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Perception in Architecture: An Analysis of the Idea of 'Home' in Modern Houses
Architecture Design Theory 2008
By Marie Jacqueline Tan G-Ming 0801P65546

INTRODUCTION

Architecture is a perception that transforms and needs to be modernized without losing its primary function and fundamental property. In contrast, modern architecture is no longer about purpose or sense of life. (Pallasmaa, 1998, p.125) In time, it is becoming meaningless a people see, people create and that is what architecture is translated into. Building soon will lose their sensory invitation, mystery and secrecy which were once the essence of an ideal place of dwelling. Turning into a retinal art, architecture has thus rejected the perception of a “home”. (Holl, Pallasmaa, Perez-Gomez, 2005, p.29)

The concept of “home” is more towards personalization of an individual which falls outside the modern concept of architecture. Architects build dwellings that, perhaps, satisfy most of our personal needs, but which do not house our mind. When comparing designs of modernity to those of today’s buildings, we will instantaneously notice a loss of empathy for the dweller. (Pallasmaa, 1998, p.113) To a certain point, dwellings must provide space for the experience of the sacred. According to Holl, “Sensations of experience become a kind of reasoning distinct to the making of architecture. Whether reflecting on the unity of concept and sensation, or the intertwining of idea and phenomena, the hope is to unite intellect and feeling precision with soul.” (cited in Dietmar, 2002)

In relation, phenomenology of architecture is looking at architecture from within the consciousness experiencing it, through architectural feelings and emotions. Phenomenology seeks the inner language of a building. If a building does not fulfil the basic conditions formulated for it, phenomenologically, it is unable to influence the emotional feelings that link our souls to the images the building creates. Accordingly, Holl and Pallasmaa are key protagonists who write about phenomenology in architecture. On the same line, similar explorations were the key to Tadao Ando’s works.

So, how do Ando’s houses connect and relate to the phenomenology of architecture? Is Ando’s concept of “space” in line with Holl and Pallasmaa’s ideas on phenomenology?

In this research essay, I will discuss the perceptions on modern architecture through theories proposed by Pallasmaa and Holl respectively, and how it threatens the concept of “home”. I will then further analyze the idea of “home” using examples of Holl’s houses based on Holl and Pallasmaa’s theory of phenomenology. With this, I will discuss Ando’s concept of space by comparing two of Ando’s houses; the Koshino House and the Azuma House that best exemplifies the notion of phenomenology in architecture.

PHENOMENOLOGICAL ANALYSIS

Perceptions on modern architecture and how it threatens the concept of “home”

To start off with, Pallasmaa speaks of architecture as an experiential art that integrates with the five senses, not solely on sight alone. In today’s world, sight has dominated the way we “see” the world. People usually perceive based on first impressions which usually arise from external perceptions. As architects, we design what is most pleasing to the eye; what looks good on pictures and often we communicate ideas through the visual medium. (Holl, Pallasmaa, Perez-Gomez, 2005, p.29) However, most architects tend to neglect or otherwise fail to see the importance of integrating the other senses in evoking a multi-sensory experience in space. (Pallasmaa, 2005, p.62) It is merely a representation of treacherous and blind hostility towards the senses. (Niezsche, 1968, p.253)

Consequently, Steven Holl addresses that our reactions to the visual, tactile, aural and kinaesthetic s sense to a building and its environment very much conditions our behaviour and the way we function in a space. For a building to illustrate an experiential value that surpasses its functional value, a building would need to provide sensory experiences through overlapping elements of architecture to create engagements that in turn form emotional reactions to space. (Holl, Pallasmaa, Perez-Gomez, 2005, p.41) Here, we may be able to have a clearer sense of what is meant for Steven Holl, by that little very “to see.” (Futagawa, 1993a, p.80) Vision is not a certain mode of thought but rather, it is the means given to us for being absent from ourselves. When we observe a building, are we aware of our unique existence in space?

Similarly, Pallasmaa and Holl expresses that architecture is an experiential journey that can never be experienced as a whole. A building needs to be sliced apart from its totality in order for the partial perceptions to be explored. Broken up into fragments of experience such as light and shadow, materiality, enmeshed experience, time and duration, an individual must utilize all the five senses in order to capture the essence of distinct phenomena. (Holl, Pallasmaa, Perez-Gomez, 2005, p.42)

An analysis of the idea of “home”

The feeling of being “at home” cannot be bought because it comes from an intimate relationship between us and our most personal space. (Pallasmaa, 1998, p.60) Our house and home enables us to develop a sense of who we are. It is like a point of departure from which we orient ourselves, shaping us just as we shape it. Fundamentally, a “home” acts as a barrier that distances us from the public, leaving us all alone. Through reflective analysis and solitude, only are we able to access our inner life and being. In addition, buildings do speak through the silence of perceptual phenomena which draws focus onto one’s existence.
This can be seen in one of Steven Holl’s architecture, the New Residence at the Swiss Embassy, Washington D.C., United States. Responding directly to the needs of an ambassador in modern times; in contrast to the existing house, this new one provides privacy for the ambassador and his family, as well as flexible space for today’s diplomatic social life. Besides, with a mixture of strong gestures with the almost secretive air, this new residence announces itself as belonging architecturally to the 21st century.

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Figure 1: New Residence at the Swiss Embassy, Washington D.C., United States. http://plastolux.com/the-new-residence-at-the-swiss-embassy-steven-holl-architects.html


“We have just as great a need to keep secrets as we have to reveal, know and understand them,” mentioned Pallasmaa. (1998, p.121). One of the reasons why contemporary houses are so alienating is that they do not contain secrets anymore. Their structure and contents are conceived at a glimpse. It is simply just transparent and contains very few meanings to its existence. “Home” is particularly strongly felt when we look out from its enclosed privacy yet feeling secure in the inside. It is widely observed that contemporary architecture utilizes a lot of glass walls to eliminate the traditional concrete walls, to break the boundaries between the public and the private.


In the Planar House, Holl placed perforated sheets of steel in front of the main entrance to illustrate transparency. By doing this, he succeeded in creating integration with the exterior, but at the same time, maintaining a level of privacy. When light shines through the patterned steel sheets, the patterns reflect down onto the floor, transforming at different times of the day.

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Figure 2: Planar House. http://www.stevenholl.com/
Figure 3: Light and shadow, time and duration (Holl, 1991, p.62)

This concept of experimenting architecture with spatial and light sequence, textures, smells and sounds is also represented in Holl’s Stretto House. (Holl, Pallasmaa, Perez-Gomez, 2005, p.65) The “stretto” form enables Holl to divide the space in a way that each space is imperative to the other. The flow of space evolve as the floor surface overlaps the next level, the roof overlaps the walls and the curvilinear walls draw in light into the interior spaces. Not only do the forms that compose the house work like the instruments, but the landscape also acts as one of the voices in the “stretto”. When the landscape flows into the house, light flows in too, indicating a flooded room which serves as the phenomenological center of the house. For Holl, the concept is the very meaning of the house. (Holl, 2003, p.37)

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Figure 4: Stretto House. http://www.stevenholl.com/

Ezra Pound argued that “music decays when it goes too far from dance and poetry withers when it distances itself too far from song”. (Holl, 2003, p.50) In the same way, architecture has its own origins, and if it moves too far away from them, it will lose its effectiveness. Thus, an intimate relationship with one’s “home” needs to be continually reasserted.

Tadao Ando’s concept of space

One of the questions frequently raised is of how Ando’s houses exemplify the theory of phenomenology. With this, I am going to analyze the theory of phenomenology by Holl and Pallasmaa and incorporate the theories into Ando’s two houses; the Koshino House and the Azuma House respectively.

The Koshino House is located underground, emanating a feeling of secrecy and distancing from public spaces. However, light that enters through narrow slits in walls and ceilings, and in addition to some large windows in the living room facing the outdoor court creates the feeling of openness to nature. Windows are situated to offer only a limited view to the garden, but admit generous amounts of light, which flood over the large concrete surfaces, bringing them to life with passing clouds through time. Therefore, one would not feel that they are enclosed by solid, heavy concrete walls surrounding them.

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Figure 5: Aerial photo. http://www.public.iastate.edu/~zbrown/Arch%20344.html
Figure 6: Side View. www.geocities.com/arquique/ando/andokh.html

Approaching from above, visitors first enter the double-height block which contains the living room before approaching the longer, single-level space containing a row of smaller rooms.


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Figure 7: The two rectangular blocks separated by a flight of stairs, with the living room visible within. www.geocities.com/arquique/ando/andokh.html
Figure 8: The living room visible within. (Ando, 1997, p.67)
Figure 9: The bedroom wing. (Ando, 1997, p.66)

The essence of “enmeshed experience” (Holl, 2005, p.29) can be first appreciated when visitors descend a flight of stairs before entering the house. Slits of openings tend to camouflage the interior yet exposing it a little, evoking a sense of curiosity. Furthermore, light creates direction in relation to the user’s path. (Ando, 1997, p.7) The corridor leading inside brings visitors to a space lit by a series of slit windows, progressively increasing in height. It suggests spatial depth as one approach deeper into the space. When light shines, colour as a sensory experience is intensified; materials of the walls are highlighted and areas nearer to the light source are emphasized. (Holl, Pallasmaa, Perez-Gomez, 2005, p.91)

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Figure 10: Exterior stairway leading to the entrance. www.geocities.com/arquique/ando/andokh.html
Figure 11: Interior corridor leading to a room. (Ando, 1997, p.68)

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Figure 12: The action of light and shadow, creating monotonous tones of colour. http://www.youtube.com/watch?v=p4o_1vPXZSM

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Figure 13: Atelier interior
Figure 14: Natural light from above the living room. www.geocities.com/arquique/ando/andokh.html

The combination of light, shadow, material, colour and the way one responds to each of it further heightens one’s experience through a space. The dematerialization of form which goes through a perceivable passage of time, through the impact of light is strikingly demonstrated in the living room of the Koshino House. Through the action of sunlight, concrete is transformed into an illusory surface. The slits tend to break the bond of the four walls that encloses the space. In view of that, the most expressive interior space is the double-height living room which features a cantilevered dining table beyond the recessed space. (Ando, 199, p.64)

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Figure 15: The main entrance.
Figure 16: The dining area.
Figure 17: The double-height living room. Claire, N. (2007) http://naomiclaire.wordpress.com/2008/02/10/koshino-house-3d-model/


All of this is implied in the layered plan of the Koshino House, which is inscribed into the surrounding topography in such a way as to expose the principle rooms to the full trajectory of the sun. (Ando, 1997, p.66) However, sunlight enters more precipitously into this house from above, through a narrow precut into the roof at its junction with the wall, casting circular patterns on the floor. From this aperture, a single interrupted shaft of light descends to run its ever-changing luminosity across the adjacent concrete wall that runs the full length in the living room.

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Figure 18: Sun orientation in the Koshino House. http://www.youtube.com.watch?v=OMDAWaJpgsA
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Figure 19: Fragments of light created by window panes.
Figure 20: Another light source from slits on the top.
Figure 21: A single shaft of light. http://www.youtube.com/watch?v=p4o_1vPXZSM&NR=1

In this instance, the pattern of changing light becomes increasingly organic in shape as it falls onto the continuously curved walls. This is clearly shown in this excerpt:

“…light drawn into its forms dim shadows within emptiness…We are overcome with the feeling that in this small corner of the atmosphere there reigns complete and utter silence; that here in the darkness immutable tranquility holds sway…” (Ando, 1995, p.307)

“Light is a mediator between space and form. Light changes expressions with time. I believe that the architecture materials do not end with wood or concrete that have tangible forms, but go beyond to include light and wind which appeal to our senses”. (cited in Ando, 1995, p. 306) Moreover, not only light and wind but also rain, snow and fog are to be directly experienced as one transverse, for example, the open courtyard of the Azuma Residence, Sumiyoshi, in order to pass from one room to the next.

The Azuma House is a concrete rectangular residence, aligned with other houses in the street. (Ando, 1997, p.51) This ruthlessly minimal, solid blank facade completely shuts off from the streets, focusing completely on the inside; on its own perfection. (Ando, 1997, p.50) However, Ando succeeded in creating a space so thoughtful and reflective even though he had to work against the urban chaos of the city. Having thought hard about the meaning of life and dwelling, Ando came to a close that coexistence with nature was fundamental to human life. With this, Ando marked a contrast between his concrete house and its environment. (Ando, 1995, p.11)

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Figure 22: Azuma House aligned with other houses in the street. (Ando, 1997, p.51)
Figure 23: Simple form of geometry. www.arcspace.com/.../minimalist book.html

Inserted into a row of narrow houses, the simple façade stands out without breaking the rhythm of the street. Stepping through the door, one no longer needs to be conscious of the external world. (Ando, 1997, p.7) It seems to contradict because at the same time, the plain bare walls seem to reject entrance.

In the Azuma House, Ando divided the space in half, incorporating a courtyard in the centre, which is a long narrow passageway. Dealing with space constrains, Ando opened up the courtyard: enabling the dweller to look up to the sky and feel the wind blowing, stirring up emotions and purifying the spirit. It allows residents to experience nature without the distractions of the city. Besides, the absence and presence of the sunlight creates contrasting ambiances as it affects the colour and lighting of the open courtyard. The artificial lighting can be seen mirroring itself on the floor, which evokes a sense of nostalgia, serenity, tranquility and peace.

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Figure 24: The different effects of lighting at the courtyard.
http://ireland.archiseek.com/tesserae/000023/6.jpg
Figure 25: The central courtyard, with its overhead bridge linking the two living areas is open to the sky. (Ando, 1997, p.53)

With this, Ando incorporated the idea of sensory intimacy with surroundings; as a representation of nature which was seen as a form of resistance mediating between universal modernization and traditional Japanese cultures. (Archiseek.com, 2007). No matter how advanced society becomes, a house in which nature can be sensed would ideally represent the perfect environment to live in. Hence, there are no barriers between man and his environment, both on the inside and outside, because everything exists at the same time and is interconnected.

The bedrooms were upstairs in separate halves, with the stairway leading to them going through the courtyard. (Ando, 1997, p.7) This means that the residents must carry umbrellas to move around their home on rainy days. The central section which is completely roofless had evoked the controversy of convenience to the inhabitants but Ando had explained why he considered the interior courtyard a burden worth bearing. From a functional viewpoint, the courtyard of the Azuma House forces the inhabitants to endure the occasional hardships. (Ando, 1997, p.8) At the same time, the open courtyard is capable of becoming the most essential part of the house, introducing the everyday life and assimilating precious stimuli such as changes in nature.

This very much supports Steven Holl’s theory of phenomenology which often speaks of bringing the spirit of nature in to create an engaging experiential feeling. With spaces bordering an interior courtyard, Ando attempted to return the contact with light, air, rain and other natural elements to the Japanese lifestyle. This can be seen as the action of rain calls attention to the floor material details. (Futagawa, 1993b, p.13)
Figure 26: The steps and bridge in the central courtyard after rain. (Ando, 1997, p.54)

Not only that, this small space acts as a spatial entity that attempts to balance the reduced physical space of the house. Furthermore, the courtyard doubles its function; one as a pathway and the other as light source for all rooms. Azuma house is a windowless building that only receives light through its courtyard. “In its simple but rich spatial composition, in its expression of enclosure, and in the way light gives character to daily-life spaces, this house encapsulates an image of my architecture.” (Ando, 1984, p.26)

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Figure 27: Plan view of the interior.
http://www.architectureweek.com/2005/0608/news_1-2.html


Moreover, the feeling of “enmeshed experience” (Holl, Pallasmaa, Perez- Gomez, 2005, p.29) is apparent in the Azuma House. Light creates positive and negative spaces and these acts to direct user to follow a certain pathway. Reflections can be seen on the interior walls, persuading the user to enter in.

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Figure 28: Section of the Azuma House. http://www.sketchupmodels.com/Merchant2/merchant.mvc?Screen=PROD&Product_Code=0000259_ronen&Category_Code=a&Product_Count=1
Figure 29: The full-length glass opening creates a sense of transparency to the surrounding. http://kwc.org/blog/archieves/2005/2005-03-17.talk_tadao_ando.html
Figure 30: Light and shadow shown in the section of the house. www.hedgehog.be/boris/portals/tadao_ando.html

In addition, today’s residential spaces may be quite comfortable and functional, but a house infused with nature is more suitable for man and is more true to the basic character of the house. (Jodidio, 2007, p.449) So, by bringing in nature and light into the simple geometric form of houses, closed off from their urban context, Ando created complex spaces. As Ando stated, “I inject the extraordinary into what is the most ordinary and familiar of environments – the house - and thereby encourage people to reconsider what is ordinary.” (cited in Jodidio, 2007, p.451)

The courtyard is an important place where seasonal changes can be directly experienced and perceived by the dwellers through the senses. Also, the expression of nature changes constantly as sunlight, wind and rain brings variety to life. The courtyard is the nucleus of life that unfolds within the house and is a device to introduce experiential phenomena that are being forgotten in the urban world. (Jodidio, 2007, p.451) In this way, architecture has become the medium where man comes in contact with nature.

This made known many aspects of his mature style, including the use of simple plain concrete, and his conscious effort to admit light and wind into the defining walls of his buildings. (Ando, 1997, p. 172) At different times of the day, light shines, dramatizes and highlights different spaces especially to heighten experiential feelings.

Figure 31: The manipulation of light in spaces at different times of the day.
http:/kwc.org/blog/archives/2005/2005-03-17.talk_tadao_ando.html


Ando himself consider the Azuma House to be the point of origin for his subsequent work, as he approaches the concept of connecting the art of building to the art of living. With this Ando succeeded in relating the fixed form to the kind life that will be lived in. In the case of Azuma House, the life to be lived was that of busy urban dweller whose opportunities to experience nature were few.


CONCLUSION

The artistic dimension of a work of art does not lie in the actual physical form of the building. In fact, it exists only in the consciousness of the person experiencing it. Its meaning lies not in its form, but in the images transmitted by the forms and the emotional force that they carry. Thus, phenomenological analysis makes it possible to approach the unsaid, and the implicit helps us to relate our experience of a given place in the form of a narrative or of sensory observation.

Therefore, it is clear that Ando’s concept of “space” in architecture does not only support Holl and Pallasmaa’s theory of phenomenology but also further enhances the concept of phenomenology. Ando is an architect who stresses on the importance of individual journey through a space, complete with sensory experiences as one slowly derives meanings to their own existence, bringing out the very meaning of “space” itself. He also speaks on the importance of bringing in the essence of nature as a concept to “space” especially to contemporary houses which apparently depicts a lack of sensory invitation as modernization takes place.

However, since the circumstances of the environment which we live in are meaningless and that we can only vaguely understand our existence, we hope to infuse architecture with a sense of belonging by coming into contact with the deepest aspects of human nature. (Jodidio, 2007, p.444) A “home”, thus, is a secure and peaceful place where individuals and families escape the pressures of the modern world and also express their individuality in private reflections. (Pallasmaa, 1988, p.61, 119).

REFERENCE

Published Texts

Dietmar M.S. (2002). Steven Holl, Idea and Phenomena. Switzerland: Lars Muller Publishers.
Futagawa Y. (1993a). GA Architect 11, Steven Holl. Japan: A.D.A. EDITA Tokyo Co., Ltd.
Futagawa, Y. (1993b). GA Architect 12, Tadao Ando. Japan: A.D.A EDITA Tokyo Co., Ltd.
Holl, S. (1998). Intertwining. New York: Princeton Architectural Press., p. 11, 15.
Holl, S. (2003). Steven Holl 1986-2003. Madrid: El Croquis.
Holl, S., Pallasmaa, J. & Perez-Gomez, A. (2005). Questions of Perception : Phenomenology of Architecture. San Francisco : William Stout Publishers., p. 28-42.
Jodidio, P. (1997). Tadao Ando. Italy: Benedikt Taschen Verlag GmbH.
Jodidio, P. (2007). Tadao Ando: Complete Works. New York: Benedikt Taschen Verlag GmbH.
Nietzsche, F. (1968). The Will to Power, Book II, trans Walter Kaufmann. Random House (New York), note 461, p. 253.
Pallasmaa, J. (1998). Encounters. Helsinki, Finland: Rakennustieto Oy., p. 112-126.
Pallasmaa, J. (2005). The Eyes of the Skin. Great Britain: TJ International Ltd.


Websites

Ando, T. Architect Tadao Ando’s Exhibition: “Row House in Sumiyoshi” will be shown in a full-scale model. Retrieved Ocover 23, 2008, from http://www.toto.co.jp/ gallerma/ex081003/index_e.htm

Archiseek.com. (2007) Tadao Ando: Creating Dreams, Dublin. Retrieved October 23, 2008, from http://ireland.archiseek.com/tesserae/000023.html

Barbey, G. Towards a Phenomenology of the Home. Retrieved September 10, 2008, from http://lasur.epfl.ch/revue/A&C%20Vol%205%20No.2/BARBEY_Introduction_en.pdf

Stan, F. (2007) Thought-Provoking Interview. Retrieved Novermber 6, 2008, from
http://www.homerejuvenation.com.sg/2007_07_01_archive.html