Colour Sensation and Empathy: Arthur Schopenhauer's Negative Philosophy and Colour Theory as the Basis of an Elemental Colour Architecture

Arthur Schopenhauer proposed a theory of colour as a consequence of his first hand knowledge of J.W. Goethe’s experiments with color phenomena. This colour theory can be used to explore an interesting proposition Schopenhauer made about architecture. For Schopenhauer, architecture is about feelings, not about functions or forms, its purpose as an art is to reveal the principles of primitive forces, specifically gravity and rigidity. For Schopenhauer, architecture expresses these forces in the poised equilibrium of massive structures built out of stone. Schopenhauer was inclined to believed that architecture had already achieved its most perfect expression in Greek temple architecture. However; he did offer one possibility for architectural research: this was the suggestion that architecture was also concerned with the expression of light. It seems never to have occurred to Schopenhauer to use his colour theory to speculate about light in architecture. This paper explores some of the implications of Schopenhauer’s theory of colour for his aesthetics of architecture?

Conversions of Relief: on the perception of depth in drawings

Of the many ways in which depth can be intimated in drawings, perspective has undoubtedly been one of the most frequently examined. But there is also an equally rich history associated with other forms of pictorial representation. Alternatives to perspective became particularly significant in the early twentieth century as artists and architects, intent on throwing off the conventions of their predecessors, looked to new ways of depicting depth. In architecture, this tendency was exemplified by Modernism’s preference for parallel projection – most notably axonometric and oblique. The use of these techniques gave architects the opportunity to convey a new and uniquely modern form of spatial expression. At once shallow and yet expansive, a key feature of these drawings was their ability to support perceptual ambiguity. This paper will consider the philosophy and science of vision, out of which these preoccupations emerged. In this context, the nineteenth-century discovery of stereopsis and the invention of the stereoscope will be used to illustrate the way in which attempts to test the limits of spatial perception led to an opening up of visual experience; and provided a definition of visual experience that could encompass the representational ambiguities later exploited by the early twentieth-century avant-garde.

Rise, fragmentation, infringement and fear: emerging urban issues in Chinese clustering in Italy

China is today facing rapid economic development and the long-term implications of China’s rise for European economy, society and culture, are constantly debated but still almost unknown. Moreover, only recently a new volume edited by Kunzmann has clearly pointed out a particular field of research like the EU spatial impact of China’s convergence in the global market. The aim of the present paper is to deal with the spatial issues related to the growing Chinese communities, especially in Italy, that are part of a more general and considerable transformation process of the traditional Chinese enclaves in EU cities: from recognizable “Chinatowns” to new hybrid urban formations where housing, retail, wholesale and even commodity production often tend to match. Key-Concepts like rise, fragmentation, infringement and fear are useful in analysing some of the more controversial socio-economic dynamics of Chinese clusters especially in a traditionally manufactured-based country like Italy, where it’s recognizable a unique paradox of a “double competition” from outside and from inside. This statement poses a serious threat to local economic systems in terms of sustainability and social cohesion, making it necessary to rethink the role and the nature of public action in facing new forms of marginality at urban and regional level.

Thinking Architecture with an Indian Ocean Aquapelago

This article takes up the charge of thinking architecture with one of the Indian Ocean’s central coral atoll formations, the Maldives archipelago. It is undertaken as a critique of the concept of the archipelago as deployed in architecture since the 1970’s. Architects have used the archipelago as a metaphoric metageographical concept based on a land/sea binary, to conceive of architecture as autonomous from its environments. This permits the discipline exemption from its contexts and frames its engagement with the diverse mobilities of contemporary globalization. To counter this, the article draws from a broad body of literature familiar to readers of GeoHumanities, namely island studies, urban island studies, political ecology and thinking with water to undertake a reading of the Maldives as an oceanic aquapelago, as an alternative metageographical concept for architecture in today’s globalized world.

Notation timelines and the aesthetics of disappearance

Contemporary cities are frequently surrounded by transitional landscapes: ambiguous lands, non-places on the urban edge, commonly experienced under the condition of speed. Although variously shaped by processes of urbanisation, logistics of road engineering, safety and ownership, and local people's lives, for travellers such landscapes are usually perceived in a state of disappearance. This condition presents a major challenge for the traditional methods used in architecture and urban design. For designers interested in the organisation and design of such mobility routes for the engagement of the traveller, a method of scripting based on notation timelines would provide a helpful supplement to traditional master plans. This paper explores the development of such a method and its roots in time-based arts, such as dance, music and film, as well as in the recent history of architecture and urban design. It does so through the presentation of an experimental study based on a real route, the train journey from London to Stansted airport.