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Neuroarchitecture

978-3-86859-479-9 https://www.jovis.de/de/buecher/product/neuroarchitecture.html

28 Consideration of such

28 Consideration of such discoveries in future would put architecture in a position to make fruitful use of the sensory experiences and flashbacks represented by the striking madeleine episode in the realization of building decent human accommodation. Only in connection with existing research and anthropological achievements will it be possible to accomplish what Bernhard Waldenfels developed as human physicality in interaction with the physicality of architecture: integrating a comprehensive approach, an understanding of physicality into the thought and action of architecture. A phenomenology of human perception and its poverty 48 based on sensorily rich spaces will then find a place in theory and neuroarchitectural practice that is in keeping with the times. Nancy Holt, Sun Tunnels, Great Basin Desert, Utah (1976)

29 Organic and Anthropological Architecture The Roof as Image and Dogma The philosophy of architecture in the twentieth century is widely reflected in the shape and structure of roofs and how they are interpreted. In the visual arts, when representational shapes and subjects began to disintegrate around 1880, elementary forms, especially the contrasting shapes of circles and triangles, were the first to become the focus of interest. The rise of Impressionist techniques resulted in a marked increase in round and pointed shapes, which extended into the late phase of Cubo-Futurism. The canvases are characterized by splinters and triangular shapes. A distinctive one-sidedness of form is countered by the atmospheric charging of the remaining structure. The course of seasonally determined moods once again becomes the basis of an art that tests out its themes and variations on the primeval structure of the house and related forms. The shapes of drying haystacks, arranged as an ensemble in the form of primitive huts, are reminiscent of the first villages, while titanic cathedrals are likened to sailing ships, whose outlines are left to merge beyond recognition into the gently mirthful play of light and its fluctuations and shadows. From Monet, Cézanne, Kandinsky, and Klee through to Feininger, it is possible to define architectural forms that, over a period of at least forty years, between 1880 and 1920, develop the roof into a major feature in the visual arts. It would be hard to find another architectural detail with an equally charismatic personality. The roof becomes the very epitome of the dawn of the modern era. During these years, the structure of the roof was associated with metaphysical ideas that charge the completion of buildings with a distinct symbolic power and also affect the architecture itself. The roof no longer merely completes the building and holds its walls together; it becomes a powerful medium for the expression of meaning, leaving an unusually deep imprint on the building. The extensive use of buildings and dense urban areas in film can be regarded in the same way, when film sets have archaic or Expressionist backdrops portraying such buildings. “Among Expressionist architects, Herman Poelzig, Bruno Taut, [and] Paul Thiersch … built sets for