Humans are spatial creatures Humans are spatial creatures. We experience most of life in relation to space. We sit in a circle with our family. We drive down the left side of the road in Ireland and try to stay in our lane. We ride scooters down a path along the water. We sculpt a human body out of stone. We follow signs to our train. We walk, through arches, or on crosswalks beside bike lanes, or to follow our brother across a bridge. We position our camera to frame the shot while our friend leans out over a balcony. We sense ourselves in space in relation to all of the other objects in our environment. And this is powerful knowledge that we've left out of lots of software. In fact, while most obvious in 3D, this thinking does work outside of just three-dimensional software. Almost any software can use spatial concepts to become easier to understand. John Palmer, Spatial Interfaces body
The tacit wisdom of the body It is evident that the architecture of traditional cultures is also essentially connected with the tacit wisdom of the body, instead of being visually and conceptually dominated. Construction in traditional cultures is guided by the body in the same way that a bird shapes its nest by movements of its body. Juhani Pallasmaa, The Eyes of the Skin: Architecture and the Senses Architecture Without Architects bodytraditionhistory
A simple pleasure that comes from just using it People have a sense of warmth and coolness, a thermal sense like sight or smell, although it is not normally counted in the traditional list of our five senses. As with all our other senses, there seems to be a simple pleasure that comes from just using it, letting it provide us with bits of information about the world around, using it to explore and learn, or just to notice. There is a basic difference, however, between our thermal sense and all of our other senses. When our thermal sensors tell us an object is cold, that object is already making us colder. If, on the other hand, I look at a red object it won't make me grow redder, nor will touching a bump object make me bumpy. Lisa Heschong, Thermal Delight in Architecture sensesbody
Half-winged, half-imprisoned The contrast between man’s ideological capacity to move at random through material and metaphysical spaces and his physical limitations, is the origin of all human tragedy. It is this contrast between power and prostration that implies the duality of human existence. Half winged—half imprisoned, this is man! Paul Klee, Pedagogical Sketchbook ideasbody
(an architectural stem cell that might transform itself into any organ for living) Michael Sorkin, 20 Minutes in Manhattan euphonybodyarchitecturespace
We have turned our faces towards the future During the modern era, we have even changed our bodily position in relation to the flow of time; the Greeks understood that the future came from behind their backs and the past receded away in front of their eyes, but we have turned our faces towards the future, and the past is disappearing behind our backs. Robert McCarter & Juhani Pallasmaa, Understanding Architecture timebody
In our bodies We tend to think of our memory as a cerebral capacity, but the act of memorizing engages our entire body. Remembering is not solely a mental even; it is also an act of embodiment and bodily projection. Memories are not only hidden in the electrochemical processes of the brain; they are also stored in our skeletons, muscles, senses, and skin. Robert McCarter & Juhani Pallasmaa, Understanding Architecture memorybody
The same material as the sun I have to apologize. I was born with a disfigurement where my head is made of the same material as the sun. It makes it impossible for you to look directly at me. It has always been this way. Shane Carruth, Upstream Color bodysurrealism
A Brief Rant An Essay by Bret Victor worrydream.com Like, just a post complaining that screens should be better designtechnologywwwinteractionbody
The body image A Quote The body image is informed fundamentally from haptic and orienting experiences early in life. Our visual images are developed later on, and depend for their meaning on primal experiences that were acquired haptically. Metaphors We Live ByGods of the WordThe Eyes of the Skin: Architecture and the Senses bodymeaning
The Mezzanine A Novel by Nicholson Baker www.goodreads.com White clothColors in natureA blue glowEach fascinating crisisMy skate blade's gorge+2 More 20 Minutes in Manhattan objects
White cloth I used to be very interested in the fact that anything, no matter how rough, rusted, diffy, or otherwise discredited it was, looked good if you set it down on a stretch of white cloth. Because anytime you set some detail of the world off that way, it was able to take on its true stature as an object of attention. Dwelling in ritualDrawing a frame beautyflaws
Colors in nature Twice every summer we discussed whether colors in nature could clash. The palette of natureHues subdued color
A blue glow The neurons that do expire are the ones that made imitation possible. When you are capable of skillful imitation, the sweep of choices before you is too large; but when your brain loses its spare capacity, and along with it some agility, some joy in winging it, and the ambition to do things that don't suit it, then you finally have to settle down to do well the few things that your brain really can do well - the rest no longer seems pressing and distracting, because it is now permanently out of reach. The feeling that you are stupider than you were is what finally interests you in the really complex subjects of life: in change, in experience, in the ways other people have adjusted to disappointment and narrowed ability. You realize that you are no prodigy, your shoulders relax, and you begin to look around you, seeing local color unrivaled by blue glows of algebra and abstraction. icreativitythinkinglife
Each fascinating crisis The problems themselves, though they once obsessed you, and kept you working late night after night, and made you talk in your sleep, turn out to have been hollow: two weeks after your last day they already have contracted into inert pellets one-fiftieth of their former size; you find yourself unable to recreate the sense of what was really at stake, for it seems to have been the Hungarian 5/2 rhythm of the lived workweek alone that kept each fascinating crisis inflated to its full interdepartmental complexity. workproblemsbureaucracy
My skate blade's gorge If you made a negative of that image of my skate blade’s gorge, you would arrive at the magnified record groove.
What is this static modernism? Why can't office buildings use doorknobs that are truly knob-like in shape? What is this static modernism that architects of the second tier have imposed on us: steel half-U handles or lathed objects shaped like superdomes, instead of brass, porcelain, or glass knobs? The upstairs doorknobs in the house I grew up in were made of faceted glass. As you extended your fingers to open a door, a cloud of flesh-color would diffuse into the glass from the opposite direction. The knobs were loosely seated in their latch mechanism, and heavy, and the combination of solidity and laxness made for a multiply staged experience as you turned the knob: a smoothness that held intermediary tumbleral fallings-into-position. Few American products recently have been able to capture that same knuckly, orthopedic quality. The door handle is the handshake of a building modernismdoorstouchobjects
You can taste it with your eyes It was one of those good rides, where the motion of the train is soothing, and the interior temperature pleasantly warm but not hot. I imagined the subway car as a rapidly moving load of bread. The motto "You can taste it with your eyes" occurred to me. Substitutes for the thermal experience food