Urban rooms of Sarajevo: Transforming urban public Spaces using interior design tools

Page 118

N.Zagora, D. Šamić

Urban atmosphere A considerable part of the architectural discourse in past decades addressed the atmospheric qualities of spaces, and the human senses, which play a key role in the perception of the natural and built environment. The importance of the multisensory experience is rooted in the phenomenological approach to architecture found in works by Gaston Bachelard, Martin Heidegger and Christian Norberg-Schulz, and was recently popularised by contemporary architects Juhani Pallasmaa and Peter Zumthor. Emerging from criticism of the ocular-centric paradigm in contemporary architectural practice, the phenomenological view prioritises the multisensory over the visual experience: “Atmospheric characteristics of spaces, places and settings are grasped before any conscious observation of details is made. Architecture is the art of reconciliation between ourselves and the world, and this mediation takes place through the senses” (Pallasmaa, 2012). Before understanding it intellectually, our response to the atmospheric qualities of a space is emotional: “We perceive atmosphere through our emotional sensibility – a form of perception that works incredibly quickly” (Zumthor, 2006). The concept of the multisensory experience of an atmospheric space in architecture has become increasingly important in urban environments under the concept “the atmosphere of a city” (Böhme, 2014). Atmosphere is a phenomenon which mediates between the subject and the object: “Atmospheres fill spaces; they emanate from things, constellations of things and persons” (Böhme, 2014). The atmospheric perception of public spaces involves all senses, and adds up to the atmosphere of the entire city, which consequently constitutes the quality of the city. Beyond the plain mise-en-scene, overall sensorial stimulation combines various types of visual and olfactory experiences (smellscapes) (Henshaw, 2013) or auditory sensations (soundscapes) (Atkinson, 2007), acquired through mobility (walking) and perceptual memories (Monserrat Degen & Rose, 118


Turn static files into dynamic content formats.

Create a flipbook

Articles inside

LIST OF FIGURES

12min
pages 300-306

VII. SUMMARY

1min
pages 289-291

BIBLIOGRAPHY

17min
pages 292-299

Urban room No. 4: Radiceva Street

4min
pages 267-273

Urban room No. 5: Grbavica Marketplace

4min
pages 274-280

VI. CONCLUSIONS

6min
pages 281-288

Urban room No. 3: Marsala Tita 34 interior courtyard

5min
pages 260-266

Urban room No. 2: Tekija cikma courtyard

6min
pages 253-259

Intervention methods: focus on urban acupuncture

29min
pages 180-205

Urban room No. 1: Velika avlija Laure Papo

5min
pages 246-252

Targeted outcome: urban rooms

29min
pages 206-230

Intervention target: urban voids

7min
pages 175-179

Summary

6min
pages 164-170

IV. FROM URBAN VOIDS TO URBAN ROOMS

3min
pages 171-174

In between formal and informal approaches

8min
pages 148-154

The transition from socialism to capitalism

7min
pages 135-141

Scale

12min
pages 77-88

Urban activity

10min
pages 98-108

Enclosure

9min
pages 89-97

Urban atmosphere

10min
pages 118-127

Accessibility

8min
pages 109-117

Summary

2min
pages 128-130

Typology

18min
pages 57-76

Summary

4min
pages 48-52

From Early Yugoslav to Socialist Yugoslav Sarajevo

9min
pages 32-40

INTRODUCTION

1min
pages 9-10

From Ottoman to Habsburg Sarajevo

6min
pages 22-26

From Socialist Yugoslav to contemporary Sarajevo

8min
pages 41-47

From Medieval Vrhbosna to Ottoman Sarajevo

7min
pages 15-21

FOREWORD

2min
pages 7-8

From the Habsburg Era to Early Yugoslav Sarajevo

6min
pages 27-31
Issuu converts static files into: digital portfolios, online yearbooks, online catalogs, digital photo albums and more. Sign up and create your flipbook.