ESENA ARHITECTURII.

SPAIUL INTERIOR
Einfhlung (rezumat). Din condiia nensufleirii apriorice a obiectelor rezult i o relaie de ncredere pe care cel care empatetizeaz o
stabilete cu lumea; doar el confer obiectului via i suflet, cu toate c pentru contiina lui lucrurile se prezint pe dos. [Zeii pe care
omul grec i-i creeaz sunt, pentru el, vii] ... Cel care empatizeaz, fr s-i dea seama, se savureaz pe sine n obiect. Cci ceea ce
transpune el n obiect este chiar propria-i fiin, adic propriul coninut incontient ... El se transport pe sine n obiect, n msura n care
coninutul n-simit [ein-gefhlt] reprezint o parte component esenial a subiectului1.

n-simire i opera de art (rezumat). Nevoia de intropatie poate fi considerat ca o premis a voinei artistice numai acolo unde voina
artistic nclin spre autenticul-organic, adic spre naturalism, n sensul superior. Sentimentul de fericire care este strnit n noi prin
reproducerea frumuseii organice a vieii, ceea ce omul modern caracterizeaz ca frumos, este o satisfacere a acelei nevoi interioare de
activitate proprie ... n formele operei de art noi ne savurm pe noi nine. Valoarea unei linii, unei forme const pentru noi n valoarea
vieii pe care ea o conine pentru noi. Forma obine frumuseea ei numai prin simul nostru vital, pe care noi l adncim confuz n ea2.

Percepie vizual i micare. The mobile hand, tactile motricity, helps the whole body to grasp the feeling of space. Sight itself is
imbued with motricity, because we can move our eyes directing them toward this or that object () Schmarsow argues that our body, our
own living body is organized as an intermediary between the subject and the environment (Umwelt) With all his reference to movement
movement, motricity, locomotion (and its affective correlate: e-motion), Schmarsow introduces time into space. Space appears deeply
interwined with time, if we consider that movement is in itself a translation in space through time. This aspect becomes clearly
evident when Schmarsow analyses what is his central issue in architecture: not the faade, a bi-dimensional object of a static
contemplation, but rather the interior space, the Innnenraum the proper domain of spatial configuration whose articulation in depth is
experienced by the whole body Husserl [also] always insisted on the crucial importance of movement in perception, necessary in his
view to get a complete tridimensional experience of the object The aspect of the object changes, while the object itself maintains its
core. Husserl underlines that any dynamics and statics of the body are meaningful because they refer to a ground: the Earth. The Earth
is the orizon against which every motor behavior becomes comprehensible. In a very similar way, Schmarsow [before Husserl] remarks
that our living body is so constructed that it moves or stands still (which is nevertheless a degree of movement, its degree zero) on a ground
which is the Boden, the soil, the earth. [] Art as the confrontation between the human being and the world is never a matter of
universal, but always a matter of singularities3.

nelegerea luntric a arhitecturii. It is time to inquire into the origin and innermost essence of architecture And we might begin
this [theoretical] process of moving from within with architecture, which so long has been externalized by an aesthetic imposed from
without It is important in a basic study to give due weight to the psychological origin of the creative act and to test the belief that in this
art, as in all others, what is truly essential can only start in the mind of the artist and end in the mind of the observer [] The intuited form
of space consists of the residues of sensory experience to which the muscular sensations of our body, the sensitive of our skin, and the
structure of our body all contribute. As soon as we have learned to experience ourselves and ourselves alone as the center of this space,
whose coordinates intersect in us, we have found the precious kernel on which architectural creation is based. Once the ever-active
imagination takes hold of this germ and develops it according to the laws of the directional axes inherent in even the smallest nucleus
of every spatial idea, the grain of mustard seed grows into a tree and an entire world surrounds us. Our sense of space and spatial
imagination press toward spatial creation; they seek their satisfaction in art. We call this art architecture: it is the creatress of space ... We
all carry the dominant coordinate of the axial system within ourselves in the vertical line that runs from head to toe. This means that as
long as we desire an enclosure for ourselves, the meridian of our body need not be visible defined; we ourselves, in person, are its visual
manifestation. As the creatress of space, architecture creates enclosures for us in which the vertical middle axis in not physically present
but remains empty. For this reason such interior spaces remain the principal element far into the evolution of architecture as an art.
The spatial construct is an emanation of the human being present, a projection from within the subject, irrespective of whether we
physically place ourselves inside the space or mentally project ourselves into it The principal concern is always the spatial enclosure of
the subject [] Should not architecture today, in turning back to the time-honored, inner aspect of its creations, once again find its way
into the hearts of the general population by becoming the creatress of space? It is said that the spirit builds the body in its own image. The
history of architecture is the history of the sense of space, and thus consciously and unconsciously it is a basic constituent in the history of
worldviews [Weltanschauungen : viziuni globale asupra lumii]4.

1 C.G. Jung, Tipuri psihologice, Opere complete 6, Trei, 2003, p. 315-316
2
Ion Ianoi, Prefa, n : Worringer, Abstracie i intropatie, p. XXVIII.

3
Andrea Pinotti, Body-Building: A. Schmarsows Kunstwissenschaft between Psychophysiology and Phenomenology, in: German Art History and
Scintific Thought. Beyond Formalism, Ed. By Mitchell Frank and Daniel Adler, Ashgate 2012
4
August Schmarsow, The essence of architectural creation (1893) (http://designtheory.fiu.edu/readings/mallgrave_schmarsow.pdf)