建筑學外文翻譯-肌膚的眼睛

TheEyesofTheSkinTheSignificanceoftheshadowTheeyeistheorganofdistanceandseparation,whereastouchisthesenseofnearness,intimacyandaffection.Theeyesurveys,controlsandinvestigates,whereastouchapproachesandcaresses.Duringoverpoweringemotionalexperiences,wetendtocloseoffthedistancingsenseofvision;weclosetheeyeswhendreaming,listeningtomusic,orcaressingourbelovedones.Deepshadowsanddarknessareessential,becausetheydimthesharpnessofvision,makedepthanddistanceambiguous,andinviteunconsciousperipheralvisionandtactilefantasy.Howmuchmoremysteriousandinvitingisthestreetofanoldtownwithitsalternatingrealmsofdarknessandlightthanarethebrightlyandevenlylitstreetsoftoday!Theimaginationanddaydreamingarestimulatedbydimlightandshadow.Inordertothinkclearly,thesharpnessofvisionhastobesuppressed,forthoughtstravelwithanabsent-mindedandunfocusedgaze.Homogenousbrightlightparalysestheimaginationinthesamewaythathomogenizationofspaceweakenstheexperienceofbeing,andwipesawaythesenseofplace.Thehumaneyeismostperfectlytunedfortwilightratherthanbrightdaylight.Mistandtwilightawakentheimaginationbymakingvisualimagesunclearandambiguous;aChinesepaintingofafoggymountainlandscape,ortherakedsandgardenofRyoan-jiZenGardengiverisetoanunfocusedwayoflooking,evokingatrance-like,meditativestate.Theabsent-mindedgazepenetratesthesurfaceofthephysicalimageandfocusesininfinity.InhisbookInPraiseofShadows,JunichiroTanizakipointsoutthatevenJapanesecookingdependsuponshadows,andthatitisinseparablefromdarkness:Andwhenheisservedinalacquerdish,itisasifthedarknessoftheroomweremeltingonyourtongue.Thewriterremindsusthat,inoldentimes,theblackenedteethofthegeishaandhergreenblacklipsaswellasherwhitepaintedfacewereallintendedtoemphasisethedarknessandshadowsoftheroom.Likewise,theextraordinarilypowerfulsenseoffocusandpresenceinthepaintingofCaravaggioandRembrandtarisesfromthedepthofshadowinwhichtheprotagonistisembeddedlickapreciousobjectonadarkvelvetbackgroundthatabsorbsalllight.Theshadowgivesshapeandlifttotheobjectinlight.Italsoprovidestherealmfromwhichfantasiesanddreamsarise.Theartofchiaroscuroisaskillofthemasterarchitecttoo.Ingreatarchitecturalspaces,thereisaconstant,deepbreathingofshadowandlight;shadowinhalesandilluminationexhaleslight.Inourtime,lighthasturnedintoamerequantitativematterandthewindowhaslostitssignificanceasamediatorbetweentwoworlds,betweenenclosedandopen,interiorityandexteriority,privateandpublic,shadowandlight.Havinglostitsontologicalmeaning,thewindowhasturnedintoamereabsenceofthewall.Taketheuseofenormousplatewindowtheydepriveourbuildingsofintimacy,theeffectofshadowandatmosphere.Architectsallovertheworldhavebeenmistakenintheproportionswhichtheyhaveassignedtolargeplatewindowsorspacesopeningtotheoutside.Wehavelostoursenseofintimatelife,andhavebecomeforcedtolivepubliclives,essentiallyawayfromhome,writesLuisBarragan,thetruemagicianofintimatesecrecy,mysteryandshadowincontemporaryarchitecture.Likewise,mostcontemporarypublicspaceswouldbecomemoreenjoyablethroughalowerlightintensityanditsunevendistribution.ThedarkwombofthecouncilchamberofAlvarAaltosSaynatsaloTownHallrecreatesamysticalandmythologicalsenseofcommunity;darknesscreatesasenseofsolidarityandstrengthensthepowerofthespokenword.Inemotionalstates,sensestimuliseentoshiftfromthemorerefinedsensestowardsthemorearchaic,fromvisiondowntohearing,touchandsmell,andfromlighttoshadow.Aculturethatseekstocontrolitscitizensislikelytopromotetheoppositedirectionofinteraction,awayfromintimateindividualityandidentificationtowardsapublicanddistantdetachment.Asocietyofsurveillanceisnecessarilyasocietyofthevoyeuristicandsadisticeye.Anefficientmethodofmentaltortureistheuseofaconstantlyhighlevelofilluminationthatleavesnospaceformentalwithdrawalorprivacy;eventhedarkinteriorityofselfisexposedandviolated.AcousticIntimacySightisolates,whereassoundincorporates;visionisdirectional,whereassoundisomni-directional.Thesenseofsightimpliesexteriority,butsoundcreatesanexperienceofinteriority.Iregardanobject,butsoundapproachesme;theeyereaches,buttheearreceives.Buildingsdonotreacttoourgaze,buttheydoreturnoursoundsbacktoourears.“Thecentringactionofsoundaffectsmanssenseofcosmos,writesWalterOng.?Fororalcultures,thecosmosisanongoingeventwithmanatitscentre.Manistheumbilicusmundi,thenaveloftheworld.Itisthoughtprovokingthatthementallossofthesenseofcentreinthecontemporaryworldcouldbeattributed,atleastinpart,tothedisappearanceoftheintegrityoftheaudibleworld.Hearingstructuresandarticulatestheexperienceandunderstandingofspace.Wearenotnormallyawareofthesignificanceofhearinginspatialexperience,althoughsoundoftenprovidesthetemporalcontinuuminwhichvisualimpressionsareembedded.Whenthesoundtrackisremovedfromafilm,forinstance,thescenelosesitsplasticityandsenseofcontinuityandlife.Silentfilm,indeed,hadtocompensateforthelackofsoundbyademonstrativemannerofoveracting.AdrianStokes,theEnglishpainterandessayist,makesperceptiveobservationsabouttheinteractionofspaceandsound,soundandstone.?Likemothersofmen,thebuildingsaregoodlisteners.Longsounds,distinctorseeminglyinbundles,appeasetheorificesofpalacestheorificesofpalacesthatleanbackgraduallyfromcanalorpavement.Alongsoundwithitsechobringsconsummationtothestone,hewrites.Anyonewhohashalf-wokenuptothesoundofatrainoranambulanceinanocturnalcity,andthroughhis/hersleepexperiencedthespaceofthecitywithitscountlessinhabitantsscatteredwithinitsstructures,knowsthepowerofsoundovertheimagination;thenocturnalsoundisareminderofhumansolitudeandmortality,anditmakesoneconsciousoftheentireslumberingcity.Anyonewhohasbecomeentrancedbythesoundofdrippingwaterinthedarknessofaruincanattesttotheextraordinarycapacityoftheeartocarveavolumeintothevoidofdarkness.Thespacetracedbytheearinthedarknessbecomesacavitysculpteddirectlyintheinteriorofthemind.ThelastchapterofSteenEilerRasmussensseminalbookExperiencingArchitectureissignificantlyentitled?HearingArchitecture.Thewriterdescribesvariousdimensionsofacousticalqualities,andrecallstheacousticperceptoftheundergroundtunnelsinViennainOrsonWellesfilmTheThirdMan:?Yourearreceivestheimpactofboththelengthandthecylindricalformofthetunnel.Onecanalsorecalltheacousticharshnessofanuninhabitedandunfurnishedhouseascomparedtotheaffabilityofalivedhome,inwhichsoundisrefractedandsoftenedbythenumeroussurfacesofobjectsifpersonallife.Everybuildingorspacehasitscharacteristicsoundofintimacyormonumentality,invitationorrejection,hospitalityorhostility.Aspaceisunderstoodandappreciatedthroughitsechoasmuchasthroughitsvisualshape,buttheacousticperceptusuallyremainsasanunconsciousbackgroundexperience.Sightisthesenseofthesolitaryobserver,whereashearingcreatesasenseofconnectionandsolidarity;ourlookwanderslonesomelyinthedarkdepthsofacathedral,butthesoundoftheorganmakesusimmediatelyexperienceouraffinitywiththespace.Westarealoneatthesuspenseofacircus,buttheburstofapplauseaftertherelaxationofsuspenseunitesuswiththecrowd.Thesoundofchurchbellsechoingthroughthestreetsofatownmakesusawareofourcitizenship.Theechoofstepsonapavedstreethasanemotionalchargebecausethesoundreverberatingfromsurroundingwallsputsusindirectinteractionwithspace;thesoundmeasuresspaceandmakesitsscalecomprehensible.Westroketheboundariesofthespacewithourears.Thecriesofseagullsintheharborawakenanawarenessofthevastnessoftheoceanandtheinfinitenessofthehorizon.Everycityhasitsechowhichdependsonthepatternandscaleofitsstreetsandtheprevailingarchitecturalstylesandmaterials.TheechoofaRenaissancecitydiffersfromthatofaBaroquecity.Butourcitieshavelosttheirechoaltogether.Thewide,openspacesofcontemporarystreetsdonotreturnsound,andintheinteriorsoftodaysbuildingsechoesareabsorbedandcensored.Theprogrammedrecordedmusicofshoppingmallsandpublicspaceseliminatesthepossibilityofgraspingtheacousticvolumeofspace.Ourearshavebeenblinded.TOUCHINGTHEWORLDJuhaniPallasmaaIn1995theeditorsatAcademyEditions,Londoninvitedmetowriteavolumeoftheir'Polemicsseries,intheformofanextendedessayof32pagesonasubjectmatterthatIfoundpertinentinthearchitecturaldiscourseofthetime.TheresultmylittlebookTheEyesoftheSkin:ArchitectureandtheSense-waspublishedinthefollowingyear.Thesecondpartofmymanuscripttookitsbasicideasfromanessayentitle?AnArchitectureoftheSevenSenses,5publishedinArchitectureUrbanism,QuestionsofPerception(SpecialIssue,July1994),apublicationonStevenHoll'sarchitecturalwork,whichalsoincludedessaysbyStevenHollhimselfandAlbertoPerez-Gomez.AsomewhatlaterlecturegiveninaseminaronarchitecturalphenomenologyattheRoyalDanishAcademyofFineArtsinCopenhageninJune1995,wherethethreewritersofQuestionsofPerceptionpresentedlectures,providedthebasicargumentsandreferencesforthefirstpart.Somewhattomysurprise,thehumblebookwasreceivedverypositively,anditbecamerequiredreadingonarchitecturaltheorycoursesinnumerousschoolsofarchitecturearoundtheworld.Asaconsequence,theeditionwassoldoutratherquicklyand,inthesubsequentyears,thebookhascirculatedintheformofcountlessphotocopies.Thepolemicalessaywasinitiallybasedonpersonalexperience,viewsandspeculations.Ihadbecomeincreasinglyconcernedaboutthebiastowardsvision,andthesuppressionofothersenses,inthewayarchitecturewasconceived,taughtandcritiquedfromtheartsandarchitecture.Duringthe10yearsthathavepassedsinceIwrotethebook,interestinthesignificanceofthesenses-bothphilosophicallyandintermsofexperiencing,makingandteachingarchitecture-hasgrownsignificantly.Myassumptionsoftheroleofthebodyasthelocusofperception,thoughtandconsciousness,andofthesignificanceofthesensesinarticulating,storingandprocessingsensoryresponsesandthoughts,havebeenstrengthenedandconfirmed.Withthetitle?TheEyesoftheSkin'Iwishedtoexpressthesignificanceofthetactilesenseforourexperienceandunderstandingoftheworld,butIalsointendedtocreateaconceptualshortcircuitbetweenthedominantsenseofvisionandthesuppressedsensemodalityoftouch.SincewritingtheoriginaltextIhavelearnedthatourskinisactuallycapableofdistinguishinganumberofcolours;wedoindeedseebyourskin.Theprimacyofthetactilesensehasbecomeincreasinglyevident.Theroleofperipheralandunfocusedvisioninourlivedexperienceoftheworldaswellasinourexperienceofinteriorityinthespacesweinhabit,hasalsoevokedmyinterest.Theveryessenceofthelivedexperienceismouldedbyhapticityandperipheralunfocusedvision.Focusedvisionconfrontsuswiththeworldwhereasperipheralvisionenvelopsusinthefleshoftheworld.Alongsidethecritiqueofthehegemonyofvision,weneedtoreconsidertheveryessenceofsightitself.Allthesenses,includingvision,areextensionsofthetactilesense;thesensesarespecializationsofskintissue,andallsensoryexperiencesaremodesoftouchingandthusrelatedtotactility.Ourcontactwiththeworldtakesplaceattheboundarylineoftheselfthroughspecialisedpartsofourenvelopingmembrane.TheviewofAshleyMontagu,theanthropologist,basedonmedicalevidence,confirmstheprimacyofthehapticrealm:[Theskin]istheoldestandthemostsensitiveofourorgans,ourfirstmediumofcommunication,andourmostefficientprotector...Eventhetransparentcorneaoftheeyeisoverlainbyalayerofmodifiedskin…Touchistheparentofoureyesears,nose,andmouth.Itisthesensewhichbecamedifferentiatedintotheothers,afactthatseemstoberecognizedintheage-oldevaluationoftouchas“themotherofthesenses”.Touchisthesensorymodethatintegratesourexperienceoftheworldwiththatofourselves.Evenvisualperceptionsarefusedandintegratedintothehapticcontinuumoftheself;mybodyrememberswhoIamandwhereIamlocatedintheworld.Mybodyistrulythenavelofmyworld,notinthesenseoftheviewingpointofthecentralperspective,butastheverylocusofreference,memory,imaginationandintegration.Itisevidentthat?life-enhancing5architecturehastoaddressallthesensessimultaneouslyandfuseourimageofselfwithourexperienceoftheworld.Theessentialmentaltaskofarchitectureisaccommodationandintegration.Architecturearticulatestheexperiencesofbeing-in-the-worldandstrengthensoursenseofrealityandself;itdoesnotmakeusinhabitworldsofmerefabricationandfantasy.Thesenseofself,strengthenedbyartandarchitecture,allowsustoengagefullyinthementaldimensionsofdream,imaginationanddesire.Buildingsandcitiesprovidethehorizonfortheunderstandingandconfrontingofthehumanexistentialcondition.Insteadofcreatingmereobjectsofvisualseduction,architecturerelates,mediatesandprojectsmeanings.Theultimatemeaningofanybuildingisbeyondarchitecture;itdirectsourconsciousnessbacktotheworldandtowardsourownsenseofselfandbeing.Significantarchitecturemakesusexperienceourselvesascompleteembodiedandspiritualbeings.Infact,thisisthegreatfunctionofallmeaningfulart.Intheexperienceofart,apeculiarexchangetakesplace;Ilendmyemotionsandassociationstothespacelendsmeitsaura,whichenticesandemancipatesmyperceptionsandthoughts.Anarchitecturalworkisnotexperiencedasseriesofisolatedretinalpictures,butinitsfullyintegratedmaterial,embodiedandspiritualessence.Itofferspleasurableshapesandsurfacesmouldedforthetouchoftheeyeandothersenses,butitalsoincorporatesandintegratesphysicalandmentalstructuresgivingourexistentialexperienceastrengthenedcoherenceandsignificance.Whenworking,boththeartistandcraftsmanaredirectlyengagedwiththeirbodiesandtheirexistentialexperiencesratherthanfocusedonanexternalandobjectifiedproblem.Awisearchitectworkswithhis/herentirebodyandsenseofself.Whileworkingonabuildingoranobject,thearchitectissimultaneouslyengagedinareverseperspective,his/herself-image,ormoreprecisely,existentialexperience.Increativework,apowerfulidentificationandprojectiontakesplace;theentirebodilyandmentalconstitutionofthemakerbecomesthesiteofthework.LudwigWittgenstein,whosephilosophytendstobedetachedfrombodyimagery,acknowledgestheinteractionofbothphilosophicalandarchitectureinmanyrespects-isreallymoreaworkononeself.Onone'sowninterpretation.Onhowoneseesthings.Thecomputerisusuallyseenasasolelybeneficialinvention,whichliberateshumanfantasyandfacilitatesefficientdesignwork.Iwishtoexpressmyseriousconcerninthisrespect,atleastconsideringthecurrentroleofthecomputerinthedesignprocess.Computerimagingtendstoflattenourmagnificent,multi-sensory,simultaneousandsynchroniccapacitiesofimaginationbyturningthedesignprocessintoapassivevisualmanipulation,aretinaljourney.Thecomputercreatesadistancebetweenthemakerandtheobject,whereasdrawingbyhandaswellasmodel-makingputthedesignerintoahapticcontactwiththeobjectorspace.Inourimagination,theobjectissimultaneouslyheldinthehandandinsidethehead,andtheimaginedandprojectedphysicalimageismodeledbyourbodies.Weareinsideandoutsideoftheobjectatthesametime.Creativeworkcallsforabodilyandmentalidentification,empathyandcompassion.Aremarkablefactorintheexperienceofenvelopingspatiality,interiorityandhapticityisthedeliberatesuppressionofsharp,focusedvision.Thisissuehashardlyenteredthetheoreticaldiscourseofarchitectureasarchitecturaltheorizingcontinuestobeinterestedinfocusedvision,consciousintentionalityandperspectivalrepresentation.Photographedarchitecturalimagesarecentralizedimagesoffocusedgestalt;yetthequalityofanarchitecturalrealityseemstodependfundamentallyonthenatureofperipheralvision,whichenfoldsthesubjectinthespace.Aforestcontext,andrichlymouldedarchitecturalspace,provideamplestimuliforperipheralvision,andthesesettingscentreusintheveryspace.Thepreconsciousperceptualrealm,whichisexperiencedoutsidethesphereoffocusedvision,seemstobejustasimportantexistentiallyasthefocusedimage.Infact,thereismedicalevidencethatperipheralvisionhasahigherpriorityinourperceptualandmentalsystem.Theseobservationssuggestthatoneofthereasonswhythearchitecturalandurbansettingsofourtimetendtomakeusfeellikeoutsiders,incomparisonwiththeforcefulemotionalengagementofnaturalandhistoricalsettings,istheirpovertyinthefieldofperipheralvision.Unconsciousperipheralperceptiontransformsretinalgestaltintospatialandbodilyexperiences.Peripheralvisionintegratesuswithspace,whilefocusedvisionpushesusoutofthespace,makingusmerespectators.Thedefensiveandunfocusedgazeofourtime,burdenedbysensoryoverload,mayeventuallyopenupnewrealmsofvisionandthought,freedoftheimplicitdesireoftheeyeforcontrolandpower.Thelossoffocuscanliberatetheeyefromitshistoricalpatriarchaldomination.肌膚的眼睛（節(jié)選）陰影的意義映入眼簾的是感官的距離和分離，然而觸摸則是完全意思上的親近，親密和深情。眼睛是測量，控制和調(diào)查。而觸摸則是方法和方式。在強烈的情感體驗的過程中，我們往往會閉起眼睛感受，我們在做夢，聽音樂，撫摸我們所摯愛的人的時候往往都會閉起眼睛。深深的陰影和黑暗的環(huán)境是必不可少的，因為他們使得昏暗的視覺感受得更加的清晰，使深度和距離模糊混淆，并無意識的喚醒周邊的視覺和觸覺的幻想。一個老城區(qū)的街道之所以神秘而誘人正是其光明與黑暗領(lǐng)域相互交替交融，然而如今的街道則是燈火輝煌。在昏暗的光線和陰影能夠刺激想象力和幻想的能力，為了考慮清楚，銳利的視野收到抑制，心不在焉，不能聚集目光和思想不集中。均勻明亮的光線以同樣的方式癱瘓了想象力，同時體驗空間感受被削弱了，然后拭去了人的位置感。黎明之時而非明亮的日光下，人類的眼睛是最完美的調(diào)整。霧和黃昏喚起的想象的視覺圖像不清晰，模糊的；中國繪畫一個霧氣彌漫的山地景觀，或是沙地籬笆的龍安寺禪花園上升到無窮盡的方式來看待，喚起一種恍惚，冥想的狀態(tài)。心不在焉的目光僅僅能穿透物體表面的物理圖像，并著重在無限性。在他的著作“陰影的贊美”中，谷崎潤一郎指出，即使是日本料理也取決于陰影，它是和黑暗是密不可分的：‘當試菜人曾在試菜時，這是因為如果在黑暗的房間，你的舌頭上融化。’作者提醒我們的是，在古老的時代，藝妓和她的綠黑色的嘴唇，以及她的刻意抹上白色在臉上，變黑的牙齒都意在強調(diào)房間的黑暗和陰影。同樣，卡拉瓦喬的畫和倫勃朗都存在異常強大的意義上的重點就是起因于深度的影子,主角是嵌入式珍貴的東西在一個黑暗的絲絨背景吸收所有的光。陰影的形狀大小和生動形象取決于光。它還提供了那些出現(xiàn)幻想和夢想的境界。明暗對比的藝術(shù)同樣也是建筑大師的一種重要技能。在一個功能獨特的建筑空間中，那里存在著一個恒定的常理，陰影和光線在自由的變化交替。光線不停的變化隨之形成了不同形態(tài)的光影。在我們的時代，光線已經(jīng)變成了一個純粹的定量問題和窗口已經(jīng)完全失去了它所應(yīng)該賦予的意義，因為在這兩個世界之間所調(diào)解的正是，封閉的和開放的，內(nèi)在性的和外在性的，私人的和公共的，陰影的和光線的。失去了它的本體論的意義，窗口已經(jīng)變成了一個僅僅是個有缺口的墻壁。使用那些巨大的金屬板填充中間的窗戶，他們之間的融合關(guān)系，卻剝奪了我們的建筑物的光影效果和其與外部環(huán)境的聯(lián)系。在世界各地的建筑師們都被誤認為他們所按比例分配在立面上的洞口就是與外界密切聯(lián)系的窗口。我們已經(jīng)失去了我們的意義上所說的親密生活，已經(jīng)淪落為被迫生活在公共的生活環(huán)境之中，從本質(zhì)上說是遠離了自己的家鄉(xiāng)，正如當代建筑路易斯?巴拉甘所寫道的，正像魔術(shù)師的神秘秘密，當代建筑的秘密就是光影變化所帶來的魅力。同樣，通過降低光的強度和它的不均勻分布，使得大多數(shù)現(xiàn)代的公共空間將變得更加令人愉快舒適。在安理會會議廳黑暗的子房間的阿爾瓦阿爾托的西納斯阿羅鎮(zhèn)公所的大會堂再現(xiàn)了神秘感和神話的社會意識，在黑暗中營造了一種團結(jié)互助的力量，并加強口頭表達上的力量。在情感狀態(tài)，看到了感覺刺激對轉(zhuǎn)變?yōu)楦赂爬系睦硇詰B(tài)度，從更精致的感覺，從視覺、聽覺、觸覺和嗅覺、和從光線到陰影。一種文化，旨在控制其公民所可能會促進其相反方向的互動，原理親密的個性和身份所走向的沒落和識別的距離。監(jiān)督社會需要一雙正義的眼睛，一個能看穿社會的窺視和殘暴的眼睛。精神折磨的一種有效的方法就是使用一個不斷連續(xù)的高層次的照明，不留下任何空間的死角或者說是隱私，即使在黑暗的內(nèi)在的自我暴露和侵犯。聲的親密關(guān)系視線的隔離，而聲音則是結(jié)合；視覺是定向性的，而聲音則是全方位性的。視覺的感覺意味著外在性，但音效創(chuàng)造了一個屬于內(nèi)在的體驗經(jīng)驗。我注視著一個對象，但聲音則接近于我的理解；眼睛所達到的，但耳朵能夠接收到。建筑物不會做出反應(yīng)，不會回應(yīng)我們的目光，但是他們返回我們的聲音回到我們的耳朵里。動作的聲音會影響人的宇宙意識，沃爾特?翁寫道：'對于口述的文化，宇宙是一個正在進行的事件和人在它的中心定義。人是描摹的中心，是整個世界中心的肚臍。?這是發(fā)人深省的意義在于當代世界的中心，精神損失可能是由于，至少在部分上，消失的聲音世界的完整性。聽力的結(jié)構(gòu)和生成的經(jīng)驗和對空間的理解。我們一般都不知道聽力的重要性在于空間的體驗意義上，雖然聲音經(jīng)常提供時間連續(xù)統(tǒng)一體中，視覺印象是嵌入式。當配樂從電影中刪除掉，例如，現(xiàn)場失去其可塑性和意義上的連續(xù)性和生命感。無聲電影，事實上，不得不通過夸張的演技示范的方式矯枉過正以彌補缺乏完善的。阿德里安?斯托克斯，英國的畫家和散文家，讓敏銳的觀察對相互作用的空間與聲音，聲音和石頭。像母親的男人一樣，建筑就是個好聽眾。長的聲音，獨特的或看似在約束的，安撫孔的宮殿，靠在椅子向后傾斜上逐步運河或路面。一個長音與它的回聲帶來了完善的石材，他寫道。在夜間的城市當中有一半的人們被火車或者是救護車的聲音所吵醒的，并通過他/她的睡眠經(jīng)歷了城市空間與無數(shù)居民分散在其結(jié)構(gòu)，知道聲音的力量超過了想象。晝伏夜出的聲音是一個人的孤獨和死亡的提醒，而且它使人意識到整個沉睡的城市?？梢宰C明的耳朵非凡的能力，已經(jīng)成為任何人都著迷滴水的聲音在黑暗的廢墟雕刻的卷到虛空的黑暗之中?？臻g追蹤著耳朵在黑暗中變成一個空間直接在室內(nèi)雕刻著思想。最后一章的斯蒂恩?埃勒?拉斯穆森的著作體驗建筑的顯著題為“聽證會的架構(gòu)?！弊髡呙枋隽烁鞣N各樣尺寸的聲學品質(zhì)，并回憶起聲學認知在維也納的地下隧道，在奧遜?威爾斯的電影第三人聲知覺：'你的耳朵接收隧道的長度和筒狀的形式的影響。'我們可以回想一下聲音的平順性，一個無人居住的和無裝潢的房子比住在家里是感到更加的親切。在聲音的折射和個人生活的許多物體表面軟化。每一個建筑物或者親密關(guān)系或者紀念性的空間都有其特有的聲音，邀請或者拒絕，款待或者敵意。通過它的回聲，一個空間的理解和贊賞盡可能通過視覺的形狀，但聲的知覺仍然是一種無意識的背景經(jīng)驗。瞄準鏡是完全意義上的孤獨的觀察員，而聽證會創(chuàng)建一個意義上連接和團結(jié)感；我們看看彷徨寂寞徘徊在黑暗深處的教堂，但是聲音的器官就能讓我們立刻體驗到具有親和力的空間。我們盯著獨自一人在一個馬戲團的懸念，但懸念后放松了一陣熱烈的掌聲，把我們團結(jié)在一起的人群。教堂的鐘聲回蕩的聲音通過一個小鎮(zhèn)的街道上，讓我們知道我們公民的身份。街道上回聲的步驟在鋪墊著一種情感負荷，因為從周圍墻壁的聲音回蕩使我們直接的與空間進行互動；健全的措施的空間，使得其規(guī)?？梢岳诶斫獾?。我們用我們的耳朵來測量判定空間的界限。海鷗在港口的叫喚聲喚醒了一個擁有無限的地平線的浩瀚海洋的意識和知名度。每個城市都有它的獨特回聲，這取決于它的街道和當時的建筑風格和材料的模式和規(guī)模。文藝復興時期的城市與巴洛克時期的城市他們的反響是不一樣的。但是我們的城市已經(jīng)完全失去了他們的回聲。當代的街道寬闊，開放的空間聲音是不會被反射的，沒有回聲，在當代的建筑中，回聲已經(jīng)被建筑內(nèi)部裝飾吸收與刪除了。購物商場和公共場所編程錄制的音樂都會盡可能的控制這些聲量空間。我們的耳朵已經(jīng)被蒙蔽了。感受世界在1995年，倫敦學院出版社出版的編輯邀請我為他們寫關(guān)于“論戰(zhàn)”系歹列，在一篇32頁長的大文章上，我發(fā)現(xiàn)一個相關(guān)的建筑話語時間的題材。結(jié)果我的小本子皮膚上的眼睛：建筑的眼睛和意識，在次年出版。第二部分我的手稿了一篇基本思想為《建筑的七個感官》，發(fā)表在建筑都市生活，感知的問題（特刊，1994年7月），文章的刊物上有史蒂文霍爾的建筑作品，其中還包括由史蒂芬?霍爾自己和阿爾貝托?佩雷斯-戈麥斯的。1995年6月，一個來得有點遲的講座的建筑現(xiàn)象學的研討會在丹