Summary Of Experiencing Built Space By Eva Perez De Vega
In her Experiencing Built Space, Eva Perez de Vega explains the fusion of subject and object in a sensational experience which relates to the body and also describes the notion of affect as an abstract un-representational realm. Also the unreliability of perception relating to the mind is due to its subjectivity resulting in experiencing built ‘space as qualitative movement; through notions of sensation rather than object-oriented perception.’ Today our social and cultural obsession with exterior views and external forms has led to close blindness of an interior experience. This exterior is the only ‘reality’ that is reflected through photographs and other types of media and it is through such devices that the general understanding of architecture
is perceived.
In the Poetics of Space, the French philosopher Gaston Bachelard demonstrates how in interior rooms, intimacy and immensity are connected with human experience and that this experience is highly regarded as an inspiring aspect by architects of previous decades.
After the evolution of floor plans since the Renaissance, we might be intrigued by the enfilade type rooms and their corporeal attraction, a term discussed by Robin Evans in his article “Figures, Doors and Passages” or be strictly aware of functional separation and individual privacy in everyday reality of them, but it is innocuous to conclude interior spaces have determining power of defining our experience of a building.
Walter Benjamin:
- Buildings are appropriated in a twofold manner: by use and by perception – or rather, by touch (tactilely) and sight (optically). Such appropriation cannot be understood in terms of the attentive concentration of a tourist before a famous building. On the tactile side, there is no counterpoint to what contemplation is on the optical side. Tactile appropriation comes about not so much by way of attention as by way of habit. As regards architecture, habit determines to a large extent even optical reception of architecture, which . . . [takes its] cue from tactile appropriation – through habit.
Habitual reception whether tactile or optical in an architectural experience can lead to a new task of apperception by the shock effect which is gained from distraction in films. Not to mention it is through manipulations that political power targets the population
is perceived.
In the Poetics of Space, the French philosopher Gaston Bachelard demonstrates how in interior rooms, intimacy and immensity are connected with human experience and that this experience is highly regarded as an inspiring aspect by architects of previous decades.
After the evolution of floor plans since the Renaissance, we might be intrigued by the enfilade type rooms and their corporeal attraction, a term discussed by Robin Evans in his article “Figures, Doors and Passages” or be strictly aware of functional separation and individual privacy in everyday reality of them, but it is innocuous to conclude interior spaces have determining power of defining our experience of a building.
Walter Benjamin:
- Buildings are appropriated in a twofold manner: by use and by perception – or rather, by touch (tactilely) and sight (optically). Such appropriation cannot be understood in terms of the attentive concentration of a tourist before a famous building. On the tactile side, there is no counterpoint to what contemplation is on the optical side. Tactile appropriation comes about not so much by way of attention as by way of habit. As regards architecture, habit determines to a large extent even optical reception of architecture, which . . . [takes its] cue from tactile appropriation – through habit.
Habitual reception whether tactile or optical in an architectural experience can lead to a new task of apperception by the shock effect which is gained from distraction in films. Not to mention it is through manipulations that political power targets the population