Theory of Phenomenology:
Analyzing Substance, Application, and Influence
Designing an experience is a unique responsibility of an architect. The theory of
phenomenology acknowledges this responsibility by implementing sensory design in order to
establish experiential, architectural space. Phenomenology demonstrated in architecture is the
manipulation of space, material, and light and shadow to create a memorable encounter
through an impact on the human senses. This theory promotes the integration of sensory
perception as a function of a built form. This creates an experience that is beyond tangible, but
rather abstract, observed and perceived. An analysis of this aesthetic through interpretation of
its qualitative elements and the exploration of case studies by phenomenological theorists,
Alberto Pérez-Gómez, Peter Zumthor and Steven Holl, as supportive evidence will highlight its
fundamental characteristics as a theory, in contrast to a more rationalist design approach. An
observational argument to prioritize the human experience in design will be determined by
exploring the theoretical construct of phenomenology.
Architecture influences the community through incorporating human activity with
adapted site context, organized programmatic and interstitial space, and exploration of
material. Phenomenological concept strategies in architectural design intend to develop a
unique experience of the phenomena of space, light and form. This theory contrasts rationalism
by analyzing quality based on its affect on the sensitivity of human perception, rather than
developing a mechanical sense of reason and tectonics. As defined by theorist Vernon Bourke,
rationalism is a theory "in which the criterion of the truth is not sensory but intellectual and
deductive" (Bourke p.263). Rationalism produces a layered system of scientific reduction,
whereas phenomenology delivers layers of sensory details such as emotion informed by design
features of light and shadow, material and spatial perception. A new interpretation of
functionality within design exists in the phenomenological construct.
The dynamics of human perception, of the individual and the community, should
influence design form and function, in terms of circulation and organization of an elastic,
sinuous program to produce sensory architecture. Architecture is designed to serve the needs
of human activity; therefore, creates a relationship between human senses and the building to
transform emotion and perception. Throughout history admiration for the human body in
architecture resonates, specifically in its relationship to human perception. Christian NorbergSchulz
stresses that “the environment influences human beings, and this implies that the
purpose of architecture transcends the definition given by early functionalism” (Norberg-Schulz
5). Phenomenology is the function of quality. Design should foremost consider sensory details
when integrating a collaborative program. Intimate memories of place are often derived from
intricate forms of detail allowing a bond, beyond physical use of a building, an experience, to
become ingrained in memory.
The compositions and beliefs of Alberto Pérez-Gómez, Steven Holl, and Peter Zumthor
emphasize the power of phenomenon in their theoretical constructs. Their arguments consider
that the sensory experience between an architectural object and those who encounter it should
be critical and complimentary. These followers are determined to revive emotion-evoking
design through space, material and light and shadow through expression of these features into
the both the larger context and intimate human perception. The manifestation of this
philosophy will be further explored through a case study analysis of both Steven Holl’s Nelson
Atkins Art Museum Bloch Addition in Kansas City and in Peter Zumthor’s Therme Vals in
Switzerland.
In his book, “Architecture and The Crisis of Modern Science”, Alberto Pérez-Gómez
challenges modern architecture to “reaffirm its role as the theatre of memory and metaphorthat
there is no such thing as a meaningless structure” (Rykwert). Pérez-Gómez expresses the
origination of architectural program through human perception and sensual experience when
he suggests:
“ [The human body] is the locus of all formulations about the world; it not only occupies
space and time but consists of spatiality and temporality… its experience is therefore
“geometrical”. The [extension of this] constitutes the thrust of architectural design, the
creation of an order resonant with the body’s own” (Pérez-Gómez 3)
There is strategic elasticity between human perception and architectural rigor. In his
illustrative book, “Thinking Architecture”, Peter Zumthor believes that, “In [my job as an
architect], I contribute to the existing physical framework, to the atmosphere of places and
spaces that kindle our emotions…[Arranging] the sequences of rooms to guide us, take us
places, but also let us go and seduce us” (Zumthor 85-86). Phenomenology can be exposed
through arrangement of architectural elements. Steven Holl declares, “ While sensations and
impressions quietly engage us in the physical phenomena of architecture, the generative force
lies in the intentions behind it." (Holl, Pallasmaa, and Perez-Gomez 41) There is a realization that
the qualitative characteristics of phenomenology propose a necessary understanding of the
sensory perception of space.
A common theme in each phenomenological approach to design is the management of
space, material and light and shadow. In phenomenology, space is determined by the
development of fluid, flexible program and the utilization of interstitial space. Steven Holl
elaborates on an “architectural synthesis” in the book, “Questions of Perception”, suggesting,
“foreground, middle ground, and distant view, together with all the subjective qualities of
material and light, form the basis of ‘complete perception’” (Holl, Pallasmaa, and Perez-Gomez
44). This establishes the necessity for place making through sensory observance. Initially, the
combination of space, material and light design features creates a sensory observation for the
person and then they develop an understanding of space. Material is the tactile form of
phenomenology that facilitates memory. Zumthor often describes some of his most vivid
memories through the expression of texture and material. He begins, “There was once a time
when I experienced architecture without even thinking about it”, before he goes on to reveal a
vivid illustration on childhood memories of the texture of a “particular door handle”, “gravel
under his feet” and “soft asphalt warmed by the sun”. The phenomenon of materiality induces
memories and emotions, reflecting on of the layers of this theory. “Memories like these
contain the deepest architectural experience that I know. They are the reservoirs of the
architectural atmospheres and images that I explore in my work as an architect,” Zumthor states
(Thinking Architecture 9-10). It is the point where direct connection between the experience
and the visitor come into contact. Not only does this involve the physical sense of touch but
implied visual stimulus as well.
Light and shadow create a playful interaction of color, texture and related emotion
associated to the program. The contrast between these can be sharp or blurry depending on
the desired affect. This strategy can create depth and display texture and is one of the strongest
design features in phenomenology. Lighting is visual, experiential, environmental, and sensual.
The phenomenon lies in its affect on the human condition.
The following case studies represent the implementation of phenomenology; the
specific use of light and shadow to induce experience will be primarily analyzed.