining as well as embarrassing, examples of false intellectual pretense and pompous but incompetent philosophical posturing by prominent architects and architectural academics of the era and their efforts to bamboozle readers, colleagues and the general public. The book presents a powerful criticism of modernist views on architecture and argues that the rise of obfuscation and philosophical posturing among architects and architectural academics is a defensive strategy intended to draw attention away from the failure of Modernism in architecture.
Sir Kenneth Clark wrote in the Architectural Review, that the first result of this book was "to dispose, once and for all, of the hedonist, or purely aesthetic, theory of Renaissance architecture, ' and this defines Wittkower's intention in a nutshell.
Philosophy for Architects is an engaging and easy-to-grasp introduction to philosophical questions ofinterest to students of architectural theory. Topics include Aristotle's theories of "visual imagination" and their relevance to digital design, the problem of optical correction as explored by Plato, Hegel's theory of zeitgeist, and Kant's examinations of space and aesthetics, among others. Focusing primarily on nineteenth- and twentieth-century philosophy, it provides students with a wider perspective concerning philosophical problems that come up in contemporary architectural debates.
What is more important in architectural works--their form, shape, and color, or the meanings and symbolism that can be associated with them? Can aesthetic judgments of architecture be independent of the stories one can tell about buildings? Do non-architects perceive buildings in the same way as do architects? For the greater part of the twentieth century it was common to respond to these and similar questions by relying on psychological theories asserting there is no innocent eye, that we think only in language, and that human visuality results from preexisting, conceptual knowledge. Dramatic breakthroughs in philosophy and psychology over the past two decades, however, have shown us that human visuality functions for the most part independently of conceptual thinking and language. This book examines the ways in which new theories of human visuality create a different understanding of architectural design, practice, and education. This new understanding coincides with and supports formalist approaches to architecture that have become influential in recent years as a result of the digital revolution in architectural design.
The Modern movement began in the 1920s when a small group of young architects felt all that had gone before should be rejected and that architectural design should start afresh. This fresh start, they declared, should be based on modern technology and a new, modern approach to life. Their innovations became the 20th century's dominant movement in architecture, crystallizing into the international style of the 1920s and '30s. In "Exploding the Myths of Modern Architecture, " Malcolm Millais explores the forces and factors that led to the emergence of the Modern movement, arguing that it was based on completely false premises. Millais offers a rarely heard perspective on the Modern movement, explaining its failures and how the well-meaning "revolutionaries" behind it gained and maintained power.
Hubsch's argument that the technical progress and changed living habits of the nineteenth century rendered neoclassical principles antiquated is presented here along with responses to his essay by architects, historians, and critics over two decades.
You are a great designer, but no-one knows. Now what? This indispensable book, written by one of the most influential marketers in architecture, will demystify Public Relations and marketing for all architects, whether in large practices or practicing as sole practitioners. It bridges the distance between architects and marketing by giving practical tips, best practice and anecdotes from an author with 20 years’ experience in architecture marketing. It explains all aspects of PR and Business Development for architects: for example, how to write a good press release; how to make a fee proposal; how to prepare for a pitch. It gives examples of how others do it well, and the pitfalls to avoid. In addition, it discusses more general aspects which are linked to PR and BD, such as being a good employer, ethics for architects and the challenges when working abroad. Featuring vital insights from a wide variety of architects, from multinational practices to small offices, this book is an essential companion to any architectural office.
This title is part of UC Press's Voices Revived program, which commemorates University of California Press’s mission to seek out and cultivate the brightest minds and give them voice, reach, and impact. Drawing on a backlist dating to 1893, Voices Revived makes high-quality, peer-reviewed scholarship accessible once again using print-on-demand technology. This title was originally published in 1972.
Article 38 of the Statute of the International Court of Justice defines "international law" to include not only "custom" and "convention" between States but also "the general principles of law recognized by civilized nations" within their municipal legal systems. In 1953, Bin Cheng wrote his seminal book on general principles, identifying core legal principles common to various domestic legal systems across the globe. This monograph summarizes and analyzes the general principles of law and norms of international due process, with a particular focus on developments since Cheng's writing. The aim is to collect and distill these principles and norms in a single volume as a practical resource for international law jurists, advocates, and scholars. The information contained in this book holds considerable importance given the growth of inter-state intercourse resulting in the increased use of general principles over the past 60 years. General principles can serve as rules of decision, whether in interpreting a treaty or contract, determining causation, or ascertaining unjust enrichment. They also include a core set of procedural requirements that should be followed in any adjudicative system, such as the right to impartiality and the prohibition on fraud. Although the general principles are, by definition, basic and even rudimentary, they hold vital importance for the rule of law in international relations. They are meant not to define a rule of law, but rather the rule of law.