Abstract
Editorial Summary: In »Corporeality of Architecture Experience« Katharina Voigt examines the embodied knowledge in the perception and the exploration of architectural spaces. She highlights embodiment, experience, and sensation as primary fields of investigation. The interrelation of architecture and the human body is described as dependent on bodily ways of knowing and movement as access to sensory encounters with architecture. Relating to the practice of contemporary dance and particularly the work of Sasha Waltz, she regards the body as an archive, generator, and medium of pre-reflexive knowledge, emphasizing its resonance with the space. She exploits the potential which an investigation of the body-based, sensory experience holds when being explicitly addressed and regarded as an integrated part of both, the perception and the design of architecture. [Uta Graff]
Highlights
The interrelation of architectural spaces and the human body remains unnoticed, as it affects us in a pre-noetic manner
Despite the all-encompassing sensual experience of actual architectural encounter, it is a demanding challenge to highlight its constitutive parts in order to make them accessible for the design process
In regard to the conceptual creation of architectural designs, this very impression of an actual encounter remains the most challenging to address. »As we enter the space, the space enters us, and the experience is essentially an exchange and fusion of the object and the subject«; Pallasmaa describes the all-encompassing effect that architectural encounters have on their perceivers (Pallasmaa 2014: 232)
Summary
Editorial Summary: In »Corporeality of Architecture Experience« Katharina Voigt examines the embodied knowledge in the perception and the exploration of architectural spaces She highlights embodiment, experience, and sensation as primary fields of investigation. Relating to the practice of contemporary dance and the work of Sasha Waltz, she regards the body as an archive, generator, and medium of pre-reflexive knowledge, emphasizing its resonance with the space. She exploits the potential which an investigation of the body-based, sensory experience holds when being explicitly addressed and regarded as an integrated part of both, the perception and the design of architecture.
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