Architectural aesthetics

Author: [British] Roger Scruton
Publisher:
Publish Date: 2003-12-01
Features: This book establishes architectural aesthetics within the framework of orthodox philosophical research. Roger Scruton defines the "aesthetic understanding" of architecture as a conscious activity that insists that many contemporary architectural theories misunderstand the essence of architecture, and therefore it must return to its principles. Thus, he develops a theory of aesthetic judgment and determines the position of this theory in the macro-theory of architecture and objects. To apply this theory to architecture, he emphasizes the objectivity and moral significance of aesthetic taste, making it clear which way buildings are expressed is right or wrong. According to the author's view, the art of architecture differs from other expressive arts, such as painting, drama, poetry, sculpture, and even music, due to certain characteristics of architecture: its functionality, locality, technological content, public nature, objectivity, and close relationship with decorative arts. Architectural art is essentially a local art, as it first arises in this context, and most importantly, everyone can participate in the process. However, since architects must adapt their works to existing, unchangeable topographical environments, their unconscious artistic goals are constrained by the environment and various influences. Therefore, architecture can only be a simple application of the "correspondence" concept. This concept governs all aspects of daily life, such as the arrangement of a room or a style of dress. Thus, Roger Scruton emphasizes that architectural aesthetics is at least a part of the aesthetics of daily life. For this reason, he concludes that an understanding of aesthetics is inseparable from details and styles, as it is precisely their appropriateness, expressiveness, beauty, and good proportion that give them meaning. The author also discusses the design theories of romanticism, functionalism, and rationalism, and critiques the aesthetic value orientations of Freud, Marxism, and semiotics.