Phenomenology - Revision history

Designing Buildings at 08:31, 3 November 2020

2020-11-03T08:31:17Z

← Older revision		Revision as of 08:31, 3 November 2020
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	* “personal space”, 2012. Oxford Dictionaries.		* “personal space”, 2012. Oxford Dictionaries.

−	[[Category:Theory]]	+	[[Category:DCN_Commentary]] [[Category:DCN_Definition]] [[Category:DCN_Guidance]] [[Category:Theory]]

Editor at 15:08, 29 October 2018

2018-10-29T15:08:07Z

← Older revision		Revision as of 15:08, 29 October 2018
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	'Architecture has probably never abandoned completely its humanistic role; though in modern times this role has mostly been improvised' (Vesely, 2004, 5). The goal of architecture has not significantly changed, only the tools to realise it.		'Architecture has probably never abandoned completely its humanistic role; though in modern times this role has mostly been improvised' (Vesely, 2004, 5). The goal of architecture has not significantly changed, only the tools to realise it.

−	~~= Find out more =~~	+	= Related articles on Designing Buildings Wiki =
−		+
−	=== Related articles on Designing Buildings Wiki ===	+

	* Architectural styles.		* Architectural styles.
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	* Living in the hyperreal Post-Modern city.		* Living in the hyperreal Post-Modern city.
	* Place.		* Place.
		+	* Public realm.
	* Smart cities.		* Smart cities.
	* Truth to materials.		* Truth to materials.

Editor at 12:40, 30 August 2018

2018-08-30T12:40:51Z

← Older revision		Revision as of 12:40, 30 August 2018
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	* Genius loci.		* Genius loci.
	* Living in the hyperreal Post-Modern city.		* Living in the hyperreal Post-Modern city.
		+	* Place.
	* Smart cities.		* Smart cities.
	* Truth to materials.		* Truth to materials.

Editor at 08:27, 24 July 2017

2017-07-24T08:27:27Z

← Older revision		Revision as of 08:27, 24 July 2017
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	Comparing the sense of vision to the sense of touch, Rene Descartes suggested that tactility 'is more certain and less vulnerable to error' (Pallasmaa, 2005, 19).		Comparing the sense of vision to the sense of touch, Rene Descartes suggested that tactility 'is more certain and less vulnerable to error' (Pallasmaa, 2005, 19).

−	Pallasmaa (2009, 16) argues that 'he hand grasps the physicality and materiality of thought and turns it into a concrete image'. To Pallasmaa, the traditional methods of sketching are more natural and certain. The hand interacting with the paper reveals an almost primitive relation in Luis Kahn’s words in his 1931 writing 'The value and aim in sketching':	+	Pallasmaa (2009, 16) argues that 'the hand grasps the physicality and materiality of thought and turns it into a concrete image'. To Pallasmaa, the traditional methods of sketching are more natural and certain. The hand interacting with the paper reveals an almost primitive relation in Luis Kahn’s words in his 1931 writing 'The value and aim in sketching':

	'I try in all my sketching not to be entirely subservient to my subject, but I have respect for it, and regard it as something tangible – alive – from which to extract my feelings.' (Kahn, 1991, 11)		'I try in all my sketching not to be entirely subservient to my subject, but I have respect for it, and regard it as something tangible – alive – from which to extract my feelings.' (Kahn, 1991, 11)

Editor at 08:24, 24 July 2017

2017-07-24T08:24:21Z

Show changes

Editor at 19:19, 19 July 2017

2017-07-19T19:19:43Z

← Older revision		Revision as of 19:19, 19 July 2017
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	Juhani Pallasmaa (2005, 10) in explaining the aim of his book “The Eyes of the Skin”, emphasises his intention “to create a conceptual short circuit between the dominant sense of vision and the suppressed sense modality of touch.”		Juhani Pallasmaa (2005, 10) in explaining the aim of his book “The Eyes of the Skin”, emphasises his intention “to create a conceptual short circuit between the dominant sense of vision and the suppressed sense modality of touch.”

−	Our daily lives have been greatly influenced by the applications of modern technology. Technology has satisfied our need for simplicity and comfort (defined by Oxford Dictionaries (2012) as “a state of physical ease”). One of the purposes of modern architectural design and also a measure of our quality of life is comfort. The meaning of comfort is . But, as it has made our lives easier so it has reduced the manual aspect of daily life, and our bodily involvement in our experience of life has been focussed on the senses favoured by technology, predominantly vision.	+	Our daily lives have been greatly influenced by the applications of modern technology. Technology has satisfied our need for simplicity and comfort (defined by Oxford Dictionaries (2012) as “a state of physical ease”).
		+
		+	One of the purposes of modern architectural design and also a measure of our quality of life is comfort. The meaning of comfort is . But, as it has made our lives easier so it has reduced the manual aspect of daily life, and our bodily involvement in our experience of life has been focussed on the senses favoured by technology, predominantly vision.

	Our daily needs are often satisfied with the click of a button, and touch screens have reduced our interaction with our physical environment to a mere touch on a digital surface. It can only be expected that there will continue to be further reductions in the haptic aspect of our day to day interaction with the world.		Our daily needs are often satisfied with the click of a button, and touch screens have reduced our interaction with our physical environment to a mere touch on a digital surface. It can only be expected that there will continue to be further reductions in the haptic aspect of our day to day interaction with the world.
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	Architecture could not have been unaffected from the media frenzy in recent decades or from the persuasive power of advertisement and marketing. The outcome of this process was to create a commercialised aspect to architectural practise. According to Vesely (2004, 3), such commercial forces created a “rather narrow contemporary vision of architecture as a discipline that can be treated as an instrument, or as a commodity”.		Architecture could not have been unaffected from the media frenzy in recent decades or from the persuasive power of advertisement and marketing. The outcome of this process was to create a commercialised aspect to architectural practise. According to Vesely (2004, 3), such commercial forces created a “rather narrow contemporary vision of architecture as a discipline that can be treated as an instrument, or as a commodity”.

−	Simulation techniques, along with the emergence of the internet has enabled people to “share” architecture even where there are large physical distance between it and the observer. We can experience architecture without being physically present and without the involvement of senses like touch and smell. The design of the built environment affects millions of people in the highly urbanised world in which we live in. The visual imagery offered by technology, proves to be an absolutely necessary tool through which architectural projects can be globally communicated to the public. This allows for discussion and critique, greatly improving social contribution to decision making.	+	Simulation techniques, along with the emergence of the internet has enabled people to “share” architecture even where there are large physical distance between it and the observer. We can experience architecture without being physically present and without the involvement of senses like touch and smell.
		+
		+	The design of the built environment affects millions of people in the highly urbanised world in which we live in. The visual imagery offered by technology, proves to be an absolutely necessary tool through which architectural projects can be globally communicated to the public. This allows for discussion and critique, greatly improving social contribution to decision making.

	Technology has created even greater possibilities in the creative process of architectural design through computer aided design software (CAD). In this context Pallasmaa focuses his argument about a distant visual sense in comparison to the traditional haptic approach to design: “The computer creates a distance between the maker and the object, whereas drawing by hand as well as model making put the designer into a haptic contact with the object or space” (Pallasmaa, 2005, 12).		Technology has created even greater possibilities in the creative process of architectural design through computer aided design software (CAD). In this context Pallasmaa focuses his argument about a distant visual sense in comparison to the traditional haptic approach to design: “The computer creates a distance between the maker and the object, whereas drawing by hand as well as model making put the designer into a haptic contact with the object or space” (Pallasmaa, 2005, 12).
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	Is such approach to design then incapable of creating meaningful architecture? The work of the Mexican modernist architect Juan O'Gorman, in an era greatly defined by the machine and a shift away from tradition. Japanese architect Toyo Ito (2011, 134) suggests that O'Gorman’s design for the Rivera-Kahlo house “...failed due to a rejection of the body as a strong collective memory of the land."		Is such approach to design then incapable of creating meaningful architecture? The work of the Mexican modernist architect Juan O'Gorman, in an era greatly defined by the machine and a shift away from tradition. Japanese architect Toyo Ito (2011, 134) suggests that O'Gorman’s design for the Rivera-Kahlo house “...failed due to a rejection of the body as a strong collective memory of the land."

−	Toyo Ito's own work is largely based on computer technology. His approach may be the key in reconfiguring the urban environment towards more human-friendly conditions. In the heavy urban landscape, Ito’s “obsession with lightness and his desire to strip away anything that reminds us of gravity” (Worsley, 2002), can be thought of as a decisively human approach. For Ito (2011, 168), the dissection of structural elements such as columns beams and walls offered by computer technology and the use of innovative materials, has revolutionised the way space is conceived through architectural design. Talking about his 2002 Serpentine pavilion – designed in collaboration with structural engineer Cecil Balmond – Ito explains the experience created in the absence of these traditional construction elements: “...the experience of being inside the pavilion with no visible columns and beams or windows and doors, none of the usual hierarchy of architectural forms, is that of space itself – an ever-fluctuating, self-recursive abstract space” (Ito, 2011, 169).	+	Toyo Ito's own work is largely based on computer technology. His approach may be the key in reconfiguring the urban environment towards more human-friendly conditions. In the heavy urban landscape, Ito’s “obsession with lightness and his desire to strip away anything that reminds us of gravity” (Worsley, 2002), can be thought of as a decisively human approach. For Ito (2011, 168), the dissection of structural elements such as columns beams and walls offered by computer technology and the use of innovative materials, has revolutionised the way space is conceived through architectural design.
		+
		+	Talking about his 2002 Serpentine pavilion – designed in collaboration with structural engineer Cecil Balmond – Ito explains the experience created in the absence of these traditional construction elements: “...the experience of being inside the pavilion with no visible columns and beams or windows and doors, none of the usual hierarchy of architectural forms, is that of space itself – an ever-fluctuating, self-recursive abstract space” (Ito, 2011, 169).

	Computer technology can inform the design process in a way which can allow for enhanced spatial interaction.		Computer technology can inform the design process in a way which can allow for enhanced spatial interaction.
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	The influence of the body and its senses on architecture is not as clear as one would think: it is evident that there is a distinguishable division between on one hand the design process: here multi-sensory involvement and the reconsideration of the visual dominance are desirable, and on the other hand, architectural representation, where the visual realm empowered by technology is vital in the current context. The rest of our senses have as yet little to offer in this field but technological progress may change the situation in the future.		The influence of the body and its senses on architecture is not as clear as one would think: it is evident that there is a distinguishable division between on one hand the design process: here multi-sensory involvement and the reconsideration of the visual dominance are desirable, and on the other hand, architectural representation, where the visual realm empowered by technology is vital in the current context. The rest of our senses have as yet little to offer in this field but technological progress may change the situation in the future.

−	This distinction is evident in Vesely’s words: “The distance separating the instrumental and the communicative understanding of architecture represents a wide gap in our contemporary culture” (Vesely, 2004, 4). But Vesely does not look at this issue lightly. He goes on to suggest that our calls for a reinforcement of the visual realm is not without costs. The risk lays in “...issues pertaining to the truth of representation” (Vesely, 2004, 44). To him – as for Pallasmaa – the aim of our practise is human life (Vesely, 2004, 5). In these words the meaning of architecture is immediately defined even in the contemporary context. He comments that trying to achieve humanity with inhuman means such as computer technology is indeed paradoxical (Vesely, 2004, 5).	+	This distinction is evident in Vesely’s words: “The distance separating the instrumental and the communicative understanding of architecture represents a wide gap in our contemporary culture” (Vesely, 2004, 4). But Vesely does not look at this issue lightly. He goes on to suggest that our calls for a reinforcement of the visual realm is not without costs. The risk lays in “...issues pertaining to the truth of representation” (Vesely, 2004, 44).
		+
		+	To him – as for Pallasmaa – the aim of our practise is human life (Vesely, 2004, 5). In these words the meaning of architecture is immediately defined even in the contemporary context. He comments that trying to achieve humanity with inhuman means such as computer technology is indeed paradoxical (Vesely, 2004, 5).

	“Architecture has probably never abandoned completely its humanistic role; though in modern times this role has mostly been improvised” (Vesely, 2004, 5). The goal of architecture has not significantly changed, only the tools to realise it.		“Architecture has probably never abandoned completely its humanistic role; though in modern times this role has mostly been improvised” (Vesely, 2004, 5). The goal of architecture has not significantly changed, only the tools to realise it.
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	* Living in the hyperreal Post-Modern city.		* Living in the hyperreal Post-Modern city.
	* Smart cities.		* Smart cities.
		+	* Truth to materials.
	* Zeitgeist.		* Zeitgeist.

Editor at 14:00, 19 October 2016

2016-10-19T14:00:24Z

← Older revision		Revision as of 14:00, 19 October 2016
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	* Building Information Modelling.		* Building Information Modelling.
	* Computer aided design.		* Computer aided design.
−	* Comfort.	+	* [[Thermal_comfort\|Comfort.]]
	* Genius loci.		* Genius loci.
	* Living in the hyperreal Post-Modern city.		* Living in the hyperreal Post-Modern city.

Editor at 14:00, 19 October 2016

2016-10-19T14:00:01Z

← Older revision		Revision as of 14:00, 19 October 2016
Line 51:		Line 51:
	* Living in the hyperreal Post-Modern city.		* Living in the hyperreal Post-Modern city.
	* Smart cities.		* Smart cities.
		+	* Zeitgeist.

	=== External references ===		=== External references ===

Editor at 17:02, 18 October 2016

2016-10-18T17:02:03Z

← Older revision		Revision as of 17:02, 18 October 2016
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	* Computer aided design.		* Computer aided design.
	* Comfort.		* Comfort.
		+	* Genius loci.
	* Living in the hyperreal Post-Modern city.		* Living in the hyperreal Post-Modern city.
	* Smart cities.		* Smart cities.

Designing Buildings at 14:11, 15 January 2016

2016-01-15T14:11:07Z

← Older revision		Revision as of 14:11, 15 January 2016
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−
	Juhani Pallasmaa (2005, 10) in explaining the aim of his book “The Eyes of the Skin”, emphasises his intention “to create a conceptual short circuit between the dominant sense of vision and the suppressed sense modality of touch.”		Juhani Pallasmaa (2005, 10) in explaining the aim of his book “The Eyes of the Skin”, emphasises his intention “to create a conceptual short circuit between the dominant sense of vision and the suppressed sense modality of touch.”

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	However despite the obvious authenticity of the traditional design method, it seems that the role of the multisensory bodily experience in the design process is still overshadowed by the demand for a more accessible, market oriented and above all, technologically compatible practise. In his interview to Blaine Brownell, Makoto Sei Watanabe who is involved in algorithmic design, suggests that 'traditional' deisgn techniques are “arbitrary in nature” (Brownell, 2011, 218). According to Watanabe, traditional design is “the genius of the brain” and not accessible to everyone (Brownell, 2011, 218). To improve the accessibility of architectural practise “...we can instead use software that is accessible to anyone because its rules are transparent” (Brownell, 2011, 218-219).		However despite the obvious authenticity of the traditional design method, it seems that the role of the multisensory bodily experience in the design process is still overshadowed by the demand for a more accessible, market oriented and above all, technologically compatible practise. In his interview to Blaine Brownell, Makoto Sei Watanabe who is involved in algorithmic design, suggests that 'traditional' deisgn techniques are “arbitrary in nature” (Brownell, 2011, 218). According to Watanabe, traditional design is “the genius of the brain” and not accessible to everyone (Brownell, 2011, 218). To improve the accessibility of architectural practise “...we can instead use software that is accessible to anyone because its rules are transparent” (Brownell, 2011, 218-219).

−	Is such approach to design then incapable of creating meaningful architecture? The work of the Mexican modernist architect Juan O'Gorman, in an era greatly defined by the machine and a shift away from tradition. Japanese architect Toyo Ito (2011, 134) suggests that O'Gorman’s design for the Rivera-Kahlo house “...failed due to a rejection of the body as a strong collective memory of the land."	+	Is such approach to design then incapable of creating meaningful architecture? The work of the Mexican modernist architect Juan O'Gorman, in an era greatly defined by the machine and a shift away from tradition. Japanese architect Toyo Ito (2011, 134) suggests that O'Gorman’s design for the Rivera-Kahlo house “...failed due to a rejection of the body as a strong collective memory of the land."

	Toyo Ito's own work is largely based on computer technology. His approach may be the key in reconfiguring the urban environment towards more human-friendly conditions. In the heavy urban landscape, Ito’s “obsession with lightness and his desire to strip away anything that reminds us of gravity” (Worsley, 2002), can be thought of as a decisively human approach. For Ito (2011, 168), the dissection of structural elements such as columns beams and walls offered by computer technology and the use of innovative materials, has revolutionised the way space is conceived through architectural design. Talking about his 2002 Serpentine pavilion – designed in collaboration with structural engineer Cecil Balmond – Ito explains the experience created in the absence of these traditional construction elements: “...the experience of being inside the pavilion with no visible columns and beams or windows and doors, none of the usual hierarchy of architectural forms, is that of space itself – an ever-fluctuating, self-recursive abstract space” (Ito, 2011, 169).		Toyo Ito's own work is largely based on computer technology. His approach may be the key in reconfiguring the urban environment towards more human-friendly conditions. In the heavy urban landscape, Ito’s “obsession with lightness and his desire to strip away anything that reminds us of gravity” (Worsley, 2002), can be thought of as a decisively human approach. For Ito (2011, 168), the dissection of structural elements such as columns beams and walls offered by computer technology and the use of innovative materials, has revolutionised the way space is conceived through architectural design. Talking about his 2002 Serpentine pavilion – designed in collaboration with structural engineer Cecil Balmond – Ito explains the experience created in the absence of these traditional construction elements: “...the experience of being inside the pavilion with no visible columns and beams or windows and doors, none of the usual hierarchy of architectural forms, is that of space itself – an ever-fluctuating, self-recursive abstract space” (Ito, 2011, 169).
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	=== Related articles on Designing Buildings Wiki ===		=== Related articles on Designing Buildings Wiki ===
−	*Architectural styles.	+
−	*Beta City :Temporary, Collaborative City Design.	+	* Architectural styles.
−	*Building Information Modelling.	+	* Beta City :Temporary, Collaborative City Design.
−	*Computer aided design.	+	* Building Information Modelling.
−	*Comfort.	+	* Computer aided design.
−	*Living in the hyperreal Post-Modern city.	+	* Comfort.
−	*Smart cities.	+	* Living in the hyperreal Post-Modern city.
		+	* Smart cities.

	=== External references ===		=== External references ===
−	*Brownell, B., 2011. ''Matter in the floating world : conversations with leading Japanese architects and designers. ''New York: Princeton Architectural Press.	+
−	*Cataluña, C. d. A. d., 2006. ''EMBT - Enric Miralles, Benedetta Tagliabue : work in progress. ''Barcelona: Col.legi d'Arquitectes de Catalunya .	+	* Brownell, B., 2011. Matter in the floating world : conversations with leading Japanese architects and designers. New York: Princeton Architectural Press.
−	*Gomez, A. P., 1983. ''Architecture and the crisis of modern science. ''Cambridge, Mass. ; London: MIT Press.	+	* Cataluña, C. d. A. d., 2006. EMBT - Enric Miralles, Benedetta Tagliabue : work in progress. Barcelona: Col.legi d'Arquitectes de Catalunya .
−	*Ito, T., 2011. ''Tarzans in the media forest. ''London: Architectural Association.	+	* Gomez, A. P., 1983. Architecture and the crisis of modern science. Cambridge, Mass. ; London: MIT Press.
−	*Jenks, C. & Baird, G., 1969. ''Meaning in architecture. ''London: Barrie & Rockliff .	+	* Ito, T., 2011. Tarzans in the media forest. London: Architectural Association.
−	*Kahn, L. I., 1991. ''Louis I. Kahn: Writings, Lectures, Interviews. ''New York: Rizzoli International publications, Inc.	+	* Jenks, C. & Baird, G., 1969. Meaning in architecture. London: Barrie & Rockliff .
−	*Pallasmaa, J., 2005. ''The Eyes of the Skin. ''Chichester: John Wley & Sons Ltd.	+	* Kahn, L. I., 1991. Louis I. Kahn: Writings, Lectures, Interviews. New York: Rizzoli International publications, Inc.
−	*Pallasmaa, J., 2009. ''The Thinking Hand: Existential and embodied wisdom in architecture. ''Chichester: John Wiley & Sons Ltd.	+	* Pallasmaa, J., 2005. The Eyes of the Skin. Chichester: John Wley & Sons Ltd.
−	*Psathas, G., 1990. ''Phenomenology and sociology : theory and research. ''Lanham ; London: Center for Advanced Research in Phenomenology & University Press of America .	+	* Pallasmaa, J., 2009. The Thinking Hand: Existential and embodied wisdom in architecture. Chichester: John Wiley & Sons Ltd.
−	*Schulz, C. N., 1971. ''Existence, space & architecture. ''London: Studio Vista.	+	* Psathas, G., 1990. Phenomenology and sociology : theory and research. Lanham ; London: Center for Advanced Research in Phenomenology & University Press of America .
−	*Vesely, D., 2004. ''Architecture in the age of divided representation : the question of creativity in the shadow of production. ''Massachusett: MIT Press.	+	* Schulz, C. N., 1971. Existence, space & architecture. London: Studio Vista.
−	*Zumthor, P., 2006. ''Atmospheres: architectural environments, surrounding objects. ''Basel: Birkhäuser.	+	* Vesely, D., 2004. Architecture in the age of divided representation : the question of creativity in the shadow of production. Massachusett: MIT Press.
−	*Worsley, G., 2002. ''The Telegraph. ''[Online] Accessed 16 December 2011, available at: ~~<u>~~[http://www.telegraph.co.uk/culture/art/3580220/Opening-up-a-box-of-delights.html http://www.telegraph.co.uk/culture/art/3580220/Opening-up-a-box-of-delights.html]~~</u>~~	+	* Zumthor, P., 2006. Atmospheres: architectural environments, surrounding objects. Basel: Birkhäuser.
−	*2009. ''Stanford Encyclopedia of Philosophy. ''[Online] Accessed 12 January 2012, available at: ~~<u>~~[http://plato.stanford.edu/search/searcher.py?query=phenomenology http://plato.stanford.edu/search/searcher.py?query=phenomenology]~~</u>~~	+	* Worsley, G., 2002. The Telegraph. [Online] Accessed 16 December 2011, available at: [http://www.telegraph.co.uk/culture/art/3580220/Opening-up-a-box-of-delights.html http://www.telegraph.co.uk/culture/art/3580220/Opening-up-a-box-of-delights.html]
−	*Holl, S., 2012. ''Architectural Record. ''[Online] Accessed 28 December 2011~~, available at: <u>[http://archrecord~~.~~construction.com/community/letters/steven_holl.asp http://archrecord.construction.com/community/letters/steven_holl.asp]</u>~~	+	* 2009. Stanford Encyclopedia of Philosophy. [Online] Accessed 12 January 2012, available at: [http://plato.stanford.edu/search/searcher.py?query=phenomenology http://plato.stanford.edu/search/searcher.py?query=phenomenology]
−	*Curtis, W. J., 2012. ''Architectural Record. ''[Online] Accessed 28 December 2011.	+	* Holl, S., 2012. Architectural Record. [Online] Accessed 28 December 2011.
−	*“comfort”, 2012. ''Oxford Dictionaries. ''[Online] Accessed 8 January 2012, available at: ~~<u>~~[http://oxforddictionaries.com/definition/comfort?q=comfort http://oxforddictionaries.com/definition/comfort?q=comfort]~~</u>~~	+	* Curtis, W. J., 2012. Architectural Record. [Online] Accessed 28 December 2011.
−	*“personal space”, 2012. ''Oxford Dictionaries. ~~''<u></u>~~	+	* “comfort”, 2012. Oxford Dictionaries. [Online] Accessed 8 January 2012, available at: [http://oxforddictionaries.com/definition/comfort?q=comfort http://oxforddictionaries.com/definition/comfort?q=comfort]
		+	* “personal space”, 2012. Oxford Dictionaries.

	[[Category:Theory]]		[[Category:Theory]]