PETER ZUMTHOR: THE POETRY OF ARCHITECTURE ANATOMY AND ITS RELATION TO ARCHITECTURE OF SENSES by Norhamizah Mansor

PETER ZUMTHOR: THE POETRY OF ARCHITECTURE ANATOMY AND ITS RELATION TO ARCHITECTURE OF SENSES

BIA170023 NORHAMIZAH BINTI MANSOR

Abstract The anatomy of architecture work lies on the art of construction. The use of particular material can mean something in a specific architectural context and experiences, referring to the approach of architecture proposed by the architects. In today’s architecture context, building structures are designed to just comply to the needs of comfortable living, aesthetic values, universal design requirements and functions but the sensory qualities within spaces are being less forgotten. It does not fully incorporate multisensory qualities to serve the occupants especially the ones with disabilities. Psychologically, tactile qualities are the most powerful element to provoke people in appreciating our nature and man-made structures in where architecture should speak on behalf of memories and experiences of the designers. The intersection of art, architecture and architect should convey a narrative behind a design. This research paper is aimed to explore Peter Zumthor’s modest poetry qualities in creating an intrigued multisensory architectural construction by emphasizing the sensory qualities and how the sensory stimuli influences the occupants and become the most reliable element for visual impairment people. The intangible elements emphasized by his architecture are studied to be applied in architecture and will be further synthesized to redefine architecture for visual impaired people.

1.0 Introduction

1.1.1 Biography Peter Zumthor, a prominent Swiss architect who explores the tactile and sensory qualities of spaces and materials while maintaining the minimalist feel. He was born on April 26, 1943 in Basel, Switzerland. He is a well-known Swiss architect who has won such many awards such as RIBA Royal Gold Medal, Pritzker Prize and European Union Prize for Contemporary Architecture. Zumthor conceives spaces in his piece of architecture through experiences and memories. Most of his buildings associate with atmospheres or sensual effects creating an architecture of senses. As he believes that a building has a form of soul, he intends to build architectural structures which can be part of the time (Peter Zumthor, 2006). Understanding the gist points of his books ‘Thinking Architecture’ and ‘Atmospheres’, he appreciates things around him and time really means something to him. With his firm philosophy of architecture on atmospheres, he elaborates more on 1

perfect points by considering the priorities which then strengthen and enhance his vital theory; 1.The body of architecture 2.The sound of a space 3.The temperature of a space 4.The temperature of a space 5.Surrounding objects 6.Between composure and seduction 7.Tension between interior and exterior 8.Level of intimacy 9.The light on things 10.Architecture as surroundings 11.Coherence 12.The beautiful form (Peter Zumthor, 2006).

1.1.2 Background Space is defined as a continuous sensory experience. The bodily experience of a space influences one's perception of that space. Humans rely on their sensory modes to better understand, identify with and engage with their surroundings (Sarah Carles, 2011). The space is typically defined by the sensory qualities of the different objects and building elements making up its boundaries. It is also a filled entity with its own sensory qualities (Peter-Willem, 2013). Nevertheless, in new globalisation era, architecture is constructed just to carter the needs of advanced development. The architects are said to have lack of empathy and sympathy values while designing an architectural spatial and volumes. Consequently, the building does not convey a meaningful idea or message for the users; abled bodies and disabled bodies. Sensory design emphasizes the role of a compact sensory experience by influencing our attitudes, behaviours and wellbeing. The design approach focuses on the users and how the composition of sensory stimuli in architecture are articulated to enhance the quality of life and experience for the occupants. By implementing the approach, the architecture impacts on them can be better attuned through sensory design for healthier mind and body (Yvonne Osei, 2014). Few people appreciate the art of architecture as they cannot find a relation to the architecture sensually. Some architecture design approaches fail to rectify problems which are encountered by the disabled bodies due to the low sensory design elements within spaces. Conveying his architecture philosophy within a poetry of architecture anatomy, Zumthor believes that materials can assume a poetic quality in the context of an architectural object. He successfully instills senses into the materials beyond all rules of composition, tangibility, smell and acoustic qualities. He emphasizes on his inspiration on the contemporary music in creating his poetic literation underneath his 2

architecture. Hence, his design approach and inspiration will be studied to understand the importance of senses in connecting architecture with people.

1.1.3 Justification of the study Architecture is associated to visual quality more than its sensory qualities. Much literature information focuses on it. An entire book can consist of a collection of photographs that are intended to depict the total architectural experience through visual media. There is unfortunately less emphasis in literature and poetic qualities on the practical experience of architecture (Sara Carles, 2011). As a result, human body has lost its significance in experiencing architectural experience. Architects have an opportunity to alter this perception by exploring experiential qualities in constructing architectural structures. The tectonics part of architecture conveys certain sensory qualities underneath the construction; materials, light, and design. Hence, the architecture philosophy of a prominent Swiss architect, Peter Zumthor is highly considered to be studied about in a bid to investigate the multisensory approach and experience of architecture. His poetic qualities in incorporating tactile qualities in his architecture can be explored to give a new emphasis in designing a space. His interesting approach to architecture which focuses more on sensory qualities within spaces in his architecture ‘skin’ will be significant to be implemented in our local architecture construction. Building ‘skin’ which associated to its construction has something to do with the reliability of some visual impairment individuals as well where they touch and feel the texture to experience the spaces. Hence, his architecture is studied to explore these qualities. Sensory stimuli play a vital role in creating architectural experiences for visual impairment people who have a difficulty to fully use their body parts. However, architects only focus on visual qualities of architecture. This disregard has given a vast impact on the design of their spaces and the degree to which they can benefit. The study will be further synthesized to implement Zumthor’s multisensory design approach into our local architecture to create better architecture for the blind people whom rely fully on sensory organs.

1.1.4

Definition of problem, aim and objectives

1.1.4.1 Definition of problem Architecture functions as a shelter to protect people from danger and unnecessary circumstance. Architectural environment influences the physical bodies, emotions and souls of the occupants. Parallel to the modern globalisation, architects have shifted their focus on visual qualities of architecture rather than injecting sensory qualities within the spaces. Multisensory architecture is a concept which has been practised internationally by prominent architects such as Peter Zumthor (2006) and Steven Holl (2007). Yet, local architects nowadays do not practice this. People are widely influenced by their environments. Despite of any condition of the occupant, they should relatively experience the architecture besides performing all the space functions. They spend a lot of time indoors and less time in the naturally beneficial outdoors. The spaces are not optimally formulated according to their needs and manners in where they can experience, interpret and develop in the spaces. The reason to this is that the architects may have lack of empathy and sympathy hence, they have less understanding the engagement of people with spaces and how they develop within the spaces. Consequently, it creates inadequate environments which improve the sensory experiences of the occupants. They will not appreciate the architecture thoroughly. In a local context, this lack of understanding also give impacts to impairment people and children. Although they are some considerations towards them in all designs and facilities, there are very few which are specifically designed according to their experience or assist them to grow and learning.

1.1.5

Aims of the research •

to explore Zumthor’s modest poetry qualities in creating an intrigued architectural construction by emphasizing the tactile or sensory qualities and how the sensory stimuli influences the occupants.

•

To study his appropriate approach to the built environment which creates a holistic bodily experience, stimulating multisensory modes simultaneously

•

1.1.6

To apply his design approach to the design for visual impairment people

Objectives of the research • To understand the design philosophy of Swiss prominent minimalist architect, Peter Zumthor • To establish definition of multisensory architecture in architectural construction and how it benefits human experience within architectural spaces • To gain knowledge and understanding of architecture of senses to disabled bodies

1.1.7

Definition of terms Terms which will be used throughout this research paper are defined as follows:

Body/Bodily experience: The experience of a space perceived first hand through the body itself. Senses: Any of the faculties, such as sight, hearing, smell, taste, or touch by which humans and animals perceive stimuli originating from outside or inside the body.

Sensory stimulation: Arousal of the brain through any of the sensory modes. Tactile: Perceptible to the sense of touch; tangible. Visual: Of, or relating to the sense of sight. Visual impairment: A decreased ability to see to a degree that causes problems which cannot be fixed by usual means, such as glasses. Emotion sensibility: A form of perception that works incredibly quickly

1.1.8

Key questions of the research

Key questions to this research are expressed below,

•

How Peter Zumthor formulate spaces to create an impactful architecture of senses?

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How architecture influences occupants’ perception on spaces via their senses?

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What is the impact of sensory stimulation on the occupants’ experience?

•

How architect approach visual impairment people’s architecture in ways more appropriate for their needs and wants

Hypothesis can be stated as follows: •

By highlighting a focus on sensory stimulation in architectural spaces, the spaces can be converted into holistic places which have physical and psychological benefits to its users. These can create a sense of belonging and place to them.

•

Interaction with the spaces via multisensory modes is essential to enhance experience and further develop a sense of identity within spaces.

2.0 Literature 2.1 Philosophy of architecture 2.1.1 The body of architecture The frame for a piece of architecture is the material presence of things which prompts to inject the emotional sensibility to the occupants. It gives a sensual effect for the users and that is the first and greatest secret of architecture. It collects different things in the world, different materials and further combines them to create an architectural space. Analogically, architecture means to me like our own bodies with their anatomy and things we cannot see and skin covering us. It is defined as a bodily mass, a membrane, a fabric, a kind of covering, cloth, velvet or silk wrapping around us (Peter Zumthor, 2006). Zumthor emphasises on ‘Form follows anything’ suggested that architecture is not about form but the materials which provide great atmospheres to the occupants. Architects should trust in their materials and the reaction and feelings will then come in. The idea for a construction-inspired memorial site is celebrated through one of his winning projects; Documentation centre, Topography of Terror, Berlin. The challenge is to build an architecture on a historical and memorial site where a destruction has happened. His approach is to translate site context into the design by withholding architectural metaphors and symbolism. He attempts to design a building with “no meaning, no comment” by inventing a building of pure construction. (Gili Merin, 2013)

Figure 2.1 a Documentation centre, Topography of Terror, Berlin.Source: https://www.archdaily.com/452513/peter-zumthor-seven-personal-observations-onpresence-in-architecture/ 7

2.1.2 Material compatibility

Materials shows splendid reaction between them. They react with one another by expressing their radiance hence, material composition is risen to its uniqueness level. Take a stone as an example; we can saw, grind, drill into, split or polish it and uniquely it shows different thing respectively (Peter Zumthor, 2006). Appreciating the presence and memorial traces of surrounding objects, Zumthor shows his appreciation towards local materials as the main materials for his architecture. The weight of the materials and presence have an extraordinary sensuous effect for the entire architecture anatomy.

For instance, Zumthor expresses his poetic qualities through his architecture; Brduer Klaus Fiels Chapel. It is known for its beautiful respect for the materials which were used to construct the sensuous space. He intelligently designed the interior with a black cavity left behind by 112 tree trunks burnt out of the cast concrete walls. The process was; twenty-four layers of concrete were poured into a frame surrounding the trunks, stacked in a curved conical form. It then formed a stark contrast to the comparatively smooth angular façade. After removing the frame, many small holes were left in the walls, creating an effect reminiscent of the night sky, so stunning. The chapel is seen as a "beautiful silence" and has undeniable connection to its surrounding landscape (Ariana Zilliacus, 2016).

Figure 2.1 b Bruder Klaus Chapel’s relationship to its natural environment Source: https://www.archdaily.com/798340/peter-zumthors-bruder-klaus-field-chapel-through-thelens-of-aldo-amoretti

2.1.3 The sound of space

Space emits certain sound, conversing with the inhabitants to inject sensuality within it. According to Atmosphere, written by Peter Zumthor, interior space is depicted as a large musical instrument which collects sound, amplifies and transmit it to elsewhere. The sound of the space is varied according to the materials, underlying it. His composition of sensation proves that sound has all the proportions and materials.

This philosophy is highly emphasized in Swiss Sound box, a pavilion designed for the World Expo Hanover in 2000. Architecture of senses is formulated throughout the pavilion as the visitors need to assessed in every way to get a complete sensory experience. It enhances on the permeability in which the visitors can experience different experiences in the changing atmosphere. This is associated to a concept named Phenomenology; the appreciation of architecture through senses.

Figure 2.1 c Swiss Sound box, architecture of senses Source: http://gaud12.nullthing.com/2012/01/31/exhibition/1-2/

2.1.4 The temperature of a space

Reflecting to architecture of senses, temperature is one of important element in creating atmospheres suggested by Peter Zumthor. Every building has its own relative temperature. Zumthor poetically explained the meaning in his book, ‘Atmospheres’ by highlighting that generally, most beautiful things come as a surprise to evoke appreciation senses in people’s emotions. Taking Swiss Pavilion for the Hanover World Fair as an example, the temperature of the spaces is explained well through the material used which are local timber and steel. When it was hot outside, the pavilion was as cool as a forest, and when it was cool, the pavilion was warmer than it was outside even though it was open to the air (Peter Zumthor, 2006). The materials used extract the warmth from our bodies. Analogically, the idea of designing architecture is adjusted to be understood in this way- the tempering of pianos is significant in searching the right mood, in the sense of instrumental tuning and atmosphere. Temperature of a space can be physical and psychology but it injects sensual feelings to our bodily experiences; we feel in our body parts and we touch with our feet.

2.1.5 Surrounding objects

Peter Zumthor as a minimalist architect is inspired by the surrounding objects; people activities, things and buildings. He emphasises on the right place of them in designing an architectural space hence site context is paramount of importance in his early design stage.

One of his approaches- Zumthor gives an insight of building future as if it happens without him. He envisages the future of the structures which is designed by him, and how they will be used ahead. ‘A sense of home’ is a keyword used in most of his architecture designs, highlighting on the familiarity of surrounding objects to the occupants. Besides, he tackles on the memorial traces of the surrounding objects which has a great potential to evoke emotional sensibility and appreciation of the building’s 10

occupants. Architecturally, the design spaces will communicate indirectly with the inhabitants hence, the interaction between architecture and people can be created within the volume.

2.1.6 Between composure and seduction The spatial architecture is formulated to create a sense of experience and belonging to the occupant. In people’s perspective, architecture is a spatial art in which it generally associates to movement yet, it is also a temporary art. When we start thinking about the way people move in a building, it is vital to inject and induce a sense of freedom in movement, a mood that have less to do with directing people than seducing them (Peter Zumthor, 2006). Taking Thermal baths in Vals as an example, Zumthor tries to find way of bringing separate parts of the building together so that they formed their own attachments. There are spaces that the visitors and enter and begin to feel like a home. Hence, they will not just pass through. Something can draw the people around the corner- the way the light falls, a great source of pleasure. The feeling that they are not being directed but can stroll at will. The spatial energy that can make them drift along and it is a kind of voyage of discovery. These key elements; direction, seduction, letting go, and granting freedom. There certain practical situations where it is more sensible to induce a calming effect and a certain composure rather designing a decent, mere architecture that only direct people to find the right door. According to Zumthor, a place of great learning is the cinema. The camera team and the directors assemble sequences in the same way. I try that out in my buildings. So that appeals to me (Peter Zumthor, 2006). Guidance, preparation, stimulation, the pleasant surprise, relaxation- these elements need to be considered while designing. It should all seem very neutral to set a composure and seduction setting for the occupants.

2.1.7 Tension between interior and exterior Architecture speaks with the occupants via its interior and exterior environments. This: thresholds, crossings, the tiny loop-hole door, the almost imperceptible transition between the inside and the outside, an incredible sense of place, an unbelievable feeling of concentration when we become aware of being confined, something envelopes us, keeping us together, holding us (Peter Zumthor, 2006). Externally, the architecture is presented by its façade in which it has a certain language to communicate with the people. The façade design sometimes injects some surprise elements, to not fully express what is been designed inside. The same language is used throughout the buildings and it has a great deal with atmospheres in order to create a better spatial experience for the users. While designing his architecture, Zumthor always on what do es he wants to see when people use the building later? And what do I want other people to see of him? And what sort statement does he want to make publicly? Generally, architecture always show an interaction and communication to a street.

2.1.8 Levels of intimacy

Architecture is defined by dimensions, proportion and scale. Zumthor defines this as ‘levels of intimacy’ within spaces which it associates to proximity and distances. The size of buildings; bigger and smaller has to do with the expression and perception given by people. Things in the buildings such as latches, hinges, all the connecting bits and doors creates certain emotions for people who come through it; make people feeling great, proud or rather boring.

Zumthor suggests on the size and mass and gravity of things in design considerations. For instance, the thickness wall and door. It conveys different interior mood which contributes to the one’s experience within the spaces regardless his/her physical, emotional and spiritual condition. He tries try create buildings where the interior form, or the empty interior is not the same as outdoor form. In other words, where you do not take a ground plan and draw

lines and say; these are the walls, twelve centimentres thick, and that division means inside and outside, but where you have this feeling of the interior as a hidden mass you do not recognize (Peter Zumthor, 2006).

2.1.9 The light on things

Light is a nature element which can improve the visibility and atmosphere of a certain space. The alternate pattern of shadows, casted by the light is the whole idea of creating a sensual effect of the spaces. It actually depends on the materials used for the construction; a dull or sparkles surfaces, a smooth or rough texture. Based on ‘Atmospheres’ book, Zumthor shares two of his favourite ideas in considering ‘light’ in designing. Firstly, the building is planned as a pure mass of shadow then light is put in by imagining like one is hollowing out the darkness, and light is a mass which seeps in. Secondly, he suggests lighting materials and surfaces should go systematically and look how they reflect the light. In other words, to choose the right materials in the knowledge of the way they reflect and to fit everything together on the basis of the knowledge. (Peter Zumthor, 2006)

Natural light, the light on things gives out a spiritual quality which can be transmitted into the spaces and feel by the occupants. It works marvellous as it casts the light on things. Natural light is definitely better than artificial lighting.

2.1.10 Architecture as Surroundings

The idea of creating a building is to get it fit to the site context as it is part of the surroundings. It will become part of people’s lives in where they will remember the experiences being inside the building. It has no thought about its architect but involuntarily, they will remember the corner, street and square. The first transcendent level in Zumthor’s work is

the intention to conceive architecture as a human environment (Peter Zumthor, 2006).

2.1.11 Coherence Architecture is made for the people’s uses. It will attain its highest quality as an applied art when art and other elements are merged together. Architecture components are said to be beautiful when they meet at certain coherence point to convey its beautifulness. Place, uses and form; the form reflects the place. According to Peter Zumthor, form is not something he works on. He applies himself to other things such as sound, noises, materials, construction and anatomy. The body of architecture in the primary stages is its construction. Architectural anatomy is defined as putting things together in a logical fashion (Peter Zumthor, 2006). To get the ideas and form cohering, Zumthor suggested that architects should make more models and drawings. Form is not the sole point that we should focus on but how it suits the place.

2.1.12 Beautiful form

Zumthor final consideration will be the form; he finds it in some icon and sometimes in a defined life.

2.2 Architecture and senses 2.1.1 Multisensory design approach of Peter Zumthor Architecture itself serves a deeper function than just providing a space for the inhabitants. It makes a judgement and considerations on their feelings, desires and pleasurable capacities. Buildings or spaces have become the visual which shows lack of existential depth. According to Zumthor, atmospheres are perceived through emotional sensibility which is explained as a form of perception that works incredibly quickly. Those emotions are evidently need to help humans to survive.

Understanding the design philosophy of Zumthor, it is clearly explained that a ‘space’ tells its own story via several elements, subjected to multisensory design elements that need to be considered by designers; materials, light, sound, temperature, coherence and surroundings. Zumthor explained that different senses can be retrieved from different temperature, smells of food, sounds of people talking or wind blowing. The silence from noise protection inside a space can arouse different feelings as well. His projects are reflexive and show sensorial process (Inmaculada Bote, 2015). They then contribute to very special features, in as much relevant personal works naturally. These are what have been interpreted as completion of the anatomy of his architecture, emphasizing on the multisensory architecture. He also once explained that his major attention is to conceive buildings as bodies, building them as an anatomy and a skin, as a mass, a membrane, as matter or cover, fabric, silk and shiny steel. His works are mostly reflected on the passage of time as what he personally suggests. It is deduced from the selection of materials. Physically, his projects manifest on simplicity, lightness and nature (Inmaculada Bote, 2015). He highly opts these elements in order to create a communication between the spaces and the people. The prominent examples are Therme Vals in the Canton of Grisons in Switzerland (1996) and the Art Kolumba Museum in Cologne in Germany (1997 and 2000). Peter Zumthor also speaks about relationship between anatomy of his architecture, material aspect and sensorial experiences to clearly explain how people’s emotions get affected by architecture. Taking his house and atelier as a case study; it was built in 1985 and 1986. These spaces are designed personally by him for working and sharing with his family. They are clearly seen as a reflection of the recurrent and fundamental ideas. He is very meticulous on his works and his sensitivity determines the singularity and relevance. The buildings define his personality as an architect and a cabinet maker. His first atelier is defined as a cabinet making than for the architectural construction looking at the conventional frames of larch wood for its facade. It elaborates on fineness, volume combination and emphasis at the same time.

Speaking about sensual qualities of the ‘skin’, the construction and material reflected to the surrounding nature come in a combo. The design of the volumes and spaces of the atelier is appreciated through the searching of simplicity to fit in an agricultural community rather than standing out as a stunning construction. This approach shows that Zumthor respects local sensitivity as a whole, creating an implicit intangible feeling which will draw people’s appreciation to architecture. He emphasizes the chosen materials with a firm justification on the building relationship with nature. It shows a sense of spontaneity and belonging to the place; larch wood, ironwork arranged decoratively, oak in the pergola, bright fabric awnings and red tiles roofing. The conjunction of those arranged materials suggest a simple volume has a certain meaning in where his personality exclusively deals with it. (Inmaculada Bote, 2015). In his speech “ An Intuition of the Things” back in 1988, he quotes that: “The sense that is tried to found in the material lies further than the composition rules, even than materials ́ tangibility, smell and acoustic expression, all of them language elements in which we ourselves have to speak. The sense arises when in the own architectural object is achieved to cause meanings of certain structural materials that only are noticeable in this object in this way.” A few meters away from the atelier, above his current dwelling, the concrete is used as a stone construction in the house, standing out prominently. It is then lined up with textile layers to provide it with light and bright and reflection of grey colour. For the roof construction, the roof is metallic and the outer glass spaces have grandiloquent dimensions. Moreover, wood is used for the entire interior design showing it as an element of spatial quality rather than of skin, in comparison with the scarcest interiors in the first construction. Then, the environment identification is made by means of either buildings, meadows, gardens or hillsides covered with ashes.

Figure 2.1.1 a Analysis of Zumthor House’s first floor plan Source: Author and https://www.metalocus.es/en/news/material-aspect-through-peterzumthors-two-most-personal-works-12

Figure 2.1.1 b Analysis of façade and elevation of Zumthor’s house Source: Author and https://www.metalocus.es/en/news/material-aspect-through-peterzumthors-two-most-personal-works-12

2.1.2 Phenomenology Phenomenology of architecture is a philosophical study of architecture. Architectural phenomenology emphasizes on human experiences, background, intention, historical reflection and poetic considerations. Talking about the responsibility of architects, they are responsible for the designing of ‘experience’. Therefore,

phenomenology theory highlights 17

this responsibility

implementing sensory design to create experiential architectural space. Phenomenology demonstrates the manipulation of design elements; space, materials, light and shadow to create a memorable experience through an impact on the human senses. These tangible elements are proposed by the theory therefore, the qualities of space can be achieved. Phenomenology proposes the integration of sensory perception in architecture as a function of a form. It complements the tangible experiences; abstract and perceived. Hence, an analysis of the aesthetic through the interpretation is studied in Peter Zumthor’s works. His works are handy as supportive evidences which highlight its fundamental characteristics of the theory. Architecture is said to influence the occupants by some ideas; incorporating human activities which adapt to site context, organized programmatic and interstitial space and exploration of materials. Therefore, this concept intends to develop a unique experience of the phenomena of space, light and form. It contrasts rationalism by analysing quality based on sensitivity of human perception rather than developing a mechanical sense of reason and tectonics. Theorist named Vernon Bourke once quoted that rationalism is a theory "in which the criterion of the truth is not sensory but intellectual and deductive" (Bourke p.263). Phenomenology suggests layers of sensory details such as emotion informed by design features of light and shadow, material and spatial perception. Hence, new interpretation of functionality within design exists in the phenomenological construct. 2.1.3 Memory through bodily experience Visual experience of architecture shows a small percent of human experiential capabilities. The experience of architecture should be generated through multiple senses (Sara Carles, 2011). The senses embedded within architecture is communicating with the users like it tells a story about the particular space. However, it will only be meaningful if social, psychological and physiological factors affect occupants’ perception.

Architecture impacts one's memory, personal identity and soul.

The

memorability of spaces and places is one of psychological factors which influences the occupants’ environmental perception. The retention of memories of previous place experiences implies that the user has been impacted in some meaningful ways by the experience had within it (Zumthor, 2006). Zumthor emphasizes on this component in his overall design, proposing sensorial experiences within the spaces. He emphasizes on the use of memories in the past to create; spatial and forms. By remembering feelings, sounds and smells, the images of experiences create the architecture. For instance, our childhood memories contain the deepest architectural experiences. The built building is perceived through our analytical mind yet the whole does not come from an isolated detail. According to Juhani Pallasmaa, people are born with an instinctive ability to remember and recreate places in their minds. Therefore, memories are retained through their bodies and the experiences had, similar like how nervous system and the brain works. Biologically, sensory organs transfer information to the brain to be processed. At the same time, they stimulate imagination and engage it in the creation of memories. In sensory experience of architecture, memories and impactful spaces are developed within human being. Memories are not generally generated by visual of the architecture but the experiences of using them. The importance of sensory experience in architecture has been forgotten. The architects should understand ‘memory’ as a component of architectural experience. It is an evidence that the place and spaces are meaningful and impactful to the occupants in which it retains as part of their memory. The unique qualities of the place have affected their physical body and the memories are carried away. 2.1.4 Personal identity within spaces Psychologically, people interact with their environment which then impacts upon their self-image. It provides a series of experiences within their mind, reflecting the environment they have been experienced of. The experiences are developed within their selves to show a sense of identity which are acquired over their lifetime interacting with the world. In today’s architecture, 19

we encounter a loss of individual’s capability to maintain his/her sense of identity. Recognition of a space around bodies and interior qualities of the space for instance help to develop such identity. Experiences; feelings of rhythm, texture of edges, size of elements, of openings and closures may create one’s identity. Spaces evoke sense of selfreflection in getting know the inner character. We will encounter loss of humanity and individual identity if the needs of physical being is deleted from design considerations. In architecture, spatial environment becomes part of users’ biography. The personal identity is reinforced via sensory stimulation throughout spaces, where they can indulge in the spatial sensorial experiences.

2.1.5 Intangible architecture approach Zumthor’s approach to create a multisensory architecture through intangible elements is implemented in most of his works; light, shadows, sound and tactile. These elements are inclined to evoke memories and appreciation more in users as it helps to remark spatial experiences inside the spaces. Intangible elements may represent the ideas but the exploration of its evolution beyond the idea will further be manifest in the whole architectural design. This idea can be translated through its architecture anatomy, underlying materials and interior design as well. Tactile qualities are important to provide better experiences for the users especially those who have visual issues. Intangible approach is definitely helpful to those group of people in experiencing architecture. Architecture is not just about practicality but also about spatial design which the users can feel a sense of self identity and ‘home’. Based on a thesis entitled ‘Between the Intangible and the Tangible’ by Brian Fireman, the exploration of intangible is done by understanding the tangible elements. Some parts of his thesis do discuss on the sensual realm of human experiences and their interaction with the created object. He has stated several questions that can be considered and discussed by designers (Brian Fireman, 2001): 1. What is the nature of the right line and how is this decided? 20

2. What various factors determine the final form the piece will take? 3. When is a hard edge appropriate and when is a soft edge appropriate? 4. How should the piece be finished? The discovery of these elements is then proceeded with the essence of tectonics. This statement testifies to the philosophy of Zumthor who manifests the idea in his architecture anatomy. Tectonics imply the revealing which highlights the invisible thing through visible structure. Hence, the structure portrays an intangible concept. The visible of the invisible gives rise to different degrees of tectonic expression and a particular notion of empathy implicitly in that term (Brian Fireman, 2001).

3.0 Case Studies 3.1 Case study 1: The Therme Vals, Graubünden,Switzerland

Figure 3.1 a Perspective of a bathing space Source: http://cody-daley.squarespace.com/blog/2016/6/23/a-complete-sensory-experience-bypeter-zumthor

3.1.1 Introduction

Figure 3.1.1 a Site location Source: Author

Back in 1996, Peter Zumthor designed a thermal spa/bath, integrated with a hotel in Graubünden, Switzerland. It was incorporated with a complete sensory experience as suggested by his design philosophy in terms of material compatibility, light and shadow and sound.

The idea was to design a form of cave or quarry-liked structure to reflect the contextual of the site. According to elaboration from Arch Daily website, the natural surroundings are injected into the design entirely where the bath rooms are laid below a grass roof structure, half buried into the hillside. It was built from layer upon layer of quarried Valser Quarzite slabs, responding to the site context. “Mountain, stone, water – building in the stone, building with the stone, into the mountain, building out of the mountain, being inside the mountain – how can the implications and the sensuality of the association of these words be interpreted, architecturally?”Peter Zumthor

Light and shade, open and enclosed spaces and linear elements; these elements make the spatial more restorative and highly sensuous experiences throughout the architecture. Generally, the spaces were designed for the users to rediscover and luxuriate the ancient benefits of bathing. The underlying informal layout of the internal space was carefully designed to create a path of circulation, leading to certain areas. At the same time, the users have an opportunity to explore other areas by their own. The overall perspectives were controlled to either frame views or deny them.

Using an analogy of explorers as if they were in the woods finding a path of their own, Zumthor explained how the spaces and circulation are carefully designed. From the analysis of the location of site stated above, he tried to reflect the idea of meander in between the hills into the Thermal Vals’ design. In the design, it was explained as a designed negative space between the blocks in which it connects everything as it flows throughout the building. This creates a calming pulsating rhythm.

3.1.2 History and site studies

Peter Zumthor highlights surrounding contexts and memorial traces of a site in most of his works, reckoning these elements as communicative elements to connect space and people.

The Thermal Vals is located miles from Chur, a capital and largest town of the Swiss canton of Grisons with a driving hour distance of one hour away. The location is in a valley, dotted with shepherd huts and is liven by the sound of cowbells (Andrew Mead, 2012). A tributary above the village cascades down to meet the upper Rhine which is one of the major European rivers. Looking back the past history, hot natural springs were designed for therapeutic bathing in where it is used to be a glamorous hotel which erected to gain more profits from the spa. Nevertheless, it met its down turn during a financial failure in the 1980s. Hence, it was then managed by the small municipality of Vals whom then 23

conducted a competition to re-establish the thermal bathing. The winner; Peter Zumthor.

Studying the contexts of the site, Zumthor reflects to several nature settings; hills, mountains, river and meadow. The hillside meadow slopes down to horizontally spread out onto a terrace and it will then read as a carpet of blue flowers. Analogically, the field are described as fissures of translucent glass and a square bed of downlighters, like mechanical sunflowers (Andrew Mead, 2012). Furthermore, the roof design of the Thermal Vals is a reflection of the overall setting of the site; the roof is protected from the ‘meagre meadow’. A simple railing is incorporated from the hotel complex to the North but then erodes towards the South to unleash the wonderfulness of swimming pool and sunbathers on flat slabs of rock.

The building appears as an embankment from the road below showing a monolith of compressed stone with large ocular openings. His design is extremely sensuous in where his design is derived from idea od digging and mounding up; archaic and primary.

3.1.3 Concept The intention is to translate chain of words; mountain, stone, water, building in stone, building with stone, into the mountain, building out of the mountain into an architectural interpretation, narrating the design and eventually give its form. This building concept is entirely embedded within Zumthor’s design philosophy. This building is constructed using 60,000 of local quartzite stone slabs namely Valser Gneiss. The monolithic form is derived from a dialogue of mountains which frame the valleys (Andrew Mead, 2012). The building is conceptualized as an extension of the mountains and landscape. The thermal Vals is an architecture where it bridges the gap between the randomness of nature settings and man-made construction. In the transition made by the slabs rising above the lawn, the subterranean 24

and cavernous world of mountain are revealed. The entire architecture is crafted by the landscape.

Figure 3.1.2 a Conceptual drawing Source:https://howwebuiltatimemachine.tumblr.com/post/81861276643/plansofarchite cture-peter-zumthor-therme-vals

Figure 3.1.2 b Conceptual drawing Source: https://cherylkiwi.wordpress.com/2012/10/23/phenomenology-in-architecture-sensesknowledge-and-awareness/

3.1.4 Multisensory approach From Zumthor’s point of view, buildings should have a soul. In reference to this building, he opts several spatial experiences which 25

people can feel through their senses during ritual of bathing; darkness and light, reflection of light upon water, diffusion of light through steamfilled air.

Figure 3.1.3 a Floor plan (bathing level) Source: http://cody-daley.squarespace.com/blog/2016/6/23/a-complete-sensoryexperience-by-peter-zumthor

The journey at the Thermal Vals begins by walking through the hotel foyer through a tunnel, giving a bodily experience to individuals. The atmosphere of the entrance injects the dislocating effect from the outside world into the reception area. The circulation follows a knight’s move through 90° to clear a tubular turnstile. Through another 90°, users can align themselves with a long, shadowy corridor in where trickle of several faucets can be heard (Andrew Mead, 2012). Incorporating lively spatial experiences by lighting strategy, the reception is illuminated by a blue neon sign polished black floors and walls and white filtered light from above. Furthermore, the calming sound of water coming from bronze faucets, echoing off the solid stone surface is incorporated along a shadowy corridor. Zumthor also highlights the significance of materials in his design. Several entrances are covered by thick heavy black curtains, suspended by warm copper rings to as supportive steel rode. 26

The lockers and bench in changing room are constructed in glossy reflective red mahogany against raw concrete walls where soft warm lighting is punctured from above. This area is the transitional point from outside to inside where primal connection between the naked skin architectural body is achieved.

Figure 3.1.3 b Analysis of sensorial design elements on elevation Source: Author

Figure 3.1.3 c Sense experiences in its bathing space Source: http://cody-daley.squarespace.com/blog/2016/6/23/a-complete-sensoryexperience-by-peter-zumthor

Figure 3.1.3 d Analysis of sensorial design elements on interior Source: Author

3.2 Case study 2: Kunsthaus Bregenz, Bregenz, Austria

Figure 3.2 a Exterior perspective Source: https://www.archdaily.com/107500/ad-classics-kunsthaus-bregenz-peterzumthor/5037fd6b28ba0d599b0007b5-ad-classics-kunsthaus-bregenz-peter-zumthorphoto?next_project=no

3.2.1 Introduction

Figure 3.2.1 a Site location Source: Author

The Kunsthaus Bregenz museum is designed to serve flexible exhibition spaces to accommodate international contemporary art. The minimalist design adapts its spaces to the showcased art to create a coexisting relationship between art and architecture.

The museum has two main principles of permanent collections; archives of art architecture and a collection of contemporary art. These principles are made to complement the changing exhibition spaces. Hence, it opens itself to culture and international influences where intersection of art and architecture is promoted (Andrew Kroll, 2011).

Overall, the design embodies its artistic intention to provide an open platform for artworks and audiences. It is also intended to be used as a gallery, temporary studio and research and production laboratory for projects. Cladding in glass and steel plates, the façade is both reflective and revealing, giving a visual connectivity from outside. The loft-liked interior is illuminated by natural light. This museum has held several exhibitions associated to dozen artists such as Olafur Eliasson, Hiroshi Sugimoto and Louise Bourgeois. 29

3.2.2 History and site studies

Figure 3.2.2 a Site location Source: https://www.kunsthaus-bregenz.at/about-us/architecture/?L=1

The art museum is strategically located at the centre of town and on the shores of Lake Constance. The adjacent buildings are Vorarlberg museum and the Vorarlberger Landestheater. Zumthor assimilates the contextual elements particularly the exposed natural lighting into its design as a center of attraction in the town. With an appropriate proportion to the existing smaller buildings in the square, a café is located next to the administrative offices. This increases the sensitizing perceptions to art, space, architecture and light.

3.2.3 Concept The art museum is located in the light of Lake Constance. It is constructed of glass, steel and cast concrete stone mass which provide the interior with texture and spatial composition. It is conceptualized as a lamp absorbing the changing light of the sky and the haze of the lake. It then reflects light and colour to give an intimation of its interior life according to the angle of vision, daylighting and weather (Peter Zumthor, 1997). 30

Figure 3.2.3 a Conceptual sketch Source: https://www.pinterest.com/pin/426716133430705258/

It stands as a light box which absorbs, filters and reflects light across its façade and throughout its architectural anatomy. The translucent glass glows as it is illuminated by light, naturally and mechanically from its interior thus shows a dynamic part of the museum as it responds differently to light, time of day, weather and surrounding context.

3.2.4 Multisensory approach Zumthor manifests the idea of intangible elements such as light to create sensuous spaces in where the interior complements the exterior simplicity and minimalist aesthetic. The outer skin of the building consists of etched glass façade which captures and filters light through a light plenum and then distributes it through the gallery spaces. It creates an atmospheric environment within the gallery spaces that has a closed relationship with the exterior. The multi-layered façade develops an autonomous wall construction which harmonizes the interior by serving as a weather skin, daylight modulator, sun shade and thermal insulator. The space-defining anatomy of building develops a free interior.

Furthermore, he is very meticulous in choosing materials to enhance stimulation of senses inside the spaces. The gallery spaces are composed of minimalist materials and highly effectual in details and 31

sensuous quality. The walls and floors are made of polished concrete in which users can experience the texture and smell. The ceiling is made of frosted glass which has high ability to filters light from the plenum.

For interior spaces, the materials used has a stark, cold feelings to accommodate the working mode of artists. As the light penetrates through, the polished concrete dematerializes, flooding up the enclosed spaces with light.

Figure 3.2.4 a Analysis on the sensory qualities of the facade Source: Author

Figure 3.2.4 b Analysis on the sensory qualities of the interior space Source: Author

4.0 Discussion

4.1 Multiplicity of senses in architecture

Architecture is works of art where surroundings objects are put on with meanings and they convey a dialogue with people. The idea of multiplicity of senses is innated by Zumthor where multiple senses are injected in spaces through dominant design elements; materials, texture, sound and smell. The spaces are designed meticulously by the rules of architectural language following his design philosophy.

Surrounding place references, objects and things change our sensations in remembrance and memory. Understanding the working principle of Zumthor, he captures his idea through pictures that come across his mind. The shape is not a reason but a result that takes the users to discover. He believes that the beauty of architecture comes from the multiplicity of impressions, sensations and emotions.

Reality and living has a strong

connection therefore he is oriented towards a concrete idea, not a theory. Multiplicity of emotions and senses unleash the authentic core of one’s architecture.

Based on online survey responded by 20 respondents, 95% agrees that multisensory qualities are important in designing a space. They agree that a successful architecture should evoke certain emotions to the users to have a personal remembrance.

4.2 The application of architecture of senses for visual impaired people “Visual impaired people have different spatial feelings and create a virtual map in their mind based on senses they perceive in that place.”Survey respondent

Senses are important to mark a presence of place. Visual impaired people depend on the light to direct ways and experience architecture. Good lighting helps visually-impaired people to get around and navigate places (Jane Sandwood, 2018). The idea of lighting strategies proposed by Peter Zumthor in The Thermal Vals and Kunsthaus Bregenz museum’s facade is relatively the same to LED lighting technology which assists visual impaired people to navigate environments. The multisensory qualities of spaces injected in his architecture is architecturally articulated using the same idea. Light and shadows should be emphasized in architectural design to stimulate emotions inside a space. Hence, his approach is relevant to be assimilated into design for visual impaired people. Furthermore, Zumthor’s emphasis on tactile and texture of materials will be helpful to these people to perceive spatial experiences. As they also depend on touch to map their direction, this sensory approach will enhance the emotional sensibility inside spaces hence, architecture serves a better experience to them.

Multisensory approach innated by Peter Zumthor is definitely a good precedent study to provide an atmospheric architecture for visual impaired people.

5.0 Conclusion

Peter Zumthor has designed a fantastic architecture considering sensory qualities within spaces, underlying a literature quality beneath his definition on architecture anatomy itself. He has successfully designed an architecture of senses for the occupants to experience better architectural experiences within the spaces. The multisensory approach can be a great precedent study to design an architecture for visual impaired users as they depend more on intangible senses such as light to feel the presence of space and appreciate architecture. The architecture of senses should complement the practicality of universal design for visual impaired users to create a better quality of built environment.

6.0 References

1. Zumthor. P. (2006). Atmospheres. Germany, Berlin: Birkhauser. 2. Zumthor. P. (2006). Thinking architecture (2nd Ed.). Switzerland, Basel: Birkhauser. 3. Zumthor, P. & Binet, H. (1999). Peter Zumthor Works: Buildings and Projects 1979-1997. Switzerland, Basel: Birkhauser. 4. Carles, S. (2011). The study of sensory stimulation as an arxhitectural design tool: A proposed children's centre and community facility in Umlazi. (Unpublished master’s thesis). University of KwaZulu-Natal, Durban, South Africa. 5. Arezou Za redar. (2015). Considering the Five Senses in Architecture, 1(10), 138-143. (Unpublished master’s thesis), Shahid Beheshti University of Tehran, Iran. 6. Nico Saieh. (November 2, 2010). Multiplicity and Memory: Talking About Architecture with Peter Zumthor. Retrieved from https://www.archdaily.com/85656/multiplicity-and-memory-talking-aboutarchitecture-with-peter-zumthor 7. Zilliacus A. (October 29, 2016). Peter Zumthor's Bruder Klaus Field Chapel through the lens of Aldo Amoretti. Retrieved from https://www.archdaily.com/798340/peter-zumthors-bruder-klaus-field-chapelthrough-the-lens-of-aldo-amoretti 8. Merin G. (December 3, 2013). Peter Zumthor: Seven personal observations on presence in architecture. Retrieved from https://www.archdaily.com/452513/peter-zumthor-seven-personal-observationson-presence-in-architecture 9. Inmaculada Bote (April, 23 2015). Material aspect through Peter Zumthor's two most personal works [2/2]. Retrieved from https://www.metalocus.es/en/news/material-aspect-through-peter-zumthorstwo-most-personal-works-22 10. Schembri S. (February 26, 2017). The architectural experience of community spaces. Retrieved from http://sacesmalta.com/blog/2017/2/26/thearchitectural-experience-of-community-spaces-1

11. Fireman B. (2001). Between the Intangible and the Tangible. (Unpublished master’s thesis). Virginia Polytechnic and State University, United States of America. 12. Mead A. (27 September 2012). Building study: Thermal Baths, Vals, Switzerland by Peter Zumthor. Retrieved from https://www.architectsjournal.co.uk/news/building-study-thermal-baths-valsswitzerland-by-peter-zumthor/8636380.article 13. Daley C. (27 June 2020). The Therme Vals - A Complete Sensory Experience. Retrieved from http://codydaley.squarespace.com/blog/2016/6/23/a-complete-sensory-experience-bypeter-zumthor 14. Kroll A. (27 January 2011). Kunsthaus Bregenz / Peter Zumthor. Retrieved from https://www.archdaily.com/107500/ad-classics-kunsthaus-bregenz-peterzumthor/> ISSN 0719-8884 15. Sandwood J. (13 July 2018). How LED lighting can help with visual impairments navigatet city. Retrieved by http://globalaccessibilitynews.com/2018/07/13/how-led-lighting-can-help-thosewith-visual-impairments-navigate-the-city/