Care, place and architecture: a critical reading of Christian Norberg-Schulz’s architectural interpretation of Martin Heidegger’s philosophy

English: This thesis questions the theoretical contribution of the renowned 20th century Norwegian architect and theorist, Christian Norberg-Schulz (1926-2000), by considering the cogency of his pioneering architectural ‘translation’ of the prominent German philosopher, Martin Heidegger’s (1889-1976) writings. It is argued that Norberg-Schulz neglected one of the key aspects of Heidegger’s philosophical contributions; the temporal nature of Dasein’s concerned being-in-the-world as care (Sorge). Heidegger’s concept of care simultaneously acknowledged the way human dwellers are ‘concerned about’ their mortal existence, and how they cultivate their world by ‘taking care’. Instead of referring to Heidegger’s formulation of lived temporality (as Norberg- Schulz did when describing the emplaced nature of lived spatiality), Norberg-Schulz relied on his mentor, the Swiss historian and architecture critic, Sigfried Giedion’s (1888-1968), understanding of time as ‘continuity and change’. Norberg-Schulz’s failure to develop the temporal implications of Heidegger’s ontological concept of care, constitutes the principal omission that prevents the fruition of Norberg-Schulz’s ultimate aim; transforming his “art of place” (stedskunst) into the “art of the experience of living” (2000b: 356) (livskunst). As an alternative, it is proposed that Norberg-Schulz’s art of place be elaborated upon (and re-interpreted) in terms of a new approach grounded in Heidegger’s understanding of concerned being-in-the-world; the art of care. The main contribution of this thesis consists in composing the art of care as the phenomenological ‘ground’ enabling the architectural poiesis of Dasein’s concerned (ecstatic) temporality. By grafting the art of care into the art of place, new possibilities are revealed within Norberg-Schulz’s oeuvre. In the marriage of the art of care and the art of place dwells the potential for appreciating and designing works of architecture as livskunst. Livskunst celebrates building as the care-full poiesis of human being-in-the-world. Secondary aims include formulating a comprehensive understanding of Norberg-Schulz’s theoretical contribution and describing the difficulties that ensue from engaging with time as continuity and change. The conceptual development of the art of care calls for a form of critical reading based on Heidegger’s account of the hermeneutic “circle”. Since Heidegger believed that Dasein is a “circular being”, grounded in the circular “structure of care” (1927a: 315), this hermeneutic approach offers the most appropriate way to engage with Dasein's emplaced existence within regions of concern.