In a traditional sense, eroticism refers to the quality of a
quality that causes sexual feelings, as well as a philosophical contemplation
concerning the aesthetics of sexual desire and sensuality. However, when
applied to the area of environmental design, the erotic refer to objects that
are sensually affective in nature in term of how they can provoke or affect the
audience/user’s senses and feelings. One of the more interesting parts of the
erotics that I would like to talk about the the erotics of the sublime – a phenomenological
quality evoking an overwhelming emotion, which can be caused by several factors
such repetitions of the infinite or exaggeration of scale. Many of these
sublime qualities are incorporated into the design of architectural environments
such as the Leviathan by Anish Kapoor. Installed in a 13,500 m2 space of the
Grand Palais in Paris, the sculpture, which can be entered, took the form of a
giant four-armed balloon. What makes this sculpture sublime is simply its majestic
scale, its solid blood red colour, and its infinite smoothness which runs
throughout its surface. Once inside the sculpture, the audience can get a
feeling of awe, and therefore get affected by it erotically.
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| The interior of the Volkshalle |
Similarly, Hitler
has planned a huge domed building, the Volkshalle, with a similar quality which
were to evoke a high level of eroticised grandeur which reflects the immense
power of the furer.
Speaking of power, buildings that are devoted to the sacred
are also eroticised in a similarly sublime fashion, a notable example of which,
include Ernesto Neto’s Leviathan Thot- a “ulle-and-polystyrene creature
suspended under the dome of the Pantheon” in Paris, France. The work is erotic
in how it plays with the notion of the untouchable quality of sacred
architecture and how it brings into the space a fluid and sac-like form that
becomes a vulgar language when placed in such a highly-sculpted and finely
designed environment.
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