1Thesis submitted to theFaculty of the VirginiaPolytechnic Institute &State University in par-tial fulfillment of therequirements for thedegree of

Master of

Architecture

approved:

Michael O`Brien Chairman

Kay Edge

William Galloway

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Focusing the Senses/ Saint Antonio Mausoleum

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``What we perceive is the significance of surface in relationto our bodies.``

Dr. Mark Schneider

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abstract

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This thesis studies increasing awareness ofthe connectedness of the body to architec-ture. The objective is to explore and inves-tigate the levels of attention required byeach sense to summon the corporeal natureof the observers, to call us to a quietness ofmind, transcending our western pace andcreating awareness that leads our bodiesand mind toward a unified perception ofplace.

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introduction

Bloomer and Moore`s interpretation of our`reading` architecture had resonated earlyin my career. From childhood I sensed anunderstanding of the woodlands near myhome. The rise and fall of the terrainthrough my feet and lungs, the moisturecollecting on my skin from a nearby creek,the richness of possibilities in the dampsoil which had been developed by years ofdecay, the `spaces` created due by suddenelevation changes of Appalachia and theassociation of time and processes creatingthis which, is greater than me.How does architecture afford these sameabilities in a physical reading? I do notbelieve I shall ever forget the presence foundin my childhood in those woodlands. Shouldnot architecture offer the same experience?``To at least some extent every place can beremembered, partly because it is unique,but partly because it has affected our bod-ies and generated enough associations tohold it in our personal world.`` (Moore). Theentrance to Frank Lloyd Wright`s master-piece Fallingwater, has specifically challengedme to understand this essence of architec-ture.

Kent C. Bloomer and Charles W. Moore, “Body, Memory, and Architecture…”

“The body image...is informed fundamentally from haptic andorienting experiences early in life. Our visual images are de-veloped later on, and depend for their meaning on primalexperiences that were acquired haptically.”

Cooper’s Rock State Forest, West Virginia

How do we know we are in the presence ofarchitecture? Could it be when we under-stand a design through its process, orthrough its symbolism? Or perhaps througha quietness of mind? As I stood in the entryto Fallingwater, my mind became quiet. Ifelt the damp stone, I saw a strong contrastof light, which revealed texture, I smelledthe earth, I heard the sound of a waterfalland I felt the constricted spatial enclosure.All of my senses were being used to inter-pret this space. I knew nothing of the tar-tan grid or the translation with which FrankLloyd Wright had developed this design. Iknew nothing of the symbolism of the crys-tal that may have been present. I was justquiet. I was in the presence of architecture.This presence began my search for under-standing this architectural experience. Howwas the distance separating my body andmind reduced with just material and planes?How did I become so aware of the surfacesaround me?

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“Western architecture theory since Alberti has…been engaged primarily with questions of visual percep-tion… Alberti’s statement ‘Painting is nothing but the inter-section of the visual pyramid following a given distance, afixed center and a certain lighting’ outlines the perspectivalparadigm which also became part of architectural thinking.Both consciously and unconsciously the eye finds its hege-monic role in architectural practice gradually, with the emer-gence of the bodiless observer. The observer is detachedfrom a incarnate relation with the environment through thesuppression of the other senses.”

Juhani Pallasmaa, “The Eyes of the Skin”

This thesis poses a question. How does thebody perceive your presence? The senses ofvision, tactility, hearing, tasting, and smell(Pallasmaa would also include skeleton andmuscle) are the receptors with which we movethrough space. In the order of life, the painteris sight, the musician is sound, the chef istaste, the horticulturist is smell and thesculptor is touch. But in the world of archi-tecture the senses of taste and smell provedifficult, but the senses of sight, touch andhearing find little resistance. This is where Iwill focus for this project while acknowledg-ing the others for future investigation.

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“There is no doubt that our technological culture has ordered andseparated the senses even more distinctly. Vision and hearing arenow the privileged sociable senses (I would even argue withinarchitecture that hearing has fallen), whereas the other three areconsidered archaic sensory remnants with a merely private func-tion, and they are usually suppressed by the code of culture. Onlysensations such as olfactory enjoyment of a meal, the fragrance offlowers and responses to temperature are allowed to draw collec-tive awareness in our ocularcentric code of culture.”

Juhani Pallasmaa “The Eyes of the Skin”

“The current overemphasis on the intellectual and conceptual di-mensions of architecture further contributes to the disappearanceof the physical, sensual and embodied essence of architecture.Contemporary architecture posing as avant-garde is often moreengaged with the architectural discourse itself and mapping thepossible marginal territories of the art, than responding to humanexistential questions.” “The Eyes of the Skin (Page 22)

Computer generated pedestrian flow patternused to generate a design by SHoP.

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Antithesis Richard Meier is a good example of the type ofarchitecture Pallasmaa critiques. “Meier’s plans callon geometric vocabulary, often based on the circle and square, arigorous system of grids, ever more the choice of white cladding…”Tom Wolf writes, “I once saw the owners of such a place (a Meierhome on Lake Michigan) driven to the edge of sensory deprivationby the whiteness & lightness & leanness and cleanness & bare-ness & spareness of it all.” (Page 16; Richard Meier, Jodidio, Philip,1995 Taschen). Meier has privileged the mind overthe body. He creates space, which relies on thevisual to read the surfaces surrounding thebody. “He (Walter J. Ong) argues that as hearing-dominance hasyielded to sight dominance, situational thinking has been replacedby abstract thinking. This fundamental change in the perceptionand understanding of the world seems irreversible to Ong…” (JuhaniPallasmma. “The Eyes of the Skin”)

Richard Meier The Atheneum

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“I believe that there is...some sense of this oneness, of“dark space”. Whenever we experience a disorienting shiftin emotional gears or a change in the emotional “direc-tion” or orientation of our life. I also believe that, as we arebeing emotionally moved, we can experience ourselves as“slipping into a dark, or relatively obscure space of feel-ing. In this affective space, this space of felt feeling, vi-sion relinquishes its repressive “hold” on proximity andobjects are no longer “observed” in restraint, at a dis-tance. They touch us.”

Sue Caltaldi,“Emotion, Depth and Flesh”

While I am not suggesting an emotionalchange is needed to experience architec-ture, I am suggesting that architectureitself can provide this type of experience.When I read Sue Caltaldi`s statement of``vision relinquishes`` I make an associa-tion with architecture. Architecture hasan ability to create pause in our minds,which, in our time, can be interpretedas vision, therefore allowing our othersenses to experience these relationships.If architecture can allow for a quietnessof mind then our haptic abilities, whichare innate, can build a memorable ex-perience.

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We have developed a history of ignor-ing death. Rulers erect monolithic burialtemples and afford enormous resources toprovide a permanent place among the living.Even in our recent history, aristocrats hireour most accomplished architects to con-struct cemeteries and mausoleums as state-ments of their permanence.

But what develops from these actions?We create a place, which become hinge pins tomany of societies infrastructure. Our com-munities typically use the death of theirfounder as a center point for their values. Agrave marked by large statues becomes anicon or literally a center for the community`sactivities. A grave located in a remote loca-tion for the human who accidentally encoun-ters it, transforms a remote hill into aplace developed by human mortality.

It is in this space that we becomeaware of our reach. We question all aspectsof our life and of the lives that we arereflecting upon. Becoming aware of life whenconfronted with the topic of death, our sensesbegin to perceive things as a child. We be-come aware of things we have relegated toour subconscious.

“As the primordial sign of human mortality, the gravedomesticates the inhuman transcendence of space and markshuman time off from the timelessness of the gods and the eternalreturns of nature.”

Robert Pogoe Harrison

project

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Site

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“There’s some discovery you did not expect. The object is not reallyimportant; it’s the experience of the event.”

Lawerence Scarpa

How does one place a structure, which affords analternate experience of Appalachia? A chance toexperience the depth at which this land rises andfalls. A chance to physically step upon the time oftopography. According to Scarpa, the object forthis project is a summit of the Appalachian hillsin Morgantown, West Virginia. The discovery camefrom the mountains change in elevation. An expe-rience comes from vertically moving through thissite.

Ariel view of site

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This project uses the presenceof sandstone, which is indigenousto the area and has a historyof being foundation material forlocal structures. The stone hasa wide range of refinement pos-sibilities to display the level ofreverence we hold for this ma-terial. Through history stone hasbeen given elevated status dueto this characteristic. Becausewe give hours of time to finishstone we are attaching a char-acter of time and solidity. Char-acteristics which are necessaryfor cemetery.

Senses

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TouchHow do our bodies touch the surfaces within our reach? The first reaction of thought is the hands.The hand leads us toward a complete reading of a material. If we can lift an object, we gain aninterpretation of its weight, its level of refinement (being smooth or rough) and its shape in amatter of minutes. As suggested by Charles Moore, we develop our initial understanding of the worldthrough our hands. But what about the other parts of our body? Other ways in which we developa tactile understanding is through our feet. As we walk through our world of smoothly finishedconcrete, we may have become unaware of this tactile sense. One ``rule`` we have made, as thedesigners of sidewalks, is to create a noticeable change when approaching a crosswalk. I found manyto be completely unnoticeable other than their color, again privileging vision. We can experiencethese surfaces in many ways, through sitting, leaning, kneeling and rubbing just to name a few.These are the interactions to which I can give my attention in design to allow for tactile experience.

``Natural materials - stone, brick, and wood - allowthe gaze to penetrate their surfaces and they en-able us to become convinced of the veracity ofmatter. Natural material expresses its age and his-tory as well as the tale of its birth and human use.The patina of wear adds the enriching experienceof time.``

J. Pallasmaa ̀ `Retinal Architectureand The Loss of Plasticity``

Vision and Tactility

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My demonstration of this thesis will occur by a first person experience ofthe project. Throughout this visit I will move from the first personobserver to an architectural explanation of the how andwhy.

“How, then, is the transition to physics possible? It becomes pos-sible, Kant now realizes, if we focus our attention on the movingsubject, rather than on the object that moves.” (Opus Postumum.Immanuel Kant)

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As I stand in a circle of trees and stone in front of my church, I see a path leading to the mausoleum. I find myself standing onsmooth level stone surrounded by the trees overhead bearing white flowers with the smell of oranges. At my feet, a single lineof rough stone has been placed into the ground and as my eye follows its direction, I notice this line cuts into the earth tomaintain the same level.As I begin to walk toward the complex, I move from above the surface to below, then above again. All the while this rough-stone-line becomes a wall then a line again disappearing into the soil. With each step the wheeled cart and I make rhythmic soundsdue to hard rubber hitting the stone blocks.

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1 2 3

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“I augment the land and allow you to perceive it. The whole of thefield with the elements in it becomes one (object).”

Richard Serra

A wall of mortared cutstone creates the circle,which is surrounded bythe male species of or-ange trees. These runalong the path until themain retaining wall be-gins. Slabs of cut stonethat are spaced at one-quarter of an inch cre-ate the floor. These slabsrun the width of the pathuntil the entrance to themausoleum. A roughstone, which is dry-stacked, creates the singlehorizon line. This line be-comes the level for themain retaining wall whichdefines the separation be-tween the hands of na-ture and the hands ofman. From this line, amovement from above theearth to completely belowit occurs.

Horizon line which makes awareness of topography.

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Water that breaks its ownlevel creates a sound for anindividual experience. Lowerin volume and inconsistentin tempo, this sound becomesseparate. This intimate soundoccurs within the body ofwater, a nearness to thissound will be for the indi-vidual whom scoops waterfor eternal life.

Small sound volume (click to play)

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Continuing, I begin to descend below the surface for thefinal time. The line of stone becomes a wall towering twentyfeet high. The sounds of my steps begin to grow in volumeto the point of muting the cart. Further ahead a stream offalling water can be heard, faint at first then growing as Iwalk closer to its source. I look ahead and see the streamof water that stops this wall of stone. I have reached the endof the smooth stone path and rough wall. Opposite this ispresented the names to which I will one day be added.

The wall is composed of rough, dry stackedstone and is used as the retaining wall forthe complex. At the obtuse corner, the wallhas been interrupted with a waterfall whosesource is from the collection of groundwater from above. This design is a recessedwaterfall, which directs sound forward witha small amount of spread. This makes thesound stronger at its source, which marksthe entrance to the complex. The concretewall opposite the stonewall will become thedirectory of names. As the mausoleum fillsso does the wall.

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Wall of names.

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The first level of refinementdoes not call our touch. Be-ing a stone which requiresthe least involvement of man,this rough stone maintainsits innate characteristics ofheaviness, lack of refinementand of being from the earth.It occurs as the main re-taining wall for the struc-ture.

Dry stacked stone.

Stone Wall location. Waterfall at entrance.

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Entrance.

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The sound of a water falling both near and far can be heard underthe prayers being said as the cart rolls into grooves carved intothe floor. As the wind shifts bringing the distant water closer, Isee a group of rough-cut columns that form shelter by holding alarge roof. Their matte finish contrasts with the smooth, shinystone floor, which becomes unnoticeable under my foot. Havingno barrier, the air moves across my skin with the heaviness ofwater and the sounds of my steps fade in and out as I pass eachcolumn.

Standing at the entrance, you are open to the airon all sides. This allows for the sounds of the siteto be present. Two waterfalls are directed towardthis position that allow a comprehension of thesize of the complex. Grooves made into a con-trasting large stone slab marks the end of thecart`s necessity.There are two paths that can be taken. By the flipof a coin I move counter clockwise for the expe-riential walk.The Tomb of One is created by a rhythm ofcolumns made from cut stone. It uses the areasbetween these columns to provide individual placefor these people. The columns rest on a honedstone floor that rests on a concrete slab. This isdone to prevent the stone from losing its smoothlevel. The roof is made of cast-in-place concretewith a beam above the roof to allow the columnsto penetrate the ceiling. This allows for the ap-pearance of light to hold the roof. This is anexample of allowing sight to be elevated whenelements are out of arms reach. They evoke thetactile sense.

Place for transition from cart

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Tomb of One

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Night View Tomb of One.

Tomb of OneCut stone blocks

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“We trace the density of the ground with our soles.Standing barefoot on a glacial rock by the sea at sunsetand sensing through one`s soles the warmth of thestone heated by the sun is a healing experience; it makesone part of the eternal cycle of nature. One senses theslow breath of the earth.”

Juhani Pallasmaa

As I continue to walk, the sky becomes the ceilingand the sensation of a rough, uneven surface runsunder my feet. The stone from the rough wall hasbecome a path, which runs to the water’s edge andmeets a line made of smooth stone. My eyes strainto see the matte finish on each column I pass asthey go from light to dark. A distant sound of wateris increasing its presence with each step. Then Ifeel the floor become smooth just before I walk un-der a hovering roof.The sound of water becomes distinctly distant withthat one step. The shiny floor quiets my feet, whichallows my hand to stroke the rough letters chiseledinto the smooth surface containing the person within.The shadow mimics the coolness of the stone andblurs those who are near; only their singing of hymnscan be heard over my steps. I walk forward throughthe alternating volumes of light and sound as I seesoft light framing the tops of columns then washingdown their matte faces until it reaches the floor witha soft glow.

The path is made from a cut stone turned on edgeand placed with a half-inch reveal of earth mor-tar. The earth mortar becomes level with the faceof the stone at the entrance of each opening intothe Tomb of Few. This is an example of the quietvisual details that define places of transition. Acontrasting honed stone defines the edge of thewater creating a boundary to allow only hands todip water for flowers.

Water edge.

Cut stone floor. (Antonio Eddy Pictured)Cut Matte finish.

Tomb of Few.

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Tomb of Few.

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The assembly of these tombsdemonstrates the position ofthe visual in the structure.The construction is one whichcan easily be understood bythe eye. This develops a senseo f fami l i ar i t y . We havehaptically learned that a stonepresents an innate resistanceto compressive forces, there-fore, compression directs allstone throughout this project,resisting gravity. Perhaps theonly instance which breaks thisrule occurs in the roof struc-ture, which, being out of armsreach, is developed for the eye.

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31The floor for the Tomb of Few ispolished concrete. This also de-fines the transition from the pathto the tombs. The stone used tomake the columns in this area isof a honed level of finish, allow-ing for human comfort when lean-ing for support. It also demon-strates the elevated involvementof the thought of man. The roofis made of cast in place concrete.Again, allowing the visual to beelevated due to the distance fromarms reach.The spatial enclosure made fromthe cubic tombs allows for theseparation from other humansnecessary to visit with the dead.By reducing the number of facingnames, the possibility of humaninteraction is reduced. The spa-tial nature also allows for thereduction of penetrating soundsfrom water and humans and of areduced level of light.

Exploded isometric Tomb of Few.

Roof detail.

A stone worn smooth by watermovement becomes one with theskin when held. This third levelof refinement occurs where ouremotions quiet our vision makingdepth nonexistent. The materialscome upon us, our senses feelthose surfaces which are near.

Sawn stone blocks

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I step onto the rough stone path again moving towardthe increasing sound of falling water. As I walk past theshiny stone wall the near water escapes my ear. I hearonly the wind moving through the open structure and adistant waterfall. As I turn the corner of the wall, my feetfeel the matte stone, which lies in front of the smallwaterfall I now see. The bowl made of shiny stone re-ceives water that calls my fingers. The water is muchcooler than the stone, which has been warming fromthe morning sun.

Waterfall at Chapel

Water in a recess provides a uniform volume andconsistency of sound. If it can be detected, thesound level of this structure of water stays nearlyconstant. This structure of water is employed asthe source at the mausoleum`s chapel. This pres-ence of water will become the sound for all toexperience, becoming sound from structure.

Recessed Waterfall (click to play)

33A one-foot high drop by four-teen-foot long sheet of waterdrops into the pool to createthe sound of the waterfall. Thisis the sound of water that isheard from all places in thecomplex. The volume of waterthat is dropped can control theamount of sound. For exampleif the volume is lowered thenthe sheet breaks into smallercurrents, which creates a lowervolume of sound.The matte floor is one largeblock of sawn stone that ex-tends the length and width ofthis threshold. The waterfall,which can now be seen, fallsfrom the top of the chapel wallhugging a sloped stone wall untilit reaches the polished stonebowl. Over time this bowl willdevelop grooves from the fin-gers, which cleans the soul. Thewater will maintain a cool tem-perature due to its northernfacing location.

Font

Font transition

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The walls of the chapel are made ofa highly polished stone. The rever-ence that we hold for religion ispresented due to a large amount ofhuman investment. This is also themoment where we share time withthose who have come before us byrubbing the sharp corners and thesmooth faces. By reflecting ourwords back to our ears, the wallsincrease the level of the spokenword. The waterfall volume of soundis reduced by its location. Its soundacts as a recessed sound, whichtravels forward with little spill inthe direction of the spoken words.The floor of this space uses thetwo different levels of rusticationto designate the functions of thespace. A sawn faced stone is placedin the line of procession while acut stone marks a place to stand.

I am in the chapel, and I move toward thepolished altar which holds the center of myview; a faint presence of the waterfall can beheard but quickly becomes muted by words.Each stone has a crispness that shows thelevel of thought given to this space. My stepsfeel the smooth stone, which holds proces-sion toward an altar, and as I move to stand Ifeel the floor become coarse and uneven. Myfoot steps move quickly from the shiny wallsto my ear as we begin to walk again.

Refinement details at chapel

Chapel floor

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Chapel

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Once again I step onto a rough, uneven stone path. My step isreturned back to my ear from the large, rough wall, and as Ireach the end of the smooth, shiny wall, the sounds of the wa-terfall become instant. I can hear the water from both sides, itssource on my left and from the hard stonewall on my right. Aswe walk I see a dark cave within the stonewall contained behindmatte columns. As my hand reaches out to grab a smooth,rounded corner, I enter through the widest opening between col-umns. After a few soft steps, I am faced with a large wall ofmatte columns and shiny squares.

The sound of water can bedirected or limited by aharder surface. We do notalways want the presenceof water when speaking,therefore walls need to beconstructed. At the chapel,we want sound to comefrom within, so the ab-sence of sound will con-tribute to elevating ourspirit.

Directed Waterfall (click to play)

Tomb of Many

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My attention to the visualsense has developed withan awareness of its privi-leged position in our cul-ture. Therefore, my intentis to allow the visual tosupport all other senseswhen in direct adjacencybut to become strongerwhen at a greater distancethan arms reach.My belief is one of visual``clues`` which do not be-come the ̀ `intellect`` of thedesign but become a partof the experienced whole.

Refinement details at Tomb of Many

Cut stone blocks Cut stone pavers

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Steen E. Rasmussen suggested that through thepresence of deep shadow (in Dutch Architecture),the experience of architecture is elevated. He issuggesting that if our sense of vision is dimin-ished our other senses are heightened, makingfor a better experience. As I look to Frank LloydWright`s Falling Water for a personal experienceof this thought, I find that his design creates thissame type of deep shadows that Rasmussen sug-gests. Although Wright uses his material choice tohelp in this capacity, I also notice that he usestexture, temperature and smell to create thismasterpiece.

With these things coming to presence, it becomesapparent that a diminished visual sense is notsomething easily achieved nor would it be a cor-rect direction. A better way would be to elevateour other senses to equal vision. This has re-quired a careful study into the abilities of sur-faces to be experienced through those other senses.For this mausoleum project, I have chosen sand-stone has the material of investigation.

I am in the tomb of many. The contrastof light and dark is strong; because theirdetails are in shadow I only see the out-line of those around me. Their wordsbounce off the walls making there sourceimperceptible and when combined withthe sound of the near water, I can hearnothing. The strong light source thatcomes from above the wall of namesmakes it even harder to see anythingbut the wall. The light follows the col-umns until it spills to the floor where itshimmers from a small collection ofmoisture. Its presence makes me feelthe coolness of the cave.

Entrance Fallingwater 17th century Dutch Home

Section through Tomb of Many

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Tomb of Many

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Conclusion

Continuing to search for an understanding of myarchitectural experience at Fallingwater, I thank-fully crossed paths with Dr. Mark Schneider (aprofessor at Virginia Tech). He presented me witha summation of my research, which stated is;``What we perceive is the significance of the sur-faces in relation to our bodies.`` With this thoughtin mind this project evolved as a focusing of thesenses (perceptions), which became a measure forall future decisions. As I continued to researchthis direction, other significances began to revealthemselves. Those which present history, time,social character and many more are also calledupon to enrich the experiences of architecture.These presences will be more difficult to capturedue to their non-universal character, which willhave to be investigate with each future project.Also, through this investigation a constant reduc-tion in the development of detail, though onlyoccurring in the sheer number of details and notin their support of touch and sound, becameapparent. Therefore a future question will be tounderstand the significance of development or com-plexity. Can a large number of material detailsallow for the elevation of our other senses? Dothey present a level of development which canassist spatial enclosure? Can they awaken our feetand hands through their textural qualities? Canlight reveal their material depth and texture?And can all of this be done to create a memorableplace?

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Acknowledgments

With sincere gratitude, I wish to thank those people whose sup-port and friendship made this experience greatly rewarding.

My thesis committee (Mike O`Brien, Kay Edge, Bill Galloway):For their guidance and enthusiasm for this project.

My Cowgill colleagues (Kevin, Jim, Mike, Paul, and others)For the sense of kinship that developed and the experiences ofdiscovery.

My wife and son (Teresa and Antonio Eddy):For their love and support, and for the many sacrifices madeduring these years in Virginia.

My family and friends:For their continuing support in willing me to this importantgoal.

Thank you for helping me realize my potential.

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Entrace to FrankLloyd Wright`s FallingWater

Entrace to FrankLloyd Wright`s FallingWater

Dutch Home

Vision and TactilityHerbert Bayer 1932

Coopers Rock StatePark West Virginia

Antheneum. RichardMeier.

Greenport traffic flowpattern. SHoP.

All images are by the author, partof the public domain or coveredunder Article 17 of the CopyrightLaws.

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Futagawa, Yukio. Town Hall in Säynätsalo,Säynätsalo, Finland, 1950-52. Tokyo: A.D.A.Edita, 1973.

Ford, Edward R. The Details of ModernArchitecture. Cambridge: The MIT Press,1990.

Hall, Edward T. The Hidden Dimension.New York: Anchor Press, 1969

Harrison, Robert Pogue. The dominion ofthe dead. Chicago: University of ChicagoPress, 2003.

Holl, Steven; Pallasmaa, Juhani; PérezGómez, Alberto. Questions of perception: Phenomenology of Architecture.Tokyo: E and Yu, 1994.

Ito, Miwako. Aquascape: Water in JapaneseLandscape Architecture. Tokyo, Japan: ProcessArchitecture Co., 1990.

Moore, Charles Willard. Water and Architecture.Ann Arbor: UMI Dissertation Services, 1993.

Olsburg, Nicholas, et al. Carlo Scarpa Architect:Intervening with history. Canada: MonacelliPress, 1999.

Portoghesi, Paolo. Carlo Scarpa: Cemetery Brion-Vega, S. Vito, Treviso, Italy. 1970-1972. Tokyo:A.D.A. Edita, 1979.

Schildt, Goran. Alvar Aalto: The Early Years. NewYork: Rizzoli, 1984.

Taylor, Patrick. Water. New York: Simonand Schuster,1993.

Tamulevich, Susan. Dumbarton Oaks:Garden Into Art. New York: MonacelliPress, 2001.

Pallassma, Juhani. The Eyes of the Skin: Architec-ture and the Senses. London : Lanham, MD :Academy Editions, 1996.