建筑学外文翻译肌肤的眼睛.docx

建筑学外文翻译肌肤的眼睛.docx

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建筑学外文翻译肌肤的眼睛

TheEyesofTheSkin

TheSignificanceoftheshadow

Theeyeistheorganofdistanceandseparation,whereastouchisthesenseofnearness,intimacyandaffection.Theeyesurveys,controlsandinvestigates,whereastouchapproachesandcaresses.Duringoverpoweringemotionalexperiences,wetendtocloseoffthedistancingsenseofvision;weclosetheeyeswhendreaming,listeningtomusic,orcaressingourbelovedones.Deepshadowsanddarknessareessential,becausetheydimthesharpnessofvision,makedepthanddistanceambiguous,andinviteunconsciousperipheralvisionandtactilefantasy.

Howmuchmoremysteriousandinvitingisthestreetofanoldtownwithitsalternatingrealmsofdarknessandlightthanarethebrightlyandevenlylitstreetsoftoday!

Theimaginationanddaydreamingarestimulatedbydimlightandshadow.Inordertothinkclearly,thesharpnessofvisionhastobesuppressed,forthoughtstravelwithanabsent-mindedandunfocusedgaze.Homogenousbrightlightparalysestheimaginationinthesamewaythathomogenizationofspaceweakenstheexperienceofbeing,andwipesawaythesenseofplace.Thehumaneyeismostperfectlytunedfortwilightratherthanbrightdaylight.

Mistandtwilightawakentheimaginationbymakingvisualimagesunclearandambiguous;aChinesepaintingofafoggymountainlandscape,ortherakedsandgardenofRyoan-jiZenGardengiverisetoanunfocusedwayoflooking,evokingatrance-like,meditativestate.Theabsent-mindedgazepenetratesthesurfaceofthephysicalimageandfocusesininfinity.

InhisbookInPraiseofShadows,JunichiroTanizakipointsoutthatevenJapanesecookingdependsuponshadows,andthatitisinseparablefromdarkness:

Andwhenheisservedinalacquerdish,itisasifthedarknessoftheroomweremeltingonyourtongue.’Thewriterremindsusthat,inoldentimes,theblackenedteethofthegeishaandhergreenblacklipsaswellasherwhitepaintedfacewereallintendedtoemphasisethedarknessandshadowsoftheroom.

Likewise,theextraordinarilypowerfulsenseoffocusandpresenceinthepaintingofCaravaggioandRembrandtarisesfromthedepthofshadowinwhichtheprotagonistisembeddedlickapreciousobjectonadarkvelvetbackgroundthatabsorbsalllight.Theshadowgivesshapeandlifttotheobjectinlight.Italsoprovidestherealmfromwhichfantasiesanddreamsarise.Theartofchiaroscuroisaskillofthemasterarchitecttoo.Ingreatarchitecturalspaces,thereisaconstant,deepbreathingofshadowandlight;shadowinhalesandilluminationexhaleslight.

Inourtime,lighthasturnedintoamerequantitativematterandthewindowhaslostitssignificanceasamediatorbetweentwoworlds,betweenenclosedandopen,interiorityandexteriority,privateandpublic,shadowandlight.Havinglostitsontologicalmeaning,thewindowhasturnedintoamereabsenceofthewall.Taketheuseofenormousplatewindowtheydepriveourbuildingsofintimacy,theeffectofshadowandatmosphere.Architectsallovertheworldhavebeenmistakenintheproportionswhichtheyhaveassignedtolargeplatewindowsorspacesopeningtotheoutside.Wehavelostoursenseofintimatelife,andhavebecomeforcedtolivepubliclives,essentiallyawayfromhome,writesLuisBarragan,thetruemagicianofintimatesecrecy,mysteryandshadowincontemporaryarchitecture.Likewise,mostcontemporarypublicspaceswouldbecomemoreenjoyablethroughalowerlightintensityanditsunevendistribution.ThedarkwombofthecouncilchamberofAlvarAalto’sSaynatsaloTownHallrecreatesamysticalandmythologicalsenseofcommunity;darknesscreatesasenseofsolidarityandstrengthensthepowerofthespokenword.

Inemotionalstates,sensestimuliseentoshiftfromthemorerefinedsensestowardsthemorearchaic,fromvisiondowntohearing,touchandsmell,andfromlighttoshadow.Aculturethatseekstocontrolitscitizensislikelytopromotetheoppositedirectionofinteraction,awayfromintimateindividualityandidentificationtowardsapublicanddistantdetachment.Asocietyofsurveillanceisnecessarilyasocietyofthevoyeuristicandsadisticeye.Anefficientmethodofmentaltortureistheuseofaconstantlyhighlevelofilluminationthatleavesnospaceformentalwithdrawalorprivacy;eventhedarkinteriorityofselfisexposedandviolated.

AcousticIntimacy

Sightisolates,whereassoundincorporates;visionisdirectional,whereassoundisomni-directional.Thesenseofsightimpliesexteriority,butsoundcreatesanexperienceofinteriority.Iregardanobject,butsoundapproachesme;theeyereaches,buttheearreceives.Buildingsdonotreacttoourgaze,buttheydoreturnoursoundsbacktoourears.“Thecentringactionofsoundaffectsman’ssenseofcosmos,writesWalterOng.‘Fororalcultures,thecosmosisanongoingeventwithmanatitscentre.Manistheumbilicusmundi,thenaveloftheworld.’Itisthoughtprovokingthatthementallossofthesenseofcentreinthecontemporaryworldcouldbeattributed,atleastinpart,tothedisappearanceoftheintegrityoftheaudibleworld.

Hearingstructuresandarticulatestheexperienceandunderstandingofspace.Wearenotnormallyawareofthesignificanceofhearinginspatialexperience,althoughsoundoftenprovidesthetemporalcontinuuminwhichvisualimpressionsareembedded.Whenthesoundtrackisremovedfromafilm,forinstance,thescenelosesitsplasticityandsenseofcontinuityandlife.Silentfilm,indeed,hadtocompensateforthelackofsoundbyademonstrativemannerofoveracting.

AdrianStokes,theEnglishpainterandessayist,makesperceptiveobservationsabouttheinteractionofspaceandsound,soundandstone.‘Likemothersofmen,thebuildingsaregoodlisteners.Longsounds,distinctorseeminglyinbundles,appeasetheorificesofpalacestheorificesofpalacesthatleanbackgraduallyfromcanalorpavement.Alongsoundwithitsechobringsconsummationtothestone,’hewrites.

Anyonewhohashalf-wokenuptothesoundofatrainoranambulanceinanocturnalcity,andthroughhis/hersleepexperiencedthespaceofthecitywithitscountlessinhabitantsscatteredwithinitsstructures,knowsthepowerofsoundovertheimagination;thenocturnalsoundisareminderofhumansolitudeandmortality,anditmakesoneconsciousoftheentireslumberingcity.Anyonewhohasbecomeentrancedbythesoundofdrippingwaterinthedarknessofaruincanattesttotheextraordinarycapacityoftheeartocarveavolumeintothevoidofdarkness.Thespacetracedbytheearinthedarknessbecomesacavitysculpteddirectlyintheinteriorofthemind.

ThelastchapterofSteenEilerRasmussen’sseminalbookExperiencingArchitectureissignificantlyentitled‘HearingArchitecture.’Thewriterdescribesvariousdimensionsofacousticalqualities,andrecallstheacousticperceptoftheundergroundtunnelsinViennainOrsonWelles’filmTheThirdMan:

‘Yourearreceivestheimpactofboththelengthandthecylindricalformofthetunnel.’

Onecanalsorecalltheacousticharshnessofanuninhabitedandunfurnishedhouseascomparedtotheaffabilityofalivedhome,inwhichsoundisrefractedandsoftenedbythenumeroussurfacesofobjectsifpersonallife.Everybuildingorspacehasitscharacteristicsoundofintimacyormonumentality,invitationorrejection,hospitalityorhostility.Aspaceisunderstoodandappreciatedthroughitsechoasmuchasthroughitsvisualshape,buttheacousticperceptusuallyremainsasanunconsciousbackgroundexperience.

Sightisthesenseofthesolitaryobserver,whereashearingcreatesasenseofconnectionandsolidarity;ourlookwanderslonesomelyinthedarkdepthsofacathedral,butthesoundoftheorganmakesusimmediatelyexperienceouraffinitywiththespace.Westarealoneatthesuspenseofacircus,buttheburstofapplauseaftertherelaxationofsuspenseunitesuswiththecrowd.Thesoundofchurchbellsechoingthroughthestreetsofatownmakesusawareofourcitizenship.Theechoofstepsonapavedstreethasanemotionalchargebecausethesoundreverberatingfromsurroundingwallsputsusindirectinteractionwithspace;thesoundmeasuresspaceandmakesitsscalecomprehensible.Westroketheboundariesofthespacewithourears.Thecriesofseagullsintheharborawakenanawarenessofthevastnessoftheoceanandtheinfinitenessofthehorizon.

Everycityhasitsechowhichdependsonthepatternandscaleofitsstreetsandtheprevailingarchitecturalstylesandmaterials.TheechoofaRenaissancecitydiffersfromthatofaBaroquecity.Butourcitieshavelosttheirechoaltogether.Thewide,openspacesofcontemporarystreetsdonotreturnsound,andintheinteriorsoftoday’sbuildingsechoesareabsorbedandcensored.Theprogrammedrecordedmusicofshoppingmallsandpublicspaceseliminatesthepossibilityofgraspingtheacousticvolumeofspace.Ourearshavebeenblinded.

TOUCHINGTHEWORLD

JuhaniPallasmaa

In1995theeditorsatAcademyEditions,Londoninvitedmetowriteavolumeoftheir‘Polemics’series,intheformofanextendedessayof32pagesonasubjectmatterthatIfoundpertinentinthearchitecturaldiscourseofthetime.TheresultmylittlebookTheEyesoftheSkin:

ArchitectureandtheSense-waspublishedinthefollowingyear.

Thesecondpartofmymanuscripttookitsbasicideasfromanessayentitle‘AnArchitectureoftheSevenSenses,’publishedinArchitectureUrbanism,QuestionsofPerception（SpecialIssue,July1994）,apublicationonStevenHoll’sarchitecturalwork,whichalsoincludedessaysbyStevenHollhimselfandAlbertoPerez-Gomez.Asomewhatlaterlecturegiveninaseminaronarchitecturalpheno