CREATING COMPELLING SHELTER THROUGH SUBCONSCIOUS IMPLEMENTATION OF SENSUAL ENVIRONMENT
STRUCTURE DIAGRAM
Word Count: 5686
ABSTRACT
This dissertation will be examining the depths of why we are lacking the human touch in today’s architecture. Juhani Pallasma claims that we are creating imbalance in our sensory system because of neglection of bodily senses (Pallasmaa, J., 2012, pg. 18). His way of creating successful architecture is by drawing parallels between senses and atmosphere, evoking awareness within our buildings by stating that “a walk through the forest is invigorating and healing due to the constant interaction of all the senses” (Pallasmaa, 2012, pg. 44). Only by achieving this interaction, our senses can be regularly stimulated which consequently achieves satisfaction in our daily life (Pallasmaa, J., 2012, pg. 35).
One of the biggest issues we face is the replacement of situational thinking by abstract approaches towards art (Pallasmaa, J., 2012, pg. 44). We have recently made the world a place of which we are merely spectators of, while we truly need the one in which we inseparably belong to (Pallasmaa, J., 2012, pg. 44). While vision has a tendency of disconnection with environment, other senses have potential to passively stimulate the sense awareness of the surroundings. This might explain how in the prehistoric era, the sense of ‘hearing’ was considered a human’s most crucial one (Pallasmaa, J., 2012, pg. 44). This was due to the fact that all other senses are passive, meanwhile ‘vision’ actively requires our continual effort in order to interact with an object.
Due to our cultural and social evolution, external natural hazards are minimised. Nevertheless, we must begin to speculate that architecture is effortlessly understandable to everyone by basing it on basic human instincts, discoveries and experiences (Rasmussen, S.E., 1980, pg. 14).
Architects have to aim for emotions, instead of expressive imagery. Emotional reactions are the most truthful and comprehensive response human being can achieve (Borch, C., 2014, pg. 27). Hence, why an architect’s approach must diverge away from pure imagery, towards comforting atmospheres that inspire the human mind to daydream, articulate fantasies and provoke creativity through stimulus of all senses (Borch, 2014, pg. 27). We need to design spaces that can passively arouse our senses while implementing the awareness of shelter being the essence of the building.
I aim to gather knowledge about neglected, lost or overlooked techniques previously used to form a compelling shelter, that can ultimately lead to a successful and habitable dwelling. My research will largely consist of research data from the work of the architects, philosophers, architectural theorists and ancient civilisations. Information gathered will comprise of secondary resources from books and articles that examine topics as notion of shelter, memories, interaction between five natural elements and the conception of prospect and refuge. This information will be used as lenses through which I will analyse Stadium Garden (part of Hadrian’s villa) as a pre-1900s example and compare it to the post-1900 case study, Ennis House designed by Frank Lloyd Wright. My primary resource is contacting the Matt Construction office based in Los Angeles which was contracted to do renovation work after weathering damage Ennis House endured. However, I was unsuccessful in receiving a response. By delving into these two case-studies, I intend to learn about approaches of achieving the sense of shelter within the building, resulting with knowledge that can subsequently be applied throughout my studio project and future career.
Introduction
In the writings of Martin Heidegger, it is explained how the German word bauen (transl. “to be”) has a clear connection with the sense of dwelling. By expanding into the essential connotation of bauen, we can see how it also has a meaning of signifying preservice and care of a single, or even the sense of “dwelling on earth as a mortal” (Heidegger, M.,1971, pg. 3). The equivalent phrase in Gothic has an implication of ‘being’ and “staying at peace”. Thus, contains the impression of being protected from harm and threats (Heidegger, M., 1971, pp 1 - 4), while having a place for resting, reading, sleeping and having an intimate personal life (Teige, K., 2002, pg. 252). Such parallels allow us to comprehend the lingual and cultural importance civilisations provided towards the notion of dwelling as humanity’s most frequent and fundamental act of building (Kemsley, R., Platt, C., 2012, pg. 1).
This cultural influence has risen awareness about the notion of dwelling as a human activity around architects and architectural theorists of 20th century architects across Northern Europe and United States of America. This evidence can be seen in the work of Christian Norberg Schulz (1979), Martin Heidegger (1971), Rasmussen (1980), Pallasmaa (2012) and finally, Frank Lloyd Wright (1954., 1960). Although being born in Wisconsin, Wright showcased similar ideas as his Northern European colleagues.
By analysing the work of the architects and theorists previously listed, I apprehended their ambitions and attempts to understand the unifying “fusion between reason and nature” and how it can be referred to as phenomenology (Hays, M., 1998, pg. 24). The concept is further established by E. Husserl and extended by his students. Phenomenology quickly established itself as “dominant philosophical approach on the European continent in the first half of the 20th century” (Kansas State University, 2020, pg. 6). It can be characterised as an attempt to “describe the basic structures of human experience and understanding from first person point of view, in contrast to reflective, third person perspective that tends to dominate scientific knowledge and common sense” (Merleau-Ponty,M., 2012, pg. 8). “Our existence is based on the conception of dwelling, the phenomenological sense that mortals reside on Earth”, which highlights the idea of residents living in the realm of their surroundings instead of solely residing in their dwelling (Heidegger, M., 1971, pg. 5). McIntyre underlines this statement by claiming how “the process of dwelling, almost by necessity, involves mobility as much as attachment to a place” (McIntyre, N., 2006, pg. 29). In order to achieve a successful sense of dwelling, we have to grasp the phenomenological perception that is attached to a place in the form of shelter. Similar to the clarifications around the idea of phenomenology, the notion of shelter should not be rationalised in scientific terms. Yet, Peter Zumthor states that individuals can aim to capturing its essence by systematically using a combination of two dedicated tools (Zumthor, P., 1988, pg. 10).
The first tool an architect can utilise to achieve this goal is to “dive into the memories of childhood which contain deepest architectural experience” (Zumthor, P., 1988, pp. 10). These reservoirs of architectural experiences contain pure remembrances of encountered atmospheres throughout a human’s lifetime: reminiscing particular highlights of our past.
Zumthor claims that phenomenological memory of experienced atmosphere is the strongest sensual recollection our mind can deconstruct (Zumthor, P., 1988, pp. 10). We have the ability to access such memories via our active cognitive investigation of our recollection. Additionally, our reminiscence can be passively stimulated by an outside source that invigorates some of the senses and consequentially trigger an emotional and cognitive response (Zumthor, P., 1988, pp. 10-17).
The second tool architects have to use is our professional knowledge. Our education can build upon our unconscious awareness of perception of shelter. Successful attempts at capturing the aura of the refuge can be researched and implemented in the projects throughout our careers. It is our objective to consciously produce the atmospheric shelters through “object arrangements, light, and sound”, which successfully relate to the respective contexts (Borch, C., 2014, pg. 45). In spite of these, there’s an unwritten obligation to deal with the burden of being able to deconstruct the atmosphere to its fundamental theoretical fragments, potentially taking away the pleasure of uninformed phenomenological attitude individuals hold towards architecture. Successful combination of these two tools in combination with the contextual environment eventually leads to prosperous shelters with final form of compelling dwellings once inhabited (Figure 1).
Mental Recollection of Senses
Humans began deviating from the sheltering attitude of architecture towards forms with exclusively abstract backgrounds (Rasmussen, 1980, pg. 10). This approach slanted the original nature of architecture being formed around human perception and started being shaped exclusively through “intellect and eye” (Pallasmaa, J., 2012, pg. 22). Rasmussen claims how this led to complete absence of understanding architecture without determining the building by external features (Rasmussen, S.E., 1980, pg. 33). Consequentially our dwellings seem to be alienated from human perception through senses and became an abstract object to be comprehended in our mind.
Rasmussen explained the art of building as something that should be easily comprehensible to all. In order to successfully accomplish this, buildings have to be formulated around “human instincts, discoveries and experiences common to us from an early age”, and not intellectuality and conceptual knowledge (Rasmussen, S.E., 1980, pg. 14). This brings us to the first means mentioned by Zumthor - our childhood. Human population shares a communal nostalgia for the past which allows us for the easy reconstruction of memories (Coser, A.L., 1992., pg. 53). As mentioned earlier, these memories can be accessed actively through recollection of memories, and passively through sensual stimulation. Zumthor continuously emphasises the fact that images from our childhood are deeply imbedded into our minds (Zumthor, P., 1988, pg. 9). Rasmussen exemplifies this by pointing out the dramatic experience of building caves with chairs and blankets as a youngster which resulted in triggering the dramatic sense of safety (Rasmussen, S.E., 1980, pg. 33).
Both architects appear to be backtracking the previously encountered phenomenological quality that is now deeply rooted in their subconsciousness. This quality often includes the warming and enclosed atmosphere usually created by simple shelter, successfully protecting its dweller from the outside. Christian Borch illustrates the importance of perceiving atmosphere through our emotional sensibility (Borch, C., 2014, pg. 7), instead of using abstract thinking that can eventually even replace our situational thinking (Pallasma, J., 2012, pg. 27). Zumthor sheds light on architecture that requires abstract thinking by stating: “It is as if we see something on which we cannot focus our consciousness” (Zumthor, P., 1988, pg. 17).
Rasmussen traced back the situational thinking to the approach of a child. Toddlers are predetermined to project all of their senses into the lifeless object (e.g., children putting an unfamiliar object into their mouth) (Rasmussen, S.E., 1980, pg. 15). They engage in countless acts of lifting, licking, touching, sniffing, throwing, balancing and more, constantly testing the edges of physics in order to understand world they are born to discover (Lupton, E., Lipps, A., 2018, pg. 10). Learning from that, advanced stimulation of senses derives from the interaction with the unknown.
Furthermore, despite the fact vision was recognised as the main and purest sense (also used in religions; metaphor for truth) (Malnar, J.M. Vodvarka, F., 2004, pg. 11), the eye is not capable of truthfully corresponding with our perception (Hinton, 1872, pg. 3). Pallasmaa pointed out that hearing was the first enhanced sense in prehistoric era (due to awareness of nearby hazards).
He explained space traced by ear as a cavity sculpted directly in the interior of the mind. Consequentially, Rasmusseen and Pallasmaa recognised the idea of senses mutually changing, amplifying and triggering one another. With haptic sense being the foundation for all the other senses, Pallasmaa claimed how “The unconscious tactile ingredient in vision is important and yet lost in today’s architecture while being strongly presented in historical architecture” (Pallasmaa, J., 2012, pg. 29).
This led to a new matter of realisation, moving away from creating objects, craving the attention of vision and learning how to create compelling places which can satisfy and find us through our whole phenomenological perception (Pallasmaa, J., 2012, pg. 55). Barbara Erwine explained this as a difference between vision centric, “exteriorist design”, which places the observer outside the space, and sensorially rich approach labelled “interiorism”, which places us within an enveloping spatial experience (Figure 2) (Erwine, B., 2017, pg. 30).
Figure 1: Creation of Compelling Dwelling as combination of memories, education and context, Collage by: Cvrtila, B., 2020 (Resources from: IKEA, 2020, Vin Varavaarn Architects, 2011, Anon, n.d.)
Figure 2: Occuring difference between observer interacting with “interiorist design” and “exteriorist design” , Cvrtila, B., 2021
Situational Thinking
While the goal of every building is to be inhabited, not every dwelling is capable of having such a prominence (Heidegger, M., 1971, pg. 1). Although non-dwellings usually consist of building typologies such as bridges, hangars, stadiums and power plants as Heidegger claims, I believe it is not pure functionality that draws a line between shelters defined as dwellings and their opposites. What makes us move through space, and consequently dwell in place, is a deeper connection with building’s everyday phenomena and spirit surrounding and inhabited the structure (Sennet, R., 2018, pg. 35). “Genius Loci”, or spirit of a place, consist of factors such as animals; flowers; trees; forests; stones; earth; wood; water; people; houses; streets and towns that formulate the realm of our dwelling (Norberg-Schulz, C., 1979, pg. 6). It is humanity’s unconscious aspiration to strengthen that connection with Genius Loci. Only after successfully engaging with this approach, architecture has potential to become poetry - consequently causing a shelter to become an atmospheric dwelling (Norberg-Schulz, C., 1979, pg. 5). However, that puts the recent scientific approach towards architecture as a totality made out of material substances, shapes, textures and colours in the second plan (Norberg-Schulz, C., 1979, pg. 6).
Figure 3: Entities constituting Genius Loci or Spirit of the Place, Cvrtila, B., 2021
During the course of 20th century and expansion of modernism, our situational thinking has been replaced by abstract thinking, which eventually led to creation of dwellings in which human bodies and mind have a distant and alienated impression. Recent architecture has overemphasised on the intellectual and conceptual dimensions of architecture which directly led to disappearance of physical, sensual and embodied essence. Although it was stated by Plato that “vision is humanity’s greatest gift” (Pallasmaa, J., 2012, pg. 18), the eye has proven itself as the most vulnerable to error out of all the sensory organs (Pallasmaa, J., 2012, pg. 22).
Figure 4: Everchanging importance humanity gives to particular senses throughout history, Cvrtila, B., 2021
Borch explains how buildings should be sensed through their material haptic qualities, sounds they acquire, the sense of temperature etc. (Borch, C., 2014, pg. 7). Correspondingly, his writings highlight the fact that architectural atmospheres extend far beyond form and function of building. He defines atmosphere as the overreaching perceptual, sensory and emotive impression of space, setting or social situation (Borch, C., 2014, pg. 20).
This interpretation brings me back to the conception of shelter. Cambridge dictionary explains it as a “place to protect yourself, or another person or thing, from bad weather, danger, or attack”. In conclusion, we must aim for creating dwellings that are going to sustain and mirror the worlds of particular dwellers, civilisations and environments (Seamon, D., 1993, pg. 3). Connection with outside, and the excitement of embodying the sense of place of natural world into the architecture brings the fundamental sense of safety within the building. So rather than just a building typology, “shelter became an atmosphere that is experienced emotionally before being understood intellectually” (Borch, C., 2014, pg. 12)
Three Basic Ways of Developing Connection between Architecture and the Environment
The book Genius Loci, written by Christian Norberg-Schulz, explains how man-made places require connection with immediate environment through three basic ways.
First approach is described as a desire to visualise our understanding of nature, expressing the existential foothold we gained. In order to achieve this, we build what we have seen, making the structure that can be seen in nature more precise (Norberg-Schulz, C., 1979, pg. 6). Our desire is to domesticate what we can find in nature. One great example is our unbreakable bond with water. Since the pre-historic era, humans built pools which domesticate liquid space into the human space, making it anthropological (Merleau-Ponty, M., pg. 104). Theo Van Leeuwen, an architectural theorist, demonstrated pools as man’s desire to become one with the element of water (Merleau-Ponty, M., pg. 104). Both of these claims confirm a deeply embedded need for subduing natural forms in order to make a compelling dwelling.
Figure 5: Hierarchal sequence of three rules mentioned by Norberg-Schulz in today’s architecture, Collage By Cvrtila, B., 2021 (Resources by: Agrest, D., 2019, Rizzardini, E.G., 2015, Wagner, T., 2009, UHDPaper, n.d., Joao, C., 2010)
The second outlined desire expresses our need for complementing a contextual situation by increasing what is lacking (Norberg-Schulz, C.,1979, pg. 6). It emphasises the importance of acknowledging the context before starting the project by letting the environment get into the individual through senses (Borch, C., 2014, pg. 48). We have to understand the natural and cultural environment and recognise the norms we have to apply in order to achieve maximum efficiency in any provided circumstance (Rasmussen, S.E., 1980,pg. 10).
Nicholas S. Colman wrote about how we strive to express “the Gaea” (personification of Earth) (Colman, N.S., 2001, pg. 5). In other words, human’s endeavour to complement circumstances given by Earth should be omnipresent and celebrated.
According to Norberg-Schulz, the final desire is to symbolise our understanding of the world. Throughout centuries, we would “free the meaning from the immediate situation and move that meaning to different locations” (Norberg-Schulz, C.,1979, pg. 17). Zumthor would argue how today, everything is essentially represented as symbols, while real things remain hidden (Zumthor, P., 1988., pg. 16). As a result, he recognised that “objects don’t have a messages for us anymore, they are simply there…it is as if we see something on which we cannot focus our consciousness” (Zumthor, P., 1988., pg. 17). Humankind transformed everything into the means of transferring a message, whilst losing its fundamentalism (Norberg Schulz, C.,1979, pg. 17).
Despite the fact the third desire is overachieved, the first two mentioned longings often stay disregarded. However, if all three relationships imply that the experience gathered by people is transferred into meanings - these meanings continue to create an “imago mundus” or microcosmos which concretes our world (Norberg-Schulz, 1979, pg. 17). Only after achieving a suitable microcosmos, a place between heaven and earth (Norberg-Schulz, 1979, pg. 23), in the form of compelling dwelling can be achieved.
Understanding the Idea of Shelter
In order to labour on the perception of protection, our architecture has to be based on truthful expression of our senses (Pallasmaa, J., 2012, pg. 76). This theory is also emphasised throughout the career of North American architect Frank Lloyd Wright. Pallasmaa recognised his interest in phenomenological interaction between the matter of object and body which showcased through more than just visual aspect. Wright’s architecture invites the sense of touch and creates the atmosphere of intimacy and warmth (Pallasmaa, J., 2012, pg. 76). By understanding the primordial relation between senses, he successfully exhibited muscular and haptic presence in his buildings. Even while designing, Wright’s drawings were led by his instincts, and not architectural syntheses, with sometimes even childish compositions, and via this route he would eventually arrive at the abstract basis towards the main concept (Borch, C., 2014, pg. 12).
This approach of emphasising the intuitive methodology of dwelling can easily be perceived in the architecture of the Ennis House. By researching the Mesoamerican cultures, he understood how ancient civilisations abstracted the primal unity (“the four that belong in one – earth and sky, the divinities and the mortals”) (Heidegger, M., 1971, pg.5).
He applied the fact that construction in traditional cultures (primarily Mayan) was done with the body – “same way as bird shapes its nest
by movements of its body” (Pallasmaa, J., 2012, pg. 29). The appliance of sensual recollection of memories is evident throughout his career. Similar to Norberg - Schulz, F.L. Wright recognized how “man’s place visualizes, complements and symbolizes man’s understanding of his environment” (Norberg-Schulz, C., 1979, pg. 56) - which resulted in Ennis house becoming a successful shelter for immediate natural, sociological and historical context the building is placed in. This response can significantly be improved in today’s architecture by emphasizing the use of social and natural occurrences whilst purposefully using locally sourced materials.
Although it is evident how Wright uses notion of combining the architectural knowledge, childhood memories and immediate context, he went further into subconsciousness by successfully identifying the long-established relationship humans developed with the idea of elements. The core of all natural consists of ethereal bond between water, air, earth and fire. In the essay “The Primitive Hut”, it is stated how origin of dwelling started with the discovery of fire (Kureli, E., 2016, pg. 112). This breakthrough technology encouraged social intercourse around it which finally resulted in necessity for gatherings underneath a covered space. (Kureli, E., 2016, pg. 112).
Although these writings are produced by French author in 19th century, Wright found the same evidence in the Mayan architecture of today’s region of Southern Mexico. His research led to the awareness of dwellings being designed as shelters with strong identification to the ground building belongs to (Wright, F.L., 1954., pg. 16).
In the same manner as Laugier and Heidegger, Wright emphasised the primordial connection between architecture and natural elements. He claimed how the first sign of settlement today, as it was 2000 years ago, appears with the setting up the hearth - a fireplace which gives lighting, reviving, warming and food preparing fire (Colman, S., 2001, pg. 4). This primordial conception of purposefully incorporating the acknowledgment of elements into the architecture has been rapidly losing its significance. However, one conception that keeps its importance is the design and application of a fireplace as a hearth of a building, which is also evident throughout Wright’s career (Kureli, E., 2016, pg. 112). This acts as a successful symbol of the most basic parental experiences of enclosure, intimacy and pleasure (Pallasma, J., 2011, pg. 65). However, there is no shortage of conceptualising other elements in Wright’s dwellings - resulting with shelters that mediate the safety of interior with the combination of outer context penetrating into the building (Wright, F.L., 1954, pg. 37). It is as if he is creating the sense of danger in order to stimulate security within his building.
Figure 6: Interaction between 5 Natural Elements in the Fireplace designed by Frank Lloyd Wright, Stewart, M., n.d. , edited by Cvrtila, B., 2020
Comparison Between Ennis House and Stadium Garden
“The scorching heat sent men into the forest, whilst the rain drives him to the cave. The darkness and foul air surrounding man (In cave) makes his stay unbearable again. Man wants to make himself a dwelling that protects but does not bury him” (Laugier in Colman, 2001, pg.3).
This thesis from “The primitive hut” is evident in architecture around the globe throughout history. From the 20th century Wright who stresses the importance of freedom representation which our ancestors had sensed living in the trees, towards ancient Roman architecture guided by Vitruvius who instituted the same principles of architecture as ones 2000 years later. The actual sense to dwell correspondingly with nature (Heidegger, 1971, pg. 4) is evident in Hadrian’s Villa in similar fashion as the Ennis House by Wright. Both of these are examples of private residences overlooking the social, natural and cultural environment in similar matter - methodically applying the concept of refuge and prospect.
Each of these cases truthfully capture how visualisation, complementation and symbolisation are primary aspects of generating dwellings. Pallasmaa has explained a simple walk in the forest as invigorating and healing due to the constant interaction of all the senses and elements (Pallasmaa, J., 2012, pg. 44). This notion has been recreated in Ennis House through use of the same materials inside and outside the building which brings out the primal essence of rough nature. The richness of reliefs in the textile blocks bring into the existence the charming sensation of walking among trees (Figure 7). These created emotional reactions, based on memories, are the most comprehensive and synthetic judgements we can produce (Borch, C., 2014, pg. 27). In Norberg’s writings, homes are defined as a meaningful man-made environment (Norberg-Schulz, C., 1979, pg. 50).
Such environments are explained as having structure and embodying realities which carry out our existence such as just mentioned characteristics of nature (Norberg-Schulz, C., 1979, pg. 50). Borch states how these reassuring, comforting and inviting settings inspired by untouched environment successfully encourage our unconscious imagery, daydreaming and fantasy (Borch,C., 2014, pg. 30). This statement proves how environments inspired by nature succeed in constant stimulation of our senses resulting with shelters that provide harmonious living.
Figure 7: Atmospheric approach inspired by Frank Lloyd Wright which draws correlation with the notion “Walking in the Forest”, Cvrtila, B., 2021 (Resource by: Kmiecik, K., 2008)
If we take a wide interpretation of technology, and look at it in its most fundamental aspect, both of the case studies represent the human optimistic belief in man’s ability to control Genius Loci in order to create a successful microcosmos (Colman, S., 2001, pg. 7). Stadium Garden, situated at the central part of Hadrian’s Villa, takes a conceptual approach of Eden and translates it into the graceful play between private and public environments (MacDonald, W.L., Pinto, J.A., n.d., pg. 87). Every image of paradise in ancient cosmologies includes the basic element of water as conceiving substance (Cofaigh,E., Olley, J.A., Lewis, J.O., 1996, pg. 26). In Roman architecture, water has been regarded as the element to be given form and shape, like any other materials (Clark, E, 1950, pg. 383). This approach resembles the importance of symbolism stated by Norberg - Schulz and is implemented throughout garden Stadium as points of social interaction overlooking nature as theatre of events (Cofaigh, E., Olley, J.A., Lewis, J.O., 1996, pg. 26). In addition to this, it can be comprehended how the Stadium Garden complements, encloses and centralises the natural and architectural context - all of which being the approaches of creating a successful shelter (Pinto, J., 2005).
Similarly, alteration of nature is apparent in Wright’s Ennis House which inhabits one of the Hollywood hills (Hildebrand, G., 1991, pg. 85). First of all, the cosmic importance of water has here been replaced with the element of fire. The warmth of fire, which initially represented primal fear, made people gather and make conversations (Figure 8) (Colman, S., 2003, pg. 3). This representation of fire as enclosure and socialisation in a more private matter is a different manifestation of the same matter of socialising (Borch, C., 2014, pg. 27). By recognising that, Wright has established fireplace as the focus of domestic scene in the Ennis House design. (Storrer, A.W., Wright, F.L., 2002, pg. 27).
Figure 8: Timeline explaining the social and cultural development of civilization through the course of history, Cvrtila, B., 2021 (Resources by: Krenkel, R., 1959, Bortel, P., n.d
Wright believed that “the character of the site is the beginning of any building that aspires to be architecture” (UKEssays, 2018). This is apparent in the building’s flirtation with the terrain that suggests how architecture is not simply positioned on top of the hill, instead it is modifying the side of the slope - giving the minimal interruption to the element of earth (Wright, F.L., 1960, pg. 173). This impression of architecture being carved into the hill culminates in demonstration of primordial safety extended by nature, as portrayed in figure 8. The horizontal planes associate building with the site which is one of the main characteristics of Wright’s work.
Similarly, Stadium Garden’s obligation regarding the element of earth is seen in its substituted form within terrain bed filled with vegetation (Ehrlich, T.L., 2012, pg. 9). Both of these examples develop an inseparable relationship within landscape these are sited on, therefore gracefully supplementing to nature and completing what is lacking (Colman, S., 2001., pg. 3). All of these motives create the contextually guided designs instead of abstract forms that avoid the realistic contextual circumstances.
“The building should be made of block as kind of tree itself standing at home among other trees in its own native land” (Wright, F.L., 1960, pg. 216). This notion of prospectivity corresponds to earlier claims by Laugier, who states the shelter provided by caves are not suitable enough for human needs. ‘Holing in’ is more relevant to people living in the pre-historic era, whilst we live in an era where there is no need for predator, animal fear (Wright, F.L., 1954., pg. 52). Therefore, through other almost zen exposures, vast openings successfully command expressive views of the city framing the building’s wooded surroundings (Lodie, K.M., 2008).
Human nature developed a need for prospectivity in order to accomplish a successful shelter. The quote by Wilson in the book Architectural Atmospheres confirms it by explaining how “Our shared pleasure in being in the shadow of large trees with the possibility of looking into a sunlit open field, for instance, is explained on the basis of such evolutionary programming” (Wilson In Rasmussen, S.E., 1984, pg. 21) is highlighting that senses are heightened through such atmosphere.
Figure 9: Conceptual Explanation of Prospect and Refuge in F.L. Wright’s Ennis House, Cvrtila, B., 2021 (Resources by: Luna, E., n.d., Azalamb, H., n.d.)
The mentioned statement by Wilson draws a clear connection with the Zumthor’s sensuous approach towards buildings. We need to continually stimulate the primal and unconscious part of mind (which recollects memories) of our corelation to nature in order to satisfying spur of senses. These idea of implementing prospect and refuge in architecture is tailored within both of the research studies: Ennis House and Stadium Garden.
The entry of Ennis house is architecturally restrained and hidden from the immediate sight. However, the suppression of space brings the same conception of warmth and closeness as a simple childhood castle made of chairs and blankets. This space eventually leads into the large, open area with the overlook of Los Angeles praising the view, hence bringing the aspect of primal sense of air (Figure 10) (Hildebrant, G., 1991., pg. 85).
Spatial organisation introduces a fundamental human appeal of mystery (Hildebrand, G., 1991, pp. 90). This is through the introduction of sensed but undetected spaces, therefore stimulating the perception of dealing with the unknown even within the building. This notion of danger that is translated into the sense of the unknown, successfully depicts the “interiorist approach” explained by Erwine. Therefore, Ennis house can be regarded as a prime example of translating the the sense of surrounding natural environment into the architecture.
Figure 9: Conceptual Explanation of Prospect and Refuge in F.L. Wright’s Ennis House, Cvrtila, B., 2021 (Resources by: Luna, E., n.d., Azalamb, H., n.d.)
On the other hand, Stadium Garden’s placement disallows for direct sense of prospect, especially in the northern and central part of complex. However, the pleasing nature of placid pools in Roman architecture successfully reflected the sky, vegetation and surrounding architectural and sculptural elements, therefore pulling the outside environment into the contained architecture (Ehrlich, T.L., 2012, pg. 5). Furthermore, the writings explain how water fountains replaced heart in this case, suggesting social discourses - philosophy and dinning gatherings in shady gardens around fountains (Ehrlich, T.L., 2012, pg. 5). This brings back the idea of creating the microcosmos that has an appeal to human nature. Additionally, it reassembles Wilson’s explanation of shared pleasure in standing in shadow and overlooking vast the surroundings. However, this events only appeared in southern part of the garden – nymphaeum, while northern court is reserved for private usage (Ehrlich,T.L., 2012, pg. 9). Nymphaeum is defined as “ancient sanctuary consecrated to water nymphs” (Britannica, 2021). This semi-circular nymphaeum was created as a combination of vegetation and absolutely homogeneous marble surfaces lifted towards the sky (Rasmussen, S.E., 1980, pg. 163), drinking in the sunlight that flickers off and glimmers its marble steps “indirectly correlating the nymphaeum with its glazing environment” (Ehrlich, T.L., 2012, pg. 9). This displays great importance as Stadium Garden uses materials in order to highlight the contrast between harsh natural conditions surrounding the building and the sheltering nature pf architecture.
“To compensate for the absence of view, Hadrian focused attention upon a nymphaeum who’s opening to the sky released a view from all limitations” (Ehrlich, T.L., 2012, pg. 9). Underneath the open scorching sky, a dance of sight and sound played before spectators shaded in cool and airy southern pavilion (Ehrlich, T.L., 2012, pg. 9).
Figure 11: Conceptualising the Aspect of Prospectivity which is Achieved through the Reflection of the Central Pool, Cvrtila, B., (Resources by: Azalamb, H., n.d., Lonsor, M., n.d.)
The subsequent central pool serves as a barrier, nearly completely filling up central court. Although this pool introduced a great vapouring quality to the Garden it also serves as kind of the portal towards the external environment with its ever-mirroring reflection of the sky (Macdonald, W.L.,Pinto, J.A., n.d., pg. 174). Consisting of just a thin layer of water over mosaic, the pool acts as a window towards the external environment with its reflection of the sky and the sides of the stadium (figure 11) . This answer to the prospectivity enhances the perceived size of the stadium while keeping the closeness of the microcosmos architecture created (Macdonald, W.L., Pinto, J.A. n.d., pg. 174).
North garden is regarded as Hadrian’s private suite. The element of microcosmos is more diffused here. This diffusion has created a more centralised and atmospheric space (Ehrlich, T.L., 2012, pg. 9). Although same materials are used throughout the complex, the difference in atmosphere between social and private spaces is clear.
“The privileged central room of the North Group would have served as the shaded base from which a full axial view of the Stadium, with an endpoint in the southern grotto, could be completely enjoyed by Hadrian” (Ehrlich, T.L.,2012, pg. 10).
The emperor’s prospect is guided through rhythm of contrasting light and dark spaces, open and closed zones, framed by architectural elements and accented by water. However, this exciting view could not be experienced by walking through spaces, giving the shaded central room of Northern group a distinctive impression of primal refuge from every day’s occurrences (figure 12).
Similarly, to Ennis House, this project successfully captures the aura of “interiorist architecture” (Erwine, B., 2017, pg. 30). With its rhythm closed and open spaces, crowned by Northern group acting as refuge - the project stages the sense of protection from social and climate threats (UKEssays, 2018). At the same time it effectively mirrors the environmental occurrences surrounding the architecture.
Figure 12: Distinction between View Direction and Walking Route in Stadium Garden, Macdonald, W.L., Pinto, J.A., n.d. (edited by: Cvrtila, B., 2021)
Although both case-studies take qualities of the places they are sited on, the environmental influence took a different manifestation in the materiality of their architecture (Mostafavi, M., Leatherbarrow, D., 1993., pg. 69). Both of these solutions are successful architectural answers designed according to laws and dictations given by nature (Colman, S., 2001, pg. 4). Thus, created shelters not only captured a quality of somewhat successful dwellings, but also as a spirit of space (Wright, F.L., 1960, pg. 317).
Despite this, the lack of understanding can be brought up for the absence of extended overhangs which emphasise the primal perception of protection and preservation for walls (Wright, F.L., 1960., pg. 42). This feature is usually symbol of Wright’s response for creating shelters.
As a result, severe rain in 2005 heavily damaged the exposed cladding whuch was designed as a textile block made with granite from the site added to the concrete mixture which resulted in a failure (Nayyar, T.,2019). Now, it is easy to comprehend how Ennis House missed the mark on fulfilling its “primary function - being a successful home” (Nayyar, T., 2019). Although the staged atmosphere captured the essence of spared freedom (Heidegger, M., 1971, pg. 5), its answers to natural forces had a lack of anticipation for climate difference (Heidegger, M., 1971, pg. 4) which resulted in heavy destruction of the house. Opposingly, Stadium Garden successfully created the notion of shelter while dealing with more rigorous natural circumstances. Its simple representation of primal elements and use of ryhtm of shaded and open spaces created a performance that manifests the concept of prospect and refuge.
Conclusion
The argumentative approach towards the notion of creating compelling shelter successfully led this research towards realisation of subconscious and cognitive aspect of the topic. Numerous approaches regarding ways of domesticating limitless space and enabling humans to inhabit it have been discovered and examined throughout this research which eventually guided me into exploring the topic on number of phenomenological levels.
Zumthor’s claims regarding how our sensuous connections with the building must respect the process of remembrance were core matters throughout this thesis. (Zumthor, P., 1988, pg. 11). His explanation of architecture as concrete memories: spaces; atmospheres; senses; and so forth, became a foundation of this research. The combination of architectural knowledge, context and childhood memories used as reservoirs of architectural atmospheres have been developed into a starting point of project that led into subsequent topics (Zumthor, P., 1988, pg. 13).
By explaining the three basic ways of relationship between man-made places and nature based on Norberg Schulz (1979), I have learned about creating an effective microcosmos which embodies essence of shelter. That essence has been apprehended as reflections of man’s understanding of the natural environment (Norberg-Schulz, C., 1979, pg. 50). In addition to this, Pallasmaa claimed how architecture is an extension of nature into man-made realm (Pallasmaa, J., 2012, pg. 44). Architect’s aim is to adequately expose the dwelling towards certain environmental character regarding its identification and location in order to create a dwelling suitable for successful stimulation of senses (Norberg-Schulz, C., 1979, pg. 19).
My goal was to find and examine the evidence of achieving the successful dwelling which essentially means finding the examples of creating the sense of ultimate comfort and intimacy (Pallasmaa, J., 2012, pg. 63). In the phenomenological sense, this study critically explained the issues of recent architecture appealing solely to the eye, while my studies showed the rest of the senses have been supressed. “Magic of the real”, as Zumthor calls the human interaction with environment through senses, has been lost (Zumthor, P., 2006, pg. 63) and archtiects like himself, Norberg-Schulz and Rasmussen are pointing out issues while presenting their manner of solving this problem.
After taking this conception even further, the research guided me towards the primordial connection of senses with five natural elements and ways they can be symbolised and implemented within architecture. This topic is tailored throughout the work of Frank Lloyd Wright where I analysed this topic in the form of a case study. Subsequently, I have drawn a direct comparison between Wright’s Ennis House and Stadium Garden (an example of pre 1900s architecture). Surprisingly, Ennis House demonstrated several issues which contradicted Wright’s thesis of creating successful shelter, while Stadium Garden achieved more with less environmental benefits.
In conclusion, this research developed my approach of designing dwellings. It provided me with the knowledge about staging the atmosphere of effective shelter. Norberg-Schulz and Zumthor highlighted the less identifiable importance of dealing with cognitive and subconscious matter while designing architecture. The readings made me understand the emphasising importance in the relation between human-made architecture and the natural environment. By combining all of this knowledge, I have gained insight of creating captivating shelters through stimulation of senses towards contextual environment.
BIBBLIOGRAPHY
BOOKS
Borch, C., (2014), Architectural Atmospheres, BIRKHAUSER, Germany
Cofaigh, E., Olley, J.A., Lewis, J.O., (1996), The Climate Dwelling: An introduction to Climate responsive Residential Architecture, James & James, University College Dublin
Coser, A.L., (1992), On Collective Memory, The University of Chicago Press, USA
Curtis, J.W., (1982), Modern Architecture since 1900, Phaidon Press Limited, Oxford
Ehrlich, T.L., (2012), The Waterworks of Hadrian’s Villa, Routledge, London
Erwine, B., (2017), Creating Sensory Spaces: The Architecture of Invisible, Routledge, New York
Hays, M., (1998), Architecture Theory since 1968, Columbia University, USA
Heidegger, M., (1971), Building, Dwelling, Thinking, Harper Colophon Books, New York
Hildebrand, G., (1991), Pattern and Meaning in Frank Lloyd Wright’s Houses, University of Washington Press, Hong Kong
Kemsley, R., Platt, C., (2012), Dwelling with Architecture, Routledge, New York
Lupton, E., Lipps, A., (2018), The Senses: Design Beyond Vision, Princeton Architectural Press, New York
Macdonald, W.L. & Pinto, J.A., (n.d.), Hadrian’s Villa and its legacy, Yale University, USA
Malnar, J.M., Vodvarka, F., (2004), Sensory Design, University of Minnesota, USA
McIntyre, N. (2006), Multiple Dwelling, CABI, Canada
Merleau - Ponty, M., (2012), Phenomenology of Perception, Routledge, New York
Merleau - Ponty, M., (2015), Space Place Architecture, Ohio University Press, USA
Mostafavi, M. & Leatherbarrow, D., (1993), On Weathering, The MIT Press, Cambridge, UK
Norberg Schulz, C., (1979), Genius Loci, Gruppo Editoriale Electa, Milano
Nute, K., (1993), Frank Lloyd Wright and Japan, E&FN Spoon, New York
Pallasmaa, J., (2011), The Embodied Image, John Wiley & Sons LTD, UK
Pallasmaa, J., (2012), The Eyes of the Skin, John Wiley & Sons LTD, UK
Rasmussen, S.E., (1980), Experiencing Architecture, Massachusetts Institute of Technology, USA
Seamon, D., (1993), Dwelling, Seeing and Designing, State University of New York Press, New York
Sennet, R., (2018), Building and Dwelling, Straus and Giroux, New York
Storrer, A.W., Wright, F.L., 2002, The Architecture of Frank Lloyd Wright, The University of Chicago Press, USA
Teige, K., (2002), The Minimum Dwelling, Massachusetts Institute of technology, USA
Wright, F.L., (1960), The Natural House, Frank Lloyd Wright Foundation, USA
Wright, F.L., (1954), Writings and Buildings, Horizon Press, New York
Zumthor, P., (2006), Atmospheres, Birkhauser, Berlin
Zumthor, P., (1994), Thinking Architecture, Birkhauser, Berlin
ESSAYS & JOURNALS
Colman, S., (2001), Drawing the line between Technology and Nature in Architectural Theory
Hinton, J., (1872), Man and His Dwelling Place, Elder and Co., London, 3rd edition
Kansas State university, (Vol 31, No. 2 2020), Environmental and Architectural Phenomenology, USA
Kureli, E., (2016), Laugier vs Durand: Revisiting Primitive Hut in the classical Architectural Discourse, USA
WEB PAGES
Tikannen, A., Britannica, 2021, Nymphaeum, Available at:
https://www.britannica.com/art/nymphaeum [Accessed: 28/02/2021]
Nayyar, T., 2019, Ennis House by Frank Lloyd Wright, Available at:
UKEssays, 2018, Frank Lloyd Wright: Literary and Architectural Legacy, Available at: https://www.ukessays.com/essays/architecture/frank-lloyd-wright-literary-architectural-3982.php?vref=1 [Accessed: 28/02/2021]
Lodie, K. M., 2008, Ennis House, Inside Out, Avaliable at: https://cbinsideout.com/ennis-house-frank-lloyd-wrights-la-masterpiece/ [Accessed: 28/02/2021]
VIDEO
Frank Lloyd Wright: The Man Who Built America, 2017, Avaliable at: https://www.youtube.com/watch?v=1O7ax1KhJNM&t=442s
[Accessed: 28/02/2021]
FIGURE LIST
Figure 1: Cvrtila, B., 2021, Creation of Compelling Dwelling as combination of memories, education and context
Additional Resources:
IKEA, 2020, Castle, Source: https://www.933therock.ca/2020/05/28/ikea-blanket-forts/
Vin Varavarn Architects, 2011, Source: https://www.archdaily.com/174383/botanica-sales-office-showrooms-vin-varavarn-architects
Anon, n.d., Source: https://www.pinterest.com/pin/272186371204451396/
Figure 2: Cvrtila, B., 2021, Occuring difference between observer interacting with “interiorist design” and “exteriorist design”
Figure 3: Cvrtila, B., 2021, Entities constituting Genius Loci or Spirit of the Place
Figure 4: Cvrtila, B., 2021, Everchanging importance humanity gives to particular senses throughout history
Figure 5: Collage By Cvrtila, B., 2021, Hierarchal sequence of three rules mentioned by Norberg-Schulz in today’s architecture
Additional Resources:
Agrest, D., 2019, Courtesy Applied Research + Design, Source: https://www.archpaper.com/2019/10/diana-agrest-architecture-of-nature/
Rizzardini, E.G., 2015, The Majestic Cathedral, Source: https://www.boredpanda.com/tree-cathedral-cattedrale-vegetale-giuliano-mauri/?utm_source=pinterest&utm_medium=social&utm_campaign=organic
Wagner, T., 2009, Lotus Temple, Source: https://500px.com/photo/262943/Lotus-Temple-New-Delhi-India-by-Tomasz-Wagner/
UHDPaper, n.d., Forest Wallpaper, Source: https://www.uhdpaper.com/2019/02/forest-nature-aerial-view-scenery-4k.html
Joao, C., 2010, Source: https://www.researchgate.net/figure/Photograph-with-the-Furninha-Cave-entrance_fig1_277266451
Figure 6: Stewart, M.,n.d., Edited by: Cvrtila, B., 2021, Interaction between 5 Natural Elements in the Fireplace designed by Frank Lloyd Wright, Additional Resource:
https://www.pinterest.com/pin/496592296395425854/
Figure 7: Cvrtila, B., 2021, Atmospheric approach inspired by Frank Lloyd Wright which draws correlation with the notion of Forest, Additional Resource:
Kmiecik, K., 2008, Smoothing Place, Source: https://www.deviantart.com/katarzyna-kmiecik/art/soothing-place-79978986