Gotowa bibliografia na temat „Pallasmaa, juhani”

<p>El pasado 15 de Septiembre de 2016 nos reunimos en el estudio de Juhani Pallasmaa en Helsinki, un poco nerviosos por contactar con una de los grandes pensadores de nuestra época, se nos pasó inmediatamente al recibirnos tan cordialmente, manteniendo así una conversación que duró varia horas en una sala repleta de libros de todo tipo, que aseguró que había leído; aprovechamos para preguntarle por varios temas relacionados con la arquitectura, sus proyectos, escritos, teorías, el dibujo, las nuevas tecnologías y que nos diera su visión acerca de la enseñanza de la profesión en la actualidad.</p>

This piece focuses on the work of Juhani Pallasmaa who introduces phenomenological aspects of kinesthetic and multisensory perception of the human body into architecture theory. He argues that hand-drawing is a vital spatial and haptic exercise in facilitating architectural design. Through this process, architecture can emerge as the very ‘material’ existence of human embodied ‘immaterial’ emotion, feelings and wisdom. Hence, for Pallasmaa, architecture can be seen as an artistic practice, which entails multisensory and embodied thought in order to establish the sense of being in the world.

Este trabajo se adentra en cómo influye el mundo de las emociones en la percepción de la arquitectura. Los avances en neurociencia y en inteligencia emocional nos sirven para comprender mejor el pensamiento de uno de los teóricos más influyentes en la arquitectura contemporánea, Juhani Pallasmaa. Sus reflexionen han contribuido a un nuevo campo de estudio, la fenomenología de la arquitectura, donde se entremezclan aspectos relativos a la psicología, a la filosofía y a contenidos literarios de cariz poético.

"Our starting point is a phenomenological analysis of the concepts of hand and possibility in relation to human realization and expression, whereby the problem of hand and its movements can be followed in this framework in its peculiarity and uniqueness. With regard to possibility, we follow a certain shift in Husserl’s concept of possibility towards practical possibility, as well as some selected passages in his texts concerning corporeality and constitution. This phenomenological starting point is connected to the question of stimulation (potentiating) of the hand in the creative process; we draw upon insights in texts of a Finnish thinker and architect Juhani Pallasmaa and on examples from fields of art, technology and handicrafts. The goal of the text is the return to the hand and the revival of the sphere of original realization of the man, as opposed to uniformity, excess of impulses, tendency to manipulate or, on the other hand, desensitization, whereby we want to open up a space for stimulation of creativity and deepening of the experience on this basis, whose starting poin Keywords: body, touch, possibility, creation, craft, Edmund Husserl, Juhani Pallasmaa "

The aim of this project is to create a ‘story space’ that cultivates and challenges enduring dominant myths about the Australian landscape by using perverse and abject audio-visual strategies and ‘postproduction art’ practices. This project draws on Australian writer Ross Gibson’s theories on dominant cinematic Australian landscape myths and an aspect of French psychoanalyst Julia Kristeva's theory of abjection from her book The Powers of Horror (1982) to challenge these myths. The cinematic myths that this project responds to relate to non-indigenous Australians’ largely unconsummated desire to understand and unite with an intolerant and sometimes vengeful landscape. Metaphorically, abjection describes anything that is cast-off or excluded from the dominant social norms, and can include people, objects, spaces, motion and stories. Cast-offs represent the binary opposite of what is accepted by the dominant social norms, such as right and wrong, life and death, or “human and non-human” (Creed 1993, 8). This project sought to challenge and update dominant social norms by creating a physical lived story space based on Finnish architect Juhani Pallasmaa’s (2006) concept of the lived cinematic image as ‘lived space’. Located in a gallery, the story space I have created consists of audio-visual artworks that present an abject interpretation of trees that inhabit under-represented swamp and native forest landscapes located in Moreton Bay and Byron Bay.
Thesis (Professional Doctorate)
Doctor of Visual Arts (DVA)
Queensland College of Art
Arts, Education and Law
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Sendo a arquitetura contemporânea descrita por Juhani Pallasmaa como a que "nasce consequente de uma negligência do corpo e dos sentidos, assim como um desequilíbrio do nosso sistema sensorial"1, o que se pretende nesta dissertação é simultaneamente refletir sobre o estado atual da arquitetura e introduzir os escritos do arquiteto finlandês como determinantes para uma melhor compreensão da relação do indivíduo com o seu abrigo, o mundo. Para tal, a presente dissertação introduz dois discursos que pretendem por um lado introduzir os pensamentos do arquiteto Juhani Pallasmaa e por outro os devaneios próprios do autor desta dissertação. Consideram-se as ideias e práticas do arquiteto finlandês como as noções de um "autor de cabeceira"2 que vão acompanhando e conduzindo as reflexões feitas ao longo de todo o trabalho. Estas reflexões são derivadas das noções levantadas e são expostas em "gabinetes de curiosidades"3 que pretendem introduzir factos científicos, devaneios próprios e ainda exemplos de arquitetura que tentam ilustrar cada coleção. Os escritos de Pallasmaa servem de abertura aos diferentes Andamentos que visam refletir sobre temas específicos escolhidos pelo autor da presente dissertação considerados imperativos na condição atual da prática de arquitetura. A abordagem a este objeto de estudo divide-se em cinco partes/capítulos que correspondem sensivelmente às diferentes fases do trabalho. O primeiro capítulo introduz o "autor de cabeceira" e percorre a obra escrita e construída de Juhani Pallasmaa, fazendo uma aproximação à sua noção de arquitetura dos sentidos e ao imaginário presente nas suas reflexões, encerrando o capítulo com uma cronologia do seu trabalho. O segundo capítulo propõe um primeiro Andamento que explora as virtudes das construções do reino animal para a prática de uma arquitetura mais simples, ecológica e enraizada na sua condição de pertencimento ao mundo natural. O terceiro capítulo introduz um segundo Andamento que é crucial para o entendimento da arquitetura de Pallasmaa, explorando as capacidades das modalidades sensoriais no entendimento do corpo e do indivíduo no mundo e no espaço. O quarto capítulo sugere um terceiro Andamento que se constitui pelo entendimento imaginário do espaço da casa como determinante da nossa existência no mundo desabrigado e desprotegido das intempéries do espaço e tempo. E, por fim, o quinto e último capítulo, como um retorno à origem de algumas das inquietações que impulsionaram a construção de cada um dos Andamentos propostos, apresenta uma conclusão para cada um desses ao sugerir uma postura e consciência que integrem todas as noções abordadas ao longo da dissertação.
Being the contemporary architecture described by Juhani Pallasmaa as the one which is "born as a consequence of the neglect of the body and the senses, as well as an imbalance of our sensory system"1, the purpose of this dissertation is simultaneously to reflect on the current state of architecture and introduce the writings of the Finnish architect as determinants of a better understanding of the relationship between the individual with his shelter, the world. For this, the present dissertation introduces two discourses that intend to introduce the thoughts of the architect Juhani Pallasmaa on one hand and on the other the personal daydreams of the author of this dissertation. The ideas of the Finnish architect are considered as the notions of a "bedside author"2 who follows and leads the reflections made throughout the entire work. These reflections derived from these raised notions and are exposed in a "cabinet of curiosities"3 that aims to introduce scientific facts, personal daydreams and even architectural examples that try to illustrate each collection. The writings of the architect are introduced as an opening to the different Paces that aim to reflect on specific themes selected by the author of the present dissertation considered imperative in the current condition of architectural practice. The approach to this object of study is divided into five parts/chapters that correspond roughly to the different phases of the work. The first chapter introduces the "bedside author" and examines Juhani Pallasmaa's written and constructed work, making an approach to his notion of architecture of the senses and the imaginary present in his reflections, closing the chapter with a chronology of his work. The second chapter proposes a first Pace that aims to explore the virtues of animal kingdom constructions for the practice of an architecture that is simpler, ecological and rooted in its condition of belonging to the natural world. The third chapter introduces a second Pace that is crucial for the understanding of Pallasmaa's architecture, exploring the capabilities of sensory modalities in understanding the relation between the body and the individual with the world and the space. The fourth chapter suggests a third Pace that is constituted by the imaginary understanding of the space of the house as a determinant of our existence in the homeless and unprotected world of the space and the time. And finally, the fifth and last chapter, as a return to the origin of some of the concerns that drove the construction of each of the Paces proposed in this dissertation, presents a conclusion for each one of these by suggesting a posture and conscience that integrates the notions mentioned throughout this dissertation.

Sendo a arquitetura contemporânea descrita por Juhani Pallasmaa como a que "nasce consequente de uma negligência do corpo e dos sentidos, assim como um desequilíbrio do nosso sistema sensorial"1, o que se pretende nesta dissertação é simultaneamente refletir sobre o estado atual da arquitetura e introduzir os escritos do arquiteto finlandês como determinantes para uma melhor compreensão da relação do indivíduo com o seu abrigo, o mundo. Para tal, a presente dissertação introduz dois discursos que pretendem por um lado introduzir os pensamentos do arquiteto Juhani Pallasmaa e por outro os devaneios próprios do autor desta dissertação. Consideram-se as ideias e práticas do arquiteto finlandês como as noções de um "autor de cabeceira"2 que vão acompanhando e conduzindo as reflexões feitas ao longo de todo o trabalho. Estas reflexões são derivadas das noções levantadas e são expostas em "gabinetes de curiosidades"3 que pretendem introduzir factos científicos, devaneios próprios e ainda exemplos de arquitetura que tentam ilustrar cada coleção. Os escritos de Pallasmaa servem de abertura aos diferentes Andamentos que visam refletir sobre temas específicos escolhidos pelo autor da presente dissertação considerados imperativos na condição atual da prática de arquitetura. A abordagem a este objeto de estudo divide-se em cinco partes/capítulos que correspondem sensivelmente às diferentes fases do trabalho. O primeiro capítulo introduz o "autor de cabeceira" e percorre a obra escrita e construída de Juhani Pallasmaa, fazendo uma aproximação à sua noção de arquitetura dos sentidos e ao imaginário presente nas suas reflexões, encerrando o capítulo com uma cronologia do seu trabalho. O segundo capítulo propõe um primeiro Andamento que explora as virtudes das construções do reino animal para a prática de uma arquitetura mais simples, ecológica e enraizada na sua condição de pertencimento ao mundo natural. O terceiro capítulo introduz um segundo Andamento que é crucial para o entendimento da arquitetura de Pallasmaa, explorando as capacidades das modalidades sensoriais no entendimento do corpo e do indivíduo no mundo e no espaço. O quarto capítulo sugere um terceiro Andamento que se constitui pelo entendimento imaginário do espaço da casa como determinante da nossa existência no mundo desabrigado e desprotegido das intempéries do espaço e tempo. E, por fim, o quinto e último capítulo, como um retorno à origem de algumas das inquietações que impulsionaram a construção de cada um dos Andamentos propostos, apresenta uma conclusão para cada um desses ao sugerir uma postura e consciência que integrem todas as noções abordadas ao longo da dissertação.
Being the contemporary architecture described by Juhani Pallasmaa as the one which is "born as a consequence of the neglect of the body and the senses, as well as an imbalance of our sensory system"1, the purpose of this dissertation is simultaneously to reflect on the current state of architecture and introduce the writings of the Finnish architect as determinants of a better understanding of the relationship between the individual with his shelter, the world. For this, the present dissertation introduces two discourses that intend to introduce the thoughts of the architect Juhani Pallasmaa on one hand and on the other the personal daydreams of the author of this dissertation. The ideas of the Finnish architect are considered as the notions of a "bedside author"2 who follows and leads the reflections made throughout the entire work. These reflections derived from these raised notions and are exposed in a "cabinet of curiosities"3 that aims to introduce scientific facts, personal daydreams and even architectural examples that try to illustrate each collection. The writings of the architect are introduced as an opening to the different Paces that aim to reflect on specific themes selected by the author of the present dissertation considered imperative in the current condition of architectural practice. The approach to this object of study is divided into five parts/chapters that correspond roughly to the different phases of the work. The first chapter introduces the "bedside author" and examines Juhani Pallasmaa's written and constructed work, making an approach to his notion of architecture of the senses and the imaginary present in his reflections, closing the chapter with a chronology of his work. The second chapter proposes a first Pace that aims to explore the virtues of animal kingdom constructions for the practice of an architecture that is simpler, ecological and rooted in its condition of belonging to the natural world. The third chapter introduces a second Pace that is crucial for the understanding of Pallasmaa's architecture, exploring the capabilities of sensory modalities in understanding the relation between the body and the individual with the world and the space. The fourth chapter suggests a third Pace that is constituted by the imaginary understanding of the space of the house as a determinant of our existence in the homeless and unprotected world of the space and the time. And finally, the fifth and last chapter, as a return to the origin of some of the concerns that drove the construction of each of the Paces proposed in this dissertation, presents a conclusion for each one of these by suggesting a posture and conscience that integrates the notions mentioned throughout this dissertation.

In our modern world, a signifi cant number of traditional values have been dramatically manipulated, taking on new meanings and definitions quite diff erent from their original or natural signifi cance. Moreover, these traditional values are being replaced by new ones deemed more suitable to today’s world. Ideas such as selfl essness, humility, and longing, among others, have seemingly lost value as a consequence of the frantic pace of modern life and replaced by self-centredness, greed,aridity, exteriority, which will have a direct impact on our surrounding environment. Let’s imagine a land in which selfi shness is not a priority. Instead, replace it with a society driven by humane preferences. Would the architecture of that society still look like ours does today? Would it be as unsociable as it is in our so-called advanced civilization? This thesis investigates this query through a juxtaposition of the traditional values of a Persian art with the demands of modern life. It is a study of the calligraphic art of Iran as a transcendental practice, highly intertwined with strong emotions, wherein the intention of the research is to discover the relationship between Persian calligraphy and architecture. Presenting calligraphy as a context for understanding architecture has the potential to get beyond ourselves in the spaces we author. This research aims to allow the essence of Persian calligraphy into modern space as a means to revive the true essence of architecture: reunion of feeling and space, a concept that is given too little attention in our current architecture.

This chapter describes a teaching method, corporeal architecture, which uses performance art and neuroscience to teach interior design and architecture with a focus on embodiment and experience. The method sets new approaches to teach design, as it integrates design, neuroscience, and performance art and brings awareness to the importance of multi-sensory experience. The interaction with design objects at different scales is taken as an opportunity to investigate how the human body relates to space and allow the exploration of affordances through movement. Students are instructed with physical exercises and encouraged to design, build, and perform with objects such as chairs, cabinets and tables, installations, existing buildings, and public spaces. The performances explore narratives which reveal or subvert expectations we have around design objects. The methodology has a background in phenomenology, Maurice Merleau-Ponty and Juhani Pallasmaa; Antonio Damásio in neuroscience; and Oskar Schlemmer, Marina Abramovic, and Stelarc in Performance Art.

Architects design spaces that offer perceptual cues, affordances, for our various effectivities. Lina Bo Bardi’s São Paulo Museum demonstrates how praxic and contemplative actions are interleaved—space is effective and affective. Navigation often extends beyond wayfinding to support ongoing behavior. Scripts set out the general rules for a particular kind of behavior, and may suggest places that a building must provide. Cognitive maps support wayfinding. Other maps in the brain represent sensory or motor patterns of activity. Juhani Pallasmaa’s reflections on The Thinking Hand lead into a view of how the brain mediates that thinking, modeling hand–eye coordination at two levels. The first coordinates perceptual and motor schemas. The body schema is an adaptable collage of perceptual and motor skills. The second coordinates the ventral “what” pathway that can support planning of actions, and the dorsal “how” pathway that links affordance-related details to motor control. A complementary challenge is understanding how schemas in the head relate to social schemas. Finally, the chapter compares the cognitive challenges in designing a building and in developing a computational brain model of cognitive processes.

“The talent of imagining human situations is more important for an architect than the gift of fantasizing spaces.” Aulis Blomstedt quoted by Juhani Pallasmaa 1 This paper posits that ethics and empathy are needed in architecture education, not only in professional practice courses, but throughout the entire curriculum. Research shows that students are more successful and engaged when ethics, empathy, and even agency are included in architecture education. Issues like lack of empathy from faculty-to-student, student-to-student, and student-to- client/community partner will be discussed. Case studies will be presented that show ideas that were explored in undergraduate design studios to impart empathy and ethics using agency to better prepare students. The methodology used in these design studios will also be presented and the results of the explorations will be shared. These methods include discussions about inherent bias, exercises in role- playing, reflections, and pre- and post-surveys to gauge student perceptions and what is learned through these studio experiences.

URBAN LANDSCAPE ASSESSMENT Vicente Collado Capilla1 and Sonia Gómez-Pardo Gabaldón21Servicio de Infraestructura Verde y Paisaje. Generalitat Valenciana. Ciutat Administrativa 9 D'Octubre-Torre 1, C/ Castán Tobeñas 77, 46018 Valencia; 2Servicio Territorial de Urbanismo. Provincia de Valencia. Generalitat Valenciana. Prop I, C/ Gregorio Gea, nº 27, 46009 Valencia. E-mail: vcc.arq@gmail.com sgpg.sgpg@gmail.com Key words: urban_landscape, streetcape, landscape_value, andscape_assessment, landscape_preferences. The urban landscape assesment as an important element in the quality of life and the sustainable development of the city constitutes an incipient field of investigation from a new perspective that adds meanings and values. An analysis of the different methodological developments and national and international experiences in the assessment of these landscapes will highlight its importance as a strategic element to improve the quality of the city. It starts from the concept of assessment as a system where tangible and intangible values ​​are considered by the population and the experts. These include among other formal, economic, environmental, social, cultural issues (…) and the relationships between them. Consideration of the opinions of experts from different points of view such as urbanism and architecture but also environment, economy, geography, history, archeology, sociology, social assistance, etc. Together with the preferences expressed by the population regarding the spaces they inhabit on a daily basis and their aspirations, strengthen the sense of belonging and the identity of the place as key elements in the perception of the urban landscapes that allows to contribute new qualities, integration criteria and ​​contemporary values to any type of intervention. These are strategies and intervention procedures that start from the complexity of the city as a system and incorporate the perception that citizens have or will have of their immediate environment. References: Czynska Klara and Pawel Rubinowicz (2015). ´Visual protection Surface method: Cityscape values in context of tall buildings´. SSS10 Proceedings of the 10 th International Space Syntax Symposium. Paquette Sylvain (2008). Guide de gestion des paysages au Québec. Université de Montréal Pallasmaa, Juhani (2005). The Eyes of the Skin. Architecture and the Senses. New York: John Wiley. Ministry of Environment and Energy The National Forest and Nature Agency (1997). International Survey of Architectural Values in the Environment. Denmark . The Landscape Institute and Institute of Environmental Management &amp; Assessment (2013). Guidelines for Landscape and Visual Impact Assessment. Third Edition, London: Routledge.