E. archdoc saggio Module 4

Title: Emotive Architecure

Subtitle: the Reality of the emotions

What is Emotional Architecture?

For Kas Oosterhuis in the book entitled Iper-Bodies, edited by

Edilstampa, emotional architecture is an architecture in

movement, which moves, which simulates surface feelings

but do not investigate the emotional world, giving back a

that there is not, which is a large housing informe.

While the emotions are a very practical, capable

return the size of space defined and often formally revolutionary. 

I think that means designing emotionally have the capacity to

listen, to hear their deepest desires, the more true

able to return an architecture that is as much as possible

closer to the unconscious desires.

 

Is scientifically proven fact, that to act in the choices and

in everything we do there is a component / part emotional

very strong that is as important as rational. 

As we are made:

Our br

ain consists of two connected parts:

The Right Hemisphere and the Left Hemisphere, the two

shares processes information in a different manner.

Watzlawick, one scholar says that the two halves to perform

specific functions that are expressed through two different languages

that match two images of the world:

the language of reason, logic, analytical;

the 

other is much more difficult to define, you may call the

of language, of metaphor, the pars pro toto, perhaps

symbol, at least the entirety.

Functions of the left hemisphere is all that is

report which is linked to the grammar, the syntax to

and semantics of this hemisphere lesions causing problems for

word, is specialized in reading images of key

logical and analytical functions often depend on a

pressure, from a taxation of the company on certain ideals

knowledge.

 

The right hemisphere is highly developed to capture

in full context, types, configurations and structures

complex.

The right hemisphere has a highly cognitive

high in the understanding of spatial dimensions, then

concrete in the perception of space and also a posssiede

perception of the world defined. Here are largely image

and therefore also the evocation of images from the memory and

the feelings that are related to that.

 

Experiments related to the aesthetic taste of the problem

golden section showed different choices by the two

hemispheres.

In the book Give me a rope ... and build Prof. Antonino Saggio

writes: "... so we dispel the myth of the golden section esoteric and

proves that arises from the need to construct a pentagon.

 

Then the golden section was created first of all by a need to

a necessity of reason.

 

These experiments demonstrate that the choices that affect

aesthetics specifically the golden section are strongly

conditioned-emotional of the hemisphere right.

 

Indeed, in these experiments is given where the order of

maintain the proportions, was alternately an interdict

of the two hemispheres but before the image of the golden section,

the right hemisphere has always chooses the golden section while

the left has always refused, preferring the golden section

the rectangle.

 

So we can say that the right hemisphere produces mainly

images, while the left is focused on operations records

and abstract.

Even the way we look at the images is different.

The left hemisphere tends to fragment and analyze images,

the right hemisphere tends to take a picture in his

totality.

 

In patients who have undergone the split-brain or the separation

of the two hemispheres, before imaging the two hemispheres have

reacted in a completely different highlighting

as the right hemisphere is subject to change and emotional

produce images, while the left one is more specialized

in verbal and abstract coordination, calculation, etc.

 

Therefore, the right hemisphere / emotional is that they are linked to the

images, spatial and sensory information.

The creation of images and complex set of metaphors is a

specificity dell'emisfero right.

 

In the creation of images acts both our landscape

Mental understood as stratification and wealth of knowledge but

also our ability to "see beyond" even before you

the means (we return to the book: "Give me a rope and ...

build) canachieve the things you imagine: 

we think of Bach in 1600 that produced the variations Goldberg

without knowing that you have composed a work for piano, but then

the piano did not exist, such as Leonardo and we are in 1400, was able to think and see the man who flew!   

We think J. Verne in his novel Twenty Leagues Under the

seas had imagined a submarine that ran through theice cap ...

Sant'Elia to think, to his new city, his city Futuristic 

We think about Arcosanti, Paolo Soleri was able to think for create a dream-like city, which could be output directly a dream! 

 

We think of Zaha Hadid, or rather to his paintings. In his paintings there are real prefigurations city, defined complex.

 

I think F.O. Gehry in Bilbao. The museum was not sure a necessary, essential, but it is a architectural which has radically changed a city, a nation.

Why? Why this is so, well done, well thought because represents one of the strongest examples of a change of formal paradigm, because it is so highly visionary / imaginary ..

Because when we imagine we live and this is important for all, especially for architects.

Why the imagination, not take the needs and is the more freedom of thought and one that can allow

jump, jump over the ...

 

E.archdoc saggio Module (3)

"The Garden of Lovers"

In this project, the “Garden of Lovers” were treated some themes of the book, especially about design approach.

The design approach is emotive where is crucial the use of metaphor to tell a story.

Another element is the modelling terrain and the way it moves in an area where the plane enveloping because the horizontal and vertical planes are continuing.

Inside the garden there are artificial and facilities that augment our sensory perceptions and emotional.

E.archdoc saggio Module (2)

Space

I chose the chapter on space because I think that underlying all of the thought there is our mental space or our mental landscape that made of our cognition rational and emotive. Indeed, the chapter on "Space" to explain through a series of thoughts, observations and assumptions based on cognitive abilities of animals linked to the environment in which they live, because the space is information. Physiologically there are scientists like Timothy Goldsmith of Yale, who had studied all his life as the animals see color. Indeed, the birds need to vital that derive from the context where they live, have a visual system and capacity different compared to mammals and humans because the birds can see an infinite variety of colors. Then a color exists or does not exist according on our cognition and information. The color is information, where the date in this case is the electromagnetic radiation is applied convention es: green means free, red means stop. The same is true with the other senses, with hearing, smell, touch. We humans have only one way to gain access to some perceptions, through new technologies, and through new tools.Indeed, the human can create tools developed, something that animals can not do, but can only evolve through a natural mutation from natural environmental change, of the context in which they live. Even the space “exist” and “does not exist”, and may be at one, two, three dimension according to our cognition. A worm dish to perceive the space according to its mode of movement, the crawl, this is space is perceived in different way by an eagle which can be see from above. Space is information, and has a complex set of information and can be understood in different ways depending on our cognitive abilities that are linked to the perception, but also related to our experiences and to the information baggage that each of us has. Thus, space is relative and not absolute. Infact, if we think to landscape, an agricultural expert, depending on the type of plants, and their variety, he may know the exact altitude at which we find ourselves, if there is biodiversity and how much water there is and what animals live in that place. The "Space is information" because it is a cognitive claims applied to a convention. An area in the dark, we humans can be perceived through an infrared instrument, and yet the scientific world of microparticles can be seen through the microscope and then across systems that are extensions, prosthetic technology that increase our cognition. Increase our cognition, it means being better informed, feel more and have greater awareness of what we are and of the context that surroundings us. But the space not exist, exist the matter. What is the matter? The matter can be the light, the water, sound, or the wind all elements perceptible of our senses. ( Marcos Novak, Gianni Ranaulo, Bluer, Diller &Escofidio, Blur) The physiology of animals is linked to their survival, there are not another elements bat everything is optimized.

The information architecture allows to the buildings and to us to be everywhere, you can create buildings places extreme totally inhospitable to living humans, in places where there is no trace of life, this will allow the new technology we think the North Pole, or Dubai, where everything can be recreated and narrated, and may be made an 'image, a metaphor as custom everything can be simulated. Our desires can be expressed, can be reificati. At this point, we can tackle any crisis because there is no question of survival. We can create entire landscapes in engineering structures such as biosfere ... we can live in space and in other dimensions because have augmented our cognition. where the technology were used as a sort of augmented reality.

Information technology can recreate what is not there, inventing new stories, new metaphors and such places and worlds and dimensions unknown to us become available and livable. So, perhaps the Space is a "iper-information" because we can communicate a complex set of information and the more we are informed, the more we are able to perceive and understand it then.

 

 

E.archdoc saggio Module (1)

The IT Revolution in Architecture

Thought on a paradigm shift

 

The book "The IT Revolution in Architecture" through a series of

questions, thoughts, analysis and assumptions that move in various disciplines, seeks to give the incentives, key  and tools possible for reading, for understand how the new information tools have changed and continue to change our way to perceive and think about the space. This is the question:” how the IT has changed the our mental landscape? The new technologies allow us to have access to new dimensions, new worlds, we can reified what you imagine and what you to desire. What kind of architecture can be our new mental landscape? What could be the new catalyst? And above all, what 'is the aesthetic dimension of information architecture? The main issues addressed in the book. Through a series of jumps, the book gets inside the world of the information, revealing some codes and languages that we can do of mental jumps. The world of Information, it is expressed through the language of metaphor, where what is not interested in the content, but the container, the story, the narration. Through information systems, we can tell our story, we can express our desires and create a architecture that represent not only our emotions but able to make us temporal-space jumps. This kind architecture is:  the interactive architecture.