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    Genius Loci Towards A Phenomenology of Architecture - Part1

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    NORBERG Scuutz PENPS REA ewgoror Rizzgous EDINSURCH COLLEGE OF ANT Libharr “Loge isdaubrless unshaksble, bu eeauot withering aman who wane so Fan Kafka: Phe 1 ‘The present hook forins 4 sequel tw my theorecical works Tntentions i Avehiec- ie (1963) and Existence, Space and Archifectrre (1971). 1 18 also related to fay fovetrieak aly Aeon fx Meat etre as, Comma Weitings mentioned above. As tite has passed, however, a cectuin change in Inethod has become manifest. In in- lentions ix Architecture art andar chitecture were analyzed. “scientifically”, thai, by means of ethos taker Over from natural ssienge, 1 do not think that dhs approach is wrong, but today I find other methods more illuminating! When Wwe treat archicecune analytically, wwe hiss the conerete envirentnental “cha racter, that is, the very. quality which is eset car eet ee iael a seme uf ex re exists an interrelasion= ship benvecn the eo aspects, In fat: tions mm Archivecnre the | practical, “functional”, dimension way in fact discussed hind syrabolcation was therefore: inciuded, and it was em shed thas man ‘cannon gait 3 (noc old standing, “The conception of the work of art axa “voncreizacion” of a life-situation is ‘maintained in rhe present hook, I ig one ‘the hasic needs of man v0 experience reserk fora concrete underseanding of the environ meat. The concept of existential space ‘Concept of “meaning” was. als introduced. ia fontions 19 Arelntectare. In general, the The philosophy of Heidegyer has been ithe catalyst which has made the present uk possible and dete ‘ilready espress tectire, could be satisfied in the Book, thanks tu Heid ont language and aesthetics, ‘ave been collected and admirably itans- Lied jo Eaghsh by A. Poetry. Lawauage, Thoitght, Np Sense ts the purpene of architecture. Man dwells when he can orentace himself within and ideatify himself with an environment. or. im shore, when he Since ancient times the genins foci, oF rie of place” hax been RENEE ike shaming uf she present beok. Many problems could tony be treated in avery aheachy way, and eed farther elaboration, The book ently book aimed at understanding ar- represems, however, a first step towards chitecture an concrete “architectural” ww. architecture, following the definition a % ad terms, an aim which 1 still consider of archiweture as aoc of pars impart. Too mach con- exert sce fs jon: ig) ereaced codiy: by those who furthermore explained by means of the The eoaquest existential talk about everything else when they concepts of Sire oe ae at prpce UP ahe The wood prsieat book, Aker decades of abstract, liscuss architecture! My writings fore reflect 4 be! gathering, and the meaning of anything consists im what it gathers, Thus Het- Meyer said: “A thing gathers world”. ae theory, itis ut that we things are made, that is, it depends on 1. The Phenomenon of Place m and technology (“inspired tech- -suorld consisis of jology”, Louis Kahn said). This also It consists of cocial problems, includes the “how” mined” by the socio-economi dirions, although they may facilitate or impede the (self-) realizati i existential dimen 1 exstential aval ind Time 1926). In his essay. “Bui Thinking” (1951), Heidegger moreover the footnotes. Taneously recognized its, ly with Louis Kahin, however, the existential dimension bas regained its tre : ‘The existential dimension (“truth”) be- comes manifest in history, but its mean- ings transcend the historical the ocher hand, GAB Oslo, June 1976 Natural people, of animals, of flowers, trees and ‘The existential dimension is not “deter- environment. In the present book we forests, of stone, earth, wood and I con- have therefore chosen to SEROUS the water, of towns, streets and houses, fant 10 thank all those colleagues and the “content” of our existence. ime inspiration Rilke asks: “Are we perhaps Dere eo say: (aii ek eee portale chants go, my hose, dee, fountain, gate ju, which have been wife Anna Maria De Dominicis for her ndow, — at best! column, Heidegger in_his élassical__ criticism and untiring help. Because of the composite nature of the fig Dwelling” book I have not included any bir bliography. All references are found in roots, They are seudents who have giv 1 PLACE? doors, windows and farniture, And it consists of sun, moon and. stars, of ifting clouds, of night and day and hangings comprises mor such as This is what is “given era”! Everything else, such as nterrelated in complex and pethaps contradictory ways, Some fof the phenomena may. for instance comprise others. The forest consists of trees, and the town is made up of houses. “Landscape” is sich a com- ples. Te icctnenGn, iene oe and occurrences take place, In fact ‘existence! What, then, do we mean with the word “place”? Obviously we mean. something. nage 7) 1A winter evening. such as spatial relationships, with- losing its concrete nature out of moreover tells_us consist. of a multinide oF partigular places. This fact of course taken into consideration by current theory of planning and archicecture, but so fae the problem has heen treated in a too abstract way. “Taking place” is tially undecsroud in eu “fanetional” se th implications such as spatial distribution and dimen— sioning. But ate not “functions” inter human and_similar everywhere? Evi- dently not, “Similar” functions, even the most basic ones such as. sleeping, and eating, take place in very different ways, and cemand places with different. pro” perties, in accordance with different cultural traditions and different environ- mental conditions. The functional ap- proach therefore left out the place a8 a concrete “here” identity Bein, having its particular ‘from the given t0 arrive at far phenomenologists have cer. mail concerned with ontology, psychology, ics and to some exten: aesthetics, and ave given relatively little attention to the phenomenology of the daily. en. vironment. A few pioneer works how- exer exist, bur they hardly coniain any direct reference to architecture’. A phenomenology of architeeture is there fore urgently needed. Some of the philosophers who ave approached the problem of our life: ‘world, have used language and litereture as sourees of “information”. Poetry in fact is able to concretize those rotalities which clude science, and may therefore suggest how we might proceed to obtain the veeded understanding, One of the poems used by Heidegger to explain the nature of language, is the splendid A Winter Evening by Georg Trakl', The words of Traki also serve our purpose very well, as they make present a total life situation where the aspect of place is strongly fle AWINTER EVENING. Window with falling snow is arrayed, Longtolls the vesper bell, The house is provided well, ‘The tableis for many laid. Wandering ones, more than a few, Come to the dooron darksome courses. Golden biooms the tree of graces ‘Drawing up the earth’s cool dew. Wanderer quietly steps within; turned the threshold to stone knowled in e e lever, is ‘mi limpid brightness shown, — Alege wch ougic co be ihe real” Uponthetable bre ) ian in general and planners and Fe architeeis in particular ue f the impasse exist that is, the method known as pheno: menolog: Land wine®, We shall not repeat Heidegger's pro- found analysis of the poem, but rather “point out a few properties hi He talks about “snow bl ”, “threshold, “brea and wine", “darkness” and “light”, and he characterizes man as a “wanderer”, These images, however, also imply general structures, First of allt more falling snov, which implics by the evening. The very ing more than a point in the calendar. As a concrete presence, itis the sow falling on the window, cool, soft and soundiess, hiding the contours of those aching darkness. The word! ae: and sky. With a minimum of words Trakl thus brings a total natural en- Vironment t0 life. But the outside also has man-made properties. This is. in- icated by the vesper bell, which is heard everywhere, and makes the “private” inside become part of a com- prehensive, “public” totality. The vesper bell, however, is something more than a practical man-made artifact. It is a symbol, which ceminds us of the com: mon values which are at the basis of that totality. In Heidegger’s words: “The tolling of the evening bell brings mea, as mortals, before the divine™. The inside is presented in’ she next evo verses. It is described as a house, which offers man shelter and security by being enclosed and. “Well provided”. Ie has however a window, an opening which makes us experience the inside as Somplemient coutheyoutsice As a final focus within tre nowse-we find the rable, which “is for many laic™. At the table men come together, it is the centre which more than. anything else con- stitutes the inside. The character of the inside is hardly told, but anyhow pre- sent, It is luminous and warm, contrast to the cold darkness outside, an! sence i prea id agaal sous in gneta ahs inl, 0. com prehensil He “things, where the iieor many” a take pace. In the next wo stanzas the perspective is deepened. Here the meaning of places and things comes forth, and man is presented a6 a wanderer on “darksome courses”. Rather than being placed safe- |y withid the house he has created for himself, he comes. from the outside, from the “path of life”, which also fepresents man’s attempt at Corientating” himself in the given unknown environ- ment, Jur GRUP hs anochermsicteih Offers the grace of growth and blossom Mthe image of the “golden” tree, earth and sky are unified and become 2 world, Through man's libour this world ib brought inside as. bi c whereby the inside is “illuminated”, thatis, becomes meaningful. Withotie the “sacred” fruits off sky and garth the inside would remain “empty”, The howe and the table rece Fie eed bing ci stoi close To dwell ina house sherefore means to inhabit the world. But this dwelling is not easy; ir has to he reached on dark paths, and a threshold separates the Outside from che inside, Represeating the “rife” between “othemess” and mar fest meaning, it embodies suffering and is “urned to stone", In the threshold, thus, the problent of dwelling comes to the fore’ Trakl’s poem illuminates some essential 5 2. Ousideinsde, on the ground wader the sky Hildebrandt: Gellerstor), Chapel 3. Ontsidesinsde. Gigho Castelo 2 Steommung. Nordic fore near Cele O lifeworld, and in phenomena of particular the basi evening described ts obviously a local, nordic phenomenon, but che implied notions of outside and inside are gener- al, 2 are the meanings connected with in the opposite direction of scientific thought. Whereas. science departs. from the “given”, poetry brings us back to the concrete things, uncovering the mean- ings inherentin the life-world, Furthermore Trak?'s poem distinguishes between natural and man-made cle men's, whereby it suggests a point of departure for an “environmental phe- nomenolog)”. Natural elements are evidently the primary components of the given, and places “are in fact usually defined in geographical terms. We must repeat Various attempts at a description of m weuifered by current but again we that the usual approach is too losophy for help. As Wve must tura to philosophy for help. As 4 first, fundamental distinerion Heideg- ger introduces the concepis of “earth” and "sky", and says: find blue depth of the ether..,", Like many fundamental insights, the distinction bec- ween earth and sky might seem trivial. les importance however comes our when we add Heidegger’s definition of “dwel- already He also calls what is between earth and sky the world, and says that “the world is the house where the mortals dwell”? In other words, when man is capable of dwelling the yyorld be 1", whic local circumstances has a “particular identity. This identity, or “spirit”, may be described by means of the kind of concrete, “qualitative” terms Heidegaer uses to characterize earth and sky, and has to take this fundamental distinetion 4s its_poine of departure. In this way we might arrive at an ex- istencially relevant understanding of landscape, which ought to be preserved as the main designation of natural places. Within the landscape, however, there are subordinate places, 25 well as natural “things” such as Trakl’s “tree”. In these things the meaning of ee natural environments “condensed” The man padi ronment are first of al of different their environment, it implies that the serve a foci where the environmental character is condensed and “explained Thus Heidegger says: “The single houses, the villages, the towns works of building which within and aroand themselves gather the multi- rious inchetween. The buildings ring the eaith as the inhabited landscape close to man, and at the same time place the closeness of neighbourly dwell bos The therefore They are “insides” na full sense, whi means that they “gather” what Known, To fulfill this fanetion they have penings whieh elace 10 the ouside (Orly an inside can in fact have openings). Buildings are furthermord related to their environment by rest fon the ground and rising towards the, ky. Finally the man-made environments comprise artifacts or ‘things’, which | may. serve as internal foci, and em phasize the gathering function of the” settlement, In-Heidegger’s words: “The thing things world”, sshere “thinging” is used in the original sense of “gathering” and further: “Only what conjoins itsd ‘our of world becomes a thing” Our introductory remarks give several indications about the structure of places. Some of these have already been worked ‘out by phenomenologist_ philosophers, and offer good poin: of departure fot more complete phenomenology. ‘A first step is taken with she distinction * of natural and man-made phenomena, for in, concrete terms, between “lands scape” and “settlement”. A second step is represented by the categories of eanh-sky_[horizorcalerertical) and. out portant st. ind gives oUF in vestigation a basis in the concrete phenomena of our everyday lifeworld. ‘Only in this way we may fully gresp the genins lociz the “spirit of place” which 10 the ancients, recognized as that “op- posite” man has 10 come to terms with, lobeableto dwell, 2. The Structure of Place Gur preliminary discussion of the phe- nomena of place led to the conclusion that the: structure oF place ought to, be described in terms of “landscape” and “settlement” and-ainsly zech-by-means of the categories “space” and “character”. Whereas “spice” denotes the three-di- nization of ‘the elements Which make up a place, “character” denotes the general “atmosphere” which is the most comprehensive property of 2aponplicsonflasteseluol sili sy Wis tinetion between space and character, it is of course possible to. employ one tomprchensive concept, such a: “lived Space Tor our purpose, however, (els Practical to distinguish between spac and character. Similar spatial organi y diffe ment (the basic spatial space-defining elements In history che boundary} forms have been given ever new charac: interpretations", On the other hand it has to be pointed cue that the spatial organization pues certain limits 0 chamderzation, and thit the two concepts areinterdependent “Space” is certamly no new term in architectural theory. But space can mean many things, In current literature we says distinguishsbetwccn. 0. .scs:(@Re8 as threedimensional geometry, and space=as pereeprval: ficld!’,, None of these however -ore-sntifnetory, being abstractions from the intuitive three dimensional totality of everyday ex perience, which we may call “concrete, space’. Concrete human actions in fact donot take place in an homogencous: teopic space, but in e iguhed by qualitative differences, such as “up” and “down”. In architec rm 5. Stinmroug. Desert village outside Khertoun: 6. Inside. Old Norwegian conage, Telemark 7 Subiaco, path of tha minderer, Sacre See tural theory several attempts have been: made to define space in concrete, qualitative terms, Giedion, thus uses he distinesion benveen “outside “inside” as the basis for 4 grand view of architectural history. (esinisymey penetrates deeper into the-sertetere-oF ConeHte Gpaee, introducing the con irs of Shade (‘landmark yjspath?s ge’ and “distret”, to denote those elements which form the: basis~for mev's orientation in space. Paolo PowOBAES|pinally defines space as a Ssyscem GF (BAG, implying chat the concep: of space has its roots in conecretewmsiouations, although spaces rmiy-be-deseribed by means of mathe- matics, The later view correspondg to Heidegger's stacement that. Hes receive their being. from’ locations and, hot from “space” The oursicesinside relteion=whihis a primary aspect of concrete space, implies that spaces. pos- ses a varying degree of extension and enclosure. Wheress (SR¢ =a peeisTya tinguished by a yared, but bsicaly continuous extension, settlements are ericlosed enticies. Serlernt and! land seape therefore have a figure relationship. In general any becomes manifest as a “figure” in. rel ation to the extended ground of the landscape. A settlement loses its ident ity if this relationship is cormupted, just as much as the landscape loses its identity as comprehensive excenson. In a wider context @ii/@nElOsire becomes Aeon) which may funetON a a Wfocus™ for its surroundings. From the centre space extends with a varying degree of continuity (thythm) in dife ferent directions. Evidently the main directions are horizontal and vertical that is, the directions of earth and sky, Ceutralization, direction and) hill ace therefore other important properties of eonerete "spaces Finally it hes to be mentioned thar natural cle- 12 ‘ments sho sills) andheskinlemnents may. be clustered or grouped with a varying degree of proximity All the spatisl properties mentioned are of a “topological” kind, and correspond to the wellknown “principles oi ganization” of Gestale theory. ‘The prim. ay existential importance of these prin- Giples is confirmed by the researches of Tiager on the child's conception of space’, Geoneirical modes of organization only develop ter in life to serve. particular purposes, and may in general be urder- Sood as'a more “precise” definition of the basic topological structures. The topological enclosure thus becomes a Grcle, the “free” curve a straight line, and the cluster a grid. In architecture geometry is used to make a general eomprehensive system manifest, stich as miconder”. ‘any enclosure is defined by a boundary. Heidegger says: “A boundary is not that at which something. stops but, as. the Greeks recognized, the boundary ist from wheh, something. bes Sencing’™%) The boundaries of a dull Space are known 25 (Gem ills galing The boundaries of a landscape We-scturally similar, and consist of (roind, harizomy and! aliyp This ball-room “festive” and a ch 5 . protective", an office “practical”, 9 4 Themall, When we visit 1 foretgy city, we aretunlly struck by its particular character, which becomes an important part of the experience. Landscapes alo possess character, some of which are of & particular “natural” kind. Thus we talk about “barren” and “Yertile”, “smi ing’ and “threatening” landscapes, in general we have to emphasize that all vs bave character, and that character asic mode in which the world is “given. Te some extent the character of of times it changes couse of the day and the weather, factors which above all» determine different conditions of ight. a a material and formal constitution of the place. We must therefore ask: how tf Trelground’ on whieh we walls hae the sky above our heeds, or in general; how ate the boundaries which define the place Elo bonadany is dependeui plc Hiow a vosacay i depend related to che way Ht “DulIP. Looking ata buildi from this point of view, we have to consider how. it rests on the ground and how ie rises cowards the Particular attention has to be given to its lateral bounderies, or walls, which ako contribute decisively co determine the character of the wrbav envionment, Wo are indebred cof Mlebert Venti having fecognized this fact, after ic hud Foeen considered WOE years “ine 14 TORING. Usually the character of a “family” of buildings which constitste 1 plice, fs “condensed” diiycharacteristiel motifeysitch as pas types of windows, doors, and) MOlsOSih Mots may become “con- ventional elements”, which serve to transpose a character from one place to Lanotter. In the boundary, thus, charac- ter and space come together, and we may agree with Venturi when he defines architecture as “the wall between the inside and the outside”** Except for the intuitions of Venturi (GH problem of character has hardly been considered in current architectural theory, As reste, theory hss toa Nigh Elen" lost contact with the concrete lfe-world. This is particularly the case with technology, which is today con- sidered a mere means to satisfy practical mandss= Character hovsever depends upon how things are made, is shereforesdetermined by the tehnigal Tealization (building). Vleidegger points out that the Greck word techne meant a creative “re-vealing” (Enther- n) of tutheand belonged .@iBORSisy that is, Ginalling®. A phenomenotony of plice therefore has to. comprise the basic modes of construction and. their relationship to formal articulation. Only eth way architectural theory gews a inuly concrete basis, The siructure of place becomes manifes 4s environmental oralities. which com- pise the aspects of character and space. Sich places, are known as, “countries”, “regions”, “landscapes”, “settlements and “buildings”. Here we return to the conerete “things” of our everyday i world, which was our point of depar- Are ture, and cemember Rilke’s words We pehaps here to say...” When pla are csi should! therefore terms land” “hay”, “forest”, “grove”, or Ssreet", “courtyard”, “and 15 11, For, Stret in Sermoneta, Lazio 12. Making. St Mary's Wooleoth, London by Haekionoor “wall”, “roof”, “ceiling? ” and door”. Places are hence designated by nouns. This implies that they are considered real “things that exist”, which is the original meaning of the word “sub- stantive”, Space, instead, as a system of relations, is denoted by prepositions. In four daily: life we hardly talk about “space”, but about things that are “over” ‘or “under”, “before” or “behind” each other, or We use prepositions such as Sav’, Sin", “within”, “on”, “upon”, “to”, “from”, “along”, “next”. “AIL these pre= positions denote topological cclations of © the kind mentioned beiore. Character, « finally, is denoted by adjectives, as was indie above. A character isa com- plex totality, and a single adjective evidently cannot cover more than one aspect of this totality. Often, however, a character is so distinct that one word seems sufficient to grasp its essence, We ic, thus, that the very structure of everyday language confirms our analysis ofplace. C-Countries, regions, landscapes, settle- ‘ments, buildings (and their sub-places) form a series with a gradually dimirish- ing scale. The steps in this series may be called “environmental levels", At the “top” of the series we find the more comprehensive natural places which y” the man-made places on the levels. The latter have the and “focusing” function mentioned above. In other words, man “rectives” the environment and makes it focus in buildings and things. The things thereby “explain” the environment and mal manifest. Thereby the things themselves become meaningful. That is the basic function of detail in Zour surroundings". This does no: imply, however, that the different levels must have the same steucture, Architectural history in fact shows chat this is rarely the case. Vernacular settlements usually Li Place, Neesbeim with monastery by Newnan, 14, Enironeental level 15, Visualisation, Caeata hive a. topological organization, al- though the single houses may be strictly Beomerical. In laeger cities we often fird topologically organized neighbour- hoods within a general__geometrical structure, tc, We shall ‘main “step” in the scale of environmental levels: the relation to_make the (Pes 22" se wanes to sual lertanding” of nature, “express. ing fe extent oor ga achieve thisy I feimited space he builds an enclosure; where nature appears “centralized”, he erects a Mal"; where nature indicates a direction, he makes a path. Secondly, an exper iexced meaning is “translated” into an- ‘other medium. A natural character i for instance translated into a building whose properties 5 coche s manifest”. which may form Dart of a more complex situation, or be moved to another place. All the three relationships. imply that concretizes ‘evidently depends on symbolization, and implies a transposition of meanings. to another place, which thereby becomes F a 16. Visualization and symboisttion. Caste Allo Adi 17, Symbolisation. etna Jordan: processes of sertling; and dwelling, in the existential sense of the word, de pends on these functions a “building” which visualizes, us he says: “The bridge swings over the stream with case and power, It does hhot just connect banks that a already different “contents”, within there, the, banks emerge as banks only nly as the bridge crosses the stream. Thi bridge designedly causes them to Secondly. it across from each other. One side is set Off against the other by the bridge. Nor do the banks stretch along the siream as" an different border strips of the cry land, ‘With the banks, the bridge brings to the ne stream the one and the other expanse of the landscape lying behind them. It brings stream and bank and land into each other's neighborhood, feidegger also describes what the -bridge gathers and thereby We » but want to emphasize that the landscape as such ges its value through the bridge. Before, the meaning of the landscape was “hidden”, and the building of the bridge brings it out into the open. “The bridge gathers Being into a certain “location” that we may call a “place”. This “place”, however, did not exist as an entity before the bridge (although there were always many “sites” along the river-bank where it could arise), but place is not a fixed eternal state. As a rule places chanj sometimes rapidly. This does not mean, however, that the genius loci necessarily fiusiaes Ge poblen by nceeeee changes. or Later we shall a-necessary condition for human ire. How then is this. stability compatible with the dynamics of change? First of all we may point ou that any place ought to have the “capacity” of receiving ct conserve the genius loci in. fact means ‘to concretize its essence in ever historical contexss. We might also say that the history of a place ought to be its “self-realizatios hat was there a possibilities at thaboutset, is un- covered through human action, illumi- hated and “kept” in works of t= chitecrure which are simultaneously “old and new”, A place therefore comprises Properties having a varying degree of fnvarianee, If general we may conctade cD the point of departure as well Ie goal of our structural investigation; at the outser place is presented 28 a given, spontaneously experienced totality, at the end it appears as 2 structured world, illuminated by the analysis of the aspects of space and character. 3. The Spirit of Place Genius foci is a Roman concept. Ac- cording to ancient Roman belief every he gods act which illustrates 18, Gatterng 19, The bride of Louis Kahn. ft is not necessary in our context t© go. into the history of the concept of gerius and its relationship to the daimon of the Greeks. It suffices to point out that ancient man experienced his environment as consisting of definite characters. In. particular he recognized thar i is of great existential importance to come to terms with the genins of the locality where his life takes place. In the past survival depended on a “good” lationship co the place in a physical as as sense, In andent Egypt, for instance, the country was not uly cultivated tn accoreance wit the Nile floods, but the very structuse of the landscape served as a model for the Tayo of the “public” bullings i should give man a sense of secutiy b symbolising "an. eternal environmental Durin, the course of history t ty, al though it may not have been expres sivdy named as such. Artists and writers have found inspiration in local character and have “explained” the phenomena of veryday life as well as art, referring (0 ddscapes and _urban_milicus. Thus till in 1960 Lawrence Durrell wrote: “As you get to know Europe slowly, tasting the wines, cheeses and characters Of the different _countries realize that ch Modern turism proves that the ex- perience of different places is a major hhuman interest, although also this value today tends to get lost. In fact modem man for a long time believed. that science and technology had fread i from a direct dependence on places! 18 ‘This belief has proved an_ illusion; pollution and environmental chaos have suuddendly appeared nemesis, and 3s a result the proble place has regained its true importance, We have used the word (Welling) co « indicate the!total manéplace relationship. To understand more fully what ths word implies, it is useful ro retarn to the: distinction, berween “space” and “char Sager", When mar dvvells, he is imu Tineous| (ulGeaed isp tO a) certain environmental character. The wo peycholortest functions tn yralved, may be called “orientation” and Sidentiicaion"™, To. gain en existential foothold man has 10 be able to orientate himself; he has to know there he is. Bu he also has to identify himself with the environment, chat i, he has to know pow his sesrtain ala The (GRoblem! OF orieAHHON has been able

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