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Pallasmaa make use of duality to engage in a talk with his reader, encouraging critically thinking and questioning.
Also, statements of absolute in comparing and contrasting examples of architectural precedents are avoided. He
criticizes much of the development of Modern architecture as contributing to the hegemonic eye. Yet, he speaks of
the sensual or experiential qualities in the architecture of Meier’s or Le Corbusier. This criticism shows that Pallasmaa
is against Modernist architecture and yet Le Corbusier was praised with high artistic talent of hands-on skill, a good
sense of materiality, plasticity and gravity, which contributes in his famous architecture.
Pallasmaa thinks that the world is full of doubts and a wide range of sensory and thorough inputs. Pallasmaa’s
case is actually strengthened while opposition within one’s argument is highlighted despite of it may seem unclear to
some dialectical uncertainty in either the sentence structure or concept at first. This particular element of philosophy is
not directly quoted but it is obvious that Pallasmaa has been greatly influenced by the French philosopher Maurice
Merleau-Ponty in his writing.
The Eyes of the Skin, was purposely used as the title to create a conceptual connection between the controlling
sense of vision and the sense of touch. This is a distortion which confused the senses that the readers nonetheless
have to accept and understand as part of the human experience whether through reflection or insight. Besides,
Pallasmaa’s imagery are always delivered in pairs. Through the images, contrasting ideas are juxtaposed and the
universality of concepts across cultures and disciplines are strengthened. With many philosophical and
architectural references, Pallasmaa’s book contains a wide range of highly useful and cultured ideas. The
accessibility of his well-executed ideas enables the book to be famous among a versatile community.