I reflect on the new work of Melanie McLain on the more traditional meaning, here posture means position, intended precisely as a location in space. From this it has gone on to indicate the way of posing or arranging the human body or a part of it, in a strictly mechanical and physiological sense. A further, almost natural shift was to transfer this meaning to the psychological level (the posture that reveals a lot about ourselves through body language). But now another step has been taken, we don’t know whether to go forward, backward or sideways just for the sake of changing the word to say something for which we already have many words available (attitude, position, inclination, even opinion) . From here I would define the act of meticulous and rigorously designed work by Melanie McLain that I have been following closely for the past three years.
I find myself contemplating how I had questions to ask myself the hegemony of the visual perspective is a phenomenon that appears across most aspects of our daily lives, the very ubiquity of this phenomenon certainly does not mean that the dominance of the visual should not be questioned
Melanie work is a reconciliation debate between ourselves and the world, and this mediation takes place through the relation between structure and body. The principal aim of this review is therefore to provide a summary of the role of the human senses in architectural design practice, both when considered individually and, more importantly, when the senses of moving into this structure are studied collectively I profoundly think that Melanie launches a precise signal to communicate the various cognitive layers and that the various structural components created by her are an articulation of our existential deficiencies, helping to understand more our social, empirical, and emotional development.