SYNAESTHETIC ARCHITECTURE THE LOST SENSES OF ARCHITECTURE

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1 SYNAESTHETICARCHITECTURE THELOSTSENSESOFARCHITECTURE SYNAESTHETICARCHITECTURE THELOSTSENSESOFARCHITECTURE Submittedinfulfilmentoftherequirementsfor ARCH5036MastersProjectReport1 InthedegreeofMastersofArchitecture FortheSchoolof Arts,ArchitectureandDesign UNIVERSITYOFSOUTHAUSTRALIA 12/05/2011 Ideclarethatthisexegesisdoesnotincorporatewithoutacknowledgmentanymaterialpreviouslysubmitted for a degree or diploma in any university; and that to the best of my knowledge it does not contain any materialspreviouslypublishedorwrittenbyanotherpersonexceptwhereduereferenceismadeinthetext Copyright2011 JoshuaBudarick ii

2 SYNAESTHETICARCHITECTURE THELOSTSENSESOFARCHITECTURE Figure1 Figure2 Figure3 Figure4 Figure5 Figure6 Figure7 Figure8 Figure9 Figure10 Figure11 TheTreacheryofImages[LaTrahisionofImages]byReneMagritte TheDisneyConcertHall,LosAngelesbyFrankGehrey Walt_Disney_Concert_Hall.jpg RoyalOntarioMuseum,TorontobyDanielLibeskind ArchitectureParallax:TheBlindArchitect,AlexanderPilis ArchitectureParallax:TheBlindArchitect,AlexanderPilis FeedbackCircuit BaronCohen,S&Harrison,J(eds.)1997,Synaesthesia:ClassicandContemporaryReadings, BlackwellPublishers,Oxford.p161 CrosstalkCircuit BaronCohen,S&Harrison,J(eds.)1997,Synaesthesia:ClassicandContemporaryReadings, BlackwellPublishers,Oxford.p164 ExperimentalMusicPavilion:SynaestheticPavilion RutzingerS&SchineggerK2008,FlimmerndePrasenz:WettbewerbOhrenstrandmobil,Viewed 26 th April2011, AcousticStructure RutzingerS&SchineggerK2008,FlimmerndePrasenz:WettbewerbOhrenstrandmobil,Viewed 26 th April2011, SynaestheticFilter:Plan RutzingerS&SchineggerK2008,FlimmerndePrasenz:WettbewerbOhrenstrandmobi,lViewed 26 th April2011, SynaestheticFilter:Section RutzingerS&SchineggerK2008,FlimmerndePrasenz:WettbewerbOhrenstrandmobil,Viewed 26 th April2011, 3

3 SYNAESTHETICARCHITECTURE THELOSTSENSESOFARCHITECTURE Q.Discusstheflawsofexcessvisualconsiderationsinarchitectureandhowinfluencescanbedrawnfromthestudy ofsynaesthesiaandsynaesthete storeinvigoratearchitectureanddirectitbackintotherealmofmultisensory? Theunderstandingandexperienceofarchitecturecomesfromthesenses;themediumbywhich ourbodiesinteractwiththeirsurroundings.withouttheuseofthesesensesweareabandonedtoa worldvoidoffeeling,emotion,experienceandmemory.similarly,ifasenseislost,oroverlyfavoured, weareleftcrippled;unabletotrulyexerciseourperceptionstoexplorethefullpossibilitiesofspatial experience.unfortunatelythisishappeninginalotofarchitecturetoday. Contemporaryarchitecturehasbeguntorelytooheavilyonvisualstimulationandaccordingly,the uniqueness that results from sensual detail has been sacrificed in order to facilitate mass visual production.theseworks,stunninglycraftedin1800x1600rendersandreproducedjustasstunninglyin 12 x8 photographs for the covers of architectural magazines, distort our focus from full body appreciationtoanaddictionofvisualbeauty.suchvisuallyseductivearchitectureleavesusalienated, forourbodiesarenolongerinvolvedintheexperience.ifweleavearchitecturetocontinuedownthis pathourperceptionswilleventuallybetamed;leavingarchitectureonlytofulfilrequirementsofvisual indulgence.oureyesalonearenotenoughtoencompassthepossibilitiesofarchitecturalexperience; nordoweperceivewithonesenseatatime.accordingly,thisexegesisquestionsthevalidityofgiving thevisualsensesuchfreereigninarchitecturalspaceandemphasisestheimportanceofamultisensory design. Harnessing studies in both synaesthesia and architecture this exegesis seeks to illustrate the intricacies embedded in architecture s relationship with the senses; proposing the possibility of an architecturalpraxistoaccentuateexistingphenomenologicalexperienceandformconnectionsthatmay beinterpretedbynonsynaesthetestobemorethantheyappear. FLAWSOFARCHITECTURETODAY Itcannotbedeniedthatinthearchitecturaldesignprocessexcessiveattentionispaidtosight; tovisualaesthetics.amplifiedbyanageofmedia,technologyandabundantcapitalism, architectureis beingreducedtoseductiveimagesusedsimplytoenhancethecoversofmagazines (Yeung2006:16). This style of architecture has become a pandemic and must be remedied immediately, for many are losingtouchwiththesensualessenceofarchitecture. ForinspirationoneneedslookonlytotheSurrealistmovement;amovementthatissuggested tobeheavilyinfluencedbysynaesthesiaandsynaesthetesalike(baroncohen&harrison1997:21).the surrealistssoughtaunificationofthesenses;yearningtomoveawayfromtheanalyticalexplorationsof their society and shift artistic thinking into the realm of direct qualitative experience, as typified by synaesthesia.kandinsky,anotablesurrealist,graspedthatartisticcreativityshouldnotresultofamind whichinstantlyanalyses,orunderstands,whatisthere 1,forimpedesthesensualexperience.In1910he declaredthatinordertosaveartwe,thepeople,must lend[our]earstomusic,open[our]eyesto painting,and stopthinking! (Kandinsky,1977:22).Insuchaclimate,echoesofsynaestheticsbeganto emerge in various art forms. Sadly, despite Kandinsky s warning, again we find that visual percept s exceededtheothersensorystimuli. 1.Intermsofarchitecturethisisaresultofexcessivevisualanalysis. 4

4 SYNAESTHETICARCHITECTURE THELOSTSENSESOFARCHITECTURE René Magritte, another notable surrealist spoke out against the limitations of the flattened surfacedofvisualperceptioninhisworkthetreachery of Images. His proclamation Ceci n est pas une pipe [This is not a pipe] registers the truth behind the falsifiedpretencesvisualarchitecturepresentsus.the painting of the pipe [fig 1] is a representation and thereby not equal to the pipe itself. The painter can capture the colour and shape of the pipe and even allude to dimensionality and temporality. However, Figure1 TheTreacheryofImages besidesthevisualinformationthereisnosupportingevidencetoconfirmitsexistenceasapipe:the aromaofthewoodanditslacquer,thewaftingscentoffreshlyburnedtobacco,theremnantheatfrom aprevioususe,andtheshiftingtactilityofitssurfaceallremainundefinedinthispastiche.itcannotbe used;itservesnofunctionotherthantobeseen.it slackingabilitytoprovidethesensorystimulationa real pipe would leads Magritte to the assertion that it cannot be a pipe. Today s contemporary architectureleavesusaskingasimilarquestion:isitreallyarchitectureifitdoesnotengagethebody? ARCHITECTUREPORN It is not hard to find examples of such architecture; architecture aligned solely to considerations of visual imaging [Figure 2 & 3]. This architecture, often celebrated by the media, surroundsitselfwithpublicityinanattempttomanipulatepublicopinion,therebyconvincingusofits genius. This results in the architecture sustaining an air of vanity and omnipotence. However, these designs attempt to conquer the foreground instead of creating a supportive background for human activities and perceptions (Pallasmaa 2000:85). Accordingly, while these works may successfully contributeboldvisualstatementstotheirsurroundings,oncevisitedtheybecomenothingmorethan empty shells. Furthermore, these designs are removed from related social and contextual considerations; in many cases even negatively impacting on the surroundings 2. They exist as an inappropriatenouninthenarrativeofthestreetscape. Figure2WaltDisneyConcertHall,LosAngeles]Figure3RoyalOntarioMuseum,Toronto 2. According to Alasdair Palmers article in The Daily Telegraph Gehry's design failed to consider the neighboringapartments;thegleamingstainlesssteelraisingthetemperatureofthehomesby15 o.lawsuits thatensueresultedinadull,ugly,nonreflectiveclothcoveringlargeareasofthedesign.(2007) 5

5 SYNAESTHETICARCHITECTURE THELOSTSENSESOFARCHITECTURE Asthegapbetweenarchitectureandthesensescontinuestowidenwebecomelostamongsta bombardment of visual stimuli. Juhani Pallasmaa (1994:34), in The Architecture of the Seven Senses, discussestheindividual sreactionstothisaffront: Theeyeisthesenseofseparationanddistancewhereastouchisthesenseofnearness,intimacyand affection.duringoverpoweringemotionalstateswetendtocloseofthesenseofvision;weclose oureyeswhencaressingourlovedones.deepshadowsanddarknessareessential,becausethey dim the sharpness of vision and invite unconscious peripheral vision and tactile fantasy. Homogenouslightparalysestheimaginationinthesamewaythathomogenisationeliminatesthe experienceofplace. ArchitectureimbuedwithanexcessvisualconsiderationlackstheintimacyPallasmaadiscussesandis more reminiscent of the pornographic image; existing only as a medium to simulate beauty and stimulatevisualpleasure.ifonewastocomparetheinteractionbetweenthebodyandarchitectural spacetothatbetweenlovers,however,onecanbegintounderstandtheimportanceofsensualityand intimacyinarchitecture.byimpedingsightwithdarknessonegeneratesanairofmystery;forcingusto use our other sensual modes, especially the sense of touch, to observe, interact and experience. A similareventisdiscussedbykevinhetheringtonhisinterviewwithablindwoman.hereheprovides insightintotherelationshipthatcanexistbetweenbodyandobject.thewomandescribesthatwhen she is experiencing an object, there is no me [or] object.it is just the object. So the me disappears.thewayi[senseisthrough]identificationwithsomethingsomewhereinsideof[me];[i] havegotarelationshipwithit(hetherington,2003:193334).suchasensationcannotbeperceivedby meansofvisionalone.accordingtohetherington(2003:1939),duringthisprocessthereisa gameof identification involvedbywhichthesensualfeelingismatchedtopastmemory.insteadofreducing the sensual possibilities the woman s loss of sight enhances her sensual spectrum; although this methodtakeslongertoperceivetheprolongedexperienceincreasestheintimacyofthememory. MEMORY Thebiasagainstsensualityinarchitecturealsoimpactsonitsrelationshipwithmemory. Memoryis by no means static, continuously shifting in perspective and purpose (Lambek 1996: 24243). This is mainlybecausetheprocessofcognitiveretentioninvolvesforgettingasmuchasitdoesmemorising. Sensory memory is selective, so it chooses only the dominant senses to strengthen and reinforce memory.accordingly,ifsightdominantsarchitecturalexperienceourmemoryistracedasavaguevisual syntax.inthewordsofcicero: when we [experience] things in everyday life things that are banal or excessive we generally fail to remember them We ought then to set up [architectural events] of a kind that can adhere longest in memory...thethingsweeasilyrememberwhentheyarerealwelikewiserememberwithoutdifficulty whentheyarefigments(yates1966:2526). 6

6 SYNAESTHETICARCHITECTURE THELOSTSENSESOFARCHITECTURE Memory, infact, is so closelyintegrated withplace that theybecome mutually dependent uponone another.theformeracquiresitssubstance,alocus,fromplace,whilstthelatterdrawsitsmeaningand itstimelessqualitiesfrommemory.forexampletocreateasenseofhomeonemustevoke homeness bystimulatingmemoriesofahome,thusresultingintheformulationofadditionalmemoriesofhome. From within this circular methodology also emerges the phenomena of déjà vu and intuition. These states are discussed by Frascari, who asserts that the imagery of memory is not synonymous to the visualimage,butratheracollectionoftheintuitionsofthewhole.hespeaksofablindmanwhocan sketchsomethingvaguelyrecognisablebythosewhomaintainsight.thissuggeststhattheindividual hastheabilitytointuitimagesfromtheothersensestheypossess(yeung2006:5).alreadythisbeginsto speakofapossiblesynaestheticnatureexistingwithinoursubconscious. BlindArchitecture InaninvestigationintothefieldofBlindarchitectureAlexanderPilistemporarilystripsaperson oftheirabilitytoseeandplacesthemintoasquare,whiteroom.aidedonlybyacaneandtheirsenses the individual is asked to explore the unknown environment. The process begins slowly, but asthe individual moves through the space the echoes, the resistance and textures of its surfaces, the temperatures of the lights and materials, and the residual aromas of use and constriction, provide enoughsensorialstimulationtocomprehendscale,dimension,proportionandtextuality;thusallowing fortheconstructionofavirtualimage.accordingly,byremovingourdependencyonsight,theother sensesareheightenedand,notsurprisingly,provideamoredetailedstudyoftheenvironment. Figure4 ArchitectureParallax:TheBlindArchitect Figure5 TheBlindArchitect:MeetsRembrandt Weareallblind,exceptthattheblindcanteachusagainhowtosee.Weseetoomuch.Thereisnoend ofseeing.thereistoomuchtosee.ifwedonothingelsewesee.weliveinaculturesofilledwiththings tobeseenthatvisibilityiswhatdeterminesthebeing[ornonbeing]ofobjects,experiencesandidentity. Thereissomuchtosee,andrarelyanofferofaspaceoratimeforlooking.Evenlesstheofferofaspace ortimewhereoneneedn tlookatallbutrather (Pilis2008) InleavinghissentenceunfinishedPillsechoestheviewsofFrascari,whoclaimsthatthereisasensual intuitionthatweallexperience.thememorymappedwithsuchintuition takesusinto[an]environing world [thatis]coextensivewithworld (Casey1987:311).Inthisworldwhatyouactuallyseeiswhat hasbeenpreconceived;aworldbuiltfromsensualmemory. 7

7 SYNAESTHETICARCHITECTURE THELOSTSENSESOFARCHITECTURE ArchitectJuhaniPallasmaa,inhisstudiesofarchitecturalphenomenology,discussesthenatureof sensualityinarchitecturalexperience.heobservesthat authenticarchitecturalexperiences[may]have moretheessenceofaverbthananoun (2000:82);ratherthanstandingasaloneentity,architecture shouldbeconsideredasseriesofarchitecturalevents 3. Authenticarchitecturalexperiencesderivefrom realorideatedbodilyconfrontationsratherthanvisuallyobservedentities (Pallasmaa,2000:82).Take thetypicalarchitecturalentitiesofadoororawindow: The visual image of a door is not an architectural image, for instance, whereas entering and exiting througha door are architectural experiences. Similarly, the window frame is notanarchitectural unit, whereas looking out through the window or daylight coming through it, are authentic architectural encounters(2000:84). However,asaconsequenceoftheoverindulgenceinvisualconsiderations,today sarchitectureseems to originate in a single moment and evokes an experience of flattened temporality (2000:80) rather thancollectionsofintimatetemporaljourneys.this flatarchitecture canbeinterpretedasbothliteral andmetaphorical;theformerreferringtoapictorialrepresentationofspace,thelatterreferringtothe lackofmeaningbehinditspictorialessence. Atthispointitmustbestressedthatarchitectureofformalstrengthshouldnotbecondemned; we must merely be critical of architecture that relies entirely on its image to stimulate a response. Besides, as it has been shown, there are architects, like Marco Frascari, Alexander Pills, Juhani Pallasmaa,whoseektoreturnthesensestothearchitecturaldesignprocess.Attemptssuchasthese havepreparedthefoundationsforanewmodelofsensualarchitecture:asynaestheticarchitecture. BeforewecandelveintothepossibilityofaSynaestheticArchitecture,however,wemustfirst havean understandingof synaesthesia andsynaestheticexperience.thetermsynaesthesia,derived from ancient Greek syn meaning joined, and aisthsis, meaning sensation, shares its root with anaesthesiameaningnosensation.itisdefinedasoccurringwhen stimulationofonesensorymodality automaticallytriggersperceptioninasecondmodalityintheabsenceofanydirectstimulationtothis second modality (Cytowic, 1993). As an example let s say X experiences a sound, this sound instantaneously triggers X s sight and a flash of paleblue appears before them. Such reactions are independent of thought; they are not connected to the imagination, nor can they be learned. Furthermore,whiletheexperiencesofanindividualarestableallsynaesthetesdonotexperiencethe samesensations(cytowic1993),suggestingthatwhilesynaesthesiacombinesperceptualmodesitdoes notremovethesubjectsabilitytoperceiveindividualresponses. Explanationforthisphenomenonhaseludedthemindsofscientistsforcenturiesandaftera peakofinterestbetween1860and1930synaesthesiawasleftforgottenandunexplained.inthelast fewdecades,however,synaesthesiahasreacheditsrenaissance;withrecentadvancesinneuroscience and psychology prompting greater study into the phenomenon. This, however, has provided more 3.Theseeventsthemselvesshouldalsoreflecthumansituationsandencounters.Formoreinformationrefer topallasmaa shapticityandtime. 8

8 SYNAESTHETICARCHITECTURE THELOSTSENSESOFARCHITECTURE questionsthananswers;ofwhichtheoriginofsynaesthesiaremainsthemajor.currentlythereexistsa key debate between neuroscientists regarding whether synaesthesia is sensory leakage [Figure 6] (Jacobs 1981) a mutation of the cognitive process [Figure 7] (Galton, 1880) or rather a forgotten elementofcognitiveevolution(lewkiwiczandturkeqitz1980). Figure6FeedbackCircuit Figure7CrosstalkCircuit Thelatter,Ibelieveisamoreromanticnotion,foritsuggeststhatweallpossessthiscognitiveability whenwearebornuntilgradually,whetheritbethroughfundamentallearningorbythematurationof our bodies, the distinction between senses sharpens; eventually converging into their individual specialities Accordingly, it is this definition which the foundations of the proposed Synaesthetic Architecturewillbebuiltupon. As our senses are distinguished it becomes almost impossible not to differentiate between them. Despite the difficulties this presents it is essential to recognise that our body perceives the externalstimuliasaunion.thedefinitionyeunggivestosuchanexperienceissentire;theconditionor quality of being sentient, concise and susceptible to unified sensation (Yeung 2006:29). Bodily experience,ratherthanindividualperception,isessentialinthecomprehensionofarchitecture.inthe wordsofpearson: Far from being narrowly based upon any single sense of perception like vision, our response to [architecture]derivesfromourbody stotalresponsetoandperceptionoftheenvironmentalconditions whichthatbuildingaffords(1991:68) ThisisreinforcedbyphenomenologistMauriceMerleauPontywhoassertsthat perceptionisnotasum of[sensual] givens,[we]perceiveinatotalwaywithmywholebeing;[we]graspauniquestructureof thething,auniquewayofbeing,whichspeakstoall[our]sensesatonce (1964:50).Suchaninstinctive union of sensation highlights that our perception of architectural space is already close to being synaesthetic.itissimplythespace sthemselveswhichlacksynaestheticqualities. 9

9 SYNAESTHETICARCHITECTURE THELOSTSENSESOFARCHITECTURE Withinthefieldofarchitectureweareessentiallytryingtoinfluenceplace.Thisplacehowever doesnotmerelyexistinacorporealrealmbutalsoapsychological one.inhisbookremembering:a PhenomenologicalStudyEdwardCaseydeclaresthatarchitecture initsabidingcharacter isthereto be reentered, by memory if not by direct bodily movement (Casey 1987:186). This suggests that sensually active architecture helps to make it accessible in a way that is rarely true in a comparably sensuallyinactivearchitecture.thispresentsanimmediateadvantagetosynaestheticarchitecturein thefieldofmnemonics.asalreadydiscussedlastingarchitecturalexperienceisgovernedbymemory; andmemorybyitsassociatedsensuality.similarly,researchintothecorrelationbetweensynaesthesia, synaestheticexperienceandstrengthenedmemoryhasalsobeenproven(cytowic1993).thisresults fromthecumulationofsensualexperience,andconnectionsforgedbetweenthem,providingmultiple distinctions for a single stimulator. For an example take colourgrapheme synaesthetes. The word architecture may correlate to a specific shade of blue and thus that shade of blue and the word architecturebecomementallyconnected;thecolourstimulatingmemoryofthewordandviceversa. Accordingly, if we can induce, or allude to, synaesthetic experience architecturally we can afford a greaterimpactontothoseexperiencingitandfurthermoreamorelastingmemory. IncontrasttotheproposedconceptsofSynaesthetic Figure8SynaestheticFilter Architecture,whichalignsitselftoarediscoveryofexperience throughbodilyperceptionsandthesenses,therehavebeen several alternative proposals claiming a synaesthetic approach; the most recent emerging from a competition entry for Ohrenstrand mobil Submitted by architects Stefan Rutzinger and Kristina Schinegger the design, Synaesthetic Filter [Fig 8], combines the functional applicationsofsynaestheticsratherthanthephenomenological.themobilepavilion,constructedasa stageforexperimentalmusic,consistsofrotatingacousticelementswhicharemanipulatedaccordingto thedesiredacousticalfunctionality.maneuveringeachindividualelementproducesashiftingpattern overthepavilionssurface[fig9].thisresultsinasynchronicrelationshipbetweenvisual,spatialand acousticqualities,hencethe SynaestheticFilter. Figure9FormalStructure 10

10 SYNAESTHETICARCHITECTURE THELOSTSENSESOFARCHITECTURE Thepavilionitselffiltersspacebothvisuallyandacoustically;byharnessingsynaestheticsatafunctional levelthedesignallowsforflexibilityintheplacementofbothmusiciansandaudience[fig10],whilst maintaininga playfulintegration[with]itssurroundings (Sykes,R 2009).Inthewordsofitsdesigners: Likethesoundsthatemergefromit,thepavilionproducesnoformbutaflickeringpresence.Itdoes not create an enclosure to enter but a synaesthetic experience [in which] you are immersed (Rutzinger&Schinegger2009)[Fig11]. [Above]Figure10 FloorPlan [Below]Figure11Section As winner of the 2008 Austrian Experimental Tendencies award this design stands as a marker of synaesthetic design. However, while the design reacts synaesthetically, it is not informed by its contextual sensorium. It focuses on two sensual elements, sight and sound, assimilating into the surroundingsviamanipulationoftheirporosity.accordinglyitshouldnotbeseenasatruesynaesthetic Architecture but rather a study of the possible relationships between internalized synaesthetics and function. 11

11 SYNAESTHETICARCHITECTURE THELOSTSENSESOFARCHITECTURE Conclusions: Itisclearthatitistreacheroustoconsiderarchitectureintermsofonlyonesense.Excessivevisual considerationswillnotonlyleadtoaflatteningofthearchitecturalcanvas,butalsotoatemperingof oursenses;wewillbecomeaddictedtothevisualandloosesightofourhumansensorium.wemust endeavor, to reunite contemporary architecture with its sensuality and in doing so we should look beyondprimarysensoryaestheticsintoarealmofsynaesthetics.synaesthesiaisnomerecuriosity,but awindowintothequaliaofsensualperceptionandcognition.infact,suchascytowicclaimweareall synaesthetic, we just don t realize it. If we can somehow manage to harness or stimulate these synaesthetic experiences with architectural designs we may be able to reimburse the idea of visual stimulationwithsynaestheticreasoning.furthermore,suchexperiencecanenhancethestimulationof memory, the evocation of emotion, the intimacy of new memories and the overall impacts of our architecturalspaces.accordingly,theintegrationofsynaestheticforcesintostudioprocessisintended to stimulate architectural events; in the specific case of the recent Marion development carefully located nodes of sensual force will manipulate the subcity s habitation and occupation through consideredpushandpulloftheestablishedsensorium. WhetherthepossibilityofatrueSynaestheticArchitectureisactuallyobtainable,orwhetherit ismoreplausibletomerelyalludetosynaestheticsthroughconsideredcumulationofanarchitectural sensorium, we must nevertheless harness these explorations in an effort to medicate the visual pandemicthathasbegottenarchitecture.toshallconcludeirefertolocke,forhismusingspromptthe imaginationintothepossibilityofsomethingmorethanarchitecture: Astudiousblindmanwhohadmightilybeathisheadaboutavisibleobject,andmadeuseofthe explicationsofhisbooksandhisfriends,tounderstandthosenamesoflightandcolours,whichoften came his way, betrayed one day that he know understood what scarlet signified. Upon which,his friend demanded what scarlet was? The blind man answered, it was like the sound of a trumpet (BaronCohen&Harrison1997:4) 12

12 SYNAESTHETICARCHITECTURE THELOSTSENSESOFARCHITECTURE Bibliography Ackerman,D1990,ANaturalHistoryoftheSenses,RandomHouse,NewYork. BaronCohen,S&Harrison,J(eds.)1997,Synaesthesia:ClassicandContemporaryReadings,BlackwellPublishers, Oxford. Blake,P1977,FormFollowsFiasco:WhyModernArchitectureHasn tworked,littlebrown&co.,boston. Bowring,J2006, TheSmellofMemory:SensorialMnemonics,TheLandscapeArchitect,IFLAconferencepapers May2006,pp Cutsforth,T1925, TheRoleofEmotioninaSynaestheticSubject,TheAmericanJournalofPsychology,Vol.36,No. 4,pp Casey,E1987,Remembering:APhenomenologicalStudy,IndianaUniversityPress,Bloomington. Casey,E1996, Howtogetfromspacetoplaceinafairlyshortstretchoftime:phenomenologicalprolegomena, Feld,S.andBasso,K(eds.)SensesofPlace,SARPress,SantaFe,pp1352. Cytowic,R1993,TheManWhoTastedShapes:ABizarreMedicalMysteryOffersRevolutionaryInsightsInto Emotions,ReasoningandConsciousness,Abacus,London. Day, S 1996, Synaesthesia and Synaesthetic Metaphors, PSYCHE, vol. 2, viewed 16 th March 2011 < Desmet,P&Schifferstein,H2008,ToolsinFacilitatingmultisensoryproductdesign,TheDesignJournal,Vol.1,No. 2,pp Dixon, M, Smilek, D & Merikel, P 2004, Not all synaesthetes are created equal: Projector versus associator synaesthetes,cognitive,affective,&behavioralneuroscience,vol.4,pp Donnel,C&Duignan,W1977, SynaesthesiaandAestheticEducation,JournalofAestheticEducation,Voll.11,No. 3,pp6985. Edquist, J, Rich, A Brinkman, C & Mattingley, J 2006, Do Synaesthetic Colours Act as Unique Features in Visual Search?,Cortex,no.42,pp Fehn,S1992,ThePoetryoftheStraightLine,MuseumofFinnishArchitecture,Helsinki. Fjeld,P1983,SverreFehn:TheThoughtofConstruction.RizzoliInternationalPublications,NewYork. Frascari,Marco2003, ArchitecturalSynaesthesia:AHypothesisontheMakeupofScarpa'sModernistArchitectural Drawings,NordicJournalofArchitecturalResearch,no.1,2003. Galton,F1880, Statisticsonmentalimagery,Mind,Vol.5,pp Hetherington,K2003, SpatialTexturas:PlaceTouchandPraesentia,environmentandplanningA,vol.35,no.11, pp Heyrman,H2005, ArtandSynaesthesia:insearchofthesynaestheticexperience,LecturepresentedattheFirst International Conference on Art and Synesthesia, Universidad de Almería, Spain, Viewed 5 th of March 2011, < Huckstep, B, Tsakanikos, E & Ward, J 2006, Soundcolour synaesthesia: to what extent does it use crossmodal mechanismscommontousall? Cortex,vol.42,pp Jacobs,L,Karpik,A,Bozian,D&Gothgen,S1981, AuditoryvisualSynaesthesia,ArchivesofNeurology,Vol.38, pp Jones,C(ed.)2006,Sensorium:embodiedexperience,technologyandcontemporaryart,MITPress,Massachusetts. 13

13 SYNAESTHETICARCHITECTURE THELOSTSENSESOFARCHITECTURE Kandinsky,W1977,ConcerningtheSpiritualinArt,trans.M.Sadler.DoverPublications,NewYork. Kemp,S,Hollowood,T&Hort,J2009,SensoryEvaluation:APracticalHandbook,WilleyBlackwell,Oxford. Kress,G&Leeuwen,T2001,MultimodalDiscourse:TheModesandMediaofContemporaryCommunication,Oxford UniversityPress,London. Lambek,M1996, Thepastimperfect.Rememberingasmoralpractice. inantze,p.andm.lambek(eds.)tense Past:CulturalEssaysonTraumaandMemory,Routledge,LondonandNewYork,pp LewkiwiczD&Turkewitz,G1980,Crossmodalequivalenceininfancy:Auditoryvisualintensitymatching DevelopmentalPsychology,Vol.16,pp Mattingley, J & Rich, A 2002, Anomalous Perception in Synaesthesia: A Cognitive Neuroscience Perspective Neuroscience,Vol3,pp4352. Matthen,M2005,Seeing,DoingandKnowing,OxfordUniversityPress,NewYork. MerleauPonty,M1964,SenseandNonSense,trans.H.Dreyfus&P.Dreyfus,UniversityPress,Evanston. Pallasmaa,J2009.TheThinkingHand:ExistentialandEmbodiedWisdominArchitecture,JohnWiley&SonsLtd., Chichester. Pallasmaa,J,2000, HapticityandTime:NotesonFragileArchitecture,ArchitecturalReview,Vol.207,No.1239,pp Pallasmaa,J2005,TheEyesoftheSkin:ArchitectureandtheSenses,JohnWiley&SonsLtd.,Chichester. Pallasmaa,J1994, ArchitectureandtheSevenSenses ArchitectureandUrbanism,No.286,pp2737. Palmers,A2007, Architectswhodesignbadbuildings,TheDailyTelegraph,20December,viewed16 th March2011, < buildings.html>. Pearce,J2006, Synaesthesia,EuropeanNeurology,no.57,pp Pearson,D1991, MakingSenseofArchitecture,ArchitecturalReview,vol189,No.1136,pp6870 Pilis,A2008,ArchitectureParallax:TheBlindArchitect,Viewed11March2011, < Ross,P2001, QualiaandtheSenses,ThePhilosophicalQuarterly,Vol.51,No.205,pp RutzingerS&SchineggerK2009,SynaestheticFilter,Viewed26 th April2011, < RutzingerS&SchineggerK2008,FlimmerndePrasenz:WettbewerbOhrenstrandmobilViewed26 th April2011, < Slattery,D2005, TheNoeticConnection:Synaesthesia,Psychedelicsandlanguage,DigitalCreativity,Vol.16,No.2, pp Sykes,R2009,SynaestheticFilterbyStefanRutzinger&KristinaSchineggerViewed26 th April2011, < Yates,F1966,TheArtofMemory,Penguin.London. Yeung,C2006,TheIn/Visible:CommonSensesArchitecture,SchoolofArchitecture,PhDThesis,CarletonUniversity, Ontario. Zardini,M(ed.)2005,SenseoftheCity,analternateapproachtoUrbanism,LarsMüllerPublishers,Canada. Zumthor,P2006, AWayofLookingAtThings,ThinkingArchitecture.Birkhäuser,Basel,pp