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page193from Nordic Architects Writes
dreamer, the house allows one to dream in
peace.”16 A fundamental quality of a landscape, house and room is its capacity
to evoke and contain a feeling of safety, familiarity and at-homeness and to
stimulate fantasies. We are not capable of deep imagination outdoors in wild
nature; profound imagination calls for the focusing intimacy of a room. For me
the real measure of the quality of a town is whether I can imagine myself
falling in love there.
The lived world
We do not live in an objective world of
matter and facts, as commonplace naïve realism tends to assume. The
characteristically human mode of existence takes place in the worlds of
possibilities, moulded by the human capacity of remembrance, fantasy and
imagination. We live in mental worlds, in which the material and the spiritual,
as well as the experienced, remembered and imagined, constantly fuse into each
other. As a consequence, the lived reality does not follow the rules of space
and time as defined and measured by the science of physics. I wish to argue
that the lived world is fundamentally “unscientific”, when measured by the
criteria of western empirical science. In fact, the lived world is closer to
the reality of dream than any scientific description. In order to distinguish
the lived space from physical and geometrical space, we can call it existential
space. Lived existential space is structured on the basis of meanings,
intentions and values reflected upon it by an individual, either consciously or
unconsciously; existential space is unique quality interpreted through the
memory and experience of the individual. Every lived experience takes place at
the interface of recollection and intention, perception and fantasy, memory and
desire. T.S. Eliot brings forth the important pairing of opposites in the end
of his fourth quarter, “Little Gidding”:
What
we call the beginning is often the end. And to make an end is to make a
beginning … We shall not cease from exploration. And the end of all our
exploring will be to arrive where we started. And know the place for the first
time.17
On
the other hand, collective groups or even nations, share certain experiences of
existential space that constitute their collective identities and sense of
togetherness. We are, perhaps, held together by our shared memories more than
by an innate sense of solidarity. I wish to recall here the famous sociological
study by Maurice Halbwachs that revealed that the ease of mutual communication
between old Parisians living within a distinct quarter was grounded in their
rich and shared collective memories.
The
lived space is also the object and context of both the making and experiencing
of art as well as architecture. Art projects a lived reality, not mere symbolic
representations of life. The task of architecture, also, is “to make visible
how the world touches us”, as Merleau-Ponty wrote of the paintings of Paul Cézanne.18 We live in the “flesh
of the world”, to use a notion of the philosopher, and landscapes and
architecture structure and articulate this existential flesh giving it specific
horizons and meanings.
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At 2021-11-02 20:28:57,
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Paula Noronen
Yökoulun Pieni Kauhukäsikirja
kuvitus
Kati Närhi
Tammi
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Ruoka
Kakkua pullaa, leipää ja
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