By Christian Borch

There is a starting to be know-how of the atmospheric dimensions of structure in modern architectural perform in addition to in social and architectural concept. Architectural Atmospheres provides a pointed, programmatic dialogue of this atmospheric flip. The e-book is vital interpreting for architects, planners, and social theorists who take an curiosity in how we adventure structure and in the best way to enhance architectural and concrete design.

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The J. Paul Getty Museum, Los Angeles. 63 Urban atmospheres. Eugène Atget, The Old School of Medicine, rue de la Bucherie, 1898. 6 cm. The J. Paul Getty Museum, Los Angeles. 64 ‘the interior, disclosed, shared realm inhabited by humans – in so far as they succeed in becoming humans’ (2011: 28). The basic assertion underpinning Sloterdijk’s project is that such spheres provide people with meaning, community, and a sense of immunity (or protection, security), whether in a material, social, or more ideational sense.

An aesthetics of atmospheres pertains to artistic activity that consists of the production of particular receptions, or to types of reception by viewers or consumers that play a role in the production of the ‘work’ itself. Atmospheres fill spaces; they emanate from things, constellations of things and persons. The individual as a recipient can happen upon them, be assailed by them; we experience them, in other words, as something quasi-objective, the existence of which we can also communicate with others.

First, however, I would like to discuss an alternative approach to the politics of atmospheres, namely the one proposed by another German philosopher, Peter Sloterdijk. In his Spheres trilogy, Sloterdijk provides a new foundation for discussing space, architecture, and politics, and their interrelations. In the first part of the essay, I will discuss the fundamental tenets of Sloterdijk’s spherology.  e. the attempt to manage behaviour through interventions in the physical and/or socio-psychic environment.

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