NEUROARCHITECTURE

N E U ROA RC H I T E C T U R E

To W h a t E x t e n t D o e s A r c h i t e c t u r a l Design Inf luence The Social And P s y c h o l o g i c a l We l l b e i n g O f S o c i e t y Re s e a r c h P r o j e c t B y L a r a Fo w l e r / N 0 6 7 8 1 5 2

A Study of Neuroarchitecture

CONTENTS

Figures on front cover and pages before Contents created by Author

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Contents

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LITERATURE REVIEW AND METHODOLOGY

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V I S UA L E S S A Y

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INTRODUCTION

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1 . N E U R OA R C H I T E C T U R E

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1.1 Neuromorphic Architecture

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2. THE SENSES

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2.1 Architectural Imager y

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2.2 Sensor y Knowledge

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2.3 Isolation from Nature

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3. LIGHT AND ACOUSTICS

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3.1 Light

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3 . 2 L i g h t i n g i n Wo r k i n g E n v i r o n m e n t s

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3.3 Lighting in Healing Spaces

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3.4 Acoustics

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CONCLUSION

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CASE STUDIES

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1 . C A S E S T U DY O N E T H E R M A L B A T H S / VA L S

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Architecture As Sur roundings

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Va l s

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Concept

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History

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The Project

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Layout

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Materiality

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Creating Sense

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Lighting

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The Meander

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Acoustics

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Climate

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Details

PETER ZUMTHOR

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Contents

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2 . C A S E S T U DY T WO KOLUMBA MUSEUM / COLOGNE

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Architecture As Sur roundings

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Cologne

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Concept

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History

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The Project

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Preser vation

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Layout

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Materiality

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Creating Sense

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Lighting

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The Meander

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Acoustics

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Climate

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Details

144 LIST OF FIGURES 154 BIBLIOGRAPHY

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L I T E R AT U R E REVIEW / METHODOLOGY B Y L A R A F OW L E R ( N 0 6 7 8 1 5 2 )

A S T U DY O F N E U ROA R C H I T E C T U R E

A Study of Neuroarchitecture

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Literature Review and Methodology

1.METHODOLOGY For the purpose of gaining in depth knowledge and forming a discussion on the subject of neuroarchitecture, qualitative research will be undertaken. Using this approach, the main aim will be to observe to what extent architecture has a psychological effect on its surrounding society. Social dimensions will be observed in a chosen location based around significant architecture in order to contribute to gaining a clear understanding of the subject neuroarchitecture. So to gather relevant research, members of society which are the most effected by architecture (e.g. architects, visitors) will be questioned regarding the influence which the built environment has on them psychologically in their day to day lives. This is vital to the research of neuroarchitecture, as the gathered results will help to define its significance in modern day architecture, contributing to the outcome of this research project. This method of research was inspired by Whyte’s works (Whyte 2010) whereby he conducted films based around populated urban areas, as well as open spaces around New York City in order to observe the social behaviour of the society in these areas. However, this study fails to consider the differing categories between the particular intended functionalities of designed spaces, and how society reacts based on architectural design. This is where I find my field of interest.

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A Study of Neuroarchitecture

2 . L I T E R AT U R E R E V I The key term Neuroarchitecture refers to the neuroscience of architecture. Melissa Marsh explains how neuroarchitecture explores ‘how users experience the built environment from a neurological perspective’ (Marsh 2015). Neuroscience is a relatively new area of research which has only been recognized in the last 50 years. Previous research carried out by Oshin Vartanian (2015) suggested that ‘architecture engages multiple sensory networks, presumably visual, auditory, somatosensory, olfactory, and vestibular systems, and triggers motor responses such as approach and avoidance’ (Vartanian et al., 2015). Writers, such as Marsh, have attempted to draw fine distinctions between different topics within the general subject of neuroarchitecture into three categories; ‘Neuroscience of the design process’, ‘Neuroscience of the experience of architecture’ and ‘Neuromorphic architecture’. In contrast to this, others have highlighted the relevance of more particular areas within Neuroscience.

An example of this are the works by Piotrowski (2011) which discuss his findings that ‘built forms have been instrumental in shaping thought and disseminating new ways of thinking’ (Piotrowski 2011, p.xi).

Commenting on Beauty, Neuroscience and Architecture, D.H. Ruggles (2018) writes ‘our iconic works of art and architecture are often just intuitive variations of nature’s patterns around and within us’ (Ruggles 2018), indicating that our design styles and ideas of beauty in relation to architecture are unconsciously affected by the environment in which we live. To paraphrase Winston Churchill (1941) ‘’We shape our buildings and afterwards our buildings shape us’’ (Bond 2017), showing one of the first instances in which architecture had been recognized to have a psychological effect on humans. 70 years on from Churchill’s comment there have been extensive research documents which explore the way in which we are shaped by architecture, and how this effects the way we then shape it as designers. A broader perspective has been adopted by Marsh (2015) who argues that ‘by working towards a better understanding of the scientific principles underlying the design and experience of the built environment, we can improve our processes and output from a human perspective.’

Marsh (2015) considers that, through the depth of research into neuroarchitecture, we can impact our quality of design in order to have a more positive response from those experiencing the built environment.

When considering the psychological relationship between human and the built environment that we have created, Hein de Haan (2005) presents the theory that ‘people don’t just create things, they react to them’ (De Haan 2005, p.15), which concurs with Churchill’s statement (1941). Although some appear sceptical to the extent of the importance of neuroarchitecture, 12

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Literature Review and Methodology

EW it is clear that what exists is ‘a belief that the relationship between people and place matters’ (Donovan et al. 2013, p.14).

Whilst Marsh goes into depth concerning the need for further research into the understanding of neuroarchitecture, De Botton (2007) claims that ‘Architectural and decorative styles become, for us, emotional souvenirs of the moments and settings in which we came across them’ (De Botton 2007). This statement adds another perspective to neuroarchitecture which infers that the process of experience, which takes place with humans in the built environment, is not only a basic reaction or response, but it can be as in depth as having an emotional effect on a person. In the same vein, Tony Fretton Architects (1998) note in the book Architecture, Experience and Thought; ‘how architecture can make a complex contribution to the city and its capacity to be an emotional object of thought’ (Cousins et al. 1998, p.51). This furthers the theory that the way in which we react to our built environment is not necessarily through automatic response, but we can also be emotionally affected by architecture. Douglas J. Porteous (1977) proposes that ‘the way we look at our surroundings is influenced by the needs we call on those surroundings to meet’ (Porteous 1977). This implies that the way in which we react to our built environment emotionally can be based on the purpose for which we are using the space for, linking feeling to functionality.

One criticism of much of the literature on the psychology of architecture is that it can be problematic identifying which studies are the most accurate in their research, as it can be viewed that neuroarchitecture is subjective. Despite this, it has been well established from a variety of studies that humans are psychologically affected by the built environment, and that this is then conveyed in how we create architecture. William Whyte (2010), a sociologist who authored several texts regarding urban planning, design, and human behaviour, claims that ‘the social life in public spaces contributes fundamentally to the quality of life of individuals and society as a whole’ (Whyte 2010). This introduces into the discussion the idea that due to architecture having a psychological effect on us, it also, as a result, effects it’s surrounding and visiting societies.

Through his research, Whyte presents his sociological findings in his book ‘The social life of small urban spaces’, and suggests that architecture is built to have varying psychological effects on different members of society (Whyte 2010). Presenting the theory that built environments are a medium of communication.

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A Study of Neuroarchitecture

A broader perspective has been adopted by Christopher Day (1990), who argues that not only are humans affected psychologically by architecture, but that architecture can also be designed to potentially have physical impacts on people. In his writing he discusses how architecture ‘affects people and places’, and ‘how design and construction can be approached to bring health rather than illness’ (Day 1990, p.13). There has not been any proven physical research into this claim, however one can consider that due to the way in which we are affected psychologically by our built environment, this also then can have an impact on the physical and mental health of a person.

The studies presented thus far provide evidence that neuroarchitecture does exist to a certain extent, however it is not widely researched and a lot of the information which is available is primarily based on philosophies of those who have considered and researched the topic. This view is supported by Andrzej Piotrowski (2011) who writes that ‘phenomena remain insufficiently explored because dominant research methods, especially those used to analyse architecture, and the common understanding of what architecture is are steeped in logocentric and reductive assumptions’ (Piotrowski 2011). This view is supported by Whyte who states that architecture ‘’remains remarkably under-theorized’’(Whyte 2010). There remain several aspects of neuroarchitecture about which relatively little is known, however, taken together, these studies all support the notion that humans are psychologically affected by architecture. This research document will continue to create more depth into the extent to which humans are psychologically and socially effected by the built environment.

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TO WHAT EXTENT DOES ARCHITECTURAL DESIGN I N F L U E N C E T H E S O C I A L A N D P S YC H O L O G I C A L WELLBEING OF SOCIETY A S T U DY O F N E U ROA R C H I T E C T U R E 17

A Study of Neuroarchitecture

Figure 3 / Collage expressing distress of society trapped in an urban environment (by Author)

Figure 1 (Front Cover) / Collage expressing a mind consumed by dull urbanism (by Author) Figure 2 (Inside Cover) / Collage expressing a person walking towards darkness (by Author)

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I N T RO D U C T I O N According to statistics the average human being in modern day society can spend up to 80% of their life inside buildings (Channon 2018). So, when questioning the importance of how the urban environment can affect us psychologically, it is literally life changing. With one in four people in the UK living with diagnosable mental health issues, such as depression, the importance of spaces and architecture having a positive influence on our lives is highly significant (Channon 2018). Neuroarchitecture has been explored and applied by many different architects, including Peter Zumthor. As well as this, architectural practises such as The Centre for Conscious Design, founded by Itai Palti, are focussed on addressing the urban challenges that society faces today.

The purpose of this essay is to explore the ways in which humans are psychologically affected by our built environment, and to what extent we, as architects, should consider these factors when designing.

The discussion draws on some of the finer topics within the theory of neuroarchitecture; how technology impacts our sensory experience of architecture, how the circadian rhythm is impacted by design, and how we can mould architectural design features to have a positive influence on wellbeing (both psychologically and physically). This discussion relates to two architectural Case Studies designed by Peter Zumthor, which focus on the methods (lighting and acoustics) of creating atmosphere (Zumthor 2006). Through the consideration of these methods, the discussion will draw on how they contribute to the psychological effect of the urban environment.

The discussion aims to explore the extent to which the architectural profession has responded to the current research of urban wellbeing and current problems within society regarding mental health. To achieve this, current studies of neuroarchitecture and surrounding topics will be included in the discussion, aiming to clarify the importance of psychological impact of the built environment on today’s society.

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A Study of Neuroarchitecture

1 . N E U ROA R C H I T E C T Architecture in the English dictionary is defined as ‘the art and practice of designing and making buildings’ (McIntosh n.d.), whereas in the American dictionary the term is defined as ‘the art and science of designing and making buildings’, adding another dimension to the meaning. The term neuroarchitecture however, cannot be found within the most recognised dictionaries, this suggests and confirms that it is a relatively new term and it has only been explored recently. Despite this there are many written pieces which express its existence.

Some studies have even explored the term to the extent of dividing neuroarchitecture into different categories. Melissa Marsh writes that there are three categories; ‘Neuroscience of the design process’, ‘Neuroscience of the experience of architecture’ and ‘Neuromorphic architecture’ (Marsh 2015). In contrast to this, in Peter Zumthor’s book ‘Atmospheres’ we are introduced to nine chapters outlining nine factors which contribute to the neuroarchitecture of a building.

Although there have been varying approaches to the topic of neuroarchitecture, the importance of its consideration within our built environment is highly regarded. This has been taken to the extent of scientific research being carried out in order to prove neuroarchitecture’s existence. Researcher Oshin Vartanian has found through research that our multiple sensory networks can be engaged by our built environment. For example, when experiencing architecture, ones motor responses are triggered to either avoid or approach a structure.

This partially demonstrates how we are psychologically affected by our built environment (Vartanian et al., 2015).

One of the factors which determines these responses are the previous experiences of each individual person. A person’s experience of architecture largely relies on their past experiences and memories, which could pose certain dilemmas when considering the designing of architecture. How could someone design a structure for someone else who possesses different experiences? As an example of this, a young architect given the task of designing a home for an elderly person may have trouble understanding the different values and needs of the elderly person (Robinson, Pallasmaa 2015). This demonstrates the importance of client to architect relationships, as an understanding of who the space is accommodating is vital to meet the psychological needs of the person(s).

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TURE

Figure 4 / Image expressing a designers mind trapped by urbanism (by Author)

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1.1 Neuromorphic Architecture

Figure 5 / Iconic Buildings with Silhouettes of People (Paleari 2014)

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Marsh’s article ‘The Future of Neuro-Architecture Has Arrived’ introduces a new term, ‘neuromorphic architecture’ (Marsh 2015). Neuromorphic architecture refers to the question of ‘what if a building had a brain’, or more specifically, a nervous system (Robinson, Pallasmaa 2015).

Within today’s society humans are becoming increasingly comfortable with relying on technology. It could be argued that we are encouraged to rely on it due to the increasing demand for technological devices when going about everyday tasks. There are no signs of this demand decreasing, therefore it is likely that there will be an increase of technology within the urban environment. A current example of this is how modern technology has reinvented residential electronics, such as lighting and temperature systems, to be controlled through apps on our phones. Through progressions like this, in the future our surroundings may be programmed to respond to our actions to assist us through technology (Robinson, Pallasmaa 2015). Consider a home designed for the elderly which is programmed to respond to its inhabitants. A step could transform itself into a ramp in response to sensing the movement of a wheelchair approaching, or a chair could gently tilt forward in response to the shifting weight of a person struggling to stand up.

The architecture would adapt to provide a ‘level of human support’, aiding nurses and other employees who would usually be providing support around the clock (Robinson, Pallasmaa 2015). There are many positive aspects of this concept, however, the demand for technology could end up having a negative effect on the mental wellbeing of society. Using the elderly as an example in this case, it would reduce the amount of human contact they would receive daily. This would cause a decline in mental health among the elderly due to the lack of human interaction, which is an already existing problem.

Although an ingenious concept, neuromorphic architecture is a somewhat terrifying possibility of the future, as we become increasingly separated from the natural world.

The increasing rate of technology blocks society off from other elements which have a beneficial impact on our mental health, such as our sensory knowledge and social interactions. This is where the true importance of neuroarchitecture within design is then in need of being considered, to ensure societies mental health does not decline in correlation with the rise of technology in the built environment. The impact of technology will be further explored later in the discussion.

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2. THE SENSES

Figure 6 / The five human Senses (Microvector 2019)

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A Study of Neuroarchitecture

Oshin Vartanian explains that our multiple sensory networks (vestibular, somatosensory, auditory, olfactory, and visual systems) can be engaged through the architecture around us (Vartanian et al., 2015). However, in modern design it is not uncommon that there is primarily only one sense that is being considered by architects, namely our visual sense.

Within architectural practices today it is a concern that the consideration and success of a design is primarily based on how aesthetically pleasing the design is.

Although it is unquestionable that this has a positive effect on society, it is sometimes the case that the functionality and attention to detail with regards to enhancing life can be somewhat forgotten. Suggesting that it could be more important to appeal to us visually rather than address our individual mental wellbeing and the benefit to society as a whole. The question of how society is going to be psychologically affected by a building is rarely considered, especially when discussing the narrower topic of how mental wellbeing is affected. One of the contributing factors towards this could be that architects and designers are sometimes skipped in the process of construction today when possible, as they can be simply viewed as an added expense to the construction process. Despite the valuable knowledge and understanding of design which they contribute, functionality and appearance is usually placed at the forefront in achieving a successful piece of architecture (Goldhagen 2017).

Unfortunately for society this could mean the designing of an office, for example, is very efficient at fitting countless employees within a building and appearing aesthetically pleasing, however the spatial design and lighting could cause for a somewhat depressing workspace. If the design is not considered well enough, the wellbeing of these employees could suffer due to lack of knowledge in the design process. This could result in companies spending more money in the future, as they end up having their offices redesigned at a later stage due to being criticised for the lack of consideration of the psychological impact on employees. It has been shown that a well designed work environment, where all aspects of the design have been considered, results in happier employees which then in turn has a direct affect on the company’s success.

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2.1 Architectural Imager y With the progression of technology and the boom of social media sites such as Instagram and Facebook, most people are only able to experience modern architecture through online imagery. Although this creates countless opportunities for people to be exposed to what they would normally be unable to see, it also creates a culture of laziness among others due to the easy visual access that is available online. Society is somewhat left to try and create their own sensory experience of structures, fully relying on individual memories and the visual impression of images with which they are presented. This can have a negative effect on the mental wellbeing of society as it encourages people to become shut off from the physical world.

Maurice Merleau-Ponty explores the idea that only speaking to one of the senses can create the existence of a ‘Phantom’ within a person’s mental being (Merleau-Ponty 2012). Something will only approach full existence when it can communicate with at least two of the human senses. For example, if one could get a real sense of the smell or acoustics which are present within the architectural imagery engaging multiple senses thus adding multiple dimensions to a visual experience. It could be argued that although we are visually exposed to millions of images in our lifetimes, we are not experiencing them fully and therefore they simply become small memories. These memories of imagery can then be easily distorted depending on a person’s past experiences; altering the memory to suit how the individual wanted to experience the image with their own senses. Society cannot possibly protect themselves from the inevitable erosion of time, unless someone can physically experience the architecture repeatedly to remind their senses of what has been experienced (Certeau 2013, p.xxi). This is due to their individual interpretation of the structure based on unique memories and perceptions from life experiences.

Although technology and social media have brought many opportunities for spreading the appreciation of architecture, the psychological appreciation of architecture is being somewhat lost through a burgeoning spread of architectural imagery. Through society vastly experiencing modern architecture online, it is more difficult for architects to create stand out designs which would be viewed as worth a visit. This would contribute to a lack of need for the consideration of neuroarchitecture due to architecture gaining more recognition through appearance.

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Figure 7 / Peter Zumthor’s studio’s proposed renderings for LACMA’s David Geffen Galleries (Poundstone 2019)

"Digital has made architectural photography very slick, sometimes you don't know if it's a photo, or if it's a rendering, and that I find very disturbing" - Hélène Binet (Binet 2015)

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2.2 Sensor y Knowledge

Figure 8 / Expression of modern society trapped in an urban environment (by Author)

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Within the book The Eyes of the Skin: Architecture and the senses, Pallasmaa states that to create ‘life enhancing’ architecture, one would have to design a structure to have a positive effect on all the senses of a visitor simultaneously (Pallasmaa 2012). This furthers the views of Merleau-Ponty and suggests that due to our lack of full experiential architecture fuelled by the rise of technology, we are no longer enhancing our knowledge and full sensory experiences. It has become too easy to flick through images without feeling the need to be physically involved with architecture. Perhaps this is what leads to the lack of consideration of the sensory experience by architects, as to cater to the exposure from social media today, the most influential factor is to be visually impressive.

Stated by Michel De Certeau ‘our society is characterized by a cancerous growth of vision, measuring everything by its ability to show or be shown and transmuting communication into a visual journey’ (Certeau 2013, p.xxi). Taking this into consideration it is not surprising that the main focus of design today lies within the visual aspect, as this is the only way that it could reach a wider market over social media, especially as the most viral imagery is that which shocks and surprises it’s viewers. Society is being considerably deprived of sensory knowledge due to the effortless access to superficial imagery of modern day architecture (Pallasmaa 2012, p.25). Our lack of wealth of sensory experiences can lead to a negative effect on our physical and mental wellbeing due to the way in which humans were designed to be an active species. In extreme cases, an attachment to technology can lead to depression and anxiety.

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2.3 Isolation from Nature In addition to our lack of sensory knowledge, due to the rapid growth of technology today, humans are becoming increasingly isolated from the natural world (Schweitzer et al. 2018) which is also in some aspect, encouraged by our built environment. With a growing population in urban environments, humans are being increasingly shut off from the natural world, despite being physically programmed to survive in the natural environment. Through research it has been found that when humans talk about their experiences with the natural world, there is a positive emotional connection (Schweitzer et al. 2018). This aids the growth of the theory of biophilia, which is becoming increasingly popular within modern architecture due to the positive outcomes it has on humans. Biophilic design, is designing in such a way that it draws on the inherent human connection with nature, aiming to benefit the psychological health of its users.

The boom of agriculture, technology, engineering, industrial revolution and modern architecture has only rapidly progressed in the last five thousand years of human history. Prior to these stages in evolution, human lives were surrounded by nature which was relied upon for daily survival.

Today a lot of our logical skills, critical thinking and practical abilities, as well as the way in which we design can be related to the skills with which we evolved and used to survive in the early stages of evolution (Kellert et al. 2008). Through the growing awareness of this connection, biophilic design is increasing in popularity and being seen more frequently in modern architecture. Due to the large positive impact that nature has on human’s mental wellbeing, biophilic design is increasingly seen within office refurbishment, residential areas (figure 9), educational centres and within the design of the hospitality sector (figure 12). In addition to this it is gradually being considered more within healing spaces. Another contributing factor to the growth of biophilic design is the rise in awareness for the environment amongst younger generations. With climate activists helping to educate the public of the threats that face our natural world today, sustainable design is highly regarded in order to benefit the wellbeing of society.

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Documents such as the Biophilic Design Guidebook help to inform designers how best to achieve beneficial architecture to both the environment and society (Anon 2018). With the continuing growth of biophilic design in the future it is hopeful that society will continue to benefit from its positive influence on the mental and physical wellbeing of society.

Figure 9 / Landmak architecture house residential architecture Vietnam (Astbury 2020)

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3 . L I G H T A N D AC O U S Peter Zumthor, is an award-winning architect who is famous for designing minimalist structures such as the Thermal Baths, Switzerland (figure 11 and 12). Zumthor is an example of an architect that informs us of why there is such an importance in the atmospheres of a structural design, and thus how we are psychologically affected by architecture. Through analysing Peter Zumthor’s award winning architecture we can observe the ways in which architects can manipulate natural light, as well as tactically use artificial light, to create certain psychological effects/emotions on society. As humans we are naturally attracted by light whether artificial or natural, therefore it plays a very significant part in neuroarcitecture. There have been several findings of the psychological effect that lighting has on people.

An example of research is from Dr. John Flynn in which he considered how spaces give people varying feelings/ emotions (Flynn et al., 1979). Figure 10 displays the findings of Flynn’s research:

Figure 10 / Table demonstrating results of research carried out by Dr John E. Flynn (Flynn et al. 1979)

Flynn’s research indicates that through the manipulation of lighting, humans form subjective impressions and varying emotions depending on the intensity and distribution of light within a room.

Through the results of this research, architects could benefit by making lighting choices based on what psychological feeling they want to convey to users rather than only considering aesthetic factors.

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STICS

Figure 11 / Peter Zumthor’s Therme Vals Spa view of outdoor pool (Frearson 2016)

Figure 12 / Peter Zumthor’s Therme Vals Spa interior (Frearson 2016)

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3.1 Light

Figure 13 / Diagram demonstrating the Circadian Rhythm (Malczan 2019)

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Light is one of the main contributors in creating atmospheres within space. As well as this it has been found through research that natural light has a large impact on our mental wellbeing as humans. This could be a result of humans originally having to rely on natural light to survive, gaining an indication of time from day to night. A lack of exposure to natural light during the day also has a negative impact on our circadian rhythms (Figure 13).

The circadian rhythm regulates our body clock throughout the day, relying on daylight to indicate to our bodies times of sleepiness and feeling awake (Channon 2018). In addition to this our circadian clock turns genes on and off around our bodies controlling our internal organs and ensuring our bodies work in routine (PANDA 2020). This is even more important now due to creation of artificial light, as our bodies are constantly adjusting to the confusion of blue light we are frequently exposed to.

Recently researchers have found a way to manipulate blue light to help people to focus more instead of creating tiredness. This has been put into testing with astronauts and so far, has proved successful (PANDA 2020).

Through these findings, work spaces may thrive in the future and improve the mental wellbeing of society rather than aiding the decline of mental health.

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3 . 2 L i g h t i n g i n Wo r k i n g Environments

Figure 14 / Staples SAD Light Station experiment (Agarwal 2018)

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Unfortunately, today only some people are lucky to be exposed to a healthy amount of natural light due to modern day living/ working environments. It has been explored mainly within workspaces due to these being the primary non-residential spaces used by most of the population daily. Research has shown that staff based within office spaces which don’t provide any natural light, sleep for an average of 46 minutes less than those who work in offices which do provide natural daylight (Channon 2018). However, in some country’s that lack sunlight hours during the winter months, employees may only be exposed to light when in the office, thus missing out on natural light. This causes psychological issues for some, including SAD (Seasonal affective Disorder), anxiety, stress and fatigue (Agarwal 2018). This has been demonstrated through a research project which was carried out through surveys by Arlington Research for the UK company Staples in 2018 (Figure 14).

The key findings of this research based on lighting within offices revealed that 81% of employees based in the EU expressed that their current office spaces impacted their mental health. As well as this, one in five employees described their workspace as ‘depressing’. Other research states that just 13 minutes of natural daylight has significant antidepressant benefits (Anon 2018), which proves the importance of neuroscience in the design of lighting.

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3.3 Lighting in Healing Spaces Another example to consider is the way in which we use lighting within our healing spaces such as hospitals. These are spaces which usually trigger avoidance, not only because we psychologically link them with poor health and disease, but also because many of them are not aesthetically the most welcoming of spaces. This is partially due to this psychological link, but also due to the primary factors of design being function and sanitation rather than comfort. As you walk into a hospital you are usually greeted with an uncomfortable waiting room which is filled with bright white light (Figure 15). This is often installed in healing spaces as white conveys the impression of hygiene and cleanliness. However, being the first impression on visitors, it can sometimes cause discomfort to patients and result in having a negative effect on the patient’s psychological experience.

Extra consideration needs to be taken when designing healing spaces due to the primary group of people its functioning for. Considering the impact lighting can have on a person’s health, it is a vital part of the design process, especially as patients may need to stay for an extended period. However, due to the high demand of these spaces, it is usually very difficult to provide all patients and visitors with the benefits of natural light.

This could be having a negative effect on patients who aren’t near windows, as this could contribute to a disruption of their circadian rhythms causing discomfort. Moreover, in shared hospital rooms nurses will need to attend to patients during the night, turning on artificial lights which could cause disruption to patients within the same room. This causes an impairing effect on the restoration and healing process of these patients (Robinson, Pallasmaa 2015).

In contrast to public hospitals, in a different type of healing space (counselling and mental health), design can be more beneficial to visitors when lighting is dimmed and of softer tones. This induces a relaxed and more pleasant feel for visitors. This has been proven through psychological research, which also found that having more dimmed lighting within counselling spaces gave a more favourable impression of the interviewer, and self-disclosure to its visitors (Miwa & Hanyu, 2006). Considering the benefits found through this research it would be more beneficial to have zones of dimmed lighting throughout hospitals varying on the needs of the patients within the spaces. This could create a more positive relationship between societies psychological link with hospitals.

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Figure 15 / Typical NHS waiting room in the UK (Matthews-King 2019)

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3.4 Acoustics W ith the example of Healing Spaces

"I pick up a thread that I had dropped, but that was not broken" - Maurice Merleau-Ponty (Merleau-Ponty 2012)

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Zumthor compares the acoustics of a space to ‘large instruments’, referring to the way in which materiality and shape within an interior can manipulate how noise is being transmitted throughout (Zumthor 2006). When observing the noises of everyday life that surround us on a constant basis, it becomes clear that it is near to impossible to ever reach a state of complete silence. Maurice Merleau-Ponty uses a metaphor to describe the stream of constant noise around us by saying ‘I pick up a thread that I had dropped, but that was not broken’. This suggests that even when we stop consciously listening to our surroundings, we are still aware of them, contributing to the theory that we rarely experience true silence in our lifetimes (Merleau-Ponty 2012). When the acoustics of an environment become intrusive, it can begin to have negative effects on mental wellbeing, causing anxiety (Channon 2018).

Referring to the research of healing spaces, it has been found to affect the rate of revisiting patients.

Patients who had been exposed to a good acoustic environment (quiet, no echoing) gave a more positive review of their experience with the working staff in the environment. In contrast to this, when patients were exposed to an uncomfortable negative acoustic experience (loud, sound bouncing), they were found to have a higher rate of re-hospitalisation (Andrade et al. 2016). This research shows the extent to which the acoustics within architectural design can affect the psychological wellbeing of society, supporting the importance of neuroarchitecture.

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CONCLUSION The presented study was undertaken to determine the extent to which the architectural design has an impact on the social and psychological wellbeing of modern-day society. One of the more significant findings to emerge from this study is that the design of artificial lighting within a space can cause disruption to the natural circadian rhythm. This causes a negative effect on the overall health of society, both mentally and physically. The findings of this research provide insights for how the built environment not only can influence mental wellbeing but also physical wellbeing. A further study could assess the extent to which architectural design can affect physical wellbeing more specifically. This would be vital to enhance our knowledge of neuroarchitecture from a different dimension.

The second major finding of this paper was the extent to which technology has a negative effect on the way in which we experience architecture today. Research suggests that due to the booming interest in social media and easy access to architectural imagery, societies sensory knowledge is suffering due to the lack of desire to physically experience architecture. The destructive nature that technology can cause to human interaction with modern architecture is alarming and causes need for concern in how architects can encourage the public to physically engage with their designs. With technology encouraging less human interaction in society, problems such as loneliness, depression and anxiety will become somewhat of a norm. Although it is not directly based on architectural design, there is a clear opportunity for architects to take neuroarchitecture into consideration and put efforts into engaging society rather than encouraging the antisocial culture of technology.

Despite the limitations of psychological research, the study certainly adds to our understanding of the significance of neuroarchitecture through the collaboration of existing studies. Although the current study is based upon a small sample of sources, the findings suggest that modern architecture is beginning to take a positive turn in relation to the mental wellbeing of its users. This is being aided by the growing awareness of environmental issues as well as mental health issues, and the encouragement for these topics to be more openly outspoken by the public.

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Figure 16 / Impact of architecture on human phsychology (Vats 2017)

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CASE STUDIES B Y L A R A F OW L E R ( N 0 6 7 8 1 5 2 )

KO L U M BA M U S E U M / C O L O G N E T H E R M A L BAT H S / VA L S

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ARCHITECT/ Pe t e r Z u m t h o r

FIGURE 3 / Peter Zumthor

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Born in Basel in 1943, Peter Zumthor trained as a cabinet maker, designer, and architect at the Kunstqewerbeschule Basel and Pratt institute, New York. Following this, Zumthor opened his own practise in 1979 in Haldenstein, Switzerland. Professer at the Accademia di architettura, Universita della Svizzera Italiana.

Some of his most famous works include Protective housing for Roman Archaeological Excavations, Chur, 1986; Sogn Benedetg Chapel, Sumvitg, 1988; and Saint Bruder Klaus Field Chapel, Scheidtweiler farm, Mechernich, Germany, 2007, as well as the two works that will be analysed within this paper; Thermal Baths Vals, 1996, and Art Museum Kolumba, Cologne, 2007.

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T H E R M A L BAT H S / VA L S / 1996

‘Good architecture should receive the human visitor, should enable him to experience it and live in it, but it should not constantly talk at him.’

-Peter Zumthor

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FIGURE 4 / Therme Vals

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T H E R M E VA L S /

Architecture As Sur roundings

FIGURE 5 / Location of Therme Vals

Latitude : 46°37’18.7”N Longitude : 9°10’52.3”E

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Therme Vals, by Peter Zumthor, was built and completed in 1996 over some unique thermal springs in the Graubunden Canton in Switzerland. The spa aims to offer its visitors a multi-sensory experience while boasting its picturesque views, which can be enjoyed just as much as the spectacular architectural design.

FIGURE 6 / Site map

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T H E R M E VA L S / Va l s, S w i t z e r l a n d Therme Vals is located in the Walser - German - speaking enclave of Vals, based in the Romansh dominated Val Lumnezia which has a population of 1000 people (Translated as Valley of Light).

Vals-Platz, the centre of the village sits at an altitude of 1,252 metres above sea level and is one of the few places in the area which are still inhabited all year round. However, you can still find structures of farms which used to be inhabited all year round.

The law in Vals requires all houses and barns to be roofed with stone tiles, creating a uniform style throughout the architecture of the area.

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FIGURE 7 / Vals

FIGURE 8 / Required materials used in Vals

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T H E R M E VA L S / Concept

The Therme Vals spa was designed by Peter Zumthor, based on the concept of wanting to create a structure which mimicked the classic form of a cave or quarry. When designing projects, Zumthor draws a close focus on the surroundings of his sites and describes this as Architecture in surroundings. The bathhouse compliments the natural location and it’s vast green space by being inset into the side of the mountain with a grass covered roof.

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FIGURE 9 / Sketch of Therme Vals

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T H E R M E VA L S / History

In 1893 a bath house was opened which hosted 60 beds, it was named ‘Therme Spa Hotel’. Following this opening, Vals experienced a boom in its economy from its increase in visitors.

In 1960, the hotel as well as springs were then purchased by a mineral water expert who began his development by creating a filling station in order to be able to distribute the natural water in litre bottles to the public.

In 1970 the owner then introduced a new spa centre which boasted mineral thermal halls and an outdoor wave pool as well as spa treatment areas and an upgraded hotel infrastructure containing 345 spa apartments.

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FIGURE 10 / Spa apartments

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T H E R M E VA L S / The Project

FIGURE 11 / View from outdoor pool

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Zumthor plays on its visitors sensory stimuli and humans natural connection with water. The visitors, or bathers, are encouraged to experince it’s aqua installations which are kept at individual specific temperatures in order to create complex synthesis of sensory stimuli. (Hawkes 2008, p.208)

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T H E R M E VA L S / Layout

FIGURE 12

FIGURE 13

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On entering the mountainside structure, you are first welcomed into the buildings changing rooms, created from polished hardwood. Moving on you are then drawn up a stepped ramp which leads you onto the internal pool. On your journey through the spa’s interiors, Zumthor uses floor to ceiling windows in order to showcase the locations stunning views of the opposite hillside (ArchDaily 2009).

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T H E R M E VA L S / Materiality

‘the landscape, if I give it the chance, offers me freedom and serenity.

Nature has a different sense of time.’

-Peter Zumthor

Formed out of 60,000 slabs of Valser quartzite, the Therme Vals structure is made up of 15 parts of flat-topped sections placed in a regular order. The parts are 5 metres in height with cantilevered concrete roof units which are supported by tie beams (ArchDaily 2009).

The stones used throughout the design come in three different heights, however, the total of the three is always 150mm allowing for a variety in arrangement whilst still having order.

The roof units on the structure don’t connect as they are separated by 80mm gaps covered by glass, which prevents water ingress. These thin gaps create linear light interventions in the structure’s interiors.

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T H E R M E VA L S / Creating Sense

Peter Zumthor has created a minimalist design which aims to have an effect on all of the senses. Through intense lighting interventions reflecting on the water and stone interiors, the experience of the sturcture becomes very Intense for visitors, playing on sensory richness. The design is not only based on its beautiful aesthetics, but also with the atmosphere which is present from the first experience of the building, creating an almost primal pleasure (Hawkes 2008).

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T H E R M E VA L S / Lighting

Zumthor takes advantage of using natural light to illuminate the building in certain ways which help create atmosphere and a feeling of calm throughout the internal spaces. His clever use of gaps between the roof slabs allow for light to leak into the interiors complimenting further the use of straight lines throughout the design.

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FIGURE 22

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FIGURE 23

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FIGURE 24

The chosen materials used throughout the design appear to absorb the light more than they do reflect it. This creates opportunity to create a dramatic difference within the design between light and dark. in places, Zumthor cleverly manipulates the light to suggest subtle paths of direction for its visitors.

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FIGURE 25

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T H E R M E VA L S / The Meander

‘You are walking as if in the woods. Everyone there is looking for a path of their own.’

-Peter Zumthor

By creating different light interventions within the interiors, Zumthor directs visitors through the space unconsciously. With sharp slits of light playing further on the geometric style of the building, as well as aligning minimalistic hanging lights along the length of the rooms, the eyes of visitors are naturally drawn along a path through the stone structure (Hawkes 2008).

The combined use of straight lines within materials, lighting and levels creates a calm sense of flow throughout the entire building. The layout creates different opportunities of direction for its visitors to explore at their own leisure.

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FIGURE 29

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Through the use of straight lines throughout the design of the spa, Zumthor draws his visitors through and into spaces. Typically, within each space there is a focussed source of light which reflects off surrounding surfaces, this creates a focal point for visitors as we are naturally attracted to lighter spaces. As well as being drawn towards these lighter spaces, the surrounding architectural forms tend to point toward these sources of lights, further creating a sense of direction within each area.

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T H E R M E VA L S / Acoustics

FIGURE 30

‘I believe that buildings should sound the way that they look.’

-Peter Zumthor

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When considering the acoustics within a space with the intention of creating atmosphere, Peter Zumthor suggests that we relate our feelings from acoustics to our past experiences. Zumthor describes how he has comforting memories of hearing his mother in the kitchen and relating this loud noise to happiness.

(Zumthor 2006, p.29) The design of the thermal spa is designed on the use of four primary materials (stone, concrete, glass and water) which define its internal spaces. When considering the acoustics within the spaces, it is interesting to know that these four materials have almost identical acoustic properties, all offering very small absorption of sound. (Hawkes 2008, p.208)

‘The echoing reverberation of the space somehow provokes bathers to hum or sing as they sense the acoustic.’

-(Hawkes 2008, p.210)

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T H E R M E VA L S / Climate

FIGURE 31

The spa features the following pools kept at these particular temperatures:

Indoor pool 32° C Outdoor pool winter 36° C Outdoor pool summer 30° C Fire pool 42° C Ice pool 14° C Drinking stone ferrous spring water 29.8° C Flower pool 33° C Sound Bath Resonance Room 35° C Sweat Stone and Steam Stone air humidity 85-100%

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Being a spa, the consideration of temperature and climate contributes to the whole experience of the structure. With each individual pool always being regulated to a certain specific temperature, the mood and atmosphere changes as visitors move between spaces for the hope of a different experience in each (Anon 2011).

The water enters the structure directly from the mountain in which it sits. The temperature of this water is 30 degrees Celsius and fills the baths throughout the building. The temperature of this water creates geothermal heating and helps to moderate the different temperatures of the pools throughout Therme Vals.

This system makes the spa even more appealing as this system utilizes the nature that it is surrounded by in order to create an environment of relaxation (Anon 2011).

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FIGURE 32

FIGURE 33

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As well as being heated from the natural temperature of the thermal springs, the light energy also contirbutes to the heating of the structure. Throughout the day the sun beams down on the stone and the surrounding context of the spa. As well as this heat from the ground is rising from the core of the earth , both of these sources of heat build up and are released into the structure of the spa creating a warm environment for visitors (Anon 2011).

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T H E R M E VA L S / Details

FIGURE 35

FIGURE 34

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Although Zumthor sticks to a mainly neutral colour palette, in some areas of the spa he provides visitors with points of interest.

An example of this is where some of the spring water enters the structure through five brass pipes at eye level, over time an appearance of tones of orange rust and ochre have developed, adding a punch of colour to what before was a very neutral walkway lined with stone flooring and concrete walls.

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FIGURE 36

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KOLUMBA MUSEUM/

COLOGNE / 2007

‘They believe in the inner values of art, its ability to make us think and feel, its spiritual values. This project emerged from the inside out, and from the place.’

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Latitude : 50°56’19.3”N Longitude : 6°57’14.5”E

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KOLUMBA MUSEUM/

Architecture As Sur roundings

The Kolumba Art Museum based in Cologne (Köln), Germany was built in order to try and preserve and, in a way, reform the devastation that Cologne’s architecture experinced through World War two. The idea of the structure was to allow it’s visitors to be able to experience two millenia of local culture under one roof. The ruins which originally stood before being opened as a new project are intensified through Peter Zumthors designs internally and externally. The design offers indoor and outdoor spaces to allow it’s visitors to reflect on the beauty of what used to be and what is now.

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FIGURE 42

Containing a large variety of art from late antiquity to present works, there is a clear sense of historic atmosphere which runs silently through Zumthor’s design. Zumthor combines two prominent styles of architecture (the gothic style of archaeological ruins merged with Böhms famous chapel “Madonna in the Ruins”). This unique combination of architectural style allows the public to form an appreciation for the development of structural architecture through history (Z e b a l l o s 2 0 1 2 ) .

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“A museum of contemplation in which there is an ongoing dialogue between past and present” -Sarah McFadden, Art in America

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Cologne, being the fourth most populated city in Germany (over one million residents within its boundaries) boasts a variety of impressive architecture. Styles include gothic, neo-romanesque and modernist architecture. These styles can be seen within 12 neo-romanesque Churches based around the city, as well as the famous Cologne cathedral which stands as one of the tallest structures in the city, despite being bombed fourteen times during World War Two. Repairs were carried out and completed in 1956 in order to restore some parts of the cathedral which were damaged from these bombings.

Unfortunately, these repairs weren’t overly successful and bad brickwork had to be changed in the 1990s. The cathedral is another example of how Cologne has preserved its history for us to appreciate today.

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KOLUMBA MUSEUM/

Cologne

FIGURE 43

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Concept

Kolumba encourages its visitors to immerse themselves into the memory of what used to be (Zumthor, Weitchies 2008).

Integrating the old and the new, the structure allows for individual interpretation of the space while having clear respect for what stood in its place before devastation.

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FIGURE 45

FIGURE 46 / Ruins of St. Kolumba from the North side, 1974

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History

Prior to the existence of Kolumba museum, the museum of Archdiocese of Cologne (founded in 1853) was the home to a large collection of religious art. This museum was almost destroyed during the World War two bombings which sadly managed to destroy a large part of the city.

Thankfully the majority of the collection was evacuated and therefore survived the war. The Columba museum, which is located on the former site of St. Columba Church, is now ran by the Archdiocese of Cologne (Zumthor, Weitchies 2008).

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FIGURE 47 / Church of St. Kolumba before the bombing

FIGURE 48 / The church after the Allied bombing

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FIGURE 49 / St. Kolumba, ground plans of church buildings

FIGURE 50 / St. Kolumba before damage

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FIGURE 51

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KOLUMBA MUSEUM/ A competition which was opened for the re-

The Project

designing of Kolumba museum had a total of 168 entries but was eventually granted to Peter Zumthor. Zumthors design aimed to preserve and protect the remains of the church which had barely survived world war one. His design proposed to do this by completely surrounding the church and merging with parts of its surviving walls as well as introducing an upper level and side wing to provide exhibition space.

Kolumba museum is now a vital piece of architecture in Cologne which helps to preserve some of the historic architecture which was devastatingly destroyed in World War two.

The project, proposed by Peter Zumthor, had the aim of respecting the existing architecture within its context as well as creating a structure which had its own identity in addition to complimenting the ruins on which it is built.

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The most impressive aspect of the design of the Kolumba museum is how Pete Zumthor has managed to create a completely new piece of architecture, which is magnificent by itself. Yet in addition to this, his creation has integrated itself onto a completely different style of architecture which holds historic pride in its location. It is hard not to appreciate the survival of the ruins, and how the ruins are now able to stand for even longer with the help of the protection of Zumthor’s design. Emotion comes naturally within this building due to the significance of the ruins, however it is made more intense through Zumthor’s atmospheric design.

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FIGURE 52 / Octagonal chapel designed by Gottfried Bohm, 1950

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KOLUMBA MUSEUM/

Preser vation

Due to there being a lot of pressure on the design to provide exhibition space appropriately, Zumthor was faced with the task of integrating his design with some of the surviving external walls of the St Columba Ruins. This caused some complication within the structural design. At ground level, the outer walls of Zumthors design are interrupted only two times; once by a large glazed entrance and secondly by a separate opening which had to be made for the remains of the chapel.

In order to preserve the remains of the church many different factors had to be considered including the appropriate temperature for the ruins; these included things like what materials to use to not destroy the appearance of the ruins but the compliment them.

FIGURE 53

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When considering the internal design of the building, it can be thought that the consideration of space was made more difficult due to having to redefine the functionality of a space which held such a strong character within its city. The spaces within the redesigned structure allow for its visitors to travel back in time to appreciate the magnificence of what stood before. There is an almost eerie feeling within the room as its visitors appreciate the memory of the emotional structure which had been taken away from the city in such a terrifying period.

Inside the building is a peaceful courtyard which sits upon what used to be a medieval courtyard allowing visitors the chance for reflection (Zumthor, Weitchies 2008). In keeping with Zumthors style of creating intense atmospheres through the manipulation of light within his buildings, the design uses small gaps between in its walls in order to invite small streams of light inside, adding to the powerful atmosphere of its spaces.

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Layout

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The design of the museum involves sixteen exhibition spaces which provides diverse space for exhibition (Hjortshoj 2017). Each room possesses their own individual atmosphere. Each vary due to different factors including lighting, ceiling height, intended direction of movement and placement of exhibits/artworks. However, the rooms do also have the large feature of materiality in common which helps to keep a sense of flow throughout the building (Zumthor, Weitchies 2008).

The largest room within the design encloses an impressive two-thousand-year-old structure which manage to survive the bombings. The intention of the design is to contain the remains in order to lengthen their survival in a dignified manor, giving them the respect that they deserve (Ryan 2015).

The Northern section of the building, which is entirely new, act as additional exhibition space, a treasury, stairway, foyer, and an entrance to the museum as well as providing underground storage.

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FIGURE 57

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Materiality

The materiality within the project was one of the most important factors to consider, due to as well as having to be aesthetically suitable in order to complement the existing ruins, the material would have to almost slot onto the remains without relying on them for support as to avoid any damage to the ruins (Zumthor, Weitchies 2008).

In order to find the most suited material Zumthor searched and experimented with different materials until he eventually found a very specific handcrafted brick. Designed and provided by Tegl Peterson of Denmark, the bricks were uniquely developed for this project. The bricks were fired with charcoal to imbue a warm hue. Since the design and use of these bricks, they have been in demand internationally due to their success in the use of the Kolumba project.

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FIGURE 60

The handcrafted bricks are used on the entire facade of the structure and were designed to be a certain size, different from the supplier’s original size, in order to fit seamlessly into the existing ruins on which the new structure would sit.

The process of creating the bricks involved hand-pressing water struck/ very moist clay into wooden moulds and then baking then in coal-fired kilns. Due to the process being mainly by hand, they do lack having the typically uniformity of traditional factory-made bricks. However, there is beauty in their rugged texture as it allows for stunning variations in their colour and almost enables them to appear more suited to the existing ruins which are certainly not uniform in appearance for the most part (Zumthor, Weitchies 2008).

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‘If a work of architecture consists of forms and contents that combine to create a strong fundamental mood powerful enough to affect us, it may possess the qualities of a work of art.’

-Peter Zumthor

Throughout the interiors of the building Zumthor cleverly uses different variations of light manipulation and interventions. Allowing natural light to pour into some rooms while keeping others mainly in low light to create an intense atmosphere.

The exhibitions spaces are made to feel more spacious by a use of neutral tones and highly reflective floors with mirroring effects of the works that are exhibited throughout. The reflective character of the floors appears almost as if they are covered in a shallow layer of water. Throughout the design Zumthor uses a mixture of materials for the flooring in order to have different effects depending on the function on the room. These materials include flooring made of Jura limestone, terrazzo, and mortar (Hjortshoj 2017).

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With the most exotic of colours explored by Zumthor within this design being different tones of brown, we can see that Zumthor based the interiors on a neutral colour palette. The reasoning for this could be in order to draw attention to the exhibited works rather than the spaces. Although the museums visitors may not find it immediately obvious how thoughtful each space is designed, it is clear that it is very much a considered space which appreciates that the ruins are the primary feature of attention which are not to be overpowered, but rather complimented through modern architectural design.

All of the materials which were selected for the creation of Zumthor’s project contain a simplistic yet subtly luxurious feel. The interior wall panelling, and furniture radiates a feeling of warmth being made of wood and leather as well as the curtains being made from leather and silk (Zumthor, Weitchies 2008).

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FIGURE 79

Over time, due to moisture penetrating the exterior walls, those in charge of the museum have been forced to put up scaffolding due to visible weathering on the building’s exterior. Through testing and research, it has become apparent that the brick walls, which are up to 60 cm thick and built without separating joints, have absorbed more moisture when it rains than they can give off in dry periods (Zumthor, Weitchies 2008).

Due to this unavoidable circumstance, a project is being run where by street artists have created works on the surfaces which surround the scaffolding, creating a sort of external exhibition for the duration of the testing until a solution is found and decided on.

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KOLUMBA MUSEUM/

Creating Sense

Through varying use of straight leading lines and natural light peering around corners, there is a clear atmosphere which gets heavier as visitors move through spaces which act either as artistic exhibition spaces or sheltering spaces of the existing ruins that run through the design of the building.

There is a sense of memory in the spaces which host the remains of the former church, however this is furthered by Zumthors delicate uses of lighting to draw further attention to the beauty of the history which still stands despite the devastation which it reminds us of.

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Lighting

Zumthor cleverly uses a simplistic method of creating gaps between the bricks of the external walls in order to create an effect of leaking light trickling into the internal spaces.

These perforations create almost wispy streams of light which carry through the room and beam onto the opposing walls adding another dimension to the rooms. The filtered light helps to highlight the different layers within the rooms through speckles of light (Ryan 2015).

Through the year the seasons and different intensities of natural light cause the internal environment to shift and play with its visitors experience of the spaces.

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As well as exhibiting impressive works of art as well as helping to preserve appreciation for the original ruins, the museum aims to display shadows which evolve throughout the day and year, penetrating from all directions of the room.

‘but rather Kolumba is a lightand-shade museum, which develops with the changing times of daylight and seasons and also experiences twilight.’

-Kolumba Museum (Zumthor, Weitchies 2008)

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The sun always hits the south side of the museum allowing for the light interventions on the exterior of the building to have full effect on contributing to the atmosphere of the internal spaces. Throughout the day, the movement of the sun manipulates these light interventions in varying way creating a shift in atmospheres throughout the structure.

Due to being in an urban context, shadows of the surrounding buildings visibly move across the Kolumba’s flat exterior creating an ever-changing appearance to passers-by.

FIGURE 91 / Sun path during winter months

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FIGURE 92 / Sun path during summer months

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FIGURE 93

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KOLUMBA MUSEUM/

The Meander

Kolumba museum encourages its visitors to immerse themselves in the presence of history throughout their journey of the structure. The Kolumba museum is constructed in a way that can be interpreted by its individual visitors in very personal ways. Those who are more religious may feel more of a connection to the meaning behind the surviving church and how the survival of the building could increase someone’s faith. Whereas a person who is less religious could have a closer connection to the appreciation of a building which has survived through history and the thought of the journey it went through during the war to how it has been transformed architecturally today.

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Through the use of thoughtful lighting, Zumthor creates natural pathways through the building. By having dark corridors with bright lighting at the end, the design draws its visitors into certain spaces through the use of their curiosity as well as creating an intense atmosphere.

Simple pin lights line the ceiling subtly creating a sense of direction without being too overpowering and taking away from the atmospheric spaces. The pin lights are intense enough that they quietly light up features within the rooms just enough to give its visitors a hint of what they are approaching. Relying further on the visitor’s curiosity to walk towards the partially lit features.

FIGURE 94

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FIGURE 95

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‘Interiors are like large insturments, collecting sound, amplifying it, transmitting it elsewhere.’

-Peter Zumthor Due to the use of materials throughout the museum, there is a slight echo that carries when noise is made. The materials that are used don’t absorb sound very well, causing sound to bound off them.

This add to the atmospheres of the space as it gives its visitors an awareness of other people moving through the internal spaces.

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KOLUMBA MUSEUM/

Acoustics

FIGURE 96

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When approaching this project, the climate of the context as well as the building had to be very carefully considered as the existing ruins were to be disturbed as little as possible. In order to do this, close analysis was carried out on the standing structure to determine the state of the ruins and what would be possible in terms of architectural design. As well as avoiding damage to the ruins, the design was also required to help preserve the excavated remains.

Through analysis it became clear that the remains would have to be kept at the same temperature as their context as well as keeping the humidity regulated to the same level as the exterior of the structure. Due to these factors, the design and materials had to be very carefully considered in order to be able to also accommodate the art collections and exhibitions which it was intended to house.

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KOLUMBA MUSEUM/

Climate

FIGURE 97

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FIGURE 98

FIGURE 99

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KOLUMBA MUSEUM/

Details

It is clear when observing the space that the design goes much further than first visible. As you walk through the building with careful observation it becomes noticeable that there appear to be gaps running around the edges of the flooring. The reason for these gaps is actually to aid the room temperature.

Unlike conventional air conditioning the system has been designed so that fresh air enters the room through the ceilings of the exhibition rooms through the lamp holes and after flowing through the spaces, exits through the floor edging. This was a necessary design when considering the mediation of the buildings temperature due to the geothermal energy and thermo-active building system. This clever system was created by Gerhard Kahlert from Haltern and allows for the spaces to keep their clean minimalist appearance without having to have ventilation units on display anywhere in the building (Zumthor, Weitchies 2008).

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FIGURE 100 / Pe t e r Z u m t h o r ’s K o l u m b a M u s e u m S i g n

“Details, when they are successful, are not mere decoration. They do not distract or entertain. They lead to an understanding of the whole of which they are an inherent part.”

-Peter Zumthor

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As well as paying close attention to the technical designs of the building, Zumthor ensured that every feature of the design from signage to door handles to curtain length, was considered carefully.

Zumthor continues to play with the old and the new by integrating modern design into some of the original features of the remains. The door which sits close to some of the remains of the old chapel on the exterior of the building appears as if someone has scooped out part of the stone to create a handle.

The shape of it has attracted many passers-by to stop and admire the creativity of just this feature.

Zumthor also plays with the concept of a museum of light and shadow (Zumthor, Weitchies 2008) from the very beginning of the signage which sits on the exterior walls of the museum.

FIGURE 101

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LIST OF FIGURES / FIGURE 1 / Fo w l e r, L . 2 0 2 0 . Collage expressing a mind consumed by dull urbanism. ( S k e t c h ) FIGURE 2 / Fo w l e r, L . 2 0 2 0 . Collage expressing a person walking towards darkness. ( S k e t c h ) FIGURE 3 / Fo w l e r, L . 2 0 2 0 . Collage expressing distress of society trapped in an urban environment. ( S k e t c h ) FIGURE 4 / Fo w l e r, L . 2 0 2 0 . Image expressing a designers mind trapped by urbanism. ( S k e t c h ) FIGURE 5 / Paleari, 2014. Iconic Buildings with Silhouettes of People [ o n l i n e ] . [ A c c e s s e d 2 3 Fe b r u a r y 2 0 2 0 ] .

Av a i l a b l e a t : h t t p s : / / w w w. t r e n d h u n t e r. c o m / t r e n d s / p a l e a r i FIGURE 6 / Paleari, 2019. The five human Senses [ o n l i n e ] . [ A c c e s s e d 1 6 Fe b r u a r y 2 0 2 0 ] . Av a i l a b l e a t : h t t p s : / / t h e h u n g r y j p e g. c o m / p r o d u c t / 3 6 3 9 9 7 0 - f i v e - h u m a n - s e n s e s - s k e t c h - m o u t h - a n d - e y e - n o s e - a n d ear-hand-and-brain FIGURE 7 / Poundstone, 2019. New Zumthor Renderings [ o n l i n e ] . [ A c c e s s e d 1 3 Fe b r u a r y 2 0 2 0 ] . Av a i l a b l e a t : h t t p : / / l a c m a o n f i r e . b l o g s p o t . c o m / 2 0 1 9 / 0 4 / n e w - z u m t h o r - r e n d e r i n g s. h t m l FIGURE 8 / Fo w l e r, L . 2 0 2 0 . Expression of employees trapped in an urban environment causing negative psychology.

(Sketch) FIGURE 9 / Astbury, 2020. Landmak architecture house residential architecture Vietnam [ o n l i n e ] . [ A c c e s s e d 1 5 Fe b r u a r y 2 0 2 0 ] . Av a i l a b l e a t : h t t p s : / / w w w. d e z e e n . c o m / 2 0 2 0 / 0 2 / 2 7 / l a n d m a k - a r c h i t e c t u r e - d a u dau-house-vietnam-nam-dimh/ FIGURE 10 / Table demonstrating results of research carried out by Dr John E. Flynn (Flynn et al. 1979) FIGURE 11 / Frearson, 2016. Peter Zumthor’s Therme Vals Spa view of outdoor pool [ o n l i n e ] . [ A c c e s s e d 1 9 Fe b r u a r y 2 0 2 0 ] . Av a i l a b l e a t : https://www.archdaily.com/798360/peter-zumthors-therme-vals-through-the-lens-offernando-guerra FIGURE 12 / Frearson, 2016. Peter Zumthor’s Therme Vals Spa interior [ o n l i n e ] . [ A c c e s s e d 9 Fe b r u a r y 2 0 2 0 ] .

Av a i l a b l e a t : https://www.archdaily.com/798360/peter-zumthors-therme-vals-through-the-lens-of-fernandoguerra FIGURE 13 / Malczan, 2019. Diagram demonstrating the Circadian Rhythm [ o n l i n e ] . [ A c c e s s e d 1 5 Fe b r u a r y 2 0 2 0 ] . Av a i l a b l e a t : h t t p s : / / w w w. o p e n s o u r c e d wo r k p l a c e . c o m / n e w s / w h a t - i s - c i r c a d i a n - l i g h t ing-and-how-does-circadian-lighting-affect-productivityFIGURE 14 / Agarwal, 2018. Staples SAD Light Station experiment [ o n l i n e ] . [ A c c e s s e d 1 3 Fe b r u a r y 2 0 2 0 ] .

Av a i l a b l e a t : h t t p s : / / w w w. f o r b e s. c o m / s i t e s / p r a g y a a g a r w a l e u r o p e / 2 0 1 8 / 1 2 / 3 1 / h o w - d o e s - l i g h t i n g a f f e c t - m e n t a l - h e a l t h - i n - t h e - wo r k p l a c e /

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V I S UA L E S S AY FIGURE 15 / Matthews-King, 2019. Typical NHS waiting room in the UK [ o n l i n e ] . [ A c c e s s e d 2 Fe b r u a r y 2 0 2 0 ] . Av a i l a b l e a t : https://www.independent.co.uk/news/health/nhs-waiting-time-a-e-four-hour-target-emergency-medicine-simon-stevens-a8754286.html FIGURE 16 / Vats, 2017. Impact of architecture on human phsychology [ o n l i n e ] . [ A c c e s s e d 5 Fe b r u a r y 2 0 2 0 ] . Av a i l a b l e a t : https://medium.com/@srkshivangi.01/impact-of-architecture-on-human-psychology-f0b637714603 FIGURE 17 (Inside back-cover) / Fo w l e r, L . 2 0 2 0 . Collage expressing a person walking towards lightness.

(Sketch)

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LIST OF FIGURES / F I G U R E 1 / A r c h D a i l y, 2 0 0 9 . T h e T h e r m e Va l s / P e t e r Z u m t h o r [ o n l i n e ] . [ A c c e s s e d 7 D e c e m b e r 2 0 1 9 ] . Av a i l a b l e a t : h t t p s : / / w w w. a r c h d a i l y. c o m / 1 3 3 5 8 / t h e - t h e r m e - v a l s / F I G U R E 2 / Jo n e s, W. , 2 0 1 7 . 1 2 - p e t e r - z u m t h o r - ko l u m b a - m u s e u m - c o l o g n e - g e r m a n y - r a s m u s - h j o r t s h o j - c o n t e m p o r a r y - c e r a m i c - a r c h i t e c t u r e - c f i l e [ o n l i n e ] . [ A c c e s s e d 7 D e c e m b e r 2 0 1 9 ] . Av a i l a b l e a t : h t t p s : / / cfileonline.org/architecture-br utalist-brick-str ucture-sheathes-g othic-church-r uins/12-peter-zumthor-kolumba-museum-cologne-g er many-rasmus-hjor tshoj-contemporar y-ceramic-architecture-cfile/ F I G U R E 3 / Ro b a t h a n , M . , 2 0 1 7 . P e t e r Z u m t h o r [ o n l i n e ] . [ A c c e s s e d 4 D e c e m b e r 2 0 1 9 ] . Av a i l a b l e a t : h t t p s : / / w w w. c l a d g l o b a l . c o m / a r c h i t e c t u r e - d e s i g n - f e a t u r e s ? c o d e i d = 3 1 5 9 1 & r e f = n F I G U R E 4 / A n o n , 2 0 1 9 . T h e r m a l s p r i n g s [ o n l i n e ] . [ A c c e s s e d 6 D e c e m b e r 2 0 1 9 ] . Av a i l a b l e a t : h t t p s : / / w w w. v a l s. c h / e n / d e e p - m e a n i n g f u l / s t o n e - w a t e r - t h e - t h e r m a l - s p r i n g s / .

F I G U R E 5 / Fo w l e r, L . 2 0 1 9 . S ke t c h o f T h e r m e Va l s E x t e r i o r . ( S k e t c h ) F I G U R E 6 / A n o n , 2 0 0 8 . Va l s 4 3 [ o n l i n e ] . [ A c c e s s e d 6 D e c e m b e r 2 0 1 9 ] . Av a i l a b l e a t : h t t p s : / / w w w. d a i l y i c o n . n e t / 2 0 0 8 / 0 5 / t h e r m e - v a l s - s p a - s w i t z e r l a n d / F I G U R E 7 / A n o n , 2 0 1 7 . Va l s, S w i t z e r l a n d [ o n l i n e ] . [ A c c e s s e d 3 0 N o v e m b e r 2 0 1 9 ] . Av a i l a b l e a t : h t t p s : / / s i m p l e . w i k i p e d i a . o r g / w i k i / Va l s, _ S w i t z e r l a n d .

F I G U R E 8 / M e d l i n , T. 2 0 0 9 . B a t h i n g w i t h t h e B e s t [ o n l i n e ] . [ A c c e s s e d 2 9 N o v e m b e r 2 0 1 9 ] . Av a i l able at: http://constr uctionculture.blogspot.com/2009_07_01_archive.html.

F I G U R E 9 / Fo w l e r, L . 2 0 1 9 . S ke t c h o f T h e r m e Va l s E x t e r i o r . ( S k e t c h ) F I G U R E 1 0 / S a n c h r t s, 2 0 0 6 . T h e r m e Va l s 1 [ o n l i n e ] . [ A c c e s s e d 3 D e c e m b e r 2 0 1 9 ] . Av a i l a b l e a t : h t t p s : / / e n . w i k i p e d i a . o r g / w i k i / F i l e : T h e r m e _ Va l s _ 1 . j p g F I G U R E 1 1 / A n o n , 2 0 1 3 . T h e r m e Va l s [ o n l i n e ] . [ A c c e s s e d 6 D e c e m b e r 2 0 1 9 ] . Av a i l a b l e a t : h t t p : / / w w w. m o u n t a i n f o r c e . c o m / j o u r n a l / e n / t h e r m e - v a l s - a - s w i s s - t h e r m a l - b a t h - w i t h - a r c h i t e c t o n ic-international-reputation/ F I G U R E 1 2 / R y a n , R . , 2 0 1 5 . T h e r m a l B a t h s i n Va l s, S w i t z e r l a n d b y P e t e r Z u m t h o r [ o n l i n e ] . [ A c c e s s e d 4 D e c e m b e r 2 0 1 9 ] . Av a i l a b l e a t : h t t p s : / / w w w. a r c h i t e c t u r a l - r e v i e w. c o m / b u i l d i n g s / t h e r mal-baths-in-vals-switzerland-by-peter-zumthor/8616979.ar ticle?blocktitle=Buildings&contentID=7715 F I G U R E 1 3 / R y a n , R . 2 0 1 5 . T h e r m a l B a t h s i n Va l s, S w i t z e r l a n d b y P e t e r Z u m t h o r [ o n l i n e ] . [ A c c e s s e d 4 D e c e m b e r 2 0 1 9 ] . Av a i l a b l e a t : h t t p s : / / w w w. a r c h i t e c t u r a l - r e v i e w. c o m / b u i l d i n g s / t h e r mal-baths-in-vals-switzerland-by-peter-zumthor/8616979.ar ticle?blocktitle=Buildings&contentID=7715

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CASE STUDIES F I G U R E 1 4 / A n o n . 2 0 1 1 . T h e r m e Va l s [ o n l i n e ] . [ A c c e s s e d 4 D e c e m b e r 2 0 1 9 ] . Av a i l a b l e a t : j c f 2 c m s y s t e m s. wo r d p r e s s. c o m / 2 0 1 1 / 1 1 / 0 8 / a s s n - 4 - t h e r m e - v a l s / F I G U R E 1 5 / A n o n . 2 0 1 7 . Va l s P h o t o s [ o n l i n e ] . [ A c c e s s e d 3 D e c e m b e r 2 0 1 9 ] . Av a i l a b l e a t : h t t p s : / / w w w. o n t h e s n o w. c o. u k / g r a u b u n d e n / v a l s / r e s o r t - p h o t o s - i d 1 6 3 4 2 4 - - s k i t o u r - f a n e l l h o r n - s u i . h t m l F I G U R E 1 6 / Fo w l e r, L . 2 0 1 9 . C o l l a g e o f T h e r m e Va l s. ( S k e t c h ) .

F I G U R E 1 7 / A n o n . 7 1 3 2 T h e r m a l B a t h s a n d S p a [ o n l i n e ] . [ A c c e s s e d 3 0 N o v e m b e r 2 0 1 9 ] . Av a i l a b l e at: https://7132.com/en/ther me/ther mal-baths-and-spa/over view Av a i l a b l e a t : h t t p s : / / 7 1 3 2 . c o m / e n / t h e r m e / t h e r m a l - b a t h s - a n d - s p a / o v e r v i e w F I G U R E 1 8 / A n o n . 7 1 3 2 T h e r m a l B a t h s a n d S p a [ o n l i n e ] . [ A c c e s s e d 3 0 N o v e m b e r 2 0 1 9 ] . Av a i l a b l e at: https://7132.com/en/ther me/ther mal-baths-and-spa/over view F I G U R E 1 9 / A n o n . 7 1 3 2 T h e r m a l B a t h s a n d S p a [ o n l i n e ] . [ A c c e s s e d 3 0 N o v e m b e r 2 0 1 9 ] . Av a i l a b l e at: https://7132.com/en/ther me/ther mal-baths-and-spa/over view F I G U R E 2 0 / S o n a d u y g u r, 2 0 1 1 . D r a s t i c L i g h t a n d a B a t h [ o n l i n e ] . [ A c c e s s e d 2 9 N o v e m b e r 2 0 1 9 ] .

Av a i l a b l e a t : h t t p s : / / s o n a d u y g u r. wo r d p r e s s. c o m / 2 0 1 1 / 1 2 / 1 1 / d r a s t i c - l i g h t - a n d - a - b a t h / F I G U R E 2 1 / S e n d o r, W. 2 0 1 4 . P h y s i c a l M o d e l [ o n l i n e ] . [ A c c e s s e d 4 D e c e m b e r 2 0 1 9 ] . Av a i l a b l e a t : b e h a n c e . n e t / g a l l e r y / 1 8 7 4 7 0 8 9 / T h e r m e - Va l s - A n a l y s i s F I G U R E 2 2 / Fo w l e r, L . 2 0 1 9 . N a t u r a l L i g h t e n t e r i n g T h e r m e Va l s . ( S k e t c h ) .

F I G U R E 2 3 / Ta n , J. 2 0 0 9 . S e r e n i t y i n a u s t e r i t y : T h e r m e Va l s [ o n l i n e ] . [ A c c e s s e d 5 D e c e m b e r 2 0 1 9 ] .

Av a i l a b l e a t : a u s t r a l i a n d e s i g n r e v i e w. c o m / a r c h i t e c t u r e / s e r e n i t y - i n - a u s t e r i t y - t h e r m e - v a l s / F I G U R E 2 4 / Fo w l e r, L . 2 0 1 9 . N a t u r a l L i g h t A n a l y s i s . ( S k e t c h ) .

F I G U R E 2 5 / A r c h D a i l y, 2 0 0 9 . T h e T h e r m e Va l s / P e t e r Z u m t h o r [ o n l i n e ] . [ A c c e s s e d 7 D e c e m b e r 2 0 1 9 ] . Av a i l a b l e a t : h t t p s : / / w w w. a r c h d a i l y. c o m / 1 3 3 5 8 / t h e - t h e r m e - v a l s / F I G U R E 2 6 / Fo w l e r, L . 2 0 1 9 . I n t e r n a l L i g h t A n a l y s i s . ( S k e t c h ) .

F I G U R E 2 7 / Fo w l e r, L . 2 0 1 9 . I n t e r n a l L i g h t A n a l y s i s Tw o. ( S k e t c h ) .

F I G U R E 2 8 / Fo w l e r, L . 2 0 1 9 . T h e M e a n d e r A n a l y s i s . ( S k e t c h ) .

F I G U R E 2 9 / Fo w l e r, L . 2 0 1 9 . Fo c a l P o i n t . ( S k e t c h ) .

F I G U R E 3 0 / Fo w l e r, L . 2 0 1 9 . I n t e r n a l A c o u s t i c A n a l y s i s . ( S k e t c h ) .

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FIGURE 31 / Anon. 2011. 1288298107-ther me-vals-plan-01b [online]. [Accessed 4 Decemb e r 2 0 1 9 ] . Av a i l a b l e a t : j c f 2 c m s y s t e m s. wo r d p r e s s. c o m / 2 0 1 1 / 1 1 / 0 8 / a s s n - 4 - t h e r m e - v a l s / F I G U R E 3 2 / A n o n . 2 0 1 1 . T h e r m e 4 z [ o n l i n e ] . [ A c c e s s e d 4 D e c e m b e r 2 0 1 9 ] . Av a i l a b l e a t : j c f 2 c m s y s t e m s. wo r d p r e s s. c o m / 2 0 1 1 / 1 1 / 0 8 / a s s n - 4 - t h e r m e - v a l s / F I G U R E 3 3 / A n o n . 2 0 1 1 . T h e r m e 4 b [ o n l i n e ] . [ A c c e s s e d 4 D e c e m b e r 2 0 1 9 ] . Av a i l a b l e a t : j c f 2 c m s y s t e m s. wo r d p r e s s. c o m / 2 0 1 1 / 1 1 / 0 8 / a s s n - 4 - t h e r m e - v a l s / F I G U R E 3 4 / M e d l i n , T. 2 0 0 9 . B a t h i n g w i t h t h e B e s t [ o n l i n e ] . [ A c c e s s e d 2 7 N o v e m b e r 2 0 1 9 ] . Av a i l a b l e a t : h t t p : / / c o n s t r u c t i o n c u l t u r e . b l o g s p o t . c o m / 2 0 0 9 _ 0 7 _ 0 1 _ a r c h i v e . h t m l .

F I G U R E 3 5 / A n o n . 2 0 1 0 . M a d e o f S t o n e a n d Wa t e r , f o r t h e H u m a n B o d y [ o n l i n e ] . [ A c c e s s e d 2 D e c e m b e r 2 0 1 9 ] . Av a i l a b l e a t : g r e e k a r c h i t e c t s. g r / s i t e _ p a r t s / a r t i c l e s / p r i n t . p h p ? a r t i cle=2843&language=en F I G U R E 3 6 / M e d l i n , T. 2 0 0 9 . B a t h i n g w i t h t h e B e s t [ o n l i n e ] . [ A c c e s s e d 2 7 N o v e m b e r 2 0 1 9 ] . Av a i l a b l e a t : h t t p : / / c o n s t r u c t i o n c u l t u r e . b l o g s p o t . c o m / 2 0 0 9 _ 0 7 _ 0 1 _ a r c h i v e . h t m l .

F I G U R E 3 7 / Z e b a l l o s, C . 2 0 1 2 . Z u m t h o r s u n b e d s [ o n l i n e ] . [ A c c e s s e d 2 9 N o v e m b e r 2 0 1 9 ] .

Av a i l a b l e a t : h t t p : / / a r c h i t e c t u r a l m o l e s k i n e . b l o g s p o t . c o m / 2 0 1 2 / 0 4 / p e t e r - z u m t h o r - k o l u m ba-museum-cologne.html F I G U R E 3 8 / Z e b a l l o s, C . 2 0 1 2 . We t f l o o r d o o r [ o n l i n e ] . [ A c c e s s e d 2 9 N o v e m b e r 2 0 1 9 ] .

Av a i l a b l e a t : h t t p : / / a r c h i t e c t u r a l m o l e s k i n e . b l o g s p o t . c o m / 2 0 1 2 / 0 4 / p e t e r - z u m t h o r - k o l u m ba-museum-cologne.html F I G U R E 3 9 / Z e b a l l o s, C . 2 0 1 2 . Wa r m i n g t o n e s [ o n l i n e ] . [ A c c e s s e d 2 9 N o v e m b e r 2 0 1 9 ] .

Av a i l a b l e a t : h t t p : / / a r c h i t e c t u r a l m o l e s k i n e . b l o g s p o t . c o m / 2 0 1 2 / 0 4 / p - t e r - z u m t h o r - k o l u m ba-museum-cologne.html F I G U R E 4 0 / H j o r t s h ø j , R . 2 0 1 7 . P e t e r Z u m t h o r ’s K o l u m b a M u s e u m P h o t o g r a p h e d [ o n l i n e ] . [ A c c e s s e d 1 D e c e m b e r 2 0 1 9 ] . Av a i l a b l e a t : h t t p s : / / w w w. d e s i g n b o o m . c o m / a r c h i t e c t u r e / p e ter-zumthor-kolumba-museum-cologne-g er many-rasmus-hjor tshoj-07-26-2017/ F I G U R E 4 1 / Fo w l e r, L . 2 0 1 9 . K o l u m b a L o c a t i o n i n C o n t e x t .

F I G U R E 4 2 / Z e b a l l o s, C . 2 0 1 2 . K o l u m b a M u s e u m , C o l o g n e [ o n l i n e ] . [ A c c e s s e d 2 5 N o v e m b e r 2 0 1 9 ] . Av a i l a b l e a t : h t t p : / / a r c h i t e c t u r a l m o l e s k i n e . b l o g s p o t . c o m / 2 0 1 2 / 0 4 / p e ter-zumthor-kolumba-museum-cologne.html F I G U R E 4 3 / K o h l , M . 2 0 1 7 . C o l o g n e [ o n l i n e ] . [ A c c e s s e d 2 D e c e m b e r 2 0 1 9 ] . Av a i l a b l e a t : h t t p s : / / w w w. b r i t a n n i c a . c o m / p l a c e / C o l o g n e - G e r m a n y F I G U R E 4 4 / Fo w l e r, L . 2 0 1 9 . K o l u m b a M u s e u m E x t e r n a l . ( S k e t c h ) .

FIGURE 45 / Anon. 2012. Dark Silence in Suburbia [online]. [Accessed 1 December 2019].

Av a i l a b l e a t : h t t p s : / / d a r k s i l e n c e i n s u b u r b i a . t u m b l r. c o m / p a g e / 4 8 9 6

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FIGURE 46 / Anon. 2019. Ruins of St. Kolumba from the North side [online]. [Accessed 29 N o v e m b e r 2 0 1 9 ] . Av a i l a b l e a t : h t t p s : / / w w w. k o l u m b a . d e / ? l a n g u a g e = e n g & c a t _ s e l e c t = 1 & category=14&artikle=57&preview F I G U R E 4 7 / M a j i d , F. 2 0 1 7 . C h u r c h o f S t . K o l u m b a b e f o r e t h e b o m b i n g [ o n l i n e ] . [ A c c e s s e d 2 9 N o v e m b e r 2 0 1 9 ] . Av a i l a b l e a t : h t t p : / / w w w. b l o g s. w e c r e a t e t o g e t h e r. n e t / f a t h i m a m a jid/2017/02/15/fmp-the-kolumba-museum/ F I G U R E 4 8 / Z e b a l l o s, C . 2 0 1 2 . T h e c h u r c h a f t e r t h e A l l i e d b o m b i n g [ o n l i n e ] . [ A c c e s s e d 2 9 N o v e m b e r 2 0 1 9 ] . Av a i l a b l e a t : h t t p : / / a r c h i t e c t u r a l m o l e s k i n e . b l o g s p o t . c o m / 2 0 1 2 / 0 4 / p e ter-zumthor-kolumba-museum-cologne.html FIGURE 49 / Anon. 2019. St. Kolumba, ground plans of church buildings [online]. [Accessed 2 9 N o v e m b e r 2 0 1 9 ] . Av a i l a b l e a t : h t t p s : / / w w w. k o l u m b a . d e / ? l a n g u a g e = e n g & c a t _ s e lect=1&category=14&artikle=57&preview FIGURE 50 / Anon. 2019. St. Kolumba befor e damage [online]. [Accessed 29 November 2 0 1 9 ] . Av a i l a b l e a t : h t t p s : / / w w w. k o l u m b a . d e / ? l a n g u a g e = e n g & c a t _ s e l e c t = 1 & c a t e g o ry=14&artikle=57&preview F I G U R E 5 1 / H j o r t s h ø j , R . 2 0 1 7 . P e t e r Z u m t h o r ’s K o l u m b a M u s e u m P h o t o g r a p h e d [ o n l i n e ] .

Av a i l a b l e a t : h t t p s : / / w w w. d e s i g n b o o m . c o m / a r c h i t e c t u r e / p e t e r - z u m t h o r - k o l u m b a - m u s e um-cologne-ger many-rasmus-hjor tshoj-07-26-2017/ [Accessed 1 December 2019].

F I G U R E 5 2 / Z e b a l l o s, C . 2 0 1 2 . O c t a g o n a l C h a p e l b y G o t t f r i e d B o h m [ o n l i n e ] . [ A c c e s s e d 2 9 N o v e m b e r 2 0 1 9 ] . Av a i l a b l e a t : h t t p : / / a r c h i t e c t u r a l m o l e s k i n e . b l o g s p o t . c o m / 2 0 1 2 / 0 4 / p e ter-zumthor-kolumba-museum-cologne.html F I G U R E 5 3 / K a l l i g i a n n a k i s, K . 2 0 1 6 . K o l u m b a M u s e u m P e t e r Z u m t h o r [ o n l i n e ] . [ A c c e s s e d 2 8 N o v e m b e r 2 0 1 9 ] . Av a i l a b l e a t : h t t p s : / / a r c h d i a r i o. wo r d p r e s s. c o m / 2 0 1 6 / 0 2 / 1 7 / k o l u m ba-museum-peter-zumthor/ FIGURE 54 / Senthil, M. 2014. Kolumba Museum [online]. [Accessed 3 December 2 0 1 9 ] . Av a i l a b l e a t : h t t p s : / / w w w. s l i d e s h a r e . n e t / s e n s h o t s / k o l u m b a - m u s e u m - p r e s e n t a tion-by-m-senthil F I G U R E 5 5 / Z e b a l l o s, C . 2 0 1 2 . K o l u m b a s e c t i o n d r a w i n g [ o n l i n e ] . [ A c c e s s e d 2 9 N o v e m b e r 2 0 1 9 ] . Av a i l a b l e a t : h t t p : / / a r c h i t e c t u r a l m o l e s k i n e . b l o g s p o t . c o m / 2 0 1 2 / 0 4 / p e ter-zumthor-kolumba-museum-cologne.html F I G U R E 5 6 / Z e b a l l o s, C . 2 0 1 2 . K o l u m b a s e c t i o n d r a w i n g [ o n l i n e ] . [ A c c e s s e d 2 9 N o v e m b e r 2 0 1 9 ] . Av a i l a b l e a t : h t t p : / / a r c h i t e c t u r a l m o l e s k i n e . b l o g s p o t . c o m / 2 0 1 2 / 0 4 / p e ter-zumthor-kolumba-museum-cologne.html F I G U R E 5 7 / C i l e n t o, K . 2 0 1 0 . K o l u m b a m u s e u m [ o n l i n e ] . [ A c c e s s e d 2 7 N o v e m b e r 2 0 1 9 ] .

Av a i l a b l e a t : h t t p s : / / w w w. a r c h d a i l y. c o m / 7 2 1 9 2 / k o l u m b a - m u s u e m - p e t e r - z u m t h o r

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FIGURE 58 / Desteghene, C. 2008. Kolumba Brickw ork [online]. [Accessed 28 November 2 0 1 9 ] . Av a i l a b l e a t : h t t p s : / / w w w. f l i c k r. c o m / p h o t o s / c l a u d i o _ d e s t e g h e n e / 2 7 0 1 4 7 5 0 0 6 / i n / pool-677422@N20 F I G U R E 5 9 / A n o n . 2 0 0 7 . K o l u m b a M u s e u m [ o n l i n e ] . [ A c c e s s e d 1 D e c e m b e r 2 0 1 9 ] . Av a i l a b l e a t : h t t p : / / a r c h i k e y. c o m / b u i l d i n g / r e a d / 2 8 5 3 / K o l u m b a - M u s e u m / 8 4 2 / F I G U R E 6 0 / Pe t e r s o n , T. 2 0 1 3 . H a n d m a d e b r i c k p r o d u c t i o n [ o n l i n e ] . [ A c c e s s e d 2 9 N o v e m b e r 2 0 1 9 ] Av a i l a b l e a t : h t t p s : / / w w w. wo r l d - a r c h i t e c t s. c o m / e n / p a g e s / p r o d u c t s / p e t e r s en-kolumba-brick F I G U R E 6 1 / Fo w l e r, L . 2 0 1 9 . K o l u m b a M u s e u m E x t e r n a l M a t e r i a l s . ( S k e t c h ) .

F I G U R E 6 2 / Z e b a l l o s, C . 2 0 1 2 . K o l u m b a e x h i b i t i o n s p a c e [ o n l i n e ] . [ A c c e s s e d 2 9 N o v e m b e r 2 0 1 9 ] . Av a i l a b l e a t : h t t p : / / a r c h i t e c t u r a l m o l e s k i n e . b l o g s p o t . c o m / 2 0 1 2 / 0 4 / p e ter-zumthor-kolumba-museum-cologne.html F I G U R E 6 3 / Z e b a l l o s, C . 2 0 1 2 . K o l u m b a e x h i b i t i o n s p a c e t w o [ o n l i n e ] . [ A c c e s s e d 2 9 N o v e m b e r 2 0 1 9 ] . Av a i l a b l e a t : h t t p : / / a r c h i t e c t u r a l m o l e s k i n e . b l o g s p o t . c o m / 2 0 1 2 / 0 4 / p e ter-zumthor-kolumba-museum-cologne.html FIGURE 64 / Anon. 2019. Materials Concr ete [online]. [Accessed 29 November 2019].

Av a i l a b l e a t : h t t p s : / / w w w. k o l u m b a . d e / ? l a n g u a g e = e n g & c a t _ s e l e c t = 1 & c a t e g o r y = 1 4 & a r tikle=57&preview FIGURE 65 / Anon. 2019. Materials Stone [online]. [Accessed 29 November 2019].

Av a i l a b l e a t : h t t p s : / / w w w. k o l u m b a . d e / ? l a n g u a g e = e n g & c a t _ s e l e c t = 1 & c a t e g o r y = 1 4 & a r tikle=57&preview FIGURE 66 / Anon. 2019. Materials Door handle [online]. [Accessed 29 November 2019].

Av a i l a b l e a t : h t t p s : / / w w w. k o l u m b a . d e / ? l a n g u a g e = e n g & c a t _ s e l e c t = 1 & c a t e g o r y = 1 4 & a r tikle=57&preview FIGURE 67 / Anon. 2019. Materials Bookshelf [online]. [Accessed 29 November 2019].

Av a i l a b l e a t : h t t p s : / / w w w. k o l u m b a . d e / ? l a n g u a g e = e n g & c a t _ s e l e c t = 1 & c a t e g o r y = 1 4 & a r tikle=57&preview FIGURE 68 / Anon. 2019. Materials Bookshelf tw o [online]. [Accessed 29 November 2019].

Av a i l a b l e a t : h t t p s : / / w w w. k o l u m b a . d e / ? l a n g u a g e = e n g & c a t _ s e l e c t = 1 & c a t e g o r y = 1 4 & a r tikle=57&preview FIGURE 69 / Anon. 2019. Materials Bookshelf thr ee [online]. [Accessed 29 November 2 0 1 9 ] . Av a i l a b l e a t : h t t p s : / / w w w. k o l u m b a . d e / ? l a n g u a g e = e n g & c a t _ s e l e c t = 1 & c a t e g o ry=14&artikle=57&preview

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F I G U R E 7 0 / A n o n . 2 0 1 9 . M a t e r i a l s Wo o d [ o n l i n e ] . [ A c c e s s e d 2 9 N o v e m b e r 2 0 1 9 ] .

Av a i l a b l e a t : h t t p s : / / w w w. k o l u m b a . d e / ? l a n g u a g e = e n g & c a t _ s e l e c t = 1 & c a t e g o r y = 1 4 & a r tikle=57&preview FIGURE 71 / Anon. 2019. Materials Balustrade [online]. [Accessed 29 November 2019].

Av a i l a b l e a t : h t t p s : / / w w w. k o l u m b a . d e / ? l a n g u a g e = e n g & c a t _ s e l e c t = 1 & c a t e g o r y = 1 4 & a r tikle=57&preview FIGURE 72 / Anon. 2019. Materials Fur nitur e [online]. [Accessed 29 November 2019].

Av a i l a b l e a t : h t t p s : / / w w w. k o l u m b a . d e / ? l a n g u a g e = e n g & c a t _ s e l e c t = 1 & c a t e g o r y = 1 4 & a r tikle=57&preview FIGURE 63 / Anon. 2019. Materials Counter [online]. [Accessed 29 November 2019].

Av a i l a b l e a t : h t t p s : / / w w w. k o l u m b a . d e / ? l a n g u a g e = e n g & c a t _ s e l e c t = 1 & c a t e g o r y = 1 4 & a r tikle=57&preview FIGURE 74 / Anon. 2019. Materials Timber [online]. [Accessed 29 November 2019].

Av a i l a b l e a t : h t t p s : / / w w w. k o l u m b a . d e / ? l a n g u a g e = e n g & c a t _ s e l e c t = 1 & c a t e g o r y = 1 4 & a r tikle=57&preview F I G U R E 7 5 / A n o n . 2 0 1 9 . M a t e r i a l s Wo o d t e x t u r e [ o n l i n e ] . [ A c c e s s e d 2 9 N o v e m b e r 2 0 1 9 ] .

Av a i l a b l e a t : h t t p s : / / w w w. k o l u m b a . d e / ? l a n g u a g e = e n g & c a t _ s e l e c t = 1 & c a t e g o r y = 1 4 & a r tikle=57&preview FIGURE 76 / Anon. 2019. Materials Door [online]. [Accessed 29 November 2019].

Av a i l a b l e a t : h t t p s : / / w w w. k o l u m b a . d e / ? l a n g u a g e = e n g & c a t _ s e l e c t = 1 & c a t e g o r y = 1 4 & a r tikle=57&preview FIGURE 77 / Anon. 2019. Materials Leather one [online]. [Accessed 29 November 2019].

Av a i l a b l e a t : h t t p s : / / w w w. k o l u m b a . d e / ? l a n g u a g e = e n g & c a t _ s e l e c t = 1 & c a t e g o r y = 1 4 & a r tikle=57&preview FIGURE 78 / Anon. 2019. Materials Leather tw o [online]. [Accessed 29 November 2019].

Av a i l a b l e a t : h t t p s : / / w w w. k o l u m b a . d e / ? l a n g u a g e = e n g & c a t _ s e l e c t = 1 & c a t e g o r y = 1 4 & a r tikle=57&preview F I G U R E 7 9 / A n o n . 2 0 1 9 . K o l u m b a [ o n l i n e ] . [ A c c e s s e d 4 D e c e m b e r 2 0 1 9 ] . Av a i l a b l e a t : https://en.wikipedia.org/wiki/Kolumba FIGURE 80 / Anon. 2019. Construction 2016-20 [online]. [Accessed 6 December 2019].

Av a i l a b l e a t : h t t p s : / / w w w. k o l u m b a . d e / ? l a n g u a g e = e n g & c a t _ s e l e c t = 1 & c a t e g o r y = 1 4 & a r tikle=666&preview= FIGURE 81 / Anon. 2019. Construction 2016-20 [online]. [Accessed 6 December 2019].

Av a i l a b l e a t : h t t p s : / / w w w. k o l u m b a . d e / ? l a n g u a g e = e n g & c a t _ s e l e c t = 1 & c a t e g o r y = 1 4 & a r tikle=666&preview=

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FIGURE 82 / Anon. 2019. Architecture Project [online]. [Accessed 3 December 2019].

Av a i l a b l e a t : h t t p s : / / w w w. k o l u m b a . d e / ? l a n g u a g e = e n g & c a t _ s e l e c t = 1 & c a t e g o r y = 1 4 & a r tikle=61&preview= FIGURE 83 / Anon. 2019. Architecture Project [online]. [Accessed 3 December 2019].

Av a i l a b l e a t : h t t p s : / / w w w. k o l u m b a . d e / ? l a n g u a g e = e n g & c a t _ s e l e c t = 1 & c a t e g o r y = 1 4 & a r tikle=61&preview= FIGURE 84 / Anon. 2019. Architecture Project [online]. [Accessed 3 December 2019].

Av a i l a b l e a t : h t t p s : / / w w w. k o l u m b a . d e / ? l a n g u a g e = e n g & c a t _ s e l e c t = 1 & c a t e g o r y = 1 4 & a r tikle=61&preview= FIGURE 85 / Anon. 2019. Architecture Project [online]. [Accessed 3 December 2019].

Av a i l a b l e a t : h t t p s : / / w w w. k o l u m b a . d e / ? l a n g u a g e = e n g & c a t _ s e l e c t = 1 & c a t e g o r y = 1 4 & a r tikle=61&preview= FIGURE 86 / Anon. 2019. Architecture Project [online]. [Accessed 3 December 2019].

Av a i l a b l e a t : h t t p s : / / w w w. k o l u m b a . d e / ? l a n g u a g e = e n g & c a t _ s e l e c t = 1 & c a t e g o r y = 1 4 & a r tikle=61&preview= F I G U R E 8 7 / A n o n . 2 0 0 7 . O u t e r Fa c a d e [ o n l i n e ] . [ A c c e s s e d 1 D e c e m b e r 2 0 1 9 ] . Av a i l a b l e a t : h t t p : / / a r c h i k e y. c o m / b u i l d i n g / r e a d / 2 8 5 3 / K o l u m b a - M u s e u m / 8 4 2 / F I G U R E 8 8 / A n o n . 2 0 0 7 . S c u l p t u r e [ o n l i n e ] . [ A c c e s s e d 1 D e c e m b e r 2 0 1 9 ] . Av a i l a b l e a t : h t t p : / / a r c h i k e y. c o m / b u i l d i n g / r e a d / 2 8 5 3 / K o l u m b a - M u s e u m / 8 4 2 / F I G U R E 8 9 / Fo w l e r, L . 2 0 1 9 . L i g h t a n a l y s i s o f S u l p t u r e . ( S k e t c h ) .

F I G U R E 9 0 / Fo w l e r, L . 2 0 1 9 . N a t u r a l l i g h t a n a l y s i s o n K o l u m b a E x t e r i o r . ( S k e t c h ) .

F I G U R E 9 1 / H o f f m a n n , T. 2 0 1 9 . S u n c a l c u l a t o r [ o n l i n e ] . [ A c c e s s e d 9 D e c e m b e r 2 0 1 9 ] .

Av a i l a b l e a t : h t t p s : / / w w w. s u n c a l c. o r g / # / 5 0 . 9 5 3 1 , 6 . 9 4 8 8 , 1 6 / 2 0 1 9 . 1 2 . 1 0 / 1 0 : 0 1 / 1 / 3 F I G U R E 9 2 / H o f f m a n n , T. 2 0 1 9 . S u n c a l c u l a t o r [ o n l i n e ] . [ A c c e s s e d 9 D e c e m b e r 2 0 1 9 ] .

Av a i l a b l e a t : h t t p s : / / w w w. s u n c a l c. o r g / # / 5 0 . 9 5 3 1 , 6 . 9 4 8 8 , 1 6 / 2 0 1 9 . 1 2 . 1 0 / 1 0 : 0 1 / 1 / 3 F I G U R E 9 3 / Fo w l e r, L . 2 0 1 9 . M o v e m e n t a n a l y s i s o f K o l u m b a . ( S k e t c h ) .

F I G U R E 9 4 / H j o r t s h ø j , R . 2 0 1 7 . P e t e r Z u m t h o r ’s K o l u m b a M u s e u m P h o t o g r a p h e d [ o n l i n e ] . Av a i l a b l e a t : h t t p s : / / d i v i s a r e . c o m / p r o j e c t s / 3 4 9 2 2 8 - p e t e r - z u m t h o r - r a s m u s - h j o r t shoj-kolumba-museum F I G U R E 9 5 / Fo w l e r, L . 2 0 1 9 . M o v e m e n t a n a l y s i s o f K o l u m b a Tw o. ( S k e t c h ) .

F I G U R E 9 6 / Fo w l e r, L . 2 0 1 9 . A c o u s t i c a n a l y s i s o f K o l u m b a Tw o. ( S k e t c h ) .

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F I G U R E 9 7 / A n o n . 2 0 1 9 . Fl o o r i n g g a p [ o n l i n e ] . [ A c c e s s e d 3 D e c e m b e r 2 0 1 9 ] . Av a i l a b l e a t : h t t p s : / / w w w. k o l u m b a . d e / ? l a n g u a g e = e n g & c a t _ s e l e c t = 1 & c a t e g o r y = 1 4 & a r t i k l e = 6 1 & p r e view= F I G U R E 9 8 / A n o n . 2 0 1 9 . E x t e r n a l S t a i r s [ o n l i n e ] . [ A c c e s s e d 3 D e c e m b e r 2 0 1 9 ] . Av a i l a b l e a t : h t t p s : / / w w w. k o l u m b a . d e / ? l a n g u a g e = e n g & c a t _ s e l e c t = 1 & c a t e g o r y = 1 4 & a r tikle=61&preview= FIGURE 99 / Anon. 2019. Inter nal Silk Curtains [online]. [Accessed 3 December 2019].

Av a i l a b l e a t : h t t p s : / / w w w. k o l u m b a . d e / ? l a n g u a g e = e n g & c a t _ s e l e c t = 1 & c a t e g o r y = 1 4 & a r tikle=61&preview= F I G U R E 1 0 0 / H j o r t s h ø j , R . 2 0 1 7 . P e t e r Z u m t h o r ’s K o l u m b a M u s e u m P h o t o g r a p h e d [ o n l i n e ] . [ A c c e s s e d 1 D e c e m b e r 2 0 1 9 ] . Av a i l a b l e a t : h t t p s : / / w w w. d e s i g n b o o m . c o m / a r c h i t e c t u r e / p e ter-zumthor-kolumba-museum-cologne-g er many-rasmus-hjor tshoj-07-26-2017/ F I G U R E 1 0 1 / Z e b a l l o s, C . 2 0 1 2 . E x t e r n a l d o o r h a n d l e [ o n l i n e ] . [ A c c e s s e d 2 9 N o v e m b e r 2 0 1 9 ] . Av a i l a b l e a t : h t t p : / / a r c h i t e c t u r a l m o l e s k i n e . b l o g s p o t . c o m / 2 0 1 2 / 0 4 / p e ter-zumthor-kolumba-museum-cologne.html

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BIBLIOGRAPHY / Bond, M., 2017. The hidden ways that architecture affects how you feel [online]. Available at: https://www.bbc. com/future/article/20170605-the-psychology-behind-your-citys-design.

Chatterjee, Dr.A., 2018. Buildings, Beauty and the Brain: A Neuroscience of Architectural experience. Available at: https://www.globalwellnesssummit.com/beauty/buildings-beauty-and-brain-neuroscience-of-architecture/.

Colquhoun, A., 2002. Modern architecture. Oxford: Oxford Univ. Press.

Cousins, M. et al.eds., 1998. Architecture, experience and thought: projects by Tony Fretton Architects: produced to accompany an exhibition held at the Architectural Association in London from 28 September to 31 October 1998. London: Architectural Association.

Davies, C., 2011. Thinking about architecture: an introduction to architectural theory. London: Laurence King.

Day, C., 1990. Places of the soul: architecture and environmental design as a healing art. Wellingborough: Aquarian Press.

De Botton, A., 2007. The architecture of happiness. London: Penguin Books.

De Haan, H., 2005. Social and Material Appropriation of Neighborhood Space: Collective Space and Resistance in a Dutch Urban Community [online]. In: Doing, thinking, feeling home: the mental geography of residential environments. Delft University of Technology, Delft. Available at: https://repository.tudelft.nl/ islandora/object/uuid:436408d2-e9e3-42a6-80c5-6f9878cf1332/datastream/OBJ. Donovan, J., Peter Storer Editorial Services, ProQuest (Firm), 2013. Designing to heal. Collingwood, Vic.: CSIRO Publishing.

Hawkes, D., 2008. The Environmental Imagination: technics and poetics of the architectural environment. London ; New York: Routledge.

Marsh, M., 2015. The Future Of Neuro-Architecture Has Arrived. [online]. Work Design. Available at: https://www.workdesign.com/2015/03/the-future-of-neuro-architecture-has-arrived/.

Piotrowski, A., 2011. Architecture of thought. Minneapolis, Minn.: University of Minnesota Press.

Porteous, J.D., 1977. Environment & behavior : planning and everyday urban life. Reading, Mass: Addison-Wesley Pub. Co. Porteous, J.D., 2019. Landscapes of the Mind: Worlds of Sense and Metaphor [eBook]. Available at: https:// doi.org/10.3138/9781487579548 [Accessed 28 October 2019].

Ruggles, D.H., 2018. Beauty, neuroscience, and architecture: timeless patterns and their impact on our well-being.

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Literature Review / Bibliography

LITERATURE REVIEW Vartanian, O., Coburn, A., Chatterjee, A., 2017. Building , Beauty, and the Brain: A Neuroscience of Architectural Experience. Journal of Cognitive Neuroscience.

Whyte, W.H., 2010. The social life of small urban spaces 7. print. New York, NY: Project for Public Spaces.

Zumthor, P., 2006. Atmospheres: architectural environments - surrounding objects. Basel: Birkhäuser.

Zumthor, P., Binet, H., 1998. Works: buildungs and projects 1979 - 1997. Baden/Switzerland: Lars Müller Publishers.

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BIBLIOGRAPHY / Agarwal, Dr.P., 2018. How Does Lighting Affect Mental Health In The Workplace [online]. Forbes.

Available at: https://www.forbes.com/sites/pragyaagarwaleurope/2018/12/31/how-does-lighting-affect-mental-health-in-the-workplace/#2b7fe7df4ccd [Accessed 10 February 2020].

Andrade, C.C. et al., 2016. Is It the Place or the People? Disentangling the Effects of Hospitals’ Physical and Social Environments on Well-Being. Environment and Behavior, 48(2), pp.299–323.

10.1177/0013916514536182.

Anon, 2018a. Available at: https://living-future.org/biophilic-design/#advisory-members.

Anon, 2018b. The Harsh Reality of UK Office Lighting [online]. Staples. Available at: https://www.staples. co.uk/Content/Static/W18/09/666/UKStaples-lighting.pdf ?cm_sp=W19_01_666_03UK2-_-u_ad_3cta_href [Accessed 2 February 2020].

Certeau, M. de, 2013. The practice of everyday life. 1: ... 2. print. Berkeley, Calif.: Univ. of California Press.

Channon, B., 2018. Happy by design: a guide to architecture and mental wellbeing. London: Riba Publishing.

Flynn, J.E. et al., 1979. A Guide to Methodology Procedures for Measuring Subjective Impressions in Lighting. Journal of the Illuminating Engineering Society, 8(2), pp.95–110.

10.1080/00994480.1979.10748577.

Goldhagen, S.W., 2017. Welcome to your world: how the built environment shapes our lives First edition. New York, NY: Harper, an imprint of HarperCollinsPublishers.

Illies, C., Ray, N., 2014. Philosophy of architecture.

Kellert, S.R., Heerwagen, J., Mador, M.eds., 2008. Biophilic design: the theory, science, and practice of bringing buildings to life. Hoboken, N.J: Wiley.

McIntosh, C., Architecture. Cambridge Dictionary. Available at: https://dictionary.cambridge.org/dictionary/english/architecture.

Merleau-Ponty, M., 2012. Phenomenology of perception. London: Routledge.

Pallasmaa, J., 2012. The eyes of the skin: architecture and the senses 3. ed. Chichester: Wiley.

PANDA, S., 2020. CIRCADIAN CODE: lose weight, supercharge your energy, and transform your health from morning... to midnight. S.l.: RODALE. Rasmussen, S.E., 2005. Experiencing architecture 33th printing. Cambridge, Mass: MIT Press.

Robinson, S., Pallasmaa, J.eds., 2015. Mind in architecture: neuroscience, embodiment, and the future of design.

Cambridge, Massachusetts: The MIT Press.

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Visual Essay / Bibliography

V I S UA L E S S AY Schrank, S., Ekici, D.eds., 2017. Healing spaces, modern architecture, and the body. London ; New York: Routledge, Taylor & Francis Group.

Schweitzer, R.D., Glab, H., Brymer, E., 2018. The Human-Nature Experience: A Phenomenological-Psychoanalytic Perspective. Frontiers in Psychology, 9, p.969. 10.3389/fpsyg.2018.00969.

Zumthor, P., 2006. Atmospheres: architectural environments - surrounding objects. Basel: Birkhäuser.

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BIBLIOGRAPGHY / H a w k e s, D. , 2 0 0 8 . T h e E n v i r o n m e n t a l I m a g i n a t i o n : t e c h n i c s a n d p o e t i c s o f t h e a r c h i t e c t u r a l e n v i r o n m e n t . L o n d o n ; N e w Yo r k : Ro u t l e d g e .

Z u m t h o r, P. , 2 0 0 6 . A t m o s p h e r e s : a r c h i t e c t u r a l e n v i r o n m e n t s - s u r r o u n d i n g o b j e c t s . B a s e l : B i r k h ä u s e r.

Z u m t h o r, P. , B i n e t , H . , 1 9 9 8 . Wo r k s : b u i l d u n g s a n d p r o j e c t s 1 9 7 9 - 1 9 9 7 . B a d e n / S w i t z e r l a n d : L a r s M ü l l e r P u b l i s h e r s.

A n o n , 7 1 3 2 T h e r m a l B a t h s a n d S p a [ o n l i n e ] . 7 1 3 2 . Av a i l a b l e a t : h t t p s : / / 7 1 3 2 . c o m / e n / ther me/ther mal-baths-and-spa/over view [Accessed 30 November 2019].

A n o n , 2 0 1 0 . M a d e o f S t o n e a n d Wa t e r , f o r t h e H u m a n B o d y [ o n l i n e ] . Av a i l a b l e a t : g r e e k a r c h i t e c t s. g r / s i t e _ p a r t s / a r t i c l e s / p r i n t . p h p ? a r t i c l e = 2 8 4 3 & l a n g u a g e = e n [ A c c e s s e d 2 D e c e m b e r 2019].

H e i n r i c h , W. , 2 0 0 9 . N o t h i n g b u t w a t e r , l i g h t a n d s t o n e . S t y l e p a r k .

H j o r t s h ø j , R . , 2 0 1 7 . P e t e r Z u m t h o r ’s K o l u m b a M u s e u m P h o t o g r a p h e d [ o n l i n e ] . Av a i l a b l e a t : h t t p s : / / w w w. d e s i g n b o o m . c o m / a r c h i t e c t u r e / p e t e r - z u m t h o r - k o l u m b a - m u s e u m - c o l o g n e - g e r many-rasmus-hjor tshoj-07-26-2017/ [Accessed 1 December 2019].

M e d l i n , T. , 2 0 0 9 . B a t h i n g w i t h t h e B e s t [ o n l i n e ] . R E : m o t e . . . . . . . C o n t r o l l e d . Av a i l a b l e a t : http://constr uctionculture.blogspot.com/2009_07_01_archive.html [Accessed 7 December 2019].

S o n a d u y g u r, 2 0 1 1 . D r a s t i c L i g h t a n d a B a t h [ o n l i n e ] . Wo r d p r e s s. Av a i l a b l e a t : h t t p s : / / s o n a d u y g u r. wo r d p r e s s. c o m / 2 0 1 1 / 1 2 / 1 1 / d r a s t i c - l i g h t - a n d - a - b a t h / [ A c c e s s e d 2 9 N o v e m b e r 2019].

Ta n , J. , 2 0 0 9 . S e r e n i t y i n a u s t e r i t y : T h e r m e Va l s [ o n l i n e ] . Av a i l a b l e a t : a u s t r a l i a n d e s i g n r e v i e w. com/architecture/serenity-in-austerity-ther me-vals/ [Accessed 5 December 2019].

Z u m t h o r, P. , We i t s c h i e s, R . , 2 0 0 8 . K o l u m b a – A r t M u s e u m o f t h e A r c h d i o c e s e o f C o l o g n e [ o n l i n e ] . K o l u m b a . Av a i l a b l e a t : h t t p s : / / w w w. k o l u m b a . d e / ? l a n g u a g e = e n g & c a t _ s e l e c t = 1 & c a t e g or y=14&ar tikle=61 [Accessed 26 November 2019].

Z e b a l l o s, C . 2 0 1 2 . K o l u m b a M u s e u m , C o l o g n e [ o n l i n e ] . [ A c c e s s e d 2 5 N o v e m b e r 2 0 1 9 ] . Av a i l able at: http://architecturalmoleskine.blogspot.com/2012/04/peter-zumthor-kolumba-museum-cologne.html

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Case Studies / Bibliography

CASE STUDIES R y a n , R . , 2 0 1 5 . T h e r m a l B a t h s i n Va l s, S w i t z e r l a n d b y P e t e r Z u m t h o r [ o n l i n e ] . T h e A r c h i t e c t u r a l Re v i e w. Av a i l a b l e a t : h t t p s : / / w w w. a r c h i t e c t u r a l - r e v i e w. c o m / b u i l d ings/ther mal-baths-in-vals-switzerland-by-peter-zumthor/8616979.ar ticle?blocktitle=Buildings&contentID=7715 [Accessed 4 December 2019].

A n o n . 2 0 1 1 . T h e r m e 4 z [ o n l i n e ] . [ A c c e s s e d 4 D e c e m b e r 2 0 1 9 ] . Av a i l a b l e a t : j c f 2 c m s y s t e m s. wo r d p r e s s. c o m / 2 0 1 1 / 1 1 / 0 8 / a s s n - 4 - t h e r m e - v a l s / A n o n , 2 0 1 1 . S y s t e m s, a s s n 4 : T h e r m e Va l s [ o n l i n e ] . Wo r d p r e s s. Av a i l a b l e a t : h t t p s : / / j c f 2 c m s y s t e m s. wo r d p r e s s. c o m / 2 0 1 1 / 1 1 / 0 8 / a s s n - 4 - t h e r m e - v a l s / [ A c c e s s e d 3 D e cember 2019].

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