Everything is Connected to Everything Else

Hegel’s Dictum ‘Everything is Connected to Everything Else’

Architecture can be considered a philosophical enterprise grounded in ethics and aesthetics, including the theories of human nature. The architects have to fashion the world where humans live both ideationally and materially (Novakovic, 2017). As the architect tries to fashion the world in which individuals live, they often undermine and promote various ways of living, values, and understandings. Thus, there always exists a question of where the society should place the philosophy of architecture. The issue does not only involve matters to do with topography or preferences; however, the issue can relate to architectural practices in a way that broadens our understanding of architecture, architect, and architectural practices. The philosophers of aesthetics and art consider architecture more than ethicists and social philosophers. Nevertheless, architectural philosophers see the connection between skills, ethics, political and social issues as very important and relevant.

According to Hegel, architecture is an art that stands at various beginnings, and he argues that architecture is an art that is very close to raw nature. Hegel says that art begins in a progressive spiritualization that later culminates into music and poetry. Should Hegel’s philosophy of arts develop any form of hierarchy, it is an architecture that will be at the lowest level; however it still plays a significant role in developing spirits (Novakovic, 2017). It is essential to look into Hegel’s view of the nature of architecture and how he describes the three stages, which include Symbolic, romantic, and classical. Architecture works when it is still in its elemental state, heavy, supporting weight, and occupying space. Just like other arts, the architecture makes of the matter things whose being is no longer sensible. Architecture considers materials as appearing as spirits and not as objects of theory or desire.

Hegel’s metaphysical principles about the nature of the process of spirits and an individual’s self-confidence are all entreated from his judgment. According to Hegel, arts have substantive content; however, architecture, according to him, does not fall under representational art; the content of architecture is its doing (Bird-Pollan and Marchenkov, 2020). Hegel argues that the architecture functioning enacts and embodies rather than imitates or denotes the being of spirit in the world. According to Hegel, the primary function of architecture is to build outer nature into a surrounding that is shaped to beauty which comes from the spirit of arts. However, the built surrounding no longer carries its meaning in itself; it finds its purpose in another and gives up all its independence to human needs, family goals, religion, and state.

Architecture shapes the bricks, woods, and stones in another purposive surrounding; however, what separates architecture from the other forms of art is the purpose of architecture always remains external to the objects it makes. Architecture transforms matter into things for spirits, and it makes a manufactured surrounding that is always “outer,” this is because what architecture creates supports activities and purposes and even meanings that are literally “inside (Vieweg, 2020). According to Hegel, the essence cannot be directly embodied in architectural form the way it is displayed in poetry and paintings. This is because architecture is not always representational, and the architectural forms have so many practical constraints (Bird-Pollan and Marchenkov, 2020). Hegel argues that if architecture was to be infused with self-contained meanings the same way it happens in poetry and music, then the spirit self-awareness will lose some things. Therefore, the primary function of architecture is to deal entirely with external matters; in that way, architecture has a foundational role in supporting the spirit’s activities.

Hegel, in his aesthetics, examines arts in three distinct dimensions. First, he looks at their history and seeks more insight into how the historical data was arranged. The same way philosophy seeks information that is firm and can stand on its own, Hegel’s general description is brought to art out of his logic. However, the transition and division within the conceptual structure are unique to the arts. According to how Hegel treats art, many historical and notional developments are going on simultaneously. These include the gradual arts and artistic ideals, the growth of actual art over time, the development of the three stages of arts, and the evolution of art in the three stages of development. Although according to Hegel, these sequences do not always follow orderly steps, they also do not follow any logical transitions.

When it comes to architecture, Hegel treats it by explicitly denying that the conceptual order of his development and distinctions coincide with the historical order in the various architectural forms developed. On the other hand, Hegel sees the general historical development from intellectual beginnings in symbolic art, which is parallel to the logical progression of the artist’s concept (Vieweg, 2020). Hegel develops three architectural stages because architecture shelters and encloses meaningful activities that possess internal goals and dynamics. The three stages of architecture include the Symbolic stage, Classical and romantic stages.

According to Hegel, Symbolic architecture carries natural meanings; these meanings come before any form of separation of architectural form and function (Vieweg, 2020). Classical architecture achieves a balanced communication and distinction between architectural form and function. On the other hand, romantic architecture provides the meaning that goes past the manifestation of the process. The relationship between architecture and its external purpose keeps it in line with the symbolic art’s stage (Dahlin, 2018). Even though architecture does not always progress through all of the three stages outlined by Hegel, he argues that the symbolic stage of art is best portrayed in architectural works. Hegel provides an extensive discussion of architecture in the symbolic stage. Although Hegel’s three stages are not always separate, it is possible to find the aspect of one stage in another stage.

Hegel argues that symbolic architecture is the earliest form of architecture; he does not consider the conditions of buildings that came first in human history (Erickson, 2019). How Hegel treats symbolic arts does not respect chronological order, the example that he provides is spatially and temporally mixed. In his discussion on classical architecture, Hegel admits that some of the forms considered conceptual originated much earlier than the conceptually primary forms (Dahlin, 2018). However, in his discussion of the symbolic stage, Hegel criticizes the theories that explain the historical background and the beginning of architecture. According to him, the debates over the comparative priority of stones vs. wood, or temples vs. shelters, do not show the natural face since they presuppose the already segregated social functions (Dahlin, 2018). He argues that the true origin of architecture is before segregation. According to Hegel, the true beginning of architecture can only be found in the independent structures that do not have a purpose outside their being (Dahlin, 2018).

Hegel begins his discussion on symbolic architecture with constructed things that are not the work of the arts. Symbolic architecture starts with the tower of Babel. The tower is not considered a building but an artificial mountain; the tower does not possess any meaning if not the yearned immediate undistinguishable social unity (Snyder, 2018). The tower is not any particular group, particular political mode, and it is an intellectual social universal. As he continuous to describe the symbolic architecture, Hegel looks at objects that seem intermediate between sculptures and buildings. The Indian lingams are a confirmation of organic life, the obelisks as the sun’s radiance symbol, and the other free-standing forms of Egyptian architecture (Snyder, 2018). Hegel argues that these architectural forms can be massive and grandiose and that if well-coordinated, they can produce a spectacular architectural effect. However, they only portray the meaning which is externally attached to them, just like the temples in Egypt, which have writings added on their walls.

Hegel was very much fascinated with Egyptian architecture, about which recent explorations and napoleon’s expeditions had given new information. According to Hegel’s thinking, the Egyptian temples are just open constructions with inner free-standing components that operated independently. (Vernon, 2018). There are columns, structures, rooms, gates that are combined in unrestrained exponentiation of one-thing-next-to-another. The addition and adjacency bring a fantastic effect; however, they remain an unmanageable plurality. According to Hegel, the Egyptian temples have assemblages and lacks strict architectural purposiveness and beauty. The argument here is because the Egyptians keep adding things in the temple one after another, the temple has no limits enforced by a coalescing definite meaning (Erickson, 2019). The form of the items found in the temples service meanings which are indeterminate and vague. Naturalistic pictures, big abstract ideas, and unlimited additions of things make the temples look impressive; however, they do not have self-defined meanings.

Hegel develops classical architecture out of symbolic architecture where the organic natural forms get measured concerning their appropriateness to their purposes even if the intentions are more artistic. Classical architecture brings beauty and function into symphonic unity (Lahij, 2021). Unlike other theorists, Hegel does not look at architecture as originating from a primitive stage to a more advanced stage composed of architectural beauty. Architecture does not begin with functional buildings that are refined into beauty and decorated (Erickson, 2019). Hegel does not think that churches are more significant; he also does not think any non-architectural buildings have a function only. At the start, neither beauty nor function is present. According to Hegel, symbolic Architecture is both pre-beauty and pre-function. Both beauty and function are sunken in an immediate union with regular activity and meaning. Beauty and function become explicit in architecture because a distinction has been developed where none existed before, and that both function and beauty appear for the first time (Vernon, 2018).

Function and beauty are clearly differentiated in classical architecture; this tells that classical architecture is beautiful. According to Hegel, symbolic architecture is overwhelming, inspiring, and impressive; however, it does not have consequent perfection and inner division, allowing beauty to emerge. Romantic architecture then later transcends beauty. According to Hegel, classical architecture’s forms of equilibrium and its contents give way for a balanced body that brings architectural beauty. (Vernon, 2018). Most of the classical temples had sculpture which individualized their gods. According to Hegel, the god refers to individual subjectivities and not symbolic arts. Hegel believes that the statues are not members of the immediate nature. Therefore, surrounding the sculptures with structures shows what architecture should actually be (Lahij, 2021). The temples, thus, do not embody any form of meaning but works to support and house the god’s images.

Classical architecture can be integrated internally because it expresses some form of individualized fixed meaning. The function that classical architecture fulfills is globally identical with the whole structure or with its parts. Neither the design nor the function can be enunciated into sensible divisions. It is only with classical architecture that the function of the structures can be given as separate (Lahij, 2021). Hegels most common example is the classical Greek column. According to Hegel, a roof can be supported by a plain post, same to an articulated fluted column; however, the column displays and posits the function in a manner that the plain post does not. The column’s articulation exhibitions a conceptual dissimilarity with the action of support (Kervgan, 2018). He argues that the overall proportion of the fluted column shows that the column does not come from thoughts and imaginations and not from natural possibility.

Classical architecture overcomes and celebrates the gravity and heaviness of the external matter. The natural world is transformed concerning conceptual necessities that are beyond the pragmatics of structures (Kervgan, 2018). The transformation shows the adaptation of wooden structures into stone structures. Hegel continues to acknowledge the historical origin of the classical temples and believes that they originate from the details of the wood buildings. However, he argues that the historical origin of the classical temples does not explain any rational meaning that goes beyond the temple’s wooden past. Hegel argues that arts, in general, have the right but architecture, in particular, has the duty to go beyond the current nature forms (Kervgan, 2018). Although to some extent, Hegel disagrees with Laugher’s notion of the origins, he ultimately agrees to laugier’s claims in the sense that he looks at the walls from columns as an abstract key to classical architecture.

According to classical architecture, the temple shows just its performative spirit. Hegel argues that the programmatic role cannot be considered as a determinant of the buildings final form (DeVries,2017). The pragmatic role of the temple is to provide assemblage points for the community and house the gods. The temple can fulfill the function in various ways. The temple’s structure should resemble something that houses the gods; this to can be done in more than one way. According to Hegel, what is required to the classical temples is that the independent parts should properly perform their functions (DeVries,2017). This way, the temple reveals its inner activities of surrounding and standing. The self-showing of structural function is only found in classical architecture and not symbolic architecture. In symbolic architecture, the categories are so much differentiated that they cannot provide any form of national control over the structure’s parts. In romantic architecture, the notional control over the building’s parts is achieved, but it leaves the parts freer as compared to classical architecture.

The last architectural stage that Hegel provides, “romantic architecture,” goes beyond classical architecture. Hegel’s term romantic architecture applies to art that came after Roman Empire but not the self-designated romantic art. According to Hegel, romantic architecture affirms the exterior life details. Therefore, romantic architecture produces a new relation of artist and art, a new understanding of nature, and new art. All of these are shaped by self-sufficiency and inner independence of the post-classical subjectivity. According to Hegel, romantic architecture is always typified by Gothic churches (Hegel, 2007). The cathedrals contain rooms for everyone, and all activities take place inside the room and not outside the building, as in the case of classical architecture with restricted and small spaces on the inside.

Romantic architecture is believed to unite the functional subservience of classical architecture with the sovereign meaning of the symbols. Romantic architecture does not mix the two indiscriminately; it serves but also goes beyond service. Classical architecture is the realm of organic nature, where the independent parts have specific roles. On the other hand, romantic architecture shows unity which includes the functional unites and goes beyond the operational divisions so that it can embrace the particularity of the individual parts (Hegel, 2007). Romantic architecture, just like symbolic architecture, reintroduces the natural forms into architecture. According to Hegel, romantic architecture tries to accomplish a complex role with transcendence and grace. For instance, classical architecture shows a usable interior that functions in harmony, something that symbolic architecture cannot do; romantic architecture can do all of these (Vieweg, 2020).

However, there exist various problems with Hegel’s three architectural stages; symbolic is a catch-all category that contains so much architectural history under very few rubrics. It is important to note that while architectural works are symbolic art is only in the symbol verbal art that Hegel gets the meaning of the images (Vieweg, 2020). There exists no stage in symbolic architecture that can express the architectural intentions.

In conclusion, Architecture can be considered a philosophical enterprise grounded in ethics and aesthetics, including the theories of human nature. The architects have the duty to fashion the world in which humans live both ideationally and materially. As the architect tries to fashion the world in which individuals live, they often undermine and promote various ways of living, values, and understandings. There always exists a question of where the society should place the philosophy of architecture. According to Hegel, architecture is an art that stands at various beginnings, and he argues that architecture is an art that is very close to raw nature. Hegel says that art begins in a progressive spiritualization that later culminates into music and poetry. Should Hegel’s philosophy of arts develop any form of hierarchy, it is an architecture that will be at the lowest level; however, it still plays a significant role in developing spirits. Hegel, in his aesthetics, examines arts in three distinct dimensions. First, he looks at their history and seeks more insight into how the historical data was arranged. The same way philosophy seeks information that is firm and can stand on its own, Hegel’s general description is brought to art out of his logic.

When it comes to architecture, Hegel treats it by explicitly denying that the conceptual order of his development and distinctions coincide with the historical order in the various architectural forms developed. On the other hand, Hegel sees the general historical growth from intellectual beginnings in symbolic art, which is parallel to the logical progression of the artist’s concept. Hegel develops three architectural stages because architecture shelters and encloses meaningful activities that possess internal goals and dynamics. The three stages of architecture include the Symbolic stage, Classical and romantic stages.

References

Bird-Pollan, S. and Marchenkov, V. eds., 2020.Hegel’s Political Aesthetics: Art in Modern Society. Bloomsbury Publishing.

Dahlin, K.C., 2018.The Aesthetics of Frank Lloyd Wright’s Organic Architecture: Hegel, Japanese Art, and Modernism. The University of Wisconsin-Milwaukee.

DeVries, W.A., 2017. Hegels Revival in Analytic Philosophy. InThe Oxford Handbook of Hegel.

Erickson, P., 2019, September. Hegel and the Origins of Art. InSeminar: A Journal of Germanic Studies(Vol. 55, No. 3, pp. 229-250). University of Toronto Press.

Hegel, G.W.F., 2007.Georg Wilhelm Friedrich Hegel: Lectures on the philosophy of spirit 1827-8(Vol. 5). Oxford University Press on Demand.

Kervgan, Jean-Franois.The actual and the rational: Hegel and objective spirit. University of Chicago Press, 2018.

Lahiji, N., 2021.Architecture, Philosophy, and the Pedagogy of Cinema: From Benjamin to Badiou. Routledge.

Novakovic, A., 2017.Hegel on second nature in ethical life. Cambridge University Press.

Snyder, S., 2018.End-of-Art Philosophy in Hegel, Nietzsche and Danto. Springer.

Vernon, J., 2018. Graffiti Writing, or the Symbolic Stage Art. InHip Hop, Hegel, and the Art of Emancipation(pp. 45-76). Palgrave Macmillan, Cham.

Vieweg, K., 2020. Hegels Adventures in Wonderland, or the Beginning of Philosophy. InThe Idealism of Freedom(pp. 3-12). Brill.

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