Please help us test our new pre-print finding feature by giving the pre-print link a rating. A 5 star rating indicates the linked pre-print has the exact same content as the published article.
Authors:poj@peeters-leuven.be PubDate: Fri, 28 Jan 2022 10:34:08 +000
Please help us test our new pre-print finding feature by giving the pre-print link a rating. A 5 star rating indicates the linked pre-print has the exact same content as the published article.
Authors:poj@peeters-leuven.be PubDate: Fri, 28 Jan 2022 10:32:12 +000
Please help us test our new pre-print finding feature by giving the pre-print link a rating. A 5 star rating indicates the linked pre-print has the exact same content as the published article.
Authors:poj@peeters-leuven.be PubDate: Fri, 28 Jan 2022 10:30:50 +000
Please help us test our new pre-print finding feature by giving the pre-print link a rating. A 5 star rating indicates the linked pre-print has the exact same content as the published article.
Authors:poj@peeters-leuven.be PubDate: Fri, 28 Jan 2022 10:29:04 +000
Please help us test our new pre-print finding feature by giving the pre-print link a rating. A 5 star rating indicates the linked pre-print has the exact same content as the published article.
Authors:poj@peeters-leuven.be Abstract: While the phenomenological analyses of the architectural work offered by Ingarden and Heidegger are motivated by different problems and theoretical concerns, they nevertheless converge on several points. Despite some hesitancy on the part of Ingarden, due to his favorable attitude toward the modernist movement, their phenomenological analyses bring to the fore the fusional character that the built object has with its surrounding world, and thus raise the question of the limits and true identity of such a built object. An ambiguous ontology of the art of building arises from these analyses, of which I would like to give an account. PubDate: Fri, 28 Jan 2022 10:27:56 +000
Please help us test our new pre-print finding feature by giving the pre-print link a rating. A 5 star rating indicates the linked pre-print has the exact same content as the published article.
Authors:poj@peeters-leuven.be PubDate: Fri, 28 Jan 2022 10:26:58 +000
Please help us test our new pre-print finding feature by giving the pre-print link a rating. A 5 star rating indicates the linked pre-print has the exact same content as the published article.
Authors:poj@peeters-leuven.be Abstract: The idea of an architectural <i>order</i> is usually linked to the use of various types of columns in the history of architecture. But beyond this historical understanding, a phenomenology of architectural order is useful to understand the architectural experience. In such a perspective, architectural order does not only belong to the past nor defines formal and material standards. It describes the relation between an architecture and the people who visit or inhabit the buildings and it governs the way space is apprehended. In particular, architectural order can be lived either as a constraint or an obligation. Thus, it deals either with our physical body or with our flesh. Only when dealing with the flesh does architectural order receive its eminent meaning: the order is then not only external but also internal as it coincides with the flesh, defined by Husserl as an absolute center of orientation. The incarnated consciousness can then be both ordering and ordered, and architecture can give us a feel for the distinction Roman Ingarden makes between the real building and the architectural work. PubDate: Fri, 28 Jan 2022 10:25:29 +000
Please help us test our new pre-print finding feature by giving the pre-print link a rating. A 5 star rating indicates the linked pre-print has the exact same content as the published article.
Authors:poj@peeters-leuven.be Abstract: Why have the architectural and landscape arts taken up and used some highly theoretical and specific concepts derived from the phenomenological field for some thirty years' What conception of the human being, of the life world, and of being-in-the-world does phenomenology provide that can be of interest to architects and landscape designers' This question in no way naively assumes the unity of the various fields of phenomenology but rather questions the nature of the tools that these artistic practices can draw from this broad field. What is the sense and the relevance of this import of phenomenology into the disciplinary concerns of the architectural and landscape arts' I show that the recourse to the great phenomenologists (Heidegger, Merleau-Ponty, Dufrenne, Maldiney) is motivated by the search for conceptual tools capable of escaping the modern dualism that has set the thinking subject (Galilean-Cartesian) against a nature that is reduced to a homogeneous and infinitely available space. Rethinking the relationship to places and to space in terms of participation rather than domination also means rethinking the ways in which human beings dwell in the world and the quality that this dwelling has for human beings themselves and in relation to all other living beings. PubDate: Fri, 28 Jan 2022 10:23:59 +000
Please help us test our new pre-print finding feature by giving the pre-print link a rating. A 5 star rating indicates the linked pre-print has the exact same content as the published article.
Authors:poj@peeters-leuven.be PubDate: Fri, 28 Jan 2022 10:22:27 +000
Please help us test our new pre-print finding feature by giving the pre-print link a rating. A 5 star rating indicates the linked pre-print has the exact same content as the published article.
Authors:poj@peeters-leuven.be PubDate: Fri, 28 Jan 2022 10:21:22 +000
Subscription journal
