Dissertation - Maral Madanimelak

Phenomenology: Stimulation of Sensorial Design Experience in Contemporary Museum Spaces of the 21st Century Maral Madanimelak

Bachelor of Interior Architecture Final Year Dissertation – INTA2411 UNSW Built Environment University of New South Wales Australia 2019

Phenomenology: Stimulation of Sensorial Design Experience in Contemporary Museum Spaces of the 21st Century | Maral Madanimelak

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Phenomenology: Stimulation of Sensorial Design Experience in Contemporary Museum Spaces of the 21st Century | Maral Madanimelak

Contents Abstract

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Acknowledgements

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Introduction

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Chapter One: Phenomenology and Sensorial Design Evolution in

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Contemporary Museum Spaces

Chapter Two: In-depth discussion of Phenomenology and Sensory

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Experience in Architecture

Chapter Three: Sensorial Experience and Contemporary Museum

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st

Spaces of the 21 Century

Conclusion

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Chapter Three Appendix: Illustrations

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References

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Phenomenology: Stimulation of Sensorial Design Experience in Contemporary Museum Spaces of the 21st Century | Maral Madanimelak

Abstract Exploring the design theory concerned with sensorial experience in contemporary architecture, this dissertation investigates the philosophical study of phenomenology, in particular, how sensorial engagement in interior architecture has the ability to stimulate the consciousness of the audience through direct experience in space.

The focus of this dissertation is on primordial philosophers Edmund Husserl, Martin Heidegger, and Maurice Merleau-Ponty, to highlight the three key phenomenological principals, and contemporary philosopher Shaun Gallagher, examining what these philosophical approaches have in common to address questions of conscious experience in relation to cognition.

As the connection with the language of the body, our bodily senses, have increasingly become isolated and distant as a result of our vision, this dissertation examines some of the prominent design approaches highlighted by architect Juhani Pallasmaa and Steven Holl, exploring the sensory experience, the role of perception in space and the tactile sensations in materiality and light.

This dissertation establishes the contextual framework of sensorial design to further explore the experience of contemporary museums spaces, in particular, how they create a memorable and evocative experience for visitors.

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Phenomenology: Stimulation of Sensorial Design Experience in Contemporary Museum Spaces of the 21st Century | Maral Madanimelak

Acknowledgements I would like to thank Belinda Dunstan for her advice, feedback, and encouragement throughout the development of this dissertation as my supervisor.

To my father Ahmad Aniss and colleague Steph Austin for their time and support in proofreading this dissertation.

And to Isabella Ishac and Samuel Wong for their constant support, reassurance and companionship throughout this process.

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Phenomenology: Stimulation of Sensorial Design Experience in Contemporary Museum Spaces of the 21st Century | Maral Madanimelak

Introduction Embracing the shift from modernistic approaches to contemporary understandings of the role of the senses in human experience (Witcomb 2015) (Levent & Pascula-Leone 2014), the architecture and design of museum spaces of the 21st century have emerged with a focus on sensorial engagement.

This design approach can be traced back to the philosophical study of phenomenology, exploring theories of consciousness and direct experience in space.

The first chapter of this dissertation, Phenomenology and Sensorial Design Evolution in Contemporary Museum Spaces, will explore the emergence of theory concerned with sensory experiences and engagement in relation to the historicity of phenomenology. Examining the study of primordial philosophers Edmund Husserl (1982), Martin Heidegger (1988), and Maurice MerleauPonty (1962), to highlight three key phenomenological principals, and contemporary philosopher Shaun Gallagher (2013), examining what these philosophical approaches have in common to address questions of conscious experience in relation to cognition (Gallagher, Zahavi 2012). The study of these philosophers develops an insight into how key principals of phenomenology links to sensorial engagement in interior architecture. This chapter will also explore speculative research on somatic theories (Maranan 2015) which build on Gallagher’s distinction between the body schema and body image, utilising movement as means of studying sensation and perception. Following this, the chapter will conclude by exploring the phenomenological orientation of place in architecture and how designing for spatial experience can be arguably mediated through the place of the lived body (Edginton 2010). Insinuating the ability of interior architecture to create continuity between the past and the present through lived experiences (Stefan 2016).

The second chapter of the dissertation, In-depth discussion of Phenomenology and Sensory Experience in Architecture, will explore an in-depth discussion of some of the prominent design approaches highlighted by architect Juhani Pallasmaa (1994) and Steven Holl (1994). This chapter will also explore the shift from modernistic approaches to contemporary understandings of the role of the senses in human experience, encouraging the emergence of spatial experience in the architecture and design of museums spaces (Levent 2014). This chapter will conclude through a detailed exploration of architect Juhani Pallasmaa, emphasising the synergy of the seven sensory experiences, and Steven Holl, explaining the role of perception in space and the tactile sensations in materiality and light.

The final chapter of the dissertation, Sensorial Experience and Contemporary Museum Spaces of the 21st Century, will explore the spatial experience of contemporary museum spaces, investigating the

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Phenomenology: Stimulation of Sensorial Design Experience in Contemporary Museum Spaces of the 21st Century | Maral Madanimelak

Jewish Museum in Berlin, Germany, designed by Daniel Libeskind, the Chichu Art Museum, Japan, designed by Tadao Ando, and the Messner Mountain Museum Corones, Italy, designed by Zaha Hadid. This chapter will also consider the study of phenomenology and sensorial engagement, in particular, how the philosophical studies of consciousness and direct experience in space are considered in the structural composition of these museum buildings. The final chapter will conclude on the similar use of architectural forms and materiality to engage with the concept of phenomenology and sensorial experience, designing a memorable and evocative experience that compliments the intended architectural motive.

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Chapter One Phenomenology and Sensorial Design Evolution in Contemporary Museum Spaces

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Sensorial engagement in interior architecture has the ability to stimulate the consciousness of the audience through direct experience in space. Instead of creating an enticing retinal image of architecture, a key role in the design of interior spaces is to amplify our experience of the phenomenal world through the spheres of perceptuality, as well as through cultural and social interaction (Pallasmaa 2011). Museums provide a platform where we have an opportunity to explore and contemplate intentional objects and spaces, as we share encounters with other people; we create social bonds, exchange stories, express our opinions and debate ideas (Levent 2014). The ways in which we inhabit and experience these physical spaces, however, is influenced by our previous knowledge, motivations, and background (Falk, 2009). This influence is informed through engagement with the sensory system, affecting how we perceive and consume information. Notably, modern neuroscience has revealed this pervasive experience through the role of the brain, “memory is your museum, your cabinet of curiosities” (Mark, 2007). As we inhabit museum spaces, our senses stimulate a channel to the brain that creates a framework of expectations that determine what we perceive and therefore, influence our experience. However, the primacy of the eye among the human senses has dominated museum and exhibition design throughout the era of modernism (Levent 2014) (Pallasmaa 1994). In Juhani Pallasmaa’s An architecture of the seven senses (1994), he argues that our visual involvement in space and time has overpowered our awareness of the multisensory qualities. As a result, contemporary museum spaces have started to reshape the restrictions applied through modernism. The role of touch in museum spaces has evolved significantly as more studies have been progressively directed to the social, cognitive, and therapeutic aspects of handling objects, feeling its texture, surface, and periphery (Levent 2014). A new emphasis on “experiencing the properties of things” has directly taken shape (Dudley 2012) which has revolutionised the ways in which interior spaces are inhabited and interpreted.

The field of sensorial design has flourished as a result of researchers emphasising the value of engaging with our bodily senses to embrace emotions, thoughts and memories (Levent 2014) (Gallagher, Zahavi 2012). The emergence of theory concerned with sensory experiences and engagement can be traced back to the philosophical research of phenomenology. In its essence, phenomenology is the study of phenomena, the study of appearance in relation to perceptual experience (Husserl 1982) (Heidegger 1988) (Merleau-Ponty 1962). Phenomenology evolved as a theory for considering the design of experience through the human senses which were disregarded by modernism (Gallagher, Zahavi 2012). In part, phenomenology has a complex historicity of philosophers who have purposed phenomenological theories that attempt to define the role of phenomenology. However, the focus of this study will be on primordial philosophers Edmund Husserl, Martin Heidegger, and Maurice Merleau-Ponty, highlighting three key phenomenological principals. In addition, contemporary philosopher Shaun Gallagher utilises these principals of phenomenology to establish a contextual framework (Gallagher 2013), examining what these philosophical approaches have in common to address questions of conscious experience in relation to

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Phenomenology: Stimulation of Sensorial Design Experience in Contemporary Museum Spaces of the 21st Century | Maral Madanimelak

cognition. The study of these philosophers develops an insight into how key principals of phenomenology links to sensorial engagement in interior architecture.

In the early 20th century, Edmund Husserl derived the philosophical approach of phenomenology through a rigorous and systematic study of the basic structure of consciousness and experience. One of the first phenomenological principles that Husserl established is that consciousness is characterised by intentionality (Husserl 1982), exploring the ways in which perceptual consciousnesses is the result of an intentional object stimulating certain phenomenal experiences. Husserl composed an analysis of the intentional structure of consciousness through the concept of noesis (the conscious act of perceptual experience in responding to our thoughts, memories, judgements, desires etc) and the noema (the appearance of an object in relation to perception). Additionally, Husserl developed an understanding of the temporal nature of consciousness by examining the concept of retention, primal impression, and pretention (Husserl 1982). In the field of design and architecture, retention stimulates the initial form of consciousness to provide a sense of what is being experienced, primal impression is directed to the present moment, and pretention is a product of our thoughts and memories. This process and relation to phenomenology may be considered in design to formulate spatial experiences.

Martin Heidegger and Maurice Merleau-Ponty, extend on the phenomenological philosophy from its origin in Husserl (1982). The second philosophical principal provided by Heidegger illustrates the basic ontological analysis of human existence in relation to our pragmatic use of the physical environment (Heidegger 1988). Our inclination to utilise objects in relation to its pragmatic use, emphasises how intentionality is characterised by a pragmatic action-oriented experience. This principal applies to architectural design as we create spaces for human interaction. Heidegger (1988) states that the process of thinking is carried through many motions of the hand and the object of direct experience, explaining the fundamental principal of the hand as part of our bodily organism.

Merleau-Ponty further explores the way our bodily experience is linked directly to our actions and thoughts. Merleau-Ponty posits the third philosophical principle, that phenomenology is the advent of embodied cognition (Merleau-Ponty 1962). Integrating psychology and neuroscience with phenomenology, Merleau-Ponty studies the body as the vehicle of knowledge. We cannot conceive anything which is not perceived or perceptible, insinuating that perception is informed by the ability of bodily movement. The appearance of an object can be reachable or unreachable in its environmental setting which influences sensorial experience in relation to cognition (Merleau-Ponty 1962). Following this lineage, contemporary philosopher Shaun Gallagher (2013) emphasises the notion of embodied cognition. Exploring how an object evokes perceptual experience and how perception is structured through imagination and recollection to deliver a meaningful experience.

Evidently, the embodiment of space and the relationship between visitors and objects within an interior setting plays a significant role in the purpose and design of museum spaces. Gallagher (2012) argues that Phenomenology is initiated through the experience of a first-person approach, concerned with understanding how this experience is stimulated in terms of the meaning it has for the subject. As

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Phenomenology: Stimulation of Sensorial Design Experience in Contemporary Museum Spaces of the 21st Century | Maral Madanimelak

a result, one of the design approaches in interior architecture is to employ and consider the subjective experience in relation to the study of phenomenology and the awakening of particular thoughts and memories. Gallagher utilises the concept of intentionality, temporality, pragmatic action-oriented methods, embodiment and cognition to articulate a coherent contemporary statement of our understanding of human experience in relation to the physical phenomena of architecture (Gallagher, Zahavi 2012).

Speculative research on somatic theories (Maranan 2015) build on Gallagher’s (2011) distinction between the body schema (which presents the cognitive process of gathering memories and thoughts) and the body image (which addresses the accessibility of awareness and conscious processing).

Exploring the study of embodied cognition through somatic experience (Maranan 2015), places particular emphasis on sensation, perception and motor action in the contextualised realm of the “selfsensing self” (Smyth 2012) (Schiphorst 2008) (Hanna 1988). Somatics can be related to many central and subsidiary fields, techniques and approaches of design and architecture. It is also closely related to a set of practices, such as modern art, contemporary dance, meditative traditions, and martial arts (Schiphorst 2008). Somatic practices aim to heighten awareness of the body in order to amplify the “use of the self” (Gelb 1990) (Shusterman 2008). This exploration is achieved by engaging our attention inward and utilising movement as means of studying sensations and perception.

Furthermore, we encounter phenomena through our sensory functions. Often senses are regarded as separate entities: touch, sound, sight, smell and taste are identified as individual means of perceiving phenomenal reality. However, the sensory system as a whole enables us to detect what is surrounding the environment of the senses outside the body. Even though senses are logically separable, they are a cohesive subsystem working together in synergy (Capucci 2015). The senses constitute a unitary system that allows individuals to exchange, substitute and share information, and this is notably evident in the case of sensory impairment (Capucci 2010). Additionally, it is evident that the connection with the language of the body, our bodily senses, have become isolated and distant as a result of our vision. In the Renaissance period, sight was understood from a hierarchical system as the highest and most important sense in expense of the rest of our bodily senses (Pallasmaa 1994). As a result, Pallasmaa (1994) further exposes design and architecture through the synergy of seven sensory experiences, studying the seven senses as the eye, ear, nose, skin, tongue, skeleton and muscle to mediate sensorial thoughts.

Inspired by the phenomenological approach of Martin Heidegger, Norberg-Schulz (1980) negotiated the concept of ‘place’ by further exploring the relationship between human and environment.

Fundamental to the phenomenological orientation of place in architecture is that “one cannot presuppose a world prior to our lived experience of it” (Dovey 1999: 39). Employing this phenomenological perspective, Edginton argues that researchers primarily need to understand and recognise certain behaviours and feelings of the subject in order to establish the phenomenology of place to insinuate a programme of research (Edginton 2010). However, intersubjective understanding

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of “an individual’s perception is not isolated in individuals but is embedded in social relations” (Edginton 2010: 88). Therefore, design is linked to how phenomenology understands the body in place as a knowing subject. Considering the subjective world in relation to the physical world and the interactions within the social world, designing for spatial experience is, then, arguably mediated through the place of the lived body within the given space (Edginton 2010). Edward Casey portrays this notion of the self-sensing self as the “geographical subject” of awareness in space by means of habitation (Casey 2001: 687). Habitation is defined through the manner in which we interact and relate to places inhabited through our understanding or memory of our lived bodies (Stefan 2018) According to Merleau-Ponty (2002: 161), to understand the relationship between body and place, movement is a fundamental element because our “body is not situated in space and time but inhabits space and time”. The lived body does not simply perceive space and time in a passive way, but rather through movement it actively adapts to a particular space. As a result, through bodily movement, space gains an embodied meaning and significance (Stefan 2018). These spaces form an embodied memory of knowledge (Trigg 2012) that provides the ability to experience and create continuity between the past and the present. Through this phenomenological lens of lived experiences, we are able to re-construct and understand the occurrence of past lived phenomena and only re-experience them if the past is part of our own temporal prospect (Stefan 2016). Moreover, awareness of our presence in space and placement is essential in developing a consciousness of perception (Holl 1994).

In light of this, Steven Holl examines the ways in which architecture has the ability to instigate and transform our day-to-day existence. To hold, turn, push, or pull a door handle and open into another interior space can become a profound experience through sensitised consciousness. To not only see but also embrace the sensorial physicality is to become a subject of consciousness (Holl 1994).

How this philosophical study of phenomenology and sensory experience correlates to design and architecture is further explored through an in-depth discussion of architects Juhani Pallasmaa and Steven Holl in Chapter 2. Through further exploration of contemporary museum spaces, Chapter 3 provides an insight into the sensorial design approach of three significant museum landmarks.

Investigating the Jewish Museum in Berlin, Germany, designed by Daniel Libeskind, as a significant monument capturing a homage of the triumphs and tribulations of a devastating historical epoch (Libeskind 1992). The Chichu Art Museum, Japan, designed by Tadao Ando, housing installations that transform space by transcending the sense of depth and perception (Pollock 2005). The Messner Mountain Museum Corones, Italy, designed by Zaha Hadid, creates a journey for visitors to fully grasp an experience and commemorate the significant achievement of mountaineering (Wright 2015).

Through the philosophical study of phenomenology, the contextual framework of sensorial design is established and further explored in the experience of contemporary museum spaces. It is evident that contemporary museum spaces have emerged with a focus on sensorial design to amplify a memorable and evocative experience for visitors.

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Phenomenology: Stimulation of Sensorial Design Experience in Contemporary Museum Spaces of the 21st Century | Maral Madanimelak

Chapter Two

In-depth Discussion of Phenomenology and Sensory Experience in Architecture

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Phenomenology: Stimulation of Sensorial Design Experience in Contemporary Museum Spaces of the 21st Century | Maral Madanimelak

Embracing the shift from modernistic approaches to contemporary understandings of the role of the senses in human experience (Witcomb 2015) (Levent & Pascula-Leone 2014), the architecture and design of museum spaces of the 21st century have emerged with a focus on spatial experience, engaging with emotive forms of knowledge to stimulate personal experiences. Accordingly, the museum experience is to become a multilayered journey of proprioceptive, sensory, intellectual, aesthetic, and social experience. Creating a channel of outcomes for learning, wonder, reflection, conversations, social ties, memories or recollection of past events (Gallagher 2006). This development is further discussed in depth by eminent voices of architect Juhani Pallasmaa (1994) and Steven Holl (1994), examining the notion of sensation and impression within the physical phenomena of architecture, while also considering the primordial philosophical studies of phenomenology and the evolution of sensorial design in museum spaces. Contemporary museum spaces of the 21st century are transcending the mere function of a repository space of ancient artefacts. This is because often artworks are exhibited as individual and independent aesthetic objects in visually neutral settings.

This notion of neutrality has generally established as a complete whiteness, smoothness, and illumination of surfaces. Evidently, this style initiated from modernistic approaches that preferred a white aesthetic scheme with moralistic tones and often objective perceptual experience to be integrated within museum spaces (Levent 2014). This modernist conceptual and aesthetic preconception of a featureless exhibition space reflects a distinct psychological and sociological understanding of the institution of art and its relationship to the normality of life (Levent 2014).

However, artworks come to life in the world of an artist’s studio, where elements of gravity, orientation, materiality and natural light are utilised with our sensual modalities to create phenomenal encounters (Levent 2014). Yet when placed in museum spaces these senses are no longer experienced.

As a result, the function of exhibition spaces is to craft an atmospheric sensitised encounter with the works, themes, and information on display. Museum space is the mediation of psychological and perceptual experience between the object and the viewer, formulating a sense of intimacy and dialogue (Pallasmaa 1994).

Phenomenology plays a significant role in evoking the notion of human experience (Seaman 2007), engagement with our sensual encounter to stimulate our consciousness of reality and the present time.

Pallasmaa (1994) further develops the unitary system of our senses as not only a way of transmitting information for the judgement of the intellect, but rather as means of communicating and expressing sensory thought, emphasising how the qualities of matter, space, and scale of every perceptual experience in architecture is equally measured by the eye, ear nose, skin, tongue, skeleton and muscle (Kong 2011). Furthermore, Pallasmaa reasons that the dominance of our vision, our sight, has detached the sensual and embodied essence of architecture. Arguing, in ‘The eyes of the skin: architecture and the senses (Pallasmaa 2005), that architectural design has removed the realities of matter and the intrinsic value of craft into a flattened image “projected on the surface of the retina,” lacking authenticity of material and tectonic quality (Pallasmaa 2005). Expounding the realm of the

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seven senses in response to sensory thoughts, contemporary architecture aspires to reveal the plasticity, tactility and intimacy within architecture in order to transcend modernistic approaches (Kong 2011). Enriching our understanding of sensory experience Pallasmaa further illustrates in his An architecture of the seven senses (1994) the relationships between the utility value of our senses and architecture. Acoustic design within architecture plays a fundamental role in a buildings characteristics of sounds that interplay between intimacy or monumentality, rejection or invitation, and hospitality or hostility. Sound also has the ability to measure space and make its scale comprehensible. Sound creates a sense of connection and solidarity (Pallasmaa 1994) as our lived bodily experience inhabits the space to stimulate new thoughts or recollect memories (Stefan 2018).

Pallasmaa exemplifies the cavity of acoustic experience through the spatial experience of an uninhabited and unfurnished dwelling to the affability of lived homes, contrasting acoustic harshness of solitude to refracted and softened sounds of lived memories. Furthermore, the scent of space is often identified as the strongest embodied memory (Pallasmaa 1994). A particular smell can impel us to re-enter a space that has been forgotten or erased from the retinal memory. Our sense of smell projects a forgotten image as we are enticed to recollect and re-experience a place from a particular smell. Additionally, experiencing the tactile sense of touch allows us to understand the texture, density and temperature of matter. There is a strong identity between skin and sensation as Pallasmaa states “the eye is the sense of separation and distance, whereas touch is the sense of nearness, intimacy and affection� (Pallasmaa 1994: 34). In design, the use of shadows and darkness are essential in reducing the sharpness of vision and inviting a tactile sensual experience. With a quick gaze, we can identify the tactility of a surface while our vision is also associated with the sense of taste. Pallasmaa argues that certain colours and as well as delicate details of materials such as polished stone surfaces can evoke oral sensation by using your visual sense. Moreover, Pallasmaa argues that our muscles and bones are part of the seven senses in architecture. Our bodily reaction is an inseparable aspect of experience and architecture is moulded in response to how the human body can traverse through space. Considering movement, balance, distance, and scale in architecture, when we inhabit a space our body unconsciously mimics its configurations with tensions in the muscular system and bones (Pallasmaa 1994: 35). Overall, experience through architecture is a mode of recollecting, remembering and comparing. It enables us to place ourselves in the continuum of phenomenal realism, awareness and consciousness of the present as we identify the dimensions of our senses and experience them through the embodiment of space (Pallasmaa 1994).

According to contemporary philosopher Gallagher (2006), perceptual experience is encountered through our senses which awakens our consciousness and the cognitive system, stimulating personal thoughts and memories. It is through this phenomenological approach that has informed sensory design to be integrated within architecture. Architectural elements and properties of light, shadow, transparency, colour, texture, materials and details engage with our sensory perception to create the complete experience in space. Holl explores the role of perception in his study of phenomenology by

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defining “outer perception” as a form of engaging with the physical phenomena, and “inner perception” involving the mental phenomena. Explaining an interplay between dualities of objective and subjective notions or, more simply, thoughts and feelings. To heighten phenomenal experience while exposing simultaneously the cognitive system and developing this duality, Holl encourages the integrations of both inner and outer perception (Holl 1994). He exemplifies daylight as a medium of both inner and outer perception, as not only a way of forming the atmosphere of buildings but also as a way of enriching the sensual perception of its users. Daylight is an element emphasised by Holl to be utilised in order to address the importance of psychological space and health aspects (Holl 2006).

Furthermore, architecture “speaks through the silence of perceptual phenomena,” insinuating how architecture is purely experienced through sensitised phenomena of inhabited space (Holl 1994: 41).

Architecture offers the tactile sensations of textured stone surfaces and polished wooden pews, the experience of light changing with movement, the smell and reverberating sounds of space, and our bodily awareness of scale and proportion. These sensations are cultivated through one complex experience of architectural phenomena that is completely wordless and only articulated through our bodily senses (Holl 1994). The first phenomenological principles recognised that consciousness is characterised by intentionality (Husserl 1982). The appearance of intentional objects and spaces in relation to our perceptual experience is a field of study in which Steven Holl further explains. The idea of perception and how it is experienced in architecture is through the synthesis of the foreground, middle ground, and distant view, together with the integration of all the subjective qualities of material and light. Holl depicts a space, sitting at a desk in a room by the window, where the distant view is identified, light is filtered through the window, elements such the floor material and the wood of the desk, and eraser in hand, all begin to merge perceptually. This overlap of the foreground, middle ground and distant view are critical in the creation of architectural space and perceptual experience. Holl refers to this fusion of space, light, colour, geometry, details and materials as an “enmeshed experience” (Holl 1994: 45). Insinuating, the ways in which our perception develops as a series of views from a stationary position which is layered upon a horizontal, diagonal or vertical axis of movement. As a result, perceptual experience at a specific viewpoint is never a complete experience as the perception of a built object or space is altered by movement in space (MerleauPonty 1962) (Holl 1994). Steven Holl explicitly adapts the theory of phenomenology in his architectural work to revitalise the essential significance and value of sensual experience in space (Wong 2012).

In contemporary architectural approaches, the capacity of a building to impact personal experience is through emotive forms generated in the atmosphere. Material compatibility, coherence between colours and textures, the relationship between interior and exterior environment, the sounds and temperature of space, the use of light and its movement within interiors are all elements that define the atmospheric mood of its inhabitants (Zumthor 2006). Pallasmaa identifies the atmosphere as the most significant influence in stimulating sensorial experience, forming the experiential quality

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through which we can relate to our environment (Pallasmaa 2016). Our senses stimulate a channel to the brain that creates a framework of expectations that determine what we perceive and therefore, influence our experience (Pallasmaa 1994). By further exploring design and architecture through the synergy of seven sensory experiences, an enriched understanding of sensorial engagement is established. While Pallasmaa emphasises the consideration of sensorial experience, Holl explains the role of perception in space and the tactile sensations in materiality and light, impacting the complete spatial experience of architectural phenomena. Through an in-depth discussion of some of the prominent design approaches highlighted by architect Juhani Pallasmaa and Steven Holl, a greater understanding of how the concept of phenomenology and sensorial design aspects are implemented in architecture is fostered.

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Chapter Three

Sensorial experience and Contemporary Museum Spaces of the 21st Century

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Phenomenology: Stimulation of Sensorial Design Experience in Contemporary Museum Spaces of the 21st Century | Maral Madanimelak

From the study of phenomenology and sensorial engagement, contemporary design approaches and structural composition of buildings have encouraged museum spaces to craft an atmospheric sensitised encounter with the works, themes, and information on display. This is further explored through an examination of three significant museum landmarks. Investigating the Jewish Museum in Berlin, Germany, designed by Daniel Libeskind, as a significant monument capturing a homage of the triumphs and tribulations of a devastating historical epoch (Libeskind 1992). The Chichu Art Museum, Japan, designed by Tadao Ando, housing installations that transform space by transcending the sense of depth and perception (Pollock 2005). The Messner Mountain Museum Corones, Italy, designed by Zaha Hadid, creates a journey for visitors to fully grasp an experience and commemorate the significant achievement of mountaineering (Wright 2015). By incorporating the philosophical studies of phenomenology and highlighting the design approaches of sensorial engagement in architecture, these three substantial examples of contemporary museum design inaugurate singular or complex experiences through embodied sensation. The relationship between the architectural form, materiality and journey throughout the interior spaces is explored in each building, developing an understanding of methods and techniques utilised in order to amplify a memorable and evocative experience for its visitors.

The award-winning architectural design of the Jewish Museum Berlin by architect Daniel Libeskind, offers a drastically vast intentional experience with exhibition spaces dedicated to the world’s most devastating historical event - ‘The Holocaust' (Libeskind 1992). The ‘zigzagging’ structure of this significant building (as seen in figure 1) sculpts the interior spaces in such a way that encourages bodily sensations. While modernistic approaches in exhibition spaces follow a neutral form, the empty architecture of the Jewish Museum Berlin delivers a powerful contemplative experience and stimulates a number of historic cultural references. As the sense of sight remains alert throughout the journey of the spatial experience, the visitor’s sense of touch, sound and movement is activated at every moment (Reeh 2016). The existing baroque building joins the new contemporary extensions, descending a stairway to three underground axial routes, each of which delivers a different spatial experience. The initial set of staircases at the entry of the Jewish Museum Berlin directs visitors to an underground basement surrounded by walls of raw concrete. In this space the visitors arrive on an oblique stone floor pervading a long hallway (as seen in figure 2), challenging the visitor’s equilibrium through the embodiment of space. As visitors are directed through this experience the guide leads to a corridor where several degrees of inclination are at play. To stimulate our consciousness of space, the changing angle in the floor heightens the sense of movement and awareness of transitioning between spaces as visitors almost “feel destabilised when he or she finally arrives to a horizontal plateau” (Reeh 2016: 06). The first passageway leads to a dead end – The Holocaust Tower (as seen in figure 3) (Libeskind 2019). Along with this journey, visitors walk past the ‘Memory Void’ housing an installation space of countless steel cut faces scattered across the floor (as seen in figure 4), dedicated to the victims of the Holocaust. This powerful interior space delivers a

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moment of reflection that evokes memories and thoughts of the past acts of violence (Saindon 2012).

Moreover, the second passageway leads out of the building and into the Garden of Exile and Emigration (as seen in figure 5), in which “concrete columns on a tilting ground may provoke vertigo among the visitors” (Reeh 2016: 09). The third pathway is the longest journey that leads to the Stairs of Continuity, then up to the exhibition spaces of the museum, emphasising the continuum of history (Libeskind 2019). These spaces form an embodied memory of knowledge (Trigg 2012) that provides the ability to experience and create continuity between the past and the present. As a result, we are able to re-construct and understand the occurrence of past lived phenomena and only re-experience them if the past is part of our own temporal prospect (Stefan 2016). Furthermore, the interior continually creates spaces of void that are an essential narrative and structural element in Libeskind’s project. One of the main voids that cut through the zigzagging plan has been intentionally placed to create a central focus around which exhibition spaces are organised. Therefore, in order to move from one side of the museum to the other, visitors are intentionally directed to cross one of the bridges that opens up to this void (Libeskind 2019). According to Libeskind, “these voids echo the absence of Jewish culture, annihilated by the Shoah, in the midst of the museum dedicated to the history of Judaism” (Libeskind 1992: 102). These voids are surrounded with concrete walls reaching six storeys high, with openings at the top of the roof where daylight shimmers through (as seen in figure 6). As Pallasmaa (1994) reasons the ability of sound to measure space and its scale, the acoustic design within these voids creates an atmosphere of monumentality and hostility. These spaces may seem unfinished and incomplete however these spaces have been intentionally formed, representing a place that’s been destroyed or wiped out (Reeh 2016). The first principal of phenomenology as mentioned

by Husserl (1982) is that consciousness is characterised by intentionality. Libeskind’s architectural form intentionally creates labyrinthine routes while releasing and taking away voids from the interior space to enhance the experiential quality.

The Chichu Art Museum designed by architect Tadao Ando, is embedded in a hilly site overlooking Japan’s Inland Sea (as seen in figure 7). The name ‘Chichu’ defines a museum space that is hidden and buried ‘within the earth’ (Pollock 2005). This architectural form establishes a sanctuary element of experience that obstructs any extraneous visual perception of the exterior form to focus the attention on the interior space and the interplay between light and shade. Pallasmaa (1994) highlights that in design the use of shadows and darkness are essential in reducing the sharpness of vision and inviting a tactile sensual experience. As a result, Ando enhances the relationship between man and nature through an underground sanctuary journey. Utilising contrasting properties of light and dark through open and closed spaces (as seen in figure 8), Ando formulates passageways and destination points. The entry of the site leads through a ramped walkway and as sunlight disappears, a disorientating semidarkness takes over the interior space (as seen in figure 9) (Pollock 2005). Through this architectural form visitors are directed to open and enclosed spaces that encourages them to walk outside in green areas and back inside to reach the underground galleries. The structural composition

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controls our consciousness and perceptual experience which stimulates our senses through the use of natural light and open spaces that are used as courtyards (as seen in figure 10) (Pollock 2005).

Similarly, Holl (2006) emphasises the use of natural light as a way of not only creating the atmosphere of an interior setting but also enriching the sensual perception of its users, this notion is evidently experienced within the Chichu Art Museum. Owned by the Naoshima Fukutake Art Museum Foundation, this building features permanent installations of three prominent artists – Claude Monet, Walter De Maria, and James Turrell (Pollock 2005). Each installation work of each artist is displayed in a self-contained gallery and these galleries are bound together with a labyrinthine sequence of spaces. Housing permanent installations has allowed Ando to abandon ‘flexibility’ and create a buried complex of chambers and passages which in turn also creates a memorable experience for its visitors (Mead 2006). Moreover, Ando heightens the sense of sight, smell, touch, and taste through its use of materials and the close relationship to the earth’s natural elements. As Pallasmaa (1994) argues, certain colours and delicate details of materials such as polished stone surfaces can evoke oral sensations by using your visual sense. This is experienced within the Chichu Art Museum as the entire structure is crafted from smooth but hard-edged palettes of glass, steel and concrete (as seen in figure 11). The materiality compliments the scent of the earth and the texture of an underground space while the sound of people embodying the space echoes off the concrete surfaces (Pollock 2005). The galleries are composed of concrete floor surfaces, white plaster walls, and filtered daylight from openings that create a soft, muted interior atmosphere. Ando’s Chichu Art Museum incorporates tactile sensations in the use of materiality and light, impacting the complete spatial experience of architectural phenomena.

Awareness of place and the embodiment of space allows individuals to encounter a profound experience through sensitised consciousness (Steven Holl 1994). This notion of place and space is explored in The Messner Mountain Museum, designed by Zaha Hadid (as seen in figure 12). Situated on the summit plateau of Kronplatz, between the Dolomites and the Central Swiss Alps, this monumental structure is the sixth and final creation of a network of museums dedicated to the accomplishments of Reinhold Messner and the 250 years of progress in the origin and achievements of mountaineering (Frearson 2015). Primarily, the location of this significant landmark evokes and offers instantly the experience of mountaineering. As discussed in Chapter 1, the concept of place is linked directly to how design and architecture understand the body in place as a knowing subject. The placement of this museum design intentionally delivers a spatial experience that is mediated through the place of the lived body within the given space (Edginton 2010). Moreover, Hadid designed this building to be slightly hidden underground and only emerge at certain points that offer specific views (as seen in figure 13). The interior architectural form of the building has been cautiously planned and designed to provide visitors of the museum with a tailored experience that mimics the physical architectural phenomena of descending into the mountain “to explore its caverns and grottos” (Frearson 2015). This experience is tacitly engaged with utilising our movement in space and

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placement of the body in certain interior settings that offer perceptual experience and sensation. The aim of this phenomenal encounter is to heighten awareness of the body in order to amplify the “use of the self” (Gelb 1990) (Shusterman 2008). Three large interior volumes of curved forms made from glass-reinforced fibre concrete peak through the landscape (as seen in figure 14). Ultimately it is these spaces of architectural form that create the experience of mountaineering or the memory of what it feels like to be on a mountain overlooking spectacular “panoramic views from Zillertal Alps in the north to the Dolomites and South Tyrol,” Zaha Hadid explains (Frearson 2015). The choice of cast concrete as the main material element has been utilised throughout the entire structure to form a relationship with the natural surrounding environment, while also giving the appearance of a mountain rock, complimenting the geology of the region. Additionally, glass-reinforced fibre concrete delivers a pale grey tone to the appearance of the exterior surface while internally the panels become darker (as seen in figure 15). As a result, the experience of the interior space is to furnish a lustre tone of darkened grey similar to anthracite coal buried underground (Frearson 2015). The sensorial physicality of the interior space with the concrete materials and shades of light and dark areas heightens the complete experience. Inside, the staircases leading to the three levels of galleries and exhibition spaces are designed “to resemble waterfalls cascading down a mountain” (Soo 2015).

Highlighting the experience of mountaineering and the significant achievements of the lives of mountain climbers, the museum is centred around the tactile sensitivity of the mountain landscape and textures while featuring a collection of objects, photographs and tools from MR Messner’s life as a mountaineer (Soo 2015). The design of the museum with its architectural form and materiality amplifies our consciousness and experience of place and space.

Each architect has designed contemporary museum spaces that engage with the study of phenomenology and sensorial experience. Similarly, between Libeskind’s Jewish Museum Berlin, Ando’s Chichu Art Museum and Hadid’s Messner Mountain Museum is the material colour palette.

All three significant landmarks employ tones of grey, charcoal and white throughout the exterior and interior of the building for the purpose of designing experience of a particular architectural motive and to create a sense of cohesion throughout the exhibition spaces. Additionally, how these materials are utilised in responding to our bodily senses is explored in each museum space to stimulate the consciousness of the audience through direct experience in space. Furthermore, Both Libeskind and Ando utilise voids to bring in natural light into the interior spaces while portraying singular phenomenal encounter. Through embodied sensation, the architectural form, materiality and journey throughout each museum space creates a memorable and evocative experience for its visitors.

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Conclusion Through this dissertation, the theory concerned with sensorial experience in relation to phenomenology and contemporary museum spaces of the 21st Century was explored and analysed.

The origin and history of phenomenology established the contextual framework in the first chapter, exploring how sensorial engagement in interior architecture has the ability to stimulate the consciousness of the audience through direct experience in space. The first phenomenological principal recognised by Husserl was that consciousness is characterised by intentionality (Husserl 1982), exploring the ways in which perceptual consciousnesses is the result of an intentional object stimulating certain phenomenal experiences. Extending on this phenomenological philosophy, Martin Heidegger presented the second philosophical principal, illustrating the basic ontological analysis of human existence in relation to our pragmatic use of the physical environment (Heidegger 1988).

Maurice Merleau-Ponty further explores the third philosophical principal, that phenomenology is the advent of embodied cognition (Merleau-Ponty 1962). Following this linage, contemporary philosopher Shaun Gallagher argues that Phenomenology is initiated through the experience of a firstperson approach, concerned with understanding how this experience is stimulated in terms of the meaning it has for the subject (Gallagher 2012). Through the philosophical study of phenomenology, the contextual framework of sensorial design is established and further explored through an in-depth discussion of architects Juhani Pallasmaa (1994) and Steven Holl (1994) in the second chapter, examining the notion of sensation and impression with the physical phenomena of architecture.

Embracing the shift from modernistic approaches to contemporary understanding of the role of the senses in human experience (Witcomb 2015) (Levent & Pascula-Leone 2014), contemporary museum spaces of the 21st century are transcending the mere function of a repository space of ancient artefacts.

As a result, the function of exhibitions spaces is to craft an atmospheric sensitised encounter with the works, themes, and information on display (Levent 2014). This is further explored through an examination of three significant museum landmarks. Investigating the Jewish Museum in Berlin, Germany, designed by Daniel Libeskind, that intentionally creates an architectural form that captures a homage of the triumphs and tribulations of a devastating historical epoch (Libeskind 1992). The Chichu Art Museum, Japan, designed by Tadao Ando, enhances the scent of the earth and the textures of an underground space through the tactile sensations in its use of materiality and light, impacting the complete spatial experience of architectural phenomena. The Messner Mountain Museum Corones, Italy, designed by Zaha Hadid, amplifies our consciousness and experience of place and space by creating a journey of mountaineering and commemorating its significant achievement (Wright 2015).

The similar use of architectural forms and materiality of each museum building engages with the concept of phenomenology and sensorial experience, designing a memorable and evocative experience that compliments the intended architectural motive.

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Chapter Three Appendix: Illustrations

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Figure 1: Zigzagging Structure of the Jewish Museum Berlin, Studio Libeskind, 2019, online. [accessed 06.06.19, retrieved from: https://libeskind.com/work/jewish-museum-berlin/]

Figure 2: Oblique stone floor pervading a long hallway, Studio Libeskind, 2019, online. [accessed 06.06.19, retrieved from: https://libeskind.com/work/jewishmuseum-berlin/]

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Figure 3: The Holocaust Tower, Studio Libeskind, 2019, online. [accessed 06.06.19, retrieved from: https://libeskind.com/work/jewish-museum-berlin/]

Figure 4: The Memory Void, Studio Libeskind, 2019, online. [accessed 06.06.19, retrieved from: https://libeskind.com/work/jewish-museum-berlin/]

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Figure 5: Garden of Exile and Emigration, Studio Libeskind, 2019, online. [accessed 06.06.19, retrieved from: https://libeskind.com/work/jewish-museum-berlin/]

Figure 6: Void Roof Opening, Studio Libeskind, 2019, online. [accessed 06.06.19, retrieved from: https://libeskind.com/work/jewish-museum-berlin/]

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Figure 7: The Chichu Art Museum overlooking Japan’s Inland Sea, Tadao Ando, 2019, Iwan Ban Photography, online, [accessed 06.06.19, retrieved from: https://iwan.com/portfolio/chichu-art-museum-tadaoando-naoshima/]

Figure 8: The Chichu Art Museum light and dark spaces, Tadao Ando, 2019, Iwan Ban Photography, online, [accessed 06.06.19, retrieved from: https://iwan.com/portfolio/chichu-art-museum-tadao-ando-naoshima/]

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Figure 9: The Chichu Art Museum ramped walkway, Tadao Ando, 2019, Iwan Ban Photography, online, [accessed 06.06.19, retrieved from: https://iwan.com/portfolio/chichu-art-museum-tadao-ando-naoshima/]

Figure 10: The Chichu Art Museum Courtyard, Tadao Ando, 2019, Iwan Ban Photography, online, [accessed 06.06.19, retrieved from: https://iwan.com/portfolio/chichu-art-museum-tadao-ando-naoshima/]

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Figure 11: The Chichu Art Museum Materiality, Tadao Ando, 2019, Iwan Ban Photography, online, [accessed 06.06.19, retrieved from: https://iwan.com/portfolio/chichu-art-museumtadao-ando-naoshima/]

Figure 12: Messner Mountain Museum, Zaha Hadid, Photograph by Wist Haler, 2019, online, [accessed 06.06.19, retrieved from: https://www.dezeen.com/2015/07/29/zaha-hadid-buried-reinhold-messner-mountain-museum30 corones-peak-alpine-mountain-alps-kronplatz-south-tyrol/]

Phenomenology: Stimulation of Sensorial Design Experience in Contemporary Museum Spaces of the 21st Century | Maral Madanimelak

Figure 13: Specific Views, Messner Mountain Museum, Zaha Hadid, Photograph by inexhibit.com, 2019, online, [accessed 06.06.19, retrieved from: https://www.dezeen.com/2015/07/29/zaha-hadid-buried-reinhold-messnermountain-museum-corones-peak-alpine-mountain-alps-kronplatz-south-tyrol/]

Figure 14: Curved forms made from glass-reinforced fibre concrete, Messner Mountain Museum, Zaha Hadid, Photograph by Werner Huthmacher, 2019, online, [accessed 06.06.19, retrieved from: https://www.dezeen.com/2015/07/29/zaha-hadid-buried-reinhold-messner-mountain-museum-corones-peakalpine-mountain-alps-kronplatz-south-tyrol/]

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Figure 15: Interior Materiality, Messner Mountain Museum, Zaha Hadid, Photograph by Werner Huthmacher, 2019, online, [accessed 06.06.19, retrieved from: https://www.dezeen.com/2015/07/29/zaha-hadid-buried-reinholdmessner-mountain-museum-corones-peak-alpine-mountain-alps-kronplatz-south-tyrol/]

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