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American philosopher Nelson Goodman (1906-1998) was one of the
foremost analytical thinkers of the twentieth century, with
groundbreaking contributions in the fields of logic, philosophy of
science, epistemology, and aesthetics. This book is an introduction
to the aspects of Goodman's philosophy which have been the most
influential among architects and architectural theorists. Goodman
specifically discussed architecture in his major work on
aesthetics, The Languages of Art: An Approach to a Theory of
Symbols (1968), and in two essays "How Buildings Mean" (1985), and
"On Capturing Cities" (1991). His main philosophical notions in
Ways of Worldmaking (1978) also apply well to architecture.
Goodman's thought is particularly attractive because of its
constructive aspect: there is not a given and immutable world, but
both knowledge and reality are constantly built and rebuilt.
Whereas other theories, such as deconstruction, implicitly entail
an undoing of modern precepts, Goodman's conception of world-making
offers a positive, constructive way to understand how a plural
reality is made and remade. Goodman's approach to architecture is
not only relevant thinking in providing new insights to
understanding the built environment, but serves also as an
illustration of analytical thinking in architecture. This book
shows that the methods, concepts, and ways of arguing
characteristic of analytical philosophy are helpful tools to
examine buildings in a novel and fruitful way and they will
certainly enhance the architect's critical skills when designing
and thinking about architecture.
The "active image" refers to the operative nature of images, thus
capturing the vast array of "actions" that images perform. This
volume features essays that present a new approach to image theory.
It explores the many ways images become active in architecture and
engineering design processes and how, in the age of computer-based
modeling, images play an indispensable role. The contributors
examine different types of images, be they pictures, sketches,
renderings, maps, plans, and photographs; be they analog or
digital, planar or three-dimensional, ephemeral, realistic or
imaginary. Their essays investigate how images serve as means of
representing, as tools for thinking and reasoning, as ways of
imagining the inexistent, as means of communicating and conveying
information and how images may also perform functions and have an
agency in their own. The essays discuss the role of images from the
perspective of philosophy, theory and history of architecture,
history of science, media theory, cognitive sciences, design
studies, and visual studies, offering a multidisciplinary approach
to imagery and showing the various methodologies and
interpretations in current research. In addition, they offer
valuable insight to better understand how images operate and
function in the arts and sciences in general.
American philosopher Nelson Goodman (1906-1998) was one of the
foremost analytical thinkers of the twentieth century, with
groundbreaking contributions in the fields of logic, philosophy of
science, epistemology, and aesthetics. This book is an introduction
to the aspects of Goodman's philosophy which have been the most
influential among architects and architectural theorists. Goodman
specifically discussed architecture in his major work on
aesthetics, The Languages of Art: An Approach to a Theory of
Symbols (1968), and in two essays "How Buildings Mean" (1985), and
"On Capturing Cities" (1991). His main philosophical notions in
Ways of Worldmaking (1978) also apply well to architecture.
Goodman's thought is particularly attractive because of its
constructive aspect: there is not a given and immutable world, but
both knowledge and reality are constantly built and rebuilt.
Whereas other theories, such as deconstruction, implicitly entail
an undoing of modern precepts, Goodman's conception of world-making
offers a positive, constructive way to understand how a plural
reality is made and remade. Goodman's approach to architecture is
not only relevant thinking in providing new insights to
understanding the built environment, but serves also as an
illustration of analytical thinking in architecture. This book
shows that the methods, concepts, and ways of arguing
characteristic of analytical philosophy are helpful tools to
examine buildings in a novel and fruitful way and they will
certainly enhance the architect's critical skills when designing
and thinking about architecture.
The "active image" refers to the operative nature of images, thus
capturing the vast array of "actions" that images perform. This
volume features essays that present a new approach to image theory.
It explores the many ways images become active in architecture and
engineering design processes and how, in the age of computer-based
modeling, images play an indispensable role. The contributors
examine different types of images, be they pictures, sketches,
renderings, maps, plans, and photographs; be they analog or
digital, planar or three-dimensional, ephemeral, realistic or
imaginary. Their essays investigate how images serve as means of
representing, as tools for thinking and reasoning, as ways of
imagining the inexistent, as means of communicating and conveying
information and how images may also perform functions and have an
agency in their own. The essays discuss the role of images from the
perspective of philosophy, theory and history of architecture,
history of science, media theory, cognitive sciences, design
studies, and visual studies, offering a multidisciplinary approach
to imagery and showing the various methodologies and
interpretations in current research. In addition, they offer
valuable insight to better understand how images operate and
function in the arts and sciences in general.
The expert contributors to this lavishly illustrated volume,
devoted entirely to Mies van der Rohe's Barcelona Pavilion of 1929,
address here for the first time the forgotten contexts of the
Pavilion's genesis. Habitually thought of as an abstract,
unpolluted, and splendidly isolated building--a precursor of Mies's
American period--the Pavilion is revealed here as a thoroughly
European work, perhaps less pristine but more authentic. Mies and
Lilly Reich were commissioned to design not only the Pavilion but
also more than one hundred thousand square feet of German stands
spread throughout the Exposition. By examining that work in
addition to the Pavilion itself, the contributors present a
farreaching reinterpretation of the whole. They also explore
connections with the mass media, highlight the work's antecedents
and meaning in the history of architecture, and analyze the current
pavilion, a reconstruction of the original built in 1986. No other
critical study offers a comparable overview of Mies's work in
Barcelona.
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