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Phenomenology and it's examples
Phenomenology
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Introduction
Phenomenology can be deemed to be both an unambiguous academic research field and a theoretical design current within contemporary architecture and is usually founded on one’s experience of the materials used in construction inclusive of their sensory characteristics. In this regard, architecture is the impetus towards transformation and inspiration of an individual’s daily existence. Unlike other forms of art, architecture employs the immediacy of an individual’s sensory perception. The complete architectural experience is dependent on many factors such as details, materials, texture, color phenomena, transparency and shadows, time passage, etc. There is the huge phenomenon that phenomenology does not exist in architecture but rather the problems associated with it. This theory is very debatable and this paper will aim at expounding on some of the aspects associated with phenomenology.
Acoustical Intimacy Science
The ear, which is the organ that the body uses to achieve acoustical intimacy, is capable of defining a space and the resultant effect is a sculptural image encrypted in the deep parts of the mind. Acoustic science dictates that sound can be softened or refracted by the surfaces of copious entities of personal life. All spaces and buildings posses individual characteristic sounds of monumentality or intimacy, hostility or hospitality and invitation or rejection. The ability to hear generates a sense of solidarity and connection contrary to the ability to see which creates a feeling of solitude. The sound of a friend approaching you behind your back definitely has a charge filled with emotion as th...
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...nds: TU Delft Department of Industrial Design, 2006.
Holl, Steven, Juhani Pallasma, and Alberto Perez- Gomez. Questions of Perception. Tokyo: a+u Publishing Co., 1994.
Le Corbusier. Towards a new architecture. London: Architectural press, 1959.
Levin, D.M. The Opening of Vision – Nihilism and the Postmodern Situation. New York and London: Routledge, 1988.
Pallasmaa, Juhani. An Architecture of the Seven Senses, Questions of Perception. Tokyo: a+u Publishing Co., 1994.
Pallasmaa, Juhani. The eyes of the skin – Architecture and the Senses. Great Britain: Academy Editions, 1994.
Yusufzai, Zinat. “The Lucidity of Place.” Thesis of Master of Architecture in the Virginia Polytechnic Institute and State University (2001): 10-20. http://scholar.lib.vt.edu/theses/available/etd-11302001-161439/unrestricted/thesis-low-res.pdf (accessed February 19, 2014).
Macey, David. “Postmodernity.” The Penguin Dictionary of Critical Theory. London: Penguin Books, 2001. 307-309. Print.
O’Callaghan, author of Perception and Multimodality, begins the his discussion by pointing out that most past
Mitchell, Helen Buss. "Aesthetic Experience." Roots of Wisdom: A Tapestry of Philosophical Traditions. 6th ed. Boston: Wadsworth, 2011. 303-24. Print.
The human ability to perceive sound is often taken for granted and is erroneously considered, by most, to be secondary in importance to sight. It is true that our primary understanding of the world develops through sight, but sound is responsible for our ability to communicate with one another through both concrete and abstract means, as well as for defining the nuances that shape our surroundings. Without sound, humans would be alienated in their own uncertainty; unable to express the fears and aspirations which are common to our condition. Sound has the unique ability to transcend boundaries, cultures, and ideologies through speech, music, and the noises which we distinguish categorically through memory and experience. It is this transcendental quality of sound which Florian Henckel von Donnersmarck chose as a central theme in the film “The Lives of Others”. The film expresses beautifully the effect that music and language have upon our ability to feel empathy and compassion. The use of sound in the film explores the human potential for change and transformation from our basest instincts toward nobler causes.
The objective mind takes cognizance of the objective world. Its media of observation are the five senses. It is the out growth of man’s physical nece...
"Perception - Definition of Perception by the Free Online Dictionary, Thesaurus and Encyclopedia." Dictionary, Encyclopedia and Thesaurus - The Free Dictionary. Web. 08 Feb. 2011. .
But these contrived differences give rise to esthetic difficulties too. Because inherent differences—those that come from genuinely differing uses—are lacking among the buildings and their settings, the contrivances repre...
The aesthetic form may be “tentatively define[d] as the result of the transformation of a given content (actual or historical, personal or social fact) into a self-contained whole,”. Art, when created in accordance to the aesthetic form, is the channeling of an experience into a subjective format, i.e. a novel, a painting, a piece of music, or any of the many different art forms. The reality of an event is translated into the chosen medium, and in this sublimation of the event, it is modified in accordance to the “demands of the art form” and the subjective perspective of the individual. The re-presentation of this event serves to “invoke the need for hope- a need rooted in the new consciousness embodied in the work of art”. When an event or object becomes the subject of a piece of art, it is necessarily changed according to the restrictions of the art form, artist, and veiwer. This change creates a new reality in where the event may take on a new meaning, thus challenging the original content of the event. This meaning is further influenced by subjectivity of the
The essence of modern architecture lays in a remarkable strives to reconcile the core principles of architectural design with rapid technological advancement and the modernization of society. However, it took “the form of numerous movements, schools of design, and architectural styles, some in tension with one another, and often equally defying such classification, to establish modernism as a distinctive architectural movement” (Robinson and Foell). Although, the narrower concept of modernism in architecture is broadly characterized by simplification of form and subtraction of ornament from the structure and theme of the building, meaning that the result of design should derive directly from its purpose; the visual expression of the structure, particularly the visual importance of the horizontal and vertical lines typical for the International Style modernism, the use of industrially-produced materials and adaptation of the machine aesthetic, as well as the truth to materials concept, meaning that the true nat...
Architecture is the concept of bringing structure, materiality, form and space together as a whole, provide people with enclosed atmosphere to experience. Considering this, it is important to identify that materiality and the purpose of details has been a key methodology to bringing architectural intentions into the design in an affective manner, more over producing an architectural expression. However, this position is rather declining in architecture, reducing tectonics and materiality to being secondary to form and space. With the start of modernism, the attempt to achieve minimalistic style has caused detailing to increasingly develop into a decorative aspect of a building, neglecting its individual contribution to architecture.
To understand the role of place in architecture, the author compares architecture to language. Language has patterns and arrangements, architecture relates directly to what humans do. It changes or evolves as
Everyday experience tells us that different actions need different environments to take place in a satisfactory way. This fact is of course taken into consideration by current theory of planning and architecture, but so far the problem has been treated in a too abstract way. ‘Taking place’ is usually understood in a quantitative, functional sense with implications such as spatial distribution and dimensioning. But inter-human functions are not similar everywhere, they take place in very different ways and demand places with different properties, in accordance with different cultural traditions and different environmental conditions.
D. W. Hamlyn - author. Publisher: Routledge & Kegan Paul. Place of Publication: Sensation and Perception: A History of the Philosophy of Perception. Contributors: London. Publication Year: 1961. Page Number: iii.
The book as a description of modern architecture, its styles and influence succeeds but falls short as a prescriptive methodology. His work is still recalled for the need by modernists to categorize everything into neat little boxes, not necessarily for the sake of uniformity, but for sake of some ambiguity. The ambiguity may be the triumph of this book as post modern architecture era is supposed to create more questions than the answers.
This usually entails the manipulation of texture, proportion and the setting pleasant utilization of sunshine with the intention to realize symmetry, harmony and an accurate equilibrium in complete human life. The essential ideas of good design are pure and to an enormous extent innate. When analyzing the universal properties of sunshine, house, colour and supplies, the inside designer appears to be like at the interplay of the natural legal tips that govern them. The precise design of a room works not only on the customarily ignored senses of odor and listening to but additionally on the emotions. Coloration schemes are selected to copy the mood of a room. Understanding how every side of a design contributes to a common look and feel of a room or area constantly takes precise experience and each architects and designers manipulate these to good