Draft Long Essay

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Yorganciolu, Derya (2004). Steven Holl: A translation of phenomenological

philosophy into the realm of architecture. Masters Thesis, Middle East Technical

University. Retrieved fromhttp://etd.lib.metu.edu.tr/upload/12605414/index.pdf

From his philosophy readings, Steven Holl started to focus on the

phenomenology of Maurice Merleau-Ponty as the the philosophical grounding

and intellectual framework shaping his architectural approach.

Holls approach to architecture is based on his interpretation of the

phenomenological philosophy, and its application in the architectural field,

wherein phenomenal aspects are expanded upon to achieve a design concept.

Holl states: I hope to connect phenomenal qualities with the conceptual

strategy.

1

Merleau-Ponty grounds his phenomenological arguments on theconcept of human beings perceptual experiences as the fundamental ground

of existence. For Holl, the phenomenology in architecture rests in the

experiential potential of architecture, and becomes the basis on which

phenomenology is linked to architecture. This focus on architectural

phenomenology helps Holl to avoid the loss of the experiential potential of

architecture.

Holl believes that the constructed form should be experientially intensive, and

he further believes that this is possible if the phenomenal and experiential

potential of ideas and concepts are explored. 2In Holls buildings, he attempts

to anticipate and manipulate the future phenomenological effects that his work

will have on its users. His choice of materials controls sound, colour and light,

and this eventually shapes users perceptions.3

Meaning in architecture can only be communicated through the experiential

potential of the built form, and not by any other means. Meaning is developed

when a building is experienced. Therefore, Holl emphasizes that architectures

basic potential is to offer the possibility of evoking infinite experiences from

constructed form, rather than seeking to express a distinct meaning. Thus,architectural space should offer a fluid and unpredictable experiential realm

for perceivers. For Holl, a buildings experiential qualities offeremotional

qualities to the inhabitant.

1Alejandro Zaera Polo, 1996, A Conversation with Steven Holl, in El croquis issue

78 January/February 1996), Mexico: Arquitectos Publishing. p.182Alejandro Zaera Polo, 1996, A Conversation with Steven Holl, in El croquis issue78 January/February 1996), Mexico: Arquitectos Publishing.

3Arthur C. Danto, House in Use, Art Forum International , (April 2008): 123-126
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An examination of Holls projects will hopefully shed some light on the

architectural manifestation of his phenomenological approach.

o Merleau-Pontys philosophical idea of chiasm, or intertwining,

forms the base for Steven Holls design of the Helsinki Museum of

Contemporary Art. intertwining idea and phenomena signifies the phenomenological approach

Holl uses to generate and express spaces and forms.

Holls emphasis on the cultural and historical meaning of a site parallels

Merleau-Pontys emphasis on the cultural dimension of perception.

Holl claims that as a building anchors into its site, it takes on the historical

and cultural meaning of the situation, creating a particular experience of place.

This Heideggerian concept of anchoring gathers the meaning of the situation;

it links the phenomenal qualities of the site to the conceptual strategies.4

The emphasis of Holls projects is to create an experiential link between

building, situation and people. In this respect, Holls phenomenological

approach differs from Noberg-Schulz, as this experiential link is not inherent

or pre-existing, but instead depends on peoples subjective perception, rather

than the places vocation or genius loci (spirit). Noberg-Schulzs belief in

the notion of existential space differs from Merleau-Pontys and Holls

belief in perceptual space. Noberg-Schulz believes that the bodys

instantaneous spatial perceptions is unable to establish a stable relation with

existential space.5

One of the ways to intensify the phenomenal characteristic of architectural

forms is through the use of light, which offer changing spatial perceptions

through which spatial fluidity is expressed. In this sense, light acts as a space-

defining element. The expression of this concept is evident in Holls Simmons

Hall and Chapel of St. Ignatus projects. Another way of intensifying the

phenomenal capacity of architecture is by a thorough understanding of

material qualities, and the methods in transforming their properties andproducing details, such as the sand-casted lamps in the Chapel of St Ignatus,

which were designed by Holl himself. He states that materials create sensory

and emotive effects on the perceivers. Colour is also an important element in

Holls architectural phenomenology. To perceivers, colour hints at the

character of architectural space, and is influential in the perception of built

form.

4David Thomas VonderBrink.Architectural Phenomenology: Towards a Design Methodology of Person

and Place.5Christian Norberg-Schulz, 1979, Genius Loci, Towards a Phenomenology of

Architecture, New York: Rizolli International Publications, p. 23.


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Steven Holl, 2000, Parallax, New York: Princeton Architectural Press.

Acording to Holl, examining parallax offers the potential to explore the

alteration in perception of spaces. Parallax is a fluid spatiality wherebyvarying successive spatial perceptions are redefined by the bodys movement

through space. Holls watercolour drawings of the Museum of Human

Evolution in Burgos, Spain, depicts spatial parallax and his emphasis on

varying spatial experiences of moving body in space. In the Helsinki Museum

of Contemporary Art, Holl works with fluid spatiality as one of the major

design issue. In Simmons Hall, one can witness spatial fluidity being created

by the effects of light, as well as the organic form curved staircases.

The bodys spatial perception is an essential characteristic for Hollsarticulation of architectural space. Movement is also an essential characteristic

enhancing the bodys spatial perception, independent from static spatial

perceptions. Holls buildings display a knowledge of how the body interacts

with space through motion.6

Merleau-Ponty grounds his phenomenological

arguments on the concept of human beings perceptual experiences as the

fundamental ground of existence. Holl draws upon Merleau-Pontys

philosophy that the body acts as a medium to the world, as well as

Heideggers concept that things gather the world.7

In psychology, haptic perception describes a holistic way of understanding

three-dimensional space. The word haptic,is used to describe the various

sensory perceptions of the body to its position in the physical environment and

to its own condition. This holistic system of environmental perception extends

beyond visual spatial perception, to include such senses as touch, positional

awareness, balance, sound, movement, and the memory of previous

experiences. The experiential potential of architecture may involve a focus on

the haptic realm, in which all senses are stimulated.8

Holl uses the term

haptic realm to represent the multi-sensory phenomenological qualities of

architecture, and is one of the main ideas underlying Holls phenomenologicalapproach to architecture. Through the haptic realm, Holl believes that built

forms are able to communicate without words. To Holl, architecture is about

conveying experiential depth through perception. An example of Holls use of

6Arthur C. Danto, House in Use, Art Forum International , (April 2008): 123-126

7David Thomas VonderBrink (2007).Architectural Phenomenology: Towards a

Design Methodology of Person and Place. Masters Thesis, Miami University.

Retrieved fromhttp://etd.ohiolink.edu/send-pdf.cgi/VonderBrink%20David%20Thomas.pdf?miami11855718138Maire Eithne ONeill, September 2001, Corporeal Experience: A Haptic Way of

Knowing in Journal of Architectural Education vol. 85 issue 1.
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haptic sensibility in articulating spaces can be seen in his Chapel of St Ignatus

in Seattle, where light and shadow effects and tactile materials contribute to

the haptic perception.9

David Thomas VonderBrink (2007).Architectural Phenomenology: Towards a

Design Methodology of Person and Place. Masters Thesis, Miami University.Retrieved fromhttp://etd.ohiolink.edu/send-pdf.cgi/VonderBrink%20David%20Thomas.pdf?miami1185571813

From a design methodology perspective, modelling and experimenting with

materials, as well as other methods of representing the imagined idea, will

allow one to gather the intended experiential quality of the space. Colour,

texture, scale etc should be considered as ways to communicate the desired

experience.

S. Holl, J. Pallasmaa, A. Perez-Gomez. Questions of Perception: Phenomenology of

Architecture. William K. Stout Publishers, 2007.

In Questions of Perception, Juhani Pallasmaa believes that phenomenology is

more physiologically based. He argues for a multi-sensory approach to

architecture, because we perceive the built environment through our senses, as

well as our bodys interactive movement. Pallasmaa contends that there is a

loss of sensitivity in modern fabrication of building materials. He believes that

materials are enriched by experience and age. Natural materials show wear

and age, but modern synthetic materials do not.10

Holl believes that in digital

design, justice is not done to the phenomena of sound, colour and light.

Pallasmaa believes that the process of creative discovery is made difficult with

computer aided means of modelling. In The Eyes of the Skin, Pallasmaa

contends that there is an overemphasis on the visual realm. Whilst our

perception of the world is produced by a combination of our five senses, a lot

of architecture is produced with consideration of its visual field only. The

suppression of the other senses has led to a void in the environment, causing a

sense of detachment and alienation. Therefore, the aim of Architecture shouldbe to design for a more comprehensive architecture that would encompass an

environmental experience of all the senses as well as the feelings.11

In The

9Steven Holl, 2000, Parallax, New York: Princeton Architectural Press.

10S. Holl, J. Pallasmaa, A. Perez-Gomez. Questions of Perception: Phenomenology of

Architecture. William K. Stout Publishers, 2007.

11Juhani Pallasmaa, The Eyes of the Skin: Architecture and the Senses, 2

ndEd.
http://etd.ohiolink.edu/send-pdf.cgi/VonderBrink%20David%20Thomas.pdf?miami1185571813http://etd.ohiolink.edu/send-pdf.cgi/VonderBrink%20David%20Thomas.pdf?miami1185571813http://etd.ohiolink.edu/send-pdf.cgi/VonderBrink%20David%20Thomas.pdf?miami1185571813http://etd.ohiolink.edu/send-pdf.cgi/VonderBrink%20David%20Thomas.pdf?miami1185571813http://etd.ohiolink.edu/send-pdf.cgi/VonderBrink%20David%20Thomas.pdf?miami1185571813http://etd.ohiolink.edu/send-pdf.cgi/VonderBrink%20David%20Thomas.pdf?miami1185571813


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Thinking Hand, Pallasmaa furthers his cause for a multi-sensory architectural

approach. Our experience of the physical built environment relies heavily on

the non-verbal and non-conceptual intuition of our embodied processes and

existential knowledge, but current educational philosophies continue to

emphasise conceptual, intellectual and verbal knowledge. A common thread inThe Thinking Handis the need for a fully embodied design. As

phenomenologists, architects must experience the world with their entire

bodies, not just with their eyes. Our entire body takes in memories and skills,

and we access these non-conscious knowledge through our bodies.

Arthur C. Danto, House in Use, Art Forum International , (April 2008): 123-126

Steven Holls approach is an example of phenomenologys practicalapplication as an architectural theory and philosophy, as well as a design

process.

Charles, Jencks. The Language of Post-Modern Architecture

In The Language of Post-Modern Architecture, Charles Jencks illustrates

various analogies architecture shares with language and states that the

differences or relationship between elements side by side is the basis for their

meaning, and is more important than the inherent meanings of each element.

Therefore, architects have to design in different and plural styles to expressand articulate a complex building. Architecture should be double coded or

over code with many metaphors for interpretation.

Marcel Danesi, Messages, Signs and Meanings

Marcel Danesi defines semiotics as the science of produced meaning. Thisincludes the meanings that are built into all kinds of human products, from

words, symbols, narrativesto scientific theories.. Semiotics has been

applied to a broad range of areas including the study of architecture.12Architectural practices and styles reflect prevailing social organization and

lifestyle. Thus, studying buildings allow us to understand social structure. For

example, the current myriad building types and styles reflects the complexity

of modern life. Movement through a buildings spaces also has a narrative

effect, because the parts of a building structure are akin to parts of a story.

Therefore, buildings can be construed as narrative texts with particular

meanings.13

12Marcel Danesi, The Quest for Meaning: A Guide to Semiotic Theory and

Practice.p.313

Marcel Danesi, Messages, Signs and Meanings


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The spires on medieval churches rose majestically upwards to the sky, reflectingsemiotically the fact that there is something overpowering about looking up at tallbuildings, malung one feel small and insignificant by comparison bringing out a desire for

heavenly aspiration in a concrete way.

Joy Monice Malnar and Frank Vodvarka, Sensory Design

J.R. King states that the area of the brain that controls emotions and moods (limbic

system) is closed linked to the sense of smell. He further proposes a reciprocal

relationship between smell and emotion; that is, smells influence the mood, which

in turn modify the experience of a smell.

Hermann Schones statolith theory of head tilt.

o Hermann Schone observed that statoliths (the brains stabilising organs) tilt

backward at approximately thirty degrees off horizontal when the head is in

a normal upright head position, reducing its effectiveness.

o Thus a man walking on an uneven surface tips his head forward about 30

so that he can take in the ground ahead of him at a glance. This tilt brings

the utricles *stabilising organs+ into their most sensitive position.

o This suggests that uneven ground increase our awareness of surfaces by

forcing us to align the stabilising organs in the best position to perceive

them.

Odour memory

o Our long-term memory of specific smells is excellent. Smells rememberedafter a day tend to be remembered for a long time.

o The simpler and more familiar the odour, the more memorable it is.

o Engen and Ross conclude that the odour needs to be unique because it is

less accurate but far more persistent than coding for the other major senses.

o Engen had demonstrated that odour memory far exceeds recognition

memory for pictures.

Stairs

o John Templar contends that stairs affect the users motions and senses to an

extent that is perhaps more than other architectural element. The staircase

guide movement through the space, and the size of the risers and threads

regulate the rhythm of the stride.

Richard E. Cytowic Synesthesia: A Union of the Senses

Synesthesia literally means a union of the senses'. Its a perceptual conditionwhere an experience of one sense (such as sight) causes an automatic and

involuntary experience in another sense (such as hearing).

There is mounting evidence that some healthy brains are susceptible to

Synesthesia.


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As neuro and cognitive scientists increase their knowledge about synaesthesia,they will understand the brain more completely, including those of

nonsynesthetics, and this may hold the key to answering some fundamental

questions about human perception, consciousness etc.

In addition to being particularly relevant for synesthetes, synesthesia offersvaluable insight into normal cognitive development. Patterns observed in

synesthetic sound-colour and grapheme-colour pairings have also been

observed in non-synaesthetes to a lesser extent, implying that synesthesia

originates from mechanisms common to all humans.

The Hidden Sense: Synesthesia in Art and Science

Van Campen challenges our usual way of thinking about the senses byclaiming that we have much more than five. The Dutch physician, Albert

Soesman, described seven additional senses, including a sense of self-

movement, a sense of equilibrium, a sense of temperature, a sense of speech, a

sense of imagination, a sense of life, and a sense of the self. The author

suggests that the senses are arbitrary divisions.

Soesman and other sense researchers emphasise that the senses cannot beseparated but rather their interdependence should be considered, reflecting

Merleau-Pontys idea of a common preconscious experience.

Van Campen argues that synaesthesia is universal, that we are all born assynesthetes, but quickly lose this linkage of senses, through our biological and

cultural evolution. Synesthesia should be considered a particular subset of what we are all

capable of performing, namely synchronestesia (i.e. the simultaneous

perception of various signs that each address a separate sense). Therefore Van

Campen urges consideration ofa hidden sense, which is our ability to

process information in a gestalt and holistic manner that lies behind or beyond

the processing of information through separate senses.

Campen, Cretien van (2009) Visual Music and Musical Paintings. The Quest for

Synesthesia in the Arts. In: F. Bacci & D. Melcher. Making Sense of Art, making Art

of Sense. Oxford: Oxford University Press.

The concept of synesthesia in the arts is different from neuroscience as it

is regarded as the simultaneous perception of multiple stimuli in one

holistic experience

Lynn C. Robertson and Noam Sagiv (Eds) Perspectives from Cognitive NeuroscienceOXFORD UNIVERSITY PRESS 2005


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In chapter 8 and 12, Jeffrey Gray and Anne Treisman respectively examinesthe role that synaesthesia might play in research on consciousness and binding.

Grays chapter shows the potential of synaesthesia research to inform

discussions and research into the current hot topic of consciousness. One of

the biggest unknowns in the study of consciousness is what is called the"binding problem." No one knows how we bind all of our perceptions

together into one complete whole. For example, when you hold a flower,

you see the colours, you see its shape, you smell its scent, and you feel

its texture. Your brain manages to bind all of these perceptions together

into one concept of a flower. Synesthetes might have additional

perceptions that add to their concept of a flower. Studying these

perceptions may someday help us understand how we perceive ourworld.

Here and Now

(http://www.bu.edu/wbur/storage/2009/05/hereandnow_0501_6.mp3) .Host: Robin

Young, Senior Producer: Kathleen McKenna, Producer and Director: Alex Ashlock,

Chris Ballman. 2011-04-21. 5:20-7:30 minutes in.

In this interview about his book Wednesday is Indigo Blue, ProfessorCytowic postulates that there has to be a reason why so many people have the

physical gene responsible for Synesthesia. He believes that this gene is

required for creativity, and therefore it is evolutionarily adaptive.

Bertil Hulten. Sensory marketing: the multi-sensory brand-experience concept.

European Business Review Vol. 23 No. 3, 2011 pp. 256-273

Through sensory expressions such as theme scent brands or signature scents, scents

can also improve the recognition and recall of a brand.

Sound brands can also be protected as an intellectual property and used as a

signature sound.


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Touching products enhances product recall when consumers subsequently sight the

products.

Hulten summed up his findings by stating that the studied companies stressed the

importance of the five senses in being more deeply entrenched in the customers

mind as a brand image.

Research on the multi-sensory brand-experience concept is still in its nascent stage.

Bertil Hulten, Niklas Broweus, and Marcus Van Dijk. Sensory Marketing. Basingstoke, UK:

Palgrave Macmillan, 2009.

This book is about creating a gestalt sensory experience which reflects thebrand soul. The brand soulrefers to a products emotional, sensual, and

value based Features. The book sets out a system for companies to think of

brands as sensory experiences, rather than just attributes and features, and to

create a symbiosis between the brand and consumers by combining the sensesto reflect the brand soul. One of the conclusions from their research is that

many firms are taking initiatives to gather experiences and knowledge of how

the five senses affect the brand as a soul

The last chapter of the book is about creating a supreme sensory experiencewhich is a holistic sensory experience that engages all the five human senses.

A supreme sensory experience will likely offer a more personal touch and

thereby better express the brand soul.

Meredith Banasiak. Gehry Talks About Architecture and the Mind at Neuroscience

Conference.http://info.aia.org/aiarchitect/thisweek06/1110/1110n_gehry.cfm. Accessed

on 22/4/2011.

Gehry pointed out that crinkles and wrinkles are a characteristic feature of many

of his buildings, including the Beekman Street Tower in New York City and the DG

Bank in Berlin.

Gehry explain that the folded fabric illusion humanizes and engages us in a

visceral way.

Neuroscience studies posits that this imagery may evoke a synesthetic, visual-tactilereponse and emotional memory, resulting in varied multiple neural responses being

engaged and thus resulting in a richer, more striking memory of place
http://info.aia.org/aiarchitect/thisweek06/1110/1110n_gehry.cfm.%20Accessed%20on%2022/4/2011http://info.aia.org/aiarchitect/thisweek06/1110/1110n_gehry.cfm.%20Accessed%20on%2022/4/2011http://info.aia.org/aiarchitect/thisweek06/1110/1110n_gehry.cfm.%20Accessed%20on%2022/4/2011http://info.aia.org/aiarchitect/thisweek06/1110/1110n_gehry.cfm.%20Accessed%20on%2022/4/2011http://info.aia.org/aiarchitect/thisweek06/1110/1110n_gehry.cfm.%20Accessed%20on%2022/4/2011http://info.aia.org/aiarchitect/thisweek06/1110/1110n_gehry.cfm.%20Accessed%20on%2022/4/2011


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Figure 1 DG Bank in Berlin

http://images.allmoviephoto.com/2006_Sketches_of_Frank_Gehry/2006_sketches_of_frank_gehry_009.jpg

Figure 2 Beekman Street Tower, New York.http://c.photoshelter.com/img-

get/I000052v017QCuQc/s/880/880/Beekman-Tower-design-New-York.jpg
http://images.allmoviephoto.com/2006_Sketches_of_Frank_Gehry/2006_sketches_of_frank_gehry_009.jpghttp://images.allmoviephoto.com/2006_Sketches_of_Frank_Gehry/2006_sketches_of_frank_gehry_009.jpghttp://c.photoshelter.com/img-get/I000052v017QCuQc/s/880/880/Beekman-Tower-design-New-York.jpghttp://c.photoshelter.com/img-get/I000052v017QCuQc/s/880/880/Beekman-Tower-design-New-York.jpghttp://c.photoshelter.com/img-get/I000052v017QCuQc/s/880/880/Beekman-Tower-design-New-York.jpghttp://c.photoshelter.com/img-get/I000052v017QCuQc/s/880/880/Beekman-Tower-design-New-York.jpghttp://c.photoshelter.com/img-get/I000052v017QCuQc/s/880/880/Beekman-Tower-design-New-York.jpghttp://c.photoshelter.com/img-get/I000052v017QCuQc/s/880/880/Beekman-Tower-design-New-York.jpghttp://images.allmoviephoto.com/2006_Sketches_of_Frank_Gehry/2006_sketches_of_frank_gehry_009.jpg


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The criteria that was used in determining if something qualifies as a sense is if it requires an

association with an independent sense organ.

Proprioception sense of body awareness. The unconscious knowledge of knowing where

your body parts are in space without seeing or feeling them. E.g. when you walk

Equilibrioception Sense of balance. It can be sent off course if one spins around in a circle

too many times.

Thermoception Sense of temperature

Nociception Sense of pain

There appears to be a consensus amongst the scientific community that nine is the

minimum number of human senses, although there are some who suggest that this figure

can be as high as twenty-one. However, there doesnt seem to be widespread agreement on

a figure above nine. Therefore, nine is the figure adopted for the purposes of this project.
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