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Synopsis 3: The Geometry of Feeling
1. BACHELOR OF SCIENCE (HONOURS) IN ARCHITECTURE
THEORIES OF ARCHITECTURE AND URBANISM (ARC61303/ARC2224)
SYNOPSIS: REACTION PAPER (AUGUST 2016) [10 MARKS]
NAME: Kimberley Ee Sze Ann ID: 0315319
LECTURER: Nicholas Ng TUTORIAL TIME: 4-6
SYNOPSIS NO: 3 READER TITLE: The Geometry of Feeling: A Look at the
Phenomenology of Architecture
AUTHOR: Juhani Pallasmaa
The author begins by introducing how modern architecture is failing to evoke the feelings that it
should and the text continues to further elaborate on this theme. The author feels that architecture has
lost connection to its intentional background by adversely evolving into a specialist profession which
believes itself to be a form of free artistic expression. From my understanding, the main point that the
author wishes to bring to surface is that it is wrong for architects to value form over experience. ‘Beauty
is only skin deep’ and by placing importance on form alone, the experience of the architecture that
should be foremost has instead become secondary.
Also, the author discusses architecture as imagery in which he gives deeper meaning to
architecture. To the author, the experience of the architecture is not felt through its physical form but
through the images transmitted by forms and their emotional force. Thus, what is trying to be said is
that architects should not become too carried away in their pursuit of forms that defy the ordinary but
instead realise that it is sometimes the simplest of forms that hold the power to evoke the imagination
of those experiencing it.
Moreover, the author also describes the primary feelings of architecture which link the emotional
feelings of people who experience it to the images a building creates. It is only when a building is able
to play to these feelings that it can be considered architecture and not instead a large scale sculpture
or scenography (Pallasmaa, 1986). This relates to the phenomenology of architecture, which seeks
the inner language of buildings and as of such “architecture cannot be merely a play of form”
(Pallasmaa, 1986).
In conclusion, after reading this work, I feel that the author is giving a wakeup call to architects who
have forgotten the importance of the experiences associated with architecture. Architecture is not
judged on form or appearance alone and this to me is the underlining point that elevates and separates
an architect from an artist. However, this elevated position means that architects cannot design as
unconcerned individuals as they hold a responsibility to the people who will use their buildings as well
as the surrounding context in which they design.
2. REFERENCES
Pallasmaa, J. (1986). The Geometry of Feeling: A Look at the Phenomenology of Architecture. Skala:
Nprdic Journal of Architecture and Art, 4, 22-25.
WORD COUNT 371
Key points (2.5)
Appropriateness of
Terminologies (2.5)
Clarity in Opinions and
Reactions (2.5)
Logical Progression (2.5)
DATE: TOTAL MARK & GRADE
ASSSESSED BY:
3. SYNOPSIS
DESCRIPTION
ASSESSMENT
RUBRIC
Grades Marks Key points (2.5) Appropriateness of
Terminologies (2.5)
Clarity in Opinions
and Reactions
(2.5)
Logical
Progression (2.5)
A 1.8 -
2.5
Evidence of
outstanding
understanding of Key
points through clear
explanation
Appropriate use of
Terminologies In
discussing the Issues/
Concepts/Theories
Outstanding
Clarity in opinions
and reactions -
Supported with
strong Logical
explanation
Outstanding
Articulation of
logical expressions
ending with well-
developed
paragraphs
B 1.5 -
1.79
Evidence of
understanding of Key
points through
reasonable
explanation
Reasonable use of
Terminologies In
discussing the Issues/
Concepts/Theories with
Minor unfamiliarity
Reasonable
clarity in opinions
and reactions -
Supported with
Logical
explanation
Reasonable
Articulation of
logical expressions
ending with well-
developed
paragraphs
C 1.25 -
1.49
Evidence of Some
Understanding of Key
points through
acceptable
explanation
Acceptable use of
Terminologies In
discussing the Issues/
Concepts/Theories with
Noticeable unfamiliarity
Acceptable
Clarity in opinions
and reactions -
Supported with
satisfactory
explanation
Acceptable
Articulation of
logical expressions
ending with some
ambiguous
statements
D 1 -
1.24
Evidence of Some
Understanding of Key
points through not
quite acceptable
explanation
Evidence of
Terminologies however
poorly communicated in
discussing The Issues/
Concepts/Theories With
Weak Clarity in
opinions and
reactions -
Supported with
Lengthy
explanation
Poor Articulation of
logical expressions
ending with
noticeable
ambiguous
statements
F 0 -
0.99
Insufficient Evidence
of Understanding of
Key points through
weak explanation
Insufficient Evidence of
Terminologies in
discussing the Issues/
Concepts/Theories With
Improper
opinions and
reactions. Not
Matching the
Issues/ Concepts/
Theories -
Inadequate
Reasons
Unable to
Articulate / illogical
expressions.
Poorly written
synopsis.
![BACHELOR OF SCIENCE (HONOURS) IN ARCHITECTURE
THEORIES OF ARCHITECTURE AND URBANISM (ARC61303/ARC2224)
SYNOPSIS: REACTION PAPER (AUGUST 2016) [10 MARKS]
NAME: Kimberley Ee Sze Ann ID: 0315319
LECTURER: Nicholas Ng TUTORIAL TIME: 4-6
SYNOPSIS NO: 3 READER TITLE: The Geometry of Feeling: A Look at the
Phenomenology of Architecture
AUTHOR: Juhani Pallasmaa
The author begins by introducing how modern architecture is failing to evoke the feelings that it
should and the text continues to further elaborate on this theme. The author feels that architecture has
lost connection to its intentional background by adversely evolving into a specialist profession which
believes itself to be a form of free artistic expression. From my understanding, the main point that the
author wishes to bring to surface is that it is wrong for architects to value form over experience. ‘Beauty
is only skin deep’ and by placing importance on form alone, the experience of the architecture that
should be foremost has instead become secondary.
Also, the author discusses architecture as imagery in which he gives deeper meaning to
architecture. To the author, the experience of the architecture is not felt through its physical form but
through the images transmitted by forms and their emotional force. Thus, what is trying to be said is
that architects should not become too carried away in their pursuit of forms that defy the ordinary but
instead realise that it is sometimes the simplest of forms that hold the power to evoke the imagination
of those experiencing it.
Moreover, the author also describes the primary feelings of architecture which link the emotional
feelings of people who experience it to the images a building creates. It is only when a building is able
to play to these feelings that it can be considered architecture and not instead a large scale sculpture
or scenography (Pallasmaa, 1986). This relates to the phenomenology of architecture, which seeks
the inner language of buildings and as of such “architecture cannot be merely a play of form”
(Pallasmaa, 1986).
In conclusion, after reading this work, I feel that the author is giving a wakeup call to architects who
have forgotten the importance of the experiences associated with architecture. Architecture is not
judged on form or appearance alone and this to me is the underlining point that elevates and separates
an architect from an artist. However, this elevated position means that architects cannot design as
unconcerned individuals as they hold a responsibility to the people who will use their buildings as well
as the surrounding context in which they design.](https://image.slidesharecdn.com/synopsis3-kimberleyee-161212055459/85/Synopsis-3-The-Geometry-of-Feeling-1-320.jpg)
