1.4 THE TOOL IN THE HAND

expressed yourself through the use of line'.12 The hand is therefore the key to what is inside the brain. From that, I could say that drawing by hand, is a way to express not only what is in the mind but also the character of the person. As Norman Capener also said, the hand is 'an instrument of sensation and expression'.13

1.4 The tool in the hand

'The brain does not live inside the hand, it reaches out of the body and with the body it reaches out to the world’, Pallasmaa says.14 The hand is the extension of the brain and the tool [that he/she is holding in his/her hand] is the extension of the hand. The tool has grown to be part of the hand.15 The brain does not only prepare the hand to grasp an object but also how to use it to function properly. Specifically, the brain guides the hand on how to use the tool, which direction to follow, with how much strength and speed to function with as well as which body parts (from the shoulder to the fingers) to use. With tools, the hand can either be enhanced in its power (as with a wrench) or in its precision (as with a needle). As with other activities, in drawing, the tool becomes inseparable extension of the mind. The architect's hand becomes one with the tool and soon the tool becomes a part of the body. The drawing is

12 Betty Edwards, Drawing on the Right Side of the Brain: A Course in Enhancing Creativity and Artistic Confidence, (Los Angeles , J.P. Tarcher, 1979; London , Souvenir, 1981), p. 20 13 Norman Capener, 'The hand in surgery', The Journal of Bone and Joint Surgery, 38 B, (1956), 128-151, (p. 151) 14 Juhani Pallasmaa, The Thinking Hand: Existential and Embodied Wisdom in Architecture (Chichester: Wiley, 2010), p. 33 15 Juhani Pallasmaa, The Thinking Hand: Existential and Embodied Wisdom in Architecture (Chichester: Wiley, 2010), p. 48

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