In his seminal work Phenomenology of Perception (1945), Maurice Merleau-Ponty delves deeply into the interplay between the human body and its environment. His philosophy situates the body not as an object in the world but as a living, perceiving entity that actively engages with its surroundings. This view opens profound insights into how architecture can be understood as an extension of the human body, shaping and being shaped by our lived experiences.
The Body and Its World
Merleau-Ponty’s philosophy begins with the assertion that the body is the primary medium through which we experience the world:
“Our body is not in space like things; it inhabits or haunts space. It applies itself to space like a hand to an instrument, and when we wish to move about, we do not move the body as we move an object. We transport it without instruments.” (Phenomenology of Perception, p162)
This intertwining of the body with space suggests that architecture, as a constructed environment, is more than a backdrop. It becomes part of the body’s “field of action”—an extension of its reach and capabilities.
Architecture as a Phenomenological Tool
Merleau-Ponty posits that tools and objects, when used by the body, become “incorporated” into its schema. He famously writes:
“The blind man’s cane has ceased to be an object for him and is no longer perceived for itself; its point has become an area of sensitivity, extending the scope and active radius of the touch, and providing a parallel to sight.” (Phenomenology of Perception, p. 165)
Similarly, a house—its walls, doors, and windows—becomes an extension of the body’s perception. The home is not simply a structure but a space that extends our corporeal experience, shaping how we move, perceive, and inhabit the world. The body inhabits the home as a blind man inhabits his cane, with each element integrating into the bodily experience of being.
The Symbiosis of Body and Architecture
For Merleau-Ponty, the integration of architecture into the body’s existence is most evident in the way we perceive space through movement:
“Space is not the setting (real or logical) in which things are arranged, but the means whereby the position of things becomes possible.” (Phenomenology of Perception, p. 243)
Architecture’s role is thus to create a space that the body can inhabit and navigate, forming a reciprocal relationship. A staircase, for instance, does not exist merely as a structural element; it becomes a rhythm of ascent and descent, shaping the body’s experience of height and depth.
The Destruction of Architectural Space
Merleau-Ponty’s insights also extend to the existential impact of architectural destruction. If the home is an extension of the body, its loss constitutes a form of bodily harm. He implies that such disruption forces the body to recalibrate its relationship with the world, creating a profound sense of dislocation and loss.
This perspective aligns with his broader phenomenological assertion:
“The body is our general medium for having a world.” (Phenomenology of Perception, p. 169)
When the built environment is destroyed, it is not merely a loss of shelter but a rupture in the body’s lived experience and its connection to the world.