As Wolfgang von Goethe put it best, architecture is frozen music. Just like the mysterious power of melodies, architectural phenomenology is supposed to evoke one’s feelings. Much has been debated over the decades around the connection between the two disciplines of architecture and poetry, where some argue it’s nonsensical to have any connection at all. Phenomenology, however, now gives more of a concrete understanding to why architecture can be seen as poetry etched in stone.
If you take the word phenomena to its etymological roots, it refers to any observable fact, event, or occurrence that can be perceived or experienced through the senses. Phenomenology is the study of experience and consciousness. Actually, architecture in itself can be viewed as a multifaceted phenomenon that shapes and reflects the human experience in diverse cultural, environmental, and social ways. If you think about it, phenomenology weaving its essence into architecture was inevitable. This article will introduce the concept of phenomenology, how it weaved itself into architecture, and demonstrate a few examples in architecture.
What Is Phenomenology?
Around the 1900s, phenomenology emerged with German philosopher Edmund Husserl then developed with Heidegger (1927) and Maurice Merleu-Ponty (1945). In 1985, phenomenology found its concrete way into architecture with Christian Norberg-Schulz’s book “Genius Loci: Towards a Phenomenology of Architecture”. Phenomenology is the study of “phenomena”, appearances as opposed to reality. In simpler terms, it’s the study of human subjective experiences such as perception, thought, memory, imagination, and emotion.
For example, the experience of driving through a tunnel affects one individual differently than the other, as the former might feel claustrophobic and the latter ecstatic. Early studies of phenomenology focused on the social aspect of phenomenological experiences. Recent studies, however, particularly cognitive neuroscience or neurophenomenology, focus on the role played by the mind and how experience is represented and grounded in brain neural activity.
Architectural phenomenology embodies the philosophical insights of phenomenology within the discipline of architecture. This approach emphasizes the sensory and experiential aspects of how individuals perceive and interact with their surrounding built environment. Architects adopting this approach aim to design spaces that resonate with human experience and engage the senses to elicit deep emotional reactions. It’s spatial poetry – instead of words, architects use light,textures, scale, and materiality to craft a desired feeling.
“Architecture presents the drama of construction silenced into matter and space; architecture is the art of petrified silence” – from Questions of Perception; Phenomenology of Architecture by Steven Holl, Juhani Pallasmaa and Alberto Pérez-Gómez.
Examples of Phenomenological Architecture
Let’s make it clear that phenomenological architecture is not a movement per say, it’s more of an approach that can be found weaved into many other architectural styles. You can have a phenomenological experience in the earliest architectural marvels of Greece and Rome, so it’s not exactly bound by a time period. However, architects have been publishing more on this subject, especially Juhani Pallasmaa with his seminal work “ The Eyes of the Skin”. Another much earlier example is Gatson Bachelard’s “The Poetics of Space”. Architectural phenomenology is more of an architectural philosophy, or rather a manifestation of poetry. In its essence, this approach is about engaging the senses and emotions in space. The following architects have directly or indirectly applied phenomenological aspects into their designs.
Steven Holl
Steven Holl’s poetic approach to design is evident in projects like the Nelson-Atkins Museum of Art in Kansas City, where his use of natural light, dynamic spatial sequences, and carefully crafted materiality transform the museum into a multisensory experience. His integration of translucent glass in the museum’s Bloch Building further demonstrates his mastery in creating spaces that are both visually captivating and environmentally conscious, enhancing visitors’ engagement with art and architecture.
Similarly, his Linked Hybrid complex in Beijing blurs the boundaries between interior and exterior, fostering a sense of connection with the surrounding urban fabric. The complex incorporates geothermal wells for energy efficiency, emphasizing Holl’s commitment to sustainability, while offering residents and visitors a seamless integration of urban and architectural spaces.
In both projects, Holl’s deep understanding of light, materiality, and phenomenology creates a unique sensory experience that immerses users in the architecture. His ability to engage the senses through space, light, and materials fosters an intimate connection between the user and the environment, turning architecture into a lived, perceptual experience.
Peter Zumthor
Peter Zumthor’s minimalist yet deeply atmospheric buildings, such as the Bruder Klaus Field Chapel in Germany, evoke a sense of reverence and introspection through their raw materials and elemental forms. His Thermal Baths in Vals offer visitors a sensory journey through spaces defined by light, shadow, and the tactile qualities of stone and concrete.
Zumthor’s attention to craftsmanship and material authenticity creates a unique dialogue between the natural environment and architecture. At the Vals Baths, the strategic use of locally sourced Valser quartzite stone enhances the sensory experience, allowing visitors to feel immersed in the surrounding Alpine landscape, further exemplifying his profound connection to place and materiality.
Zumthor’s attention to craftsmanship and material authenticity creates a phenomenological dialogue between the natural environment and architecture. In both projects, the balance of light, texture, and context evokes a deep, contemplative response, engaging visitors in a sensory experience that goes beyond the visual to include the tactile and emotional realms.
Alvaro Siza
Alvaro Siza’s humanistic approach to design is exemplified in projects like the Serralves Museum of Contemporary Art in Portugal, where his careful composition of space and use of natural light create a dialogue between the art and its surroundings. The museum’s serene, minimalist design allows the artworks to take center stage, while Siza’s thoughtful use of daylight subtly transforms the gallery spaces throughout the day, offering visitors a contemplative and immersive experience.
Similarly, his Church of Santa Maria in Marco de Canaveses is a masterful study in simplicity and serenity that invites deep contemplation and reflection. The church’s minimalist design, marked by whitewashed walls and controlled light, enhances the spiritual atmosphere, while subtly addressing the cultural and historical context of the site. Siza’s attention to the interplay of light and shadow in this sacred space deepens the emotional experience of those who visit.
In both projects, Siza’s sensitivity to context and phenomenology allows his spaces to deeply resonate with their surroundings. His designs transcend function, using light, texture, and spatial organization to evoke a sense of place and belonging, encouraging users to engage with the architecture on a deeply personal, experiential level.
Tadao Ando
Tadao Ando is the master of light and shadow, and this is showcased in all of his projects. In the Chichu Art Museum in Japan, his use of natural light transforms the underground spaces into ethereal sanctuaries, creating a unique atmosphere where art and nature coexist harmoniously. This integration of natural light redefines the traditional museum experience by allowing visitors to engage with the art in a dynamic, ever-changing setting.
Similarly, his Church of the Light in Osaka offers visitors a transcendent experience through the interplay of light, space, and raw materials. The iconic Water Temple on Awaji Island perfectly blends with nature, with its circular pathway descending into the water, creating a serene and meditative environment. Ando’s emphasis on simplicity in form and materials heightens the spiritual experience within these spaces.
Ando’s minimalist approach and careful manipulation of light create phenomenological spaces that offer a deeply reflective experience. His architecture engages the senses, inviting visitors to connect with both the built environment and the surrounding landscape through the immersive experience of light, shadow, and space.
Louis Kahn
Louis Kahn’s monumental yet profoundly humanistic buildings, such as the Kimbell Art Museum in Fort Worth, Texas, and the Salk Institute in La Jolla, California, embody his belief that architecture should be an expression of the human spirit. His sensitive use of light, geometry, and materials creates spaces that are both awe-inspiring and deeply contemplative.
At the Kimbell Art Museum, Kahn’s masterful incorporation of natural light through the cycloidal vaults elevates the experience of viewing art. Meanwhile, the Salk Institute’s striking use of concrete and the open plaza, aligned with the Pacific Ocean, is a masterclass in creating a contemplative environment for scientific research, where the interplay of light and shadow heightens the sensory experience.
In both projects, Kahn’s designs reflect the principles of architectural phenomenology, inviting reflection and connection with the human experience. His careful use of light and geometry transforms architecture into a sensory and spiritual journey, reinforcing his belief that architecture can uplift the human spirit.
Oscar Niemeyer
Oscar Niemeyer built a reputation as the poet of the curve, daresay the poet of concrete. His designs embrace fluid forms and organic curves, blurring the boundaries between the built environment and nature. One striking example is the National Congress of Brazil in Brasília, where Niemeyer’s use of sweeping curves and expansive spaces creates an immersive and awe-inspiring experience for visitors, inviting them to engage with the architectural environment on a sensory level.
Another less popular but notable example is the Rachid Karami International Fair in Lebanon, where Niemeyer’s innovative design integrates the fairgrounds with the city’s urban planning potential. His timeless concrete monuments, inspired by Lebanon’s rich history, blend modernism with cultural significance, showcasing Niemeyer’s visionary approach.
In both projects, Niemeyer’s mastery of curves and concrete embodies the essence of phenomenology, intertwining architecture with the sensory experience of space. His fluid designs create environments that are not only functional but also emotionally engaging.
