Remei Capdevila-Werning

Arthur Danto's discussions of architecture are sparse. This chapter discusses the place, role, and meaning of architecture in Danto's writings and the extent to which Danto has influenced architectural theory and criticism. In addition to architecture being a key influence on his thought, Danto's writings on art and philosophy have permeated architectural theory and allowed for novel approaches to architecture by contemporary scholars. The most relevant contribution to contemporary architectural history may be Danto's conception of history as a process which involves the use of what he termed “narrative sentences” and which culminates with the end of self‐conscious historical meta‐narratives. The considerations of Danto's thought within the fields of architectural theory and the philosophy of architecture seem only to be brief. His preferences toward Kahn and Holl reflect his interest in what could be called a philosophical architecture: one that embodies philosophical meanings and whose creators think philosophically while designing.

This paper explores the aesthetic aspects at play in the preservation efforts in the Bosc de Tosca to gain insight into the role of aesthetics in preservation of natural heritage. The preservation of landscapes entails a complex balancing between aesthetics and sustainability, as preservationist decisions based primarily on appearance may be at odds with pressing environmental concerns. If the area to be preserved is a constantly evolving and lived landscape, the interventions enacted on the place may affect the current appearance and the way in which the area is lived now and in the future. By resorting to the issues discussed in intergenerational aesthetics, this paper aims to show how including the potential aesthetic experience and values of future generations may help in making more aesthetically and environmentally sustainable decisions. The paper begins with a description of the Bosc de Tosca and its surroundings, its metaphysical status, and a description of the preservation approaches at play in the area. It then presents the main stakes of intergenerational aesthetics. It ends by discussing specific aspects of the preservation of the Bosc de Tosca area and aesthetic interventions to show the complex relationship between aesthetics and sustainability and how intergenerational aesthetics can contribute to both theory and practice of preservation taking into account environmental concerns.

Normalmente se supone que los edificios son entidades físicas que forman parte del mundo y, en cuanto a tales, se limitan a ser elementos materiales del mismo. Ahora bien, si, como sostiene Nelson Goodman, se considera que los edificios son también símbolos, entonces esta concepción simplificada se enriquece y la arquitectura adquiere una dimensión epistemológica con consecuencias ontológicas cruciales. Desde esta perspectiva, ya no es el material constructivo el que ayuda a construir el mundo, sino los múltiples significados de los edificios: en cuanto a símbolos, los edificios contribuyen al proceso de construcción de mundos. A partir de nociones clave de la filosofía de Goodman y mediante el análisis de varios ejemplos, el presente artículo examina de qué forma los edificios contribuyen de manera particular tanto a dar un significado como a crear mundos

American philosopher Nelson Goodman 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, and in two essays "How Buildings Mean", and "On Capturing Cities". His main philosophical notions in Ways of Worldmaking 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.

This article examines the philosophical issues that arise when preserving urban geological sites or urban geosites. These are preserved not only because of their geological value but also because of aesthetic, cultural, and economic reasons. To do so, it examines the geosite constituted by Olot and its surroundings, a city in Spain that extends amid four dormant volcanoes. It explores the metaphysical paradox that these geosites have become what they are due to the preservation of destruction: human-caused interventions, mostly extraction of materials and exploitation of the land, are precisely what made these geosites visible as sites worth preserving and determining their metaphysical status. It further explores the preservation criteria and shows how they have determined the status of the geosite. Second, it shows how in such urban geosites the collapse of two diametrically opposed conceptions of time – the geological eon and the lived human time – occurs. Lastly, it discusses aesthetic aspects of such geosites by considering aesthetic experience as a primarily cognitive endeavor and shows how metaphysical, epistemological, and aesthetic issues of preservation of geosites are inextricably linked.

In contemporary architectural practice, designing and architectural drawing generally go hand in hand. Architectural drawings and other visual devices are crucial for architects to think about, develop, and build their projects. In addition to their practical functions, they are means by which a project is conceived, developed, and determined. Architectural drawings are thus the basic means through which architects think; they play a central epistemological role throughout the design process. This essay addresses the inherent cognitive complexity of architectural drawings by considering them as symbols. It makes explicit some of their underlying epistemological assumptions to understand their role in the design process as well as to shed some light on the epistemological processes that take place when dealing with such drawings. This is done by examining a particular set of drawings, that of the Pavilion at Les Cols Restaurant in Olot (Spain) by RCR Arquitectes, taking Nelson Goodman’s theory of symbols as conceptual framework. Focusing on the several architectural drawings from this project, I show the its epistemological aspects as well as the conceptual development of some ideas in architectural drawings.

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.