In their new book, the international CARTHA network engages with the question of forming identity in society and the role that architecture plays in this process. Inspired by Jacques Lacan’s approach from psychoanalysis, CARTHA’s members break down the identity-formation process into four sub-steps, which they explore in interviews: Maarten Delbeke, professor of history and theory of architecture at ETH Zurich, talks about Assimilation; Frederike Lausch, researcher at TU Darmstadt’s Department of Architecture, about Appropriation; Rob Krier, Berlin and Liguria-based architect and sculptor, about Denial, and Jonathan Sergison, London-based architect, about Reconciliation. These conversations make up the cornerstones for a new, experimental design methodology, which has been tested in practice by architecture firms Bruther (Bordeaux), Bureau Spectacular (Los Angeles), Conen Sigl (Zurich), Made In (Geneva / Zurich), Monadnock (Rotterdam), Studio Muoto (Paris), and Sam Jacob Studio (London). CARTHA — Building Identities features a variety of buildings — houses, cottages, apartments — designed in the context of these insights. The book offers a didactic manual for contemporary architectural design. The concept of identity that CARTHA proposes invites readers to adopt a critical attitude towards any found environment. The objective is a deeper understanding of how architects actually create identity through their designs.

Humans have engaged in artistic and aesthetic activities since the appearance of our species. Our ancestors have decorated their bodies, tools, and utensils for over 100,000 years. The expression of meaning using color, line, sound, rhythm, or movement, among other means, constitutes a fundamental aspect of our species' biological and cultural heritage. Art and aesthetics, therefore, contribute to our species identity and distinguish it from its living and extinct relatives. Science is faced with the challenge of explaining the natural foundations of such a unique trait, and the way cultural processes nurture it into magnificent expressions, historically and ethnically unique. How does the human brain bring about these sorts of behaviors? What neural processes underlie the appreciation of painting, music, and dance? How does training modulate these processes? How are they impaired by brain lesions and neurodegenerative diseases? How did such neural underpinnings evolve? Are humans the only species capable of aesthetic appreciation, or are other species endowed with the rudiments of this capacity? This volume brings together the work on such questions by leading experts in genetics, psychology, neuroimaging, neuropsychology, art history, and philosophy. It sets the stage for a cognitive neuroscience of art and aesthetics, understood in the broadest possible terms. With sections on visual art, dance, music, neuropsychology, and evolution, the breadth of this volume's scope reflects the richness and variety of topics and methods currently used today by scientists to understand the way our brain endows us with the faculty to produce and appreciate art and aesthetics.

Humans have engaged in artistic and aesthetic activities since the appearance of our species. Our ancestors have decorated their bodies, tools, and utensils for over 100,000 years. The expression of meaning using color, line, sound, rhythm, or movement, among other means, constitutes a fundamental aspect of our species' biological and cultural heritage. Art and aesthetics, therefore, contribute to our species identity and distinguish it from its living and extinct relatives. Science is faced with the challenge of explaining the natural foundations of such a unique trait, and the way cultural processes nurture it into magnificent expressions, historically and ethnically unique. How does the human brain bring about these sorts of behaviors? What neural processes underlie the appreciation of painting, music, and dance? How does training modulate these processes? How are they impaired by brain lesions and neurodegenerative diseases? How did such neural underpinnings evolve? Are humans the only species capable of aesthetic appreciation, or are other species endowed with the rudiments of this capacity? This volume brings together the work on such questions by leading experts in genetics, psychology, neuroimaging, neuropsychology, art history, and philosophy. It sets the stage for a cognitive neuroscience of art and aesthetics, understood in the broadest possible terms. With sections on visual art, dance, music, neuropsychology, and evolution, the breadth of this volume's scope reflects the richness and variety of topics and methods currently used today by scientists to understand the way our brain endows us with the faculty to produce and appreciate art and aesthetics.