Architecture is a Verb outlines an approach that shifts the fundamental premises of architectural design and practice in several important ways. First, it acknowledges the centrality of the human organism as an active participant interdependent in its environment. Second, it understands human action in terms of radical embodimentgrounding the range of human activities traditionally attributed to mind and cognition: imagining, thinking, rememberingin the body. Third, it asks what a building doesthat is, extends the performative functional interpretation of design to interrogate how buildings move and in turn move us, how they shape thought and action. Finally, it is committed to articulating concrete situations by developing a taxonomy of human/building interactions.
Written in engaging prose for students of architecture, interiors and urban design, as well as practicing professionals, Sarah Robinson offers richly illustrated practical examples for a new generation of designers.
| Foreword |
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x | |
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| Preface |
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xii | |
| Acknowledgements |
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xiv | |
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1 | (13) |
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Architecture's Resistance |
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3 | (2) |
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The Possibility of an Integrated Approach |
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5 | (2) |
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7 | (1) |
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8 | (1) |
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9 | (5) |
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2 From Vitruvius to the Resonant Body |
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14 | (17) |
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15 | (3) |
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18 | (1) |
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19 | (1) |
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20 | (1) |
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20 | (3) |
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23 | (4) |
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27 | (1) |
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28 | (3) |
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3 Extended Organisms---Surrogate Bodies |
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31 | (16) |
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Philosophy of the Organism |
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31 | (2) |
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The Biological and the Physical: Where Do We Draw the Line? |
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33 | (2) |
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35 | (3) |
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38 | (4) |
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42 | (1) |
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Inhabiting---The Matrix of Habitual Action |
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43 | (4) |
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47 | (17) |
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48 | (2) |
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50 | (3) |
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Neural Plasticity and Epigenetic Change |
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53 | (2) |
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55 | (2) |
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Reprogramming Sensory Life |
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57 | (2) |
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Architectural Affordances |
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59 | (5) |
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5 Constructing Consciousness |
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64 | (14) |
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Consciousness Is Rhythmic |
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65 | (2) |
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The Natural History of Consciousness |
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67 | (3) |
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Art Structures Consciousness |
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70 | (2) |
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The Future Enters Through the Work of Art |
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72 | (2) |
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74 | (4) |
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6 Taxonomy of Interactions |
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78 | (18) |
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Structures of Consciousness |
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80 | (3) |
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83 | (3) |
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86 | (1) |
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87 | (2) |
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Mental-Rational Consciousness |
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89 | (2) |
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91 | (5) |
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7 The Primacy of Breathing |
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96 | (31) |
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97 | (3) |
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100 | (2) |
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The Epistemology of the Skin |
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102 | (2) |
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104 | (1) |
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A Brief Study of Desert Thermal-Cultural Devices |
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105 | (6) |
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111 | (4) |
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115 | (4) |
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119 | (8) |
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127 | (28) |
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130 | (1) |
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Music: A Technology of Bonding |
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130 | (2) |
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Buildings as Musical Instruments |
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132 | (4) |
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Sound as a Building Material |
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136 | (5) |
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141 | (3) |
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144 | (2) |
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146 | (3) |
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149 | (6) |
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155 | (29) |
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156 | (3) |
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159 | (1) |
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160 | (4) |
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Metaphor: Patterning Fields |
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164 | (7) |
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171 | (4) |
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175 | (4) |
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179 | (1) |
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180 | (4) |
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10 This Lesser, Rebellious Field |
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184 | (23) |
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186 | (1) |
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From Panoptics to Peripheral Vision |
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187 | (3) |
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Learning From the Japanese Garden |
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190 | (4) |
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194 | (4) |
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198 | (2) |
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200 | (2) |
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202 | (1) |
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The Bottom-Up/Top-Down Dialectic |
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203 | (4) |
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11 The Soil of the Sensible |
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207 | (32) |
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208 | (1) |
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209 | (1) |
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210 | (3) |
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213 | (1) |
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214 | (2) |
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216 | (1) |
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An Architecture of Moments |
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217 | (6) |
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223 | (1) |
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224 | (3) |
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227 | (4) |
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231 | (8) |
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12 Fields of Care: Concluding Thoughts |
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239 | (5) |
| Taxonomy of Interactions Appendix |
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244 | (8) |
| Index |
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252 | |
Sarah Robinson is an architect practising in San Francisco and Pavia, Italy. She holds degrees in philosophy and architecture, and was the founding chair of the Frank Lloyd Wright School of Architecture Board of Trustees. Her previous booksMind in Architecture: Embodiment, Neuroscience and the Future of Design with Juhani Pallasmaa (2015) and Nesting: Body, Dwelling, Mind (2011)have been among the first to explore the connections between the cognitive sciences and architecture. She co-founded and edits the journal Intertwining, is an adjunct professor at Aalborg University, Denmark and teaches at NAAD / IUAV University of Venice.
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