Phenomenological Perspective - Essay Example

and Number of the Teacher’s PHENOMENOLOGY AND BUILDING Introduction According to Seamon (p.248), phenomenology asserts that the lived world of everyday experience is more significant as compared to the geometric concept of space in the built environment. The building selected for appraising according to phenomenological personal perspectives is the Chapelle Notre-Dame du-Haut at Ronchamp designed by Le Corbusier in 1954. This account will take into consideration its present use and history. The writings of Pallasmaa and Bachelard on the theories of Heidegger, Zumthor and Norberg-Schulz help to underline one’s emotions and views arising from experiencing various aspects of the building. Thesis Statement: The purpose of this paper is to write a phenomenological account of Le Corbusier’s Chapelle Notre-Dame du-Haut at Ronchamp. This account emphasizing the qualities of one’s personal experience of the feelings, images and emotions evoked by the building will be related to its material, form and spaces. Discussion Le Corbusier states that “the purpose of architecture is to move us. Architectural emotion exists when the work rings within us in tune with a universe whose laws we obey, recognize and respect” (Fortkamp 39). Similarly, according to Heidegger’s (1962) theory underscoring the phenomenology of built spaces, “there is no being apart from a world, rather there is first and only a Being in the world” (Seamon 248). Norberg-Schulz (1971), Relph (1976) and other theorists have identified modes of spatial experience as evident in a loose, continuous occurrence ranging from the abstract, measured geometric space to the concretely experienced space of daily living referred to as lived space. Unlike Plato and Euclid’s conceptualization of geometry as the science of space, the phenomenological perspective considers geometric space as having “a powerful predictive capacity rather than any superior claims to truth” (Seamon 248), while perspectives and impressions of the lived space of the life world form the actual reality. Figure 1. The Chapel of Notre-Dame du-Haut at Ronchamp by Le Corbusier (Fortkamp 50) The history of the site as well as that of the earlier predecessor buildings catalysed the creative imagination of Le Corbusier into developing the building as it now exists (Figure 1). The Chapelle Notre-Dame du-Haut at Ronchamp is a chapel of pilgrimmage located at an ancient pilgimmage site, standing on a hill above the village of Ronchamp on the southern edge of the Vosges mountains in France. The present building is used for religious purposes by the clergy. Le Corbusier’s mind took inspiration from an ancient era of human antiquity to create the present-day building whose construction was commissioned in 1950. Fortkamp (p.51) states that “in the creation of architecture for an emotional experience, it is necessary to understand the designer, personal intuition and experiences”. This is exemplified in the shape of the towers in Figure 1. above and in the lighting system of the building. Figure 2. Interior View: Pews for Pilgrims in the Chapel at Ronchamp (Fortkamp 50) In Figure 2. above, the natural light flowing into the main area of the Chapel is seen to glow at the windows. At the same time, it creates a sense of coolness to the dark interior, intensifying the effect of peace and tranquility of the space. Both interiors and exteriors of the building are greatly impressive and provide a moving experience, because of the overwhelming effect of authoritative power along with the “fused order and vitality in the monument” (Alford 293). As seen in Figures 2 and 3, these impressions are strongly felt due to the combination of its history together with the current building continuing to be used for everyday religious activity and as a pilgrimmage destination as in ancient times. The spiritual experience in the interior hall of the Chapel is intensified by the colours of the stained glass windows. Contrastingly, the monochromatic concrete contributes a unique simplicity to the overall interior design. This is reiterated by Fortkamp (p.51), who states that the spiritual atmosphere stimulates while at the same time calms the mind. Le Corbusier’s architecture of the Chapel shows a strong tactile experience, due to the forceful presence of materiality and weight. The architecture awakens awareness of the everchanging external environmental conditions of light and shade, winds and rain. This is reiterated by Media Production Lab Thesis (p.6), which states that Corbusier “expresses a lived experience through the use of plasticity and spatial experience which uncovers memory, dream and imagination”. Moreover, the shadow is an important element that denotes tactility in architecture, representing depth, smoothness, roughness of the texture of materials, as seen in the illustrations. The element of sound is best personified by buildings through tranquility, states Pallasmaa. Architecture presents a silence of materiality and light in space, while the smells in the interiors stimulate memories of other places and spaces. In Figure 3. below, is seen the internal lighting of the Chapel. The effect is similar to that of lighting from broad chimney stacks in some old houses. Open to the sky, the permit a dim light to fall on the hearth where there is no fire. Le Corbusier uses light “scoops” to identify the places of the side altars with softened daylight reflecting off white walls with rough surfaces (Unwin 26). The bright natural lighting in the interiors lends a spiritual feeling to the vast spaces, and is appropriate for the religious proceedings within the Chapel. Figure 3. Interior Space for the Congregation in the Chapel at Ronchamp (Fortkamp 51) The phenomenological approach to the relationship between the body, emotion and architecture is individualized to the viewer. This approach also includes the viewer’s perception, cognition, memory and personal reaction, and enabling emotional well-being through perceiving architecture from one’s own viewpoint. Form and structure play an insignificant part, while the participants’ lived experiences and impressions are primary to the viewing of an architectural form. Thus, as “concern fades from the qualities of a space to an emotional and empathetic involvement, the individual has the ability to achieve a more fulfilling experience” (Fortkamp 39). Architecture such as that of Corbusier’s Chapel at Ronchamp arouses emotions due to an interaction between the mind and body, thus causing a moving emotional experience. This building connects emotionally with most viewers, based on the strong mind-body experience that is evoked. Here experience is more significant than representation of design through construction materials, emotions dominate over techniques employed in the design and creation, and feelings are remarkably more marked than the role played by the plans of the building. The construction principles and design used for the Chapel supports an emotional experience, and can therefore be used as a framework of design capable of increasing well-being in the onlooker. According to Juhani Pallasmaa, the Finnish architectural theorist, multisensory experience is essential for the participant’s understanding of architecture, and it should be equally measured by the eye, ear, nose, skin, tongue, skeleton and muscle. Pallasmaa states that architecture as with all arts, is faced with questions of human existence in space and time, while expressing and relating man’s being in the world. Similarly, award-winning Finnish architect Peter Zumthor works on the art of sensory architecture combined with new technologies, thereby turning the built environment into positive experiences. Figure 4. External Side Wall of the Chapel at Ronchamp (Fortkamp 51) In figure 4. above, the rough texture of the side wall of the Chapel, the play of light and shade, the smells of the grass and the clear environment are evident. A combination of these experiences creates a calming effect on the mind. The viewer’s mind notes the colour, solidity, light and textures of the Chapel at Ronchamp. The senses are stimulated, due to intimately interacting with the impact of the architecture. The response is to record the personal experience as vivid memories of soft grass under the feet contrasting with the coarse surface of the concrete wall of the building. Creating a full range of bodily experience in urban architecture, Bachelard believes in the polyphony of the senses, where the eye collaborates with the body to give a greater sense of reality and consistent interaction with the environment. Thus, architecture which recognizes the contribution of sound, smell and taste is known as the haptic experience of architecture. This sensory architectural design methodology is also followed by Frank Lloyd Wright and Alvar Alto who incorporated both conscious and unconscious human reactions besides taking the physical body into consideration (Media Production Lab Thesis 1-5). Figure 5. A Sketch of the Ceiling of the Chapel’s Interior Hall (Fortkamp 51) As seen in Figure 5., Le Corbusier’s design of the Chapel ceiling was inspired by a crab’s shell. He termed it as a reaction poetique, using the crab shell creatively and artistically. Moreover, the shell also inspired the layered membranes of the roof (Fortkamp 51) as in Figure 6 below. Alford (p.293) believes that Le Corbusier’s Chapel at Ronchamp appeared as a deliberate oddity both in the context of traditional church architecture, and also in view of the architect’s previous designs. The reliance on nature for inspiration contributes a unique effect of unifying the building with its surrounding environment, and adds a rustic touch to the otherwise contemporary lines. Figure 6. A Close View of the Roof of the Chapel at Ronchamp (Fortkamp 52) The external view of the building seen in Figure 6. above creates an unusual ambience due to its contemporary lines as well as practical design. The viewer’s eyes are drawn upwards towards the floating roof plane, which echoes a realization of the spiritual heavens. This recognition dominates the feelings while viewing the architecture of this religious building. This is supported by Fortkamp (p.51), who states that “because there is a ritual, a procession, a preconceived meaning, the building’s participants derive emotional connection from cognitive interpretation”. Similar to the ideas of Heidegger, Fathy believes “that a building will be successful when it incorporates both structural and sociocultural/ religious elements of people’s lives” (Seamon 1). Buildings reflect and sustain a society and the socioeconomic order that maintains their sense of group purpose and cohesiveness, besides encompassing time and environment. Le Corbusier’s Chapel at Ronchamp epitomises these essential concepts, thereby producing a sense of vitality and continuity of traditional activities, despite its postmodern architectural design. Conclusion This paper has highlighted Le Corbusier’s Chapelle Notre-Dame du-Haut at Ronchamp, and presented a phenomenological and personally experienced account about its architecture. The building exemplifies urban architecture that has the strength to express the natural phenomena of light, shade, tactility and sound through creative design. Multisensory experiences of tranquility and spiritual peace provided by the design and construction of the contemporary building reflects its traditional use for religious purposes and the historical significance of its site for pilgrimmage since ancient times. The serenity of the building and its surroundings continue to enchant viewers, who are moved and soothed by the architectural design. The architecture employs all the natural elements along with the architect’s personal intuition and experiences. Works Cited Alford, John. Creativity and intelligibility in Le Corbusier’s Chapel at Ronchamp. The Journal of Aesthetics and Art Criticism, 16.3 (1958): pp.293-305. Fortkamp, Sarah. Body. Emotion. Architecture. A phenomenological reinterpretation. Masters level Thesis, University of Cincinnati. (2002). Retrieved on 24th November, 2010 from: http://etd.ohiolink.edu/send-pdf.cgi/FORTKAMP%20SARAH%20A.pdf?ucin1112128327 Media Production Lab Thesis. Chapter 2. Media Production Lab: Architecture as urban stage. Tshwane University of Technology Departments of Journalism and Public Relations in the Faculty of Humanities. A Classroom for Sociocultural Spirit and Expression. Retrieved on 24th November, 2010 from: http://upetd.up.ac.za/thesis/available/etd-01192010-161423/unrestricted/00front.pdf Seamon, David. Dwelling, seeing, and designing: Toward a phenomenological ecology. Albany: State University of New York Press. (1993). Seamon, David. Toward a phenomenology of dwelling and building: Hassan Fathy’s “Architecture for the poor” as an indication. Paper prepared for the Annual Meetings of the Association of American Geographers, Los Angeles, California (April 20th, 1981): pp.1-14. Unwin, Simon. Analysing architecture. London: Routledge. (1997). Read More