Shortly into his path-breaking study of The Small House in Eighteenth-Century London, Peter Guillery remarks that ‘houses are principally interesting because people live in them’ (p. 10). To urban historians the observation might seem unexceptional, even banal. To many architectural historians his comment would be incomprehensible. Therein lies the difficulty for the urban historian with a concern for housing, public buildings and planning. There is a wealth of serious academic studies of architecture, but the majority are written in a language which can seem arcane to the uninitiated and address an agenda which appears little interested in those who inhabited the buildings. At the heart of the problem lies the requirement to treat the built form primarily as a work of art, so that what is studied has to justify itself as an object worthy of aesthetic consideration, and has to relate to an established stylistic canon and chronology. Judged in this light, considerations of user and usage are largely irrelevant, and can appear an invitation to slip into the sort of popular architectural discourse, common in the Victorian and Edwardian periods, in which dwellings are valued primarily for the celebrities and anecdotes associated with them. People are germane only to the extent that they designed buildings, as architects, or commissioned them, as patrons of the arts. Among the two most influential figures in developing and in particular disseminating the art-history perspective on architecture in twentieth-century Britain were Nikolaus Pevsner and John Summerson. Today their presence is felt not only in the world of scholarship, where it has not gone unchallenged, but also and more importantly in popular perceptions of architecture, as mediated through guide literature, the amenity societies (like the National Trust, the Georgian Group and the Victorian Society) and the conservation movement. It is an influence which has been ambivalent. On the one hand, it has led to a far deeper popular understanding and appreciation of architectural form and its history, and has saved many fine buildings. On the other hand, it is has led to a dissociation of form and human usage, a devaluation of structures and traditions not defined as canonic and a blindness to the subjective and ideological nature of architectural history itself.
A Husserlian Approach to Aesthetic Experience: Existential Disinterest and Axiological Interest