On the preeminence of sensory and pre-rational engagement with artistic, particularly architectural forms: "I wish to argue firmly, that true qualities of architecture are not formal or geometric, intellectual or even aesthetic; they are existential and poetic, embodied and emotive experiences which connect us with the deep historicity of dwelling, and they arise from our existential encounters with the world rather than (from) the sense of vision. Artistic images are not pure, formal configurations, they are images that are embedded on the soil of human historicity, memory and imagination. Poetic images are always new and ancient at the same time. Like the Jungian archetypes, architectural images evoke recollections, feelings and associations. Existentially meaningful architectural images evoke feelings, recollections and associations. They can not be mere formal fabrications or inventions, as they are bound to echo our mental world, and artistic experiences are thus, essentially, exchanges. We experience them as part of our life-world and give them meanings. (...) Artistic forms cannot be fabricated."
The most ephemeral and complex of these subconscious mental simulations is the simultaneous grasping of the entire ambience, atmosphere or mood of a space or place.
On the preeminence of sensory and pre-rational engagement with artistic, particularly architectural forms: "I wish to argue firmly, that true qualities of architecture are not formal or geometric, intellectual or even aesthetic; they are existential and poetic, embodied and emotive experiences which connect us with the deep historicity of dwelling, and they arise from our existential encounters with the world rather than (from) the sense of vision. Artistic images are not pure, formal configurations, they are images that are embedded on the soil of human historicity, memory and imagination. Poetic images are always new and ancient at the same time. Like the Jungian archetypes, architectural images evoke recollections, feelings and associations. Existentially meaningful architectural images evoke feelings, recollections and associations. They can not be mere formal fabrications or inventions, as they are bound to echo our mental world, and artistic experiences are thus, essentially, exchanges. We experience them as part of our life-world and give them meanings. (...) Artistic forms cannot be fabricated."
'...argues that the unconscious, diffused and peripheral ingredients actually make a work of art'
The most ephemeral and complex of these subconscious mental simulations is the simultaneous grasping of the entire ambience, atmosphere or mood of a space or place.
Thank you.
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