家养杂交动物:维特鲁威的Xenia,超现实主义者的Minotaure和Shrigley的Octopus

IF 0.3 0 PHILOSOPHY
Simon Weir
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引用次数: 0

摘要

建筑环境的家庭空间传统上与住宅建筑有关。但家庭空间也可以延伸出去,打个比方,进入熟悉的公共空间,在那里人们可能会有宾至如归的感觉,也可以向内延伸到自我感知,就像你可以说你住在自己里面一样。本文首先回顾维特鲁威关于建筑效用的基本概念,它关注的不是建筑的所有者,而是外国人和陌生的局外人。维特鲁威的实用主义观点非常倾向于建筑的社会政治功能,他认为建筑应该容纳的客人不仅仅是房屋的主人或他们的来访朋友,而是那些与房屋主人距离较远的人:那些陌生人和不太了解的人,被称为xenos,在古希腊的宗教和伦理原则下,他们应该受到尊重。正是基于这些理由,维特鲁威对住宅建筑进行了道德批判,支持公共建筑的美德。接下来,xenia的范围被提议扩展到那些不仅因为种族差异,而且因为认知和感官差异而不同的人。今天,这样的住宿被认为是无障碍设计和健康设计的一部分。类似的概念在尼采的“为感知而建的建筑”的概念和超现实主义者对牛头怪的解释中也被注意到,牛头怪不仅是动物和人类的混合体,也是文明公民和野蛮外人的混合体。这些共同勾勒出一种扩展的家庭感,包括为容纳陌生的外来者而设计的公共空间和用于表示他们的混合形式。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
Domestic Hybrids: Vitruvius’ Xenia, the Surrealist’s Minotaure, and Shrigley’s Octopus
Abstract The domestic spaces of the built environment are traditionally associated with residential architecture. But the domestic spaces can also extend out, metaphorically, into familiar public spaces in which one may feel at home, and also extend inwards into self-perception, insofar as you may say that you dwell within yourself. This article begins by recalling Vitruvius’ fundamental notion of architectural utilitas concerns accommodating not a building’s owners but foreigners and strange outsiders. Vitruvius’ view on utility heavily favoured architecture’s socio-political function, and the guests he believed that architecture ought to accommodate were not merely a home’s owners or their visiting friends, but those people who are more distant from a home’s owners: those who are stranger and less well understood, known as xenos and who ought to be respected under the Ancient Greek religious and ethical principle of xenia. It is on these grounds that Vitruvius makes an ethical critique of residential architecture in favour of the virtue of public architecture. Next the reach of xenia is proposed to extend towards those who are different not merely because of ethnic differences but cognitive and sensory differences. Such accommodations are today accounted for as part of accessibility design and salutogenic design. Similar conceptions are noted in Nietzsche’s notion of an “architecture for the perceptive” and the surrealist’s interpretation of the minotaur as a hybrid not only of animal and human but a hybrid of civilised citizen and barbarian outsider. Together these sketch out an expanded sense of the domestic that includes public spaces designed to accommodate strange outsiders and the hybrid forms used to signify them.
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来源期刊
Open Philosophy
Open Philosophy Arts and Humanities-Philosophy
CiteScore
1.40
自引率
20.00%
发文量
25
审稿时长
15 weeks
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