Resonance of Place by Jonathan Brooks

The Resonance of Place

By Jonathan Brooks

The Resonance of Place (The interrelation of phenomenological and palimpsestic architecture and its resonance within the flexible dwelling.)

‘Architecture is essentially an extension of nature into the man-made realm...It’s not an isolated and self-sufficient artifact; it directs our attention and existential experience to wider horizons’1 Pallasmaa,J.

Abstract

By challenging thought process and the execution of architectural practice within a phenomenological way of thinking allows a ‘return to things’2(Norberg-Schulz,1980). A shift from ‘abstract, meaningless constructions, or aesthetic compositions... [to] extensions and shelters of our bodies, memories, identities and mind.’3(Pallasmaa,2009) The realignment of a deeper understanding within our changing environments and the re-stirring of principal instinctive elements of architecture which will continue to add meaning and purpose to the buildings which surround us. These primal instincts are fundamental values and have been innate to humans since the beginning of their existence. A sense of belonging, attachment and shelter.(Murray,19384 and Maslow, 19875) The text itself examines the interrelation between phenomenological and palimpsestic approaches towards architecture and their ability to instill a sense of being within the domain of the dweller. A document which may be used to explore architectural, environmental and social issues. The framework of the discussion is set through the establishment of what is meant by phenomenology. The text presents two significant assumptions about this theme. (1) That human existence is indivisible from the spatial worlds they inhabit6,7 (MerleauPonty,1964 and Seamon,1993), (2) the dwellers domain is pertinent to its occupier and does not play an all-encompassing role8 (Heidegger,1971 cited in Krell 1993). The dissertation uses a combination of methodologies and modes of study; first-person phenomenological research; existential-phenomenological research.

In summary the text concludes by reaffirming the importance of sensitivity towards our environments. An attempt to question the relationship between human perception and with the world around. Drawing on the sensory aspects and the direct experience of the user; â&#x20AC;&#x2DC;our bodies and our movement are in constant dialogue with our buildingsâ&#x20AC;&#x2122;9(Moore and Bloomer, 1977) encouraging its inhabitants to meet with architecture on all levels of sensory engagement. The need for this dialogue is still as important as once was and engages on every level of the human psyche, through the senses, body, and consciousness. On an osmotic level. It is in this dialogue and mutual acceptance that common ground can be struck between person and place.

1. Pallasmaa,J., Eyes of the Skin: Architecture and the Senses, Cornwall: A John Wiley and Sons, Ltd., Publication,2012, p.44. 2. Norberg-Schulz,C., Genius Loci: Towards a Phenomenology of Architecture, New edn, New York:Rizzoli International Publications, 1980 3. Pallasmaa,J. The Thinking Hand: Existential and Embodied Wisdom in Architecture, West Sussex: John Wiley & Sons Ltd., 2009, p.117. 4. Murry,H., Explorations in Personality (New York,1938) cited in Hilgard,E., Atkinson,R.,Atkinson,R., Introducton to Psychology:human motivation, Chicago:Harcourt Brace Jovanovich, Inc.,1971, p.316. 5. Maslow,A., Motivation and Personality, New York:Harper & Row publishers,1987. 6. Merleau-Ponty,M., Sense and Non-Sense Evanston:Northwestern University Press,1964. 7. Seamon,D., (ed) Dwelling, Seeing, and designing toward a phenomenological ecology, Albany: State University of New York Press,1993. 8. Heidegger,M., Building Dwelling Thinking in Krell,D., Basic Writings:Martin Heidegger, New York: Harper Perennial, 2008. 9. Moore,C., Bloomer,K., Yudell,R., Body, Memory, Architecture New Haven: New Haven and London Yale University Press1977, p.57.

Contents

Introduction Phenomenology Flexible Dwelling Palimpsest of Architecture

1-10 3-4 5-6 7-8

Sustainable Environments

11-18

Embodiment of Architecture

19-24

Place Experience

25-32

Migration of Place

33-38

Architectureâ&#x20AC;&#x2122;s Voice

39-42

Conclusion

43-48

List of References

49-52

Bibliography

53-54

Image Plates

55-56

Introduction

In today’s society people are constantly striving for convenience in our ever increasing busy lifestyles. Marc Auge in his book ‘Non Places’ writes ‘Beyond the heavy emphasis placed today on the individual reference... the individualisation of reference, attention should really be given to factors of singularity: the singularity of objects, of groups or memberships, the reconstruction of places...’10. Although Auge is specifically refering to the study of anthropology, parrellels can be drawn into the area of architecture and modern living. With an increased focus on the individual comes a further reliance on flexibility, functionality and practicality, humankind aims to achieve a healthy and secure way of living; whether as individuals or as collective societies. Furthermore, alongside the increase in lifestyles, technological advances go hand in hand with a convenient flexible way of living. With these changes comes a shift in human perception. A move away from sensory engagement to a purely visual connection11. This has led to an urban dislocation of the senses. Is it therefore possible to see a realignment of the senses and a retuning to the environments surrounding?12. To answer the essay question in its entirety it is logical to look at the meaning and terminology of the question itself. What is meant by phenomenology, flexible dwelling and palimpsestic architecture.

Fig.1.

Phenomenology David Seamon states, ‘Phenomenology has been one of the most productive and inspirational arenas of thinking in the discourse of contemporary architecture since the 1960s.12’ Phenomenology, a philosophical science spanning well over a century starting with its founder by Edmund Husserl in the early 1900‘s and being discussed to the present day with many architects exploring buildings in an experiential way. The subject of phenomenology has been widely discussed, expanded upon and altered throughout the past few decades in which many philosophers, architects and other schools of thought have taken ideas into their own professional fields. Areas such as psychology, archeology and physics have all used the study of phenomenology to gain a better understanding of their chosen field. The Oxford dictionary definition of phenomenology, is defined as a ‘mass noun’ and a ‘philosophical science’. In which it’s stated as the ‘science of phenomena as distinct from that of the nature of being. An approach that concentrates on the study of consciousness and the objects of direct experience’14.The way that our minds and bodies respond to space, light, texture, color, and other architectural fundamentals. When applied in relation to space within design or architecture it draws on the sensory aspects and direct experiences of the user. Phenomenology predates itself, and is part of our ‘innate Dasien; our human existence’15. Heidegger argues that it is an instinctive desire toward a sensory experience, relationships and space. The French phenomenological philosopher Marice Marleau-Ponty perceives architecture as the ‘essence of the world’16. He takes an existential view of phenomenology and believes the world and the human body are not separate entities but are intertwined and mutually ‘engaged’ with each other. ‘My perception is [therefore] not a sum of visual, tactile, and audible givens: I perceive ... with my whole being: I grasp a unique structure of the thing, a unique way of being, which speaks to all my senses at once’17. An idea which cannot so much be defined or written but experienced on the most personal level. Norberg-Shulz believes phenomenology can be seen as ‘a return to things as apposed to abstractions and mental constructions’18. Man meeting place on a sensory level. To visualise the spirit of space. Branko Mitrovic speaks of his theory.‘Norberg-Schulz argues that perception is inseparable from our preexisting knowledge about the things we perceive.19 It is in this perception and preexisting knowledge about space that it becomes possible to unlock the secrets that lay hidden within architecture.

Fig.2.

Flexible Dwelling One can assume from the English definition the term to dwell means, ‘to live as a permanent resident’20 through this definition a one can assume that dwelling is an unmoveable permanent state of being and therefore cannot be flexible or moved. Through Martin Heidegger’s essay entitled ‘Building, Dwelling, Thinking’ The etymology of the word dwelling, can be translated much closer to ‘Nachgebauer’; near-dweller; or ‘neighbour’ through its Germanic roots21. Again this can be traced further to ‘Baun’ or ‘bauen’; to build22. This would suggest that Baun not only tells us that bauen is to build but is really to dwell. This definition of dwelling immerses itself much deeper than the traditional sense of to dwell; something which is much more instinctive and experiential. Heidegger reveals a contrasting idea behind this term. ‘Still, not every building is a dwelling. Bridges and hangars, stadiums and power stations are buildings but not dwellings; railway stations and highways, dams and market halls are built, but they are not dwelling places. Even so, these buildings are in the domain of our dwelling. That domain extends over these buildings and yet is not limited to the dwelling place.’23 Heidegger,M. Heidegger goes on to discuss how one person’s dwelling place can be found where they work, play, learn or take refuge, a building that ‘cultivates’24 the mind and body. Examples of this can been seen in many cultures throughout the world. Certain European and Eastern global cultures are known to uproot ‘shelter’ and travel hundred’s of miles to settle elsewhere. Evidence of this can be found in Nomad or Tribal cultures, where a place of dwelling does not reside through their location but through the sense of community, relationship and belonging they share25. Further verification can be seen within more urban contexts and in time of warfare throughout Europe during WWII. When on a national scale, entire communities were uprooted and dispersed across neighbouring lands out of no choice of their own. The idea that we do not necessarily have a single place of dwelling but an entire domain of dwelling which can be shared on a collective level is a fascinating one to explore. Dwelling becomes multifaceted and becomes much more than pure materiality of walls, floors and ceilings. Moore et al states that ‘The interplay between the world of our bodies and the world of our dwelling places is always in flux’26. In this present context in which society finds itself, a state of flexibility and convenience has been integrated into our daily experience. Domains which constantly develop and expand intune with the development of the individuals living inside. Shifts within economy and political stability can see entire communities fluctuate and move27(Burdett et al,2009). Changes within architecture and design bend and mould to encompass these changes worldwide from the construction (on a local level) of a Yurt to creation of entire cities (national scale).

Fig.3.

Palimpsest of Architecture The true meaning of Palimpsest is far less concrete. It talks about a trace of the past and the reworking of the present. Although definitions are given they more than often refer to its origin and academic values. From the English definition it is possible to learn that palimpsest is ‘a parchment or tablet, reused after earlier writing has been erased.’28An understanding of history and an re-appropriation of its context into a new form. If this definition then goes beyond literature and into the built environment it is logical to assume a deeper level of architectural richness can be accomplished. In terms of the built environment, palimpsest denotes ‘the accumulated iterations of a site or design, evident in literal layers of archaeological remains, or by the figurative accumulation and reinforcement of design ideas over time’29. This particular area of thought within architecture captures what has been in a present state. A process that attempts to bind both history, time and place into a visble or metaphorical form. The Architect and theorist Rodolfo Machado speaks of a palimpsestic approach toward architecture as a form of refunctionalising space. ‘When the alterations in the building’s content are of such a type that the buildings original or latest function is changed; then the building is refunctionalised, a different story is born, a new plot is composed out of the old words, a new interpretation has taken place’30. Instead of treating historic buildings as dusty museum spaces of stagnant memories, the process of sensitively refunctionalising a building has the opportunity for buildings to be reborn in society. An era which strives for sustainability, improving living, while utilising modern techniques and technologies to do so. It has always been in human interest to strive and develop society in which they live in. With these design successes and developments also comes a consciousness of past design failures. Projects of which are memorable in the now objective and critical eye of the neo-modernist designer. From the development of the Bauhaus to the rise of Postmodernism, design, like politics, global economics and technology have shaped the world in which we live in today. It is in a holistic approach that architecture has a chance of becoming more than an art piece and facilitates not only the physical needs of the individual but also the psychological needs of a collective.

Fig.4.

10. Auge,M., Non-Places an introduction to supermodernity, London: Verso, 2006, p.32. 11.Almost like the world is moving too fast for its inhabitants to keep up.The desensitivity of information with the increase of technological advancement. 12. providing there was a time we were ever truly intune with the world around us. 13. Seamon,D.,(ed), ‘phenomenology and architecture’ [online] www.worldarchitecture.org/theory-issues/ppe/ phenomenology-and-architecture-architecture-theory-issues-pages.html [2nd November 2012] 14. Pearsall,J.,(ed) ‘phenomenology’ [online] www.oxforddictionaries.com/definition/english/phenomenology [2nd November 2012] 15. Heidegger,M.,Being and Time London: Blackwell Publishing,1962. 16. Merleau-Ponty,M., Sense and Non-Sense, Evanston:Northwestern University Press,1964. 17. Merleau-Ponty,1964, p18. 18. Norberg-Schulz,C., Genius Loci: Towards a Phenomenology of Architecture, New edn New York:Rizzoli International Publications,1980 19. Mitrović,B., Philosophy for Architects, New York: Princeton Architectural Press,2011, p.138. 20. Anderson,S, et al.,(eds) Collins Dictionary and Thesaurus, desktop edn,Gloucester: HarperCollins Publishers Limited,2005, p.257. 21. Heidegger,M., Building Dwelling Thinking,trans Hoffstader,A. [online] http://faculty.arch.utah.edu/ miller/4270heidegger.pdf, [18th November 2012] p.2.,1993. 22. Heidegger, 1993, p.2. 23. Heidegger,1993, p.1. 24. Heidegger,1993, p.2. 25.BBC Earth Human Planet, Desert, DVD, Tuppence Stone. 2 Entertain Video Ltd.,2011 26. Moore,C., Bloomer,K., Yudell,R., Body, Memory, Architecture, New Haven: New Haven and London Yale University Press,1977, p.57. 27. Burdett,R., et al,. Norman Foster Drawings 1958-2008 Debates London:Ivorypress Architecture,2010, pp.58-97. 28. R,Allen.,(ed) The Penguin English Dictionary Third Edition, London:Penguin Group, 2007, p.920 29. Foxley,A.,Distance & Engagement, Walking, Thinking and Making Landscape:Lars Muller Publishers, ,p.281. 30. Machado,R,. Old buildings as palimpsest, Stamford: Progressive Architecture, 1969, p.27.

Sustainable Environments

‘The ”environment” in architecture has come to mean heat loss calculations and the amount of energy that is embodied in the material production of buildings. In a world of diminishing resources, these are certainly important issues, but this definition is too narrow’31 Adam Caruso questions the necessity of new constructions in the ‘cultivation’ of urban projects. He was interested in the relevance of existing spaces and the sensory aspects they hold and not solely on materiality. This view explores the juxtaposition of the physical and phenomenological realms of architecture. Rather than the creation of new buildings, ‘[Architect and theorist] Cedric Price long argued for the demolition of obsolete buildings that have outlived their usefulness’32. He made a career out of revisiting disfunctional misused spaces and injected a sense of meaning into them. Obsolete buildings have come to mean those which are not aesthetically pleasing or those which are disused. Concepts commonly used in art have been left out. Price establishes, ‘Art practice has long recognised the emotional capacity held within the world of things, and has adopted a suitably expanded definition of the environment. Architecture, which profoundly and irrevocably engages the world around us, has not.’33 Lecturer and architect Fred Scott believes the obsolesce of architecture is linked within its functionality. ‘The residual idea of functionalism is probably that which envisages buildings as purposeful in achieving social progress...’ a building which has a noticeable affect on its inhabitants or guests,’...and consequently becoming obsolete once the stated purpose has been achieved: that is, prisons would be demolished and mental hospitals closed once their inmates were returned to sanity.’34Scott goes on to comment that buildings in human terms are better described through

schemes and ‘rituals of occupation’.35 and therefore by understanding this occupation buildings can become more sustainable in time. He continues by explaining, because of this description precise functionality of buildings is hard to precisely identify. Human patterns and tendencies shift rapidly from one motion to another with sometimes little consideration. It is in these gentle changes of pattern in functionality which leads to architecture being considered obsolete. Instead of the functionality or materiality of a space Price was concerned with the sensory aspects of what a specific space has to offer in its journey to restoration. A restoration not specifically in physical terms but also in phenomenological way, to restore place and meaning. In many cases Price believed that to do nothing or very little with a site was at times the best solution. In 1991 he proposed plans for Hamburg’s City centre docklands. The ‘Ducklands’ time based project aimed to return the derelict industrial site into a semi-wild state and ‘become a much needed habitat for the city’s threatened flora and fauna.’36 This was intended as a temporary measure to make use of the site. Believing it is surely better to establish a meaningful temporary purpose to a location than to leave it abandoned for a long time. The shifting of function within architecture looks at the temporality and fragility of space and opens a flood gate of possibilities within urban settings. The built environment does not only facilitate function; temporarily as it may be; but also stands as a symbol of the people dwelling there and their attachments to the spaces. At the fall of the Berlin wall in 1989 many east German buildings where left abandoned and their original inhabitants gone; either leaving Berlin for good or relocating to the West for a better life. Numerous amounts of squatting followed, filling the majority of the East side of the city with new inhabitants. These new dwellings above all offered refuge and shelter. Often opened to the public the German buildings offered food, entertainment and a place for enriching culture within a community. An example of one of these locations was documented in The Observer by Molly Gunn. She documents the experience of a famous squatting building called Supamolly in Friedrichshain. Supamolly is in its third generation of occupancy and is now owned by its squatters. A German citizen comments,‘We used to be a squat, but now we technically own the building so it is more like a “living project”. [she goes on to add] It had been left empty by people fleeing the East, and so a group of 20 West Berliners came and squatted. The building was in disrepair, as was much of the East, so the government said we could have it in exchange for renovating.’37 These ‘living projects’ are a prime example of how people can use a space to add meaning and purpose to its surrounding area. A refunctionalisation of the space. Although in many cases considered ugly, the disused buildings offered more than a

Fig.5.

visceral spectacle. The living projects all around Berlin add the life and soul to their domains. The Observer article portrays that these buildings arenâ&#x20AC;&#x2122;t particularly well kept or maintained but its enrichment and cultivation comes from within.38 Reinforcing that materiality, process or new constructions are simply secondary to the relationships and interactions they hold. Norberg Shulz identifies phenomenology as the ability to make the environment meaningful within the creation of congenial places.39 These congenial environments are fundamental to sustainable living. Holding valuable relationships, history and social variety. Forming the essence of the place.

Juhani Pallasmaa speaks of the interrelation between person and place, ‘I dwell in the city and the city dwells in me’40.Its ability to connect with the senses to affirm an awareness of being and self. It is not only the dweller in an environment but also the environment as part of the dweller. Architecture does not force this connection but invites its occupier to identify with the spaces they find. This is reinforced by the statement, ‘Architecture does not make us inhabit worlds of mere fabrication and fantasy; it articulates the experience of our beingin-the-world and strengthens our sense of reality and self’.41By drawing a resolute conclusion that architecture can dictate emotions or prescribe cures like a surgeon or doctor would be naive. They act as a gateway to further explore human endeavor, like a vessel or vault. French philosopher Alain De Botton writes about architecture’s authority over the dweller, ‘Architecture may well possess moral messages; it simply has no power to enforce them. It offers suggestions instead of making laws. It invites, rather than orders, us to emulate its spirit and cannot prevent its own abuse.’42 To presume architecture or any space should remain unbiased or neutral is considered a lie in the eyes of the philosopher Theodor Adorno who Daniel Libeskind paraphrases. ‘...anyone who takes a neutral view of the Holocaust, who is able and willing to discuss it in statistical terms, is taking the position of the nazi’s.’43 [Libeskind draws on this by adding.] It’s a radical statement, but i think he was basically right.’44 By no means was Adorno or Libeskind comparing bad architecture on the same level to Nazi crime, but in principal of manipulating space on statistical whims and not on purpose or truth. The existence of place is not measurable in statistical terms, but encompasses basic and complex interactions between the human dweller and the context of the environment around them. He goes on to add, ‘If, in architecture, you neutralize the issue, if you find yourself focusing on numbers and “good taste,” then you are no longer participating in the truth.’45 Libeskind’s ideas and architecture reflect this, concentrating on risk taking while maintaining a level of sensitivity and journey through narrative spaces. Every part of Libeskind’s work exudes a sense of narrative and purpose, his focus is derived from giving place a justifiable intention. His harsh use of concrete and line can be seen in the oppressive, thought provoking spaces of the Jewish Museum. The spaces are not kind, they do not seek love or acceptance, they simply ‘invite’ the onlooker to feel. The use of materials and concepts within the garden of exile are testament to this. Expressing emotional uncertainty and discomfort. Libeskind’s use of uneven cobble stone and high-level concrete planters engulf the perceiver, making them feel unsure and fragile footed in the space. This in turn gives a sense of a narrative, history and a window into the feeling of those oppressed. It is not through the masking of a place that fulfillment is reached but through the experiential honesty and sensory qualities to be found within them.

Fig.6.

Fig.7.

31. Caruso,A.,The Feeling of Things, Barcelona:Ediciones Poligrafa, 2009, p.15. 32. Scott,F.,On Altering Architecture, New York:Routledge, 2008, p.4. 33. Caruso, 2009, p.15. 34. Scott, 2008, p.5. 35. Scott, 2008, p.5. 36. Caruso, 2009, p.16 37. Gunn,M., ‘Welcome to Berlin’s squat scene’ The Observer,[online],www.guardian.co.uk/travel/2009/jul/12/ berlin-squat-music-food-parties [9th January 2012] 38. Gunn, 2009, p.1. 39. Nesbitt,K.,(ed) Theorising a new agenda for Architecture an anthology of architectural theory 1965-1995, New York: Princeton Architectural Press,1996 40. Pallasmaa,J., Eyes of the Skin, Architecture and the Senses, Cornwall: A John Wiley and Sons, Ltd, Publication, 2012, p.44. 41. Pallasmaa, 2012, p.12. 42. De Botton,A., The Architecture of happiness, London: Penguin Group, 2006, p.20. 43. Adorno,T., cited in Libeskind.D., Breaking Ground An Immigrant’s Journey from Poland to Ground Zero, New York: Riverhead Books, 2004, p.82. 44. Libeskind, 2004, p.82. 45. Libeskind, 2004, p.82.

Embodiment of Architecture

Buildings are a constant reminder of inhabitation. Human kind’s mark on the landscape. They stand proud like books in a library, each having their own voice and stories to tell. They tower-over the busy streets of cities and relax on the borders of parks. With each building lives a new set of memories of life. Some are inviting, some remain defensive to those who are unwelcome. Over time they develop into personalities, friends, enemies or acquaintances. They become humanised. It is in this embodiment of architecture that connections are drawn between person and place. French philosopher Alain De Botton gives an example of the embodiment of architecture in the opening chapter of The Architecture of Happiness. ‘The house has grown into a knowledgeable witness. It has been party to early seductions, it has watched homework being written, it has observed swaddled babies freshly arrived from hospital, it has been surprised in the middle of the night by whispered conferences in the kitchen.’46 Botton goes on to describe the narrative of this building further building on a picture of the stories and lives which have dwelled within. Rather than treating a building as a static immoveable form the text creates the appearance of an embodied structure with human qualities. A building ‘[which] has provided not only physical but also psychological sanctuary’47.The humanisation of structure is also visible in the works of writer Gaston Bachelard.

‘The house was fighting gallantly. At first it gave voice to its complaints; the most awful gusts were attacking it from every side at once with evident hatred and such howls of rage that at times, I trembled with fear. But it stood firm... Everything swayed under the shock of this blow, but the flexible house stood up to the beat. No doubt it was holding firmly to the soil of the island by means of the unbreakable roots from which its thin walls of mud coated reeds and planks drew their supernatural strength.’48 Although the poetry would suggest a living building, the inanimate structure would suggest otherwise. The key understanding from this text is not the building being a living being itself but the anthropomorphic qualities which are attached to the object through the nature of the dweller. These in turn give the building life. It is in these anthropomorphic qualities that the dweller attaches themselves deeper within the space through memories and experiences throughout their lives. In the same way houses become haunted and hospitals unnerving, combinations of layers between history, memory and emotion become interrelated into a complex web of responses from which conclusions are drawn. ‘One reason we hate to go to the dentist is the scream of the drill; but the excessive glitter of glass and metal is equally intimidating.’49 In this case Japanese writer Junichiro Tanizaki is referring to common fear of the dentist in which he also links to an unconscious bond to the architectural material. Freud categorises this as part of the psychoanalysis theory. He argues the cure for this is where any memories which are damaging to progression should be liberated by bringing the unconscious into the conscious thought.50It is in the communication between our conscious and unconscious selves that architecture can also be better understood. Both architecture and psychoanalysis concern themselves with ‘the creation of permanent constructions, history and memories’51and therefore should be treated in much of the same way. Pallasmaa would argue that humans have become out of tune with their unconscious mind and far too much reliant on a visual world. ‘It is exactly the unconscious dimension of touch in vision that is disastrously neglected...our architecture may entice and amuse the eye but it does not provide a domicile for the touch of our bodies, memories and dreams.52 He describes today’s architecture as ‘visually biased’ and ‘hard-edged’53 Instead he believes our bodies should be considered central to our world not with ‘a central perspective but as the sole locus of reference,memory,imagination and integration’54Merleau-Ponty testifies to this by stating ‘our body is both an object among objects and that which sees and touches them.’55He was speaking about experiencing the world on an osmotic level. With one being; whole self; and not just on a visually biased plane. ‘My perception is“[therefore]” not a sum of visual, tactile and audible givens: I perceive in a total way with my whole being.’56 That the senses do not engage individually but simultaneously interact. The personification and experience of

architecture happens from the perceiver through their senses and not from the buildings themselves. The osmotic observer instills an emotional fingerprint onto the building or space they meet with. Attaching themselves in a complex layered effect. This emotional fingerprint contains both positive and/or negative bonds, both of which can be strengthened or weakened depending on the evolving present state within the individual. According to Marc Auge’s Non places, on an anthropological level this is described as ‘place memories.’57In this text Auge differentiates the meanings of place memories and history by clarifying ‘the inhabitant of an anthropological place does not make history; he lives it’.58 This is not only evidence to suggest history is very much part of the present but also distinguishes that the dweller has a deeper level of being and attachment to the building. By bringing a structure into an anthropomorphic state allows easier connections to be made between person and place. People identify with what they know and therefore distance themselves from things they do not. Through the characteristic development of place can see the development of character of the being. Pallasmaa states that, ‘Architecture develops existential and lived metaphors through space,structure,matter,gravity and light.’59By recognising these metaphors allows a return to sensory engagement. It is fitting that the architecture that we surround ourselves in develop their own metaphors and heightened states much like their inhabitants.

Fig.8.

46. De Botton,A., The Architecture of happiness, London: Penguin Group, 2006, p.10. 47. De Botton, 2006, p.10. 48. Blachelard,G,. The poetics of space, The Classic Look At How We Experience Intimate Places, Boston, Beacon Press, 1994, p.45. 49. Tanizaki,J., in praise of shadows,London: Vintage Books London, 2001, p.21. 50. Fromm,E., The Revision of Psychoanalysis, New york: Open Road Integrated Media, 2013, p.12-p.13. 51. Campbell,A., â&#x20AC;&#x2DC;Psychoanalysis of Architectureâ&#x20AC;&#x2122; Psycholanalysis and Space [online},Volume 1 Issue4 2008, 13 pages, Available: http://sydney.edu.au/sup/journals/haecceity/pdfs/4/Aisling_Campbell_introduction_final. pdf [accessed 20th Jan] 52. Pallasmaa,J. The Thinking Hand: Existential and Embodied Wisdom in Architecture, West Sussex: John Wiley & Sons Ltd., 2009, p.102. 53. Pallasmaa, 2009, p.102. 54. Pallasmaa, 2009, p.101. 55. Pallasmaa,J., Eyes of the Skin, Architecture and the Senses, Cornwall: A John Wiley and Sons, Ltd, Publication, 2012, p.23. 56. Merleau-Ponty,M.,The Film and the New Psychology, p.48 cited in Pallasmaa,2012, p.23. 57. Auge,M., Non-Places an introduction to supermodernity, London: Verso, 2006, p.45. 58. Auge, 2006, p.45. 59. Pallasmaa, 2009, p.115.

It is in the experience; dasien;60 human existence; can find refuge in places. Heidegger explored the definition of place and how place happens, not ‘through another etymological investigation...[but through a]...connection with his hypothetical bridge’.61

Place Experience

‘The [place] is not already there before the bridge is. Before the bridge stands, there are of course many spots along the stream that can be occupied by something. One of them proves to be a [place], and does so because of the bridge.’62 Heidegger’s understanding of place was fundamentally through the use and experience of the site. The ‘identification of place’ is the moment that dwelling is inscribed in place. When buildings are raised the site becomes more than just a location, it takes on a new form. Architect Tadao Ando views architecture as creating a new landscape and therefore building should coexist within the ideas of the world. Rather than offering aggressive line or texture to space as like Libeskind, Ando’s architecture embraces nature in an attempt to bring human existence back into harmony with their surroundings. This focus on unity, again manifests itself in the creation of place. Often framing or focussing on aspects of the surrounding site. This invitation is a bond, offered between user and environment rather than expressing a particular thought or emotion; reinforcing a ‘return to things’. His Japanese traditions help carve nature into the heart and soul of his works, from the use of sensitive materials, to subtle lines which mimic

Fig.9.

nature. Ando creates living spaces with a connection to sacred place. His Church of The Light being a prime example of this. The architect creates a literal sanctuary to the people of Ibaraki in Osaka in the form of a place of worship. A realignment of the inhabitant to outside or spiritual phenomena. ‘When describing this project, the architect refers to a “quest for the relation between light and shadow”, and for the need for a “shelter of the spirit”.’63 The building goes against natural tendencies when creating a church. The floor is downward sloping with its lowest point being the altar. A metaphorical relationship between the teacher and the taught. When asked the Reverend Karukome states this is symbolic to, ‘Jesus Christ, who came down to the lowest of us all.’64 An example of the depth and sensitivity the architect has when creating meaningful place. Ando would’ve gone further within his creation by preferring ‘to leave the glass out of the cross-shaped opening, allowing the wind to enter just as the light does.’ This however was deemed unacceptable by the Church. Although a minor alteration of building, the resulting environment would’ve allowed a further connection to the outside. Both physically and symbolically. Human’s unwillingness to cooperate with its surroundings pertains to the idea of an unaligned society and reaffirms earlier discussions on osmotic awareness. ‘Buildings...are extensions and shelters of our bodies,memories,identity and mind.’65

Fig.10.

Fig.11

In a similar way as Tadao Ando, the works of Peter Zumthor concentrates on the sensory involvement between user and environment. With tactile materials and the creation of atmosphere Zumthor’s work explores the connections and relationships between site, space and person. Hotel Therme, in Vals, Switzerland where Zumthor’s is a superb example of the use of minimalist, tactile materials creating a relaxing ambient to the inhabitant’s body and mind. The design stems from this relationship of the surrounding site making the building both pertinent and meaningful. Mythology and symbolism are both present within the material significance and layout of the spa. Resources locally discovered in or around the site add an extra layer of coherence within the design scheme. Creating a return to the natural origins of spas and purity. The building finds itself embraced by the mountain which merely adds further to the atmosphere of the space. Zumthor’s preoccupation with the word atmosphere ‘suggests his concern to work outward from imagined experiences.’66 These relate to his own memories of past in which he arranges into architectural form. ‘Only once the qualities of prospective place emerge...is building construction configured around them.’67 It is in these understandings of place and design details that the space becomes atmospheric and develops a life of its’ own. Zumthor explicably states that ‘the details establish the formal rhythm, the building’s finely fractionated scale...They do not distract or entertain. They lead to an understanding of the whole of which they are an inherent part’68 A strong instrument of both architects discussed is within their use of light. Natural tendencies of light are harnessed in a way in which corresponds to the each individual space. It is the place of the architect to the use these natural sources accordingly to help form worthwhile atmospheres. ‘Light; as an example; has a fundamental and critical effect on our body and mind.’69 Therefore to use light as a tool in such a way to relax and calm the user would not only fulfill the purpose of a spa but also enrich the person who uses it. Caruso writes, ‘There is in this country an orthodoxy that says every interior must be flooded with light. [On the contrary] ...an interior should be about a range of brighter areas near the window, darker places away from the window and towards the corners.’70 Caruso’s point on light is relevant in the context of today’s society where numerous tower blocks are flooded with artificial light and the essence and form of buildings are lost.Tanizaki view expands this by stating, ‘[In architecture] by cutting off the light...[from]...empty space they imparted to the world of shadows that formed there a quality of mystery and depth superior to that of any wall painting or ornament.’71 Architect Rem Koolhas summarises, ‘Interiors accommodate compositions of program and activity that change constantly and independently of each other.’72 With that change comes flexibility. Like the functionality itself the use of material and light should be offered sensitively.

Fig.12.

Treating spaces not as stagnant pools of inhabitation but ever changing living beings. Design is powerful and changing, it is the position of human beings to then respond with a space, both working in harmony and not against.

59. Pallasmaa,J. The Thinking Hand: Existential and Embodied Wisdom in Architecture, West Sussex: John Wiley & Sons Ltd., 2009, p.115. 60. Inwood,M., Heidegger, A Very Short Introduction, Oxford:Oxford University Press, 1997, p.22. 61. Sharr,A., Thinkers For Architects, Heidegger for Architects, New York: Routledge, 2007, p.52. 62. Sharr, 2007, p.53. 63. Jodidio,P., ANDO, Complete Works 1975-2012, China:Taschen, 2012, p.127. 64. Ando,T., cited in Jodidio, 2012, p.127. 65. Pallasmaa, 2009, p.117. 66. Sharr,2007, p.95. 67. Sharr,2007, p.95. 68. Peter Zumthor Thinking Architecture(Basel, 2006), cited in Spankie.R., Basics Interior Architecture, Drawing out the interior, Switzerland: AVA Publishing SA, 2009, p.81. 69.Adjay,A., Homeâ&#x20AC;&#x2DC;The Secret Life Of Buildingsâ&#x20AC;&#x2122;, ch4, 01 August 2011, Television, approx. 45mins 70. Caruso,A., cited in Spankie, 2009, p.101. 71. Tanizaki,J., cited in Spankie, 2009, p.127. 72. Rem Koolhaas SMLXL(Rotterdam, 1995)cited in Spankie, 2009, p.35.

Migration and Place

In recent years society has seen a large increase of inward migration from rural surroundings into highly populated urban areas.73 The majority of these migrations are due to the prospects of employment and economic enrichment. They can also be influenced by the stability of politics and the breakdown of societies. Migration is both visible on a national as well as international scale with immigration to countries with major cities with high density or economic stability; America, China, Germany and so forth. With these social migrations comes the displacement and reestablishment of belonging. A process which sees an individual or collective uproot and move. In a physical sense Norman Foster responds to this global data by creating sustainable living environments. Although sustainable modern architecture can sometimes fall short of its true potential. It lacks the acknowledgment of the nature of dweller. Although this may be true for some architects, Foster’s over arching aim lies within making the world communicate better to for a greater place to live. ‘My mission is to create a structure that is sensitive to the culture and climate of its place.’74 Foster means that a city which is focused on sustainability while remaining an integral piece of society, integrating parks, buildings and vital facilities creates better areas of living with economical issues kept in mind. The architect’s immense project of Masdar City in Abu Dhabi shows an insight into the creation of an integrated city. ‘This is predominately a walking and cycling city with a new Personal Rapid Transport system...This public transport system is

Fig.13.

located underneath the city...Light railway passengers will have access to sophisticated information systems.’75 The city will be one of the most technologically integrated with use of high-tech systems and a complex web of utilities and infrastructure. The importance of communication is unmissable yet falls short of the vital connections between the dwelling and dweller. Caruso reinforces, ‘architecture seems to be increasingly preoccupied with inventing new systems of abstractions and complexity. This kind of complexity is impoverished when compared to the complexity of the world around us, and misses the opportunity to engage with the powerful web of emotions and expectations, of meaning that underlies reality.’76 Foster claims, ‘To help ensure [livability] we can simulate the environment in our in-house virtual reality room, which allows us to experience the space in three dimensions.’77This is unfortunately further evidence on today’s reliance on technology and visual schemes.78

Although Foster may lack phenomenological feasibility, his focus on a greener society was not far from a deeper architectural truth. His agenda provides a city with buildings which are sustainable but also an integrated part of society in which transport is either unnecessary or economical. This although successful in managing patterns of economics doesn’t concern itself with a deeper ‘green agenda’.79 A hybridisation of practicality and experience. In the same way a greener society has an impact on better cleaner cities, so is true when considering a greener society in psychological terms. These need not to function like fine-tuned technological systems; fully integrated without fault, but flexible understanding of dwelling and space. It was Scott who writes, ‘all buildings are in an imperfect state, they are made of reflections of a model, which has generic status, and of particularities, or peculiarities.’80 Like buildings their inhabitants share imperfection. Parts of society are bound to collapse and respond to social changes. Like the ritualistic functionality of a singular space, cities and towns should be breathable living beings. Paul Knox writes about Le Marais a district in Paris which is a prime testament to the change of environments. ‘The landscape of Marais is a product of centuries of layered development. Initially the site of horticultural gardens...[later becoming] prime as an elite residential area... [until] Marais gradually deteriorated.’81Throughout its experience of place Marais has suffered highs and lows of both wealth and poverty. It was ‘spared the radical surgery of Baron Hausmann’s modernization schemes...[and therefore] retained much of its medieval and Renaissance fabric.’ Unfortunately WWII saw it slip back into a slums poverty. Because of its diverse past and historic preservation Marais saw an increase in investment and gentrification. It is now very much part of the mainstream of Paris. It offers rich cultural history, diversity and above all a strong sense of place for its predominantly gay and jewish community. ‘It did not take long for the historic legacy of the district, along with bistros, delicatessens and boutiques, to appear on tourists’ itineraries. [Knox goes on to establish] Today Marais is at once a destination of international standing.’82 We dwell in ourselves as much as the buildings around us.83The true agenda expressed in many undercurrents of towns and cities. An honest voice of society irrelevant of where it shifts. In turn this honesty respects and includes emotive passageways and narratives that can enrich society further. The feeling and memories people have of place do not lie within material objects themselves but the narratives connected to them. Stefan Behling; a senior partner to Foster; believes,‘to achieve a sustainable way of existing [and or] living, we must work at all levels and scales and with both traditional and new technology (small,medium,large).’84Like Foster, Behling was not far from truth. By challenging the use of the word sustainable and proposing a deeper level of sustainability attached to place as previously developed Behling

summarises the hybridisation between person and architecture. Irrelevant of the scale architecture must engage with the people experiencing it.

Fig.14.

Human belonging lies further into the existential phenomena of the living experience and not just in the realms of a greener world. Engineers of space should constantly be challenging architecture on a level of whole-being which transcends preconceived social ideas or opinions of place. If for example each material is banked and treated as an access point of memory with a sensitivity and awareness rather than in its material cost or gain then what one creates is no longer building blocks of an individual building, city, or structure but building blocks for relationship, interaction and purpose. Giving architects and designers the responsibility of not only creativity but also of psychology and other phenomena. Spaces within these contexts can be linked to sacred architecture; as previously touched upon; where collective ideals are housed. Whether they be in religious buildings or environments where the experiencing person has a sacred grasp over the space. Todayâ&#x20AC;&#x2122;s society suggest these sacred spaces could be as spaces such as theatreâ&#x20AC;&#x2122;s, galleries, museums, libraries, archives or a single place of sanctuary.

73. Burdett,R., et al,. Norman Foster Drawings 1958-2008 Debates London:Ivorypress Architecture,2010, p.5960. 74. Norman Foster’s green agenda ‘TALKS, TED PARTNER SERIES’ ,ted.com, March 2008,[online] Available:http://www.ted.com/talks/norman_foster_s_green_agenda.html [accessed november 2012] 75. Behling,S., et al,. Norman Foster Drawings 1958-2008 Debates London:Ivorypress Architecture,2010, p.127. 76. Caruso,A., The Feeling of Things, Barcelona:Ediciones Poligrafa, 2009, p.43. 77. Behling, 2010, p.127 78. ‘Experience’ is so much more than visual and audible responses from a digital process. 79.Norman Foster’s green agenda ‘TALKS, TED PARTNER SERIES’ ,ted.com, March 2008, 32mins 80. Scott,F.,On Altering Architecture, New York:Routledge, 2008, p.167. 81. Knox,P., International Case Studies of Urban Change, Palimpsests: Biographies of 50 City Districts, Basel:Birkhauser, 2012, p.164. 82. Knox, 2012, p.169. 83. Pallasmaa,J., Eyes of the Skin: Architecture and the Senses, Cornwall: A John Wiley and Sons, Ltd., Publication,2012, p.44. 84. Behling, 2010, 115

De Botton writes, ‘The failure of architects to create congenial environments mirrors our inability to find happiness in other areas of our lives. Bad architecture is in the end as much as a failure of psychology as of design’85

Architecture’s Voice

The quote demonstrates that architecture in many ways should be treated as a psychological tool, not to prescribe or cure but to offer advice and shelter on many levels of being. In this sense it relates previously to its links in psychoanalysis, suggesting the osmotic understanding of space is not just of the experiencing person but for the creators themselves. The idea that in someway architecture is a reflection of its maker is not an illogical one. In the same way a painting reflects an artist or a poem reflects its writer. The depth and meaning of a buildings is a physical projection of its architect. Therefore for architects, buildings can become an expression of identity. Andre Wogenscky86reinforces this. ‘When [artists] create, they are in a state of acute awareness. It is a mental state encompassing the entire potential of reason, but surpassing it.’87 He intensifies this by saying, ‘ It is a state above the rational. It is a state where we stop searching and we start finding.’88 Wogenscky then continues by venturing even further and deduces that if creative mind have enough drive...tightened by an immense desire, becomes the poetic state of their minds.’ Like art, architecture is experienced through opinion and how the work relates its subject; in a whole sense. Architecture is therefore subjective. It is logical to conclude from this, relationships89

between architecture and people are bound to develop on different journeys. ‘What attracts people to something? There’s no reason we are drawn to a flower, or a face, or the beauty of a particular landscape. Or even to something that isn’t pretty to look at-the ruins of an ancient temple, for example. Why does a particular city speak to us in a special way? And why do cities take root in particular spots?’90 Libeskind was interested in the voice of architecture and how spaces speak to people; especially himself. ‘What makes a place or building feel right? Its more than a human force at work. Maybe there is something divine involved, though that makes people nervous. But what ever you call it, I am not alone in feeling that much of what I do has to do with the invisible.’91 This suggests a higher authority over place; what ever that may be and touches into spirituality and ‘divinity’. In the same way buildings facilitate presence maybe person should listen to architecture. This essay has already looked at the personification of space, but what Libeskind and other phenomenological architects suggest is something different altogether. His suggestion is to ‘trust the invisible’ and although much of what Libeskind gives testament to could be coincidence. He reiterates ‘...something else was compelling me to draw...‘92 In Heidegger’s ‘The Thing’ he also references the idea of divinity an being intune with space. He expresses that the ‘fundamental character of dwelling [remains] before the divinities...by a primal oneness.’93 The voice of architecture is a disturbingly difficult one to prove. Its’ answer do not lie within any amount of books or resources. It’s the definition of ‘the invisible’ that gives power to itself. By knowing would mean to loose its mystery. It is however the reason for many architects; Libeskind to mention one; creating congenial environments that a further sense of dwelling becomes possible. Therefore the absence of the voice of architecture leads to voids within place.

Fig.15.

85. De Botton,A., The Architecture of happiness, London: Penguin Group, 2006, p.248. 86. an assistant to Le Corbusier for over 20 years 87. Wogenscky,A., Le Corbusierâ&#x20AC;&#x2122;s Hands, London:The MIT Press, 2006, p.80. 88. Wogenscky, 2006, p.80. 89. smiliar to the relationships between people 90. Libeskind.D., Breaking Ground An Immigrantâ&#x20AC;&#x2122;s Journey from Poland to Ground Zero, New York: Riverhead Books, 2004, p.191. 91. Libeskind, 2004, p.192. 92. Libeskind,2004, p.201. 93. Sharr,A., Thinkers For Architects, Heidegger for Architects, New York: Routledge, 2007, p.43.

Conclusion

In conclusion to this writing it is first important to establish that it does not claim by any means to have the answers. But by challenging the thought process and implementation of architecture and design through a combination of phenomenological, palimpsest and osmotic understandings allows for a return to things; as described by Norberg Shulz. The reconnection of a deeper understanding, and re-stirring of the primal instinctive elements and values. Architecture will continue to add meaning and purpose to the buildings which make up their domains so long as a sensitivity towards honesty and place is nurtured. It is the phenomenological viewpoint that realigns the perspectives of modern architecture. Pallasmaa writes that ‘True architectural quality is manifested in the fullness and unquestioned dignity of the experience. A resonance and interaction takes place between space and the experiencing person.’94As sentient beings the human race should not ignore these experiences within their surroundings. Caruso supports this by concluding ‘We are interested in the infinite richness and ambiguity of concrete reality.’95Which within context, rationalises the area of discussion. It is through the understanding of the type of works and writing explored in this essay and others, that one can begin to comprehend the complex nature and areas of thought behind an osmotic exploration into space and architecture. Not that this constitutes as an abandonment of practicality, resourcefulness and functionality, but on reflection reveals an opportunity that heightens our understanding of space. Libeskind writes, ‘people think they get to know buildings by studying drawings, models, or renderings, but you must experience a

building with your whole body and all your senses before you can fully understand.â&#x20AC;&#x2122;96 The idea of functionality beyond our physical world. To dwell in place; as described by Heidegger; is to feel a sense of belonging whilst also combining the practicalities and primary needs to life itself. Thus architectures aim is surely to facilitate the potentiality of place. Wether this may be on a temporary level or of semi-permanent state. The fragility of buildings are always in an imperfect balance with the ecology, economics and other influencing factors. This reflects the flexibility of place itself. An instinctive journey should be a driving force within society and as previously explored the cultural growing point to a community. If human existence can become more in-tune within the world in its present state it may well become far more aware of the vast history it belongs to. Leading to a deeper sense of fulfilment, of being and belonging. Whether being the dweller or dwelling itself society must look beyond the material values of stone, glass or metal and consider the sensory potential of a site. The dwellerâ&#x20AC;&#x2122;s domain is an ever changing environment and must be treated as a living constant. To dwell is to cultivate belong and inhabit. All three must belong to and within each other. They are mutually definable. Surveying architecture; whether natural or human created; in a phenomenological and palimpsestic way allows a re-bonding of relationship and in itself allows a flexibility to society. Every individual has an access point of memories waiting to be rekindled within texture, smell, touch, our intellect. If architecture can therefore accommodate this exploration encouraging society on a sensory level rather than purely as a visual aesthetic, a further area of enrichment can occur. A fundamental realignment between architecture, being and thinking. As previously explored the areas of psychology and architecture remain closely linked. Architecture in many ways should be treated as a psychological tool, not to prescribe or cure but to offer advice and shelter on many levels of being. Architecture is as much a psychological tool as it is a process of creating space.97 Both for the architect on a psychoanalytical level and the dweller. For congenial environments that challenge the links between the conscious and unconscious could be a valued object to society. Mind and resonance of dwelling becomes possible. On an opposing plane the absence of these environments can lead to voids within society where the necessity of material and visual elements prevail. As human beings we are flexible, therefore interpret space in many different ways. It can be down to the history or location of a place. The smell, texture or aesthetic value that site has to offer. As individuals we are independent but remain connected in many aspects of life. It is within these connections between communities and society that dwelling truly grows.

Buildings can assist in these discoveries by being flexible and honest themselves. Architecture like Libeskind’s buildings should speak truth while like Ando’s, invite people to become part of the experience themselves. The ‘truth’ however, lies within human experience for buildings do not emote or feel. But through the instilling of person onto buildings through the emotive response to place. Possibility to create memories and relationships imprinted into spatial realms that in turn can be experienced in a whole sense. The way in which a ‘ritualistic functionality’98 should explore both the material and phenomenological view point, extending bridges between physical function and osmotic interpretation. Preserving one another while also mutually defining each other. People who use space can experience and feel very differently about similar spaces. It is however, in the interest of architectural longevity to facilitate this change. Throughout the flexibility of dwelling; as previously99discovered; includes times of lows and highs. Moments of dereliction, disuse100 and moments of economic wealth and growth101. It is in these imperfections that make the world truly more beautiful. Wogenscky quotes Madame de Sevigne by saying, ‘‘It is better to grow green again than to stay green forever.’’102 Suggesting it is in the uncertain future of spaces which adds to its power over the dweller. A fragility that should be respected and nurtured as opposed to many traditional architectural paradigms where architecture is very much resolute. For the researcher, or reader the findings can be carried through to projects and lifestyle choices engaging and tackling issues with a satisfied outlook. A level of sensitivity towards person and place is fundamental in the design process and through this essay many outlines to areas have been explored. To treat architecture as part of at living place rather than an added feature to enable shelter creates a richer overview to society. It is through these broadened approaches design can fulfill the lives of more people and as a byproduct create something aesthetically pleasing or useful. A building which speaks of the dweller as much as the creator on an osmotic level. By concentrating on purposeful emotion behind an idea, a philosophy is created rather than product. It is through these sensitive approaches that architectural design can support flexible dwelling.

94. Pallasmaa,J. The Thinking Hand: Existential and Embodied Wisdom in Architecture, West Sussex: John Wiley & Sons Ltd., 2009, p.104. 95. Caruso,A., The Feeling of Things, Barcelona:Ediciones Poligrafa, 2009, p.43. 96. Libeskind.D., Breaking Ground An Immigrantâ&#x20AC;&#x2122;s Journey from Poland to Ground Zero, New York: Riverhead Books, 2004, p.201. 97. De Botton, 2006, p.248 98. Scott,F.,On Altering Architecture, New York:Routledge, 2008, 99. Knox,P., International Case Studies of Urban Change, Palimpsests: Biographies of 50 City Districts, Basel:Birkhauser, 2012, pp.164-169. 100. Caruso, 2009, pp.15-21. 101. Behling,S., et al,. Norman Foster Drawings 1958-2008 Debates London:Ivorypress Architecture,2010, p.127. 102. Madame de Sevigne (1675) cited in Wogenscky,A., Le Corbusierâ&#x20AC;&#x2122;s Hands, London:The MIT Press, 2006 78

List of References

Book Adorno,T., cited in Libeskind.D., Breaking Ground An Immigrant’s Journey from Poland to Ground Zero, New York: Riverhead Books, 2004. Anderson,S, et al.,(eds) Collins Dictionary and Thesaurus, desktop edn,Gloucester: HarperCollins Publishers Limited,2005. Auge,M., Non-Places an introduction to supermodernity, London: Verso, 2006. Behling,S., et al,. Norman Foster Drawings 1958-2008 Debates London:Ivorypress Architecture,2010. Blachelard,G,. The poetics of space, The Classic Look At How We Experience Intimate Places, Boston, Beacon Press, 1994. Caruso,A., The Feeling of Things, Barcelona:Ediciones Poligrafa, 2009. De Botton,A., The Architecture of happiness, London: Penguin Group, 2006. Foxley,A.,Distance & Engagement, Walking, Thinking and Making Landscape:Lars Muller Publishers. Fromm,E., The Revision of Psychoanalysis, New york: Open Road Integrated Media, 2013. Heidegger,M.,Being and Time London: Blackwell Publishing,1962. Krell,D., Basic Writings:Martin Heidegger, New York: Harper Perennial, 2008. Hilgard,E., Atkinson,R.,Atkinson,R., Introducton to Psychology:human motivation, Chicago:Harcourt Brace Jovanovich, Inc.,1971. Inwood,M., Heidegger, A Very Short Introduction, Oxford:Oxford University Press, 1997. Jodidio,P., ANDO, Complete Works 1975-2012, China:Taschen, 2012. Knox,P., International Case Studies of Urban Change, Palimpsests: Biographies of 50 City Districts, Basel:Birkhauser, 2012. Libeskind.D., Breaking Ground An Immigrant’s Journey from Poland to Ground Zero, New York: Riverhead Books, 2004. Machado,R,. Old buildings as palimpsest, Stamford: Progressive Architecture, 1969. Wogenscky,A., Le Corbusier’s Hands, London:The MIT Press, 2006. Maslow,A., Motivation and Personality, New York:Harper & Row publishers,1987. Merleau-Ponty,M., Sense and Non-Sense, Evanston:Northwestern University Press,1964. Mitrović,B., Philosophy for Architects, New York: Princeton Architectural Press,2011. Moore,C., Bloomer,K., Yudell,R., Body, Memory, Architecture New Haven: New Haven and London Yale University Press1977. Nesbitt,K.,(ed) Theorising a new agenda for Architecture an anthology of architectural theory 1965-1995, New York: Princeton Architectural Press,1996. Norberg-Schulz,C., Genius Loci: Towards a Phenomenology of Architecture, New edn, New York:Rizzoli International Publications, 1980. Pallasmaa,J., Eyes of the Skin: Architecture and the Senses, Cornwall: A John Wiley and Sons, Ltd., Publication,2012. Pallasmaa,J. The Thinking Hand: Existential and Embodied Wisdom in Architecture, West Sussex: John Wiley & Sons Ltd., 2009. R,Allen.,(ed) The Penguin English Dictionary Third Edition, London:Penguin Group, 2007, p.920 Scott,F.,On Altering Architecture, New York:Routledge, 2008. Seamon,D., (ed) Dwelling, Seeing, and designing toward a phenomenological ecology, Albany: State University of New York Press,1993. Sharr,A., Thinkers For Architects, Heidegger for Architects, New York: Routledge, 2007. Spankie.R., Basics Interior Architecture, Drawing out the interior, Switzerland: AVA Publishing SA, 2009. Tanizaki,J., in praise of shadows,London: Vintage Books London, 2001.

List of References

Book cont. Wogenscky,A., Le Corbusier’s Hands, London:The MIT Press, 2006

Video and Film BBC Earth Human Planet, Desert, [DVD] Tuppence Stone. 2 Entertain Video Ltd.,2011. Norman Foster’s green agenda ‘TALKS’ ,TED Partner Series, March 2008,[online] Available:http://www.ted. com/talks/norman_foster_s_green_agenda.html [accessed 12th november 2012]

Television Adjay,A., Home‘The Secret Life Of Buildings’, ch4, 01 August 2011, Television, approx. 45mins

Online Document Gunn,M., ‘Welcome to Berlin’s squat scene’ The Observer,[online],www.guardian.co.uk/travel/2009/jul/12/ berlin-squat-music-food-parties [9th January 2012] Heidegger,M., Building Dwelling Thinking,trans Hoffstader,A. [online] http://faculty.arch.utah.edu/ miller/4270heidegger.pdf, [18th November 2012] 1993. Pearsall,J.,(ed) ‘phenomenology’ [online] www.oxforddictionaries.com/definition/english/phenomenology [2nd November 2012] Seamon,D.,(ed), ‘phenomenology and architecture’ [online] www.worldarchitecture.org/theory-issues/ppe/ phenomenology-and-architecture-architecture-theory-issues-pages.html [2nd November 2012]

Online Article Campbell,A., ‘Psychoanalysis of Architecture’ Psycholanalysis and Space [online},Volume 1 Issue4 2008, 13 pages, Available: http://sydney.edu.au/sup/journals/haecceity/pdfs/4/Aisling_Campbell_introduction_final.pdf [accessed 20th January 2013]

Online Video Norman Foster’s green agenda ‘TALKS’ ,TED Partner Series, March 2008,[online] Available:http://www.ted. com/talks/norman_foster_s_green_agenda.html [accessed 12th november 2012]

Bibliography

Book Ballantyne,A,. Architecture, A Very Short Introduction, Oxford:Oxford University Press, 2002. Berman,M., All That Is Solid Melts into Air, London: Verso, 2010. D.K.Ching,F., Architecture Form,Space, & Order third ed, New Jersey: John Wiley & Sons,Inc., 2007. Dupre,B., 50 philosophy ideas you really need to know, London:Quercus Publishing Plc, 2007.

Video and Film How Much Does your Building Weigh, Mr Foster? [DVD], Documentary, Dir. Norberto Lopez, Carlos Carcas, Dogwoof, 2011. Objectified [DVD], Documentary, Dir. Gary Huswit, Plexi Films, 2009. Urbanized [DVD], Documentary, Dir,Gary Huswit, Plexi Films, 2012.

Television Leisure ‘The Secret Life Of Buildings’, ch4, 01 August 2011, Television, approx. 45mins Work ‘The Secret Life Of Buildings’, ch4, 01 August 2011, Television, approx. 45mins

Online Document Seamon,D., ‘Concretizing Heidegger´s Notion of Dwelling:The Contributions of Thomas Thiis-Evensen and Christopher Alexander’ 1998 [online] http://www.tu-cottbus.de/theoriederarchitektur/wolke/eng/Subjects/982/ Seamon/seamon_t.html [20th January 2012]. Vitra Design Museum., ‘Living in Motion, Design and Architecture for Flexible Dwelling’ [online] http://homes. chass.utoronto.ca/~wellman/publications/globalvillage/in.htm [6th January 2013]. Wellman,B., ‘“The Network Community”An Introduction to Networks in the Global Village’ [online] http:// homes.chass.utoronto.ca/~wellman/publications/globalvillage/in.htm [22nd December 2012]. Seamon/seamon_t.html [20th January 2012].

Online Article Mulugeta Assefa,E.,Seamon,D., ‘Psychoanalysis of Architecture’ Psycholanalysis and Space [online},Volume 12 No.1 August 2007, 13 pages, Available: http://www.tu-cottbus.de/theoriederarchitektur/Wolke/eng/ Subjects/071/Seamon/seamon_assefa.htmf [accessed 20th January 2013].

Online Video Daniel Libeskind’s 17 words of architectural inspiration ‘TALKS, TED,July 2009,[online] Available: http://www. ted.com/talks/daniel_libeskind_s_17_words_of_architectural_inspiration.html [accessed 12th november 2012]. Thomas Heatherwick: Building the Seed Cathedral ‘TALKS, TED,May 2011,[online] Available: http://www.ted. com/talks/daniel_libeskind_s_17_words_of_architectural_inspiration.html [accessed 15th november 2012]. Stewart Brand on squatter c.ities ‘TALKS’ ,In Less Than 6 Minutes, May 2007,[online] Available:http://www.ted. com/talks/stewart_brand_on_squatter_cities.html [accessed 15th november 2012] Stew.art Brand: 4 environmental ‘heresies’ ‘TALKS’ ,TED@State, July 2009,[online] Available:http://www.ted. com/talks/stewart_brand_proclaims_4_environmental_heresies.htmll [accessed 15th november 2012]. Thom Mayne on architecture as connection, ‘TALKS, TED2005, April 2007,[online] Available:http://www.ted. com/talks/thom_mayne_on_architecture_as_connection.html [accessed 18th november 2012].

Image Plates

Fig.1.

Jonathan Brooks, The Jewish Museum,(Berlin, 2012) black and white photo with edit

Fig.2.

Jonathan Brooks, The Memorial to the Murdered Jews of Europe,(Berlin ,2012) black and white photo with edit

Fig.3.

Jonathan Brooks, Graffiti in the Jewish District,(Berlin, 2012) black and white photo with edit

Fig.4.

Jonathan Brooks, Gestapo headquarters in Prinz-Albrecht-Street,(Berlin, 2012) black and white photo with edit

Fig.5.

Jonathan Brooks, Abandoned spaces, (Berlin, 2012) black and white photo collage with edit

Fig.6.

Jonathan Brooks, Libeskinds Garden of Exile, (Berlin, 2012) black and white photo edit

Fig.7.

Jonathan Brooks, Close to the Garden of Exile, (Berlin,2012) black and white photo edit

Fig.8.

Henri Cartier-Bresson, Alberto Giacometti on rue dâ&#x20AC;&#x2122;Alesta,(Paris,1961), sourced from [book] Pallasmaa,J., The Thinking Hand: Existential and Embodied Wisdom in Architecture, West Sussex: John Wiley & Sons Ltd., 2009, p.52

Fig.9.

Mitsou Matuoka, unknown,(Osaka) sourced from [book] Jodidio,P., ANDO, Complete Works 1975-2012, China:Taschen, 2012, p.126.

Fig.10.

Shinkenchika-Sha, unknown,(Osaka)sourced from [book] Jodidio,P., ANDO, Complete Works 1975-2012, China:Taschen, 2012, p.130.

Fig.11.

Mitsou Matuoka, unknown,(Osaka) sourced from [book] Jodidio,P., ANDO, Complete Works 1975-2012, China:Taschen, 2012, p.131.

Fig.12.

David Dernie, Water, light and shadow at Vals, sourced from [book] Sharr,A., Thinkers For Architects, Heidegger for Architects, New York: Routledge, 2007, p.94.

Fig.13.

Foster + Partners, Masdar visualisation,(Abu Dhabi, 2009) sourced from [book] Behling,S., et al,. Norman Foster Drawings 1958-2008 Debates London:Ivorypress Architecture,2010 , p.126.

Fig.14.

Jonathan Brooks, Berlin Cathedral, (Berlin, 2012) black and white photo

Fig.15.

Jonathan Brooks, Dark and Light voices, (Berlin, 2012) black and white photo edited