The Eyes of the Skin

建筑能把我们从现时的束缚中解放出来，让我们能体验缓慢的、逐渐恢复的时间流动。建筑和城市是时间的装置和博物馆。它们让我们看到并理解历史的径流，让我们参与到超越个体生命的时间周期中。

建筑的“元素”不是视觉单元或格式塔；它们是和记忆互动的碰撞与抗衡。……家的体验由各不相同的活动组成——烹饪、饮食、社交、阅读、储藏、睡眠，各种私密的行为——而非视觉的元素。我们与一座建筑相遇；接近它，面对它，我们的身体与它相关联，穿过它，把它当作其他事情发生的条件。建筑诱发、引导并组织了行为和动作。建筑本身不是终结，它构想、表述、建造、赋予意义、关联、分隔和统一、促进及禁止。因此，基本的建筑体验具有动词的形式，而不是名词。

当我们与一件艺术品相遇，我们会把自己的情感和感觉投射到它上面。一个不可思议的交换悄然发生：我们对艺术品寄托我们的情感，而艺术品向我们传达它的权威和灵氛。最终，我们在艺术品中遇见了我们自己。……事实上所有人类的交流都暗示着将自己的一部分向他人投射的过程。

有的城市回想起来的时候仍然只是遥远的画面，而有的城市在记忆中却无比鲜活。令人愉快的城市在回忆中有声音、有气味，有各种各样的阳光与阴凉。……对城市质量的真正评价也许是你能否想象在这座城市里坠入爱河。

“教育的职责是去培养并支持人类想象与移情的能力，但普遍的文化价值趋向于打消幻想、压抑感觉，并僵化自我与世界的界限。……感觉和想象力的教育对于一个完整且有尊严的生活是必要的。”

帕拉斯玛在所有尺度上强调整体设计——通过几何形状、材料、工艺和细节的优雅以及精致的组合——在他思想和作品中产生了回应。建筑被纳入一个更完整的设计过程中，在其中对空间、光线和物质的触觉体验与基于几何形状和结构理性的规则相平衡。明显可感知的品质、微妙的情欲，贯穿于许多元素中。

“建筑的任务是清晰传达与表现我们生活其中的世界的本质并使我们安居于世界之中。”

一件建筑作品不应在它的实用和理性动机上透明化，它必须保持难以探测的隐秘和神秘感，以激发我们的想象和热情。

在冈仓天心的描述中，在场与缺失，临近与距离，感受到的与想象的交织在一起。身体不只是一个物质的实体；它被记忆和梦境，过去与未来所充实。爱德华•S凯西(EdwardS Casey)甚至认为：缺失了身体的记忆，我们几乎会丧失回忆的能力。世界被印记在身体里，我们也将身体投射到外在的世界。就像我们通过神经系统和大脑记忆一样，我们同样通过身体进行记忆。

work on philosophy - like work in architecture in many respects - is really more a work on oneself. On one's own interpretation. On how one sees things. (Wittgenstein)

Our bodies and movements are in constant interaction with the environment; the world and the self inform and redefine each other constantly.

There is no body separate from its domicile in space, and there is no space unrelated to the unconscious image of the perceiving self.

Kent C Bloomer - Body, Memory, and Architecture 'The body image ... is informed fundamentally from haptic and orienting experiences early in life.

'To at least some extent every place can be remembered, partly because it is unique, buy partly because it has affected our bodies and generated enough associations to hold it in our personal worlds.'

Every touching experience of architecture is multi-sensory; qualities of matter, space and scale are measured equally by the eye, ear, nose, skin, tongue, skeleton and muscle.

'The only sense which can give a sensation of spatial depth is touch.'

An architectural work is not experienced as a collection of isolated visual pictures, but in its full material and spiritual presence.

Images of presence give rise to images of imagination.

Deep shadows and darkness are essential because they dim the sharpness of vision, make depth and distance ambiguous and invite unconscious peripheral vision and tactile fantasy,

Alvar Aalto - Saynatsalo Town Hall

Sight isolates, whereas sound incorporates; vision is directional, sounds is omni-directional.

Building do not react to our gaze, but they do return our sound back to our ears.

The sound measures space and makes its scale comprehensible.

The cries of seagulls in the harbour awaken an awareness of the vastness of the ocean and the infiniteness of the horizon.

The most essential auditory experience created by architecture is tranquility.

Ultimately, architecture is the art of petrified silence.

A powerful architectural experience silences all external noise; it focuses our attention on our very existence, and as with all art, it makes us aware of our fundamental solitude.

Alvar Aalto - Paimio Sanatorium

The most persistent memory of any space is often its odour.

The body knows and remembers.