C2 Cultural Context of Architecture: Elective Essay 2013, Candidate: 12/1/110, Kylie Monsma

Discuss the ideas contained in The Eyes of the Skin: Architecture and the Senses by Juhani Pallasmaa in relation to contemporary
architecture.

Architecture and the Senses: The forgotten art of delight?

Vitruvius firmitas, utilitas et venustas
Commodity, firmness and delight
(Vitruvius, n.d)

From inside the Tate Modern, Monsma, 2013

Introduction
Vitruviuss theory was that the three most important aspects of architecture are; firmness, commodity and delight, and that all three must be
present in order to provide completeness. To explain in more detail, firmness is considered as the structure, its stability and grounding.
Commodity can be understood as the appropriateness of the end product i.e. that the brief has been fulfilled and an appropriate level of

C2 Cultural Context of Architecture: Elective Essay 2013, Candidate: 12/1/110, Kylie Monsma
accommodation achieved. Delight, is the overall appearance, it can be argued that on the surface, delight is the aesthetic, it is more than this; it
is the experience that is achieved by design.

Commodity, firmness and delight all have an important place and it can be reasoned that firmness and commodity can be provided by a
number of other professionals such as engineers, or quantity surveyors, but delight is the quest of the Architect. The experience of delight is
a hugely subjective matter and one that is individual to each and every person who experiences it (the building). This may be from a
distance, by printed image or by living and working in the space.

The element of delight maybe the intricate mouldings and details found within the buildings of the renaissance period or the clean lines and
flowing spaces found within buildings of the modernist or industrial age. It is evident that the theory of delight has changed and adapted to
cultural and societal evolution. For example architecture historically focussed on buildings used for public purposes, the buildings we use, and
their level of societal importance has evolved. We were once a society which placed enormous importance and prioritisation on places of
worship. Whilst religion is still an important part of society, the industrial and commercial age significantly altered the driving forces behind
architecture. The 20th Century was also a time of scientific discovery which seemed to place much more emphasis on utilitarian design rather
than the vision, or beauty of the building.

Societal pressures also have a profound effect on architecture, financial constraints and a dogged importance on profit has also played its part
in recent years. In some ways it could be argued that our materialistic world has led to a world of wanting more for less. It is often the case
that delight is forgotten, the focus, especially today, is on the economics of a scheme. This has led to delight or the experience being
ignored, possibly because the experience of the senses is not immediately quantifiable.

Architecture is constantly evolving, society, through education and instinct, is driving the development of new places which are being
designed for a better living. It is encouraging that architects of our time are embracing this, such as Peter Zumthor, who was recently awarded
the RIBA Royal Gold Medal. Zumthor does not accept architecture as form making, his concentration as an architect is based on the
emotional experience provided and believes the important aspects of architecture lie in the experience, with light, materials and atmosphere
being fundamental. He is quoted as saying Architecture is not about form, it is about many other things. The light and the use, and the
structure, and the shadow, the smell and so on. I think the form is the easiest to control, it can be done at the end. (Zumthor, 2013)
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C2 Cultural Context of Architecture: Elective Essay 2013, Candidate: 12/1/110, Kylie Monsma

Analysis of Architecture and the Senses:

Palismaas book clearly discusses the changes to architecture in terms of the overall experience, and that in recent times the experience has
often been the last thing to be considered. The ideas set out in The Eyes of the Skin provides an important reminder of what architecture
should be, what its primary role was, how that has developed and hopefully how we learn from the mistakes that have been made in the more
digitally and visually biased world that we live in. The book provides a clear message that architectural theory and criticism has been limited
to its visual qualities, architecture has become the art of the printed image (Pallasmaa, 1995 p30).

Architecture is a process; there is not one single approach to design and ultimately it is guided by the individual(s) who orchestrate the
scheme. This is often formed by a number of different professions and the Architect rarely has the sole responsibility and final say as to
what does and does not get built. This is now, more than ever, governed by the budget, the contractor and or the client who may not
necessarily see the merit in developing a space to its highest potential. The experience or the art of the delight that comes with an
accomplished scheme does so because of the level of detail, and the thought process that has gone into developing the finished space. So often
this is lacking because the development of the scheme stops at what it looks like, rather than what it feels like to be in that space.

Of course the visual bias is the most practical sense to concentrate on for most, but seeing something is not limited to the eyes. John Berger
discusses this subject in his book Ways of Seeing. The foreword Seeing comes before words. The child looks and recognises before it can
speak is a key statement when considering the ideas found within Pallasmaas writings. We only see what we look at. To look is an act of
choice. As a result of this act, what we see is brought within our reach though not necessarily within arms reach. To touch something is to
situate oneself in relation to it. (Berger, 1972 p8). The argument here is that image is a composition of the elements that make the image or
what you are looking at, a whole, it should not simply be limited to a visual entity alone. The composition of a building and space is not a flat
two-dimensional plane; it is an object, an experience made of a number of factors, all of which are interpreted differently by each individual.

The over-riding message that really strikes a chord, which concerns the principles of architecture, is found in the final paragraphs of the book.
Pallasmaa quotes the following statement made by Frank Lloyd Wright; What is needed most in architecture today is the very thing that is
most needed in life integrity. Just as it is in a human being, so integrity is the deepest quality in a building. (Wright as quoted in Pallasmaa,
1995 p72). This quote is immediately followed by Pallasmaas final statement which reads This emphatic declaration of architectures mission
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C2 Cultural Context of Architecture: Elective Essay 2013, Candidate: 12/1/110, Kylie Monsma
is even more urgent today than at the time of its writing 50 years ago. And this view calls for a full understanding of the human condition.
(Pallasmaa, 1995 p72).

Delight in Detail:

Lion at St Pauls, S M Cheyne, 2013

To discuss the ideas contained within The Eyes of the Skin, it is important to first assess how buildings of the past have been designed to
affect those who use them, or the experience intended by the creator. It is thought that visual art such as paintings formed an integral part of
the building for which they were designed. Sometimes in an early Renaissance church or chapel one has the feeling that the images on the wall are
records of the buildings interior life, that together they make up the buildings memory (Berger, 1972 p19). On the face of it, delight, it would
seem was limited to a hungriness to achieve beauty, a visual beauty. The Architecture of Humanism written by Geoffrey Scott (Scott, 1914)
maintains the belief that commodity, firmness and delight are all required in order to provide a complete building. However Scott frequently
refers to delight as aesthetic, and even uses the word impulse to determine the Architects process. However, on further examination it is
evident that Scotts use of the word delight does consider the experience, Scott calls it an aesthetic experience, that architecture is art, and
that delight is art.

C2 Cultural Context of Architecture: Elective Essay 2013, Candidate: 12/1/110, Kylie Monsma
Scott argues that the individual styles can only be differentiated by aesthetic analysis. Renaissance architecture lay not in construction or
materials or politics, but, chiefly and typically, in the taste for form (Scott, 1914 p34). However this aesthetic analysis is not restricted to the
visual form, for example, Scott states Every experience of art contains, or may contain, two elements, the one direct, the other in- direct. The
direct element includes our sensuous experience and simple perceptions of form: the immediate apprehension of the work of art in its visible or
audible material, with whatever values may, by the laws of our nature, be inherently connected with that. Secondly, and beyond this, there are
the associations which the work awakens in the mind our conscious reflections upon it, the significance we attach to it, the fancies it calls up,
and which, inconsequence, it is sometimes said to express. This is the indirect, or associative, element, These two elements are present in nearly
every aesthetic experience; but they may be very differently combined (Scott, 1914, p59).

St Pauls dome, Monsma, 2013

St Pauls dome, Monsma, 2013

Renaissance
Renaissance architecture developed from age to age, joining up the various styles which progressed within the period covering four centuries,
an architectural period had never before spanned this length of time. The Renaissance styles ranged from, classical to baroque onto the
elaborate Rococo period. The combined styles towards the end of the Renaissance period which formed the Baroque period were; classic
architectural forms that were embellished by rich picturesque detail. The Renaissance period turned architecture into something academic that
could be theorised and developed. Much influence was taken from Vitruvius, and the Ten Books of Architecture, which was the first form of
written work on Architecture. Renaissance architecture led to a new spatial design focussed on the human form in terms of proportions.
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C2 Cultural Context of Architecture: Elective Essay 2013, Candidate: 12/1/110, Kylie Monsma
Leonard Da Vincis (1452-1519) Golden Section, or the Vitruvian Man (da Vinci, 1487), has direct connections to the original scale drawing
of the proportions of a man, which was drawn by Vitruvius, hence its name. Leon Battista Alberti (1404-1472), whose work included the first
architectural book to be printed (Battista Alberti, 1452), explained his theory of beauty based on mathematical proportion and the golden
section, which used Euclidian geometry creating the ideal proportions, doubling and halving the dimensions which provided one of most
important theories upon which Renaissance architecture was based.

The classic renaissance period also saw a revival of the Greek orders, the three orders were utilised to identify certain types of buildings such
as Doric columns for courts of law or churches dedicated to male saints. Ionic columns were used for buildings used for philosophical and
education purposes, or churches dedicated to matriarchal Saints. Corinthian columns were saved for churches dedicated to The Virgin Mary
and young female saints. These changes to architecture also introduced a new level of symbolism, which created a sense of identification and
also affected perceptions of a building.

These ideas were developed generation after generation; St Pauls Cathedral (1675-1710) has direct connections to the classic renaissance style.
Sir Christopher Wren, the architect of St Pauls, was hugely influenced by Andrea Palladio who followed Albertis theories very closely. The
strongest feature of St Pauls, undoubtedly, is the huge dome which originates in Brunelleschis (1377-1446) cathedral domes found in
Florence, Rome and Venice.

St Pauls, Monsma, 2013

St Pauls, Monsma, 2013

St Pauls, Monsma, 2013

St Pauls possesses the important classic features; it is elegant, understated but very powerful. Wren was influenced by the Italian Baroque era
which was less concerned with form and order and was more decadent in terms of its detailing. This level of detail is clearly evident in both
the exterior and interior of St Pauls. The external design has a very strong classical appearance about it, the elegant dome supported by a
series of columns, and pediment. However, the design detailing is far more lavish when scrutinised, and there is a definite influence of the
baroque period. The detail is very rich, but what makes it so enjoyable and balanced is the lack of colour, the detail really is in the light,

C2 Cultural Context of Architecture: Elective Essay 2013, Candidate: 12/1/110, Kylie Monsma
shadows, and the shapes which can be felt thoroughly, and just by looking at them. It is possible that Wren favoured the apparent simplicity
of the lines created by classic architecture over the embellished detailed style which featured significantly in the Baroque era.

Internal sketch of St Pauls dome, Monsma, 2013

Coffered window arch St Pauls, Monsma, 2013

The interior of St Pauls is beautifully simple, the forms and lines are striking. On further inspection, the exquisite level of detail of the carved
cornices, the reliefs within the rib vaults and the coffered ceilings within the arched domed windows projecting light into the cathedral are
mesmerising. The lack of colour gives a sense of beauty and an important feeling of simplicity; it could be argued that this was purposeful to
allow the congregation to concentrate on the service and the ultimate reason for being there. But this level of simplicity also allows each
individual to take what they will from the experience, to interpret it for themselves. Every scan of the various natural shapes evokes a physical
reaction of completeness and satisfaction. It could almost be described as a physical projection onto the shapes enabling the curves and
smoothness of the stone to be felt. It could even argued that the carved fruit hanging from the pilasters could be tasted, and it is easy to
connect with Pallasmaas citation of John Ruskins statement I should like to eat up this Verona, touch by touch (as quoted by Pallasmaa,
2007 p59).

St Pauls has a very overwhelming effect, it is the experience of the senses which allow you to connect with the space and recall the experience
with a memory. You sensually feel what it is like to be in the space, the sound provides the sense of space and an understanding of its scale,
especially when below the cavernous dome, the light allows you to see the detail and the smell of burning candles reminds you of being in
church as a child. All senses are provided for in this space, as Pallasmaa is quoted Good architecture offers shapes and surfaces moulded for the
pleasurable touch of the eye (Pallasmaa, 2007 p44) and St Pauls certainly provides a very fulfilling experience.
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C2 Cultural Context of Architecture: Elective Essay 2013, Candidate: 12/1/110, Kylie Monsma

External detail, St Pauls, S M Cheyne, 2013

External detail, St Pauls, S M Cheyne, 2013

St Pauls, Monsma, 2013

Vault detail, St Pauls, Monsma, 2013

The Renaissance period was in tandem with the age of Enlightenment, and it is very difficult to differentiate when one began and another
ended, however it is reasonable to assume that enlightenment followed and developed from the various styles of the renaissance period. The
focus of this period was science, and it could be argued that an element of enlightenment helped form Renaissance architecture, especially
given the un-doubted scientific interests and grounding that most architects and artists relied on. It is clear that contemporary architecture, in
terms of the experience will always be influenced by historic theories and experiences of architecture because that is what makes us. We base
our futures on learning and development, which is not to say that the past should dictate the future but it should complement it.

This scientific bias led to the development of architecture based on scientific, rational and ordered construction, this became the age of
Industrialisation.

C2 Cultural Context of Architecture: Elective Essay 2013, Candidate: 12/1/110, Kylie Monsma

Panoramic of St Pauls, Tate Modern, and beyond taken from Millennium Bridge, Monsma, 2013

Industrialisation
Industrialisation changed the size, shape and relationships of buildings within a city. Industrialisation often lacked a coherent style trying hard
to adapt to its surroundings rather than make a statement, or be true to the purpose for which it was constructed. It could be argued that this
lack of symbolism and originality is what led to the breakdown of delight in architecture. The infrastructure required for industry often
made it difficult for architects to form a coherent space. The concentration on developing new industry and commerce, which was seen to be
the strongest element of society at the time, unfortunately clouded and destructed the beauty and character of a city. Industrialisation was preoccupied with pragmatism, and the technologies that were being developed which led to a complete dis-order of space.

The sense that Industrialisation was having such a negative impact was focused on towards the middle of the 19th Century, when new
architectural forms were explored to balance the industrial age and create a sense of light and space, which was often forgotten. John Ruskin
(1819-1900) wrote The Seven Lamps of Architecture (Ruskin, 1865) which were created to ensure that architecture retained its integrity.
Ruskin equated engineering standardization with brutal materialism and the death of craft (Curtis, 1982 p37).

Industrialisation moved on and dictated a sense that architecture was to be formed by practicality, science and innovation. Whilst architecture
of the late 1800s did possess elements of utilitarian design which created an austere environment, a human sensibility to take inspiration from
nature started to develop. This no longer meant that architecture could not be beautiful and provide a sense of delight. Alvar Aaltos
architecture was a departure from industrialisation, whilst commodity and firmness seemed to overtake delight in the industrial age, Aaltos
idea was that buildings are intermediaries between human life and natural landscape. Aalto wished to find some way of blending
modern architecture with topography in rural and semi-rural places. (Curtis, 1982 p455). His architecture did respond to the practical
necessities of the brief but with a sense of beauty. This beauty allowed the experience of the architecture to be the main focus rather than the
experience being limited to the practical purpose of it. Aalto also started to incorporate natural materials rather than limit the physical form to
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C2 Cultural Context of Architecture: Elective Essay 2013, Candidate: 12/1/110, Kylie Monsma
industrial mass produced elevations of engineered brickwork with little or no thought and detailing. Aaltos work is described as
polyphonic in Curtiss book (Curtis, 1982 p459) which in itself provides a sense of feeling and hearing the space. The interior of the
Vuoksenniska Church (built in 1959) in Finland, as illustrated in Curtiss book, initially appears very simple, and possibly to some,
uninspiring. However it is far from uninspiring, the natural curves and irregular arches supported by filleted columns provide much interest
which indeed supports the term polyphonic.

Bankside at night,
dhpclub.com
Bankside Power Station 1985, commons.wikipedia.org

Tate Modern, Monsma, 2013

Commodity and firmness seemed to overtake delight in the industrial age and, as a direct result, it cannot be said that all architecture from
the Industrial age has such a sense of elegance of the works of Aalto. The Bankside Power Station completed in 1963, designed by Sir Giles
Gilbert Scott (1880-1960), was considered to be the Cathedral of Power and sits approximately 500 metres south of St Pauls Cathedral,
located on the south bank of the Thames. This juxtaposition with St Pauls resulted in a mass petition against its building over fears it would
have a detrimental impact on the character of Wrens creation. The two buildings are complete opposites in terms of their function and
aesthetic, but both are clear symbols of their time and purpose. Interestingly they occupy similar footprints in terms of overall length and
width, and on the face of it that is where the similarities end. Nonetheless, the power station does have a sense of simplicity about it which is
pleasing to the eye, but the austerity and brutal massing of the building does not lend itself easily to providing a personal connection and
experience with it.

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C2 Cultural Context of Architecture: Elective Essay 2013, Candidate: 12/1/110, Kylie Monsma
As with St Pauls, on closer inspection of the seemingly simple structure, there are a number of details which give this building its charm.
Brick detailing and simple shards of crittal windows provide a certain depth to the building that can be appreciated. Sir Gilbert Scott intended
the structure to have a level of connection with the public, his idea was to create traditional forms using traditional materials which people
could understand and therefore not feel discomfort at the presence of the building. In addition, he shared the publics concern that the
building did not compete with St Pauls. For example the buildings structure is a huge framework of structural steel on the inside but the
exterior is clad in London Brick (approximately 4.2 million bricks in the finished construction) because that was what Londoners could relate
to. He worked with Engineers to ensure that the original designs which featured a tall chimney at each end would be replaced with a single
central flue and expressed it something more in the nature of a slender tower or campanile. (Scott, 1947, as quoted by Murray, 2010). The
tower is 99 metres in height and purposefully lower than the dome of St Pauls but still two thirds taller than the main structure of the power
station.

Chimney Stack, Bankside, Monsma, 2013

Tate Modern, Monsma, 2013

The building is an imposing structure, its purpose now is far different from its original function and it is clear that the buildings design
focuses on utility and the practicalities of its function. However, it could be argued that the design was not completely limited by practicalities,
the number of bricks required for the construction and realistic concerns raised at a public enquiry relating to materials availability, especially
in light of post-war re-construction confirms that the scheme was not constrained by cost. Therefore it is evident that we are at the mercy of
the architect in terms of the design, perceived delight and the experience which is delivered to us.

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C2 Cultural Context of Architecture: Elective Essay 2013, Candidate: 12/1/110, Kylie Monsma

Tate Modern Entrance, Monsma, 2013

Tate Modern inside out, Monsma, 2013

Modern Architecture
Modern architecture is constantly evolving; the last century saw radical changes to architecture in terms of the materials used and forms that
could be adopted. The advances in technology are providing exciting options for architects to utilise in order to create an experience. However
what is interesting is that whilst new technologies and refinement of materials were fully explored and taken advantage of historically in terms
of architecture. The majority of architecture now is limited to run of the mill forms and materials, the overriding reason being cost. Economy
seems to be wrapped up in commodity; commodity and firmness are considered to their entirety however delight, because it is not a
commodity as such, is forgotten.

Galleries, Monsma, 2013

Tate Modern Turbine Hall, Monsma, 2013

The Ramp, Monsma, 2013

Tate Modern hidden lighting handrail, Monsma, 2013

It is usual that large scale development, for commercial public use will attract greater levels of delight but this will depend on the Architect
and client/developer who holds the purse strings. It is evident that the conversion of The Bankside Power Station was allowed the luxury of
some form of delight given that it was to be transformed into the Tate Modern following the winning competition entry by Herzog & De
Meuron Architects. The gallery opened in November 2000 and provides one of the largest gallery spaces for modern art, in the world. What
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C2 Cultural Context of Architecture: Elective Essay 2013, Candidate: 12/1/110, Kylie Monsma
lies behind the faade of the former power station is a function that is completely different from its intended purpose and, only very small
glimpses of this purpose can be gained from the exterior.

The approach to the main entrance into the building from the Bankside is quite an experience, the shear mass of building and the brick tower
provides a great sense of drama, which is very atmospheric. The main entrance to the building on the north side provides a taste of what is to
come; irregular angular shaped glass encloses the gallery shop which greets you at the centre of the entrance. The entrance opens out within
the building leading to the vast turbine hall. The space is impressive, it immediately reflects its Industrial age given the exposed structural steel
work. After a while though, the space becomes hollow, almost uncomfortable. It simplicity is completely different to the simplicity of the
interior of St Pauls. This maybe because the Architect is no longer allowed the luxury of time to develop a scheme to its fullest potential as
would have been the case during the Renaissance period given the modern commercial financial constraints. An Architect is often also flanked
by a Quantity Surveyor or other cost saving consultant who will in most cases dramatically limit the initial vision of the Architect.

Therme Vals Sketch by Zumthor, drawingarchitecture.tumblr.com

Therme Vals, Zumthor

architectsjournal.co.uk

Therme Vals, Zumthor

archdaily.com

As previously noted, it is the Architect who in most cases will provide delight and we are therefore at the mercy of the Architects vision. A
design brief attempted by two separate Architects will be vastly different which is what provides interest and variety. For example two high
profile Architects of our time Peter Zumthor and Sir Norman Foster have completely different approaches to Architecture. Peter Zumthor
seems to be very keen on ensure a level of integrity is maintained and has maintained a small architectural practice taking on much less
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C2 Cultural Context of Architecture: Elective Essay 2013, Candidate: 12/1/110, Kylie Monsma
volume of work than Foster. This approach is geared towards ensuring that the firm is dedicated to providing thoroughly crafted architectural
originalstogether with his collaborators, Peter Zumthor produces a limited number of custom made buildings characterised by physical
integrity and distinctive atmospheric qualities. (Atelier Peter Zumthor & Partner, n.d.). Zumthors works is very much about the sensual
experience of the architecture and how the space affects the user and especially cites memories of buildings and gardens as a child as the
deepest architectural experience I know. (Zumthor, 1998 p10). Zumthor places great importance on the level of detail and depth of the
development of his work and at drawing stage will consider the prevailing mood he is trying to create. As soon as this mood is evident he
will not develop the scheme any further in order to provide something that is pure and is not affected by unnecessary details. Zumthor
comments in his book Thinking Architecture that he still believes that the Architect can provide the wholeness of the building like the
master builders would have done historically (Zumthor, 1998 p30).

All images: Cambridge University Faculty of Law, Foster, foster+partners.com

As a contrast to this Foster + Partners seems to be concentrated more on a mass produced engineered and clinical style that is less responsive
to the specific features of the development site. The style is very innovative and visually very interesting but it can be argued that in some
senses, this type of architecture is devoid of any real connection; its feeling is much more artificial. From the outset, the Foster + Partners
philosophy is to provide an integrated approach which is formed of a creative team in which structural and environmental Engineers work
alongside the architects from the beginning of the design process (Foster + Partners, n.d.). Even in Fosters reflection of his own work as
described in his book Reflections (Foster, 2007), Foster does not provide any real details of the sensual experience he is trying to create. Foster
does comment that his work is generated by peoples needs which are both spiritual and materials but the book itself concentrates on visual
images of his work rather than an explanation of his theories and ideas. His work seems to be more about the operation of a building, which
in his own words seems to be clinical the best architecture comes from a synthesis of all the elements that separately comprise a building (Sir
Norman Foster).
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C2 Cultural Context of Architecture: Elective Essay 2013, Candidate: 12/1/110, Kylie Monsma
Conclusion
In terms of contemporary architecture it is important to remember that the process, the crafting of the detail, the overall experience of the
space is fundamental to architecture. Today we see the art of the past as nobody saw it before, we actually perceive it in a different way. If we
can see the present clearly enough, we shall ask the right questions of the past.The art of the past no longer exists as it once did. Its authority
is lost. In its place there is a language of images. What matters now is who uses that language for what purpose. (Berger, 1972 pp16 & 33).

Architecture evokes the senses in many ways, we have an emotional attachment to buildings, the work of art projects itself and you experience
a sense or a part of the person who has designed it. The quote in Pallasmaas book which refers to great paintings provides a strong sense of
what can be achieved in good architecture The streets in great paintings continue around the corner and past the edges of the picture frame
(Pallasmaa, 1995 p68).

There is physical need to touch buildings, but they have to be inviting, this need is possibly evoked by the history of the building but also the
material used. For example, the smooth warn stone of churches is far more inviting to the touch than say the stark, geometric lines of modern
industrial architecture. However it could be argued that contemporary architecture may have more of a visual pleasure because of the accurate
attention to detail. All of these attributes evoke a sensual experience.

What is an interesting and a common thought of those looking at the semantics of art and life, of which architecture is a fundamental part, is
that the visual image and reproduction of imagery in the modern world has contributed to a perceived lack of originality. This has led to
reproduction, and a mass experience of the watered down version to meet financial budgets, or a combination of constraints means that the
purity of the experience has become limited. This mass production undoubtedly affects the experience because we become desensitised to
something we experience frequently.

It would seem that detail and depth, interest and imagination have been replaced with obsession for clean lines creating a sense of rigidity
which has led to an unfocussed vision of our time To at least some extent every place can be remembered, partly because it is unique, but
partly because it has affected our bodies and generated enough associations to hold it in our personal worlds (Ibid, as quoted in Pallasmaa, 1995
p41).

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C2 Cultural Context of Architecture: Elective Essay 2013, Candidate: 12/1/110, Kylie Monsma
It is important to remember that our physical and emotional being experience a space whenever it was built and whatever the architects
intention. Architecture is a multi-sensory experience, but ultimately it could be argued, as summarised by John R. Stilgoe in his foreword to
the 1994 edition of Gaston Bachelards The Poetics of Space, that delight is limited to the imagination of the person experiencing it
(Bachelard, 1994).

What The Eyes of the Skin proves, is that there will always be a level of human sensibility that will prevail, questions will be asked and positive
changes will be made.

Bibliography
Alberti, Battista, L., 1452. De re aedificatoria (On the Art of Building), Florence: Niccol di Lorenzo Alamani.
Atelier Peter Zumthor & Partner. Available at: www.demelfabriek.nl.
Bachelard, G., 1994. The poetics of space; translated from the French by Maria Jolas; with a new foreword by John R. Stilgoe., Boston, USA:
Beacon Press.
Berger, J., 1972. Ways of Seeing, London, UK: Penguin.
Curits, William, J., 1982. Modern architecture since 1900, Oxford, UK: Phaidon.
Da Vinci, L., 1487. Golden Section or Vitruvian Man. In Paris Manuscripts.
Foster + Partners. Available at: http://www.fosterandpartners.com/profile/.
Foster, N., 2005. Reflections, London, UK: Prestel.
Murray, S., The rise, fall and transformation of Bankside power station, 1890-2010. Greater London Industrial Archaeology Society. Available
at: http://www.glias.org.uk/gliasepapers/bankside.html [Accessed April 15, 2013].
Pallasma, J., 1996. The eyes of the skin: architecture and the senses, London, UK: Academy Editions.
Ruskin, J., 1865. The Seven Lamps of Architecture, New York, USA: Wiley & Halstead.
Scott, G., 1914. The Architecture of Humanism. A study in the history of taste., London, UK: Constable.
Vitruvius Pollio, M., 1914. 1914. Vitruvius: the ten books on architecture. Translated by Morris Hicky Morgan. With illustrations and original
designs prepared under the direction of Herbert Langford Warren. [Edited and translation completed by Albert A. Howard.], Cambridge,
USA: Harvard University Press.
Zumthor, P., 2013. Architecture is not about form Peter Zumthor. dezeen Magazine. Available at: http://www.dezeen.com/2013/02/06/peterzumthor-at-the-royal-gold-medal-lecture-2013/ [Accessed April 15, 2013].
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Zumthor, P., 1998. Thinking architecture, Boston, USA: Birkhuser.

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