Zeynep Celik Alexander – författare

Is all knowledge the product of thought? Or can the physical interactions of the body with the world produce reliable knowledge? In late-nineteenth-century Europe, scientists, artists, and other intellectuals theorized the latter as a new way of knowing, which Zeynep Celik Alexander here dubs "kinaesthetic knowing." In this book, Alexander offers the first major intellectual history of kinaesthetic knowing and its influence on the formation of modern art and architecture and especially modern design education. Focusing in particular on Germany, and tracing the story up to the start of World War II, Alexander reveals the tension between intellectual meditation and immediate experience to be at the heart of the modern discourse of aesthetics, playing a major part in the artistic and teaching practices of numerous key figures of the period, including Heinrich Wolfflin, Hermann Obrist, August Endell, Laszlo Moholy-Nagy, and many others.Ultimately, she shows, kinaesthetic knowing did not become the foundation of the human sciences, as some of its advocates had hoped, but it did lay the groundwork at such institutions as the Bauhaus for modern art and architecture in the twentieth century.

Is all knowledge the product of thought? Or can the physical interactions of the body with the world produce reliable knowledge? In late-nineteenth-century Europe, scientists, artists, and other intellectuals theorized the latter as a new way of knowing, which Zeynep Çelik Alexander here dubs “kinaesthetic knowing.”      In this book, Alexander offers the first major intellectual history of kinaesthetic knowing and its influence on the formation of modern art and architecture and especially modern design education. Focusing in particular on Germany and tracing the story up to the start of World War II, Alexander reveals the tension between intellectual meditation and immediate experience to be at the heart of the modern discourse of aesthetics, playing a major part in the artistic and teaching practices of numerous key figures of the period, including Heinrich Wölfflin, Hermann Obrist, August Endell, László Moholy-Nagy, and many others. Ultimately, she shows, kinaesthetic knowing did not become the foundation of the human sciences, as some of its advocates had hoped, but it did lay the groundwork—at such institutions as the Bauhaus—for modern art and architecture in the twentieth century.   

Leading scholars historicize and theorize technology’s role in architectural designAlthough the question of technics pervades the contemporary discipline of architecture, there are few critical analyses on the topic. Design Technics fills this gap, arguing that the technical dimension of design has often been flattened into the broader celebratory rhetoric of innovation. Bringing together leading scholars in architectural and design history, the volume’s contributors situate these tools on a broader epistemological and chronological canvas. The essays here construct histories-some panoramic and others unfolding around a specific episode-of seven techniques regularly used by the designer in the architectural studio today: rendering, modeling, scanning, equipping, specifying, positioning, and repeating.Starting with observations about the epistemological changes that have unfolded in the discipline in recent decades but seeking to offer a more expansive meaning for technics, the volume casts new light on concepts such as form, experience, and image that have played central roles in historical architectural discourses. Among the questions addressed: How was the concept of form immanent in practices of scanning since the late nineteenth century? What was the historical relationship between rendering and experience in Enlightenment discourses? How did practices of specifying reconfigure the distinction between intellectual and manual labor? What kind of rationality is inherent in the designer’s constant clicking of the mouse in front of her screen? In addressing these and other questions, this engaging and timely collection thereby proposes technics as a site for historical and philosophical reflection not only for those engaged in architectural design but also for any scholar working in the humanities today.Contributors: Lucia Allais, Edward Eigen, Orit Halpern, John Harwood, Matthew C. Hunter, and Michael Osman.