PA C E D ARCHITECTURE AND THE PERCEPTION OF TIME
MELISSA LAWYER
MELISSA LAWYER THE BOSTON ARCHITECTURAL COLLEGE PACED: ARCHITECTURE AND THE PERCEPTION OF TIME FINAL REVIEW: NOVEMBER 19, 2020 GRADUATION: DECEMBER 18, 2020 | MASTER OF ARCHITECTURE ADVISOR: KIRSTEN SODERLUND GUEST CRITICS: CHRISTIAN BERGER IAN TABERNER JANA BELACK JOSEPH PORTER LUCCA TOWNSEND SCOTT BROWN
MELISSA LAWYER M.ARCH Candidate
KIRSTEN SODERLUND, AIA Thesis Advisor
IAN TABERNER, AIA Director Masters of Architecture Thesis
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To my Mother and Father, thank you for always supporting everything I do. To Celine, there’s no one else I would have wanted by my side through this.
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BIBLIOGRAPHICAL NOTE
Melissa has a background in interior design and is interested in designing experiences. Currently, she works in a healthcare studio for NBBJ. She is passionate about creating spaces where occupants feel supported, empowered, and safe, while also driving the importance of an aesthetically beautiful environment that promotes wellness.
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Contents
OVERVIEW
05-15
RESEARCH
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PRECEDENT STUDIES
32-39
EXPLORATION
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CONCLUSION
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BIBLIOGRAPHY
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APPENDICES
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01 Overview This thesis is an architectural interpretation of experiencing slowness when perceiving time. Today, architecture generally tends to speed up time and our cities have become hyperactive spaces that are in a constant rush with time. However, this goes against human nature. We prefer time that slows down so we can experience a moment fully (Tse, 2004). The use of fundamental experiences rooted in the notion of “slowness� can combat stressful environments (Pallasmaa, 2000). This project tests this idea in the center of the dense urban context of Downtown Boston through research and design tools: orientation and direction, materials, nature, light, and shadow.
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THE IMPORTANCE OF TIME PERCEPTION
The phenomena of timelessness are fascinating. Realizing that timelessness was not solely about the object in perceptible space, but also about emotions and sensory feelings.
Thesis Statement Time is a remnant of what we have seen that is produced by our eyes and brain, it is all inside us. There is liberating potential in reflecting on our senses, on perception, and in seeing our own role in creating the world. To immerse people in Architecture that slows our perception of time allows one to experience it fully in the present and evoke different emotions that can be beneficial to our overall wellbeing. By engaging users in different layers of experiences that use aspects of timelessness can produce a slowed temporal perception.
This image of the Mississippi River is representing time over millions of years of erosion and weather patterns that have changed its course, and it will eventually change its path again. This map represents an unfathomable expanse of time, but daily us as humans take and refine time into hours, minutes, and seconds. We are constantly trying to hold the reins of time by planning our days with routine.
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1 Map from 1944 depicting how the Mississippi River has changed its path over time
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TELLING TIME
Like time, color is continuous and in the same way we cant declare with any precision where orange becomes red, the same we cant locate the seam of an hour or border of the day.
Day
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Night And yet, over the course of human evolution we’ve greedily sought to structure time by dividing the sun into angles and tidily organizing the story of our lives into years (Sheposh, 2019).
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THE HISTORY OF TIME
Prehistoric Man , simple observation of the stars, changes in the seasons, day and night. Humans began to come up with very primitive methods of measuring time. This was necessary for planning nomadic activity, farming, and sacred feasts, and this began to frame human patterns. (Rogers, 2011).
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Earliest devices for measurement , sundial, hourglass and water clock. Soon after this begins the evolution of mechanical clocks, ultimately where ones perception of time is lost and rely on these modern devices for time (Rogers, 2011).
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02 Research
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RESEARCH
Time and Us Time and Design Architecture is the matter through which we control the infinite spatial extent and embrace ourselves from the indefinite sequential experiences. “We identify ourselves with this space, this place, this moment, and these dimensions become ingredients of our very existence” (Pallasmaa, 2000). Is it possible to think of an architecture that is about time as much as it is about space? Is it possible to think of an architecture not only as “dimensional extension but movement and duration?” (Sola-Morales, 1998). And more importantly think of an architecture that subconsciously allows one to perceive time slowly, that then allows one to experience it more fully.
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Time Perception “Time perception refers to the human mind’s ability to subjectively experience the passage of time and the duration of event”(Sheposh, 2019). When the human mind attempts to perceive the passage of time, people often experience the movement of time at seemingly different speeds. This leads to the phenomena of the common experience that time “flies” when a person is having fun or engaged in many activities, but drags when engaged in fewer activities (Sheposh, 2019).
Interview with Pallasmaa on experiencing slowness: Claire Martin: Is it argued that anxiety is increasing because of a change in our perception of time? Pallasmaa: [This is not only related to] time, but also [to the fact that] we’re bombarded by too much stimuli. I think the Western [individual] is somehow at the edge of mentally breaking down. The cohesion of self needs certain experiences and qualities, of quietness, that we simply do not have any more. On the contrary, it seems that it has become somewhat paradoxical – the [trend] of young people speeding things up, for instance. They live in a displaced or unplaced world (Pallasmaa, 2000). This interview with Pallasmaa reinforces the need for spaces of slowness to combat these stressful environments .
“We’re bombarded by too much stimuli.... The cohesion of self needs certain experiences and qualities, of quietness, that we simply do not have any more.” -Pallasmaa
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RESEARCH
“Time is crucial for remembering the past, living in the present, or planning the future. How we perceive time is malleable and may be influenced by internal and external factors” -Psychologist Mariya Davydenko
Internal
The more we feel like at ease or comfort slows our perception of time down in experiencing the moment (Essawy, 2017).
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External
Natural or urban settings can alter perceived duration (Davydenko, 2016).
We perceive time as a series of events in a sequence, separate by durations of various lengths (Sheposh, 2019).
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RESEARCH DESIGN PRINCIPLES The 4 main overarching design principles I have proposed based off my research that deals with ways to design spaces in order for one to experience slowness and they are orientation and direction, materials, nature, and light and shadow.
ORIENTATION AND DIRECTION
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MATERIALS
NATURE
LIGHT AND SHADOW
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RESEARCH ORIENTATION AND DIRECTION Time slows down as we attend to more things, according to Peter Tse. In a study called “Attention and the Subjective Expansion of Time”, researchers found that “when our attention shifts onto something novel, time appears to go by more slowly” (Tse, 2004). If you were to visit a place that you have never been to before where everything was new, you would likely spend more time focusing on your new surroundings. The more familiar your perception of your surroundings become; the faster time seems to go by. Your attention shifting around is due to something novel you come across, driven by the situation. You are unable to enter a space the same way for the first or second time, but there may be a different way of paying closer attention that you have some control over: We can notice more of what’s happening at any moment by simply changing one’s perception, which is geared to helping people fully attend to different aspects of the experience, this has been shown to slow down perceived time (Tse, 2004). Ultimately, when providing more opportunities for novel experiences by changing ones orientation and direction within an architectural space, you therefore allow the user to experience slowness.
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“When familiar information is processed, this doesn’t take much time at all. New information, however, is a bit slower and makes time feel elongated. ” -Neuroscientist David Eagleman (Bilger, 2011)
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RESEARCH MATERIALS External Factors
Internal Factors
Stone, tells the story of what was and what has been. Stone buildings that have survived decades or even centuries present themselves as dominant structures softened and worn down by nature and the elements (Thorns, 2018).
Internally humans have an inherent connection with materials. According to Mayer, this leads to overall wellness. Exposure to natural elements is associated with decreased levels of blood pressure, depression, and anxiety, and increased attentional capacity. Exposure to natural elements can reduce the impact of stress, increase psychological well-being, and support recovery from illness (Mayer, 2008).
Copper is a metal that is famed for the green patina it develops across the surface, which takes up to 30 years in a clean environment. The light green weathering is caused by copper carbonate and copper sulphate forming in reaction to oxygen in the air. (Thorns, 2018). Teak wood, as with most timber high in tannic acid, silvers with age and requires little maintenance (Thorns, 2018). Pine is another wood that gains a greyblueish sheen over time. As the uncoated surface ages naturally when exposed to the elements (Thorns, 2018).
Internal
Theres an emotional connection with materials that feels timeless (Essawy, 2017).
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“It is the signs of wear that form a connection with one‘s experience in the present moment as well as an earlier presence and the behavior of the individuals before that time.� -(Essawy, 2017) External
Perceiving a change in time by the patterns of the change in materiality over time.
DIAGRAM
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RESEARCH NATURE In the article, “Time Grows on Trees: The Effect of Nature Settings on Time Perception.” Mariya Davydenko found that participants viewing images of nature or urban settings altered their perception of time: “Time is in every aspect of human existence. It shapes how we perceive the world and organize our life. Time is crucial for remembering the past, living the present, or planning the future. How we perceive time is malleable and may be influenced by internal and external factors,” (Davydenko, 2017). People feel more of a connection with natural settings rather than urban settings. This can be seen as an emotional effect because nature promotes positive states when decreasing the negative.
Internal
Nature adds more emotional arousal to your experiences that may also help you feel like there was more time than there actually was (Davydenko, 2017). 28
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“Nature exposure could be useful for such individuals, whereby they will slow down their sense of time, reduce their stress, and increase feelings of mindfulness after a walk in a park or other nature areas” -(Davydenko,2017)
External
Viewing nature in context to external factors, perceiving a change in time by the patterns of seasons.
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RESEARCH LIGHT AND SHADOW Humans appear to organize their lives around the light/dark cycle of a typical day: “The behavioral patterns that emerge are referred to as circadian rhythms because they are organized around a period of approximately one day. Natural light, influenced by the weather, season and position of the sun and moon all play roles on our internal clocks,” (Block). The presence of both darkness and light in an architectural space adds a quality of depth to the space, which is not possible with one and not the other. The dominant use of natural light creates the sense of timelessness (Zumthor, 2006).
“In certain spaces it is symbolic of the passage of time and is typically serving to provide orientation and contrast from the surrounding darkness.” -Brill
Concept model captured as time passes, the light changed position representing a new time of the day. PA C E D Architecture and the Perception of Time
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03 PRECEDENT STUDIES
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PRECEDENT STUDY
PETER ZUMTHOR Therme Vals At Zumthor’s Therme Vals in Switzerland, he uses subtle gaps of 8 centimeters to allow the entry of a sliver of natural light. This gap between the blocks that overlays the paths of circulation, brings in a natural light that adjusts its shadows throughout the day. Zumthor strongly urged against having a clock inside Therme Vals, he wanted guests to experience a pause in moments of time to forget about everything outside its walls (Souza) . When constructing the walls he used an arrangement of 3 elements at various thicknesses, but always totaling 15cm. These thin layers of stone reassure visitors that the stone is at a scale comfortable to the human hand, ultimately staging our position at the scale of the universe (Souza).
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PRECEDENT STUDY
PETER ZUMTHOR Serpentine Pavilion The concept for Zumthor’s 2011 Serpentine Pavilion was a contemplative room, a garden within a garden. Visitors entered the building from the lawn and began the transition into the central garden, a place abstracted from the world of noise, traffic, and the smells of London – an interior space within which to sit, to walk, and observe the flowers. The initial entering of the pavilion immediately disorients its visitors from the outside world. It’s not until the visitors come upon this new central garden that opens up to the sky that one is taken away from where they once were. It becomes a space where one forgets about time and stands in the moment enjoying this new garden (“Serpentine Gallery Pavilion 2011 by Peter Zumthor.”).
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STAR & MOON CHAMBER 38
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PRECEDENT STUDY
JAMES TURRELL Roden Crater Roden Crater is a controlled environment for the experiencing and contemplation of light. Internally the red and black cinder has been transformed into special engineered spaces where the cycles of geologic and celestial time can be directly experienced (Turrell). This work of art is ultimately a gateway to the contemplation of light, time and landscape.
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04 EXPLORATION
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Why is this so important? The following insights led to ideas reinforced through research
Stress is taking a significant toll on wellbeing and performance, leading to higher medical costs and lower productivity. Neuroscience research provides critical insights into how people process and relate to the world around them (Medina, 2020). This input can directly inform the need for spaces that are designed for more rest. Organizations and cities now have an opportunity to re-imagine or create new spaces that allow users to experience slowness in time, which allows them to detach from stressful environments.
“We’re bombarded by too much stimuli.... The cohesion of self needs certain experiences and qualities, of quietness, that we simply do not have any more.” -Pallasmaa
Anger Stress Pain
Spending a half hour in nature has been shown to increase wellbeing measures in 60% of people. (Medina, 2020)
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More than a dozen studies find positive distraction reduces anger, stress, pain and negative cognitions. (Medina, 2020)
Location: Downtown Boston, MA
The site explores space in a densely populated area of Downtown Boston. This area has an average of 152,000 daily occupants. The white circle represents other highly occupied areas. These ideas can be replicated in other high-stress environments, such as college campuses, medical campuses, and cities alike. Focusing on Downtown Boston and exploring this thesis suggests the adverse impacts of leaving little room to experience qualities of slowness. It is important to understand the overall effect of urbanization on life satisfaction and how certain experiences of quietness and slowness can ease the normality of stressful environments.
68% of the world population projected to live in urban areas by 2050, says UN
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SITE CONTEXT Site in context to Downtown Boston. Buildings within downtown Site
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SITE CONTEXT The site is located at the crossway of the 4 major districts downtown, making it easially accessible to occupants in each district.
Site
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SITE CONTEXT Mapping of pedestrian only alleys and zones to locate the site for access of a busy street.
Site Main Pedestrian Routes Pedestrian Only Alleys/Zones
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SITE CONTEXT
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Site elevated for better access to light and removed from everyday life , noise, and smells of Boston .
Approach/Access taken off the main streets
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SUN / SHADOW STUDY This study was used to identify which portion of the site provided the best opportunities for capturing max daylight.
Summer 9am
Summer 12pm
Summer 5pm
Winter 9am
Winter 12pm
Spring 9am
Portion of site that maximizes daylight SITE
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Fall 9am
Fall 12pm
Spring 12pm
Spring 5p,
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SITE PLAN Access begins off Court St, and from City Hall Plaza. From here users enter a pedestrian only alley that acts as a portal threshold starting to experience aspects of slowness.
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FORM DEVELOPMENT Using orientation and direction as a path that peels out into the pavilion. This circulation and form seeks to disorient the users and create spaces of novel experiences.
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The form then opens up to the sky on the portion of the site that allows for the most amount of natural light. This extends all throughout the pavilion.
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PLANS
03 04
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01 PUBLIC ALLEY 02 ENTRY LOBBY 03 RAMP FROM CITY TO PAVILION 04 RAMP FROM PAVILION TO CITY
GROUND FLOOR / LL1
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05 CONTEMPLATION SPACES 06 RAMP FRPM L7 TO L8
LEVEL 7
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07 08
07 CONTEMPLATION SPACES 08 RAMP FR0M L8 TO L9 09 RAMP FROM PAVILION TO CITY
LEVEL 8
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10 CONTEMPLATION SPACES 11 RAMP FR0M L9 TO L8
LEVEL 9
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SECTION LIGHT & SHADOW
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SECTION ELEMENTS OF NATURE Nature adds more emotional arousal to experiences that also allows one to feel slowness (Davydenko, 2017). There are elements of nature throughout the pavilion shown here.
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AERIAL VIEW LOOKING NORTH Here you can start to see how the form is organically falling down into the void space between the buildings.
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VIEW FROM CENTER PLAZA The facade panels were devoloped to act as a shield to the surrounding urban context. The idea is to be transported out of the city and focusing on the interior spaces. The facade organically splits between the panels still allowing for light to ďŹ lter through.
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EXPERIENCE APPROACH
This is the access to the alley from Court St. Here users are pulled into the natural setting and materials that have aspects of slowness. This is area is starkly contrasted to the surrounding environment. 70
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Once users are in the alley, they are continually pulled towards the lifted entrance of the pavilion that has a continuation of similar materials and light. PA C E D Architecture and the Perception of Time
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EXPERIENCE LOBBY - ENTERING The overlapping of light and circulation here guides users on the path that starts to lead them up to the pavilion.
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EXPERIENCE RAMP FROM CITY TO PAVILION
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The ramp entering the pavilion from the city is a darker experience acting as a palette cleanser. Here users still experiences aspects of slowness, but eases them into their experience in the pavilion.
Use of water for a more auditory experience as you wonder up to the pavilion.
Dark, but natural material palette to dissociate from everyday life
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EXPERIENCE LEVEL 7 This level contains multiple areas for contemplation and meditation. The architecture is to resemble cave-like features to create a natural environment. By using the same material to be continuous on all surfaces, this can be disorienting to users making them feel a slow sense of time. The use of natural light and variable darkness creates the sense of slowness (Zumthor, 2006).
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EXPERIENCE LEVEL 8 Light is symbolic of the passage of time and is serving to provide orientation and contrast from the surrounding darkness (Essawy, 2017). Water here is providing as its softness contrasts with the surrounding hard surfaces. Water also has the ability of anchoring the mind in the present momen (Essawy, 2017).
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EXPERIENCE LEVEL 9 This space seeks to provide a sense of purpose. A monumental space captures our attention and it can instill within us feelings associated with pride or purpose, and thus this feeling a slowness of time or timelessness (Essawy, 2017). The design here is also mimicking natural land forms. The main Oculus pictured here, allows the entire pavilion to ďŹ ll with light and shadow.
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EXPERIENCE RAMP FROM PAVILION TO CITY
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The ramp exiting the pavilion back to the city carries a similar experience from inside the pavilion. Overlaid with light from the exterior leading users down the path. Elements of nature and a natural material palette continue back to the alley prepping users to return into everyday life.
Light, but natural material palette to continue the experience of the pavilion while leaving back into everyday life. PA C E D Architecture and the Perception of Time
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05 CONCLUSION
This thesis used rigorous research to inform the design process. It allowed the space to reect on our senses of perception in time and space, which helped explore what slowness means in a hyperactive environment. The thesis was tested in the center of the dense urban context of Downtown Boston where it investigated the design principles through research. The design tools used in this project can be replicated in other high-stress environments that are in need of certain spaces of slowness. This thesis is critical in expressing the overall effects of urbanization on life satisfaction, and how certain experiences of quietness and slowness can ease the normality of stressful environments. I hope to continue this work on connecting aspects of slowness with wellbeing in the future.
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Bibliography “About.” Roden Crater, n.d. http://rodencrater.com/about/. Bilger, Burkhard, et al. “The Possibilian.” The New Yorker, 2011, www.newyorker. com/magazine/2011/04/25/the-possibilian. Block, R. A. 1990. Models of psychological time. In R. A. Block (Ed.), Cognitive models of psychological time, (pp. 1-35). Hillsdale, NJ: Erlbaum. Davydenko, Maryya. 2016. Time Grows on Trees: The Effect of Nature Settings on Time Perception. Carleton University. Essawy, Sally. 2017. The Timelessness Quality in Architecture. International Journal of Scientific and Technology Research. Volume 6, Issue 02. pp. 265-273. Mayer FS, Frantz. Why is nature beneficial? The role of connectedness to nature. Environ Behav. 2008; 41: 607–643 Medina, John. 2020. How Do You Redefine and Create a New Rhythm of Life? An evidence-based approach to elevate workplace experience, health and performance.pp. 5-6. O’Grady, Elena. “The Therme Vals / Peter Zumthor.” ArchDaily. ArchDaily, February 11, 2009. https://www.archdaily.com/13358/the-therme-vals. Pallasmaa, J., 2000. Hapticity and time. Architectural Review, 207(1), pp.78-84. Rogers, Leo. “A Brief History of Time Measurement.” NRICH, 2011. https://nrich. maths.org/6070. “Serpentine Gallery Pavilion 2011 by Peter Zumthor.” Serpentine Galleries, July 1, 2020. https://www.serpentinegalleries.org/whats-on/serpentine-gallerypavilion-2011-peter-zumthor/. Sheposh, Richard. 2019. “Time Perception.” Salem Press Encyclopedia. Sola-Morales, I.D., 1998. Liquid architecture.
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Souza, Eduardo. “Peter Zumthor’s Therme Vals Through the Lens of Fernando Guerra.” ArchDaily, ArchDaily, 30 Oct. 2016, www.archdaily.com/798360/ peter-zumthors-therme-vals-through-the-lens-of-fernando-guerra. Thorns, Ella. “6 Materials That Age Beautifully.” ArchDaily, ArchDaily, 26 Mar. 2018, www.archdaily.com/891237/6-materials-that-age-beautifully. Tse, Peter & Intriligator, James & Rivest, Josée & Cavanagh, Patrick. (2004). Attention and the Subjective Expansion of Time. Perception & psychophysics. 66. 1171-89. Zumthor, P. (2006). Thinking Architecture. Basel: Birkhauser.
IMAGES 1 “Mississippi Meanders.” NASA. NASA. Accessed December 6, 2020. https:// earthobservatory.nasa.gov/images/6887/mississippi-meanders. 2 O’Grady, Elena. “The Therme Vals / Peter Zumthor.” ArchDaily. ArchDaily, February 11, 2009. https://www.archdaily.com/13358/the-therme-vals. 3 “Serpentine Gallery Pavilion 2011 by Peter Zumthor.” Serpentine Galleries, July 1, 2020. https://www.serpentinegalleries.org/whats-on/serpentinegallery-pavilion-2011-peter-zumthor/.
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