3rd year Architecture Dissertation

Theories of phenomenological practice against the theories of aesthetics in today’s architecture.

Should we define architecture’s true qualities based on Juhani Pallasmaa’s ideals which incorporates multi-sensory implications in the architectural world?

Danito Oledan - 15003285 Bsc Architecture University of the West of England Bristol Submission date: 8th January 2018 Word Count: 5493

This study was completed as part of the Bsc Architecture programme at the University of the West of England. The work is my own. All images provided are taken and produced by myself, unless stated. Where the work of others is used or drawn on, it is attributed to the relevant source.

This dissertation is protected by copyright. Do not copy any part of it for any purpose other than personal academic study without the permission of the author.

Acknowledgements I wish to express my appreciation to the employees of EYE Film Museum and Stadgenoot Pavilion for freely allowing me to explore the buildings that later provided me the necessary information to complete this dissertation.

I sincerely thank Dr. Fidel Meraz for his guidance and encouragement in carrying out this project, as well as his further influence towards my current interest of Juhani Pallasmaa’s phenomenological theories.

Finally, I wish to express my gratitude to my friends and family, who assisted and motivated me throughout the whole period of this project.

Contents

Definitions - p. 1 Abstract - p. 2 Introduction - p. 3 Literature Review - p. 3 Theories of Phenomenology

-The Eyes of the Skin: Architecture and the Senses -Questions of Perceptions: Phenomenology of Architecture -An Investigation of Tadao Ando’s Phenomenological Reflections Theories of Aesthetics -Aesthetics and Architecture -Aesthetics of Built Form Readings Conclusion

Methodology and Structure - p. 5 Research Findings - p. 6 -Case Study 1 EYE Film Institute by Delugan Meissl Associated Architects -Case Study 2 Stadgenoot Pavillion by Steven Holl

Conclusion - p. 13 Recommendations - p. 14 Bibliography - p.15

Definitions

Phenomenology [noun | phe-nom-e-nol-o-gy] -the study of the development of human consciousness and selfawareness as a preface to or a part of philosophy -a philosophical movement that describes the formal structure of the objects of awareness and of awareness itself in abstraction from any claims concerning existence Aesthetics [noun & adjective | aes-thet-ic] -a concern towards beauty or the appreciation of beauty -relating to a pleasing appearance Consciousness [noun | con-scious-ness] -the quality or state of being aware especially of something within oneself -the state of being characterised by sensation, emotion and thought Perception [noun | per-cep-tion] -an awareness of the elements of environment through physical sensations.

-physical sensations interpreted in the light of experience Visual [adjective | vi-su-al] -in relation to the use of vision attained by sight Tactile [adjective | tac-til-i-ty] -the capability of being felt or touch -responsiveness to stimulation of the sense of touch Auditory [noun | au-di-to-ry] -pertaining to the sense or organs of hearing Odour [noun | o-dour] -the property of a substance that is perceptible by the sense of smell

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Abstract

What should we define as the true qualities of today’s contemporary architecture?

With Juhani Pallasmaa leading the phenomenological movement in architecture through the applications of multi-sensory theory, it can be argued that he is creating architecture that touches our human soul.

Opposed to the prevailing significance of aesthetics, which Pallasmaa argued as mere seduction to our vision.

Therefore the purpose of this document is to confront the two conflicting theories of phenomenology and aesthetics, by analysing their principles, and exploring two case studies which embodies the two respective theories. Doing so, delivers a composed analytical information that outlines each theory’s architectural quality in terms of embodied experience, perceived pleasure and ability to construct memory.

The analysis of each theories will be undertaken through numerous literature reviews that will provide the knowledge needed to compare the two case studies. These case studies will also be visited in person to allow a personal and subjective reflection rather than secondary thoughts, as to study each building’s quality is to experience, perceive and record it’s visual, auditory, tactile, odour, and temperature implications.

The outcome of the research, aligns with an alternative hypothesis that architecture’s true qualities are neither defined by the products of multi-sensory nor aesthetics principles. Concluding that true qualities of architecture should not be defined as products of singular concepts or principles, but instead, be an expression of intertwining ideas that stimulates the human mind and visually reflects the social and cultural needs.

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doing so, should provide a composed analysis of how successful each theory is, in terms of the embodied experience, pleasure and memory they provide. This analysis will also provide an answer to an alternative hypothesis which proposes that the true qualities of architecture are neither defined by multi-sensory or aesthetic values.

Introduction The topic of my dissertation focuses on the architectural principles of Juhani Pallasmaa, a renowned architect and theorist, who believes that today’s architecture only desires aesthetics qualities and visual understanding of buildings, rather than seeking phenomenological values through interaction with all the different human senses. Pallasmaa who was tremendously inspired by the theories of Maurice Merleau-Ponty, one of the leading French phenomenologists of the 20th century, argues that there is an obvious suppression of other sense modalities within modern architecture, where today’s buildings are merely created as objects of visual seduction, which lacks relation and meaning, and the ability to produce imagination and memory within our consciousness.

Literature Review In this literature review, I will further explore the teachings and principles of Juhani Pallasmaa. During his career as an architect, Pallasmaa contributed numerous books filled with architectural theories such as The Eyes of the Skin: Architecture and the Senses (1996) and Questions of Perception: Phenomenology of Architecture (1993). In addition to Pallasmaa, I will also explore different architects whose works coincide with Pallasmaa’s ideals, some of which are Steven Holl and Tadao Ando. By examining the works and ideals of these architects, it should allow me to gain a rudimentary understanding of Pallasmaa’s true qualities of architecture.

Thus, with growing concerns towards the direction of modern architectural principles and the increasing dominance of vision in architectural designs, Pallasmaa announced a preference of “multi-sensory architecture in opposition to the prevailing visual understanding of the art of the building” (Pallasmaa, 1996, p.43). Subsequently, Pallasmaa commenced to explore how the implications of different human senses can direct our consciousness. This ranged from the significance of shadows, scent, touch, acoustics, and even memory.

Unequivocally Pallasmaa’s ideals have created conflicts between architects and theorists for many years, his ideals of multi-sensory architecture are well known and widely respected in the architectural world. Nevertheless, it is also evident that many architects of today, mainly through contemporary architecture, only pursues the building’s visual qualities. The nature of these works have been controversially linked to the “starchitects” of today, many of whom are criticised for only undertaking “mega projects for elites than improving ordinary people’s lives” (Cocotas, 2016). This is why I also intend to explore these opposing views of the topic, to deeply understand the importance of aesthetic and the idea of architecture as a “visual art”.

It is evident, that Pallasmaa’s phenomenological insights have inspired architects and students all over the world to produce architectural work that inspires and enhances people’s lives. However, to proclaim that the true qualities of an architectural work is “not experienced as a collection of isolated visual pictures, but in its fully embodied experience and spiritual existence” (Pallasmaa, 1996, p.48) is to declare that the work of those who sees beauty in architectural forms, geometry and aesthetic holds no real architectural value or integrity.

The Eyes of the Skin: Architecture and the Senses (1996)

Hence, the intention of this dissertation is to explore Pallasmaa’s theory of multi-sensory architecture in contrast to the theories of aesthetics, with the aim of comparing the architectural quality of the two, respective and opposing principles, by analysing two case studies that embodies their ideals. Which in -

The second essay of this book studies architectural experiences based on the role of different senses, which introduces a more distinct theory of phenomenology based on multi-sensory architecture. Within this book, Pallasmaa have argued that even though our experience of the world is expressed through the 3

mergers of five different senses, most of the architecture today is produced with only one consideration, of which is sight. In recent times, Pallasmaa demanded a less prominent role of vision in experiencing an architectural object, in which he explains that the experience of architecture should be measured equally by “the eye, ear, nose, skin, tongue, skeleton and muscle” (Pallasmaa, 1996, p.45).

Through this book it is understood that Pallasmaa’s true qualities of architecture is humanly meaningful and can only be experienced through the reflection of life, where he recently argued that the “true qualities of architecture are not formal, geometric, intellectual or even aesthetic” (Pallasmaa, 2014).

Questions of Perception: Architecture (1993)

Phenomenology

Unlike Juhani Pallasmaa or Steven Holl, Tadao Ando never openly referred to the ideas of phenomenology.

Instead his works relies heavily on concepts and ideas such as space, body and movement, and memory. However in this essay written by Mohhamedreza Shirazi, Shirazi discussed how Ando’s writings and works can be argued to have phenomenological concerns and similarities with other phenomenologists, one of which is Pallasmaa.

For many it seems reasonable to compare Ando’s works and writings because of Ando’s beliefs that architecture must be more than a self-directed art form, and that “architecture must primarily concern the enrichment of the human spirit” (Heneghan, 1996) , words which are seemingly parallel from an architect or theorist whose main concern is phenomenology and the human experience of space. In his essay, Shirazi then proposed to analyse the works and writings of Ando, with the intention to extract Ando’s “phenomenological approach” in his architecture and whether Ando was influenced by the “philosophy of phenomenology” or the “phenomenology of architecture”. At the end of his essay, Shirazi concluded that Ando’s phenomenological approach was never based on his reading of theoretical texts of philosophy and phenomenology, but more so rooted in Ando’s “personal state of mind, his way of learning and understanding architecture” (Shirazi, 2012, p.21) as well as Ando’s cultural background. This is apparent based on Ando’s ideals that architectural qualities “adheres to the internal disciplines of its own culture”.

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This book was co-written by Steven Holl, Juhani Pallasmaa and Alberto Perez-Gomez, a book which explores the role and importance of phenomenological experience in today’s architecture. Steven Holl, who is a close friend of Pallasmaa, is equally concerned with phenomenology and the approach we should adopt on architecture. Holl believed that “the way spaces feel, the sound and the smell of these places, has equal weight to the way it looks” (Holl, 1996, p.7). In the book, Questions of Perceptions, Holl argued that unlike any other art forms, architecture engages all of our sensory perceptions. Holl believed that “light, shadow and transparency; colour phenomena, texture, material and detail” (El Croquis 2003, citing Holl 1993, p.91) are all essential towards the complete experience of architecture and that only architecture can simultaneously stimulate all these senses, which are the complexities of perception.

Although unlike, Pallasmaa, whom payed courtesy towards all different senses equally, it can be argued that Steven Holl, favoured one over the other, which is apparent from a discussion Holl had with Alejandro Zaiera Polo. In this conversation Holl highlighted his interest towards the light and how different effects of light, such as shadow, transparency and reflection all intertwines to “define or redefine spaces” (El Croquis 2003, citing Holl 1993, p.91).

Aesthetics and Architecture (2007) In this book Edward Winters analyses the philosophy of aesthetics which focuses thinking about, and looking at, architecture. Within this book Winters’ also explored the challenges that were presented to a number of cultural movements based on how people create and look at buildings. Although Winters’ believed that to fully understand architecture, we must reflect upon its place in our lives, he also strongly argued that “architecture is first must be described as visual arts” (Winters, 2007, p.1-3). He believed that to understand architecture we must first appreciate the appearance of individual works. Even so, Winters’ opinion doesn’t prove that he disagrees with Pallasmaa’s architectural ideals.. However it’s -

An Investigation on Tadao Ando’s Phenomenological Reflections (2012)

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also clear that Winters’ has a huge affection towards aesthetics more so than the idea of phenomenology as he implied that sensations can and should be classified as subjective. In Chapter 10 of this book titled The Mind and Furniture Winters’ suggested that all phenomenological states (seeing, touch, sound, smell, etc.) are only accessible to the person whom it is experienced by, implying that each person may have different experiences of the same space based on their consciousness. In which Winters’ added that for sensations, and our own experiences, we have the sole authority of the matter, which in his opinion allows us to “have sensations that are independent of the environments” (Winters, 2007, p.113) we are situated in.

determined the different conflicts surrounding Pallasmaa’s architectural principles. It is clear that many architects and theorists agree with Pallasmaa that architecture should be more than meets the eye, it is also evident that there are numerous architects who treats aesthetics as the focal instrument to create architectural meaning within their work.

Methodology and Structure As the focus of my hypothesis profoundly rests on the questions of phenomenology, theory and the humanities of architecture, a qualitative research methodology would be the most appropriate for my research as it is often understood as subjective rather than absolute understandings. Within my qualitative research, I will also use the philosophical method of dialectics, where my hypothesis will be framed more so as a debate, in which I will present both sides of the argument in order to reason a conclusion.

Aesthetics of Built Form (1992) In this book Alan Holgate (1992, p.28) highlighted these (Beardsley, 1958) lists of characteristics attributed to the aesthetics experience:

Given the philosophical nature of the topic, there is no denial that the materials produced will be subjective to one’s consciousness as one individual’s perception cannot be identical to the other. Therefore the method of research must be a “simple system and quick to learn” (Lucas, 2015, p.160-163) which allows the method to be easily imitated and reproduced. For the subject of senses there must also be a visual diagrammatic representation which allows the information to be represented as a whole, which will be done through a “sensory priority chart” (Lucas, 2015, p.160-163).

1.The attention is firmly fixed. The object “controls” the experience.

2.There is a quality of intensity in the experience.

There is a narrow field of concern. There is an absence of pain, and a feeling of pleasure not comparable to that of ordinary desires.

3.One is conscious of unity and a logical, orderly sequence.

4.The experience seems complete in itself, lacking nothing.

The aforementioned characteristics can arguably coincide with Winters’ previous comments that “architecture is first must be described as visual art”.

This is because visual arts demands fixed attention, it is considered as an object which provides different experiences to its viewer, it is not multi-sensory, only visual, however it provides pleasure not just for the eyes but also for the mind. Holgate (1992, p.27) then added that Saint Augustine viewed aesthetic experience as an “agreement between the object and the whole man’s nature: mind and body”, which in turns form “love and beauty”.

With most of the present days’ architecture primarily focusing on aesthetics and visual understanding of buildings, I propose that my hypothesis compare the architectural influences of visual aesthetics in architecture and multi-sensory architecture by comparing two different buildings which I believe embodies the two models of architecture. These two opposing buildings are the EYE Film Institute by Delugan Meissl Associated Architects and Stadgenoot Pavilion by Steven Holl, both of which are located in Amsterdam, Netherlands.

To realise these comparisons and fully understand how each building embodies the respective architectural ideals, I will visit both buildings in person and record

Readings Conclusion In conclusion, considering all these readings, I have 5

my initial impressions, finding visible architectural patterns which defines the aesthetics, multi-sensory experience and memory of the place. By doing so the researched materials produced become not only subjective, but personal, which allows the perception of the building to be conceptually organised into a multi-sensory notation.

Part 1 – Approach Delugan Meissl’s approach towards architecture is firmly rooted in the idea of ‘architecture is nothing but a kind of applied physiology’ which can be considered as how a building functions. This idea perhaps does not directly correlates to the focus of aesthetics, however it is clear that the EYE Film Institute is considered to represent the visual landmark of the new Amsterdam Noord quarter. A contemporary iconic architecture in Amsterdam, it is even considered to be the “personification of the Bilbao effect hunting the city” (Ali, 2016, p.24) where the building holds an aesthetics and abstract qualities beyond the normal functions and a radical unique design while attracting tourists and visitors for its sole visual architecture.

The research knowledge required to understand and compare these two buildings will be structured in 5 different parts: Part 1 – Explore the architect’s approach towards architecture and the concept behind their design through secondary research.

Part 2 – Document the context, the date and time, the weather conditions. Provide a rough location plan and parti-diagram of the building showing the spaces’ relationships

Part 2 – Context During my visit of the building, 1st of November 2017 starting at 11:30 am and ending at 1:30 pm, the first impressions of the place was its prime location (see figure 1), a vastly open space which seemingly highlights even more the building’s distinctive geometric and abstract design (see figure 2). As the building was approached, it is clear and noticeable how its sheer size creates an imposing perception which can be identified almost as a sculptural piece of work rather than an object, which is highlighted through its monolithic solid form (see figure 3) that conceals the building’s inner functions. These functions which includes cinemas, exhibition spaces and an arena which creates an ‘upper’ and ‘lower’ layers which are all accessible from the café that acts as the ‘central’ layer of the building (see figure 4).

Part 3 – Describe the building’s phenomenology.

• Visual • Auditory • Tactile • Odour • Temperature In relation to these descriptions and conclusions add photographs and/or diagrams where appropriate.

Part 4 – After describing the building’s phenomenology, produce a “sensory priority chart” which ranks the different senses maximised within the building, this chart will then visually represent how each building prioritised either the aesthetic or multi-sensory model.

Part 5 - Write a short report on how successful the building may or may not have been in terms of its architectural quality. Compare it to different architectural theories relating to the topic, and whether it confirms or rejects the theories of Pallasmaa.

Research Findings Figure 1 Location Plan (Google Maps, 2017)

Case Study 1 - EYE Film Institute by Delugan Meissl Associated Architects (DMAA) 6

Part 3 – The Building’s Phenomenology Visual As mentioned on Part 1, the building is represented as a ‘visual’ landmark for the ever growing city of Amsterdam. Externally and internally, this ‘iconic’ architecture presents a striking image that imposes itself with the aesthetic theory that “true beauty in architecture consists in the adapting of form to function” (Scruton, 1979, p.5). Internally, DMAA’s approach of “applied physiology” in architecture is clearly evident, as the journey through the building’s different spaces can be seen as “continuous spatial concentration with directed visual relations” (DMAA, 2012) that provides certain spaces which appears to frame certain views. This is evident through my own experience of the place, as towards my approach to the ‘central’ space of the building, of which is the café, a defined visual sensation of contracting and expanding spaces can be perceived, where the constricted space frames a view of the IJ river (see figure 5) and the expanded space welcomes the user to a vast open space of the cafe which leads to the building’s different functions (see figure 6).

Figure 2 Approach of the Building

Figure 3 Monolithic Form New Figure 5 Approach of the Cafe

Upper Layer

Cafe

Central Layer

Old Lower Layer

Figure 4 Parti-Diagram Showing Building Layers Figure 6 Cafe Space 7

time initiating behaviour by providing an unconventional ‘sitting area’ for the building’s visitors.

Auditory As an ‘Institute’ known for exhibiting films, it is no surprise that the building contains some of the most advanced acoustic systems used in cinemas, however, for this sensory notation, the intention is to describe how the building as a ‘whole’ plays with this particular sensory and how the experience is heightened through it. “The eyes want to collaborate with other senses” (Pallasmaa, 1996, p.41) and for this building that is with the sense of hearing. As mentioned earlier, there are contracting and expanding spaces that can be perceived visually, however these spaces can also be conceived as “common sensibles” which based on Richard Hill, features within buildings that can be “perceived by more than one sense modality” (Hill, 1999, p.77). These spaces, based on my experience and interaction with the environment, can also be perceived through sound, where the confined spaces provides stillness, a space for tranquillity within a building full of commotion, almost an introduction to a film preparing you for the main act, which in this case is the vast open space that echoes volume whether it’d be the different languages spoken by the visitors, or the clanking of glasses on the restaurant bar. Within the building there are also words inscribed on certain surfaces, one of which is “every sound and every silence are there for a reason… the combination of image and music is very powerful”.

Figure 7 Steps

Tactile Figure 7.ii Unconventional Seats

Through my journey and interaction with the building, it became clear that the building’s value is determined and fulfilled through its “function and not by any purely ‘aesthetic’ considerations” (Scruton, 1979, p.5), a theory in aesthetic from Scruton in which he argued that experiencing architecture does not necessarily depend on ‘experience’ but more so on the enjoyment and pleasure that the building engenders. Taking away its unique radical design, the building does what is says it does, which in turns provides spaces, which may not promote tactile perception, however “initiates, directs and organises behaviour and movement” (Pallasmaa, 1996, p.63), which is one of the qualities of tactile architecture.

An example of this space are the steps located in the building’s ‘central’ layer (see figure 7 and 7.ii) which both direct the user’s movements while at the same -

Odour Everything I have mentioned and analysed so far is based on my “first person phenomenology”, the aesthetics, sound and tactile sensations I have experienced within the building is unique and appears only within my ‘consciousness’. Therefore, to say that my interaction with the space within the building produced almost no association with my senses of smell should be considered subjective. However, through this ‘self’ experience, I can argue that the building lacks the ability to create ‘memory’, as smell is often associated with our memory of place, where Pallasmaa (1996, p.54) claimed that “the nose makes the eye remember”. And with my experience of the building, all my memories have come as products 8

of digital photographs and sketches, one of which was detached from my human experience.

Part 5 – Architectural Quality Through my analysis, interaction and experience of the place and the building, it is clear that the EYE Film Institute by DMAA symbolises the values and theories of aesthetics in modern architecture. Even though the building lacks some detachment from human experience and senses, such as thermal and odour, the building serves its purpose and provides pleasure to the basic processes of our perception, of which are vision and touch. And although Pallasmaa proposed a “sensory architecture opposed to the predominant visual interaction” (Pallasmaa, 1996, p.39) of today’s architecture he also believed that the sense of vision should be considered as an extension of our sense of touch. Through this, I can subjectively conclude that the building does not directly correlate with Pallasmaa’s multi-sensory ideals in architecture, however, it also does not completely reject these ideals, which is evident through the building’s concern on tactile and auditory senses. As for the question of architectural quality, Frank Lloyd Wright claimed that “integrity is the deepest quality in a building” (Pallasmaa 1996, citing Wright 1954, p.72), and for this building, it is clear that DMAA stand’s up for the building’s integrity of being an iconic contemporary structure, as well as creating a relationship with the society and the city of Amsterdam.

Temperature With the topic of temperature, I should highlight the theory of Albert Soeman towards the temperature sense. Soeman (1990, p.95-96) argues that the “secret of the temperature sense” lies in our consciousness’ interest and observation. And as for the EYE Film Institute, my observation of the place’s temperature is almost similar to that of odour, in which the place lacks an intimacy towards warmth. As the building was located in such an open space it lacked protection from the weather, this was evident during my visit as it was particularly windy during the day, internally the building itself was well insulated, however, the ‘central’ space lacked pleasure to my skin where it was more comfortable to keep my coat as a mean of comfort and warmth. “There is no cold, only absence of heat” a fact which I learnt at a young age studying the principles of physics. However, the absence of heat affects more than our scientific awareness, it also affects our soul: our memory, in Pallasmaa’s words “the experience of home is essentially an experience of intimate warmth” (Pallasmaa, 1996, p.58) and for this case the building plainly lacked warmth, it embodies Pallasmaa’s argument of contemporary architecture enriching “architectural expression with a diversity of form, external organic character, or elements” all of which he believed does not enhance a man’s internal mental content.

Case Study 2 – Stadgenoot Pavilion by Steven Holl Part 1 – Approach

Part 4 – Sensory Priory Chart

Within Juhani Pallasmaa’s book, The Eyes of the Skin: Architecture and the Senses, a foreword by Steven Holl titled Thin Ice can be found in which Holl described his relationship with Pallasmaa and the thoughts both architects shared about the theories of phenomenology in architecture. Theories such as “spatial sequence, texture, material and light” (Holl, 1996) which facilitated on the phenomenological qualities of Steven Holl’s work. However, although many critics only focuses on these qualities, Holl believes that his approach towards architecture lies on the “initial concepts that captures the architectural essence” (El Croquis 2003, citing Holl 1998, p.38) of each individual projects. And as for the Stadgenoot Pavilion, Holl procured an initial concept of chromatic space, where he explored the phenomena of the -

Based on this chart, the EYE Film Institute Building, clearly portrays the model of aesthetics values.

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reflections of colours through space. He also adapted a mathematical model called ‘Menger Sponge’ which is a form of subtractive architecture that in turns produced a massing plane that appears to have zero volume.

Part 2 – Context To create a fair and valid comparison between the two case studies, both buildings were visited on the same day where variables, such as weather, are constant. During my visit of the building, spanning between 9:20 am to 11:30 am, the first impression, in contrast of the EYE Film, were the building’s almost concealed location (see figure 8). However, similar to the EYE Film, the building is located next to a stream of water canal, which is considerably smaller from the IJ River. As the building was approached from the main road, it was almost too easy to miss, as it is tucked away and concealed via the existing building that it extends off (see figure 9), and once you managed to find the right footpath, you are introduced to a set of water fountains (see figure 10) that offers stillness and tranquillity in a place where movement and commotion are already in absence.

Figure 10 Water Fountain Part 3 – The Building’s Phenomenology Visual In contrast to EYE Film Institute’s concept of being a ‘visual’ landmark for the growing city of Amsterdam, the Stadgenoot Pavilion embodies Steven Holl’s architectural creations of not being an ‘icon or absolute’ (Paolo Mosso, 2010), where the building does not intend to redeem the city with its presence.

Instead, the building is used as a sensory medium with the aim of “creating an atmosphere capable of stirring spatial emotions” (Paolo Mosso, 2010), an aspect of phenomenological theory which Holl was hugely fascinated by. However, with this approach in mind, Holl’s driving concept for this building is the idea of porosity, which intertwines with the concepts of chromatic spaces and the mathematical model of a Menger Sponge (see figure 11).

This idea of porosity accompanied by the model of Menger Sponge is evident during my visit and can be clearly observed through the building’s façade and internal finishes, where the building’s skin, externally and internally, are made out of layers of perforated materials ranging from plywood and aluminium within the interior and to copper for the external façade (figure 12 and 12.ii) which acts as a screen that filters the light from the building’s openings.

Figure 8 Location Plan (Google Maps, 2017)

New

However, the concepts of chromatic space, where Holl explored the phenomena of spatial colour, was not as effective on my experience of the space due to my visit being taken during the day, as the reflections created by the building are highlighted and more evident at night.

Central Layer

Old

Figure 9 Parti-Diagram Showing Old and New

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Nevertheless, the concept of chromatic space was still present and evident on my experience of the building as the permeable porosity of the building’s skin allowed the intensity of light within to increase and decrease depending on the time of the day (see figure 13 and 13.ii).

Figure 13 Daylight 1

Figure 11 Menger Sponge (The Daily Omnivore, 2012) and Pavilion Model

Figure 13.ii Daylight 2 Auditory Similar to Juhani Pallasmaa’s phenomenological ideals, Holl believes that “the way spaces feel, smell and sound” (Holl, 1996, p.7) should have equal significance to the way they look. And this is evident for the Stadgenoot Pavilion, where the concept of porosity becomes associated with more than just the sense of vision, but also the senses of touch, smell and notably sound. This significance of the auditory system is clearly apparent in my experience of the building and the environment as the layers of perforated materials, does not just filter light, but also allows the sound of the surrounding environment to penetrate the building (see figure 14). Therefore, sounds such as the moving of trees and the stream of water running through the adjacent canal can all be distinguished and perceived which in turns enhanced my memory of the place and the interaction between the environment and my consciousness.

Figure 12 Interior Perforated Panels

Figure 12.ii Exterior Perforated Panels

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Figure 15 Entrance Door Handle Odour As mentioned on Case Study 1, the perception of smell is the sense most associated to our memory and consciousness, where a lack of consideration towards the scent of the space can significantly leave us detached from our humanly experience.

However, in contrast to the EYE Film Institute where my experience of the place lacked association with my senses of smell and memory of the place, the Stadgenoot Pavilion and its surrounding environment was able to stimulate my nose through an “odour that triggers a retinal memory of the place” (Pallasmaa, 1996, p.54). This odour, which I perceived and considers to be immensely unpleasant, is a reflection of the Pavilion’s context where the smell of the place induces a foul scent that can only be described as a dog’s excrement. Therefore, however unpleasant it may be, the odour I perceived which lingers on the Pavilion’s surroundings provides my consciousness an imagination that remains intensely associated with my memory of the building.

Figure 14 Perforated Facade Detail Tactile Pallasmaa believes that ‘vision needs the help of touch’, and that the experience we sense through our skin provides texture, solidity, and temperature, all of which determines our experience of the space, whether it’d be a pleasant or an unpleasant experience. As for my analysis of Stadgenoot Pavilion, the tactile experience of the space can be argued to be tremendously pleasing because of the materials used that provides a welcoming perception that is completely unique from any other building.

This was achieved through Holl’s approach towards haptic experience that encourages “intimacy and identification” (El Croquis 2003, citing Pallasmaa 2001, p.48), which I was able to observe and perceive upon entry to the building where I was welcomed with a cold, rigid bronze door handle, that was sculpted to ergonomically fit my hands (see figure 15); in Pallasmaa’s ideologies, I have just experienced the handshake of the building.

Temperature So far, I have discussed the significance of the senses of vision, auditory, touch, and smell, and it is clear that Steven Holl approached these different senses with equal respect and values. As for the subject of temperature, which I observed through my personal awareness, there is a distinct contrast in warmth and comfort compared to my previous experience of the EYE Film Institute. This distinction is evident through the relationship between temperature and the sense of touch, where the use of varying materials 12

within Stadgenoot Pavilion presents, not just differentiating textures, but also an experience of coldness and warmth as you touch different surfaces (see figure 16 and 16.ii) and move through different spaces within the building. This play on varying temperature essentially provides an experience that stimulates one’s emotion, delivering the necessary comfort within the certain spaces.

Part 5 – Architectural Quality Reflecting back on Case Study 1, there is a clear contrast on architectural principles between the EYE Film Institute and the Stadgenoot Pavilion. Where the Pavilion was designed to create a multi-sensory experience that holds values and consideration towards the different senses, which are not just visual or touch, but also of smell and hearing, as well as the warmth and comfort the building offers. All of which were evident, perceived, and notated during my interaction of the building and its surrounding environment, therefore it is rational to argue that the Stadgenoot Pavilion follows Juhani Pallasmaa’s phenomenological implications in architecture which is to create a meaningful architectural experience that “reflects, materialises and eternalises ideas and images of ideal life” (Pallasmaa, 1996, p.71). As for the question of architectural quality and how successful the building was as a model of multisensory architecture, it can be considered to similarly correspond with Frank Lloyd Wright’s principles of architectural integrity, where fundamentally similar to DMAA’s resilient approach towards aesthetics and function, Steven Holl designed the Pavilion with clear intentions that the building should “engage the immediacy of our perceptions” (El Croquis 2003, citing Holl 1993, p.89) through the concepts of porosity and chromatic spaces, and the ingenious practice of materiality, all of which contributed to my complete humanly experience of the building.

Figure 16 Surface 1

Figure 16.ii Surface 2

Conclusion

Part 4 - Sensory Priory Chart

Based on my subjective opinion and analysis of the case studies, I would argue that the application of the theories of phenomenology is more compelling than the practice of visual aesthetics. This is apparent on my experience of both buildings where, as mentioned on my research findings, Stadgenoot Pavilion, which represents a multi-sensory engagement, was able to produce a vivid memory of my experience through the insinuations of scent and sound. Whereas, EYE Film Institute, which represents a visual and tactile environment, displays an absence of scent, and warmth and comfort, that later conveyed a memory of place that is digital and detached from my genuine human experience.

Based on this chart, the Stadgenoot Pavilion, clearly portrays the model of multi-sensory architecture.

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Recommendations

However, after investigating the theories of phenomenology and aesthetics, as well as the analysis of the two case studies which represents each theory respectively, I have the self-assurance to claim that I now hold sufficient knowledge to reason a subjective conclusion that aligns with my alternative hypothesis, in which true qualities of architecture should be defined by neither the singular theories of multi-sensory nor the aesthetic values of today’s architecture.

Through my research and analysis I have established the equal importance of phenomenology and aesthetics within architecture. However, the research mainly focused on the multi-sensory and visual engagement between the user and the building, and marginally on its social and cultural impacts.

Therefore, a new research question arises that confronts the notion of space, as discussed by Jeremy Till (2009, p.126) in his book Architecture Depends, the introduction of social context disregards the idea of space being designed through abstract concepts.

As a result, to move forward with this research, I suggest that one must explore the social and cultural impacts architecture have had in recent years and the importance of designing buildings based on the society’s current needs.

Although my opinion may suggests that I have a prejudice assessment towards the theories of phenomenology over the values of aesthetics, I believe that these theories and abstract approach towards different senses within architecture, which stimulates the user’s consciousness and emotions, or seduces and provide pleasure to their eyes, should intertwine to create an architecture that interacts with the human mind while simultaneously reflecting the social and cultural needs of the place.

This conclusion was an outcome of the case studies I have analysed. Subjectively, I believe that both buildings conveys a form of architectural quality, where both buildings embodies their purpose and stands for their integrity. As for Case Study 1: EYE Film Institute, the abstract was to produce an ‘iconic’ piece of architecture that will provide the city of Amsterdam a distinct attraction that will instantly fascinate tourists with its sole visual quality. Whereas Case Study 2: Stadgenoot Pavilion’s design abstract was focused on creating spatial emotions through the concepts of porosity and chromatic spaces, which predictably enhanced the humanly experience of the space through the multi-sensory engagement. These case studies successfully endorse their respective theories, however, both are lacking on the quality of the opposing principle, where Case Study 1 lacks the ability to interact with the human consciousness, while Case Study 2 demonstrates an absence of cultural need and social reflections to the city of Amsterdam.

To conclude, true qualities of architecture are not ‘singular’ products of concepts or principles, architects of today should not define their works based on singular ideas, but instead should express multiple intertwining concepts that differs based on the project’s phenomenological and social needs.

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Google LLC (2017) EYE Film Museum [online].

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Pallasmaa, J. (2011) The Embodied Image: Imagination and Imagery in Architecture. Chichester: Wiley.

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Bsc Architecture Danito Oledan

Site visit Analysing building’s phenomenology through sketches and photographs Amsterdam, Netherlands 1st November 2017 Task will be taken during a University Trip.

Tutors and fellow students Flights Being lost in an unfamiliar city.

07474011711

Hostel provided by University Take photographs and record experience

Health insurance provided by the University.

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