By Christian Borch
There is a starting to be knowledge of the atmospheric dimensions of structure in modern architectural perform in addition to in social and architectural idea. Architectural Atmospheres provides a pointed, programmatic dialogue of this atmospheric flip. The publication is vital interpreting for architects, planners, and social theorists who take an curiosity in how we adventure structure and in how you can increase architectural and concrete design.
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Extra resources for Architectural Atmospheres
The top skin, which seals the imagination at a specific style or period, has been scorched away, so the walls exist in an indeterminate time, partway between cultural definition and eschatological 35 Architectural minimalism aiming at the sensitisation of the senses, particularly that of hearing. The surface textures and colours aim at activating peripheral vision prior to the musical performance. | Juhani Pallasmaa, Korundi Art Center, Rovaniemi, Lapland, 2012. The Music Hall. 36 dissolution. But this is no dead ruin: Brook has not been afraid to bash the place around a little more, breaking holes, putting in doors […] One can also speak of another virtual patina the walls have acquired through the accruing memory of Brook’s work in there’ (1999: 4).
Correspondingly, for instance, it is not a question of what form a building has or how a city is structured, but of what these features cause it to radiate or in what way it codetermines the dispositions of the inhabitants. Models based on such an interpretation can indeed be found in classical literature – for instance, the question of orientation is central in Kevin Lynch’s (1960) writings. Similarly, Cullen occasionally speaks of the significance of the geometric structure he identifies for ‘the position of our body’ (1960: 9).
The image of a city is the consciously projected self-portrait and the sum of its advantages that an outsider might enjoy. Moreover – to come to the second point – by ‘the atmosphere of a city’ we understand something characteristic, that is, something peculiar to the city, what makes it individual and therefore cannot be communicated in general concepts. That does not, however, mean that we cannot talk about the atmosphere of a city – we will see that that is indeed possible. Rather, what it means is that atmosphere is something that has to be sensed in order to understand what is really at stake when we talk about atmosphere.
Architectural Atmospheres by Christian Borch