Architectural Aesthetics (Translation Series of Foreign Architectural Theories)

Author: (English) Roger Scruton, Editor
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 rational and conscious activity, asserting that many contemporary architectural theories misunderstand the essence of architecture and thus must return to its principles. He then develops a theory of aesthetic judgment and determines its position 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 whether the expression of a building is right or wrong. According to the author, architectural art 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 association with decorative arts. Architectural art is essentially a local art, first emerging in such contexts, and most importantly, it allows everyone to participate in the process. However, since architects must adapt their works to existing, unchangeable environmental conditions, their subconscious artistic goals are constrained by the environment and various influences. Consequently, 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 attire. Therefore, 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 their appropriateness, expressiveness, beauty, and good proportion 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.