Towards a neuroscience of Architecture
Lavori in corpore vivi
1 Ottobre 2014
Il Progetto 40
1 Ottobre 2014Fred Gage
Fred Gage
ARCHITECTURE – AN IMPURE DISCIPLINE
Architecture is a hybrid and “impure” discipline.
The practice of architecture contains and fuses ingredients
from conflicting and irreconcilable categories, such as
material technologies and mental intentions, construction
and aesthetics, physical facts and cultural beliefs, knowledge
and dreams, past and future, means and ends. Besides
its traditional reliance on the tacit knowledge of timeless
practices of construction, architecture relies largely on
theories and findings of other areas of research and
knowledge instead of possessing an independent theoretical
foundation of its own.
During the past decades, architecture has been viewed from
various theoretical perspectives, provided by, for instance,
psychology, psychoanalysis, structuralist linguistics,
and anthropology as well as deconstructionist and
phenomenological philosophies, just to name a few.
It is evident that in the field of architecture, scientific criteria
or methods have mainly been applied in its technical,
physical and material aspects, whereas the mental realm has
been left to individual artistic intuition. On the other hand, the
fast development of computerized digital technologies has
provided an entirely new horizon for architectural production.
In fact, the digital technologies seem to have developed
beyond our complete grasp of what really is the essence in
the interaction of digital technologies and the innate nature
of our biologically grounded perception, experience and lived
reality. At the face of the miracles brought about by technical
innovations, we tend to underestimate, or entirely neglect, the
miracles of life itself.
The complexity of our neural system is beyond
comprehension: the human brain contains more than one
hundred billion neurons, and each neuron has in average
7000 synaptic connections. That amounts to the staggering
fact that each one of us has roughly 500 trillion synapses.2
Along with the current discourse arising from ideas of human
embodiment and the new emphasis on sensory experiential
qualities, various findings and views emerging in the
neurosciences are promising a deeper understanding of the
mental implications and impacts of the art of building.
In addition to its essence as an artifact, architecture now
needs to be seen in its biological and ecological context.
Recent findings in the complexities and plasticity of the
human brain and neural systems emphasize the innately
multi-sensory nature of our existential and architectural
experiences. These views challenge the traditional and still
prevailing visual understanding of architecture and suggest
that the most significant architectural experiences arise
from existential encounters rather than retinal percepts,
intelligence and aesthetics of the new. In these encounters
the world and the perceiver become merged, and the
boundary between outer and inner mental worlds turn vague,
as they merge. As Maurice Merleau-Ponty argues, “The world
is wholly inside, and I am wholly outside myself”3.
Most importantly, the recent discovery of mirror neurons
begins to help us to understand the origins of empathy and
emotion, and how we can experience emotion and feeling in
material and spatial phenomena.
How can a painting, consisting of paint on canvas, and a
building made of dead matter, make us feel anguished or
happy, bored or stimulated, rooted or alienated? Why does
the stair hall of Michelangelo’s Laurentian Library, built of
mere pietra serena, make me weep?
Today, scientific experiments reveal the processes taking
place in the human brain as well as their specific locations,
dynamics and interactions.
Yet, experiencing mental and poetic meaning through
space, form, matter, and illumination is a phenomenon of
different category and order than observations of electrochemical
activities in the brain. That is why combining the
quickly advancing neurological knowledge to appropriate
philosophical framing and analyses seems a particularly
suitable methodology in approaching the mysteries of artistic
meaning. This approach with a double focus has been
appropriately called neurophenomenology.
ARCHITETTURA - UNA DISCIPLINA IMPURA
L’architettura è una disciplina ibrida e “impura”.
Il praticare l’architettura include e fonde ingredienti apparentemente
inconciliabili e contrastanti, come le tecnologie
dei materiali e le nostre intuizioni, la costruzione e l’estetica,
fatti fisici e credenze culturali, conoscenze e sogni, passato e
futuro, mezzi e fini.
Oltre alla sua tradizionale dipendenza dalla conoscenza delle
pratiche di costruzione senza tempo, l’architettura si basa in
gran parte sulle teorie e sui risultati ottenuti dalle ricerche
e dalla conoscenza in altri settori, invece di possedere un
proprio fondamento teorico indipendente.
Negli ultimi decenni l’architettura è stata osservata da varie
prospettive teoriche fornite, ad esempio, non solo dalla
psicologia, dalla psicoanalisi, dalla linguistica e dall’antropologia
(solo per citarne alcune) ma anche dalla filosofia
decostruttivista.
E’ evidente che nel campo architettonico i criteri o metodi
scientifici sono stati prevalentemente applicati a partire dai
loro aspetti tecnici, fisici e materiali, mentre l’aspetto mentale
è stato lasciato all’intuizione artistica individuale; d’altra
parte, il rapido sviluppo delle tecnologie digitali computerizzate
ha permesso alle opere architettoniche di spingersi
verso orizzonti completamente nuovi. Le tecnologie digitali,
infatti, sembrano essersi sviluppate ben oltre la nostra completa
comprensione di quella che è veramente la sostanza:
l’interazione tra le tecnologie digitali e la nostra propensione
naturale alla percezione, all’esperienza e alla realtà vissuta.
A causa dei miracoli realizzati dalle innovazioni tecniche, tendiamo
a sottovalutare o trascurare del tutto, i miracoli della
vita stessa.
La complessità del nostro sistema nervoso è difficilmente
misurabile; il cervello umano contiene più di cento miliardi
di neuroni, e ciascun neurone ha in media 7000 connessioni
sinaptiche: equivale a dire che ognuno di noi ha circa 500
mila miliardi di sinapsi.
Insieme al dibattito attuale derivante dalle scoperte sullo
sviluppo umano e da una nuova attenzione alle qualità delle
esperienze sensoriali, diversi risultati e punti di vista emergenti
dalle neuroscienze hanno permesso una più profonda
comprensione delle implicazioni mentali e dell’impatto
dell’arte del costruire. Oltre alla sua essenza come artefatto,
l’architettura deve essere considerata a partire dal suo contesto
naturale ed ecologico.
Le recenti scoperte della complessità e plasticità del cervello
umano e del sistema nervoso sottolineano la naturale tendenza
multi-sensoriale delle nostre esperienze esistenziali e
architettoniche. Questi punti di vista si contrappongono alla
tradizionale, e ancor oggi prevalente, comprensione visiva
dell’architettura e suggeriscono che le esperienze architettoniche
più significative derivano da incontri dell’essenza,
piuttosto che dalle percezioni visive, intellettive e dall’estetica
del nuovo. In questi incontri il mondo e colui che percepisce
risultano uniti e il confine tra mondo mentale esterno ed
interno diventa sottile: come sostiene Maurice Merleau-Ponty
“il mondo è tutto all’interno, e io sono interamente fuori di
me”.
Ancora più importante è la recente scoperta dei neuroni
specchio: ci ha permesso di comprendere le origini dell’empatia
e delle emozioni e come possano essere espresse
attraverso fenomeni materiali e spaziali.
Come possono un dipinto composto da colore su tela ed un
edificio fatto di materia concreta farci sentire angosciati o
felici, annoiati o stimolati, appagati o alienati? Perché mi
commuove la scala della Biblioteca Laurenziana di Michelangelo
costruita interamente in pietra serena?
Oggi esperimenti scientifici rivelano i processi che avvengono
nel cervello umano così come i punti specifici nei quali
avvengono le loro dinamiche e interazioni: l’esperienza del
significato mentale e poetico attraverso lo spazio, la forma, la
materia e l’illuminazione, però, è totalmente diversa dall’osservazione
delle attività elettrochimiche nel cervello; ecco
perché, combinando il veloce avanzamento delle conoscenze
neurologiche ad un adeguato inquadramento dell’analisi
filosofica, si può arrivare ad un metodo adatto per cercare di
comprendere il significato artistico: questo approccio con una
doppia attenzione è stato chiamato neuro-fenomenologia.
THE MEASURABLE AND THE IMMEASURABLE
Instead of attempting to enter the ground of neuroscience, I
wish to say something about the specific mental essence of
architecture, that ought to be understood before any hasty
conclusions are made about the relations of distinct brain
activities and architectural qualities.
Architecture is a realm that is deeply biologically, culturally
and mentally grounded, but today frequently neglected in
theoretic studies, education as well as professional practice.
I hope that the biological sciences and neuroscience, which
are opening exciting doors to the essence of brain, mental
functions and consciousness , can valorize the interaction
of architecture and the human mind, and reveal the hidden
complexities that have escaped rational analyses and
measurement.
In our consumerist society, often dominated by shallow
and prejudiced rationality and a reliance on the empirical,
measurable and demonstrable, the embodied, sensory
and mental dimensions of human existence continue to be
suppressed.
“The genuineness of an expression cannot be proved; one has
to feel it”, Ludwig Wittgenstein points out, and this applies to
existential qualities as well .4 Or, as Jean-Paul Sartre argues:
“Essences and facts are incommensurable, and one who
begins his inquiry with facts will never arrive at essences…
understanding is not a quality coming to human reality from
the outside; it is its characteristic way of existing”.5.
I believe that neuroscience can give support to the mental
objectives of design and arts, which are in danger of being
disregarded because of their “uselessness” and apparent
subjectivity.
The new biological sciences can emancipate us from the
limits of the “naïve realism” of our culture.
Architecture has its utilitarian qualities in the realm of
rationality and measurability, but its mental values are
most often concealed in embodied metaphors and ineffable
unconscious interactions; it can only be encountered,
experienced and lived.
Instead of attempting to suggest the new insights of the
neuroscience, that may be applicable in architecture, I have
chosen to focus on the mental dimensions of buildings, the
essences that could be valorized by new scientific research.
I believe that neuroscience can reveal and reinforce the
fundamentally mental, sensory, embodied, and biological
essence of architecture against today’s tendencies towards
ever increasing materialism, intellectualization, and
commodification.
IL MISURABILE E L’INCOMMENSURABILE
Invece di iniziare a trattare subito il campo delle neuroscienze,
vorrei dire qualcosa a proposito della peculiare essenza
dell’architettura che deve essere compresa prima di giungere
ad avventate conclusioni: l’essenza consiste nel rapporto tra
le molteplici attività cerebrali e le caratteristiche dell’oggetto
architettonico.
L’architettura è un regno che è contemporaneamente e profondamente
legato agli aspetti biologici, culturali e intellettivi:
oggi questo rapporto è frequentemente negato dagli studi
teorici, dal percorso formativo e perfino dalla pratica professionale
stessa.
Spero che la biologia e le neuroscienze, che sono straordinarie
vie d’accesso per la comprensione dell’essenza del
cervello umano, della mente e della coscienza, possano rivalorizzare
il rapporto interattivo tra l’architettura e la mente
dell’uomo e rivelare la sua complessità nascosta, che sfugge
alle analisi razionali e logiche.
La nostra società consumista, spesso dominata da una visione
razionale, superficiale e prevenuta, è fondata sulle letture
empiriche, logiche e dimostrabili dalle circostanze: continua
a dimenticare che l’esistenza umana è profondamente legata
ai sensi ed alla percezione.
“L’autenticità di un gesto non può essere dimostrata: deve
essere percepita”, dichiara Ludwig Wittgenstein, e questo può
essere applicato anche a livello esistenziale. Oppure Jean-
Paul Sartre sostiene: “L’essenza e i fatti non sono misurabili,
e chi inizia la sua ricerca a partire dai fatti non arriverà mai
alla loro essenza... la comprensione non è una qualità che
proviene dalla realtà umana circostante; è un modo caratteristico
di esistere”.
Credo che le neuroscienze possano dare un supporto alla
concezione intellettuale del design e dell’arte, che rischiano
di essere trascurate a causa della loro inessenzialità e apparente
soggettività.
La nuova biologia può liberarci dal “realismo naïve” proprio
della nostra cultura.
L’architettura ha le sue caratteristiche funzionali nel campo
razionale e logico, mentre i suoi valori intellettuali sono spesso
nascosti da rappresentazioni metaforiche e da reazioni
inconsce inspiegabili; l’architettura può essere solo affrontata,
provata e vissuta.
Invece di tentare di indicare le nuove intuizioni delle neuroscienze
che possono essere applicate in architettura, ho
scelto di concentrarmi sulla percezione mentale degli edifici
e sulla loro essenza, che potrebbe essere valorizzata dalle
nuove ricerche scientifiche.
Penso che le neuroscienze possano svelare e rinforzare
la sostanza intellettuale, sensoriale, concreta e biologica
dell’architettura: questo si contrappone alla contemporanea
tendenza, sempre più diffusa, al materialismo, all’intellettualizzazione
e alla mercificazione.
THE TASK OF ARCHITECTURE
The purpose of our buildings is still too often seen narrowly
in terms of functional performance, physical comfort,
economy, symbolic representation, or aesthetic values.
However, the task of architecture extends beyond its
material, functional, and measurable dimensions, and even
beyond aesthetics, into the mental and existential sphere of
life.
Besides, architecture has practically always a collective
impact and meaning.
Buildings do not merely provide physical shelter or facilitate
distinct activities.
In addition to housing our fragile bodies and actions, they
also need to house our minds, memories, desires, and
dreams. Our buildings are crucial extentions of ourselves,
both individually and collectively. Buildings mediate between
the world and our consciousness through internalizing the
world and externalizing the mind.
Landscapes, built settings, houses and rooms are integral
parts of our mental landscape and consciousness.
Through structuring and articulating lived existential space
and situations of life, architecture constitutes our most
important system of externalized order, hierarchy and
memory.
We know and remember who we are as historical beings by
means of our constructed settings.
Architecture also concretizes “human institutions” – to use a
notion of Louis Kahn – the accumulation and structuring of
culture, as well as the layering of time.
It is not generally acknowledged that our constructed world
also domesticates and scales time for human understanding.
It is usually accepted, that architecture gives limitless and
meaningless space its human measures and meanings,
but it also scales endless time down to the limits of human
experience.
As Karsten Harries, the philosopher, suggests, architecture
is “a defense against the terror of time”.6
Architecture slows down, halts, reverses, or speeds up
experiential time, and we can appropriately speak of slow and
fast architectures; it is evident that in our era of speed and
acceleration architecture becomes ever faster.
As Paul Virilio has remarked, speed is the most important
product of the contemporary culture.7
The human essence of architecture cannot be grasped at
all unless we acknowledge its metaphoric, mental, and
expressive nature.
“Architecture is constructed mental space”, my colleague
Professor Keijo Petäjä used to say.8 In the Finnish language
this sentence projects simultaneously two meanings:
architecture is a materialized expression of mental space,
and our mental space itself is structured by architecture.
This idea of a dialectical relationship, or inter-penetration,
echoes Maurice Merleau-Ponty’s phenomenological notion of
“the chiasmatic bind”9 between the world and physical space,
on the one hand, and the self and mental space, on the other.
In the philosopher’s view, this relationship is a continuum,
not a polarity.
The best visualization of this boundless margin, that I can
think of, is the mysterious Moebius strip, a three dimensional
twisted loop, which has two side, but only a single surface.
It is exactly this chiasmatic merging and mirroring of the
material and the mental that has made the artistic and
architectural phenomena unattainable for an empirical
scientific approach; the artistic meaning exists fundamentally
in the experience, and that is always unique, situational and
individual.
Scientific thinking needs to accept the first person
perspective in phenomena which do not have another
projection.
Artistic meaning exists only on the poetical level in our
encounter with the work, and it is existential rather than
ideational.
Merleau-Ponty also introduced the suggestive notion of “the
flesh of the world”, which we are bound to share with our
bodies as well as with our architecture.
In fact, we can think of architecture as specific articulations
of this very existential and experiential flesh; through
architecture we mold our domicile and ourselves.
In accordance with the motto of my essay, settings alter our
brain, and our brain (or neural entity) changes our behavior
and the world.
It is now known that the architecture of each person’s brain is
unique, and its uniqueness stems partly from the places he/
she has experienced.10
IL COMPITO DELL’ARCHITETTURA
Il fine dei nostri edifici è ancora troppo spesso concepito
unicamente dal punto di vista funzionale, economico, formale,
estetico e del comfort abitativo. Tuttavia, il ruolo dell’architettura
va ben oltre la semplice dimensione materiale,
funzionale e misurabile ed anche oltre quella estetica: arriva
ad inserirsi nella sfera esistenziale della vita.
L’architettura, inoltre, acquista senso dall’impatto e dal significato che assume per la collettività. Gli edifici non fungono
solo da rifugio fisico e non vengono utilizzati solo per lo
svolgimento delle nostre attività: oltre che ospitare i nostri
fragili corpi ed essere lo scenario per le nostre azioni, servono
anche per dare ospitalità alle nostre menti, ricordi e sogni.
I nostri edifici sono estensioni fondamentali di noi stessi, sia
individualmente che collettivamente. Gli edifici fungono da
mediatori tra il mondo e la nostra coscienza, portando all’interno
il mondo e palesando la mente umana.
I paesaggi, la collocazione degli edifici, le case e le stanze
sono parti integranti dello scenario intellettivo e della coscienza
umana: attraverso la struttura e l’articolazione dello
spazio vissuto e delle diverse situazioni di vita, l’architettura
costituisce il più importante mezzo con cui mostrare l’ordine,
la gerarchia e la memoria.
Sappiamo e ricordiamo chi siamo grazie al nostro passato
storico ed alla conformazione del costruito.
Attraverso l’architettura si concretizzano le istituzioni sociali,
la stratificazione e la struttura della cultura e perfino lo scorrere
del tempo – utilizzando un’affermazione di Luis Kahn.
Non è generalmente riconosciuto che il costruito addomestichi
e relativizzi il tempo in modo da farlo comprendere agli
uomini mentre è generalmente accettato che l’architettura
dia significato e misura a spazi privi di confini e valore e ridimensioni
il tempo indeterminabile all’interno dell’esperienza
umana.
Come suggerisce la filosofa Karsten Harries, l’architettura è
“difesa contro il terrore del tempo”.
L’architettura rallenta, ferma, rovescia o accelera il tempo
sensibile e possiamo, indicativamente, distinguerne due tipi:
lenta o veloce; è evidente che nella nostra epoca vivace ed in
accelerazione, l’architettura diventi ancora più rapida.
Come ha osservato Paul Virilio la velocità è uno dei frutti più
importanti della cultura contemporanea.
L’essenza umana dell’architettura non può essere sfruttata
totalmente, a meno che non venga compresa la sua natura
metaforica, intellettiva ed intensa. “L’architettura è costruita dallo spazio intellettivo”: il mio collega, Professor Keijo
Petaja è solito dire che in finlandese questa frase può avere
contemporaneamente due significati: da un lato architettura
come espressione materiale dello spazio mentale, e dall’altro
il nostro spazio mentale strutturato dall’architettura.
Quest’idea di una relazione dialettica, o compenetrazione, fa
riferimento alla teoria fenomenologica di Maurice Merleau-
Ponty del “legame chiasmatico” tra il mondo e lo spazio
fisico da un lato, e se stessi e lo spazio mentale dall’altro.
Nella visione della filosofa, questa relazione è in continuum e
non in contrapposizione.
Il miglior modo di vedere, dal mio punto di vista, questo
legame senza limiti è quello del misterioso Nastro di Mobius,
un contorto circuito a tre dimensioni che ha due facce ma
un’unica superficie. È esattamente quest’unione chiasmatica
e specchiata del materiale e dell’intelletto che fa sì che gli
oggetti artistici e architettonici siano irraggiungibili a partire
da un approccio esclusivamente empirico: il significato
artistico si raggiunge solamente attraverso l’esperienza ed è
sempre unico, contingente e individuale.
La scienza ha bisogno di accettare che la comprensione
dei fenomeni dipende prima di tutto da noi stessi e non può
avvenire altrimenti. Il significato artistico si ha quando noi
stessi incontriamo il nostro lavoro, e dipende dall’esperienza
concreta di vita piuttosto che da quella immaginaria.
Merleau-Ponty afferma che “la sostanza del mondo” alla
quale siamo legati deve essere sperimentata sia attraverso
i nostri corpi che attraverso l’architettura: possiamo considerare
l’architettura come un aspetto di questa sostanza
esistenziale ed empirica; grazie all’architettura costruiamo
noi stessi e la nostra casa.
In conformità al mio pensiero la tradizione influisce sul nostro
cervello e il nostro cervello (o entità neurale) influisce sui
nostri comportamenti e sul mondo.
Oggi è universalmente riconosciuto che la struttura del cervello
di ogni persona è unica e la sua unicità deriva in parte
dai luoghi che ha sperimentato.
BOUNDARIES OF SELF
“What else could a poet or painter express than his
encounter with the world”, Merleau-Ponty asks.11
An architect is bound to articulate this very same personal
encounter, regardless of the basic utility and rationality of
his task. This might sound like a self-centered position for
the designer, but in fact, it emphasizes and concretizes the
subtlety of the designer’s human task.
In the essay written in memory of Herbert Read, Salman
Rushdie suggests: “In the creative act the boundary between
the world and the artist softens and permits the world to flow
into the artist and the artist to flow into the world”.12
Profound pieces of architecture also sensitize the boundary
between the world and ourselves, and they sensitize us to our
domicile.
The architectural context gives human experience its unique
structure and meaning by means of projecting specific
frames and horizons for the perception and understanding of
our own existential situation.
Merleau-Ponty formulates the idea of the world as the
primary subject matter of art (and architecture, we may again
add) followingly: “We come to see not the work, but the world
according to the work”. 13
We are invited inside a unique ambience, an artistically
structured world of embodied experiences, which addresses
our sense of being, and temporal duration in a way that
bypasses rationality and logic.
As Alvar Aalto wrote: “In every case (of creative work) one
must achieve the simultaneous solution of opposites. Nearly
every design task involves tens, often hundreds, sometimes
thousands of contradictory elements, which are forced into a
functional harmony only by man’s will. This harmony cannot
be achieved by any other means than those of art”.14
CONFINI DI SE’
“Cos’altro potrebbe esprimere un poeta o un pittore se non il
suo incontro con il mondo?” si chiede Merleau-Ponty.
Un architetto è destinato ad esprimere questo incontro che
è legato alla sensibilità del singolo, a prescindere dall’utilità
basica e razionale del suo ruolo: questo potrebbe suonare
autoreferenziale per il designer ma, di fatto, sottolinea e concretizza
la delicatezza del suo ruolo umano.
Salman Rushdie, nel saggio scritto in memoria di Herbert
Read, afferma: “nel processo creativo il legame che si instaura
tra il mondo e l’artista mitiga e consente al mondo stesso
di penetrare all’interno dell’artista e all’artista di penetrare
nel mondo”.
Alcuni oggetti architettonici di valore, oltre a dimostrare il
legame tra il mondo e noi stessi, mostrano anche il legame
esistente tra noi stessi e la nostra dimora.
L’architettura dà all’esperienza umana struttura e significato,
progettando specifiche cornici e orizzonti per la percezione e
la comprensione della nostra stessa esperienza umana.
Merleau-Ponty propone la visione del mondo come soggetto
principale dell’arte (e dovremmo aggiungere anche dell’architettura)
affermando: “arriviamo a non vedere il lavoro, ma
il mondo in base al lavoro”.
Siamo invitati all’interno di un unico ambiente, un mondo artisticamente
strutturato di esperienze, che influenza il nostro
modo di essere e la durata temporale in modo da eludere la
razionalità e la logica.
Come scrisse Alvar Aalto: “in ogni caso (durante il lavoro
creativo) si deve raggiungere la soluzione simultanea degli
opposti. Quasi ogni lavoro di design contiene al suo interno
decine, spesso centinaia, alle volte migliaia di elementi contrastanti
che sono condotti all’armonia dal desiderio dell’uomo.
Quest’armonia non potrebbe essere raggiunta grazie a
mezzi diversi da quelli dell’arte”.
THE SECRET CODE
The content and meaning of an architectural experience
is not a given set of facts or elements, as it is a unique
imaginative re-interpretation and re-creation of a situation
by each individual. The experienced meanings of architecture
are not primarily rational, ideational or verbalized meanings,
as they arise through one’s sense of existence by means of
embodied and unconscious projections, identifications and
empathy.
We are mentally and emotionally affected by works of
architecture and art before we understand them, or, in fact,
we usually do not “understand” them at all.
I would even argue that the greater the artistic work is, the
less we understand it intellectually.
A distinct mental short circuiting between a lived emotional
encounter and intellectual understanding is a constitutive
characteristic of the artistic image.
I wish to suggest that art is unconsciously more concerned
with our past than the future; art desires to save or revitalize
our mental connections with the biological and animistic
world.
A poetic understanding takes place through unconscious
identification, simulation, and internalization.
While rational understanding calls for a critical distance and
separation from the subject, poetic “understanding” requires
nearness and empathy. In fact, art is not about understanding
at all, as an artistic image is an existential encounter which
momentarily re-orients our entire sense of being.
Great works possess a timeless freshness, and they project
their enigmas always anew, as if we were each time
experiencing the work for the first time.
I like to revisit architectural and artistic masterpieces around
the world in order to repeatedly encounter their magical
sense of newness and freshness. I remember many of these
masterworks by heart, yet they always appear enigmatic and
unexpected as they embrace me in their unique ambience.
The greater the work is, the stronger is its resistance to time.
As Paul Valéry, the poet, suggests: “An artist is worth a
thousand centuries”.15 The oldest rock paintings of Africa
and Australia give evidence of experiential artistic values that
have already survived four hundred centuries.
The interaction of newness and the primordial in the human
mind is yet another aspect of the artistic and architectural
image that can be understood through neurological research,
I believe. We humans are essentially creatures that are
suspended between the past and the future more poignantly
than other forms of life, we are unnoticeably viewing the
future through our collective bio-cultural past.
The common view that art is interested in and a harbinger of
future is certainly a hasty assumption – the main concern of
art is to maintain our biological and historical integrity.
IL CODICE SEGRETO
Il contenuto ed il significato dell’esperienza architettonica
non sono un insieme di dati ed elementi già prestabiliti: si
tratta, invece, di una reinterpretazione e riproduzione unica di
ogni situazione da parte del singolo individuo.
Siamo emotivamente e mentalmente toccati dalle opere
architettoniche ed artistiche prima ancora di comprenderle,
oppure di fatto non le comprendiamo mai. Sostengo anche
che migliore è il lavoro artistico, meno lo capiamo intellettualmente.
L’immagine artistica che otteniamo è risultato di un distinto
collegamento tra le emozioni vissute e la comprensione
intellettiva.
Vorrei dire che l’arte è concentrata, anche se involontariamente,
più sul nostro passato che sul nostro futuro; l’arte,
infatti, ha come obiettivo quello di salvare o rivitalizzare le
nostre connessioni mentali con la natura.
La comprensione poetica ha luogo attraverso l’involontaria
identificazione, riproduzione ed interiorizzazione: mentre la
comprensione razionale richiede una certa distanza dal soggetto,
in modo da valutare e criticare, la comprensione poetica
richiede vicinanza ed empatia; l’arte, infatti, non riguarda
affatto la comprensione: un’immagine artistica è un incontro
dell’esistenza che ci permette di ri-orientare il nostro senso
dell’essere.
Le opere artistiche più grandi possiedono una spontaneità
senza tempo ed hanno la capacità di presentare il loro enigma
più volte, ogni giorno, come se ogni volta sperimentassimo
quest’opera per la prima volta.
Mi piace visitare più volte i capolavori architettonici e artistici
nel mondo in modo da sperimentare più volte la loro magica
spontaneità e innovazione: anche se molti di questi capolavori
li conosco perfettamente a memoria, ogni volta che li
visito mi sembrano enigmatici, sorprendenti e unici nella loro
unicità.
Più grandioso è il lavoro, più forte è il suo opporsi al passare
del tempo.
Le più antiche incisioni nella pietra dell’Africa e dell’Australia
sono la testimonianza di un’espressione artistica sperimentale che è già sopravvissuta per centinaia di secoli.
L’interazione del nuovo e del primordiale nella mente umana
è uno dei molteplici aspetti dell’immagine artistica ed architettonica
che possono essere compresi attraverso la ricerca
neurologica.
Noi umani siamo essenzialmente creature che sono sospese
tra il passato e il futuro, in modo più intenso rispetto ad altre
forme di vita: guardiamo al futuro attraverso il nostro passato.
Il pensiero comune che l’arte sia interessata al futuro
e che sia il suo precursore è un’ipotesi affrettata – l’obiettivo
principale dell’arte è quello di mantenere la nostra integrità
biologica e storica.
IDENTIFICATION AND EMPATHY
As neurological research has recently revealed, we have a
surprising capacity to mirror the behavior of others, and even
to unconsciously animate and mimic inanimate material
constructions and objects through our imagination. “Be
like me”, is the call of a great poem according to Joseph
Brodsky.16
A building certainly makes a similar invitation; a profound
piece of architecture invites and guides us to be better and
more sensitive human beings.
The world of art and architecture is fundamentally an
animistic world awakened to life by the projection of our
own intuitions and feelings. In this very sense, the artistic
intention is in conflict with the scientific view.
We have an amazing capacity to grasp complex
environmental entities through simultaneous multi-sensory
sensing of atmospheres, feelings, and moods. This capacity
to instantaneously grasp existential essences of vast entities,
such as spaces, places, landscapes and entire cities,
suggests that we intuit entities before we identify their parts
and details.
“The quality of the whole permeates, affects and controls
every detail”17, as John Dewey, the visionary philosopher,
pointed out eighty years ago.
This view of the dominance of unified entities over “elements”
has been strongly suggested by neuroscience, and it casts
a serious doubt on the prevailing elementarist theories and
methods of education.
The attempt to teach a complete experiential entity gradually
through its “elements” is doomed to failure: we learn to
swim only by experiencing water through our body, not by
intellectually knowing its chemical constitution.
IDENTIFICAZIONE ED EMPATIA
Come ha recentemente scoperto la ricerca neurologica,
possediamo una straordinaria capacità di imitare i comportamenti
degli altri e, perfino inconsapevolmente, di dare vita
e replicare le costruzioni concrete e gli oggetti attraverso la
nostra immaginazione. “Sii come me”, è il titolo di una splendida
poesia secondo Joseph Brodsky. Un edificio certamente
propone lo stesso invito: un oggetto architettonico di valore
invita e guida verso un modo di essere migliore e più sensibile.
Il mondo dell’arte e dell’architettura è ricondotto alla vita
attraverso la proiezione dei nostri sentimenti e delle nostre
intuizioni: in questo senso l’intento artistico è in conflitto
con la visione scientifica. Abbiamo un’incredibile capacità
di afferrare entità ambientali complesse attraverso la percezione
multi-sensoriale di atmosfere, emozioni e umori:
questa capacità di comprendere immediatamente l’essenza
esistenziale di entità molto grandi, come lo spazio, i luoghi, i
paesaggi e intere città, riconduce al fatto che noi percepiamo
gli oggetti prima di identificarne tutte le parti e i dettagli che
li compongono. “La qualità del tutto permea, tocca e controlla
ogni dettaglio”, come affermò ottant’anni fa James Dewey,
un filosofo visionario. Questa visione dell’influenza di entità
complesse sugli elementi, è stata fortemente suggerita dalla
neuroscienza ed ha messo in dubbio il prevalere delle teorie elementari e dei metodi di educazione tradizionali. Il tentativo
di insegnare gradualmente un metodo empirico attraverso i
suoi elementi costituenti è condannato al fallimento: abbiamo
imparato a nuotare solamente sperimentando in prima
persona l’acqua attraverso il corpo e non conoscendo teoricamente
la sua composizione chimica.
HUMAN BIOLOGICAL HISTORICITY
We need to accept the essential historical and embodied
essence of human existence, experience, cognition, and
memory.
In our bodies we can still identify the remains of the tail from
our arboreal life, the plica semilunaris in our eye corners as
the remains of our horizontally moving eye-lids from the Saurian
age, and even the remains of gills in our lungs deriving
from our fish life hundreds of millions of years ago.
We certainly have similar remains in our mental constitution
from our biological and cultural historicity; one aspect of
such deeply concealed memory was pointed out by Sigmund
Freud and Carl G Jung, namely the archetype.18
I want to add here that Jung defined archetypes dynamically
as certain tendencies of distinct images to evoke certain
types of associations and feelings. So, even archetypes are
not concrete or given “building blocks” in artistic creation,
as Post-Modernism seemed to believe, they are dynamic
tendencies with a life of their own.
Architecture, also, has its roots and mental resonances in
our biological historicity.
Why do we all sense profound pleasure when sitting by an
open fire if not because fire has offered our predecessors
safety, pleasure and a heightened sense of togetherness for
some seven hundred thousand years. Vitruvius, in fact, dates
the beginning of architecture in the domestication of fire.
The taming of fire actually gave rise to unexpected changes
in the human species and its behavior: “Control over fire
changed human anatomy and physiology and became
encoded in our evolving genome”, Stephen Pyre suggestes.19
Some linguistic scholars have suggested that also language
originates in the primordial act of gathering around the fire.
Such bio-psychological heritage, especially the spatial
polarity of “refuge” and “prospect”, has been shown to
be significant in Frank Lloyd Wright’s houses by Grant
Hildebrandt.20
The proxemic studies of the American anthropologist Edward
T Hall in the 1960s revealed unbelievably precise unconscious
mechanisms in the use of space and its culture specific
parameters and even meaningful chemical communication
between our endoctrine glands, which have been considered
to be closed from the outside world and thus only have an
internal metabolic function.21 Such studies are surely only a
beginning in re-rooting modern man, the Homo Faber, back
in his biological roots, and neuroscience can be expected to
valorize the internal workings of these genetic and instinctual
behaviors and reactions.
Neurological studies can also be expected to reveal the
neural ground for our fundamental spatial and environmental
pleasures and displeasures, as well as feelings of safety and
fear. Neurological research has suggested that all reactions
of biological life can be deduced back to the pleasure
principle, and undoubtedly even today’s technologized and
“intelligent” buildings need to identify these primal human
needs.
STORICITA’ DELLA BIOLOGIA UMANA
Dobbiamo accettare l’essenza storica e realizzata dell’esistenza,
dell’esperienza, della conoscenza e della memoria
umana: nei nostri corpi possiamo ancora riconoscere i segni
della coda che avevamo durante l’era arborea, la plica semilunaris
nell’angolo dell’occhio come segno del movimento
orizzontale della palpebra sviluppato durante l’era dei dinosauri,
il segno delle branchie all’interno dei nostri polmoni
risalente alla nostra vita marina di centinaia di milioni di
anni fa; allo stesso modo possediamo sicuramente dei segni,
all’interno della struttura mentale, derivati dalla nostra storia
biologica e culturale; un aspetto profondamente radicato nella
memoria è stato portato alla luce da Sigmund Freud e Carl
G Jung e denominato “archetipo”. Desidero aggiungere che
Carl G Jung definì “archetipo” la tendenza posseduta da alcune
immagini definite, di provocare specifici tipi di associazioni
ed emozioni: gli archetipi non contribuiscono concretamente
alla formazione di “elementi edificatori” durante il processo
creativo, come invece sembra credere il post-modernista:
sono propensioni dinamiche con vita propria. Per quale altra
ragione tutti quanti proviamo un profondo senso di piacere
quando sediamo all’aperto attorno ad un fuoco, se non perché
il fuoco offrì ai nostri antenati per settecento migliaia di
anni protezione, piacere e un maggiore senso di unità?
Vitruvio, infatti, pone come nascita dell’architettura il momento
in cui è stato scoperto il fuoco. L’addomesticamento
del fuoco, effettivamente, comportò cambiamenti inaspettati
nella specie umana e nei suoi comportamenti: “il controllo
del fuoco cambiò l’anatomia e la psicologia umana e tali
mutazioni furono codificate nel nostro genoma in evoluzione” affermò Stephen Pyre. Alcuni studiosi di linguistica ritengono
che anche il linguaggio derivi dall’atto primordiale di
radunarsi attorno al fuoco. Come l’eredità bio-psicologica,
specialmente per quanto riguarda la polarità spaziale tra
“rifugio” e “prospettiva”, ha dimostrato di essere significativa
nelle abitazioni progettate da Frank Lloyd Wright e analizzate
da Grant Hildebrandt. Gli studi della prossemica, effettuati
negli anni ‘60 dall’antropologo americano Edward T Hall,
hanno dimostrato un meccanismo inconscio ed incredibilmente
preciso dell’uso dello spazio e dei suoi parametri
culturali specifici e anche della comunicazione tra le nostre
ghiandole endocrine, che sono chiuse al mondo esterno ed
hanno come unica funzione quella di regolare il metabolismo
interno. Questi studi sono solo l’inizio del processo con cui
l’uomo moderno, l’Homo Faber, viene ricondotto alle sue
origini biologiche e ci si può aspettare che la neuroscienza
evidenzi le azioni interne delle predisposizioni genetiche
ed istintuali e delle reazioni. Ci si può aspettare, inoltre,
che gli studi neurologici rivelino la base neurale del nostro
fondamento spaziale, dei nostri piaceri e disagi ambientali,
così come della paura e della sicurezza. Grazie alla ricerca
neurologica sappiamo che tutte le reazioni biologiche possono
essere ricondotte al principio del piacere, e senza dubbio
anche gli edifici moderni tecnologici e “intelligenti” servono
per rispondere a questi bisogni primari dell’uomo.
UNDERSTANDING ARCHITECTURE
Merleau-Ponty makes the significant remark, “The painter
takes his body with him…Indeed, we cannot imagine how a
mind could paint”.22 The same must certainly be said about
architects, as our craft is unavoidably constituted in an
embodied manner of existence, and architecture articulates
that very mode of being.
This argument turns more complex when we acknowledge
that the notion of the “body” is not self-evident – we have at
least four bodies: physical body, emotional body, mental body,
and social body.
In my way of thinking, architecture is more an art of the body
and existential sense than of the eye, and more of emotive
and unconscious feelings than rational deduction.
This is where the logocentric and over-intellectualized
theorizing of architecture, so popular in the recent past, has
gone decisively wrong. But, again, neuroscience can valorize
these hierarchies and priorities.
I believe that neurological research will confirm that our
experiences of architecture are grounded in the deep and
unconscious layers of the human mental life. What I have
said so far probably suggests an opposition between the
scientific and artistic approaches. I wish to reiterate that
they are two fundamentally different modes of knowledge:
methodically formalized knowledge, on the one hand, and
existential and lived knowledge on the other, but I wish to
suggest an attitude of mediation, particularly in my own
field of architecture. I am not speaking against attempts to
grasp the structure or logic of experiential phenomena; I am
merely concerned of a reductivist or biased understanding of
architectural phenomena.
The study of artistic phenomena also calls for appropriate
methods of study. In the mid-1930s, Alvar Aalto wrote about
“an extended Rationalism”, and urged architects to expand
rational methods even to the psychological and mental
areas. Aalto states: “We might say that one way to produce
a more humane built environment is to extend our definition
of Rationalism. We must analyse more of the qualities
associated with an object than we have done so far.”23
Aalto continues: “It is not the rationalization itself that
was wrong in the first and now past period of modern
architecture. The wrongness lies in the fact that the
rationalization has not gone deep enough. Instead of fighting
rational mentality, the newest phase of Modern architecture
tries to project rational methods from the technical field out
to human and psychological fields… Technical Functionalism
is correct only if enlarged to cover even the psychophysical
field. That is the only way to humanise architecture”.24
Aalto expresses a desire to expand the rational method to
include phenomena explored in the fields of “neurophysiology
and psychology”. He writes, “My aim was to show that
real Rationalism means dealing with all questions related to
the object concerned, and to take a rational attitude also to
demands that are often dismissed as vague issues of individual
taste, but which are shown by more detailed analysis
to be derived partly from neurophysiology and partly from
psychology. Salvation can be achieved only or primarily via an
extended concept of Rationalism”.25
Eight years later, Aalto takes this concept one step further:
“I would like to add my personal, emotional view, that
architecture and its details are in some way all part of
biology.”26 This is a suggestion I wish to support.
LA COMPRENSIONE DELL’ARCHITETTURA
Merleau-Ponty afferma: ”il pittore porta il suo corpo con sé...
sicuramente non possiamo immaginare come una mente
possa dipingere”. Lo stesso può essere affermato anche per
gli architetti: il nostro mestiere è inevitabilmente costituito
dalla rappresentazione dell’esistenza e l’architettura rappresenta
questo modo di essere. Questo ragionamento diventa
ancora più complesso quando ammettiamo che la concezione
del “corpo” non è chiara – abbiamo almeno quattro corpi:
quello fisico, quello emozionale, quello mentale e infine
quello sociale. Secondo il mio pensiero, l’architettura è più un’arte del corpo
e dell’esistenziale che ciò che vediamo, è un sentimento
più emozionale e involontario che una deduzione razionale:
qui hanno sbagliato le teorie logo-centriche e “sovraintellettualizzate”,
così popolari nel passato recente. Tuttavia,
nuovamente, le neuroscienze sono state capaci di valorizzare
queste priorità e gerarchie.
Credo che la ricerca neurologica confermerà che il nostro
“sperimentare” l’architettura sia radicato nel profondo e
nell’inconscio della mente umana.
Quello che ho detto fino ad ora suggerisce un’opposizione tra
l’approccio scientifico e quello artistico. Desidero affermare
che questi sono due approcci conoscitivi fondamentalmente
diversi: da un lato si ha una conoscenza metodica formalizzata,
e, dall’altro, una conoscenza vissuta ed esistenziale; vorrei
però suggerire una mediazione, in particolar modo all’interno
della mia visione dell’architettura. Con le mia tesi non voglio
andare contro i tentativi di comprendere la struttura logica
del fenomeno sperimentale; sono soltanto preoccupato che il
fenomeno dell’architettura sia visto in termini riduttivi e parziali.
Il fenomeno artistico deve essere studiato con metodi
appropriati.
Negli anni ‘30, Alvar Aalto scrisse sul ”Razionalismo esteso”
e così incoraggiò gli architetti ad espandere i loro metodi
razionali anche verso aree psicologiche e mentali. Aalto
continuò: “si potrebbe dire che un metodo per costruire un
ambiente più “umano” sia estendere la definizione di Razionalismo.
Dobbiamo analizzare diverse qualità collegate ad un
unico edificio. La spiegazione razionale in sé non era errata
nel passato periodo dell’architettura moderna, l’errore giace
nel fatto che la spiegazione razionale non è mai andata abbastanza
in fondo. Invece di combattere con la mentalità razionale
, la nuovissima fase dell’architettura Moderna cerca di
progettare metodi razionali a partire dal campo tecnico fino a
quello umano e psicologico...il Funzionalismo Tecnologico è
corretto solo se spinto fino a coprire anche il campo fisicopsichico.
Questo è l’unico modo di umanizzare l’architettura”. Aalto esprime il desiderio di espandere il metodo razionale
per includere al suo interno anche i fenomeni studiati nei
campi della neurofisiologia e psicologia. “Il mio obiettivo è
quello di mostrare che il Razionalismo è concentrato su questioni
riguardanti l’oggetto architettonico e sul mantenimento
dell’atteggiamento razionale anche riguardo questioni vaghe
e individuali che sono mostrate da analisi neurofisiologiche e
psicologiche più dettagliate. La salvezza può essere ottenuta
soltanto e principalmente con l’estensione del concetto di
Razionalismo”. Otto anni dopo, Aalto sviluppa questo concetto
fino ad un passo successivo: “Vorrei aggiungere alla
mia personale ed emotiva visione che l’architettura e i suoi
dettagli sono in qualche modo parte della biologia”. Vorrei
supportare questo concetto.
INTUITIVE "NEUROLOGISTS"
Semir Zeki, neurologist who has studied the neural ground of
artistic image and effect, regards a high degree of ambiguity,
such as the unfinished imagery of Michelangelo’s slaves,
or the ambivalent human narratives of Johannes Vermeer’s
paintings, as essential contributors to the greatness of these
works.27 In reference to the great capacity of profound artists
to evoke, manipulate and direct emotions, he makes the
surprising argument: “Most painters are also neurologists…
they are those who have experimented with and, without ever
realizing it, understood something about the organization of
the visual brain, though with the techniques that are unique
to them”.28. This statement echoes interestingly an argument
of the Dutch phenomenologist-therapist J.H. Van den Berg:
“All painters and poets are born phenomenologist”.29
Artists and architects are phenomenologists in the sense
of being capable of “pure looking”, an unbiased and naive
manner of encountering things.
The recent book, “Proust was a Neuroscientist”, by Jonah
Lehrer popularizes this topic arguing that certain masterful
artists, such as Walt Whitman, Marcel Proust, Paul Cézanne,
Igor Stravinsky, and Gertrude Stein, anticipated certain
neurological findings of today in their art often more than a
century ago.30
In his significant books “The Architect’s Brain: Neuroscience,
Creativity and Architecture”, and “Architecture and
Embodiment: The Implications of the new Sciences and
Humanities for Design”, Harry F. Mallgrave has connected
the findings in neuroscience with the field of architecture
directly in accordance with the objective of our seminar.31
In Inner Vision: An Exploration of Art and the Brain, Semir
Zeki suggests the possibility of “a theory of aesthetics that
is biologically based”.32 Having studied animal building
behavior and the emergence of aesthetically motivated choice
in the animal world for forty years, I personally have no doubt
about this.
What else could beauty be than Nature’s powerful instrument
of selection in the process of evolution? Joseph Brodsky
assures us of this with the conviction of a poet: “The purpose
of evolution, believe it or not, is beauty”33. In his study on
the neurological ground of art, Zeki argues that “art is an
extension of the functions of the visual brain in its search for
essentials”34. I see no reason to limit this idea of extension,
or externalization to the visual field only. I believe that art
provides momentary extensions of the functions of our
perceptual and neural systems, consciousness, memory,
emotions, and existential “understanding”.
The great human quality of art is that it permits ordinary
mortals to experience something through the perceptual
and emotive sensibility of the greatest individuals of human
history.
We can feel through the neural subtlety of Brunelleschi,
Mozart, and Rilke, for instance.
And again, we can undoubtedly make the same assumption
of meaningful architecture; we can sense our own existence
amplified and sensitized by the works of great architects of
history from Ictinus and Callicrates to Frank Lloyd Wright
and Louis Kahn. Great architecture elevates our experience
of ourselves and it emanates unspoken but contagious
existential wisdom.
NEUROLOGI INTUITIVI
Semir Zeki è un neurologo che ha studiato la base neurologica
delle immagini artistiche ed i loro effetti, tenendo
comunque conto di un alto livello di ambiguità, come l’immagine
incompiuta degli schiavi di Michelangelo, o l’incerto
significato umano dei quadri di Jahanne Vermeer, che sono
un contributo fondamentale per la grandezza di queste opere.
Riguardo alla capacità dei grandi artisti di evocare, manipolare
ed indirizzare le emozioni, Zeki propone un inaspettato ragionamento:
“molti pittori sono anche neurologi...sono quelli
che hanno sperimentato e contemporaneamente capito,
senza rendersene conto, qualcosa riguardo all’organizzazione
della parte visiva del cervello grazie all’utilizzo di tecniche
uniche”. Quest’affermazione ricorda paradossalmente una
teoria di J.H Van den Berg, fenomenologo-terapista olandese:
“tutti i pittori e i poeti sono nati fenomenologi”. Gli artisti
e gli architetti sono fenomenologi nel senso che possiedono
uno “sguardo puro”, una maniera imparziale e ingenua di imbattersi
nelle cose. Il recente libro di Johan Lehrer, “Proust
era un neuroscienziato”, divulga questo tema affermando
che grandi artisti come Walt Withman, Marcel Proust, Paul Cezanne, Igor Stravinsky e Gertrude Stain, hanno anticipato
con le loro opere, più di un secolo fa, le scoperte neurologiche
contemporanee. Harry F. Mallgrave, nelle sue importanti
opere “The Architect’s Brain: Neuroscience, Creativity and
Architecture” e “Humanities for Design” ha connesso le
scoperte della neuroscienza con il campo dell’architettura,
perfettamente in accordo con il nostro tema. Semir Zeki in
“La visione dall’interno. Arte e cervello” propone la possibilità
di una “teoria estetica con fondamenti biologici”.
Avendo studiato per quarant’anni il comportamento degli
animali negli edifici e la comparsa di una scelta esteticamente
motivata nel mondo animale, non ho nessun dubbio
a riguardo. Cos’altro potrebbe essere la bellezza, se non
il potente strumento di selezione naturale nel processo di
evoluzione?
Joseph Brodsky ce lo garantisce con l’opinione di un poeta:
“l’obiettivo dell’evoluzione, che ci crediate o no, è la bellezza”.
Nei suoi studi riguardo al fondamento neurologico dell’arte,
Zeki afferma che “l’arte è un ampliamento delle funzioni della
parte ottica del cervello nella ricerca dell’essenza”.
Non vedo nessuna ragione per limitare questa idea di estensione
o manifestazione solo al campo ottico. Credo che l’arte
amplii momentaneamente i compiti del nostro sistema percettivo
e neurologico, della coscienza, della memoria, delle
emozioni e della comprensione dell’esistenza.
La grandezza umana dell’arte è che permette ai comuni mortali
di sperimentare qualcosa attraverso la sensibilità percettiva
ed emotiva dei più grandi individui della storia umana:
possiamo sentire, per esempio, attraverso la delicatezza
neurale di Brunelleschi, Mozart e Rilke; e di nuovo possiamo
senza dubbio affermare lo stesso per l’architettura più significativa:
possiamo sentire intensificarsi la nostra esistenza
attraverso le opere di grandi architetti a partire da Ictino e
Callicrate fino ad arrivare a Frank Lloyd Wright e Louis Kahn.
La grande architettura eleva l’esperienza di noi stessi e diffonde
il sapere esistenziale, silente ma contagioso.
THE GIFT OF IMAGINATION
It is arguable that the most human of our capacities is that
of imagination. Imagination is often thought of as a kind of
daydreaming, and sometimes even as something suspect.
Yet, even perceiving and memorizing places, situations and
events, engage our imaginative capacities.
The acts of experiencing and memorizing are embodied acts,
which evoke imaginative realities with specific meanings.
The existence of our ethical sensibility alone calls for
imaginative skills.
Recent studies have revealed that the acts of perceiving and
imagining take place in the same areas of the brain, and
consequently, these acts are closely related.35
Even perceptions call for imagination, as percepts are not
automatic products of the sensory mechanism; they are
essentially creations and products of intentionality and
imagination. We could not even see light without our “inner
light” and formative visual imagination, Arthur Zajonc, the
physicist, argues.36
To conclude, “Reality is a product of the most august
imagination”, Wallace Stevens, the poet, suggests.37
We do not judge environments merely by our senses, we also
test and evaluate them through our imagination.
Comforting and inviting settings inspire our unconscious
imagery, daydreams and fantasies.
Sensuous settings sensitize and eroticize our relationship
with the world. As Gaston Bachelard argues: “The chief
benefit of the house (is that) the house shelters daydreaming,
the house protects the dreamer, the house allows one to
dream in peace…The house is one of the greatest powers
of integration for the thoughts, memories and dreams of
mankind”.38
IL DONO DELL’IMMAGINAZIONE
E’ discutibile che la più umana delle nostre capacità sia quella
dell’immaginazione.
L’immaginazione è spesso considerata come una sorta di sogno
ad occhi aperti e, alcune volte, anche come un qualcosa
di sospetto; già percependo e memorizzando luoghi, situazioni
ed eventi sfruttiamo le capacità della nostra immaginazione.
Gli atti di sperimentare e memorizzare sono insiti nell’uomo
e richiamano alla mente realtà immaginarie con specifici
significati: anche solo l’esistenza della nostra sensibilità
morale richiede capacità immaginative.
Studi recenti hanno rivelato che le azioni del percepire e
dell’immaginare nascono nella stessa area del cervello e, di
conseguenza, sono strettamente correlate: anche la percezione
richiede immaginazione, così come le percezioni non
sono prodotti automatici del processo sensitivo; sono essenzialmente
creazioni e prodotti della volontà e dell’immaginazione.
Arthur Zajonc, fisico, afferma che non riusciremmo a
vedere la luce senza la nostra “luce interiore” e l’immaginazione
creativa visiva. In conclusione, Wallace Stevens, il poeta,
afferma “la realtà è il prodotto della più sacra immaginazione”.
Non giudichiamo gli ambienti esclusivamente grazie
ai nostri sensi, ma anche grazie alla nostra immaginazione:
disposizioni confortevoli e attraenti ispirano il nostro inconscio
immaginario, i nostri sogni ad occhi aperti e le fantasie;
disposizioni sensuali sensibilizzano e amplificano la nostra
relazione con il mondo.
Come dichiara Gaston Bachelard: “il principale vantaggio
della casa è che è un rifugio per sognare ad occhi aperti, la
casa protegge il sognatore, la casa permette di sognare in
pace...è una delle più grandi forze di integrazione tra pensieri,
ricordi e sogni dell’umanità”.
COLLABORATIVE UNDERSTANDING OF THE MIND
The widening interest in the neuroscience of architecture
has already led to the establishment of the Academy
of Neuroscience for Architecture (ANFA) in San Diego,
California. In addition to its research projects, the
Academy hosts annual conferences on various aspects
of the neuroscience of architecture. In November 2012
the Frank Lloyd Wright School of Architecture and the
Academy organized a symposium entitled “Minding Design:
Neuroscience, Design Education and the Imagination” at
Taliesin West, Arizona, which brought together scientists and
architects. Today there are two schools of architecture which
include neuroscience in their programs, the New School
of Architecture + Design (NSAD) in SanDiego , California,
and the University of Arizona (UofA) in Tucson, Arizona. The
interaction of neurosciences and architecture offers vast
potential to enhance the quality of our settings. Any scientific
proof of mental phenomena and their consequences
concerning the characteristics of the environments of
our lives will certainly help to make claims for better
architectural qualities better acceptable in our surreally
materialist culture. This conversation is in its beginning, and
so far it has been largely directed by neuroscientists. It is
obvious that the neuroscientific investigation of architectural
experiences and meanings has to be based on a deep
dialogue between scientists and the makers of architecture.
“COMPRENSIONE COLLABORATIVA ” DELLA MENTE
L’interesse che va’ dalla neuroscienza all’architettura ha già
portato alla fondazione dell’Accademia delle Neuroscienze per l’Architettura (ANFA) a San Diego, California: oltre che
svolgere ricerche, l’Accademia tiene conferenze annuali su
vari aspetti delle neuroscienze applicate all’architettura.
Nel Novembre del 2012 la Scuola di Architettura di Frank
Lloyd Wright e l’Accademia hanno organizzato una conferenza
che ha riunito architetti e scienziati intitolata “Pensare il
design: neuroscienze, l’educazione del design e l’immaginazione”
a Taliesin West, Arizona.
Oggi esistono due scuole di architettura che includono
nei loro programmi lo studio delle neuroscienze, come ad
esempio la New School of Architecture+Design (NSAD) a San
Diego, California e la University of Arizona (UofA) a Tucson,
Arizona. L’interazione tra neuroscienze e architettura offre
grandi possibilità per migliorare la qualità delle nostre impostazioni:
ogni prova scientifica del fenomeno mentale e delle
sue conseguenze sull’ambiente nel quale viviamo aiuterà
sicuramente a creare nell’architettura oggetti migliori, che
saranno accettati maggiormente anche dalla nostra cultura
materialista. Questa discussione è ancora agli inizi e, per
ora, è stata portata avanti soprattutto dai neuroscienziati: è
ovvio che la ricerca neuroscientifica delle esperienze e dei
significati architettonici deve essere basata sul dialogo tra
scienziati e architetti.
Note:
1. Fred Gage, “Neuroscience and Architecture”, as quoted in Melissa Farling, “From intuition to Evidence”, manuscript for MindingDesign: Neuroscience, Design education and the Imagination, Sarah Robinson, Juhani Pallasmaa, editors, Frank Lloyd Wright School of Architecture, Scottsdale, Arizona (in progress 2013), p.3.
2. Sarah Robinson, “Nested Bodies”, manuscript for MindingDesign, op.cit., p.15.
3. Maurice Merleau-Ponty, The Phenomenology of Perception, trans. Colin Smith, London: Routledge and Kegan Paul, 1962, p. 407.
4. Ludwig Wittgenstein, Philosophical Investigations, Oxford, 1999, as quoted in Bernhard Leitner, The Wittgenstein House, Princeton Architectural Press, New York, 2000, p.188.
5. Jean-Paul Sartre, The Emotions: An Outline of a Theory, Carol Publishing Co., New York, 1993, p. 9
6. Karsten Harries, ‘Building and the Terror of Time’, Perspecta: The Yale Architecture Journal, issue 19. The MIT Press, Cambridge, Mass., 1982.
7. Paul Virilio, Katoamisen estetiikka (The aesthetics of Disappearance), Gaudeamus, Tampere, 1994, the page number unidentified.
8. Keijo Petäjä, architect and professor (1919–1988), one of the founders of the Finnish journal Le Carré Bleu specialized in architectural theory. In Finnish the sentence reads: “Arkkitehtuuri on rakennettua mielentilaa.”
9. Maurice Merleau-Ponty, ‘The Intertwining–The Chiasm’, The Visible and the Invisible, Claude Lefort, editor, Northwestern University Press, Evanston, 1969.
10. Michael Arbib, lecture at “MindingDesign: Neuroscience, Design Education and the Imagination” Symposium, Nov 9, 2012, Frank Lloyd Wright School of Architecture, Scottsdale, Arizona.
11. Maurice Merleau-Ponty, Signs, Nortwestern University Press, Evanston, Ill., 1982, p. 56.
12. Salman Rushdie, ‘Eikö mikään ole pyhää?’ (Isn’t anything sacred?), Parnasso, Helsinki 1.1996, p. 8.
13. Maurice Merleau-Ponty, as quoted in Iain McGilchrist, The Master and His Emissary: The Divided Brain and the Making of the Western World, Yale University Press, New Haven and London, 2010, p. 409.
14. Alvar Aalto, ‘Taide ja tekniikka’ (Art and Technology), lecture, Academy of Finland, October 3, 1955, in: Göran Schildt, Alvar Aalto Luonnoksia, Otava Publishers, Helsinki, 1972, pp. 87–88
15. Paul Valéry, Dialogues, Pantheon Books, New York, 1956, p. XIII.
16. Joseph Brodsky, ‘An immodest Proposal’, On Grief and Reason, Farrar, Straus and Giroux, New York, 1997, p. 206
17. John Dewey, Art As Experience, 1934 (1987), as quoted in Mark Johnson, The Meaning of the Body: Aesthetics of Human Understanding, The University of Chicago Press, Chicago and London, 2007, p. 73.
18. See Carl G. Jung et al. (editors), Man and His Symbols, Doubleday, New York, 1968, p. 57.
19. Stephen J. Pyre, Fire: Nature and Culture, Reaction Books Ltd, London, 2012, p. 47
20. Grant Hildebrandt, The Wright Space: Pattern and Meaning in Frank Lloyd Wright’s Houses, University of Washington Press, Seattle, 1992.
21. Edward T. Hall, The Hidden Dimension, Anchor Books, New York · London · Toronto · Sydney · Auckland, 1990, pp. 33–34. The writer refers to endocrinological research by A.S.Parkes and H.M.Bruce. The researchers even launched a term “exocrinoloy” to supplement the notion of endocrinology.
22. Maurice Merleau-Ponty, The Primacy of Perception, Northwestern University Press, Evanston, Ill., 1964, p. 162.
23. Alvar Aalto, ‘Rationalism and Man’, 1935, in Göran Schildt, ed., Alvar Aalto in His Own Words, Rizzoli, New York, 1997, p. 91.
24. Ibid., p. 102.
25. Op.cit., p. 92.
26. Alvar Aalto, ‘The Trout and the Stream’, Domus/Arkkitehti, 1948. Republished in Schildt, ed., Alvar Aalto in His Own Words, p. 108.
27. Semir Zeki, Inner Vision: An Exploration of Art and the Brain, Oxford University Press, Oxford, 1999, pp. 22–36.
28. Ibid., p. 2.
29. J.H. Van den Berg, as quoted in Bachelard, The Poetics of Space, op.cit., p. XXIV.
30. Jonah Lehrer, Proust was a Neuroscientist, Houghton Mifin Company, Boston–New York, 2008.
31. Harry Francis Mallgrave, The Architects’s Brain: Neuroscience, Creativity, and Architecture, Wiley–Blackwell, Chichester, 2010, and Architecture and Embodiment: The Implications of the New Sciences and Humanities for Design, Routledge, Abingdon, 2013.
32. Semir Zeki, op.cit., p. 1.
33. Joseph Brodsky, “An Immodest Proposal”, in On Grief and Reason, Farrar,Straus and Giroux, New York, 1995, p.208.
34. Semir Zeki, op.cit., p. 1.
35.Ilpo Kojo, ‘Mielikuvat ovat aivoille todellisia (Images are real for the brain), Helsingin Sanomat, Helsinki, 26.3.1996. The article refers to research at Harvard University under the supervision of Dr. Stephen Rosslyn in the mid-1990s.
36. Arthur Zajonc, Catching the Light: The Entwined History of Light and Mind, Oxford University Press, Oxford, 1995, p.5.
37. Quoted in Jonah Lehrer, op.cit., p. VI.
38. Gaston Bachelard, The Poetics of Space, op.cit., p. 6.
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