Juhani Pallasmaa - Identity, Intimacy and Domicile - Notes On The Phenomenology of Home

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JUHANIPALLASMAA:IDENTITY,INTIMACYANDDOMICILENotesonthephenomenologyofhome
IDENTITY,INTIMACYAND
DOMICILE
Notesonthephenomenologyofhome
JUHANIPALLASMAA
Thearchitectandtheconceptofhome
Architecturevs.home
Theessenceofhome
Poeticsofhomerefugeandterror
Thehomeofthememory
Theimageofhome
Nostalgiaofhome
Homeandidentity
Intimacyandhome
Ingredientsofhumanlife
Thepoetryofthewardrope
Hearthandfire
Functionsofthetable
Dilutionofimagesofhome
Lackofconcreteness
Architectureoftolerance
Thevirtueofidealization
Feasibilityofahomecoming
PICTURESOURCES
REFERENCES
Architectureandhome
1Thearchitect'shouse:PeterEisenman,HouseIV
(FrankHouse),Cornwall,Connecticut,197273.
2Thepainter'shouse.EdwardHopper,
HighNoon,1949,Ohio,TheDaytonArtInstitute.
Thearchitectandtheconceptofhome
Wearchitectsareconcernedwithdesigningdwellingsasarchitectural
manifestationsofspace,structureandorder,butweseemunabletO
touchuponthemoresubtle,emotionalanddiffuseaspectsofhome.In
theschoolsofarchitecturewearetaughttodesignhousesanddwellings,
nothomes.Yetitisthecapacityofthedwellingtoprovidedomicilein
theworldthatmatterstotheindividualdweller.Thedwellinghasits
psycheandsoulinadditiontoitsformalandquantifiablequalities.
ThetitlesofarchiteCturalbooksinvariablyusethenotionof'house''The
ModernHouse','GAHouses','CaliforniaHouses",ete.whereasbooks
andmagazinesthatdealwithinteriordecorationandcelebritiesprefer
thenotionof'home''CelebrityHomes','ArtistHomes',etc..Needlessto
saythatthepublicationsofthelattertypeareconsideredsentimental
entertainmentandkitschbytheprofessionalarchitect.
Ourconceptofarchitectureisbasedontheideaoftheperfectly
articulatedarchitecturalobject.ThefamouscourtcasebetweenMiesvan
derRoheandhisclient,Dr.EdithFarnsworth,concerningtheFarnsworth
House,isanexampleofthecontradictionbetweenarchitectureand
home.Asweallknow,Mieshaddesignedoneofthemostimportantand
http://www.uiah.fi/studies/history2/e_ident.htm
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aestheticallyappealinghousesofourcentury,buthisclientdidnotfind
itsatisfactoryasahome.Thecourt,incidentally,decidedinMies's
favour.IamnotunderratingMies'sarchitectureIamsimplypointing
outthedistancingfromlifeandadeliberatereductionofthespectrumof
life.WhenwecomparedesignsofModernitywiththoseoftoday'savant
garde,weimmediatelyobservealossofempathyforthedweller.
Insteadofbeingmotivatedbythearchitect'ssocialvision,orviewof
life,architecturehasbecomeselfreferentialandautistic.
Manyofusarchitectsseemtohavedevelopedakindofsplitpersonality:
asdesignersandasdwellersweapplydifferentsetsofvaluestothe
environment.Inourroleasarchitectsweaspireforameticulously
articulatedandtemporallyonedimensionalenvironment,whereasas
dwellersourselves,wepreferamorelayered,ambiguousand
aestheticallylesscoherentenvironmenttheinstinctualdwellcremerges
throughtherolevaluesoftheprofessional.
Architectureandhome
3VincentvanGogh:Vincent'sroomin
4MarcelBreuer:diningroomofthe
Arles,1888.
PiscatorHouse,Berlin,1926.
Architecturevs.home
Thequestionarises:canahomebeanarchitecturalexpression?Homeis
not,perhaps,atallanotionofarchitecture,butofpsychology,
psychoanalysisandsociology.
Homeisanindividualizeddwelling,andthemeansofthissubtle
personalizationseemtobeoutsideournotionofarchitecture.Dwelling,
ahouse,isthecontainer,theshellforhome.Thesubstanceofhomeis
secreted,asitwere,upontheframeworkofthedwellingbythedweller.
Homeisanexpressionofpersonalityandfamilyandtheirveryunique
patternsoflife.Consequently,theessenceofhomeiselosertolifeitself
thantoartefact.
Thearchitecturaldimensionofthehouseandthepersonalandprivate
dimensionoflifehavebecometotallyfusedinourtimeofexcessive
specializationonlyincertaincases,suchasAlvarAalto'sVillaMairea,
whichisaproductofanexceptionalfriendshipandinteractionbetwcen
thearehitectandhisclient,anopusconamore,asAaltohimselfhas
confessed1.Equallyimportant,itistheexpressionofamutuallyshared
utopianvisionofabetterandmorehumaneworld.
VillaMaireaisarchaicandmodern,rusticandelegant,regionaland
universalatthesametime.Itreferssimultaneouslytothepastandthe
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future,itisabundantinitsimageryand,consequently,providesample
soilforindividualpsychieattachement.Inhisbook'PoetiesofSpace'2,
whichdealswiththepsycheofspace,GastonBachelarddeliberateson
theessenceoftheoneirichouse,thehouseofthemind.Heisundecided
aboutthenumberoffloorsofthisarchetypalhouseithaseitherthree
orfourfloors.Buttheexistenceofanatticandacellarareessential,
becausetheatticisthesymbolicstorageplaceforpleasantmemories
thatthedwellerwantstoreturnto,whereasthecellaristhehidingplace
forunpleasantmemoriesbothareneededforourmentalwellbeing.
ItisevidentthatthecharaeteristicsoftheOneirichouseareculturally
conditionalbut,ontheotherhand,theimageseemstorcflectuniversal
constantsofthehumanmind.Modernarchitecturehasforcefully
attemptedtoavoidoreliminatethisoneiricimage.Consequently,itis
notsurprisingthatModernMan'srejectionofhistoryhasbeen
accompaniedbytherejectionofpsychicmemoryattaehedtoprimal
images.Theobsessionwithnewness,thenontraditionalandthe
unforeseenhaswipedawaytheimageofthehousefromoursoul.
Webuilddwellingsthat,perhaps,satisfymostofourphysicalneeds,but
whichdonothouseourmind.
Homeandtheinhabitant'sidentity
5JohnWayne'slivingroom.
6JohnWayne.
Theessenceofhome
Itisevidentthathomeisnotanobject,abuilding,butadiffuseand
complexconditionthatintegratesmemoriesandimages,desiresand
fears,thepastandthepresent.Ahomeisalsoasetofrituals,personal
rhythmsandroutinesofeverydaylife.Homecannotheproducedallat
onceithasitstimedimensionandcontinuumandisagradualproduct
ofthefamily'sandindividual'sadaptationtotheworld.Ahomecannot,
thus,becomeamarketableproduct.Currentadvertisementsoffurniture
shopsofferingachance'torenewone'shomeatonego'areabsurd
theyamounttoapsychologist'sadvertisementtorenewthemental
contentsofthepatient'smindatonego.
Reflectionontheessenceofhometakesusawayfromthephysical
propertiesofahouseintothepsychicterritoryofthemind.Itengages
uswithissuesofidentityandmemory,consciousnessandthe
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unconscious,biologicallymotivatedbehaviouralremnantsaswellas
culturallyconditionedreactionsandvalues.
7
Homeandfear
7ReneMagritte:TheTombofaWrestler,1960.
CollectionHarryTorezyner,NewYorkCity.
8AlfredHitchcock:TheRearWindow1954.
Poeticsofhomerefugeandterror
Thedescriptionofhomeseemstobelongmoretothe.realmsofpoetry,
thenovel,filmandpaintingmorethantoarchitecture.
'Poetsandpaintersarebornphenomenologists',asJ.H.vandenBerg
hasremarked3.Andso,inmyview,arenovelists,photographersand
filmdirectors.Thatiswhytheessenceofhome,itsfunctionasamirror
andsupportoftheinhabitant'spsycheisoftenmorerevealinglypictured
intheseartformsthaninarchitecture.IntherecentBerlagePapers
(January1994)thefilmmakerJanVrijmanmakesthisthoughtprovoking
remark:'...whyisitthatarchitectureandarchitects,unlikefilmand
filmmakers,aresolittleinterestedinpeopleduringthedesignprocess?
Whyaretheysotheoretical,sodistantfromlifeingeneral?'
Theartistisnotconcernedwiththeprinciplesandintentionsofthe
disciplineofarchitectureand,consequently,heapproachesthemental
significanceofimagesofthehouseandthehomedirectly.Thus,
artworksdealingwithspace,light,buildingsanddwelling,provide
valuablelessonstoarchitectsontheveryessenceofarchitectureitself.
JeanPaulSartrehaswrittenperceptivelyabouttheauthenticityofthe
artist'shouse:'(Thepainter)makesthem(houses),thatis,hecreates
animaginaryhouseonthecanvasandnotasignofahouse.Andthe
house,whichthusappearspreservesalltheambiguityofrealhouses'.4
Aswellasbeingasymbolofprotectionandorder,homecan,innegative
lifesituations,becomeaconcretizationofhumanmisery:ofloneliness,
rejection,exploitationandviolence.
Intheopeningchapterof'CrimeandPunishment',Raskolnikovvisitsthe
homeoftheoldusurerwoman,hisfuturevictim,andDostojevskygives
alaconicbuthauntingdescriptionofthehome,whicheventuallyturns
intothesceneofthemurder.Hometurnsfromasymbolofsecuritytoa
symbolofthreatandviolence.
ThehomeinteriorsofBalthusreflectstrangesexualtensionsthehome
hasbecomeeroticizedwhereasHitchcockchargesthemostordinary
homewithextraordinarythreat,asinthefilms'TheRearWindow',
'Marnie'and'TheRope'.Homeisanintrapsychicandmultidimensional
experiencethatisdifficulttodescribeobjectively.Thusanintrospective
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andphenomenologicalsurveyofimages,emotions,experiencesand
recollectionsofhomeseemstobeafruitfulapproachinanalysingthis
notionthatweallconstantlyuse,butrarelystoptoanalyse.
10
Thepainfulmemoryofhome
9AndreyTarkovsky:TheMirror,1975.
10AndreyTarkovsky:Nostalgia,1983.
Thehomeofthememory
Thewordhomemakesussuddenlyandsimultaneouslyrememberallthe
warmth,protectionandloveofourentirechildhood.Perhaps,ourhomes
ofadulthoodareonlyanunconscioussearchforthelosthomeof
childhood.
But,thememoryofhomealsoawakensallthedistressandfearthatwe
mayhaveexperiencedinourchildhood.
'Ahouseconstitutesabodyofimagesthatgivemankindproofsor
illusionsofstability5,and,'Itisaninstrumentwithwhichtoconfrontthe
cosmos'6,Bachelardwrites.Andheisspeakingaboutthehome,a
housefilledwiththeessenceofpersonallife.Homeisacollectionand
concretizationofpersonalimagesofprotectionandintimacythathelpus
recognizeandrememberwhoweare.
Homeisastagingofpersonalmemory.Itfunctionsasatwoway
mediatorpersonalspaceexpressesthepersonalitytotheoutside
world,but,equallyimportant,itstrengthensthedweller'sselfimageand
concretizeshisworldorder.Homeisalsoamediatorbetweenintimacy
andpubliclife.Intheirinfluentialbook'CommunityandPrivacy7of
1963,ChristopherAlexanderandSergeChermayeffidentifiedsixspatial
mechanismsbetweenthepolaritiesofprivateandpublic.
Theimageofhome
BeforeIreachedhighschoolage,myfamilymovedseveraltimesdueto
myfather'sjoband,consequently,Ilivedinsevendifferenthouses
duringmychildhood.Inaddition,Ispentmychildhoodsummersand
mostofthewarinmyfarmergrandfather'shouse.Regardlessofhaving
livedineighthouses,Ihaveonlyhadoneexperientialhomeinmy
childhoodmyexperientialhomeseemstohavetravelledwithmeand
beenconstantlytransformedtonewphysicalshapesaswemoved.
Icannotrecalltheexactarchitecturalshapeorlayoutofanyoftheeight
houses.ButIdorecallvividlythesenseofhome,thefeelingofreturning
homefromaskiingtripinthedarknessofacoldwinterevening.The
experieneeofhomeisneverstrongerthanwhenseeingthewindowsof
thehouselitinthedarkwinterlandscapeandsensingtheinvitationof
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warmthwarmingyourfrozenlimbs.'Lightinthewindowofthehomeis
awaitinglight'8,asBachelardhasobserved.Thehomehasasoul.I
cannotrecalltheshapeofthefrontdoorofmygrandfather'shouse
either,butIcanstillsensethewarmthandodourofairflowingagainst
myfaceasIopenthedoor.
Inanessayentitled'TheGeometryofFeeling'(1985)9,Ihavedealtwith
thepropertiesoflivedspaceascomparedtocommonnotionsof
architecture.Itseemstomethatemotionsderivingfrombuiltformand
spacearisefromdistinctconfrontationsbetweenmanandspace.The
emotionalimpactisrelatedtoanact,notanobjectoravisualorfigural
element.Thephenomenologyofarehitectureisfoundedonverbsrather
thannouns.Theapproachingofthehouse,notthefacade,theactof
entering,notthedoortheactoflookingoutofthewindow,notthe
windowitselfortheactofgatheringaroundratherthanthehearthor
thetableassuchseemtotriggerourstrongestemotions.
Nostalgiaofhome
Ialsorememberthesadnessandsecretthreatofleavingthehomeas
wemovedtoanothertown.Thegreatesttragedywasthefearoffacing
anunknownfutureandlosingone'schildhoodfriends.
Itisclearthattheexperienceofhomeconsistsofandintegratesan
incrediblearrayofmentaldimensionsfromthatofnationalityandbeing
subjecttoaspecificculturetothoseofunconsciousdesiresandfears.
Nowondersociologistshavefoundoutthatthesorrowforalosthome
amongslumresidentsisverysimilartothemourningalostrelative.
Thereisastrangemelancholyinanabandonedhomeorademolished
apartmenthousethatrevealstracesandscarsofintimatelivestothe
publicgazeonitscrumblingwalls.Itistouchingtocomeacrossthe
remainsoffoundationsorthehearthofaruinedorburnthouse,half
buriedintheforestgrass.Thetendernessoftheexperieneeresultsfrom
thefactthatwedonotimaginethehouse,butthehome,lifeandfaithof
itsmembers.
AndrejTarkovsky'sfilm'Nostalgia'isatouchingrecordofthelossofand
grievanceforhome10.Itisafilmaboutthenostalgiaforanabsent
homethatistypicalofRussiansentimentfromthetimesofDostojevsky
andGogoltoTarkovsky.Throughoutthefilmthecentralfigure,thepoet
AndrejGorchakov,keepsfingeringthekeystohishomeinRussiainthe
pocketofhisovercoatasanunconsciousreflectionofhislongingfor
home.AllofTarkovsky'sfilms,infact,seemtodealwithnostalgiafor
theabsentdomicile11.
IntheCommuniststate,hometurnedfromarefugeintoaplaceof
surveillance,aconcentrationcamp.Andhometurnedintoamystical
dreamthatmanyRussianartistshavedescribedintheirworks.
Homeandidentity
Theinterdependenceofidentityandcontextissostrongthat
psychologistsspeakofa'situationalpersonality'.Thenotionhasbeen
conceivedonthebasisoftheobservationthatthebehaviourofan
individualvariesmoreunderdifferentconditionsthanthebehaviourof
differentindividualsunderthesameconditions.
ThepsycholinguisticstudiesoftheNorwegianbornFinn,Frode
Strmnes,havedisclosedoutfurtherdimensionsintheinterdependence
ofpsycheandcontext.Inhisresearchonimageryasthebasisof
linguisticoperations,hehasrevealedthatevenlanguageconditionsour
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conceptionandutilizationofspace12.Consequentlyourconceptofhome
isfoundedinlanguageourfirsthomeisinthedomicileofourmother
tongue.Andlanguageisstronglytiedupwithourbodilyexistence,the
unconsciousgeometryofourlanguagearticulatesourbeingintheworld.
Homeisaprojectionandbasisofidentity,notonlyofanindividualbut
alsoofthefamily.Buthomes,themeresecrecyofprivatelives
concealedfromthepubliceye,alsostructuresociallife.Homes
delineatetherealmsofintimacyandpubliclife.Itisfrustratingtohe
forcedtoliveinaspacethatwecannotrecognizeormarkasour
personalterritory.Ananonymoushotelroomisimmediately
personalizedandtakenintopossessionbysubtlymarkingtheterritory
layingoutclothes,books,objects,openingthebed,ete.Theminimum
homeofthechildoraprimitiveisthemascotorthepersonalidolthat
givesasenseofsafetyandnormality.Myfiveyearolddaughtercannot
goanywherewithoutherscratchingpillow,myAmericanarchitect
assistanttravelledtoFinlandwithfourbooks(Joyce'sUlysses,T.S.
Eliot'sFourQuartetsandtwobooksonAmericanpoetry,bytheway),
whileanAmericanarchitectwomanfriendtravelswithhersetofkitchen
knives,whicharehermagicalinstrumentsforrecreatingasenseof
home.
11
12
Theintimacyofhome
11RenMagritte:TheMonthoftheGrape
12EdwardHopper:ElevenA.M.,1926.
Harvest,1959,PrivateCollection,Paris.
HirschhornMuseumandSculptureGarden,
SmithsonianInstitute,Washington,D.C.
Intimacyandhome
Wehaveprivateandsocialpersonalitiesandhomeistherealmofthe
former.Homeistheplacewherewehideoursecretsandexpressour
privateselves.Homeisourplaceofrestinganddreaminginsafety.
Moreprecisely,theroleofhomeasdelineatorormediatorbetweenthe
realmsofpublicandprivate,thetransparencyofthehomeasitwere,
variesgreatly.Therearewaysoflifeinwhichhomehasbecomea
publicshowcaseandthepublicgazepenetratesthesecrecyofhome.
Generally,however,theintimacyofhomeisalmostatabooinour
culture.Wehaveafeelingofguiltandembarrassmentifwe,forsome
reason,areobligedtoentersomeone'shomeuninvitedwhenthe
occupantisnotathome.Toseeanunattendedhomeisthesameas
seeingitsdwellernakedorinhismostintimatesituation.
InhisNotebooksof'MalteLauridsBrigge',RainerMariaRilkegivesa
powerfuldescriptionofthemarksofintimacy,thelivesinahousethat
hadalreadybeendemolishedbutwhichcouldstillheseenintracesleft
onthewallofitsneighbouringbuilding.Thesetracesoflifeenabled
Briggetorecreatehisownpast.Rilkedescribeswithstaggeringforce
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howlifepenetratesdeadmatterthehistoryoflifecanhetracedinthe
minutestfragmentofthedwelling.
"Butthewallsthemselveswerethemostunforgettable.Thestubbornlife
oftheseroomshadnotalloweditselftobetrampledout.Itwasstill
thereitclungtothenailsthathadbeenleftinthewallsitfounda
restingplaceontheremaininghandbreadthofflooringitsquatted
beneaththecornerbeamswherealittlebitofspaceremained.One
couldseeitinthecolourswhichithadslowlychanged,yearbyyear:
blueintoamouldygreen,greenintogrey,andyellowintoastale,drab,
wearywhite.Butitwasalsointheplacesthathadkeptfresher,behind
themirrors,thepictures,andthewardrobesforitbadoutlinedtheir
contoursoverandoveragain,andhadbeenwithcobwebsanddusteven
inthesehiddenretreatsthatnowlayuncovered.Itwasineverybare,
flayedstreakofsurface,itwasintheblistersthedampnesshadraised
attheedgesofthewallpapersitfloatedinthetornoffshreds,and
sweatedoutofthelongstandingspotsoffilth.Andfromthesewalls
onceblue,andgreenandyellow,framedbythetracksofthedisturbed
partitions,thebreathoftheselivescameforththeclammy,stuggish,
fustybreath,whichnowindhadyetscattered.Therewerethemidday
mealsandthesicknessesandtheexhalationsandthesmokeofyears,
andthestalebreathofmouths,andtheoilyodourofperspiringfeet.
Therewerethepungenttangofurineandthestenchofburningsootand
thegreyreekonpotatoes,andtheheavy,sicklyfumesofrancidgrease.
Thesweetish,lingeringsmellofneglectedinfantswasthere,andthe
smelloffrightenedchildrenwhogotoschool,andthestuffinessofthe
bedsofnubileyouths.13
Iapologizeforthelengthyquote,butIwantedtopointouthowlife
penetratesverbalimagesofagreatpoemascomparedtothesterilized
imagesofcontemporaryarchitecture.
Initsemotionalpower,Rilke'sdescriptionremindsoneofHeidegger's
famousdescriptionoftheepicmessageofvanGogh'sPeasant'sshoes.
14ThelaterquestioningoftherelevanceofHeidegger'sinterpretationby
MeyerShapirodoesnotdiminishthepoeticpowerofhisdescription:he
haspointedoutihatvanGoghactuallypaintedhisownshoesand,
besides,hedidthepaintingduringhisshortstayinParis.Whatis
important,however,istheartist'sextraordinarydenseimagerythat
reflectsanauthenticformoflife.
Intheintimatepolarity,Bachelardpointsoutabodilyexperienceofthe
home:'Indeed,inourhouseswehavenooksandcornersinwhichwe
liketocurlupcomfortably.Tocurlupbelongstothephenomenologyof
theverbtoinhabit,andonlythosewhohavelearnedtodosocaninhabit
withintensity'15.
ThefascinationoftheworldofpersonalintimacyissogreatthatIrecall
theADMagazineinthelate1960shavingreportedonaminutetheatre
inNewYorkwheretheaudiencewaswatchingthroughaonedirectional
mirrorthedailylifeofanormalAmericanfarnilylivinginarentedflat
unawareofbeingonstage.Thetheatrewasopen24hoursadayand
continuouslysoldoutuntilitwasclosedbytheauthoritiesasinhuman.
Therecentfourvolumebookentitled'AHistoryofPrivatelife16traces
theevolutionoftheprivaterealmfrompaganRometotheGreatWaron
itsnearly2800pagesandmakesthereaderunderstandthecultural
relativismofeventhemostpersonalandintimatelife.Notmuchcanhe
takenasgiveninhumanreality.
Ingredientsofhumanlife
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Homeseemstoconsistofthreetypesofmentalorsymbolicelement:
elementswhichhavetheirfoundationinthedeepunconsciousbio
culturallevel(entry,hearth)elementsthatarerelatedtotheinhabitant's
personallifeandidentity(memorabilia,inheritedobjectsofthefamily)
andsocialsymbolsintendedtogivecertainimagesandmessagesto
outsiders(signsofwealth,education,socialidentity,etc.).
Itshouldbeclearbynowthatthestructuringofhomeasalivedin
institutiondiffersfromtheprinciplesofarchitecture.Thehouseis
composedbythearchitectasasystemofspatialhierarchiesand
dynamics,structure,light,colour,etc.,whereashomeisstructured
aroundafewfociconsistingofdistinctfunctionsandobjects.The
followingtypesofelementsmayfunctionasfociofbehaviourand
symbolization:front(frontyard,facade,theurbansetup),entry,
window,hearth,stove,table,cupboard,bath,bookcase,television,
furniture,familytreasures,memorabilia.
Thepoetryofthewardrope
Themeaningofeachelementcanbephenomenologicallyanalysed.
Bachelard'sanalysisoftheessentialtaskofdrawers,tupboardsand
wardrobesinourmentalimagerysetsaninspiringexample.Hegives
theseobjectsrarelyconsideredashavingarchitecturalsignificancean
impressiveroleintheworldoffantasyanddaydream.'Inthewardrobe
thereexistsacenteroforderthatprotectstheentirehouseagainst
uncurbeddisorder',hewrites17.
Wardrobes,cupboardsanddrawersrepresentthefunctionsofputting
awayandtakingout,storingandremembering.Theinsideofacupboard
isanintimateandsecretspace,anditisnotsupposedtoheopenedby
justanybody.Littleboxesandcasketsarehidingplacesforintimate
secretsandassuchareofsignificanceforourimagination.Our
imaginationfillsoutcompartmentsofroomsandbuildingswith
memoriesandturnsthemintoourownpersonalterritories.Wehavejust
asgreataneedtokeepsecretsaswehavetoreveal,knowand
understandthem.Oneofthereasonswhycontemporaryhousesand
citiesaresoalienatingisthattheydonotcontainsecretstheirstructure
andcontentsareconceivedatasingleglance.Justcomparethe
labyrinthinesecretsofanoldmedievaltownoranyoldhouse,which
stimulateourimaginationandfillitwithexpectationandexcitement,
withthetransparentemptinessofournewcityscapeandblocksofflats.
Inhisbook'OneDirnensionalMan18,HerbertMarcuseconsidersthat
buildingsofourtimeareuneroticcomparedwithtbeeroticimagery
conjuredupbyanenvironmentofnatureortraditionalbuildings.One
cancompare,forinstance,thefantasiesprovokedbyameadowoutside
ancienttownwallsoranoldatticwiththenumbingnoman'slandofa
newhousingareaortheanonymityofaflatcrampedbetweenconcreto
wallsandfloors.Marcusebelievesthattheflagrantandviolentsexuality
ofourtimeisaresultofthegrowinglackoferoticimageryinthe
environment.
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13
14
Thespaceandimageoffire
13TeunHocks:Untitled(ManatFire),1990. 14AntonioGaudi:CasaBaltil190406.
Hearthandfire
Thesignificanceofhearthorstoveforthesenseofhomeisselfevident.
Theimageoffireinthehomecombinesthemostarehaicwiththemost
present.Thepowerofthesymbolismofthehearthisbasedonits
capacitytofusearchaicimagesofthelifesupportingfireofthe
primitive,experiencesofpersonalcomfortandsymbolsoftogetherness
andsocialstatus.
MauriceVlaminck,theFauvepainter,haswritten:'ThewellbeingIfeel,
seatedinfrontofmyfire,whilebadweatherragesoutofdoors,is
entirelyanimal.Aratinitshole,arabbitinitsburrow,cowsinthe
stable,mustallfeelthesamecontentmentthatIfeel.19
Thefireplaceisabourgeoissymboloftheseparationoffireforpleasure
fromthefireforpreparingfood,whereasthesymbolisrnofthestove
haspeasantlikeconnotations.Havingspentmychildhoodinafarmer's
home,Icanstillvividlyrecalltheroleofthestoveinstructuringfamily
life,inmarkingtherhythmofthedayandindefiningthemaleand
femaleroles.
Thepoweroftheimageoffireissovividthathearthsareoftenbuiltas
solesymbolsintheformofmeremantleswithoutanypossibilityof
actualfire.Theimageofthehearthalsohasimmediateerotic
connotations.NowonderthatLewisMumforddiscussestheinfluenceof
theinventionoftheovenonsexualbehaviourinhisbook'TheCultureof
theCity'.
Inthemodernhomethehearthhasbecomeflattenedtoanobjectwitha
distantanddecorativelunetion.Fireitselfhasbeentamedandturned
intoaframedpicturedevoidofitsessentialtasktogivewarmth.We
couldspeakofacoldfireofthemodernhome.
15
16
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Thetableinfocus
15TheHolyGrailappearstotheknights
oftheroundtable,14thcentury.
16DericBouts:MealatSimon'shouse
mid15thcentury.
Functionsofthetable
Thestructuringfunctionandsymbolicroleofthetablehavealsolargely
beenlosttocontemporaryarchitecture.Thesignificanceofthetable,
however,ispowerfullyexpressedinpaintingandpoetry.Again,Ivividly
recalltheheavy,unpaintedwoodentableofmyfarmergrandfather.The
retdembranceofthetableisstrongerthanthatoftheroomitself.
Everyonehadhisorherplaceatthetable,mygrandfathersittingatthe
innerend.Theoppositeendofthelongtable,closertotheentrance,
wasleftemptyandwasoccupiedonlybytheoccasionalguest.Thetable
wasthestageforeating,sewing,playing,doinghomework,socializing
withneighboursandstrangers,ete.Thetablewastheorganizingcentre
ofthefarmer'shouse.Thetablemarkedthedifferencebetween
weekdayandSunday,workingdayandfeastday.
Wecouldsimilarlyandextensivelysurveyotherfocusingimagesofthe
home,butwedonothavethespaceontimeonthisoccasion.
17
18
Thebedasspaceandas
horisontalelement
17RenaissancehedsfromMilanabout1540.
18Unidentifiedillustration.
Dilutionofimagesofhome
Isimplywanttoaddaremarkonthedilutionoftheimageofbedfroma
miniaturehouse,ahousewithinahouse,symbolizingprivacytoamere
neutralhorizontalplane,astageofprivacy,asitwere.Thismakesone
recallBachelard'sobservationthatthehouse,and,consequently,our
liveshavelosttheirverticaldimensionandbecomemerehorizontality
20.Again,innumerousimagesinhistoricalpaintingsanddrawingsreveal
theessenceofthebed.
Alessselfevidentbututterlypoeticandessentialexperienceofhomeis
thewindowand,inparticular,theactoflookingoutofthewindowofthe
homeattheyardorthegarden.Homeisparticularlystronglyfeltwhen
youlookoutfromitsenclosedprivacy.
Thetendencyofcontemporaryarchitecturetouseglasswallseliminates
thewindowasaframingandrationingdeviceandweakenstheessential
tensionbetweenthehomeandtheworld.
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Theontologyofthedoorhasbeenlostinthesameway.
Lackofconcreteness
Iliveinanatticflatunderatinroof.Thestrongestandmostpleasurable
experienceofhomeoccursduringaheavystormwhenrainbeats
againsttheofroof,magnifyingthefeelingofwarmthandprotection.
Atthesametimethebeatingofrainjustafootawayfrommyskinputs
meindirectcontactwithprimalelements.Butthesesensationsarelost
tothedwellerofthestandardflat.
Cookingbyfireisimmenselysatisfyingbecauseonecanexperiencea
primalcausalitybetweenthefireandthehearth.Again,thiscausalityis
lostwiththeelectricstoveorevenmoresowiththemicrowave.
Inthecontemporaryhomethefunctionofthehearthhasbeenusurped
bytelevision.Bothseemtohefocitheofsocialgatheringandindividual
concentration,butthedifferenceinqualityis,however,decisive.The
firelinksustoourunconsciousmemory,tothearchaeologyofimages.
Fireisaprimalimage,andittheremindsusoftheprimarycausalityof
thephysicalworld.Atthesametimethattheflamesstimulate
meditativedreaming,theyreinforceoursenseofreality.
Thetelevisionalienatesusfromasenseofcausalityandtransportsus
intoadreamworldwhichweakensoursenseofreality,ofourselfand
theethicessenceoftogetherness.Insteadofpromotingtogetherness,
televisionforcesisolationandprivatization.Themostshocking
experienceofthenegativeimpactoftelevisionwastheGulfWar,which
wastelecastinrealtimearoundtheglobeasdramatizedentertainment.
Ananalysisoftelevisionasastructuringdeviceofthecontemporary
homeis,ofcourse,essentialforthethemeofthisSymposium,butIdo
nothavetimetoelaborateonit.And,Iamsure,itwillhedealtwithin
otherpresentations.
Theoverallweakeningofthesenseofcausalitythreatensmodernlife.
Themenacerepresentedbyourbravenewworldliesinitslackof
concreteness.Evenfearisacceptableaslongasithasits
understandablecauseoritsymbolizessomething,andaslongasitisnot
cloakedinapparentorderandwellbeing.Theirrationalfearinourcities
growsoutofthemeaninglessnessoftheenvironmenttoourreasonand
itsincomprehensibilitytooursenses.Wearelosingtheprimary
causalityinoursensoryexperienceoftheworld.
'Symptoms(ofanillness)are,infact,degradedsymbols,degradedby
thereductivefallacyoftheego.Symptomsareintolerableprecisely
becausetheyaremeaningless.Almostanydifficultycanbeborneifwe
candiscernitsmeaning.Itismeaninglessnesswhichisthegreatest
threattohumanity',writespsychologistEdwardEdinger21.
Thismeaninglessness,ahypnotizingemptinessandabsenceoflocality
andfocus,theexistentialvacuum,hasbecomearecurringmotifof
contemporaryart.Itisalarming,indeed,thatthefavouritethemeofart
todayisthetotalisolationofmandisrobedofallsignsofindividual
identityandhumandignity.
Architectureoftolerance
Ifarchitectureandhomeareconflictingnotions,asitseems,whatthen
isthearchitect'smarginoffacilitating'homecoming'thatAldovanEyck
hassoemphaticallydemanded.
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Inmyview,architecturecaneithertolerateandencourage
personalizationorstifleit.Thereisanarchitectureofaccommodation
andanarchitectureofrejection.Thefirstonefacilitatesreconciliation,
thesecondattemptstoimposebyitsuntouchableorder.Thefirstis
basedonimagesthataredeeplyrootedinourcommonmemory,thatis,
inthephenomenologicallyauthentiegroundofarchitecture.Thesecond
manipulatesimages,strikingandfashionable,perhaps,butwhichdonot
incorporatethepersonalidentity,memoriesanddreamsofthe
inhabitant.Thesecondattitudemaycreatearchitecturallymoreimposing
houses,butthefirstprovidestheconditionofhomecoming.
Furthermore,thereisasignificantdifferenceinhowandtowhatextent
anarchitecturaldesigncanallowandabsorbaestheticdeviationwithout
resultinginundesirableconflict.Thearchitectureandfurnituredesignof
AlvarAaltoareanencouragingexampleofdesign,whichhasagreat
aesthetictolerance,yet,itisartisticallyuncompromising.
Thevirtueofidealization
Myacknowledgenientofaconflictbetweenarchitectureandtheintrinsic
requirementsofhomecould,perhaps,beinterpretedassupportforthe
viewthatthearchitectshouldfaithfullyfulfilltheexplicitrequirements
anddesiresoftheclient.IwanttosayveryfirmlythatIdonotbelieve
insuchapopulistview.Uncriticalacceptanceoftheclient'sbriefonly
leadstosentimentalkitschthearchitect'sresponsibilityistopenetrate
thesurfaceofwhatismostoftenacommercially,sociallyand
momentarilyconditioneddesire.
Theauthenticartistandarchitectconsciouslyorunknowinglyengagein
anidealworld.Artandexhilaratingarchitecturearelostatthepointat
whichthisvisionofandaspirationforanidealislost.Inmyview,only
thearchitect,whocreateshisidealclientashedesignscancreate
housesandhomesthatgivemankindhopeanddirectioninsteadofmere
bourgeoissatisfaction.WithoutFrankLloydWright's'Fallingwater',Gerrit
Rietveld's'SchderHouse',LeCorbusier's'VillaSavoye',PierreChareau's
'GlassHouse'andAlvarAalto's'VillaMairea'ourunderstandingof
modernity,andofourselves,wouldbeconsiderablyweakerthannow.it
iswhenthesemasterpiecesconcretizethepossibilitiesofhumanhabitat.
19
20
Cominghome
19InteriorofaShakerhouse.
Hancock,Massachusetts.
20HenryMatisse:Goldfish
(Lespoissonsrouges),1912.
Feasibilityofahomecoming
Authenticarchitectureisalwaysaboutlifeman'sexistentialexpcrience
istheprimesubjectmatteroftheartofbuilding.Toacertaindegree,
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greatarchitectureisalsoalwaysaboutarchitectureitself,aboutthe
rulesandboundariesofthedisciplineitself.Buttoday'sarchitecture
seemstohaveabandonedlifeentirelyandturnedintoapure
architecturalfabrication.
Authenticarchitecturerepresentsandreflectsawayoflife,animageof
life.Itisthoughtprovokingthattoday'sbuildingsappearemptyinstead
theydonotseemtorepresentanyrealandauthenticwayoflife.
Today'sarchitecturalavantgardehasdelibetatelyrejectedthenotionof
home.'Architecturemustdislocate...withoutdestroyingitsownbeing,
whileahousetodaymuststillshelter,itdoesnotneedtosymbolizeor
romanticizeitsshelteringfunction,tothecontrary:suchsymbolsare
todaymeaninglessandmerelynostalgia,declaredPeterEisenmaninan
interviewsomeyearsago22.
Beyondtherejectionofissuesofdomicile,today'savantgarde
architecturehasneglectedproblemsofmasshousing,whichwereacore
issueoftheModernproject.Ourposthistoricalerahasendedhistorical
narratives,thenotionofprogressandaviewoffuture.Thislossof
horizonandsenseofpurpose,andshorteningofperspectivehaveturned
architectureawayfromimagesofrealityandlifeintoanautisticand
selfreferentialengagementwithitsownstructures.Atthesametime
architecturehasdistanceditselffromothersenserealmsandbecomea
purelyretinalartform.
Imaybelieveingroundlessnostalgia,butIstillbelieveinthefeasibility
ofanarchitectureofreconciliation,anarchitecturethatcanmediate
'man'shomecoming'.Architecturecanstillprovidehousesthatenableus
tolivewithdignity.And,westillneedhousesthatreinforceoursenseof
humanrealityandtheessentialhierarchiesoflife.
TheConseptofHome:AnInterdiciplinaryViewsymposiumatthe
UniversityofTrondheim,2123August1992.
REFERENCES
1AlvarAalto:BandI19221962.LesEditions
d'ArchitectureArtemis,Zurich1963,p.108.
2GastonBachelard,ThePoeticsofSpace.BeaconPress,
Boston1969,p.2526.
3ibid,p.XXIV
4JeanPaulSartre,WhatisLiterature?PeterSmith,
Gloucester,Mass.,1978,p.4.
5Bachelard,op.cit.,p.17.
6Bachelard,op,cit.,p.46,
7ChristopherAlexander,SergeChermayeff,Community
andPrivacy.Doubleday&Company,GardenCity,New
York,1963.
8Bachelard,op.cit.,p.34,
9JuhaniPallasmaa,TheGeometryofFeeling:alookat
thephenomenologyofarchitecture.Arkkitehti3/1985,
Helsinki,pp.4449.(Englishtranslation,pp.98100.)
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10JuhaniPallasmaa,SpaceandImageinAndrej
Tarkovsky'sHostalghia.FocusYearbookoftheFacultyof
Architecture,HelsinkiUniversityofTechnology,Helsinki
1992,pp.1314,
andAndersOlofsson,Nostalgia,TankenpenHemkonst
(ed.MagnusBergh&BirgittaMunkhammar),AlfaBeta
Bokfrlag,Stockholm1986,p,150.
11InterviewofPaolaVolkovabyMikaelFrntiin
HelsinginSanomat9.12.1992,p.D10.
12forinstance:
FrodeStrmnes,ANewPhysicsofInnerWorlds.Institute
ofSocialScience,UniversityofTroms,1976.
FrodeStrmnes,OntheArchitectureofThought.Abacus,
YearbookoftheMuseumofFinnishArchitecture.Helsinki,
1981,pp.729.
FrodeStrmnes,TheExternalizedImage.Astudyshowing
differencescorrelatingwithlanguagestructurebetween
pictorialstructureinUralAltaicandIndoEuropeanfilmed
versionsofthesameplays.ReportsfromthePlannign
andResearchDepartment,TheFinnishBroadcasting
Company,No21/1982,Helsinki.
13QuotedinRobertJanvanPelt,LetterfromKoblenz,
TheArchitecturalthesis:WaterlooJournalofArchitecture,
Waterloo1992,pp.113114.
14MartinHeidegger,TheOriginoftheWorkofArt,in
BasicWritings.Harper&Row,NewYork,1977,p.163.
15Bachelard,op.cit.,p.XXXIV
16AHistoryofPrivateLife,VolumesIIV(Phillippe
ArisandGeorgesDuby,generaleditors),Harvard
UniversityPress,Cambridge,Mass.,1987.
17op.cit.,p.79.
18HerbertMarcuse,OneDimensionalMan.Beacon
Press,Boston,1964.
19Bachelard,op,cit.,p.91.
20Bachelard,op,cit.,p.27.
21EdwardEdinger,EgoandArchetype,Baltimore1973.
22PeterEisenman,EnSamtalmedCarstenJuel
Christiansen,Skala12/1987.
PICTURESOURCES
1PeterGssel,GabrieleLenthuser,Architectureinthe
TwentiethCentury,Taschen,Kln1991.
2RolfGnterRenner,EduardHopper18821967.
BenediktTaschen1991,
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3IngoF.Walther/RainerMetzger,VincentvanGogh:
L'Oeuvrecompletepeinture,BenediktTaschen,Kln1990.
4Bauhaus,Stuttgartinulkomaistenkulttuurisuhteiden
instituutinjulkaisu,Stuttgart1974.
5CelebrityHomesII(ed.PaigeRense).TheKnapp
Press,LosAngeles1981.
7A.M.Hammacher,Magritte.HarryN,Abrams,Inc.
NewYork1985.
11JacquesMeuris,Magritte.ArtabrasPublishers,New
York1987.
12RobertHobbs,EdwardHopper,HarryN.Abrams,Inc.
Publishers,NewYork1987.
13IgnasiSolMorales,Gaudi.Rizzoli,NewYork1983.
14ArtinAmerica,NewYork,July1992,p.48.
15EncyclopediaofWorldMythology.OctopusBook,
London1975.
16AlbertChtelet,EarlyDutchPainting:Paintinginthe
northernNetherlandsinthefifteenthcentury.Montreaux,
Lausanne1980.
17PeterThornton,TheItalianRenaissanceInterior
14001600.HarryN.Abrams,NewYork1991.
19AmyStechlerBurns&KenBurns,TheShakers:
HandstoWork,HeartsteGod.AnApertureBook,New
York1987.
20JohnElderfield,HenryMatisse:ARetrospective.The
MuseumofModernArt,NewYork1992.
ARKKITEHTI
FINNISHARCHITECTURALREVIEW1/1994
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