Abstract
The study of the expression of architectural glass has recently expanded due to various factors such as the development of architectural technology, the reinforcement of environmental standards, an increased interest in energy saving, and the commercialism of the exterior of buildings. The background for restoring the tactile capability of the sense of sight has been prepared by agitating oculocentricism pertaining to the Renaissance era. The restoration of tactility can be considered in two ways. One is the tactility 'perceived' through complex experiences and the other is the tactility 'sensed' from the challenges on the materiality of the glass itself. Perceptual tactility is achieved from compound visual experiences and connecting these complex experiences in the brain. Sensible tactility, in contrast to perceptual tactility, is a more direct tactility which works within the nervous system, bypassing the brain. This is attained by reversion of the materiality, tectonics and connection method of the glass. Among rare examples, Laminata House built in Leerdam, Netherlands is a fine example of direct and sensible tactility. In this paper, the process of restoring tactility in architecture is studied at each stage based on the restoration of tactility in painterly aesthetics.