sensory intensification in architecture by kamiel van kreij

8/6/2019 Sensory Intensification in Architecture by Kamiel Van Kreij

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SENSORY INTENSIFICATION

INARCHITECTURE


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Kamiel van Kreij1040847

january 2008

Technical universiTy DelfTfaculTy of archiTecTure

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at: K Kid-d: 1040847add: Wg 4ct: D hgZ cd: 2563pG

T: 06-21892094e-: @t.wt: www..


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Contents

9 Introduction

11 Architecture of Formal Aesthetics

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sttDttft

Dt t e

s DtKtt Dtht Dt

23 Space Body Mind

rt ct

httKt

stT t pg att

D gst t tatg tag wt mbtg d att

55 Visited Experience Spaces

77 The Narrative

T nt ct

at t nt t t pt

91 References

93 Illustrations


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Introduction

T t t t t dtd t d wttg dg tt tt t d g. W tg tt t tt d t wt

, i wdd w t d dt t t tt. i wt t g t t qt g w kd. nt t t t d tdw t tt, t wt t t d t wtt tt tt .

T t t t. T t : att f att, s bd md d T nt, d td tt. T t t t t tdt w tt tt t . T d g t d t tg d dt t, d . T s bd md t t t t. it t t t t g d td t d t t t tt d t t t d dg d.T wd t t t- t d t tt i td. i wt t t d t. T t dtdg w t d t tt d w t. T t , T nt, t t td itd t t tt t d gd s bd md tt .T t, g t t tgt, d t twg. o g w t t d dtd tt td t t g d t d t t t t d t dt t dgd. T d g w t dtd t t t t t t t, d t -dttt t t d t t tg tt.

m gttd g t t t t d w tdt e5, j d bgd d p. ptk h g

zg t t.

9


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Architecture of Formal Aesthetics

T t t t t gt t t t kd tdt t t wg tw. cg t t tdt t ; t dt d t dd t . it qt t t dd t t. nt t t t w twd t t tt tt, wtg t.T t tt , t ti d wt i tt tt. T

t t d tt g d dd tt t qt t. T tw d tg tw td tgt d Thg t ig d Dt t s.

Wt t t i w t t t g d t t t . mt t t dtt t t, t d t tt tw t tt t g d t t qd tt. nt t ti w t t t d d t dktt . T t wt g tgt d w w t t w t tt dg.

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Hegemony of the Image

T g t g1 t t tt, t t t t dg wt dtw d. a t t w t t d

w, td t t tt dt ddd wtt g t. T d t g tgzd t tt, dtt dt.

Static

T t d t dtd t t g t ttt. T g d t d t. T t tg d t t w tt t t, t t. it tt t tt d t dt t t. e w gt g tt w t g t dt w, t t t t t tk t wd t q dt t.

T t tt t d t t g; t tt t r. T tt t t t tt, g t t tt tt t t t t t t t.2 T tt gzd st h: Perception of architectureentails manifold relations of three fields; the foreground, middle ground

and distant view are united in one experience as we observe and reflect

while occupying a space. Merging of these fields of space bracket verydifferent perceptions. In the intertwining of the larger space with its

forms and proportions and the smaller scale of materials and details lies

architectures power to exhilarate. Such phenomenal territory cannot be

indicated in plan/section methods. Photography can only present one

field clearly, excluding changes in space and time.3

T tt t dd t t, t d h gt dd t tg t tt tdt tt

d t.

1 T thg t ig

t d Wt b,Td add G Dd

2 D agt,rtt tttw td t st a,pt:att,

Tq drtt(atd: G+bat itt,2000) .165

3 st hd. b ykftgw, sth; pd id G

att 11(Tk: a.D.a.edt 1993) .15

st h,a)

sw & co nw yk,(nw yk, 1991)

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4 edwd T.h, T hddD (nwyk: a bkedt, 1969)

.85

5 Wt b,it,.221, hd h,attd mdt:a ctq(cdg (ma),miT p, 1999).99

Detachment

v t w t t dt, t dtd d. nt t k t g t. T t

t t t, t qt d t kg t t.Tk t t tk tg. W k t tg dt t g dt, t tt g. T tk d t t t tg tq d, ddg d . T k t t g t t g t tg. i t t d t t t

g. stg t t tgt edwd h t t t dt: To understand art properly one has to view it manytimes and enter into a discourse with the artist through his work. To do

this there should be no intermediaries, because one needs to be able to

perceive everything. This rules out reproduction.4

T g, g dt t t tt wd k t t wk. nt t t t t dt tg ttg; t t

g t t. y t t k t t gd gz t t t w t , t t qt t g dt . i t t dt , t d w t tt t, Wt b d T ag mrdt: That which withers in the age of mechanical reproductionis the aura of the work of art. [] By making many copies it substitutes

a plurality of copies for a unique existence.5

rdt t t g t d t t t tw t wk t dt tt. Wt t t wk t ttt t t d t g wk t t t.

Familiarity

Wt t t t gt k t tg, t gd t t t . T t gt

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t tt dt. T g td t dd d g . m dt k t t gt t d g wwt. T t t k t t t ,g t t t. Dt t t t

st h t t dt t: Easilygrasped images are the signature of todays culture of consumer

architecture. Subtle experiences of perception as well as intellectual

intensity are overshadowed by familiarity. A resistance to commercialism

and repetition is not only necessary; it is essential to a culture of

architecture.6Wt t t ttd gtt t w, h d t wd t t tt. ft g t t t t kw, t d tt q t d t t gt d t . T qt wt t tt t gd k tt d tt.nt t t t t t gt t t t td t t, tw t td twt dt tt. T t t tt t t t gt, t t

tg t t w dgg.

6 st hd. b ykftgw, sth; pd id Gatt 11(Tk: a.D.a.edt 1993) .17

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Deprivation of the Experience

T d t t g, ddd t t tt tg d ttt. T wt kw dt. hw, t gzd t t ttt t t dd d tt w td t t dt gd. a mtg t t : We in the Western worldare beginning to discover our neglected senses. This growing awareness

represents something of an overdue insurgency against the painful

deprivation of sensory experience we have suffered in our technologized

world7. mtg dd t t d, t t

dtdg t . T d t i w k t tdt kd d t dt. rg i gz dt, ktt dt d t dt. si k t dtt tw dt kd d it d t d d w t dtt .Kt t t t t t, tt t k t tt d, t tg tt. a t dt t gdg t

, t t d w w t t tt wt t.

Sensory Deprivation

W tkg t ttg t t g, wgz t , , t d . i w t dd tdd t d t. Dt gg tq t

t g t tt, i gz t td tt t gd t gtg t t t, w t ttd kttkwdg. i t d tt t tt, d t tt, t tt, t dg t w t t d t k. hg ttg tt tt, t t qt. T t t tg t t d z . T t g

t t t t d tt t t. i tgd t qt tg tt d tt g

7 a mtg,Tg:T hsg tsk, (nw yk:h & rw,1986) .xiii

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wt t, w t kwdg t wt tg t wtd t t gt t gd.T , t t , gdd t wt t tt t. e kwdg tt t t g k t t t gt t t wt

t t. T t t qt qt d tt, t t t t d qt t w g t t k t. T t t w d t , g t d t td t .

Kinesthetic Deprivation

Ktt dt tgtwd t. nt id t t g tt, d t ttq t g g. T dt, ,ktt dt g kw d gzd .i t i w dd t t ttgg t t t, t ktt dt tt gg -w d -tt

t. T dtd t t i tt wt dt dt,kt dtd ; A sense mediated by end organs that lie inthe muscles, tendons, and joints and are stimulated by bodily movements

and tensions.8

s t qt t d, w d g dd t. stt kg kt t t dt dt g d t, w, t t t d .

T t kt t t , t tg d w dd t, wd t t d d d qt. T t-gd t , -dtg, d t. a tw t dgd gd, tg tzd edwd h k T hdd D: Our urban spaces

provide little excitement or visual variation and virtually no opportunityto build a kinesthetic repertoire of spatial experiences. It would appear

that many people are kinesthetically deprived and even cramped.9 nt

8 Wt TdittDt(sgd (ma),G&c m,1971)

9 edwd T.h, T hddD (nw

yk: a bkedt, 1969).62

Gg Tk,b)swd bdg(T, f,1989)

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d t t t t tt t ktt ttk h dd, w tt w t t tttt, t d t g g. nt t tw dtt w d t, t t w w gd t t.

Gg Tk g t tt gdg t tt. h g kwdg kt t t w wt t t. htt q dt t, g, , dwdt, (-) tt kwdg wt t w t .Tk t t kwdg t t d tt ttd t. T t tt ttg w g, gdg d ttg t t t. s yd, t t t wt t Tk, gzt wk t: In an era when much of life isexperienced statically, watching transmitted information on violence,

prowess and crisis, the visitor to Trakas site travels a site physically.10

T ttt t t t tt d dtgt t g w t t t qt ggd t t t wd.

Haptic Deprivation

T wd t tt t gg. W w t t g t t k , t t tt t d g kd k d t dtt t . o t dt tdtdg t k d t t t a mtg:[T k] is the oldest and the most sensitive of our organs, our firstmedium of communication, and our most efficient protector []. Even

the transparent cornea of the eye is overlain by a layer of modified skin

[]. Touch is the parent of our eyes, ears, nose and mouth. It is the

sense which became differentiated into the others, a fact that seems to

be recognized in the age-old evaluation of touch as the mother of the

senses.11 i tk t qt t w t tt t d

t t t k. Wt t k t t t d t , wt gt tt t w kg t k t.

10 s yd,Gg Tk:ctt,W,Dwg (l

j (ca): QtK pt,1992) .8

11 amtg,Tg:T hsg t

sk, (nw yk:h & rw,1986) .3

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T k tg t t q t d dg q tt d t t t .T t t t t tq i ttt t g jp htt d T t: The architecture of the eyedetaches and controls, whereas haptic architecture engages and unites.

Tactile sensibility replaces distancing visual imagery by enhancedmateriality, nearness and intimacy.12 T t gzd p g, wt tt d t d t t t t g . T g tt w tt t t t ddd t. s, t k, dgd w t t t, wt t, tt t dt g, wt t td t t t tdd.

12 p,j, httd T:nt fgatt(attrw, j2000 .78-84,

.78

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Space Body Mind

T d t t k t w tt tt. T dtd t , t dtd t t t t wd. T i

tgtd t t t t t t.T t tw t, t d t. T rtt g t t t t t,d t g d t. T t pg att dg wt t t d t,g w t t .

c s,c)b T(T, it

1969-1978)

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1 j j.G, Ts cdd ptst (ld:

a d uw,1968) .102

2 D.y.p.hq dj.f. stg,a tt std ht sg; j.ng,. 93, . 6,2005, .3036-3043. i Gr-d--T,T it t s T vtd ret[2006] www.dt.

/g/Gr-ieee-mm-2006.d [ 2007]

Relevant Concepts

i t t i w t t t tt i tdw dg t d t g d t: htt, Kt d st. T

t d t tgt tt t t,t t dt g tt tt t t k dt dtdg t g. i dt wt t tt t t t t t t t t t d t t w t.

Hapticity

G t t t t t t td t dt t tt. T dt t t t t d t t t t. at t t t wt t ktw g t . W t d gttd, t t t dd g tg tt t tg. i t tg dtd t t

tt t k d t t t. hwt t q d dtdg, t t t dt G dtd t: [] the haptic systemcan yield information about solid objects in three dimensions, whereas

touch, in the narrow sense of cutaneous impressions, has been

supposed to be capable of yielding information only about patterns on

the skin in two dimensions.1 G t g tt t-d dtdg t t. Ttd d t t tt t tt t t t t. G r-d--T t t d dg wt t t d t t t t t: [] the word haptic [In experimental psychologyand physiology] refers to the ability to experience the environment

through active exploration, typically with our hands, as when palpating

an object to gauge its shape and material properties. This is commonly

called active or haptic touch, in which cutaneous and kinestheticcapabilities have important roles.2 r-d--T t t t g t w g tg; t q t

st h,D)D p tGd sw(nw yk, 1987)

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d k i t t d k t


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, d k. i t t d kt t t gg t . T t t , dg t G, d td t t, t t, d tg, t-tt, d t-.3 o t t kt

t t, t d tt tt t w dt wt t.

T t t, i tt t G tht: The sense of touch in the everyday meaning of the term turnsout to be an extremely elaborate and powerful perceptual system but

not a sense in either the physiological or the introspective meaning of

the term. Nor is it a clearly definable group of senses with just so many

nerves and corresponding qualities of sensation.4 T t td G gt tt t t t qt d . it g wd g tt t d w dg t , tw t wt g.

Kinesthesia

Kt5 wd tt d qt t wtt dt gd, t dt t t t t. it dt t g g t . o dtdkt w wtt g t t.ed t t t t t d d t, dt kw w wtt t, t td g qtd gzd.T tt t t kt i t dtdt t. i st a k tt tt, Dagt k t d kd tt: Othersenses beyond the limits of the visual and the spatial, such as audition,

and metonymically the entire body through time, rhythm, movement, and

speed become relevant as part of representation. Speed, a dimension

inseparable now from space-time, is perceived with the entire body and

in particular through the vestibular, a sixth sense that, named after theinner ear, accounts for balance, motion sickness, dizziness, and vertigo.6

T dd t t i dg wt, qtg

3 j j.G, Ts cdd ptst (ld:a d uw,1968) .135

4 id

5 Kt

qt tpt,w : ttt tdd t td tt t t g t

dtwt t d, WtTd ittDt(sgd (ma),G&c m,1971)

6 D agt,

rtt tttw td t st a,pt:att,Tq drtt(atd: G+b

at itt,2000)

ukw pke)ptt t st bk(ld, egd,2007)

27

t t tt tt agt t


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7 j j.G, Ts cdd pt

st (ld:a d uw,1968) 111

t t tt tt. agt tt t t , t t kg tt t t tt t t , tt t dgdg t t t t d .T tt tt t wd . addg t

t wtw t d w tg td dt t. i w w w tg t tgt jG k T s cdd pt st, ttt t t wd g ktt t.j G t w wtt t t tkt t gt , d dtt wt t g t t, g ttkt t d. The arguments of Charles Bell, whoconceived it in 1826, should probably be interpretated in terms of what

we now call re-entrant of reafferent input, or feedback, not in terms of

a separate department of senses. To speak of the sense of kinesthesis,

therefore, as the textbooks do, is merely to cover up ignorance and lump

together facts that need to be kept distinct.7W t d i tk tt t ktt dg tt. Tw t tt kt qt g t t

t g d t. sd tt tt tk kt tg ttdt g dt t t t t.Kt ddt td t, g t t g ktt dk t . T ttdt t tg g t twt . s tt td d t t g g t. T t td

g t d t . T d tt t t d td t t.Kt t t d t, t ttg t.hg td kt g d t, i w t dtdg t t dgt dt dd G: The discrimination of body movement

from non-movement is too important for the organism for it to havebeen wholly entrusted to any single group of receptors. There are many

kinds of movement that need to be registered. Articular, vestibular,

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cutaneous visual In all these perceptions the sensory quality arising


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9 edwd T.h, T hddD (nwyk: a bkedt, 1969).62

10 a kw

-g

cutaneous, visual. In all these perceptions the sensory quality arising

from the receptor type is difficult to detect, but the information is

perfectly clear.8nt t t t d td t dtt tt kt t d t. T wt k t t tt, td tt

q t d t d. T t t td t wkg, t d-t t t .T t d i t ktt d t t tgz t w dgg, i k t edwd h d tk d t ktt d t. Wt t t t tq t t , t t d t h g t

ktt dt. T t tt dg t h gtktt dd d d9 t kt t. it tg d d, t t tt t t t d t d d t.

a ttg t dg wt t k10, ttt gd g. T t t t

t gd. T g t t tt tg t t, gg tg t t ddg t t t td d t. Dtt dt dg qt t, k t t t t t, t t ntd. it k tt t , t t t g dg dt, t t t tt t t td t, Dt t. nt,

t ld t t qt t g d tg k, t gt d kt t T. nt t t, t t t k t d t tt t t t t. pdg t wt dt t d ddt t tt t.a t t dg wt ktt

dt d t t t t j gd.Wt t t dg j gd ttt d t t. edwd

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h tdd t j gd t t t d w t


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h tdd t j gd t t t d w td wt : [] stretching visual space by exaggerating kinestheticinvolvement [] to watch his step as he picks his way along irregularly

stepstones [] At each rock he must pause and look down to see

where to step next. Even the neck muscles are deliberately brought into

play.11

T j dg t tk t t t dt t, t t t , t t ktt t .

Synaesthesia

st t d tt g, t d t. att

d t t d tg t , w t wdd t t wt w kw 12.T t t g g qtt ; g t t t d tg t 13. hw, t t d g tt t t t t qtd.

i w tt wt t dt g t t et G,i d t t t tt t t d wt t w t g .G d t : The splashing over of impressionsfrom one sense modality to another.14 T wd ttg; g t t qt t, gttt d t . T wd dt G g t t t. rg t t

dt t t , w td t. a w t t G d gg t t tt t .i tt t ttg t k t t dt g gtc e. ogd: the use of descriptions from one sense modalityfor sensations from a different one.15ogd dt t t

t dd G, t gt d tt t t dt g . T dt t gg t d t dt.

11 edwd T.h, T hddD (nwyk: a bkedt, 1969).52

12 Gt b,o st Dd 4126-36 31

13 Gt b,o st Dd 4126-36 .31

14 etG, at di: a std t pg ptrtt

(pt:ptut p,1969) .366

15 Dd ct,pg att (nw

yk, j Wd s, 1974).76

30

T tt t g , w dt tg t


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16 j m. m,fk vdk,s Dg

(m (mn),ut mt p,2004) .221

17 j m. m,fk vdk,

s Dg(m (mn),ut mt p,2004) ,221

18 j m. m,fk vdk,

s Dg(m (mn),ut mt p,2004) .221

T tt t g , w d t tg twt d t, tt t t t. Dt t g t gt d t tt t t t. T dt, t t gg q

tt t , t g g tt d t tt gt tg g tg gg.T t t i w t wt dg t t j m d fk vdk t k s Dg: Studies indicate that colors have beenidentified in conjunction with temperature, weight, smell, sound, and

even taste16. T dt tt t t

g . a t tt dt , w gg , t t dg t tt g gg dt-g d.m d vdk t: Collectively, such experiences arereferred to as synaesthesia, the involuntary physical experience of a

cross-modal association.17 o twt wd t,

t tt t t t k t t wg . T t ttg d wt dt t ddt t t t t .hw, i dtd t t, t t t t dtd d t , t t tt. [] the stimulation of one sensory modality reliably causes aninvoluntary perception in another modality. Such percepts are, moreover,

durable, discrete, stable, and memorable.18 h t t

td g, t g wt tt t t d t t w.st tg t t gg tg t .

s i td tt t t t t dt . hw, t t t w t t . T tgt t i w t t t d

G gt W Wdt d h stz. Wdtd dg t t t t twd ddt t t.

31

p Gt b wt t t t


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Wdt: Wundt claimed that synaesthesiae derive from the relationshipbetween the different senses and feelings.19 h W pg t pg att w ttd tt t tw t d t g d t. a

t t g td Wdt t wt t g tt t t. h t ttgt t gt t t t, tg dt tt t. f W tt: Our languageregularly uses the word faint both for color tones lacking brilliance

and for physical fatigue. Likewise, we speak of warm and cold lines:

the warm lines of a woodcut, for example, and the cold lines of a steel

engraving. These in turn are oppositions that correspond to the pressure

sensations of hard and soft.20it ttg tt W t tg twt t d g, stz tgt tg d t tt t tt w ttt t . T tt t twd t dd g T at ot d btg att. T t dt t dtt t, t t

. Wt t d k t twt d t g w t, t d t tg d d t t t tt t t t g w tt. T t td t dg wt td g tk t. T d tt gtkg d t w stz dtd td d t t stz ggt wt t d m-

pt21.f t t d t t i wt t t t t t t d t t d g. i d t d t i t t stz g, w tt tt:the synaesthetic characters are of more fundamental importance for

perception than the supposed acts or sensations of seeing, hearing,

etc.22

19 Gt b,o st Dd 4126-36 .32

20 hW,

pg t pg att(1886) : hf mg,etik, et,f d s:p G att

1873-1893 (stm: Gttct, 1994).158

21 T t t,Ktad wt k wt ttt sd eg.

Ktk dtzdtKttt m-pt,Dz dstz

22 Gt b,o st Dd 41

26-36 .35

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Themes in the Psychology of Architecture

i dtd t t t g tt t

t t. T D lg, st otrt, d atg ot. T t tt t tt t t t dt wt ; t, tt d kt. mt tt t t wt tt t t t t w g dg, d tt. T t w t wt w dd t t , t tg dtdg w t t t t t t t ttg tt .

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cameras and microphones, with which the brain can see and hear.

L ki d li i i i i h i Hi h d


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Looking and listening continue to improve with experience. Higher-order

variables can still be discovered, even in old age. Getting information to

the receptors becomes troublesome when the lens of the eye and the

bones of the ear lose their youthful flexibility, but higher-order variables

in light and sound can still be discovered by the artist and musician.24

Wt t t d t g t wt g, t t gzg wt t g t . i wt t dd w t t t dk t t t tt t t t w.f t w w t d d t, t tk t tt t, d t t t t . T

t qk w t t t t d t t d t dtt. T k t d g gt dtdG tt tt: It is not an accrual of associations, and attachingof responses, or an accumulation of memories. Perceptual learning has

been conceived as a process of enrichment, whereas it might better

be conceived as one of differentiation.25 W dtt

G dtd t the detection of distinctive features and theabstraction of general properties.26rt t wd t t tt g gt tg. Wt G ttt t tt dd g t t d t, t t tt w kw w t gz wt t d t. T t t t, t ttt t g t tt kg, i t qt adw l: [...] as we grow older, our perceptual development is

characterized by gradual differentiation [].27

a d td, g t k t dt t t. o t dt dtt gt t qt tt. T t t gtt dtt. Dd ct t t t d t pg att; t k wt t t td t t t t tt gd. h dd tt: The more regular the patternof reinforcement the more quickly will the behaviour cease once the


25 id .269

26 id .270

27 j m. m,fk vdk,s Dg(m (mn),ut mt p,2004) 221 69

adw D. l,st cgt md c dat:sdct m, ut sd. tt://www..d.

d.//24 m 2001

35

28 Dd ct,reinforcement is stopped.28 o d t tt w t d t t d tt t t t k t


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pg att(ld: ads plTD, 1974) .53

29 id .57

30 id .57

31 id .61

t d tg td tt, tt t k tg t t t w. nw t t dtdt t tt t t tt w tkg t g tt tg gt tt t gt tg g.

ct tt tt will respond to them [buildings] on the basisof the learned patterns29, t tt no matter how new the particularform produced the chances are that people will have learned responses

that will enable them to deal with the building, or that they will be able

to develop them.30 h dtg wt t t t tt td w d d t, t tt d kwdg t t g gz.T d dt t . T

d wt t t i w t wt g dtd d wt d . p d d k d d wt, t tt.sd t dgt t t . ct tk t t d t dtt t qt wt t :an intriguing definition of art is to define it as something which

has reinforcing properties (in other words we will learn to repeat theexperience of it) but for which no specific function can be found. This

off course raises many problems but one interesting possibility is that

a building, or part of a building, may be rewarding in its own right (i.e.

without reference to more primary reinforcers). If these reinforcing

aspects of buildings could be isolated then the possibility of using

buildings as an integral part of the learning process would be very great

indeed.31

ct t gt ttg . at , t t kg tt t t. T t g, t tdg t t w , t. bct dt t t t dg gt t d t t g t t t t.Dt t gg wt t t gg dd tt (t ) dg, i t g t t d t t t.

36

W dg t t g t g t tt t T qt wt tg d


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t t . T qt wt tg d d t g, d t t, dt t d dtdg w t tt. T t tt t dt d d

dt tt t t t g t t d , ti w t t t t dtd t t t t . ft t t t , d g: The empiricist approach is based on the propositionthat the perception of shape is a complex experience derived from an

array of simpler psychological sensations, and that both sensations and

the resulting experience result from learning about the ways in which

particular physical properties are characteristically interrelated.32

i tt wt t t t st r t, w t t: S-R (Stimulus Response) theory (nativism),mainly in the person of Gibson, claims that the relationship provided by

the environment and the received image is unfiltered. S-R assumes many,

if not all, abilities to be innate. It is also known as the Direct theory.33at t t t t wt G d t g, t

t t tt t t t t dt tt t t d t gg .Gtt dd t dt tw d s-r:Two important conclusions reached by Gestalt are that perception

comes from a field of interrelated data, rather than individual bits of

information. Human perception structures its environment, rather than

just reacting on it.34 The biggest critique on Gestalt is that it rejects

cultural difference and that its dealing with only two-dimensionalconstructs, making it a static understanding of things. Gtttd d t t ggg d wtt t. hw t t d tw-dd tt t, kg t t dt tt. cd gt j pgt ttg t t t Gtt t tt kwdg t - tgt w t t tgw t, twt ggg kd dg wt t:the perception of space involves a gradual construction and certainly

32 jhg, vpt att,: v 6:att dv t(193) 37

j m. m,fk vdk,s Dg(m (mn),ut mt p,2004) .46 q19

33 j m. m,fk vdk,s Dg(m (mn),ut mt p,2004) .50

34 Dd ct,pg att (nwyk, j Wd s, 1974)

.34

37

does not exist ready made at the outset of mental development.35 The

subject directs perceptual activities chooses points of centration and35 j pgtd b


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subject directs perceptual activities, chooses points of centration, and

relates objects to contexts.36T t pgt t t g t t. T t wt t t z t d wt t d G, i t

td t g, tt wt t d G b, f d r. T d t t d t tg dt t t wt t: Incontrast to the Gibsonian approach, experience or learning plays a much

larger role in conventional approaches to perception. Such perceptual

learning requires memory of past experience and the capacity to

associate present experiences with past ones. Memory and association

of this sort imply in turn that cognitive processing is an integral part of

environmental perception.37itdg t t t q t d t t ddd d t dtd tt t d t tgd t t g tt, , t t dtd t t.a t dt tt d t qt wt ttg w , d t w t

t w tt w t dg . T td wt t d t. fdt t d t k mtt d m hbg. h t w t w t t t t wd: [] the body, placed betweenthe objects which act upon it and those which it influences, is only a

conductor, the office of which is to receive movements and to transmit

them (when it does not arrest them) to certain motor mechanisms,

determined if the action is reflex, chosen if the action is voluntary.Everything, then, must happen as if an independent memory gathered

images as they successively occur along the course of time []38Ttkg d dtg tw t wd d t d t t tgt w g tkgt.

d bid,T dct, t.f.j. lgdd j.l. lz

(1948) (ld:rtdg dKg p, 1956).3

36 j m. m,fk vdk,s Dg(m (mn),ut

mt p,2004) .49

37 p a. b,j D. f,r j. l,etpg(pd (pa):W.b. sdc, 1978).25

38 h bg

(1908) t. bn.m. p dW.s. p,mtt dm (bk(ny): Z bk,,2005) .77

38

Subject object relationship


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39 p a. b,j D. f,r j. l,etpg(pd (pa):W.b. sd

c, 1978).23

40 jk uk,Ktd nt(fkt: vgut Gh,1980) .335

41 jp,T Gt fg: alk t tpg

att .ed. Kt ntt,Tzg nw agd att:a atg attT 1965-1995 ( bt:pt

attp, 1996).450

i w tt t wt tg j G wt t ttg ttt b, f d l t Gg g: According to Gibson, it is the ecological

properties of environmental stimuli that are important in perception. Inthis case, ecological implies reciprocal adjustments between individual,

social, and physical environments. That is, Gibson does not ask, What

is in the head? but instead, What setting is the head in?39 Gt k tt dtt tw t d .h gz t d g d t dg, tgd t t t t d tt. i t wd tt t t wt t t dt.

i tt t t t t gt tt t t tdd wt t dg t d d.

i t i w t t j uk gdg wt uwt: [] Whichever subject we might choose from thechain of animal beings, we will always find another Umwelt constructed

around it, an Umwelt evincing everywhere traces of the subject, for every

subject is the constructor of its own Umwelt.

40

T qt t t t dtdg t t tt t dtd uwt t d tt t wd d t? T w t qt t tt t t t t t tgtd.

fwg t t t t d g, dd h d m-pt. i g i w d t wt t

tgt m-pt, wtg t t t d tt. i w t k t dtdg tt d t t g dd m-pt. att t j pd g : striving to depict phenomena appealingdirectly to the consciousness in its own dimension of consciousness.

Phenomenology thus means examining a phenomenon of the

consciousness in its own dimension of consciousness.41T ggttt t g t , dgd td t d .

39


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T t t t t g, wtt ttg tggt d td i w tt wt dg tt

o e,f)sg y


41/94

g g o e d sg y sg [2001]. i ttt g t t t d t t t wdw, d wt t w wdt. a t

gt t t g t g d t td t, d tt w g t dtt. D b t t tw wt e: Youcan pretend, with a small syncope, that you see yourself seeing, but

its very hard to be a subject, or rather very hard to be a self-reflecting

subject. Either you look through, and then youre a subject looking for

something else, or you look at yourself, and you turn yourself into an

object, a mirror image. Both pieces remind you of the fact that youre an

experiencing mind, that youre a subject- youre subject and object...42T tt dt d t w t t t t.it d t wt t gt g, tdt dtdg w t g tt t wd d . nt t t t t d ttg tk, t t t t. Tt t kwt g d, e tdg m-pt dttd t wgqt t tw wt b: Youre not only a productive,phenomenologically active subject, youre also produced by the piece.

You become that subject-object, that ambiguous space where, as

Maurice Merleau-Ponty would say, everything takes place.43T ttd t dt t t g wd m-pt: Phenomenal reality is [] the result of sensory-emotionalexperience, suggesting an ongoing dialogue between human beings and

the entities that surround us.44Wt e t t t wt t tt t t t t wt t ggdg. b dg t, t -t dg d,td d d.o d tt t d d m-pt g gt t e. T d t t d tt: The artistic dimension of awork of art does not lie in the actual physical thing; it exists only in the

consciousness of the person experiencing it. Thus analysis of a work of

art is at its most genuine introspection by the consciousness subjected

to it. Its meaning lies not in its forms, but in the images transmitted by

42 mdGzt, oe (pd:ld, 2002)itw wtD b.19

43 id .19

44 j m. m,fk vdk,s Dg(m (mn),ut mt p,2004) .24

gsg pt73 (T m md at,nw yk, 2001)

41

the forms and the emotional force that they carry. Form only affects

our feelings through what it represents.45 T gt t45 p.j. T


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tdt qt t t. T t t tt w td t.

hg dt wt g t t t, i w wt ttt, t st h. Wt t t g tkg t t d t d tt, t t t w tkg t tt.att t , t dg wt. Phenomenology as a way of thinking and seeing becomesan agent for architectural conception. While phenomenology restores us

to the importance of lived experience in authentic philosophy.46 i t

tkg, t d tt Dd s, tt g t w t t tg tt w td.47

nw tt w td tt g tkg t tg d tt,t t t d t wt t w tgdt , tt, tgt.f t i w t twd t wtg st h: Experienceof phenomena sensations in space and time as distinguished from

the perception of objects provides a pre-theoretical ground for

architecture. Such perception is pre-logical i.e., it requires a suspension

of a-priori through. Phenomenology, in dealing with questions of

perception, encourages us to experience architecture by walking through

it, touching it, listening to it.48

T t w t g tt tg t t

tt wkg tg t t ttg t. hw h g t -tt t , g tt tt t t t t tt.m tt dd t tt t wt dgt qt t dd . rt ttt d g t , gt dd .T g w t t t dtdg t t t t, t t t kt t t t

Gt fg: alk t tpg att

. ed. Ktntt, Tzg nw agd att:a atg attT 1965-1995 ( bt:ptat p,

1996) .449

46 st hd. b ykftgw, sth; pd id Gatt 11,(Tk: a.D.a.edt 1993) .12

47 j m. m,fk vdk,s Dg(m (mn),ut mt p,2004) .230Dd s,pgd et-

b r, ad et,b, dDg, d.eh. Z d GT. m, . i(nw yk: p, 1987) .4

42

48 st hd. b yk

d d t t d td t t. T t dtdg t t t t, d t t


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ftgw, sth; pd id : Gatt 11,(Tk: a.D.a.

edt 1993) .12

49 p a. b,

j D. f,r j. l,etpg(pd (pa):W.b. sdc, 1978).48

50 p,j, httd T:

nt fgatt(attrw, j2000) .79

t t t, t t t.

Animating objects

T t dtdg w w tt t t dg . et gtr d st K td t t tgzt dt t t t. o t t t dtt, or the degree of familiarity that enables the viewer tocategorize the contents of a scene the greater the identifiability, the

greater the preference.49 i i tk t d tt

t dd tg w t t t, t t wtw t tgt wt w gz t. i g w dt t wt d wt t t/t.i w tt wt t dtt wt t tg t j p: Materials and surfaces have a languageof their own. Stone speaks of its distant geological origins, its durability

and inherent symbolism of permanence; brick makes one think of earth

and fire, gravity and the ageless traditions of construction; bronze evokes

the extreme heat of its manufacture, the ancient processes of casting

and the passage of time as measured in its patina. Woods speaks of its

two existences and time scales; its first life as a growing tree and the

second as a human artefact made by the caring hand of a carpenter or

cabinetmaker. These are all materials and surfaces that speak pleasurably

of time.50i qt t t, i d t w wt wtt g gt. p t tt tt t

gt td. Tg gg w t tt t w t, g tgt t d w gg t, tg t wt t. e t t t tkg gdg t , tw dd tt t t gt. T i w t wt t dtt, t wt t t wt.

i d t d t i w g w pg t pg att h W. T tt t tt t t

43

qt i w t G stt T att h: because weight, pressure, and resistance are part of

51 G stt,T tt h


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our habitual body experience, we unconsciously identify with these

characteristics in the forms we see.51 T gt wtt gt t wd W pg t pg att, w k tt: Physical formspossess a character only because we ourselves possess a body52gg t human beings with a body that teaches us the natureof gravity, contraction, strength, and so on, we gather the experience

that enables us to identify with the conditions of other forms.53 Wt wt g qt w w t tt t t g, tdg dt t t tg d t . T

tgt d t dt : Our own bodily organization isthe form through which we apprehend everything physical.54

T tt wt d gzt t W t t tw tt d . Wt tt d t, w W d t t tt . mtt gdd t wtt w, gg t d t, k d w ddt dk. i t tt d , gg t tt. it g t tt t t tt tt tt. Tgt w t t t -dtt. s-dtt t twd g dg tgttt. W tt tt t gt t t , tgt t d, tg t wt t tt t t dd g t t t ttd

d , kg t t gt tt dtt: Architecture reaches its culmination at that momentwhen the individual organs detach themselves from the undifferentiated

mass and each member appears to function in accordance with its own

purpose without affecting or being hampered by the body as a whole.55

W t kg t , -dtt, tt: rgt, st, ptd h. rgt dtd tt dtt t t, w t tt dt tt gt dt t t. a

h:a std tht Tt(1914) (ld,ut

pk 1961).119

52 hW,pg t pg att(1886) : hf mg,

etik, et,f d s:p G att1873-1893 (stm: Gttct, 1994).151

53 id .151

v dtd d zd tggt tttt t, WtTd itt

Dt(sgd (ma),G&c m,1971)

54 hW, .157

55 id, .161

44

t t, dg t W tg wt t wt t t t d. st t d t t t t d


45/94

56 hW,pg t pg att

(1886) : hf mg,etik, et,f d s:p G att1873-1893 (stm: Gttct, 1994).166

t dt t t t d, t g t g t t ; w t tg w t. h t t t t t wt t t dt g wt g ,g t t t. i d t t t t t t w g wt g , tk t w wt tg t kg k w d t.ctg t t W tk tdt g qttg td t tt. h dtd t tt gt dt t, w t t tt

d d. T tt wt kg t t dg t. W tt t d t d d t td t t t , g t . fwg t, w d t t d wd t g d t d t. T t k tgd t td w g t t-d tt, t t ttd g tt, w dt t t d g dg.T w dt wt t k t t gtg t gt t, t w dt wk wt t-d tt d dt d t.h dtd t Kt t. Ktdtd t the unity of various parts under one idea.56W tt t , t d tt k t d w .

s t d g tt t dtwt t W. i t w tg wd t t g, t g d d. W t wd, t tg d . W tg g t d, t,gt d . W t ttd t t ,t, t d wd dt. i tg q t k, , ttd, , gd td, td d .T t dt wt t t t g tg

tt d gt t tg t d d d.Wt t i d t t t t g twd tw t

45

d t g wt d tg d tt. T dt t t t, dg wt t t t dt t T t d t


46/94

57 hW,pg t pg att(1886) : hf mg,etik, et,f d s:p

G att1873-1893 (stm: Gttct, 1994).157

t dt t. T t d tg t d t ttt.

b i w t wt t t t t ag wt m, iw t t k W, kd t tt qtw dg wt t t t. i w tg tt t t t t t w t t tw t d t gt t gt. T tt t w t t t, g ttt kd g tkg d t t t t.

T qt W kd w: Is the bodily response acondition for the impression of a mood? Are the sensory feelings simply

the result of a lively imagination? Do psychological and physical activities

run parallel?57T t qt dt t dwt g, t gt dt tt tg t tt . it wd tt t t t d g td dt d td.T d d td d dt t t t tt t.hw t qt w t qt g.rgdg g d gt t, tt g gt. ntgzg t gt g . it t twd t t dtgt t d gt g. T qtwt g d tt t

qt t , t wd wt . bt w d t , d t dtd gd t wtttg? rt i tk t qt d dtd t -dt t tw g d tt.

s wt t qt t t W t t tt, tgt wt d t t t t, t t tt wd t wt g tkg,

dd t t.

46

Analogy with Music

Dg t t i t g t dt g d


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58 s yd,Gg Tk:ctt,W,Dwg (lj (ca): QtK pt,

1992) .8

59 stt G,T tt h:a std tht Tt(1914) (ld,utpk 1961).246

Dg t t i t g t dt g dt w dg tt t t t.rt i tg twd t g d t tw dg tg, wtt kg t g t, wtt t t zg t . T t t ttg t t t. Tt t t w w d tg ttt, tg tt d wtw dg t.

i tt t wt dt t t Gg Tk s yd: Routes of the Hart orchestrates the viewer/ participant

experience [] The journey lead from the domain of consciousness tothe zone of the unconscious, suspending our literate and reactivating our

preliterate spatio-temporal genes [].58vt t t t wdtt. yd t t tt t t t t t tw t t tw t q.T t tt t wt yd tt i tt k t t t t.T t t t, , w gtgd t t . s tt t ttg tgt t t t twt t gg w. it t t.att t G stt t w dg tt r tt: [Renaissance] speaks by mass,space, line, coherence [...] It makes them echo to the bodys music its

force and movement and repose. And the mind that is responsive tothat harmony, it leads enchantingly among the measures of a dance in

stone.59 stt t g wt t r. h d t t g wt t d d, t td t . ad w i k g t t t, t t g wt d g t .

T tw t w k t t t

47


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t gt, t t t d t. T d t wd W: The idea that architecture is frozenmusic simply describes the common effect that both arts have on us.

m G)d r,G p


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60 hW,pg t pg att(1886) : hf mg,etik, et,f d s:p G att1873-1893 (stm: Gttct, 1994).161

music simply describes the common effect that both arts have on us.

The rhythmic waves press in on us, take hold of us, and draw us into the

beautiful motion; everything formless dissolves and for a few moments

we enjoy the good fortune of being freed from gravity and the downward

pull of matter.60 T tk t g t t t tt td t d tt g t t t tt. m t t g, dg t t g gt.T tg t t t tt, i wdd tt t G p b,

m d r. o t k t t dg t g d t w wd d t t gd t tg. T Gp t w t w d t t t t tg d t d t t.b t gt t dg t t . itt dg tt t t wt t t tt gd t, k wt td d. i t G p t twt wt t gd d t t gt t .T t t t w.s t tw g d d td, twd d . et t k t wt dg , t t gd. lk t t t t t, t

t d g tg t dg.

Breathing and Architecture

a t t g tt i w dwt t d tg t t tt. i tg t t t t. addt tt k tg,

kg t k . W kg twtg d , t tt wt t

(b, s,1928)

49


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t, tt d t t. m qt d tt k d, tt tt tt.hw t t tg w t

o e,h)T Wtpt tT h


51/94

61 hW,pg t pg att(1886) : hf mg,et

ik, et,f d s:p G att1873-1893 (stm: Gttct, 1994).156

62 id .151

63 id .173

g , tg dt t t tt. Wtt d td tt tg t g tg k , t t t t. Tt t ttg gt i w t t tgt W t tt. h tg dt t d tgk tw tg d tt tg t .i w tt wt tg t: The rhythm ofbreathing that we perceive in others is what is most easily transferred

to us. We may remain impassive when viewing the physical pain of

another person, but we are horrified to see someone suffocating, forwe vicariously feel the agony. This fact is important, for breathing is

the most direct organ of expression.61 T dtdg ttg tg tt t t tt, t t t tt tt tg k. T tg t t tg t t t .

T t tt t tg gzd W qt

dt . it t t tw tg d t: Theposture of the body affects the circulation of the blood and the rhythm

of breathing. Our consideration of conditions of balance thus leads us

to what in architecture has been called serial regularity or eurythmy62et t d, dtt. T dg d k g t, t wg dw t t tg. i tt

dg t , t tt g, , d wt d t tg.f t t t twd t t ttg g .W t t t : Of great interest is therelation of proportions to the rate of breathing. It cannot be doubted that

very narrow proportions produce the impression of an almost breathless

and hurried upward striving. Naturally, we immediately associate them

with the idea of tightness, which makes it impossible for us to continueto breathe deeply with the necessary lateral expansion.63 pt

T h t Tt mdm (ld,egd, 2003)

51

d tg kd dt W, ktd tt t t, w dt kd t tg t.


52/94

a t t dd W ttt t tk tw d tg: [] our respiration harmonizeswith the expansive or narrow nature of the space. In the former case we

are stimulated as if we ourselves were the supporting columns; in the

latter case we breathe as deeply and fully as if our chest were as wide

as the hall.64 Wt t gt t t gt g td t d t tg t t t d tg tg,t k wt dt. T t dd tg t t, t t t t

Gt w kd: We ought to sense the effect of a beautifulroom, even if we were led through it blindfolded, he was expressing the

very same idea: that the architectural impression, far from being some

kind of reckoning of the eye.65T g t twd dtdtdg , t tg t , t tg t ,t t t tt.p t t ttdg t t T h t Tt md ld, t w t td t Wt

pt o e. T T h g tt t k td . T t t t t ttqt tt g dw t t t .o t t t d t t tt . nt t t g ttd t t t t .

at t t t Wt pt w t t , t tt ttd t dw t d gt t tt d. b t tt ttg t wt g dg dt d t t d g.T t T h, tdt tt t W, wt g d t t t, t t t. W k

t T h g d g d t t wdt,t tdt t t tt wt w g t

64 hW,pg t pg att(1886) : hf mg,etik, et,f d s:p G att1873-1893 (stm: Gttct, 1994).155

65 id .155

52

tg, t t . o d gtt t t W t td t g dtt t T h g dt t t k t ,


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t gt.

53


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Visited Experience Spaces

a w- t t tt i t t


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tt i td. T tt dt wttg t dt t t t, t d-

t g t tt t d ttwk t t wk, .m dt t t t -t wt t tt d wt dtdg wt t . T dt t d d j d bgd (att). T d-d t tdd t t t tt t tt gt t.

55

Wachsraum, De Pont |Wolfgang Laib 1992

i t dk tw

Wgg li)(W, Dpt, Tg)


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g d gtt . at

t i tt t kd w wt d t. i t t t d dtdt g t t-d. W i t t t

, t w d t t w. a z w tg i d tt . at t d t w t

gt ,w t t t w dt, w k t tdg.Wt d t t

t wt.

Jasper van den Boogaard

T t t t, w d gt dd g egt. T t d t t w t tt t w t t.

T tt wt t g t w t td t t t t t. T wd

56

pt, Tg)


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58/94

Theory

The tht eeded the de went fw: the p

je ke t u f n utd te e, ke the rden cte

ut f ue e. it wud e e t d th n the nd dun


59/94

59

we vted. The tutue f the ee wud e dne ut f nd nd

hve tw tunne nnetng the w f the te t the utde e.

[] The nte te e wud hve uf e n the entef vt t e dwn n t exeene the dng f the k.3

m tt t d d t tg t t- t t. T d d t w t tgtw g t wt d. it k tt t wd gt dd t d t.

in the uh e te t Kkdun, [...] The ethen w f thete detene the f f the eet vut. if u wud hnge

the f f the ethen w, u wud eve the k dffeent. a

u enng wud get ftten the vut-ke effet. a e n the

f f ue wth que enng ftten the k ete. yu

n eve tht effet ve e n ske.4

T t tt, t k, t t t t -tt. T t qt t tt t.

T t t t gt d 45

3 Gt a.m.

W, l Gk, jT: ctvt t D(T hg:st, 1996).129

4 Gt a.m.W, l Gk, jT: ctvt t D

(T hg:st, 1996).164

5 Gt a.m.W, l Gk, jT: ctvt t D(T hg:st, 1996)

g.116, .168


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Theory

Routes from the Heart travels the distance between culture, embod-

ied in the museum, and the wildness and passion of the sea [...].6 yd t t tt k w wkg rt t

6 s yd,Gg Tk:ctt,


61/94

61

ht. it tt t, w t ktt tg t t.

a tke vet e funne nwte f the f, ntdung the

und f fwng wte, n ntke ut end dwng nt the ud-

ng. The und ugget ethng nd the queu nune f the

levthn the w; thee e the gh nd hth f the ueu

udng n gn. The vtn ugget the ung f the

engne nd the gtn f the ew hed f the dek f

h.7

T t t tt t td ,t tgt t d w t tg g t dt ttt t d.

,W,Dwg (l

j (ca): QtK pt,1992) .7

7 id, .7

Pavilion Hearing, Kalkriese | Guyer & Gigon 2002G & Ggl)

(p hg,Kk)


62/94

h d d t t i t , d-g t tt d . W i wk twd t i i t g t -t t d . i wkt twd t t d t d. T i

t qt dk d d td. i t dd t ,t tt t t tk tg t g. W i tk d t t i t d gt dt. et t t d d d t . att t t dt tw d t d gd - t gt dttd t d t t . i t g wd td t , i t w, t t t t t t wd.

62


T , wkg dg, td tw td d . it wt tg t tt tt d t dg d t. T d d


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63

w wdw t g, t g t g td w,g t g.

ltg ttd, tg wt t d t dg. e t d dd g t t tt t d. it w t t t w, t g g tdg .

a g-w gttd wt dg tg

The Radio, Documenta 12 | Iigo Manglano-Ovalle 2007ig mg-m)

o (T rd,Dt 12,K)


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dg tg g t d-

t . T - t gt t gt.nt t t gt t -g, d d dkw. it t t t d

k t. idd t g t tw, w dt dk. f t i k g t t -t gt , t

w t td. b t t t t t t , i t tt t gt t. W i tt i t

t t. T t t t wd, t t -g t g. T t w t t d g, d wt d . jt t dt, t gt t , t tt d t d t d -dtd gt. T g gt d -t d . T tt g T rd dd t g g dt wd. at t

t t i t t dzz d .Wt t wd dt d?

64


T t t q t Dth. it td tw g g t , w - t, d t dk t t d tt t t tt T dk d t


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65

t tt. T dk d t -t tg , kg w td t t dk

d g t gt t t d.T t t tg t d-g gw tt tt dt tg w t . T tg t tt wt t dk t d t.W tg t t d tdg t t g d. T tt g t t t t- g tg d t gd, w tt t gt dt-

g t w. p td t td t tt d tgt t tt t d t gt d t t g ttt t dd t t. T t t wgtt gt d t tt g d t dt g t tt d, t d tgd, ttd ddttd t t t.

Theory

ig mngn-ove nttn fu-e e f wht eged t e e g wen . [...] phnt Tuk

ked n hdw, unted n edted ntu ght nd ve

n the ght hnge u ee dut t t dkne. [...]

Th e f egntn nfunded n n dent , whh

uffued wth ed ght ung thugh tnted wndw. on the -

n und f d tt nteut tnfed eetn f the

nde utde. mngn-ove eetu n, wkng uh wth the t f u ene wth wht n fnt f u, n-

tnue h ng-tndng nteet n hw we eeve nd e nf-

tn. begnnng wth n extng f, e t d udng

ehee ud, the tt eehe the tx f t, u-

tu nd tehng te nd ee n whh t entnged.

The eutng wk tnted nt n ethet ntext, w hgh

f nd efned, et mngn-ove tteg dut n ene

f dent utn. We e dwn nted nt et wene fthe nve fe tht he the nte wd.8

8 r st,Dtctg 2007(K: T,

2007) 280

ittg tt w t t t t tt t. T tk t dk wtg i td ttg t, w t tgt t t gt ttt


66/94

66

gt t t gt ttt.a t t w dt, i dd t t -

g. T tw , t gt w t gt ttd, kg t d w. it tt t t qtdt t t t gt dt.

Al Calor del Pensamiento, Documenta 12 | Gonzalo Diaz 2007

Gz Dzn)(a c dpt,Dt 12,


67/94

i g t, dk gd. i t , w gt w t t , t

t. i tt -gt. ltt tg - tg wt k. b i d t g t kd g d t tt d t dk. at t tt t d. i tk tt dt t tt d wt t k. it d g d t g -, t t t . f i t d t: w d dgt dd dg.(n)

Jasper van den Boogaarda gwg w tt d t t wt t tt: W - d udgt d d Dg. b t w td d t ddd t t g. T t t tt ddd t tt gt -t. T tt t g d tgt. st t d ttd, t t ttt

wk t tt d gt . m tt tt t d tt.

67

K)

Dt tk i t tt i h

Graubner Pavillon, Insel Hombroich | Erwin Heerich 1996

ew ho)(i h)


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t i h-

m,t t t.T -t wt,t gttt. T wd g

wt t dt dwt t.T t t t dt, wt

d t ztd. T -d dt g. i - w t

q t t t , t gt ,tt t d d d t. T t q-

tt d k k t td d -t wtt . i w w .etg i d k g d t -dtg .


T d t tw , g wt t td - wt ttg w tg t. bt -t , t g tw g t . T g t t gt d t gt t

68

t t dt. T t g t td tt t. i td t q tt t t t, kg t gd, ddg .T tt t t t


69/94

69

. T g d d tt. T t, t

tt d t w tt d tg t g t g t dg . it k t-.i tt, t g ttd t dgk, gt tg, t d t g tt -tt wt t g d tg t. T -t t t t t t tw t z t d t d tt g.

T Gd e d dtt d . T tdt t t t t t i t t . T t dtt d tg t t gd 49 (7 7) W t t t gd tw

Garden of Exile, Jewish Museum Berlin |Daniel Libeskind 2001D lkdp)

(jw m,b)


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(7 7). W t t, t gd tw . it t tt t t dtt dttk w i k t t dg td t gd, wt d twd t wt zt. W i k t tgd t k, i d gt dtd. m d t t wk zt . a t i t . W ik tgt t t t g w. T Gd e t t t t tt. nw tk t t t gt t t, t t t g tg -

wg.

Theory

The field of columns calls up a range of associations, from the street

grid between the skyscrapers of the New World to a temple whose green

70

roof is formed by plants growing from columns. Some visitors might

find the constricted space between the inclined concrete columns and

the uneven ground beneath their feet unsettling. The columns which are

perpendicular to the sloping paving do induce a feeling of dizziness, and

make the surrounding buildings appear to totter. What will remain stand-


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71

ing and what will fall seems uncertain, and there is no common level

with the surroundings that could provide orientation and security.9

i td t dg wt t dt t t. T w t tt i d t g tt t w gg t iw g t dzz. o w i td t k tkd g i t g d. a td t t t g g t d t td wd.

9 bdsd, Dlkd: jwm b(ld: ptvg, 1999).50

at t d t wt dd t

Holocaust Tower, Jewish Museum Berlin | Daniel Libeskind 2001

D lkdQ)(jw m,b)


72/94

d t t. i dt twt t t t t. bi kw tt t

tt k tkd -, i ddt td. it t qt, tgt qtt.b twgt t tk w t -t ,w g

t t t wt gt. at ti tgt dk.i tk

t t t d i k twd t gt . hg t w t gt. i t d wt

k, g t t . T d t d k t dt t

72

t td wd gg. m w gt d t t tt t gt, kg t gt g . T t t - tg, i k t t.

Theory

Th th b hi th d d fl d i


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73

The other branching passageway on the underground floor ends in

the darkness of the Holocaust Tower. This is the interior space of theunclad pentagonal free-standing concrete tower located in front of the

south facade. The austere space is dimly illuminated by daylight passing

through a slit overhead, and the sounds of the city are faintly heard. The

closed, bare, empty, and unheated space, its darkness penetrated only by

a sharp beam from its single window, exerts and extremely compelling

effect on anyone who experiences it.10

atg t dt dt d t g i d. it dt t t g t d t t dt ttg t .

10 bdsd, D

lkd: jwm b(ld: ptvg, 1999) .51

Falling Leaves, Jewish Museum Berlin | Menashe Kadishman 2001

f wtt dgt i wk twd tg gt. it t t d i g d tt . T t t g d tt dwt t t wt w w wdw t

mr)Kd (fgl, jwm b)


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wt t t, wt w w wdw t

t t. T d wt td t t t. Dt t t , w t d t t t t d wt . i tt t wk t d wt t d, t gd d t w wdw w t t dt tt t wdt wk t. T t t i tk d d d t t t. T t g t i td. Tt g t t t t . W i

wkg t i gt t g tt d t t g t t t. b i t, i g tt , t t. T wk t t, t , d t d -.

74

Theory

The entrance of the fifth and largest void is locate at the far end of

the ground floor. Its interior walls, a full four stories in height, were cast

without leaving any visible joint marks, a remarkable technical achieve-

ment Next to the small windows tot he exhibition space one can detect


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75

ment. Next to the small windows tot he exhibition space one can detect

traces of three other windows on the concrete surface, which the ar-chitect decided to seal up in order to heighten the austere effect of the

space. Of the difficulties involved in constructing the skeleton, perhaps

the greatest was casting the high concrete walls in one piece, controlling

the cement flow and the resulting enormous pressure on the forms, and

monitoring dimensional deviations. For the company entrusted with the

work, the museums construction became a model project in which to

test new methods of handling concrete. In view of the fifth Void and the

stairwell, even a layperson can imagine the problems involved in build-

ing them.11 it ttg t kw tt lkd ddd t d t wdw t t g g d, d d t. T dt t-t tg tt w t td , t k k t wtt t.

11 bdsd, Dlkd: jwm b(ld: ptvg, 1999).53


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The Narrative

T d wt t t t t d t t , tg t t t dg t t. T t t d T nt ct

d t t t t t d


77/94

d w t t ttg t dg dg, dg tt t t t tt. T d t d at t nt tt pt d t t , t sbd md , tt ttd t t t.T t t d t dg dg tt d d t t tt.

77


78/94

The Narrative as a Concept

Wt t tt t t dt d wtt tt, t dt tt t d d wtt, tt , - t t tt t dt gdt t. i t tt t tt t -

Dg ts)dg dd W bkd,Dwg a.vd


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t , tt w t t g.o t dt dtdg tt t td g st h: [architecture is] An art of duration,crossing the abyss between ideas and orders of perception, between

flow and place, it is a binding force. It bridges the yawning gap between

the intellect and senses of sight, sound and touch, between the highest

aspirations of thought and the bodys visceral and emotional desires.

A multiplicity of times are fastened, a multitude of phenomena are

fused, and a manifold intention is realized.1h gz t tt: t tt, tt d t. Dt gtt t tt d t t , tt tg d. T k t tt tdg tt t d gd d tt d, t, g.

a ttg t t tt dd at vd k 18t t tt cdn ld. T tt tt ld tk d, egwt W bkd, t kw t t -. f bkd dt t t, vd d t: But, as Beckford described this particular lodge, it isevident that Ledoux, the architect-initiate, had added another layer of

symbolism to the ritual, confirmed by sequence of space leading to the

final sanctum. From the dead landscape of woodpiles to the chapel,

Ledoux had mirrored the entire history of civilization in architecture. The

woodpiles, like some primitive village, were evidently symbolic of origins,

the abandoned huts of early man; the hut-pyramid marked an Egytian

stage; the barnish hall seemed to signify the Middle-Ages, home of

chivalry and magic, the cottage, of Rousseauesque simplicity, no doubt

referred to the eighteenth-century ideal of natural life and rustic morality;the cubic room with the white bird denoted the beginning of civilization,

1 st h,p did Gatt 11,

st h, d.b yk ftgw(Tk: a.D.a.edt 1993) 16

1 W2 Wd3 pdt4 b 5 at dttg6 r wt twt kt

7 ct8 m s9 at d gt 10 Gt t11 Tt d

cd nT)ld, Dwg t etbdg t tt t c (f,1624)

79

2 atvd, cdn ld:att dt s f

in a spiritual realm formed out of light in darkness, the sublime version

of a new society. In Ledouxs design, architecture formed the instrument

for provoking appropriate states of mind along this ritual route, and its

symbolic reification.2 T q t t t tdt tt, d wt tt t t w kw t wt t. ld tk t d


80/94

t s f

t t ed tat rg(bt(ma):miT p, 1990).340

3 atvd, cdn ld:att dt s ft t ed tat rg(bt(ma):miT p, 1990)

.342

4 hd h,attd mdt:a ctq(cdg (ma),miT p, 1999).98

t q t. e wt tw t dd wt t dt. bdt ld d td k k, wt, d t gt t t t .bd t t t ld d bkd, ld d d tw d c g t d t. For Ledoux the device of the journey [] served a slightlydifferent but related purpose. [] it operated as a unifying narrative

form, recounted by a single voice, not that of the author or architect

but of a fictional voyageur, [].3ld t g ttk g t g tg t. T tttt dg t tt t d t dd t.

Wt t i g w t t d g

gt dt tt wt t t. fwg t i w w gg t dt tt. i d t d t i w t tt tt. i t t tt , wt d tg t , td tg t wd. a t t dg t , t i wt t t dd t t twt d Wt b dtd t: Human

beings faculty for mimesis [] has two aspects: in its original senseit has to do with ones faculty for comparing or identifying oneself

with something else, as a child at play will identify with a baker or a

footballer, or with a train or a donkey; in a weaker derivative form it can

be seen in our faculty for discovering correspondences and similarities

between things that are apparently different.4

T t wt t tkg; t t t

dtg t . W t t w g tg tt dt g t t tg

80

. sd t d wt . nt,g dt t, t d tw dt. m b dtd t gt t dwt g t, wt t gt t d wt tproperties tg t t. atg t tg d tg gg, b d, [language]


81/94

5 Wtb, o tmt ft:rt[1933] (nw yk:sk bk,

1986) .336

6 edwd T.h, T hdd

D (nwyk: a bkedt, 1969).100

7 Dd ct,pg att(ld: ads plTD, 1974) .109

may be seen as the highest level of mimetic behaviour and the mostcomplete archive of non-sensuous similarity: a medium into which the

earlier powers of mimetic production and comprehension have passed

without residue.5 T gg ttt q tt t d tdd.e gg dt wd d t tt, tgt d t dtdg. T t d td t gg gzd edwd h T hdd

D: If one examines literature for structure rather than contentit is possible to find things that will shed light on historical trends and

shifts in sense modalities. There is no doubt in my mind but that such

shifts are highly relevant to the type of environment that man finds most

congenial at different times and for different cultures. [] To me at least

the historical and cultural differences are quite obvious.6 T gt t t t t tg ttg kg

gt; t tt t t w t d t ddtt d tt t t- wt t d t. T t t t gg , i w qt Ddct: This ability [of speech] to deal with conceptual representationswithout the actual presence of an object or a situation increases

enormously mans power to cope with his environment. Speech then,

and the power to learn associations by means of it, requires a totally

different orientation towards that behaviour in man, which might seem

superficially to be analogous to territorial behaviour in animals.7 ct tt t t t d gt t gt w w t g ddt gg.

o t t ddd w tkg t dg dd d ttd t, t jwm b D lkd. T w d

d t d; t a e, t a Dt d t a ctt. T t, dg t lkd, t

81


82/94

tt jw t d t.T a e t t jw gG, dg t Gd e. T a Dt tt t gg dg t t, dg t t ht Tw. T a ctt t t t jw t t G t Wd W ii,

Du)lkd, Twa tjw m(b, G,1999)


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dg t gg t t g t t tt t gd. T w tt dg dd d t t , g ttg, g tg t .

83


84/94

Application of the Narrative to the Project

i t t i w d t t s bdmd t t t t, t t dtgdt t gzt t dg.


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T t t qt t tt wt t t t dgwt, t subject object relationship.T d tt t t tg t t t tt tg t . T w ttgt t t tw t t d dg k t d t t dt wd.a d t d tt t w t t t k. a dw d t t w;

t tt t g t t dgd t t dt.a t wd t k dw , t wd dw wgt d gd kg wd. y g t t d t tt t w t t d. W t t w w, t t w wt dw t

w tg t. T t t d t t gt g t t t w, t t wt t dt .T t d dtd t t , wt t td t t t .

T t g t d t t t t w tgt t g tt t wd

d . T g tgg t tt g, g , g k. a wd t g TheDiscourse of Learning t tgt t .e t g d t d twt ttd t t dt d d dtdg t tt. T wg qt G tt w w t wk t t t t

: When an observer is given one of these shapes to feel with hishands behind a curtain he typically does the following things. 1 He

85

curves his fingers around its face, using all fingers and fitting them into

the cavities. 2 He moves his fingers in a way that can only be called

exploratory, since the movements do not seem to become stereotyped or

to occur in any fixed sequence, or even to be clearly repeated. 3 He uses

oppositions of thumb and finger, but with different fingers; he rubs with

one or more fingers, and occasionally he seems to trace a curvature with8


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9 fz Kk, Tbw [1923] W & edwm, stdWtg fzKk (nw yk:md l,1952)

a single finger. s g t k w q dtdg. Wt g t t g t tt wt. hw, t d d dd dd w tt d wt dt t, gtd d .T t d d t t t dg,g w t t t, g k.T gt t w d ttg dd

d t tt tt d t gd, tg d.

Language t kd w dg t , t tg tt, t tt tg , tt dd t . bt t t t t tg t, w t t d tw

t d t .T bw, d t t fz Kk, tt tg t t d dt tt t. o tt t g t wd Kk.T t, t t , dd t zd g dgd t t td wd, gw d. [...] for it was an almost inaudible whistling noise

that wakened me. [] I must have silence in my passages. This noise,however, is a comparatively innocent one; I did not hear it at all when I

first arrived, although it must certainly have been there; I must first feel

quite at home before I could hear it; it is, so to speak, audible only to

the ear of the householder.9 jt t t tt w tdt tgt dd t. ft t t w w Kk d t t wd

t t d t t, tg t t t t. sd t w tt t tk t t t

86

w t t g t. Tdt t dt wt w t t tt .T wtg t Kk d t wd t. Wt t i td t w t t wtttt w d t, g t t qt


87/94

g wtt tt.T d t t d , wtt t tt g t . T w tt t wd, w dt d, g t ddt t tw k tg t. at t t tt t t tdwd w kw w -td tg d, t, gt.hw t wd w td tg t g kgt .

nw tt i dd t t t t i wt tk t t t d w i dg d d tt d, t t t t d ttt g.T wg tdt m swz t t es w tt t w t t t tt

tt t w q. Wt tt t tt gt w, w tg g dg d .Experience spaces for the use of our senses fascinated architects

long before they caught the imagination of visual artists. When the

organ played in a Baroque church, the smell of incense drifted through

the nave, and the sun shone through the clerestory windows onto

the pulpit, the senses of hearing, smell and sight were all occupied

simultaneously.10

T t i w dg td t Thg, t t d t tt t.Dt t t i t g t g dg wt t t t d t wt g d g. itd d t d tq dd tt t t t. i d t k t t dtd i wt t dw t wt k.pk g t d t t

10 mswz,e s Dd 41.64-75 .64

87

dt tt d. T t t k d , d t . st t d gd t t, k t, gd tg d.Wt t d dg d k ? i t gd kwt t? c t tt t

d d ? m


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d, t t t wt d t t? mt t t t , t , t .

nt t t t dg t tt, tg dt. hw, t tg t d w t t ttt, kg t tt tg d t gt. T t tt, i w t t wd qtt Dd ct t g t g. ct d t

tt t, d t tt, g t, t wd t g d. Wt t i i dt g t dg wt t t d t d wt tt t.

88


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References

bk

1 st a, pt: att, Tq d rtt (atd: G+b atitt, 2000)

2 p a. b, j D. f, r j. l, et pg (pd (pa): W.b.sd c 1978)


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sd c, 1978)

3 Wt b, o t mt ft; rt [1933] (nw yk: sk bk, 1986)

4 h bg, mtt d m (nw yk, Z bk, 1896)

5 Dd ct, pg att (ld: ad s p lTD, 1974)

6 j j. G, T s cdd pt st (ld: a d uw, 1968)

7 et h. G, at d i: a std t pg pt rtt(pt: pt ut p, 1969)

8 md Gzt, o e (pd: ld, 2002)

9 edwd T. h, T hdd D (nw yk: a bk edt, 1969)

10 st h, p d id, : G att 11, st h, d. b yk ftgw(Tk: a.D.a. edt 1993)

11 hd h, att d mdt: a ctq (cdg (ma), miT p, 1999)

12 fz Kk, T bw [1923] W & edw m, std Wtg fz Kk (nwyk: md l, 1952)

13 m. lk, v i: T c, ctt d at (nw yk: Dpt, 1965)

14 j m. m, fk vdk, s Dg (m (mn), ut mtp, 2004)

15 hg m D, Gg Tk lg m: m c (at (ma): ut G,1980)

16 m m-pt, pg pt (ld: rtdg, 1982)

17 a mtg, Tg: T h sg t sk (nw yk: h & rw,1986)

18 j pgt d b id, T d ct, t. f.j. lgd d j.l. lz(1948) (ld: rtdg d Kg p, 1956)

19 bd sd, D lkd: jw m b (ld: pt vg, 1999)

91

20 r st, Dt ctg 2007 (K: T, 2007)

21 G stt, T tt h: a std t ht Tt (1914) (ld,ut pk 1961)

22 at vd, cd n ld: att d t s f t t ed tat rg (bt(ma): miT p, 1990)

23 Gt a.m. W, l Gk, j T: ct vt t D (T hg:


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, , ( gst, 1996)

24 s yd, Gg Tk: ctt, W, Dwg (l j (ca): Qt Kpt, 1992)

25 jk uk, Kt d nt (fkt: vg ut Gh, 1980)

26 Wt Td itt Dt (sgd (ma), G&c m, 1971)

at

1 D agt, rtt tt tw t d t, : st a, pt:att, Tq d rtt (atd: G+b at itt, 2000) .162-177

2 Gt b, o st (Dd 41) . 26-36

3 j p, htt d T: nt fg att (att rw, j2000 .78-84

4 j p, T Gt fg: a lk t t pg att .ed. Kt ntt, Tzg nw agd att: a atg att T1965-1995 ( bt: pt att p, 1996) .448-453

5 m swz, e s Dd 41 .64-75

6 h W, pg t pg att (1886) : h f mg,et ik, et, f d s: p G att 1873-1893 (stm: Gtt ct, 1994) .149-187

pt

1 Wgg l (W, D pt, Tg)

2 j T (h Gw, D hg)

3 Gg Tk (s pg, l)

4 G & Gg (p hg, Kk)

5 ew h (i h)

92

6 ig mg-o (T rd, Dt 12, K)

7 Gz Dz (a c d pt, Dt 12, K)

8 D lkd (jw m, b)

9 m Kd (fg l, jw m, b)

Illustrations


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93

Steven Holl, Phenomena and Idea in Global Architect 11, Steven Holl, ed. By Yukio Futagawa

(Tokyo: A.D.A. Edita 1993) p.48

dcampos2000, http://www.flickr.com/photos/dcampos2000/595335669/ (January 1st 2008)

ArchiCat, http://www.flickr.com/photos/archicat7/462679933/in/set-72157600087443892/

(January 1st 2008)

Steven Holl, Phenomena and Idea in Global Architect 11, Steven Holl, ed. By Yukio Futagawa

(Tokyo: A.D.A. Edita 1993) p.41

Jonny2005, http://www.flickr.com/photos/carthorse/412844577/ (January 1st 2008)

Madeleine Grynsztejn, Olafur Eliasson (Phaidon: London, 2002) p.144

Ronan Mc can, http://www.flickr.com/photos/ronanmccann/241826843/ (January 1st 2008)

Simiant, http://www.flickr.com/photos/simiant/277299873/ (January 1st 2008)

roncerito, http://www.flickr.com/photos/roncero/859379/ (January 1st 2008)

Jannes Linders, 1996

Kamiel van Kreij, 2007


st h, sw & c o nw yk, (nw yk, 1991a) )

Gg Tk, swd bdg (T, f, 1989b) )

c s, b T (T, it 1969-1978c) )

st h, D p t Gd sw (nw yk, 1987D) )

ukw pk ptt t st bk (ld, egd, 2007e) )

o e, sg y sg pt 73 (T m md at, nw yk,f)2001)

m d r, G p (b, s, 1928G) )

o e, T Wt pt t T h t Tt md m (ld,h)egd, 2003)

Wgg l (W, D pt, Tgi) )

j T (h Gw, D hgj) )

Gg Tk (s pg, lK) )

G & Gg (p hg, Kkl) )

Illustrations

Jasper van den Boogaard, 2007



Quintin van der Blonk 2007

ig mg-o (T rd, Dt 12, Km) )

Gz Dz (a c d pt, Dt 12, Kn) )

ew h (i ho) )

D lkd (jw m, bp) )


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Quintin van der Blonk, 2007



Anthony Vidler, Claude Nicolas Ledoux: Architecture and the Social Feform at the End of theAncient Regime (Boston(MA): MIT Press, 1990) p.339

Daniel Rame, C.N. Ledoux: Lrchitecture, Edition Ramee [1847] (New York, Princeton

Architectural Press, 1983) pl.109


94

D lkd (jw m, bQ) )

m Kd (fg l, jw m b)r)

Dg t dg dd W bkd, Dwg a. vds)

cd n ld, Dwg t et bdg t t t t c (f,T)1624)

D lkd, Tw a t jw m (b, G, 1999u) )

sensory intensification in architecture by kamiel van kreij

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