By Christian Borch
There's a transforming into knowledge of the atmospheric dimensions of structure in modern architectural perform in addition to in social and architectural thought. Architectural Atmospheres offers a pointed, programmatic dialogue of this atmospheric flip. The ebook is vital interpreting for architects, planners, and social theorists who take an curiosity in how we event structure and in how you can increase architectural and concrete layout.
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Extra info for Architectural Atmospheres: On the Experience and Politics of Architecture
The J. Paul Getty Museum, Los Angeles. 63 Urban atmospheres. Eugène Atget, The Old School of Medicine, rue de la Bucherie, 1898. 6 cm. The J. Paul Getty Museum, Los Angeles. 64 ‘the interior, disclosed, shared realm inhabited by humans – in so far as they succeed in becoming humans’ (2011: 28). The basic assertion underpinning Sloterdijk’s project is that such spheres provide people with meaning, community, and a sense of immunity (or protection, security), whether in a material, social, or more ideational sense.
Montagu sees a wider change taking place in Western consciousness: ‘We in the Western world are beginning to discover our neglected senses. This growing awareness represents something of an overdue insurgency against the painful deprivation of 34 sensory experience we have suffered in our technologised world’ (1971: XIII). Our culture of control and speed has favoured the architecture of the eye, with its instantaneous imagery and distanced impact, whereas haptic and atmospheric architecture promotes slowness and intimacy, appreciated and comprehended gradually as images of the body and the skin.
Don’t we seek historically dense settings because they connect us experientially and imaginatively with past life, and because it makes us feel safe and enriched to be part of that temporal continuum? Traces of life support images of safety and generate images of continued life. We do not judge environments merely by our senses, we also test and evaluate them through our sense of imagination. Comforting and inviting settings inspire our unconscious imagery, daydreams, and fantasy. As Gaston Bachelard argues: ‘[T]he chief benefit of the house [is that] the house shelters daydreaming, the house protects the dreamer, the house allows one to dream in peace […] [T]he house is one of the greatest powers of integration for the thoughts, memories, and dreams of mankind’ (1969: 6).