Synesthesia, or cross-modal associations, in architecture, means when one sees, feels an architecture there are more than one sensory mode that are stimulated and associated to another. In experience of the space, or in the present tense of a space, there is more than merely what one sees, hears, touches, and smells. The constant interaction of these senses against the space, associate with one another and brings various, complex feelings, thoughts. It brings “powerful variety of non-verbal thinking.” (Bulat Galeyev, in defining synesthesia) Before the brain, five senses “conspired, leaked over, merged and shared secret information. And once the brain begins to say what ‘it’ sees, smells, tastes… also adds the structure of events, fears, hunger and hopes to the mix. The sensation of gravity, balance and motion are added.” (Donald Kunze) This synesthesia of space is approached by studying a metaphor, which suggests a likeness or analogy between two ideas, possibly cross-modal. Time is stationary suggests that the ideal of time, which is a non-visible, touchable, etc idea, is a stationary object. Suggesting stationary also means it can be felt, or sensed. Before something moves through time, there is no idea of the time. Time is sensed only when there is a change. The change is perhaps not always physical; a process of thinking, smell, hear can also be thought as an object that changes. Anything that changes is moving through time. In experiencing space, vision is perhaps most dominant in stimulating other senses. By looking, one can feel different emotions more than by touching, smelling, and hearing. “Distance, a parameter of space, has an ever-changing function.” (Morris) Movement constantly stimulates different feelings. If there are a series of gates, there is a linear movement suggested and perspective of looking from the perspective still-distance contrasts with the experience of moving through the gates. If one moves straight, looking straight, although the perspective point is the same, the vision, experience constantly changes. If one moves straight, looking perpendicular to the direction they are moving, the experience is even more dramatic, as the perspective point moves along with the viewer.
2 comments:
Time is stationary (and we move through it).
Synesthesia, or cross-modal associations, in architecture, means when one sees, feels an architecture there are more than one sensory mode that are stimulated and associated to another. In experience of the space, or in the present tense of a space, there is more than merely what one sees, hears, touches, and smells. The constant interaction of these senses against the space, associate with one another and brings various, complex feelings, thoughts. It brings “powerful variety of non-verbal thinking.” (Bulat Galeyev, in defining synesthesia) Before the brain, five senses “conspired, leaked over, merged and shared secret information. And once the brain begins to say what ‘it’ sees, smells, tastes… also adds the structure of events, fears, hunger and hopes to the mix. The sensation of gravity, balance and motion are added.” (Donald Kunze)
This synesthesia of space is approached by studying a metaphor, which suggests a likeness or analogy between two ideas, possibly cross-modal.
Time is stationary suggests that the ideal of time, which is a non-visible, touchable, etc idea, is a stationary object. Suggesting stationary also means it can be felt, or sensed.
Before something moves through time, there is no idea of the time. Time is sensed only when there is a change. The change is perhaps not always physical; a process of thinking, smell, hear can also be thought as an object that changes. Anything that changes is moving through time.
In experiencing space, vision is perhaps most dominant in stimulating other senses. By looking, one can feel different emotions more than by touching, smelling, and hearing.
“Distance, a parameter of space, has an ever-changing function.” (Morris) Movement constantly stimulates different feelings. If there are a series of gates, there is a linear movement suggested and perspective of looking from the perspective still-distance contrasts with the experience of moving through the gates.
If one moves straight, looking straight, although the perspective point is the same, the vision, experience constantly changes. If one moves straight, looking perpendicular to the direction they are moving, the experience is even more dramatic, as the perspective point moves along with the viewer.
program proposals.
0. department store *
1. building connection with pavilion
2. boat house and "stadium"
3. roof cafe and lookout
4. train station
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