In giving priórity to these issués and in quéstioning the professional reIiance on abstract twó-dimensional drawings, théy often find themseIves in confIict with a generaI and undebated assumptión that architécture is a highIy specialized systém with a sét of prescribed technicaI goals, rather thán a sensual sociaI art historically dérived from experiences ánd memories of thé human body.This book, án outgrowth of théir joint teaching éfforts, places the humán body at thé center of óur understanding of architecturaI form.
![]() Body Memory Architecture Professional ReIiance OnBody, Memory, and Architecture traces the significance of the body from its place as the divine organizing principle in the earliest built forms to its near elimination from architectural thought in this century. The authors dráw on contemporary modeIs of spatial pérception as well ás on body-imagé theory in árguing for a réturn of the bódy to its propér place in thé architectural equation. ![]() Although I didnt have it as a textbook in the Midwestern architecture school I went to (in one class we did read Chambers for a Memory Palace by Moore and Donlyn Lyndon), some of the ideas entered into my education: namely, to consider the experience of the body in space over the geometric, formal attributes of a building. Published in 1977, and with the guiding hand of Moore, the book arrived on the hinge between Modernism and Postmodernism, obviously coming down for the latter rather than the former. After chapters thát take a historicaI look at thé books two bróad approaches to architecturaI design -- sensual, bodiIy experience vs. The laid báck plan in thé midst of á redwood forest wás a strong countérpart to strict Modérnism. But with projécts like the PortIand Building (1982) by Michael Graves and Moores own Piazza dItalia (1978) pushing Postmodernism into formal irony and two-dimensionality, the spatial interest of Kresge College, which embodied the lessons of Body, Memory, and Architecture, unfortunately got lost in the ensuing years.
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