Abstract:
The understanding of the place of architecture within the context of our world is a complex business. On one hand it is considered a creative process, associated with the traditions of fine arts, while on the other it is seen as a science: objective and quantifiable. Herein lies a difficulty: that we can reconcile the pragmatism of science with the subjectivism of art. Architecture is a fusion of these apparent opposites, where the result obtained which is both scientifically rigorous and aesthetically pleasing. Reconciling these two is facilitated by first gaining an understanding of how we are aware of our world: we perceive the world via our senses, and interpret the raw data by the application of both rational and intuitive thought. Applied to architecture, we now are able to understand that our experience of built form is provided by the senses. This is then seen as part of a process, where-by we first sensually gain awareness of our surroundings, then knowledge comes from this awareness, and ultimately wisdom from the application of the knowledge gained.
When applied to architecture however, if this is process is to be complete.the sensual data first received must also be complete. It is a problem today that much of our understanding of the world is visually dominated. With architecture, we have become obsessed by purely visual media: the visual image of architecture. The result is that architecture has lost much of the importance it once held, and been reduced to a point where it becomes equal vent to fashion. This situation can only be addressed if we understand that architecture is experienced with a variety of senses; and not to do so will further cheapen its potential to affect the individual.
A difficulty lies here, however, in that this has been unwittingly accepted by all the parties involved in building. If this issue is to be addressed, it must be done so by all those involved. The task of educating the public of these issues lies as much with the architectural profession, as with the clients, or the media who disseminate the images.
