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SensoryReadingsinArchitectureBySherylBoyleThispaperwillreviewselectedreadingsinthefieldofarchitecturebyarchitectsthatdealdirectlywiththetopicofsensoryperceptionincludingJuhanniPallasma,JoyMoniceMalnarandFrankVodvarka,StephenHoll,AlbertoPérez‐Gómez,PeterZumthor,AnnaBarbaraandAnthonyPerliss.Thelistisnotexhaustive,butratherfocusesontextsthat,withinthefield,arefrequentlyreferredtoindiscussionsonthesenses.Manyofthetextslamentthelossofamulti‐sensorydesignofthebuiltenvironmentinavision‐dominatedworld.Anearlypublicationthatbroughtthetopicofthesensesindesigntotheforefrontincontemporaryacademicarchitecturaldiscussionswasthe1994SpecialIssueofArchitectureandUrbanismjournalentitledQuestionsofPerception–PhenomenologyofArchitecturefeaturingarticlesbyStevenHoll,JuhaniPallasmaaandAlbertoPérez‐Gómez.Theircumulativearticlesandexamplesinthetextworktoremindthereaderoftheimportanceofagenerativeimagination,anethicalworld‐viewandencourageaphenomenologicalapproachtoarchitecturethatcelebratesexperience.Pérez‐Gómezsetsthestageforthephenomenologicalapproachbygivinganhistoricalaccountofarchitecturesarrivalatanemptyformalism,searchingformeaningandfindingitinapoeticresistance.Pallasmaa’sarticleentitledAnArchitectureoftheSevenSenseslamentsthecurrentfullengagementinarchitecturalexperienceatfavouroftheartoftheeye.Heembracesamulti‐sensoryapproachtothematter,spaceandscaleofarchitecturebeing“measuredequallybytheeye,ear,nose,skin,tongue,skeletonandmuscle”1andpresentsthesensesasageneratorforsensorythinkingaswellascontributingtoreason.Throughaseriesofevocativeexamplesthatdescribeeachsenseandtheirintimacyasitrelatestospace,Pallasmaarevealsthewayinwhichthenon‐visualsensesfoldusintospaceandbecomeapartofitversusvisionthatsetsusapartfromwhatwesee.Hefinishesthearticlebysettingthetaskofarchitectureasoneofallowingustoplaceourselvesinthecontinuumofculturethroughembodiedexperienceandmemory.StevenHollbeginshisarticlecritiquinghisownmediumforthediscussion–namelythattextcanperhapsnotdojusticetoquestionsofperception.Heappealstoa1Pallasma,QuestionsofPerception,p.30

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heightened“sensitizedconsciousness”toeverydayexperienceandheseeswordlessarchitectureastheperfectmediumtoawakenallthesensesbyfreelyallowingtheinhabitanttoblendthesensorymenuofferedupbythespace.Wherearchitecturemovesbeyondsimpleperceptionofphenomena,suchasinnature,isinitsintentionalityorthemotivationtounderstandthementalphenomenabehinditscreation.Hollpresentsaseriesofprojectsthatdealwithavarietyofphenomenathatexploreelementsofperceptionanddesign.Theideaoftheseprojectsisnottopresentatotalityorsummationonperception,buttoilluminatediscretefragmentsthateachcontributetotheprocessofdesignandenhancethesensoryexperienceofthatplace.Afinalarticleentitled“ArchetypalExperiencesofArchtiecture”alsobyHoll,seekstoconfirmthefragmentarynatureofexperienceandtracesHoll’sfirstandsubsequentvisitstoseveralkeyarchitecturalspacessuchasthePantheoninRome,Rochamp,RyoanjiTempleinJapanandtheJohnsonWaxbuildingbyFrankLloydWright.Eachexperience,sometimesseparatedbytwentyyearspresentedanewseriesofsensationtoHoll,someduetoweatherortheseasons,someduetothetimeofday,andsomeduetothechangesthathadoccurredinHollhimself.Theoverlappingofthefragmentscreateachangingnewperceptionofthespace,andleadHolltobelievethatarchitectureisalwaysperceivedaspartialviews,inturncreatinganwayoflookingattheworld,inaway,linkingbacktothefirstarticlebyPérez‐Gómez,andenticingthereadertoreaditagain.AfterworkingontheA+Ujournal,JuhaniPallasmaaproducedaseriesofbooks,beginningwithTheEyesoftheSkin–ArchitectureandtheSenses(1995/2005)followedbyTheThinkingHand(2009)andTheEmbodiedImage(2011).StevenHollwritesthePrefaceforthebook,andnotesthatitbuildsupontheworkonphenomenologyfirstdelineatedinQuestionsofPerceptionin1994.TheEyesoftheSkinfocusesontheprimacyoftouchandinthesecondeditionofthebook,hestatesthatthetitlewasmeanttocreateashort‐circuitbetweenourperceptionofvisionassuperiorandoursenseoftouch.Healsoopensthediscussiononperipheralvisionasanewandenticingpartofvisionthatisoverlookedindiscussionsonperceptioninarchitecture.ThenineshortessaysthatmakeupthefirstpartofthebookoutlinethehegemonyofvisioninWesternculture,heldinesteemsincetheancientGreeks.HereviewstheoristswhohaveopposedocularcentrismandtheirsupportingtextsincludingNeitzsche,SartreandMerleau‐Pontyandpresentstheconceptsofthenarcissisticandnihilisticeyeinthebarrageofnon‐participatoryimagesofcontemporaryculture.Beforethedominationofvision,manycultureswereorallycentered,basedonatraditionofstory‐tellingandproximityratherthanonseparationfromtheobjectviewed.Earlyconstructiontypescanalsobetracedbacktoamorehapticandcorporealtype(mudhutsetc.)andyetsinceAlbertiandearlyRenaissanceperspectivethroughtothedetachedeyeofmoderncityplanning,Pallasmaafollows

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thedominanceofvisioninarchitecture.Inparallelwiththisfloodofimagesandfocusingonspace,comesalossofthetemporalinarchitecture.Heseestheshiftintheuseofnaturalmaterials,craftsmanshipanddetailsdesignedforthehumanbodywhichagewithtimetomodernmaterialssuchassteelandglasswhichdonotgainpatinaandwhichhidetheirprocessesofconstructionasfurthermovingarchitecturalexperiencefromafullysensualencountertoapurelyvisualone.Heendsthefirstpartbypresentinghopeforanewbalancingofvisionintherealmofthesensesbythedistractedview,orperipheralvision–adistractedlookingenabledbytheflowofimagesandtechnologyratherthanthedominanceofasingleimage.Thesecondpartofthebooktracesthesuppressionoftheothersenseswhichhashappenedintandemwiththedominanceofvision.BeginningwithMerleau‐Ponty’sconceptofthebodyatthecenterofperceptionandexperience,andBachelard’sconceptofthe‘polyphonyofthesenses’,Pallasmaareinforcestheimportanceofthecollaborationofthesensesinperceptiontocreateafullyembodiedmaterialandspiritualconstruct.Hetracestheimportanceofthespacesofshadowaspresentingamomentwherevisionissubduedandlessclear,allowingspacefortheimaginationtoengage.Spacessuchasthemagicofthechiaroscuroinpainting,intheshadowsofJapanesearchitectureasdescribedinTanisaki’s“InPraiseofShadows”andinthetwilightspacesofthecity.PallasmaathensetsoutsevensectionseachdedicatedtoasensebasicallyrepeatingthetextwritteninQuestionsofPerceptionwithonlyslightalteration.BorrowingontheAristotelianmodel,Palassmaaaddstheengagedrolesofperception,memoryandimaginationtohisearliertext,stressingtheimportanceoftheserealmstoevokesensoryexperienceandhenceenhancefutureperceptions.Thetextconcludeswithtwoshortsectionsoutliningahostofarchitectsfrommodernismonwardsthathavefocusedonvariousindividualsensesaswellasafewwhoseworkhaveengagedthefullsensoryrealm,includingFrankLloydWrightandAlvarAalto,GlennMurcutt,StevenHollandPeterZumthor,openingthediscussiononthesensestomovefromoneoftext,toonesitedinthebuiltworkofthearchitect.FouryearsafterrepublishingTheEyesoftheSkin,Pallasmaapublished“TheThinkingHand–ExistentialandEmbodiedWisdominArchitecture”whichelaboratesonthecontemporaryperceivedseparationofthebodyandthemind,ofsensingandreasoning,ofpracticeandtheory.Hefocusesonthehandtoilluminatethisseparation,inparticularasitrelatestotheacquisitionofknowledgeintherealmofcraftsmanship.Henotesthatthelossofthiscorporealknowingthroughdirectexperienceisslowlyleavingoursystemsofeducation,andbeingtreatedsolelyastechnique,ratherthanknowing.Whilethefocusofthetextisthehanditselfandthecreativeprocess,itnonethelessreinforceshispositionofthecollaborationoftheeye(vision),hand(haptic)2andmindalongwiththeother

2Pallasmaa,TheThinkingHand,p.82.

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senses.Furtherinthetext,Pallasmaarevisitshisearlierassertionsoftheprimacyoftouch3andthatthinkingshouldbeunderstoodasembodiedthinkingandnotseparatedfromthesenses.4Hestatesthatarchitectsmustthinkwiththeirbodiesinordertodesign,whichincludesengagingembodiedmemoryandthoughtstoimagineandcommunicateadesignthatisbothdesignedwithandforasensualbody.Pallasmaa’smostrecentbook,TheEmbodiedImage–ImaginationandImageryinArchitecture(2011)focusesprimarilyontheproliferationoftheimageincontemporarycultureandthespecificdemiseofthepoeticandembodiedimageandimaginationatthehandofemptyimagesandvisionseveredfromtheothersenses.Hecallsforaresurgenceofthemulti‐sensoryimage5toallowvisiontoreintegrateandminglewiththeothersensestoreinvigoratethedesignprocess,ourmeansofrepresentationandfinallyourbuiltarchitecture. Thetitleofthebook,SensoryDesign(publishedin2004)byJoyMoniceMalnarandFrankVodvarkagivesthereaderhopethatanewmulti‐sensoryscopeforarchitecturaldesignisbeingexploredinthe335‐pagetextastheopeninglineofthebookposesthequestion“Whatifwedesignedforalloursenses?”6.BorrowingmuchfromtheworkofPallasmaa,thetextunfortunatelyleavesthereaderwantingaclearerexplorationdespitemanytopicsbeingcoveredandmanyreferencesincluded.MalnarisanassociateprofessorofarchitectureattheUniversityofIllisnoisatUrbana‐ChampaignandandVodvarkaisanartistwhohaswrittenonthehistoryofarchitecture.Overthecourseoftwelvechapters,thebookproposesto“explorethenatureofoursensoryresponsetothespatialconstructsthatpeopleinvestwithmeaning”andfromthatunderstanding,createadesigntypologyforsignificantspaces.7Thebookattemptstocoveraverywiderangeoftopics,andeachindividualchapterreachessobroadlythattosummarizethebook,itisnecessarytocoverchaptersindividually.Theopeningchapterdealswithsensoryresponseandculturalmemoryandthroughafewexamplesconcludesthataplaceperceivedinbothcognitiveandsensorytermsisuniqueandofinteresttothecollectivememoryanddistinguishableasatype–aplacesensed(orasenseofplace).

3Pallasmaaseesallthesensesasextensionsofthesenseoftouch,withthebodymembranesoftheothersensoryorgansallinsomewaybeing“touched”bystimuli.Ibid.p100.4Ibid,p107.5Pallasmaa,TheEmbodiedImage,p.50.6MalnarandVodvarka,p.ix7ibid.

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ThesecondchapteroverviewsaselectionofartmovementsincludingDeStijl,theBauhaus,poetryandphenomenology,theEnlightenment,CIAMandtheworkofFrankLloydWrightandattemptstodiscerntheirpositionwithrespecttothesensesandtheconceptofculturalmemory.Theauthorsputforwardaconceptofsensoryexperience;namelya)involuntarysensing:immediatephysicalresponsetostimulus,b)conditionedresponse:basedonpriorknowledgeofthestimulus,andc)rememberedsensation:responseconditionedbymemoryassociatedwithaparticularplaceandtimewhichhavecreatedasensoryimprintonthebeholder.8Unfortunately,theexamplesusedrarelyseemtoengagetheenticingsensoryconceptspresentedattheoutsetofthechapter,perhapsduetoamisalignmentoftheideasoftheoriginaltheorieswiththeconceptsoftheauthors.Inchapterthree,theauthorsproposethattofullyunderstandspatialconstructs,bothperception,whichtheydefineasorganizedsensation,andamediatingintelligence9arerequired.Theybeginwithabriefreviewofclassicaltheoryofthesenses,andthenreviewthetheoryofhistorianGeoffreyScottandpsychologist,J.J.Gibson.Scottincludestheconceptsofweight,pressureandresistanceintooursensoryperceptionofobjectsviabigness:actualbigness(measurement),visualbigness(appearanceofbigness)andthefeelingofbigness(bodilymeasurement).TheyleanonGibson’s1966theoryoftheperceptualsystemstoexpandtheclassicfivesensesintoalargersystemofsensingincludingorienting,auditory,haptic,taste/smellandvisual.Followingonthissummary,theauthorsincludeashortreviewofGestalttheorythatseesperceptionasaresponsetoafieldofsensationwhichthenweactivelystructure.Theyfurtherquestionhowculturemightinfluenceperception,especiallyifweareactiveinthestructuringofourperceptionsandtouchonthetheoryofDavidHoweswhichdescribestheimportancethateachindividualcultureaccordstoeachmodalityofperception.Theauthorspullfromvarioussourceswithaimtocreateanoperationaldevice(formula)thatmightallowustodesignwiththesensesinmind.Thefourthchapterlookstopinpointwheremeaningresidesinarchitecturalspaceandtheypresentacollectionofvarioustheorieswhichpresentanswerstothisquestionsuchas;centerpointsofinterest,collections(ofpersonalobjects),socialconstructs,patterns,andbondsunderstoodviadwelling.Theycritiquetheprojectsofmodernismassterileandform‐basedbeingconceivedwithoutattentiontothenon‐visualsenses.Withmodernismasthelegacyforcontemporarydesign,theauthorsseeourlackoffocusonfull‐sensorydesignbeingrootedinthetheoreticalissuesofmodernismsuniversalaims,andopposeittothevernacularthattheyseeasarchitecture‐without‐theoryoflocaltradition.Theauthorsseemtosearchfortheconceptofthesensesingeneralizations,andinsecondarysourceswithoutreallyinvestigatingaspecificexampleapartfromits“ism”.8MalnarandVodvarka.p219ibid,p41.

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Thefifthchapterquestionswhatqualitiesmakeaplacesacred,withhopesthatitwillrevealanessencethatcanthenbeharnessedincontemporarydesign.Theaimseemstosupposethatqualitiesora“senseofplace”aretransmittableoverbothspaceandtime(cultures).TheircasestudiesrangefromancientRome,GreeceandChinatoeighteenth‐centuryFranceandgardendesignbutfocusesprimarilyontheformandspatialarrangementsofthesebuildings,withquotesfromvarioustextsthatincludereferencetoothersenses.Intheend,theiranalysisisprimarilyageneralizedvisualaccountofaselectionoflandscapesthatdelaysdiscussionofthesensesuntilfurtherchapters.Thesixthchaptersetsouttoengagehaptic“knowing”includingbothdirecttouchandbodilyperceptionofmotion,weightandsubstanceaswemovethroughspace.Theauthorsdrawdescriptivefragmentsofhapticexperiencefromwide‐rangingsourcesincludingJapanesegardensandtea‐houses,theSpanishstepsinRomeandtheVietnamveteransmemorialinWashinton,D.C.andpresentsummarizeddescriptionsoftheexperienceofthesespaces.Thesedescriptionsleadtothediscussionof“types”ofhapticexperienceandpresentpointsandconnectionsaskeysinhapticdesign.Thechapterthenexpandstofurtherunrelatedfragmentsthatdealwiththeconceptofhapticperceptionbutconcludethechapterwithoutasummaryonhapticity.Theseventhchapterinspiresthereaderwithitstitle“SensoryCues”withhopesthatthesenseswillnowbeintroducedasthecatalystthatwillbringtogetherthedisparatepiecespresentedthusfarinthebook.TheyusethetheoryofYi‐FuTuantosettheconceptofabstractspaceagainsttheconceptofvalue‐ladenplaceandhisfocusonthenon‐visualaspectsofplace,inparticularsmellandsound.Theauthorsprovideageneralreviewofaselectionofauthorswhohavewrittenontheconceptofsmell,revealingitsconnectiontoolderbrainstructuresthatregulateemotionsandmotivation,andseemtowanttoprovidethereaderwithaconceptofolfactoryperceptionthatappliesacrossallcultures,contrarytoanargumentpresentedearlierinthebookthatseemedtoimplyaculture‐specificsensoryschemata.Severalinterestingideasbyotherauthorsarepresentedinthetext,suchasSchafer’sdistinctionbetweenvisualspacewhichwelookinto,andsonicspacewhichwestandinthemiddleofbegintobuildaphenomenologyofspaces,buttheideasareleftasfragmentswhichareperhapsthe“cues”referredtointhechapter’stitle.Lastly,theauthorsdiscussthesenseoftouchsuchasFrankLloydWright’smatchingoftexturalscaletobuildingscale,andtheexpansionoftheconceptofthehapticsuchasactivetouch,kinesthesia(informationderivedfrommusclemovement)andspatialextension(extensionoftouchbeyondone’sphysicallimits).Thechapterconcludeswiththestatement“anentirespatialstructurecanbeconstructedoutoftheenvelopecreatedbyoursenses”butdoesnotproposehowthismightbedone.

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Chapter8beginswithanexplorationofornamentandthesensualityofdoorwaysandgates,andabroadsurveyofdesignconcernswiththeseelements.Theauthorsdistinguishbetweentheinherentqualitiesofmaterials(localized,sensual)versustheintentionofadesign(external,formal)astwoopposinggenerativenotionsforarchitecture.Theygivesomeattentiontothedetail,asthejoiningoftwobuildingelements,andpresentitasasensoryandsymbolicevent.Theyusestudiesonvisualfixationthatrevealthatobserversspendmoretimelookingatcontrastanddetailormorespecifically,thejoint,ratherthantheindividualparts,bringingdetailtotheforefrontinvisualdesign.Chapters9and10dealwithobjectsandlight.Theauthorspresenttheobjectsofourperceptionormorespecificallyourpossessionsas“sensoryrepositoriesofexperience”beingatoncemnemonic,instrumental,symbolicandconcernedwithidentity.Severalconceptsofluminosity,colorandform,aswellasseveralshortcasestudiesinartandarchitecturearereviewedwhichmainlypresenttheform‐basedaspectsofarchitecture.Bothchaptersendwithanoteaboutthesensesbutdedicatelittletimeinthetexttodiscussingthem.Asweworktowardstheconclusionofthebook,theauthorstakeasurprisingturninChapter11bybothreviewingahostofsensoryschematics,andthenconstructingtheirown“sensoryslider”,atoolbywhichtheymeasurethe“sensorynature”ofastructurethattheyproposeasthestructureforasensorytypologybasedonaphenomenologicalpointofview.ItscategoriesareVisual,Sound,Odor,BasicOrienting,andfourtypesofHaptic:Gradient/Context,Tension/Resistance,Compression/ExpansionandDegree/Range.TheensuingSensorySliderchartsareusedtoreviewexistingbuildingsandareposedasadesigntooltoassistinthepre‐designphaseofplanning.Theeffectivenessofthistoolhowever,isdependantonthedesignersknowledgeofmaterialsandmethodstomakesensualspaces,andsoisratherleftasatooltocritiquetheauthorsviewofthesensory.Thebookconcludeswiththechapter“GettingSomewhere”thatrevealstheauthorsnotionthatsensory“data”willproducerelevantdesigninformationthatwillrevivesensoryarchitecture.Whendiscussingsoundandodor,theauthorsnotetheproblemofhumaninterpretationandsubjectiveresponsesinthecollectionofdata,andthetypicalattitudetowardscorrectingsensoryproblemsratherthanexploringsensoryrichnessintheanalysisofdata.Theyturntodigitalimmersiveenvironmentsasapotentialsolutiontoenabledesignerstoemployamoresensualdesignmethodology(forexamplefeelingthetextureofamaterialwhilesketchinginthreedimensions).Theirproposalimpliesthatourdesigntoolsarepartoftheproblemregardingattritionofthenon‐visualsensesindesign,butthistopicwasnotexploredintheirbook.Theirconclusionfocusesontheimportanceofthecalculationandhencepredictionofsensoryresponse,thetoolsthatcanassistuswithmeasuringsensoryresponseandtheimportanceofchangingthedesignprocesstobemoreinclusiveofthefullsensoryandmnemonicpotentialofspace.

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Inreturningtothetitleofthebook“SensoryDesign”,itseemthatalthoughtheauthorsreachbroadlytoreinforcetheirbeliefthatsensoryresponseandmemoryarecriticalfunctionsofabuilding,thecontentofthechaptersleavethereaderwishingformorefocuseddevelopmentoftheideaandmorefocusedandevocativeexamples.Theystrugglewithengaginginsensorydescriptionsperhapsbecausetheyappeartorelyonsecondarysourcesratherthanfirst‐handexperience,leavingthereaderfeelingunengagedinwhatshouldbeaphenomenologicaljourney.Theirshortengagementwithanyoneparticulartheoryalsomakesitdifficulttoengagetheideasofeithertheauthororthereferencedtext,andremainsmorelikeacatalogueofreferencesthanadevelopingidea.Whiletheideasimpliedbythetitlesandchapterscertainlyareareasthatneeddevelopinginthefieldofarchitecture,thisbookunfortunatelyfallsshortoffillingthatgap.In2006,AnnaBarbaraandAnthonyPerlisspublishedInvisibleArchitecture–ExperiencingPlacesThroughtheSenseofSmell,PeterZumthorpublishedAtmospheres–ArchitecturalEnvironments–SurroundingObjectsandtheCanadianCenterforArchitectureinMontrealpublishedSenseoftheCity:anAlternateApproachtoUrbanism.Thissurgeininterestinthenon‐visualsensesinthefieldofarchitecturebuildsuponthepriortextsdescribedindetailinthreedistinctways.ItisthetechniqueoftheselastthreetextsthatIwishtofocuson,ratherthanadetailedsummaryoftheircontents.Whilethefirstfivebooksreviewedinthispaperdetailthefullspectrumofsensoryperceptionwiththeircontextbeinganovertlyandoverlyvisualworld,theselastthreebookseachtakeauniqueapproachtowritingaboutthesensesinarchitecture.InvisibleArchitecturelooksatonespecificsense,thatofsmell,inadetailedandplayfulway,throughworkbyartists,interviews,andessaysthatturnourattentiontotheevocativeandinvisiblesenseintheseeminglyvisualpracticeofarchitecture.Theauthorspresentaseriesofquestionsonodorandhowtoengageitinthedesignprocess.Thebookisacollectionofveryshortsegmentsonaolfactorythemeinterjectedbyothershortessays,projects,interviews,imagesanddiagramsthatserveasextendedfootnotes.Whileatfirstthistapasapproachtowritingseemedtoscattertheargument,thebookservesmoreasareferencebookofolfactoryideasinarchitecture,allowingthereadertoenterthetextatanypointandbeengagedinthetopicaldiscussionsonodorinarchitecture.Thebookpresentsasmoreofaprojectthanatextinitsformat,andassuchissuccessfulinbeingevocativeandstirringtheimaginationontheinvisibleaspectsofarchitecture.SenseoftheCityisacollectionofessaysbyWolfgangSchivelbusch,NormanPressman,EmilyThompson,MirkoZardini,ConstanceClassenandDavidHowesthatpresentsanevocativerethinkingofthecitybasedonthesenses.Italsoengagesthesameprojectapproachtoabook,presentingimages,data,archivalworkandacollectionofessaysthatserveasanchorsinaflowofspeculativeandimaginative

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worksthataskforarethinkingofthecityintermsofafullysensorymode.Thebookcanbeenteredatanypointaseachessayandprojectcanserveasanentrypointtothisimaginativerethinking.Zumthor’sAtmospheresreprintsalecturethatwasgivenbytheSwissarchitectin2003thatilluminateshisconceptofatmosphere,whichisultimatelyasensorialperceptionofplace.Hislanguageisfirst‐personandintimateashedescribesprojectsandmulti‐sensoryinspirationsthathaveallowedhimtocreatebuildingsofimmensesensorialdelight.Hisobservationsaredistinctlyfullysensory,hismemoriesprofoundlymaterialandhisbuildingsengageallthesensesatonce.Thebookservesasaworkingexampleofthetextsexploredthusfarinthisreviewbycombiningagenerativeapproachtoarchitecturethatisclearlyledbyanenmeshedsensoryapproachtothemakingofarchitecture.Thetextsreviewedherepresentaselectionofseminaltextsonthetopicofthesensesinarchitecturethatreviveddiscussionandinterestinthefieldandwhichserveaskeytextsforothersthatfollowed.Theirstrategiesareallunique,withlatertextsbuildingupontheearlierwork,andyetwhichrevealthatcarefulobservationandattentiontoexamplesthatareexperiencediscriticaltoaphenomenologicalapproachtoarchitecture.Ifwearegoingtowriteabuttheimportanceofenmeshedexperience,thenweshouldatleastpracticewhatwewriteastheory.Architectureisalivedandfullysensorialexperienceandshouldbeinvestigatedassuch.

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Montreal:CanadianCenterforArchitecture&LarsMuller,2005.Zumthor,Peter.Atmospheres.Birkhauser:Boston,2005.