LivedSpaceinArchitectureandCinema

JuhaniPallasmaa
[ThisessaywillbetheintroductorychapterinJuhaniPallasmaa'sforthcomingbookThe
ArchitectureofImage:ExistentialSpaceinCinema,Rakennustieto,Helsinki,2000.]
Sincethelate1970s,architecturehasferventlysoughtconnectionswithotherfieldsofart.
Inspirationforbreakingthroughtheprevailingparadigmofarchitecture,petrifiedbyquasi
modernistprofessionalpraxis,hasbeensoughtinpaintingandsculpture,aswellasinliterature
andmusic.Inarchitecturalschoolsandprofessionalpracticealike,architecturalprojectshave
beengeneratedthroughananalysisofthecompositionalstructureofVermeer'saswellasthe
Cubists'paintings,themusicofBachaswellasMeredithMonk,theliteraryfragmentsof
HeraclitusaswellasHermanMelville'sMobyDickandJamesJoyce'sFinnegan'sWake.1Atthe
sametime,anunforeseenexplorationintothetheoreticalfoundationsofarchitecturehastaken
place,andalmostanytheoreticalapproachdevisedinthevariousfieldsofscientificscrutinyhas
beenappliedtoitsstudy.
Thisfranticinterestinexpandingthescopeofarchitecturalthoughtclearlyindicatesthattheart
ofarchitecturehasbecomeuncertainofitsessenceandfuturecourse.Inallfieldsofart,the
breakdownoftheunifiedmodernistworldviewhas,infact,createdadistinctpanicof
representation.Inarchitecture,themodernist,postmodernanddeconstructionistviewsof
representationcoexistsimultaneously,andthespectrumofarchitecturalstyleismorecolorful
thaneverbeforewiththeexceptionof,perhaps,thefirsthalfofthe1800swhenasingle
architect,likeLeovonKlenze,couldbuildapalaceandauniversityinRenaissancestyle,a
museuminGreekstyle,aparliamentbuildinginNeoHellenicstyle,achurchbasedonCapella
PalatinainPalermo,aHallofFameintheantiqueidiom,anofficialresidenceinRomanBaroque,
andacoffeehouseorsynagoguewithMoorishfeatures.2
Inmanyschoolsofarchitecturearoundtheworld,themostrecentinterestiscinema.Filmsare
studiedforthepurposeofdiscoveringamoresubtleandresponsivearchitecture.Alsosomeof
themostesteemedrepresentativesofthearchitecturalavantgardeoftoday,likeBernard
Tschumi,RemKoolhaas,CoopHimmelb(l)auandJeanNouvelhaveadmittedthesignificanceof
cinemaintheformationoftheirapproachtoarchitecture.3
Initsinherentabstractness,musichashistoricallybeenregardedastheartformwhichisclosest
toarchitecture.Cinemais,however,evenclosertoarchitecturethanmusic,notsolelybecause
ofitstemporalandspatialstructure,butfundamentallybecausebotharchitectureandcinema
articulatelivedspace.Thesetwoartformscreateandmediatecomprehensiveimagesoflife.In
thesamewaythatbuildingsandcitiescreateandpreserveimagesofcultureandaparticular
wayoflife,cinemailluminatestheculturalarcheologyofboththetimeofitsmakingandtheera
thatitdepicts.Bothformsofartdefinethedimensionsandessenceofexistentialspacethey
bothcreateexperientialscenesoflifesituations.
ArchitectureInCinemaCinemaInArchitecture
CinemaisamultidimensionalartformasJeanLucGodardstates:'Thereareseveralwaysof
makingfilms.LikeJeanRenoirandRobertBresson,whomakemusic.LikeSergeiEisenstein,
whopaints.LikeStroheim,whowrotesoundnovelsinsilentdays.LikeAlainResnais,who
sculpts.LikeSocrates,RosselliniImean,whocreatesphilosophy.Thecinema,inotherwords,
canbeeverythingatonce,bothjudgeandlitigant.'4Godard'slistofthealternativewaysoffilm
makingcouldbeexpandedbyonemorespecificmode:cinemaasarchitecture.
Theinteractionofcinemaandarchitecturetheinherentarchitectureofcinematicexpression,
andthecinematicessenceofarchitecturalexperienceisequallymanysided.Bothareart
formsbroughtaboutwiththehelpofahostofspecialists,assistantsandcoworkers.Regardless
oftheirunavoidablenatureastheproductsofcollectiveeffort,bothfilmandarchitecturearearts
oftheauteur,oftheindividualartisticcreator.Therelationsofthetwoartformscould,for
instance,bestudiedfromamultitudeofviewpoints:howdifferentdirectorsdepictacity,as
WalterRuttmaninBerlin,derSinfoniederGrossstadt(1927)orFritzLanginMetropolis(1927)
howbuildingsorroomsarepresented,asinGermanExpressionistfilmswiththeirfantasy
architecturesuspendedbetweenrealityanddreamovertherealarchitecturalprojectsofthese
architectsofnotablebuildings.Anarchitectwhomadesuperbprojectsbothasadesignerof
buildingsandsetdesignerwasPaulNelson.HisprojectMaisonSuspendue(193638),ahousein
whichindividualroomsaresuspendedwithingasteelandglasscagelikebirdnests,isas
fantasticasanyoftheideasexpressedthroughtheartformofprojectedillusion.Viceversa,one
couldspeculateonthekindofbuildingsthewizardsofcinemaarchitecturewouldhavebuilthad
theynotdecidedtodevotetheirarchitecturaltalenttotheserviceoftheillusoryartofcinema.8

Furthermore,wecouldtaketheinfluenceofcinemaontoday'sarchitectureasoursubjectof
study.VincentKorda'svisionsofmultistoreyatriainThingstoCome,forinstance,havefully
materialized,fivedecadeslater,inJohnPortman'sgigantichotelprojects.Portman'sprojectsare
anexampleofanarchitecturewhichcoldbloodedlyservestheeconomicinterestsofthe
developer,utilizingmeansofpersuasionderivingfromstagesetsdesignedforcinematic
spectacles.ThethematizedarchitectureproducedbytheWaltDisneyCorporationduringthepast
decadewiththehelpofahostofinternationalstararchitects,alsorevertstothestrategyof
illusionandseductionfamiliarfromfilm.Butevenartisticallymoreseriousarchitecturetoday
oftenseeksitsinspirationandvisualstrategyfromthelanguageofmovies.JeanNouvel,for
instance,declarescinematicimageryandexperienceasasignificantinspirationforhis
architecturalwork:
Architectureexists,likecinema,inthedimensionoftimeandmovement.One
conceivesandreadsabuildingintermsofsequences.Toerectabuildingisto
predictandseekeffectsofcontrastandlinkagethroughwhichonepasses(...).In
thecontinuousshot/sequencethatabuildingis,thearchitectworkswithcuts
andedits,framingsandopenings(...).Iliketoworkwithadepthoffield,reading
spaceintermsofitsthickness,hencethesuperimpositionofdifferentscreens,
planeslegiblefromobligatoryjointsofpassagewhicharetobefoundinallmy
buildings(...).9
MaterialandLivedSpace
Insteadofthethemesoutlinedabove,theessaysinthisbookcenteroncinematicarchitectureas
such,inotherwords,thearchitectureofimageryexpressedinfilms.Iaminterestedintheways
cinemaconstructsspacesinthemind,createsmindspaces,reflectingthustheinherent
ephemeralarchitectureofhumanmind,thoughtandemotion.Thementaltaskofbuildingsand
citiesistostructureourbeingintheworldandtoarticulatethesurfacebetweenthe
experiencingselfandtheworld.Butdoesn'tthefilmdirectordoexactlythesamewithhis
projectedimages?

HousesarebuiltintheworldofEuclidiangeometry,butlivedspacealwaystranscendstherules
ofgeometry.Architecturestructuresand'tames'meaninglessEuclidianspaceforhuman
habitationbyinsertingintoitexistentialmeanings.Livedspaceresemblesthestructuresof
dreamandtheunconscious,organizedindependentlyoftheboundariesofphysicalspaceand
time.Livedspaceisalwaysacombinationofexternalspaceandinnermentalspace,actuality
andmentalprojection.Inexperiencinglivedspace,memoryanddream,fearanddesire,value
andmeaning,fusewiththeactualperception.Livedspaceisspacethatisinseparablyintegrated
withthesubject'sconcurrentlifesituation.Wedonotliveseparatelyinmaterialandmental
worldstheseexperientialdimensionsarefullyintertwined.Neitherdoweliveinanobjective
world.Weliveinmentalworlds,inwhichtheexperienced,rememberedandimagined,aswellas
thepast,presentandfutureareinseparablyintermixed.'Whoarewe,whoiseachoneofus,if
notacombinatoriaofexperiences,information,bookswehaveread,thingsimagined?,'Italo
Calvinoasks,andcontinues:'Eachlifeisanencyclopedia,alibrary,aninventoryofobjects,a
seriesofstyles,andeverythingcanbeconstantlyshuffledandreorderedineveryway
conceivable.'10Themodesofexperiencingarchitectureandcinemabecomeidenticalinthis
mentalspace,whichmeanderswithoutfixedboundaries.Evenintheartofarchitecture,amental
imageistransferredfromtheexperientialrealmofthearchitecttothementalworldofthe
observer,andthematerialbuildingisameremediatingobject,animageobject.11Thefactthat
imagesofarchitectureareeternalizedinmatter,whereascinematicimagesareonlyanillusion
projectedonthescreen,hasnodecisivesignificance.Bothartformsdefineframesoflife,
situationsofhumaninteractionandhorizonsofunderstandingtheworld.
Inhisseminalessay'TheWorkofArtintheAgeofMechanicalReproduction'12WalterBenjamin
deliberatesontheconnectionbetweenarchitectureandfilm.Somewhatsurprisinglyhesuggests
that,regardlessoftheirapparentvisuality,thetwoartformsare,infact,tactilearts.13
Architectureandfilmarecommunicatedprimarilythroughthetactilerealminoppositiontothe
purevisualityofpainting.14Benjamin'sideasuggeststhat,althoughthesituationofviewinga
filmturnstheviewerintoabodylessobserver,theillusorycinematicspacegivestheviewerback
his/herbody,astheexperientialhapticandmotorspaceprovidespowerfulkinesthetic

experiences.Afilmisviewedwiththemusclesandskinasmuchasbytheeyes.Both
architectureandcinemaimplyakinestheticwayofexperiencingspace,andimagesstoredinour
memoryareembodiedandhapticimagesasmuchasretinalpictures.
Analyzingthedifferencebetweenpaintingandfilm,Benjamingivesaprovocativemetaphor:he
comparesthepaintertothemagicianandthecameramantothesurgeon.Themagicianoperates
atadistinctdistancefromthepatientwhereasthesurgeonpenetratesintohis/herveryinterior.
Themagician/paintercreatesacompleteintegratedentitywhereasthesurgeon/cameraman's
workisengagedinfragments.Benjamin'smetaphorcanbereversedtoillustratethedifference
betweenthefilmdirectorandthearchitect.Thefilmdirectoristhemagicianwhoevokesalived
situationfromadistancethroughtheillusorynarrativeofprojectedimages,whereasthe
architectoperateswiththephysicalrealityitselfintheveryintestinesofthebuildingwhichwe
inhabit.C.G.Jung,forinstance,sawastrongassociationbetweenthehumanbodyandour
unconsciousimageryofthehousethisidentitygivesfurtherjustificationtoseeanarchitectin
theroleofasurgeon.15Thedirectoroperatesthroughthedistanceofmentalsuggestion,
whereasthearchitecttakeshold,touchesourbodilyconstitutionandconditionsouractualbeing
intheworld.
TheArchitectureofCinema
Therearehardlyanyfilmswhichdonotincludeimagesofarchitecture.Thisstatementholdstrue
regardlessofwhetherbuildingsareactuallyshowninthefilmornot,becausealreadythe
framingofanimage,orthedefinitionofscaleorillumination,impliestheestablishmentofa
distinctplace.Ontheotherhand,establishingaplaceisthefundamentaltaskofarchitecturethe
firsttaskofarchitectureistomarkman'splaceintheworld.AsMartinHeideggerexpressesit,
wearethrownintotheworld.Througharchitecturewetransformourexperienceofoutsideness
andestrangementintothepositivefeelingofdomicile.Thestructuringofplace,space,situation,
scale,illumination,etc,characteristictoarchitecturetheframingofhumanexistenceseeps
unavoidablyintoeverycinematicexpression.Inthesamewaythatarchitecturearticulates
space,italsomanipulatestime.'Architectureisnotonlyaboutdomesticatingspace,'writes
KarstenHarries,'itisalsoadeepdefenseagainsttheterroroftime.Thelanguageofbeautyis
essentiallythelanguageoftimelessreality.'16Restructuringandarticulatingtimereordering,
speedingup,slowingdown,haltingandreversingisequallyessentialincinematicexpression.
Livedspaceisnotuniform,valuelessspace.Oneandthesameeventakissoramurderisan
entirelydifferentstorydependingonwhetherittakesplaceinabedroom,bathroom,library,
elevatororgazebo.Aneventobtainsitsparticularmeaningthroughthetimeoftheday,
illumination,weatherandsoundscape.Inaddition,everyplacehasitshistoryandsymbolic
connotationswhichmergeintotheincident.Presentationofacinematiceventis,thus,totally
inseparablefromthearchitectureofspace,placeandtime,andafilmdirectorisboundtocreate
architecture,althoughoftenunknowingly.Itisexactlythisinnocenceandindependencefromthe
professionaldisciplineofarchitecturethatmakesthearchitectureofcinemasosubtleand
revealing.
'Allpoetsandpaintersarebornphenomenologists,'arguesJ.H.vanderBerg.17The
phenomenologicalapproachoftheartistimpliesapurelookingattheessenceofthings,
unburdenedbyconventionorintellectualizedexplanation.Allartists,includingfilmdirectors,are
phenomenologistsinthesensethattheypresentthingsasiftheywereobjectsofhuman
observationforthefirsttime.Architectureremythologizesspaceandgivesbackitspantheistic
andanimisticessence.Poetryreturnsthereaderbacktoanoralreality,inwhichwordsarestill
seekingtheirmeanings.Artarticulatestheboundarysurfacebetweenthemindandtheworld.
'Howwouldthepainterorpoetexpressanythingotherthanhisencounterwiththeworld,'18as
MauriceMerleauPontywrites.Howcouldthearchitectorfilmdirectordootherwise,wemight
askfurther.
Wehavetoacknowledgethatallartistswriters,painters,photographers,dancers
unknowinglystepintotheterritoryofarchitectureastheycreatethecontextoftheeventwhich
theyaredepictinganddefineitssetting.Theseurbanscenes,buildingsandrooms,projectedby
artists,areexperientiallyreal.'He[thepainter]makesthem[houses],thatis,hecreatesan
imaginaryhouseonthecanvasandnotasignofahouse.Andthehouse,whichthusappears
preservesalltheambiguityofrealhouses,'19asJeanPaulSartresoperceptiblystates.
Agreatwriterturnshis/herreaderintoanarchitect,whokeepserectingrooms,buildingsand
entirecitiesinhisimaginationasthestoryprogresses.Dostoyevsky'sCrimeandPunishment
makesthereaderconstructthegloomyroomofRoskolnikov'sterrifyingdoublemurderand,
eventually,theendlessexpansesofSt.Petersburg.Thereaderconstructsthespacesand
structuresofDostoyevsky'sliterarymasterpieceinthecavitiesofhisownmind.Theseimagesof
places,createdbythereader,arenotdetachedpictorialimages,theyareexperiencesof
embodiedandlivedspace.Theyarementalandembodiedimages,notvisualpictures.These
spaceshavetheirspecifictemperatureandodor,wecansensethetextureandechoofthese

walls.Thecityisaphenomenonthatexceedsallourcapacityofdescription,representationand
recordingand,consequently,itisalwaysexperientiallyinfinite.Astreetinafilmdoesnotendat
theedgeofthescreenitexpandsallaroundtheviewerasanetworkofstreets,buildingsand
lifesituations.Exactlythisactivationoftheimaginationistheinvaluablefunctionofliteratureand
allart,contrarytotheimagesproducedbyconsciousnessindustrywhichareexperienced
passivelyandexternally.
TheRealitiesofImageandImagination
Theessenceofarchitecturalspaceasdeterminedbyanartist,isfreeofthefunctional
requirements,technicalrestrictionsandlimitationsoftheprofessionalconventionsofarchitects.
Thearchitectureconceivedbyartistsisadirectreflectionofmentalimages,memoriesand
dreamstheartistcreatesanarchitectureofthemind.Yet,eventheworksofarchitects,builtin
matter,obtaintheirpsychiccontentandechofromtheverysameexistentialexperiencesand
imagesaccumulatedinthehumanmentalconstitution.Evenrealarchitecturecanaffectoursoul
onlyifitcantouchthedatumofforgottenmemoriesandfeelings.
Imaginationisusuallyattachedtothespecificcreativecapacityoftheartist,butthefacultyof
imaginationisthefoundationofourverymentalexistence,aswellasofourwayofdealingwith
stimuliandinformation.RecentresearchbybrainphysiologistsandpsychologistsatHarvard
Universityshowsthatimagestakeplaceinthesamezonesofthebrainasvisualperceptions,
andthatthefirstareequallyasrealasthelatter.20Nodoubt,actualsensorystimuliandsensory
imaginationsalsointheothersensoryrealmsaresimilarlyclosetoeachotherand,thus,
experientiallyofequalvalue.Thisaffinityorsamenessoftheexternalandinternalexperienceis,
ofcourse,selfevidentforanygenuineartistwithoutthescientificproofofpsychological
research.Theartisthasalwaysknown,thattheencountered,rememberedandimaginedare
equalexperiencesinourconsciousnesswemaybeequallymovedbysomethingevokedbythe
imaginedasbytheactuallyencountered.Artcreatesimagesandemotionsthatareequallytrue
astheactualsituationsoflife.Manyofuscannevermournourpersonaltragedywiththe
intensitywecansufferthefateofthefictitiousfiguresofliterature,theaterandfilm,distilled
throughtheexistentialexperienceofagreatartist.Fundamentally,inaworkofartweencounter
ourselvesandourownbeingintheworldinanintensifiedmanner.Artoffersusalternative
identitiesandlifesituations,andthisisthegreattaskofart.Greatartgivesusthepossibilityof
experiencingourveryexistencethroughtheexistentialexperienceofsomeofthemostrefined
individualsofthehumankind.
TheMentalRealityofPlace
Placeandevent,spaceandmind,arenotoutsideofeachother.Mutuallydefiningeachother,
theyfuseunavoidablyintoasingularexperiencethemindisintheworld,andtheworldexists
throughthemind.Experiencingaspaceisadialogue,akindofexchangeIplacemyselfinthe
spaceandthespacesettlesinme.'TodaymorethaneverIfeelthatcellno.461(...)has
remainedinsideme,becomingthesecretofmysoul.TodaymorethaneverIfeellikeabirdthat
hasswallowedhiscage.Itakemycellwithme,insideme,asapregnantwomancarriesher
babyinherwomb,'writesCurzioMalapartetheownerandcoarchitectoftheCasaMalaparte
(193840)onCaprioftheharshmemoryofhisprisonexperience.21
Thearchitectureofcinemadoesnotpossessautilitarianorinherentvaluethecharacters,
eventsandarchitectureinteractanddesignateeachother.Architecturegivesthecinematic
episodeitsambience,andthemeaningsoftheeventareprojectedonarchitecture.The
cinematicnarrativedefinestheboundariesoflivedreality:foranyonewhohasseenAndrei
Tarkovsky'sNostalghia,Michelangelo'sCampidoglio,centeringontheequestrianstatueofMarcus
Aurelius,canhardlybeexperiencedwithoutthinkingofDomenico'sshudderingselfimmolation
onthebackofthehorse.Therealitiesofmaterialandlivedimagearefused.
StagesforFear
Thetaskofarchitecture,asaresonatororamplifierofmentalimpact,isclearlyreflectedinthe
cinematicarchitecturesoftwodirectorswithoppositeemotionalaspirations.Asthearchitecture
ofAlfredHitchcockcreatesspacesofterror,soAndreiTarkovsky'sroomsconveyfeelingsof
longing.Thesetwodirectorssurveythearchitecturalmetaphysicsoffearandmelancholy
respectively.
ThesituationalityofarchitecturalmeaningisparticularlyclearinHitchcock'sart.Inhisfilms
NorthbyNorthwest,RearWindow,Vertigo,PsychoandTheBirds,forinstancebuildingshavea
centralrole.Hitchcockisindeedveryconsciousofthementalworkingsandmeaningsof
architecture.HisinterestinarchitectureisexpressedinhisresponsetoFranoisTruffaut's
questionconcerningthehouseinSabotage:'[...]inawaythewholefilmisastoryofthathouse.
Thehousewasoneofthethreekeyfiguresofthefilm'.22Hitchcockalsoconfessesthatthetwo
buildingsinPsycho,thequasiGothichouseandthehorizontalmotel,formadeliberate

architecturalcomposition:'Ifeltthatkindofarchitecturewouldhelptheatmosphereoftheyarn
(...).Definitely,that'sacomposition,averticalblockandahorizontalblock.'23
MilieusandarchitecturehavealwaysthesameroleinHitchcock'sfilmstheyfunctionaspsychic
amplifiersofthestory.Characteristically,hisfilmsstartoffinanidyllicandrelaxedatmosphere.
Scenesandbuildingsreflectasomewhatnaiveandamusingbalanceofbourgeoislife.Asthe
storybegins,however,asenseofforebodingbeginstoconveyanegativecontenttothe
buildings.Theverysamearchitectureturnsgraduallyintoageneratorandcontaineroffear,and
intheend,terrorseemstohavepoisonedspaceitself.ThecomfortableflatinRopeslowly
makesitshiddendreadfulsidevisible.BodegaBay,thecharmingNorthCalifornianresortvillage
inTheBirdsturnsintoabewitchedsceneoffearanddisasterthatdoesnotofferanyonea
meansofexit.TheManhattanrentalapartmentblockinRearWindow,thesceneofharmless
episodesofquotidianlife,turnsintoalabyrinthoffear.InHitchcock'sfilms,suspensetakesover
theviewertothedegreethattheevidentstagedunrealityofthebuildingsandtheirarchitectural
incredibilityasthepaintedurbansilhouetteinRearWindow,theminiaturizedManhattanin
Rope,andthenavelypaintedharboursetinMarniecannolongerdischargeoralleviatethe
realityoffear.Architecturehaslostitsnormalhumanmeaningandsurrendereditselftothe
serviceoffear.

Thereisanhallucinatoryeffectinacinematicexperience,asinanyartisticimpact:'Icanno
longerthinkwhatIwanttothink.Mythoughtshavebeenreplacedbymovingimages.'24Also
realarchitecturedirectshumanintentions,emotionsandthoughtsbymeansofthehallucinatory
airwhichitawakens.'Amanwhoconcentratesbeforeaworkofartisabsorbedbyit,'25as
Benjaminwrites.
The'oneirichouse'describedbyGastonBachelard26hasthreeorfourfloorsthemiddleones
arethestagesofeverydaylife,theatticisthestorageplaceofpleasantmemories,whereasthe
basementistheplacefornegativeremembrances,pushedoutsideconsciousness.Inthefinal
sequencesofPsychothedifferentfloorsoftheBatesHouseobtaintheirmeaninginaccordance
withBachelard'soneirichouse.Beginninghersurveyoftheenigmaofthehouseintheattic,Lila
isforcedtoapanickedescapedownintothebasementwhereshefindstheterrifyingmummified
wiggedcorpseofNorman'smother.
HitchcockhadtheBatesHousebuiltonthebasisoftheghostlyhouseinEdwardHopper's
paintingHousebytheRailway(1925)somewhatearlier,Hitchcockhadactuallycollaboratedwith
SalvadorDali,whodesignedthesetsforadreamsequenceinSpellbound(1945).Thedirector
himselfdescribesthearchitecturalstyleoftheBatesHouseas'Californiagingerbread'.27The
threatposedbythehouseisconcealedpreciselyinitsbourgeoisromanticismand,ontheother
hand,asHitchcockacknowledges,inthecontrastbetweenthevulgarmodernisthorizontalmotel
andtheverticalGothichouse.Theapparentrationalityofthemotelbeguilesthedreadfulnessof
thehouse.Thestrategyofcontrastsisalsoappliedelsewhereinthefilm.Thesceneofthe
frighteningmurder,thegleamingwhitebathroomofthemotel,evokesthecontrolledsterilityof
anoperatingtheater.Thewhitebathroomobtainsitsspecialimagepowerthroughitscontrastto
thefathomlessdarknessoftheadjacentbog,Norman'sgraveyard.
TheArchitectureofErosion
Asthenarrativeprogresses,Hitchcockgraduallyemptiesabuildingofitsemotionalcontentor,
moreprecisely,preventstheviewerfromprojectinghis/herpositiveemotionsontoitandthen

fillsitwithterror,whereasTarkovskycreatesanotherkindofarchitecturalmetamorphosis.Ashe
allowserosionandmoldtocorrodethewalls,rainpenetratetheroofandwaterfloodthefloor,he
takesawaythebuilding'smaskofutility,whichaddressesourreasonandcommonsense.He
removestheunaccessibleandrejectingperfectionofthebuilding,andrevealsthevulnerability
ofitsstructures,conceivedforeternity.Hemakestheviewerinvesthis/herfeelingsand
empathyinthenakedstructure.Ausefulbuildingaddressesourreason,whereasaruined
buildingawakensourimaginationandunconsciousfantasies.Whereasabandonedattics,barns
andboathouses,aswellashouseswhichhavebeenlivedinforgenerationsawakenour
imaginationanderoticfantasies,therationalmatrixesofconcreteincontemporaryapartment
blocksrepulsethem.InHerbertMarcuse'sview,thevulgarsexualityandsexualviolenceofour
timeispartlyduetothefactthatourbuildingshavelosttheircapacitytostimulateandsupport
eroticreverie.28

Thenormalarchitectureofourtimehasstandardizedemotionsbyeliminatingtheextremesof
thespectrumofhumanemotions:melancholyandjoy,nostalgiaandecstacy.Tarkovsky
revitalizesoursenseofthepoetic.Hedirectstheviewertoimaginethefaithoftheoccupants
whodesertedtheirhouse,andofthehouseabandonedbyitsresidents.Theterrifyingseven
yearimprisonmentofthemathematicianDomenico'sfamilyinNostalghiaisengravedonthe
tormentedwallsoftheerodedhouse.TheerodingwallsofTarkovsky'sfilmsrememberthefaith
oftheoccupantsinthesamewayasthestainsandsignsleftonthewalloftheneighboring
houseinRainerMariaRilke'sTheNotebooksofMalteLauridsBriggetellofthelifelivedinthe
roomsofthedemolishedhouse:
Therestoodthemiddaysandthesicknessesandtheexhaledbreathandthe
smokeofyears,andthesweatthatbreaksoutunderarmpitsandmakesclothes
heavy,andthestalebreathofmouths,andthefuselodorofswelteringfeet.There
stoodthetangofurineandtheburnofsootandthegreyreekofpotatoes,and
theheavy,smoothstenchofageinggrease.Thesweet,lingeringsmellof
neglectedinfantswasthere,andthefearsmellofchildrenwhogotoschool,and
thesultrinessoutofthebedsofnubileyouths.29
ImagesofLightandMatter
InthescenesofruralRussianlifeinMirror,Gorchakov'shotelroominNostalghia,theenigmatic
'Room'ofthe'Zone'inStalker,ortheruralSwedishsettingsinTheSacrifice,Tarkovsky's
architectureisanunforeseenchambermusicofspace,lightandslowedtime.Heopensupviews
toanew,empatheticandnostalgicarchitecturewhichhasalsoemergedintheartworksofJames
Turrell,GordonMattaClarkandJannisKounellis.ThespacesofTarkovskyhumbletheviewer
andmakehimrememberthedirector'swords:'Thetaskofartistoprepareonefordeath,
softenandmoldhissoulandturnittowardsgood.'30Tarkovsky'scharactersdonotappearas
personsonanarchitecturalstagethespaceandthecharactershavebeencastintheverysame
matter,erodingtowardsitsfinaldestiny,a'horizontaldeath'.31Thecharactersareetchedinto
theirspatialsettingsandtheexternalspacesaretheinnermentalspacesofthecharacters.Man
andspaceareone.'IamthespacewhereIam,'asNolArnaudclaims.32

AsthespatiallanguageofHitchcock'sfilmsisclosetothearchitecturalmetaphysicsofHopper's
paintings,soTarkovsky'svisualcompositionsderivefromthefrontalconfrontationofspacein
Renaissancepaintings.Spacedoesnotmove,itis.ThearchitectureofTarkovsky'sfilmsevokes
thepaintingsofGiotto,FraAngelico,Leonardo,vanDyck,BrueghelandHolbein.Theintimate
monumentalityandmonumentalintimacyofGiorgioMorandi'sstilllifescanlikewisebesensesin
hisimagery.
Hitchcock'surbanviewsandspacesarecharacterizedbythethreateningshadowsandfrustrated
waitingofsurrealistpaintings.Tarkovsky'sbuildingsevokeamelancholicdimensionoftimeand
atendermemoryofhomecoming.Tarkovsky'stimehaslostitsabsolutenessandlinearity,time
ispresentasanunfocusedlongingandpatinaofremembrance.Acentralthemeofhisfilmsis
thesimultaneouslongingforhomeandtheimpossibilityofhomecoming.AsTarkovsky
acknowledges,hisfilmsreflectacharacteristicRussianlongingforhome,buttheyalsoexpress
thefrustrationofacitizenofthecommuniststateashis/herhomehasturnedintoasolitary
confinement.AccordingtoBachelard,homeisaplacewhereonecandreaminpeace,33butas
fearpenetratesthespaceofhome,theexperienceofhomebecomesamentalimpossibility.But
Tarkovskydescribesthelossofhomeonamoregenerallevelmodernmanhasabandonedhis
homeandisforeveronajourneytowardsanunattainableutopia.Thehomelessnessofthe
modernmanhasevenametaphysicaldimensionagodlessmanisfundamentallyatraveller
withoutadestination,withoutanultimatespiritualhome.Buildingsaremonumentsandroad
signsonthisjourneyofdistancing,alienationandoutsideness.
TheLogicofEmotions
Weplaceourfeelings,desiresandfearsinbuildings.Apersonwhoisafraidofthedarkhasno
factualreasontofeardarknessassuchheisafraidofhisownimagination,ormorepreciselyof
thecontentsthathisrepressedfantasymayprojectintothedarkness.Thegreatmysteryof
artisticimpactisthatafragmentiscapableofrepresentingthewhole.Amerehintorforeboding
claimtheauthorityandexperientialpowerofreality,anddetachedfragmentsmakeupastory
possessingasenseoflogicalprogression.Thereaderconstructsabuildingoracityfromthe
suggestionsofthewriter,andtheviewerofafilmcreatesanentireepochfromthefragmented
imagesprovidedbythedirector.Aworkofart,however,cannotgivethevieweremotionsstored
initslayers.Theworkreceivestheemotionsoftheviewer.Aworkofartdoesnotreflectthe
affectionsoftheartistthesubjectlendshisownemotionstothework.Whenexperiencinga
workofart,weprojectourselvesontotheobjectofourexperience.AswereadCrimeand
Punishment,welendRoskolnikovourownwaitingandwhenviewingStalker,welendthe
searchersofthemystical'Room'theirpatience.WelendtheprotagonistofVertigohisdizziness,
andweplaceourownfearintheBatesHouse.Theworkofart,inreturn,givesthe
reader/viewer/listeneritsauthority,itsaura,thatenchantshis/hermind.Detachingthe
experiencefromtheconfinesofeverydayspaceitgrantspermissiontoexposehiddenemotions.
'Iwasdirectingtheviewers.YoumightsayIwasplayingthemlikeanorgan,'Hitchcock
confessesofhisdirectorialgripinPsycho.34
Yetevenbuildingsaredevoidofemotionaworkofarchitectureobligesusinthesamewayas
literatureandcinematolendouremotionsandplacetheminit.ThebuildingsofMichelangelo
donotmediatefeelingsofmelancholy,theyarebuildingsfallenintomelancholy,ormore
precisely,weconfrontourownmelancholyinthem.Cinemaandarchitecture,asallart,function
asalluringprojectionscreensforouremotions.

TheStairsofCinema
Architecturalimageryandthearticulationofspacecreatethebasicdramaticandchoreographic
rhythmofanyfilm.Themastersofcinemaclearlyidentifythemostpotentencountersof
architecture,suchas:theimageofthehouseinthelandscapethemasklikeappearanceofthe
facadetheroleofdoorsandwindowsasmediatorsbetweentwoworldsandasframingdevices
theintimacyanddomesticityprojectedbyafireplacethefocusingandritualizingroleofatable
theprivacyandsecrecyofabed,thesensualityofabath,etc.Stairsandstaircaseshavean
especiallycentralroleincinematicdramaturgy.'Thestaircaseisthesymbolicspineofthe
house,'35inPeterWollen'sview.Stairshavethesamesignificancetotheverticalorganizationof
thehouseasthespinetothestructureofthebody.Besidesthedoor,thestairistheelementof
architecturewhichisencounteredmostconcretelyanddirectlywiththebody.Tobeprecise,a
stairisnotan'architecturalelement',butratheroneoftheprimaryarchitecturalimages.Works
ofartingeneralarenotcomposedofvisual'elements',theyconstitutelivedimagesand
fantasiesunderlyingourrecollections,andthepartsalwaysacquiretheirmeaningthroughthe
whole,notviceversa.
Thestaircasesofcinemarevealtheinnateasymmetryofthestair,rarelythoughtaboutby
architects.RisingstairsendinHeaven,whereasdescendingstairseventuallyleaddowntothe
Underworld.Theimageofastaircasealsoresemblestheimageryofthelabyrinthastaircaseis
averticallabyrinth.
Ascendingastairimpliesexitingfromthesocialstageandwithdrawalintoprivacy,butitmay
alsosignalapassageintoanentirelyprivateandprohibitedrealm,orthefinaljourneyto
discloseasecret.Descendingastairwayexpressesselfpresentation,joiningagroupandentry
intothepublicsphere.Stairsaremostoftenphotographedupwardsfrombelow,and
consequently,anascendingpersonisseenfrombehindandadescendingcharacterfromthe
front.Stairsphotographedfromaboveexpressvertigo,fallingorpanickedescape.The
preferenceofshowingstaircasesfrombelowhasitsnaturaltechnicalreasonsastairway
photographedfromaboveseemstoescapethepicturebutthisveryfactrevealsthe
psychologicaldifferencebetweenascendinganddescendingmovements.Thestaircaseisthe
mostimportantorganofthehouse.Thestairsareresponsiblefortheverticalcirculationofthe
houseinthesamewaythattheheartkeepspumpingbloodupanddownthebody.Theregular
rhythmofthestairsechoesthebeatingoftheheartandtherhythmofbreathing.
Theregularrhythmofstairsalsoaddressesourdreamimagerythroughitsessenceasasexual
metaphor.ThesexualcontentofdreamsofstairswasrevealedbySigmundFreudalreadyatthe
turnofthecentury.36Hislaterformulationoftheseobservationsmakesthesexualsymbolismof
ascendingstairsexplicit:'We...begantoturnourattentiontotheappearanceofsteps,
staircasesandladdersindreams,andweresooninapositiontoshowthatstaircases(and
analogousthings)wereunquestionablysymbolsofcopulation.Itisnothardtodiscoverthebasis
ofthecomparison:wecometothetopinaseriesofrhythmicalmovementsandwithincreasing
breathlessnessandthen,withafewrapidleaps,wecangettothebottomagain.Thusthe
rhythmicalpatternofcopulationisreproducedingoingupstairs.'37
ThewidestepsofOdessainSergeiEisenstein'sPotemkin(1925),thespiralingstairsofanguish
inFritzLang'sMforMurder(1931)andthestairwellleadingtothebellloftinAlfredHitchcock's
Vertigo(1957)arememorableexamplesofthecinematicdramaticsofstairs.Whyare
Hitchcock'sstairwaysinvariablytotherightfromtheentranceasseenbytheviewer?Isit
becausethestaircasestandsfortheheartofthehouse?
TheExchangeofEmotions
Thearchitectureofcinemaisstructuredonthebasisofexperientiallytruethemes,notthrough
elementsofcompositiondetachedfromtheexperientialwhole,orbyanyvisualformalismof
design.Afilmmaker,consequently,oftenrecognizesthementalgroundofarchitecturalimpact
moresubtlythananarchitect.Evensuchaninsignificantelementofarchitectureasacupboard,
drawerorakey,canobtainanarchitecturalandepicscopeincinema.Akeyoracigarette
lightercanstandforadecisiveturninthenarrative,asinHitchcock'sDialMforMurder(1954)or
StrangersonaTrain(1951).Theintimatecontentsofcupboardsanddrawersarefamiliartous
fromnumerousfilms.Somefilmdirectorsconfessthattheyprovidethedrawersoftheirfilm
roomsandkitchenswithallthenormalobjectsofsuchstorageplacesregardlessofthefact
thatthecontentsofthesedrawerswillneverbeshowntothecameraforthereasonthatthese
invisibleobjectsincreasethesenseofauthenticityforthemakersofthefilmthemselvesand
thusstrengthenstheirsenseofreality.Evenadesignedsetdemandsacertainauthenticity.While
filmingTheDamned,LuchinoViscontiinsistedthatthemainsetoftheAltonamansionshouldbe
parquetedinrealwood.Hebelievedthatonlybystandingonasolidfloorwouldtheactorsbe
abletoassumeappropriateandconvincingpostures.38

Evenrealarchitectureisanexchangeofexperientialfeelingsandmeaningsbetweenthespace
constructedofmatterandthementalspaceofthesubject.Itisevidentthattheartofcinema
cansensitizethearchitecturalprofessionitselfforthesubtletiesofthisinteraction.The
architectureofcinemautilizestheentirerangeofemotions,andthetouchingarchitectureof
Tarkovsky'sfilms,forinstance,couldencouragearchitectstoexpandtheemotionalcontentsof
theirspaces,designedtobeactuallydwelledandlivedin.Constructioninourtimehas
normalizedemotionsintotheserviceofthesocialsituationsoflifeandhas,atthesametime,
censoredtheextremesofthescaleofhumanemotions:darknessandfear,dreamsandreverie,
elationandecstacy.Suppressedemotions,however,seektheirobjectandexposure.Anxietyand
alienation,hardlyhiddenbysurfacerationalization,areoftentheemotionalcontentsoftoday's
everydaysettings.Thedimensionoftheheimlichhidesitsopposite,theunheimlich,always
readytoenterthescene.
TheMeaningoftheInvisible
Amasterfulartistmakestheviewer/readerthink,seeandexperienceotherthingsthanwhat
he/sheisactuallybeingexposedto.ThelinesofPietMondrian'sdiagonalpaintings,thatmeet
beyondtheedgesofthecanvas,maketheviewerawareofthespaceoutsidethepainting.The
arbitraryframingofsubjectsinImpressionistpaintingsstrengthensthesenseoftherealand
bringstheworldandlife,continuingbeyondtheboundariesofframing,intotheconsciousnessof
theobserver.InthepenultimatesceneofAntonioni'sThePassenger,theprotagonistismurdered
behindtheviewer'sbackashe/sheiswatchingarbitraryandinsignificantincidentsofeveryday
lifethroughawindow.
Thevalueofagreatfilmisnotintheimagesprojectedinfrontofoureyes,butintheimages
andfeelingsthatthefilmenticesfromoursoul.FritzLangcommentsontheinvisiblecontentof
hisfilmMforMurder(1931):'ThereisnoviolenceinmyfilmM,orwhenthereis,itoccurs
behindthescenes,asitwere.Let'stakeanexample.Youwillrememberthesequencewherea
littlegirlismurdered.Allyouseeisaballrollingandthenstopping.Thenaballoonflyingoffand
gettingcaughtinsometelephonewires(...)Theviolenceisinyourmind.'39CatherineBreillat
makesasimilarcommentonthepowerofinvisibleimagery:'Theworkofadirectorisawayof
hypnotizing:theviewerhastobemadetobelievetoseeeventhatwhichheisnotseeing.A
womancomplainedoftheexcessivelyexaggeratedbloodinessofthefinalsceneofmyfilm
Parfaitamour,endinginamurderofpassion.Butthatbloodwasonlyinherownhead.Itisnot
shownonthescreenatall,'Breillatrecalls.40
Apowerfulexperienceofarchitecturelikewise,turnsourattentionoutsideitself.Theartistic
valueofgreatarchitectureisnotinitsmaterialexistencebuttheimagesandemotionsthatit
evokesintheobserver.Agreatbuildingmakesusexperiencegravity,timeandultimately
ourselves,inastrengthenedandmeaningfulway.Apositivearchitecturalexperienceisbasically
astrengthenedexperienceofSelfwhichplacesoneconvincinglyandcomfortinglyintothe
continuumofculture,enablesonetounderstandthepastandbelieveinthefuture.
Notes
1ThearchitecturalpedagogybasedonanalysisofartworkswasinitiatedbyJohnHejdukatthe
CooperUnionSchoolofArchitectureinNewYorkduringthe1970s,andhasbeenadvancedby
hisformerdiscipleslikeDanielLibeskindandDanHoffmanand,subsequently,ahostoftheir
students.
2HansSedlmayr,ArtinCrisis:TheLostCentre,Hollis&Carter,London,1957,p.69.
3Forcontemporarycinemainspiredarchitecturesee,forinstance,DietrichNeumann(editor),
FilmArchitecture:SetDesignsfromMetropolistoBladeRunner,Prestel,Munich/NewYork,1996,
and:Architecture&Film,ArchitecturalDesign,AcademyGroup,London,1994.
4JeanLucGodard,GodardonGodard,Secker&Warburg,London,1972,p.208.
5VincentKordafirstaskedLeCorbusierandFernandLgertodesignthefuturisticsettingsofthe
film.Afterbothofthemdeclined,heinvitedLszlMoholyNagy.MoholyNagydesigneda
transparent,utopiancityofultralightstructuresakintohis'lightmodulator'sculpture.His
designswerenotultimatelyused(withtheexceptionofninetyseconds),presumablybecauseof
theirexcessiveabstractness.
DonaldAlbrecht,DesigningDreams:ModernArchitectureintheMovies,Harper&Row,NewYork,
1986,pp.1623.
6L'InhumaineisanearlycinematicGesamtkunstwerkcreatedbyagroupofnotableartistsof
thattime:MalletStevensconceivedtheexteriordecor,FernandLgerthemachineage
laboratoryreminiscentofhiscontemporarypaintings,PierreChareauthefurniture,RenLalique,

JeanPuiforcatandJeanLucethedecorativeobjects,RaymondTemplierthejewelry,andPaul
Poiretthefashions.
Albrecht,p.45.
7InLeVertigeMalletStevenscollaboratedwithLucienAguettand,AndrLurcat,andRobertand
SoniaDelaunay.
8Thesetdesignerswhocreatedmemorableimagesofmodernarchitectureinclude:Lazare
Meerson(LeNouveauxMessieurs,1928byJacquesFeyder,andANouslaLibert,1931byRen
Clair)FranzSchroedter(Angst,1928byHansSteinhoffandDieNachtgehrtuns,1929byCarl
Froelich)GiuseppeCapponi(Patatrac,1931byGennaroRighelliandLaVocelontana,1933by
GuidoBrignone),CedricGibbons(TheEasiestWay,1931byJackConwayandSusanLenox:Her
FallandRise,1931byRobertZ.Leonard)CharlesD.Hall(TheBlackCat,1934byEdgarG.
Ulmer)RichardDay(Dodsworth,1935byWilliamWyler)andJohnHarkrider(TopoftheTown,
1937byRalphMurphy).
9KesterTauttenbury,'EchoandNarcissus,'ArchitecturalDesign,Architecture&Film,London,
1994,p.35.
10ItaloCalvino,SixMemosfortheNextMillennium,VintageInternational,NewYork,1993,p.
124.
11'...whenthepoetjoinsseveralofthesemicrocosmstogetherthecaseislikethatofpainters
whentheyassembletheircoloursonthecanvas.Onemightthinkthatheiscomposinga
sentence,butthisisonlywhatitappearstobe.Heiscreatinganobject(...)Itisnolongera
signification,butasubstance(...)Emotionhasbecomething'(italicsJP).
JeanPaulSartre,WhatisLiterature?,PeterSmith,Gloucester,Mass.,1978,pp.10,12and13.
12WalterBenjamin,'TheWorkofArtintheAgeofMechanicalReproduction,'Illuminations
(HannahArendt,ed.),SchockenBooks,NewYork,1968,pp.217251.
13GilesDeleuzemakesasimilarremarkasBenjaminconcerningtactilityconcealedinvision:
'Sightdiscoversinitselfafunctionoftouchingthatbelongstoitandtoitaloneandwhichis
independantofitsopticalfunction.'
GilesDelunze,LogiquedelaSensation,EditionsdelaDifference,1981,p.79.QuotedinDavidB.
Clarke,'Introduction:PreviewingtheCinematicCity',inDavidB.Clarke(ed.),TheCinematic
City,Routledge,LondonandNewYork,1997,p.9.
14ContrarytoBenjamin'sview,alsothequalityofpaintingisbasedontheevocationoftactile
experience.
BernardBerensonsuggeststhatwhenlookingatapaintingorsculpture,weare,infact,
experiencinggenuinephysicalfeelings.Hecallsthesefeelings'ideatedsensations':()
wheneveravisualrepresentationisrecognizedasaworkofartandnotasamereartifact,no
matterhowelaborate,smart,andstartling,ithastactilevalues.'
B.Berenson,AestheticsandHistory.Pantheon,NewYork,1948,pp.6670.
AccordingtoMerleauPonty:'Weseethedepth,thesmoothness,thesoftness,thehardnessof
objectsCzanneevenclaimedthatweseetheirodor.Ifapainteristoexpresstheorld,the
arrangementofhiscolourmustcarrywithitthisindivisiblewhole,orelsehispicturewillonlyhint
atthingsandwillnotgivethemintheimperiousunity,thepresence,theunsurpassableplenitude
whichisforusthedefinitionofthereal.'.
MauriceMerleauPonty,'Czanne'sDoubt',SenseandNonSense.NorthwesternUniversityPress,
Evanston,Illinois,1964,p.15.
15SeeC.G.Jung'sdreaminClareCooper,'TheHouseasaSymbolofSelf'.InJ.Lang,
C.Burnette,W.Moleski&D.Vachon,editors,DesigningforHumanBehaviour.Dowden,Hutchinson
&Ross,Stroudsburg,1974,pp.4041.
16KarstenHarries,'Buildingandtheterroroftime,'Perspecta,TheYaleArchitecturalJournal19,
NewHaven,1982,pp.5969.
17GastonBachelart,ThePoeticsofSpace.BeaconPress,Boston1969,p.XXIV.
ThesentenceisoriginallyfromJ.H.VandenBerg,ThePhenomenologicalApproachin
Psychology.CharlesC.Thomas,SpringfieldIllinois1955,p.61.
18MauriceMerleauPonty,SignsquotedinRichardKearney,'MauriceMerleauPonty,'Modern
MovementsinEuropeanPhilosophy,ManchesterUniversityPress,ManchesterandNewYork,

1994,p.82.
19Sartre,p.4.
20IlpoKojo,'Mielikuvatovataivoilletodellisia'(Imagesarerealforthebrain),Helsingin
Sanomat,16.3.1996.AresearchgroupatHarvardUniversityunderProfessorStephenRosslyn,
hasestablishedthattheregionsofthebrainwhichparticipateintheformationofimagesarethe
sameinwhichtheneuralsignalsfromtheeyes,givingrisetovisualperceptions,areinitially
processed.Theactivityintheareaofthevisualcortexrelatedwithimagesissimilartothe
activitywhenlookingatrealpictures.
Whenacknowledgingtheexperientialsimilarityofperceivedandimaginedimagesalsotheir
ontologicaldifferencehastobeidentified.InBachelard'sview:'Imaginationallowsustoleave
theordinarycourseofthings.Perceivingandimaginingareasantitethicalaspresenceand
absence.'GastonBachelard,AirandDreams:AnEssayOntheImaginationofMovement
(1993),TheDallasInstitute,Dallas,Texas,1983,p.3.
21CurzioMalaparte,Fugheinprigione(Escapeinprison),forewordtothe2ndedition,1943.
22FranoisTruffaut,Hitchcock,PaladinGraftonBooks,London,1986,p.180.
23Truffaut,p.416.
24GeorgerDuhamel,Scnesdelaviefuture,Paris,1930,p.52.QuotedinWalterBenjamin,
'TheWorkofArtintheAgeofMechanicalReproduction,'Illuminations(ed.HannahArendt),
SchockenBooks,NewYork,1968,p.238.
25Benjamin,p.239.
26GastonBachelard,'Thehouse,fromcellartogarret:thesignificanceofthehut,'ThePoetics
ofSpace,BeaconPress,Boston,1964,pp.337.
27Truffaut,p.416.
28HerbertMarcuse,Yksiulotteinenihminen(OneDimensionalMan),Weilin+Gs,Tapiola,1969,
pp.9195.
29RainerMariaRilke,TheNotebooksofMalteLauridsBrigge,(tr.MDHerterNorton),WWNorton
&Co.,NewYorkandLondon,1992,pp.4748.
30AndreiTarkovsky,SculptedTime,p.73.
31Bachelard,WaterandDreams,p.6.
32NolArnaud,L'tatd'bauche,inBachelard,ThePoeticsofSpace,p.137.
33'Ishouldsay:thehousesheltersdaydreaming,thehouseprotectsthedreamer,thehouse
allowsonetodreaminpeace.'Bachelard,ThePoeticsofSpace,p.6.
34Truffaut,p.417.
35PeterWollen,'Arkkitehtuurijaelokuva:paikatjaeppaikat'(ArchitectureandCinema:Places
andNonPlaces),Rakennustaiteenseura,jsentiedote4:1996,Helsinki,1996,p.15.
36SigmundFreud,TheInterpretationofDreams(1900),TheModernLibrary,NewYork,1994.
37SigmundFreud,'TheDreamWork:RepresentationsbySymbolsinDreams'inComplete
PsychologicalWorks,vol.5.,HogarthPress,London,1948.QuotedinJohnTempler,The
Staircase.TheMITPress,Cambridge,Mass.AndLondon,1994,p.10.
38KennethFrampton,'TowardsaCriticalRegionalism:SixPointsforanArchitectureof
Resistance'.HalFoster(editor),PostmodernCulture,PlutoPress,LondonandSydney,1985,p.
28.
39QuotedinPetervonBagh,'Thedeathofemotion,'Synnyt:SourcesofContemporaryArt,
MuseumofContemporaryArt,Helsinki,1989,p.202.
40TarmoPoussu,'ElokuvajuhlienohjaajavierasCatherineBreillat:Teenelokuviaseksist,mutta
inhoanerotiikkaa'(TheGuestDirectoroftheFilmFestivalCatherineBreillat:Imakefilmsof
sex,butIdetesterotics),IltaSanomat,23.9.1996,p.A22.
[JuhaniPallasmaa,ArchitectSAFA,Hon.FAIA,ProfessorofArchitecture.]

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