Bora Malko

“Seeing” comes through as a two-sided process of picture forming and detailed observation, according to Rasmussen in his “Experiencing Architecture” book. Such a method resembles the principles of re-creation, especially when compared with painting, thus the spectator is not just taking the role of an observer but rather daring to interpret susceptibly. Of course when it comes to subjective observation people are more inclined to the familiar and comprehensible information, in this case expressed visually. Rasmussen compares this phenomenon to the activity of an actor on stage positioning himself closer to the role he is playing. He believes the same reaction can be witnessed with people trying to identify and relate to the piece of art they are observing or even to a commercial good. Architecture has its own way of making use of these visual observatory characteristics. The Classical architecture for instance is often associated with supporting and supported members, giving the imp

      Pier Luigi Nervi, in his study of the schism between building technology and aesthetics,  presents architecture as resting on a field apart from any other art. This transitional phenomena of the composition of architecture is apparent to him through the limits and restrictions placed on this "art" by its many technical means. He goes on disapprovingly mentioning the architectural criticism in time, with its formalistic point of view which he believes is particularly damaging to the future architects. Nervi furthers his point by taking as example his own dual investigation, both as a builder and as a non technician, where he concluded that even though a perfect technical work could be aesthetically non expressive there exists no aesthetically perfect work which is also not excellent in its technical aspect.  He states that to build means to achieve maximum efficiency both economically and technically thus referring to the phrase "building correctly".      In t