“Pleasurable objects and buildings mediate an experience of the processes by which the object or structure was made; in a way, they invite the viewer/user to touch the hand of the maker.”¹
¹ Pallasmaa, J (2009) The Thinking Hand: Existential and Embodied Wisdom in Architecture. Wiley
‘The mesmerising allure of images where light is fighting off darkness, argues Bachelard, originates in primordial memories that are only accessible through poetic imagination, day dream and reverie.’¹
Buildings breathe, they expand and contract in two ways: firstly, in response to their context, the rhythms of their inhabitants, as well as the natural rhythms of light, seasons, passages of time; and secondly, in response to what is asked of them, their purpose. Buildings hold within them the human everyday but also the in-between, the rhythm of daily life that exists between us, the inhabitants and the building (as well as echoes of past). We are drawn into conversation, invited to experience these rhythms, when we glimpse and relish unexpected moments of light and shade.
“To grasp rhythm, it is necessary to have been grasped by it; one must let oneself go, give oneself over, abandon oneself to its duration.”²
¹ Plummer, H (2012) The Architecture of Natural Light. Thames & Hudson
² Lefevre, H (2013) Rhythmanalysis: Space, Time and Everyday Life. Bloomsbury