| dc.description.abstract | The object of the research is the BODY-SPACE relationship and its bias through perception.
This investigation intends to potentialize the perception in architecture in favor of a
synesthetic existence (to involve the whole body), of an existence as its own action (singular,
autonomous of the inhabitant) and of a metaphorical existence (that transforms the space). It
is assumed as a premise that perception is the first contact between body and space and the
founding act of spatial experience, and therefore, to empower it in architecture means to
promote this link and substantiate many relationships, topologies and spatialities. In this
sense, the expressive idea for the perceptive existence in the three realities is about the search
for a space to be formed by the body. To this end, it is proposed a notion of architecture as
experience, to be constructed in act, to exist just during the inhabitant's experience as pure
event, something stretched in time and constantly changing. In other words, an open and
forming architecture, that proposes the experience of sculpting the interior architectonic
volume to the inhabitant. The foundation of this notion starts with the depth analysis,
developed in phenomenology by Maurice Merleau-Ponty. The phenomenological depth,
besides being responsible for opening the perception into its synesthetic existence, establishes
a plasticity condition that matters here: the body forming the space and the space being
formed by it. Once this dimension is configured, the analysis is directed to how make the
space to be autonomously created and synchronous with the experience of who inhabits it, to
stage perception as own action and metaphorical. It is studied, therefore, the Rosalind
Krauss`s concept of externality, originated from her researches of how the minimalism artistic
practice made its sculptures exist in latency. After studying these two references, the research
develops a condition, called voluminosity in externality, that allows architecture to be formed
with singularity at the time of the inhabitant's experience. That condition will find its emblem
in the archetypes of the cinematographic sequencing, labyrinth and night, and will occur in
the temporal flow of a discontinuity on the continuity, on the intermittencies of the near and
remote, in the decisions between the optical and tactile space and in the decentralization of
space. | |
