Architectural Humanities In Progress

This monograph brings three branches of philosophy together: epistemology, ethics and aesthetics. It assesses the built environment as a case study from a phenomenological perspective. Under the notion of phenomenology, this study understands the built environment as the hermeneutical phenomenon of being in the life-world that is experienced by people within the socio-cultural and historical context of habitation. Hermeneutically, the built environment as a phenomenon is contextually interwoven with other phenomena within the socio-cultural, historical, and environmental network. Phenomenologically speaking, the task of the study is to excavate, listen to, unfold, divulge, and reconstruct the socio-culturally, environmentally, and historically constructed relationship between people and their built environment that build, develop, and elaborate the system of knowledge, ethics, and aesthetics. By and large, its nature and findings are theoretical and interdisciplinary, so it will be of interest not only for philosophers, but also to scholars studying urban development and anthropology.

The book aims to introduce a research concept called "Numanities", as one possible attempt to overcome the current scientific, social and institutional crisis of the humanities. Such crisis involves their impact on, and role within, society; their popularity among students and scholars; and their identity as producers and promoters of knowledge. The modern western world and its economic policies have been identified as the strongest cause of such a crisis. Creating the conditions for, but in fact encouraging it. However, a self-critical assessment of the situation is called for. Our primary fault as humanists was that of stubbornly thinking that the world’s changes could never really affect us, as – we felt – our identity was sacred. In the light of these approaches, the main strengths of humanities have been identified in the ability to: promote critical thinking and analytical reasoning; provide knowledge and understanding of democracy and social justice; develop leadership, cultural and ethical values. The main problems of humanities are the lack economic relevance; the socio-institutional perception of them as “impractical” and unemployable; the fact that they do not match with technological development. Finally, the resulting crisis consists mainly in the absence (or radical reduction) of funding from institutions; a decrease in student numbers a decrease in interest; a loss of centrality in society. A Numanities (New Humanities) project should consider all these aspects, with self-critical assessment on the first line. The goal is to unify the various fields, approaches and also potentials of the humanities in the context, dynamics and problems of current societies, and in an attempt to overcome the above-described crisis. Numanities are introduced not as a theoretical paradigm, but in terms of an “umbrella-concept” that has no specific scientific content in it: that particularly means that the many existing new fields and research trends that are addressing the same problems (post-humanism, transhumanism, transformational humanities, etc.) are not competitors of Numanities, but rather possible ways to them. Therefore, more than a theoretical program, Numanities intend to pursue a mission, and that is summarized in a seven-point manifesto. In the light of these premises and reflections, the book then proceeds to identify the areas of inquiry that Numanities, in their functions and comprehensive approach, seek to cover. The following list should also be understood as a statement of purposes for this entire book series. These, in other words, will be the topics/areas we intend to represent. Once elaborated on the foundations of Numanities, the book features a second part that presents two case studies based on two relatively recent (and now updated) investigations that the author has performed in the fields of musical and animal studies respectively. The two cases (and relative areas of inquiry) were selected because they were considered particularly relevant within the discussion of Numanities, and in two different ways. In the first case-study the author discussed the most typical result (or perhaps cause?) of the technophobic attitude that was addressed in the first part of the book: the issue of “authenticity”, as applied, in the author's particular study, to popular music. In the second case-study, he analyzes two different forms of comparative analysis between human and non-human cognition: like in the former case, this study, too, is aimed at a critical commentary on (what the author considers) redundant biases in current humanistic research – anthropocentrism and speciesism.

Offering an in-depth consideration of the impact which humanities have had on the processes of architecture and design, this book asks how we can restore the traditional dialogue between intellectual enquiry in the humanities and design creativity. Written by leading academics in the fields of history, theory and philosophy of design, these essays draw profound meanings from cultural practices and beliefs. These are as diverse as the designs they inspire and include religious, mythic, poetic, political, and philosophical references. This timely and important book is not a benign reflection on humanities' role in architectural design but a direct response to the increased marginalization of humanities in a technology driven world. The prioritization of technology leaves critical questions unanswered about the relationships between information and knowledge, transcription and translation, and how emerging technologies can usefully contribute to a deeper understanding of our design culture.

This book is about using “collage” among Iranian students in architecture studio, and in order to introduce the way these students use the technique to the English reader, we (Ali Yaser Jafari and Reihaneh Khorramrouei) have chosen this valuable book by AliAsghar Adibi to translate from Farsi to English. It provides a representative example of design through collage and culture. This book originally collected and published in three chapters: Collage history in different arts; Objectives and steps to make collage images; Two experienced examples.

Hubsch's argument that the technical progress and changed living habits of the nineteenth century rendered neoclassical principles antiquated is presented here along with responses to his essay by architects, historians, and critics over two decades.

Offering an in-depth consideration of the impact which humanities have had on the processes of architecture and design, this book asks how we can restore the traditional dialogue between intellectual enquiry in the humanities and design creativity. Written by leading academics in the fields of history, theory and philosophy of design, these essays draw profound meanings from cultural practices and beliefs. These are as diverse as the designs they inspire and include religious, mythic, poetic, political, and philosophical references. This timely and important book is not a benign reflection on humanities' role in architectural design but a direct response to the increased marginalization of humanities in a technology driven world. The prioritization of technology leaves critical questions unanswered about the relationships between information and knowledge, transcription and translation, and how emerging technologies can usefully contribute to a deeper understanding of our design culture.

Offers the first overarching history of the humanities from Antiquity to the present.

This ambitious text is a monograph about human experiences concerning the potentialities, capacities, and features of humankind from the wholeness of the collective mind body spirit. The purpose in reframing human endeavors is for enhanced alignment for livability and sustainability. This book departs from the concept and practice of “design and technology” and argues that most crises that endanger and destruct our ecological livability and sustainability come from our way of thinking and doing with “design and technology” based on the necessity for control. It is the control for overcoming the fear of scarcity, starvation, and the unknown. This book is rather an attempt to find alternate way of decision-making thru holistic methods. It appeals to researchers working in design, sustainability, architecture and urban studies.

In October 1984, following an eighteen-month selection process, architect Richard Meier was chosen to design the Getty Center. This book summarizes the processes involved in selecting an architect and building site and discusses the creation of the overall architectural program. The architectural design development drawings by Richard Meier and Partners are the major focus of this book. Numerous photographs of the site and of the presentation models are included. The text provides an insider's view of the history of the building project and the design process. Richard Meier is the recipient of the 1984 Pritzker Architecture Prize, the profession's most prestigious award, and is the designer of many building projects in the United States and Europe. The Getty Center, which will occupy a stunning 110-acre hilltop in west Los Angeles, will provide a permanent home for the various operating entities of the J. Paul Getty Trust, including the new Museum, the Getty Conservation Institute, the Center for Education in the Arts, the Center for the History of Art and the Humanities, the Art History Information Program, and the Getty Grant Program.