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page195from Nordic Architects Writes
“Body memory is … the natural center of any
sensitive account of remembering”, philosopher Edward S. Casey argues in his
seminal book Memorizing: A Phenomenological Study, and concludes: “There is no
memory without body memory.”22 In my view, we could say even more; body is not
only the locus of remembrance, it is also the site and medium of all creative
work, including the work of the architect.
Memory and emotion
In addition to being memory devices,
landscapes and buildings are also amplifiers of emotions; they reinforce
sensations of belonging or alienation, invitation or rejection, tranquility or
despair. A landscape or work of architecture cannot, however, create feelings. Through
their authority and aura, they evoke and strengthen our own emotions and project
them back to us as if these feelings of ours had an external source. In the
Laurentian Library in Florence I confront my own sense of metaphysical
melancholy awakened and projected back by Michelangelo’s architecture. The
optimism that I experience when approaching the Paimio Sanatorium is my own
sense of hope evoked and strengthened by Alvar Aalto’s optimistic architecture.
The hill of the meditation grove at the Woodland Cemetery in Stockholm, for
instance, evokes a state of longing and hope through an image that is an
invitation and a promise. This architectural image of landscape evokes
simultaneously remembrance and imagination as the composite painted image of
Arnold Böcklin’s “Island of Death”. All poetic images are condensations and
microcosms.
The modernist architecture of the Paimio
Sanatorium projects images of hope and healing. Alvar Aalto, Paimio
Tuberculosis Sanatorium, Paimio, 1929-33
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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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