Would that we loved the ancients more and copied them less It is not that we should disregard the creations of the past, but that we should try to assimilate them into our consciousness. Slavish conformity to traditions and formulas fetters the expression of individuality in architecture. We can but weep over the senseless imitations of European buildings which one beholds in modern Japan. We marvel why, among the most progressive Western nations, architecture should be so devoid of originality, so replete with repetitions of obsolete styles. Perhaps we are passing now through an age of democratization in art, while awaiting the rise of some princely master who shall establish a new dynasty. Would that we loved the ancients more and copied them less! It has been said that the Greeks were great because they never drew from the antique. Okakura Kakuzō, The Book of Tea historytraditionarchitecture
Architecture equals structure Architecture equals structure. Design is also important, but structure is the basis of architecture. By taking the good aspects of both traditional and conventional construction methods, we assemble it securely...So the reason we lay out the marking lines, and carve by hand, is to utilize the good aspects of wood framing from the past when building contemporary wood-framed structures. Akinori Abo, Kigumi House traditionstructureconstruction
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
In praise of pastiche An Essay by Samuel Hughes www.worksinprogress.co So: it is perfectly true that contemporary traditional architecture tends to be structurally dishonest. But traditional architecture has always tended to be structurally dishonest. So if this is what makes contemporary traditional architecture pastiche, then most traditional architecture has been pastiche since the faux timbering of the Parthenon. Contemporary traditional architects have most of the great builders of our history as their companions in guilt. architecturetraditionmaterial
The Eyes of the Skin: Architecture and the Senses A Book by Juhani Pallasmaa Thin iceExtensions of the tactile senseThe computer creates a distanceThe quality of an architectural realityA hierarchical system of sense+14 More 125 Best Architecture BooksTo see, to caressHis ear in his toesA set of potential photographsThe deeper unconscious intentionsThe body imageThermal Delight in ArchitectureThey can smell the wood
Extensions of the tactile sense "Touch is the parent of our eyes, ears, nose, and mouth. It is the sense which became differentiated into the others." — Ashley Montagu All the senses, including vision, are extensions of the tactile sense; the senses are specializations of skin tissue, and all sensory experiences are modes of touching, and thus related to tactility. senses
The computer creates a distance Computer imaging tends to flatten our magnificent, multi-sensory, simultaneous and synchronic capacities of imagination by turning the design process into a passive visual manipulation, a retinal journey. The computer creates a distance between the maker and the object, whereas drawing by hand as well as working with models put the designer in a haptic contact with the object, or space. toolsdesigndrawing
The quality of an architectural reality The quality of an architectural reality seems to depend fundamentally on peripheral vision, which enfolds the subject in the space...neurological investigations suggest that our processes of perception and cognition advance from the instantaneous grasp of entities towards the identification of details, rather than the other way around. vision
A hierarchical system of sense During the Renaissance, the five senses were understood to form a hierarchical system from the highest sense of vision down to touch. Vision was correlated to fire and light, hearing to air, smell to vapour, taste to water, and touch to earth. Avatar: The Last AirbenderPrometheusBlessed by the four elements fireelementssenses
The inhumanity of contemporary architecture The inhumanity of contemporary architecture and cities can be understood as the consequence of the neglect of the body and the senses, and an imbalance in our sensory system. The art of the eye has certainly produced imposing and thought-provoking structures, but it has not facilitated human rootedness in the world. Modernist design at large has housed the intellect and the eye, but it has left the body and the other senses, as well as our memories, imagination and dreams, homeless. 1º2º3º4º architecturesensesmodernism
Estrangement and detachment, hospitals and airports It is thought-provoking that this sense of estrangement and detachment is often evoked by the technologically most advanced settings, such as hospitals and airports. technologyloneliness
Sonorisms IV 'an unending rainfall of images' (Calvino) a cancerous growth of vision we are unable to see or imagine life behind these walls the patina of wear to carve a volume into the void of darkness time turned into shape euphony
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. Architecture Without Architects bodytraditionhistory
Mere retinal art Instead of an existentially grounded plastic and spatial experience, architecture has adopted the psychological strategy of advertising and instant persuasion; buildings have turned into image products detached from existential depth and sincerity. Architecture of our time often appears as mere retinal art. A set of potential photographs architectureimagesadvertisingpsychology
Stage sets for the eye With the loss of tactility, measures and details crafted for the human body – and particularly for the hand – architectural structures become repulsively flat, sharp-edged, immaterial and unreal. The detachment of construction from the realities of matter and craft further turns architecture into stage sets for the eye, into a scenography devoid of the authenticity of matter and construction. The sense of 'aura', the authority of presence, that Walter Benjamin regards as a necessary quality for an authentic piece of art, has been lost. craftconstruction
Deep shadows and darkness are essential During overpowering emotional experiences, we tend to close off the distancing sense of vision; we close the eyes when dreaming, listening to music, or caressing our beloved ones. Deep shadows and darkness are essential, because they dim the sharpness of vision, make depth and distance ambiguous, and invite unconscious peripheral vision and tactile fantasy. In Praise of Shadows emotiondarkness
The street of an old town How much more mysterious and inviting is the street of an old town with its alternating realms of darkness and light than are the brightly and evenly lit streets of today! Homogenous bright light paralyzes the imagination in the same way that homogenization of space weakens the experience of being, and wipes away the sense of place. The human eye is most perfectly tuned for twilight rather than bright daylight. lightstreets
To carve a volume into the void of darkness The nocturnal sound is a reminder of human solitude and mortality, and it makes one conscious of the entire slumbering city. Anyone who has become entranced by the sound of dripping water in the darkness of a ruin can attest to the extraordinary capacity of the ear to carve a volume into the void of darkness. The space traced by the ear in the darkness becomes a cavity sculpted directly in the interior of the mind. sounddarknesssleepsolitude
The door handle is the handshake of a building What is this static modernism? metaphordoorsinteraction
Time turned into shape A pebble polished by waves is pleasurable to the hand, not only because of its soothing shape, but because it expresses the slow process of its formation; a perfect pebble on the palm materializes duration, it is time turned into shape. timetouchform
Authentic architectural experiences Authentic architectural experiences consist of approaching or confronting a building, rather than the formal apprehension of a facade; of the act of entering, and not simply the visual design of the door; of looking in or out through a window, rather than the window itself as a material object; or of occupying the sphere of warmth, rather than the fireplace as an object of visual design. Architectural space is lived space rather than physical space, and lived space always transcends geometry and measurability. architecturegeometry
From body to body During the design process, the architect gradually internalizes the landscape, the entire context, and the functional requirements as well as his/her conceived building: movement, balance and scale are felt unconsciously through the body of the observer, the experience mirrors the bodily sensations of the maker. Consequently, architecture is communication from the body of the architect directly to the body of the person who encounters the work, perhaps centuries later. In the walls and mosses makingdesigntimecommunication