Stepping stones set in the grass of a garden are images and imprints of footsteps. As we open a door, the body weight meets the weight of the door; the legs measure the steps as we ascend a stairway, the hand strokes the handrail and the entire body moves diagonally and dramatically through space.
There is an inherent suggestion of action in images of architecture, the moment of active encounter, or a 'promise of function' (In the mid-19th century, the American sculptor Horatio Greenough gave with this notion the first formulation on the interdependence of form and function, which later became the ideological corner stone of functionalism. Horatio Greenough, Form and function: Remarks on Art, Design and Architecture, ed Harold A Small, University of California Press (Berkeley and Los Angeles),1966) and purpose. 'The objects which surround my body reflect its possible action upon them' writes Henri Bergson (Matter and Memory, Zone Books (NY), 1984, pp 214-18). It is this possible action that separates architecture from other forms of art. As a consequence of this implied action a bodily reaction is an inseparable aspect of the experience of architecture.(...) The elements of architecture are not visual units or gestalt; they are encounters, confrontations that interact with memory.
in The eyes of the skin- Architecture and Senses, Juhani Pallasmaa, Wiley Academy.
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