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.
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