Phenomenological Case Study of Naples - Essay Example

Phenomenological Case Study of Naples Naples, extending more than 720 hectares, is probably Europe’s largest historic centre, including evidence and testimony from diverse periods and styles beginning with the foundation of the city as Neapolis in the 8th century B.C. it evidences occupation by the Greeks, Romans, the Swabian-Normans, the Angevin dynasty, and the Kingdom of Italy. Some of the most important landmarks in Naples from this period include the piazzas, castle Nuovo, Castle Sant’Elmo, as well as physical features like Mount Vesuvius and the bay of Naples. Together, these landmarks provide different perceptions for different viewers, both conscious and unconscious, which is evidence of the significance of phenomenological perception of the city. Edmund Husserl defines phenomenological description as an attempt to depict the lived experience of the first person, instead of a purely theoretical description. The essay, therefore, seeks to describe the various landmarks in Naples from a phenomenological perspective. The paper will make a phenomenological description of various views as seen and photographed from my site, including the view of Mount Vesuvius, the Bay of Naples, the city view, and Castle Nuovo. The perception of the viewer will be described at length for each of these landmarks. PHENOMENOLOGICAL CASE STUDY OF NAPLES Introduction According to Levitt & Melideo (2008: p41), Naples, extending more than 720 hectares, is probably Europe’s largest historic centre, including evidence and testimony from diverse periods and styles beginning with the foundation of the city as Neapolis in the 8th century B.C. It also evidences its subsequent Roman domination, its period under the Aragonese Empire, the French Kings, and unification into the Kingdom of Italy by Garibaldi (Levitt & Melideo, 2008: p41). Visiting Naples today, there is little evidence of Neapolis, the ancient city of the Greeks, although there are still traces of the city’s north-eastern section with its defensive walls, as well as the Via Mezzocannone. Evidence from the Roman Age in terms of archaeological finds is more evident, especially the new Neapolis built next to the old ruins. Some of the areas that give one a feeling of old Roman existence include; the catacombs, the Paleopolis, as well as various archaeological sites like the San Lorenzo Maggiore. One can almost consciously perceive the end of this Roman era as one takes in the imposing churches, such as the San Gennaro Basilica in the Sanita neighbourhood, which is full of colour. The Swabian-Norman period, on the other hand, also produced famous structures like the Castello dell’Ovo, which comes off as majestic in its position atop a previous Villa from the Roman era, the Lucio Licinio Lucullo, which, for the people of Naples, indicates the takeover from the Romans (Levitt & Melideo, 2008: p43). This castle, today, hosts various important cultural events and expositions, while also offering a splendid view of the Gulf of Naples, which is dominated in the background by Mount Vesuvius. Castle Sant’Elmo, considered to be the child of the four castles of Naples, has a star-shaped military perception perched on the Vomero Hill, and it dominates the skyline in Naples. Castle Sant’Elmo is perceived as the yin to the yang of Mount Vesuvius, especially as it looms large over the San Martino Charterhouse located below it. Mount Vesuvius and Castle Sant’Elmo combine to create formed a formidable Vista that greets those arriving from the sea and has done so for centuries (Levitt & Melideo, 2008: p44). The Angevin Dynasty that came after was responsible for massive expansion of Naples, accounting for the immense beauty bequeathed to the city. Most of these are in the Gothic style that was dominant during this period, including Castle Nuovo, which the people of Naples see as an imposing fortress that dominates the Gulf of Naples a couple of steps from the seashore (Levitt & Melideo, 2008: p53). The dominion of the Aragonese dominion brought with it fortifications that are still visible today, especially along the Royal Palace that frames the Piazza Del Plebistico, as well as the San Francesco di Paola Basilica. The view of this palace leaves no doubt that it is the centre of power both symbolically and geographically for historical Naples. Finally, the 19th century brought with it endowments for the city, including wide-spread reorganization of space in the city, as well as its floor-plan, helping to create the modern metropolis the viewer sees today (Levitt & Melideo, 2008: p54). Viewing the metropolis, one can see how modernity is fused with ancient Naples, along with historic and artistic treasures, with the natural scenery that frames the entire city. This paper will seek to conduct a phenomenological case study of Naples’ natural and artistic features. Phenomenological Case Study of Naples Phenomenological description refers to a phenomenological methodology, which attempts depict the lived experience of the first person, instead of a purely theoretical description. First conceived and described by Edmund Husserl, latter work by Maurice Merleau-Ponty, Immanuel Levinas, Jean-Paul Sartre, and Martin Heidegger. Phenomenological description also developed via strands of cognitive science and modern psychology. Phenomenology involves the study of conscious structures as experienced from the point of view of the first person (Pallasmaa, 2013: p28). Krauss (2008: p53) contends that this experience’s central structure is intentionality and its direction towards a specific thing, as it is an individual’s experience about or of an object. The direction of the experience toward an object is done by virtue of its meaning or content together with conditions that appropriately enable it. According to Pallasmaa (2013: p27), phenomenological analysis’ main concern revolves around the understanding of how the daily, inter-subjective surroundings are constituted from the perspective of the participant. This inquiry’s fundamental underlying assumption is that the viewer can only be knowledgeable of what they see, which means that the viewer cannot ground his/her perceptions in scientific fact since these are not absolute facts. According to Merleau-Ponty (2014: p38), perception, rather than just being a discovery of one’s senses, also sees to it that the viewer has a sense. Viewing Mount Vesuvius, whose eruption in 79 AD is probably the best known aspect, one cannot help but marvel at the stunning panorama that oversees the Gulf of Naples, Ischia, Capri, Naples itself, and the Amalfi Coast edge (Lancaster, 2011: p54). Mount Vesuvius is on the Gulf of Naples coast, which are a short distance from the seashore and some six kilometres from Naples to the Far East. The mountain is conspicuous for its beautiful landscape that is presented against the bay, especially when seen with the city of Naples in the foreground. Taking into consideration the destruction that Mount Vesuvius caused to city of Pompeii, the mounting looks foreboding, even in the beautiful sunrise. The clouds behind the mountain portend an unconscious vision of what the mountain could do to the city below it (Lancaster, 2011: p54), giving the viewer a feeling of doom even amidst the beauty of the mountain. Viewing Mount Vesuvius from this site, it seems monumental and central, almost menacing to the tiny town clusters that are built below it. From a distance, it is possible to make out the lava flow paths, which make the tiny town clusters seem even more vulnerable. The perception of Mount Vesuvius is a beautiful and gigantic curiosity that can only be captured in reproductions like prints and photographs (Lancaster, 2011: p56). While looking at Mount Vesuvius, it is impossible to miss the slopes that are scarred by flows of lava, even from a distance. However, its lower slopes are especially fertile as can be seen by the overgrowth of plantation. In addition, the slopes are dotted with villages and vineyards the produce world-famous wine. Despite its destructive nature that is consciously visible, its creative forces are also unconsciously visible with the fertile nature of the grounds around the mountain. However, for the entire Naples, there is an inescapable feeling of impeding doom (Lancaster, 2011: p57), especially as evidenced by the faint plume of smoke that seems to be ever-present, unconsciously reminding the viewer of its destructive ability. Mount Vesuvius, considered next to Castel Sant’Elmo, seems like the yang to Castle Sant’Elmo’s yin (Lancaster, 2011: p59). This is because Castel Sant’Elmo comes across as a preservative of past illustrations and knowledge from the Swabian-Norman era, especially with regards to artistic production. On the other hand, Mount Vesuvius, particularly with the knowledge of its violent eruptions, is a force of destruction. While it is beautiful and magnificent in the Naples’ background, one cannot help but be reminded of its lethal eruptions that obliterated an entire civilization. Viewing Mount Vesuvius, one can unconsciously see billowing, huge black-grey clouds rushing at the people living below it at least 100 miles an hour. Considering the ancient Romans, whose body casts can still be seen at the museum and below, it becomes even more real, and one can only think this is what they saw before the hot ash from Mount Vesuvius entombed them. The photograph to the left is a framed view of Mount Vesuvius’ top. According to Holt (2011: p43), using a frame view orients the viewer in space, allowing them to bring a landscape to a human scale. In this case, looking at Mount Vesuvius, one perceives the mountain as a pregnant woman lying on her back. This unconsciously brings into focus the fact that Mount Vesuvius is expected to erupt again soon, which makes it appear expectant and ready to birth destruction on the city below it, just as it did with Pompeii. "The tunnels orient you out in space and frame the view. It brings the landscape back to human scale." Mount Vesuvius is located on the Bay of Naples coast a short distance from the shoreline of Naples and is conspicuous in the beautiful landscape that the Bay of Naples presents, especially when seen with the town clusters of Naples in the foreground. The gulf of Naples, as can be seen to the left of the photograph, is bordered by Mount Vesuvius to the east and the Sorrentine Peninsula and the town of Sorrento the south. The bay of Naples opens up to the Mediterranean Sea, almost seeming to offer the residents of Naples an escape from the destruction that Mount Vesuvius is capable of (Pappalardo, 2011: p28). In fact, the ships in the background almost seem to be ready to transport the citizens of this sleepy village away from the destruction of Mount Vesuvius. The sleepy nature of the villages in the foreground offer a contrast to Mount Vesuvius to the east, while the Bay of Naples also seems calm, which is only unconsciously broken by the fact that both the bay and the village could be destroyed in an instant. This qualifies Heidegger’s statement (1971: p1) that, by a primal onenness, the sky, earth, mortals, and divinities all belong together as one. The concept of multi-sensory architecture is the most prominent aspect of phenomenology, which means that the elevation of sight over all other senses in the process of perception should be given less impetus in phenomenology (Aravot & Neuman, 2010: p43). The City of Naples seems to spread right around the waters of the Bay of Naples in a chain of almost unbroken ribbons of development, housing, and docks whose appeal only becomes clear when one views it from a distance. The region around the bay, compared to earlier readings about its mystique, seems to have disappeared, especially as most of the buildings in the picture seem illegal and haphazardly constructed. This form of construction can be perceived as being reflective of the unstable and unnatural nature of the region, especially with the looming mountain in the distance. The houses seem almost temporary, and one can discern a lack of permanence in the way that the region is constructed (Pappalardo, 2011: p32). The allure of the landscape, however, is inescapable, especially with the islands in the distance that dot the sea like jewels. One can almost perceive the great treasures that this region holds, particularly remembering that the city of Pompeii is not too far from this area. Contemporary architecture has adopted the various strategies of psychology utilized in advertising that seek to persuade the mind instantly, turning buildings into products of image that are detached from the sincerity and depth of their existence (Otero-Pailos, 2010: p90). This can be discerned by the haphazard nature of the narrow streets that make up the ancient city of Naples, one discerns a city that is like a bottom of chasms that connect at right angles. When one leaves the market stands and the shops, as well as the kitchen stairs and laundry rooms situated outside ground level apartment doors, one is confronted by long, narrow stretches of streets that seem to be flanked by unarticulated walls on each side. Even from a distance, one can discern the silence, which seems sinister in such a crowded place, as well as the isolation of the houses and the perception of gloom given by the dark stones used to construct the houses (Calaresu & Hills, 2013: p44). Unconsciously, one can perceive the mysteries that lie behind the walls of this ancient city, but while viewing it from the street, there is minimal hint of these mysteries, or what these vertical and impenetrable stone surfaces, contain within. When an object is visualized both consciously and unconsciously, it is a more authentic and genuine experience as opposed to simply being seen (Bourne-Taylor & Mildenberg, 2010: p53). Some of the sensation and perception of oppression and narrowness present in the streets of Naples can be attributed to the ancient city plan of the Greeks, particularly with the constrained north-south viccoli dimensions. However, Calaresu & Hills (2013: p34) contend that the narrow and tight channelling of these streets is as a result of the monastic foundations of Naples that were enormous and numerous and rose high above the city’s streets as mute and un-expressive stone walls. Therefore, the perception one gets of Naples as an impenetrable, hidden, and mysterious city is not only the result of the consciously visible grid plan, ancient roots, and dark stone from Mount Vesuvius’ constant eruptions. Rather, it is also as a result of specific unconscious interpretations of monastic vocation for ladies. This can be seen from the fact that they are planted in the middle of the city, while their walls are high and forbidding like those of a prison or fortress. In short, the buildings were meant to create a feeling of isolation and meditation for the people living in them (Calaresu & Hills, 2013: p35). By emphasizing on the experience that architectural phenomenology can bring, viewers have a new way to discern architectural theory and history was born (Norberg-Schulz, 1980: p44). For example, it is quite extraordinary to note the number of monastic establishments that are present in the city of Naples, as well as their proportion. It is quite clear that the buildings in the entire city were built using the monastic establishments as blue-prints with the vertical expansion and very narrow streets. This phenomenon was harshly criticized by Calaresu & Hills (2013: p48) who contended that the monasteries and convents that had such as huge influence on the city of Naples created the form of urban environment that, today, becomes quite unsettling to the viewer. In fact, the city is indicated by high walls surrounding big, black palaces similar to those one would see in fortresses. This can be attributed to attempts by the Church to ensure that their presence was both consciously and unconsciously visible to the people of Naples. However, Krauss (2007: p64) contends that by using height, width, and depth, architecture can present itself as a mental construct. It can be seen in the lengths to which monasteries and convents went to acquire entire blocks in the city in order for their establishments not to be compromised or overlooked, in contrast to the rest of Naples. In deed, these buildings seem to declare institutional indifference to other buildings around them. Holt (2011: p47) contends that framed views are time based and cyclical, putting the viewer in a specific space. Looking at a framed view of one of Naples’ streets, one perceives the street as an old pair of denim jeans with an open zipper. Viewing this photograph, one forms an unconscious opinion of the street as being closed to the outside world, as well as being closed in. However, as one leaves the street, it opens up to another space, which is brighter and more open. Considering that this street was modelled on convents and monasteries, one gets the feeling that, once an individual comes in, they are closed to the outside world. Moving on to Castle Nuovo, this imposing medieval castle was erected by Charles I of Anjou and, from its frontal view; one can consciously perceive its grandeur and imposing nature. In addition, through unconscious vision, one is able to perceive that this medieval castle was meant to be the residence for powerful rulers, specifically the rulers of the Naples Kingdom. This is discernible from the way it towers over the flat land below and the emergence of this are below it as a crux of urban development, while the castle’s interior has all the signs of the military, administrative, and political seat of power in Naples. Dovey (2009: p38) claims that civic architecture makes the difference between a city that inspires its visitors and residents and one that is boring. The perception of the castle’s interior is one of military might as can be seen from the armoury room that has archaeological evidence of the ancient period of the Romans. The Hall of the Barons, complete with its frescoes and an incredibly high dome with a traditional keystone replaced by an oculus. This room is perceived as a setting for the audience of the royals when it was still in use (Calaresu & Hills, 2013: p62). The oculus is curious to the viewer, and one is left to wonder whether it was a modification to resist or proof the dome from an earthquake triggered by the omnipresent Mount Vesuvius, or to reinforce a structural deficiency. The triumphal arch that can be seen in the photo to the left frames the entrance to Castle Nuovo and gives the perception of a city that was always ready to embrace the renaissance era, as well as its innovations. Phenomenology proposes a return to ways that seek to move away from scientific abstractions and neutral objectivism (Mallgrave & Goodman, 2011: p77), and, using this concept, one can view Castle Nuovo in historical terms. The imposing white and single-sided triumphal arch made of marble was made in commemoration of Alfonso’s entry into Naples and stands between two western towers of the castle. This signifies the coming together of the Roman era and the new era promised by Alfonso of Aragon, welcoming the people of Naples to a new era of the prosperity shown by the sheer size of the castle. The arch is elongated into two arches that are stacked and are made in a self-conscious Renaissance style, which, although appropriating various items from the triumphal Roman arches, one can perceive a lack of the old Roman sobriety (Manenti et al, 2011: p62). This was most likely a way for the rulers to show that the new era would not be totally Roman, as can be seen in the profusion of festoons, harpies, garlands, and putti. The perception one gets is one of rebirth for a city and a new era under a new king. Humans experience architecture in a multi-sensory manner, in which qualities of scale, space, and matter are equally measured and perceived consciously and unconsciously (Jacquet & Giraud, 2012: p67), a concept that bears out when viewing the columns of castle Nuovo. The columns flanking the entrance of the castle have sculptures on the first level that depict a triumphant Alfonso being led by a quadriga parade, while the second upper arch has lions. In addition, there are also four niches with statues, which seem to depict Alfonso’s virtues. On top of this, one can see a rounded lintel that has two horned genii surmounted by a warrior-attired Alfonso, which one can perceive to be cornice meant for a statue of equestrian nature. There are also three statues of St. Sebastian, St. Anthony the Abbot, and St. Michael, as well as the two recumbent ones, at the top of each arch. The arch leads into the Piazza next to the Bronze Gates, representing the victories over the Duke of Anjou by Ferdinand I, as well as over the rebellious barons (Manenti et al, 2011: p63). The statues by the arch represent victory and oneness with God to the viewer, as can be seen by the lions and the saints. Going past the arches, the victories of Ferdinand I celebrated in the Piazza indicate that, due to Ferdinand I’s greatness and help from God, the city of Naples was conquered from the devil, represented by the horned genii being surmounted by Alfonso. Architectural phenomenology results in buildings whose power can be felt both emotionally and physically, especially as it engages the senses spiritually (Holl et al, 2008: p26). The Palatine Chapel is one example of this. The chapel is made of a single nave that has a wooden vault that is tie-beamed and no side chapels. In addition, towards the end of the chapel, a rectangular apse opens into wide and high single-lancet window that contrasts starkly with the narrow, long ones built into the sidewall. The narrow nature of this chapel can be attributed to biblical analogy of the narrow path. The high, wide window at the end, in comparison to the short and narrow ones to the side, are perceived to indicate that following the narrow path leads to the light, especially since the window lets in the most light of all the windows in the chapel. The arch that leads up to the altar is also a dark colour, compared to the rest of the walls that are white in colour (Manenti et al, 2011: p63), providing a contrast that is perceived to show pilgrims the tribulations faced before getting to paradise. Numerous designers and architects have long utilized place-making and place that goes long with phenomenology to come up with architecture that has an increasingly social focus (Pallasmaa, 2013: p88). The Civic Museum of Castle Nuovo hosts the Capella Palatina right next to the Palatine Chapel’s sacristy that preserves sacred furniture, objects, and other works by such artists as Giordano, Solimena, and Caracciolo next to more modern paintings. Viewing the old work alongside the newer works, one senses a clash of eras that the Castle Nuovo overall represents (Manenti et al, 2011: p64). On the one hand, one can consciously perceive the older frescoed works of Giotto with bible stories, of which most of the fragments are missing, indicating its age. On the other hand, one can also consciously perceive the newer works of Neapolitan renaissance artists like Domenico Gagini’s “Tabernacle with Madonna and Child”. However, when taken in together, there is an unconscious perception of the different eras from which various works are from (Serra, 1998: p112). This gives one the sense of Castle Nuovo being the meeting place of the new and old Naples. Conclusion Regardless of whether the aesthetics of a building are objective or subjective, they will always tend to contrast with the true work’s demands. However, unlike objectivity that is symbolic of conscious vision, subjectivity tends to blur with objectivity over time. This can be seen in Castle Nuovo where, while the viewer is interested in the objects being presented before their eyes, there are still subjective elements that require one to reflect more in order to understand. Such an example was given with the Palatine chapel that objectively leads the viewer towards a house of worship, but subjectively leads the viewer towards a deeper meaning of how to worship. Something similar is seen with the buildings in Naples, which one may discern objectively as being in the Greek style but, when considered subjectively, indicate a more sinister motive behind the architect’s attempts to create tall, forbidding walls. Therefore, architectural phenomenology is important because it allows for a duality of vision; both what one can consciously perceive and what they can unconsciously perceive. It should manifest a balance between constraints of reality, such as that provided by the destructive forces of Mount Vesuvius and artistic thought, such as provided by the oculus of the Baron’s Hall in Castle Nuovo. By acknowledging this duality, it is possible to perceive the City of Naples in a different manner, rather than only perceiving its objectivity. References Aravot, I. & Neuman, E. (2010). Invitation to Archiphen: Some Approaches and Interpretations of Phenomenology in Architecture. Bucharest, Zeta. Bourne-Taylor, C. & Mildenberg, A. (2010). Phenomenology, Modernism and Beyond. Oxford, Peter Lang. Calaresu, M., & Hills, H. (2013). New approaches to Naples c.1500-c.1800: the power of place. Burlington, Ashgate Dovey, K. (2009). The Dwelling Experience: Towards a Phenomenology of Architecture. Melbourne, Faculty of Architecture, Building and Town & Regional Planning, University of Melbourne. Heidegger, M. (1971). Building Dwelling Thinking. 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