Inseminations. Juhani Pallasmaa

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incapacitated. It was irritating to have to lie in a horizontal position all the time, and the first thing I noticed was that the rooms are designed for people in a vertical position, not for those who have to lie in bed all the time. Like flies around a lamp, my eyes turned towards the electric light, and there was no inner balance, no real peace in the room that could have been designed specially for a sick, bedridden person. I therefore tried to design rooms for weak patients that would provide a peaceful atmosphere for people who have to stay in a horizontal position. Thus, I decided against air conditioning because the entering current of air feels unpleasant to the head, and in favor of fresh air heated ever so slightly between the two window panes of the double glazing. I cite these examples to show how incredibly small details can be used to alleviate people's suffering. Here is another example, a washbasin. I strove to design a basin in which the water does not make a noise. The water falls on the porcelain sink at a sharp angle, making no sound to disturb the neighboring patient, as in the physically or mentally weakened condition the impact of the environment is heightened’.30 Aalto often spoke of ‘the little man’ as the architect's real client, and he concluded that we should always design for ‘the man at his weakest’.31 These are examples of an empathic imagination in opposition to formalist imagination.

      → experience has a multi‐sensory essence; reconciling

      Architecture as Experience: Existential Meaning in Architecture (2018)

      Historically there are three categories of seeking meaning in human existence: religion (or myth), science and art, and these endeavours are fundamentally incomparable with each other. The first is based on faith, the second on rational knowledge and the third on existential and emotive experiences. The poetic, experiential and existential core of art and architecture has to be confronted, lived and felt rather than understood and formalized intellectually. There are certainly numerous aspects in construction, in its performance, structural reality, formal and dimensional properties, as well as distinct psychological impacts, that can be, and are being, studied ‘scientifically’, but the experiential mental and existential meaning of the entity can only be encountered and internalized.

      During the past few decades, an experiential approach, based on phenomenological encounters and first‐person experiences of buildings and settings, has gained ground. This thinking is initially based on the philosophies of Edmund Husserl, Martin Heidegger, Maurice Merleau‐Ponty, Gaston Bachelard and many other philosophical thinkers. The phenomenological approach, which acknowledges the significant role of embodiment, was introduced into the architectural context by such writers as Steen Elier Rasmussen, Christian Norberg‐Schulz, Charles Moore, David Seamon, Robert Mugerauer and Karsten Harries, for instance. I also believe that the book Questions of Perception of 1994 by Steven Holl, Alberto Pérez‐Gómez and myself helped to spread this manner of thinking especially in schools of architecture internationally.

      The significance of experience has been grasped in other art forms, such as theatre, cinema and music, but it has not been understood in relation to such material and utilitarian objects as buildings and larger environments. That is why I have taught architecture through examples and ideas in other art forms.

      → architecture and being; art vs science I; art vs science II; forgetting; hearth; modes of thinking; moving; optimism; playing with forms; tasks of architecture [the]; triad

      Landscapes and Horizons of Architecture: Architecture and Artistic Thought (2007)

      Landscapes of Architecture: Architecture and the Influence of other Fields of Inquiry (2003/2010)

      In the first century BC, in the most influential treatise in the history of architecture Vitruvius acknowledged already. The breadth of the architect's craft and its interactions with numerous skills and areas of knowledge: ‘Let him [the architect] be educated, skilful with the pencil, instructed in geometry, know much history, have followed the philosophers with attention, understand music, have some knowledge of medicine, know the opinions of the jurists and be acquainted with astronomy and the theory of heavens’.34 Vitruvius

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