Inseminations. Juhani Pallasmaa. Читать онлайн. Newlib. NEWLIB.NET

Автор: Juhani Pallasmaa
Издательство: John Wiley & Sons Limited
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Жанр произведения: Архитектура
Год издания: 0
isbn: 9781119622239
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of the Greek word theorein was to observe, not to speculate. My theorizing is an intense look at things in order to see their essences, connections, interactions and meanings. I also feel sympathy for Johann Wolfgang von Goethe's view of science, which he called ‘zarte empirie’, delicate empiricism,5 a thinking that aspires to observe without changing and violating the phenomenon in question. I write in the associative manner of literary essays, and I have no hesitation in combining scientific findings with experiential and sensory observations or phenomenological formulations. I also try to achieve literary qualities in my writings after I have realized that aesthetic qualities of language make the reader more receptive; she receives simultaneously the intellectual meaning and an aesthetic and emotive impact.

      In The Book of the Disquiet, the Portuguese poet Fernando Pessoa – who wrote in 52 pseudonyms – confesses: ‘I was a poet animated by philosophy, not a philosopher with poetic faculties’.6 As I have no academic training in philosophy, I wish to paraphrase the poet's confession: I am an architect animated by philosophy, not a philosopher with architectural interests. I must confess that I am an amateur thinker although I have read numerous books by philosophers due to my interest in the enigma of human existence, consciousness and the essence of knowledge. I consider myself a craftsman and amateur, and I have even developed a suspicion for expertise in the manner of the statement of Joseph Brodsky, the poet: ‘A craftsman does not collect expertise, he collects uncertainties’.7 Through my long experience as architect and designer, I have become ever more uncertain, as widening knowledge complicates reality instead of simplifying it.

      I have been particularly impressed by the writings of Maurice Merleau‐Ponty, whose thinking I have found inspiringly open‐ended and optimistic. He is a truly poetic philosopher, whose expressions often possess the magic of art. His philosophy has made me understand the chiasmatic way in which the mental and the material worlds intertwine, and that view has opened up new ways of understanding artistic and architectural phenomena. My phenomenological thinking began with an interest in the senses and this led me to critique the hegemony of vision in western culture. This dominance already emerged in Greek philosophy, and has been dramatically accelerated by technology, especially writing and mechanical printing, as Walter J Ong has convincingly suggested in Orality and Literacy.8

      In 2010, while working on the translation of two books of mine from English into Italian, Matteo Zambelli, architect and professor, suggested to me the idea of compiling a selection of excerpts of my writings in an encyclopaedic form, organized alphabetically on the basis of keywords identifying the contents of the selected chapters. As I tend to write in fragments, or semi‐autonomous paragraphs, instead of aspiring to forge a seamlessly continuous narrative, I immediately accepted the idea. By the time of our conversation, nearly nine years ago, I had published around 45 books and some 350 essays, prefaces and interviews, mostly on experiential and philosophical views of architecture and the arts (several of them through John Wiley & Sons, London), I felt that there would be enough material for a book based on Matteo's idea. At the same time that the idea of an ‘encyclopaedia’ of my writings sounded somewhat pretentious, it also seemed to project a relaxed attitude in regarding individual essays as mere material for a previously unmeditated entity.

      The book was published in Italian by Pendragon, Bologna, in 2011, as Juhani Pallasmaa, Lampi di pensiero. Fenomenologia della percezione in architettura, edited by Mauro Fratta and Matteo Zambelli. Now, at the time of writing the preface for the largely expanded English version of the book, the total number of my books is over 60, and I must have published well over 400 articles and essays. The number of entries in this English edition of Inseminations has likewise roughly been doubled. As students today tend to read short fragments rather than full essays or entire books, a collection of condensed chapters on distinct themes could well be attractive to student readers.

      The art forms of collage, compilation, assemblage and montage – the syntax of cinematic expression – have long been close to my way of thinking and aesthetic sensibility. The art form of collage is based on an internal dialogue between the parts that give new meanings to each other, which however continue to posses some degree of autonomy and identity of their own. This complex interaction projects unexpected meanings to the entity. Often the collaged image, as well as piece of writing, consist of conflicts and irreconcilabilities, and unresolved juxtapositions. I deliberately seek internal conflicts in my writings. As a consequence of these aspirations, various parts of my essays can fairly easily be disconnected from the continuity of the text and presented as autonomous statements, credos, or propositions.

      Real encyclopaedic entries are written around singular concepts, themes, and subject matters, and the entry revolves cohesively around that very topic. Breaking essays into pieces in accordance with their specific contents, and giving them new title words is a reverse process. As a consequence, most of the fragmented chapters could just as well be classified differently and characterized by alternative keywords. So, this 'encyclopaedia' of my writings is bound to be a quasi‐encyclopedia, one of many alternative compilations.

      When writing with a literary ambition, such as an essay, the intensity of argumentation intentionally varies; there are parts that have a particular weight, embedded in paragraphs of lesser significance and density of content. The separation of ideas from their overall context naturally intensifies the density of the compilation of the separated chapters, as the literary rhythm is lost. The isolation of chapters also tends to give them a somewhat aphoristic ambience and a forced significance, which may not have been the tone of the excerpt in its original context.

      It should also be noted that all excerpts are given in their original published form, without eliminating repetitions.

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      Thanks to the publisher, Paul Sayer, and the copy‐editor, Nora Naughton.

      I want to thank especially Matteo Zambelli for his idea on an encyclopaedic compilation of a score of my writings, and his arduos work in restructuring a huge sampling of my thoughts. The dismantling of my own writings would have been psychologically impossible for me. In this unexpected encyclopaedic context, I tend to read