MAYURESH BARBARWAR

SENSES IN ARCHITECTURE THIRD YEAR B.ARCH

CANS
 INTRODUCTION
WHAT IS ARCHITECTURE IN REAL SENSE?
 ARCHITECTURE IS THE RELATION BETWEEN OURSELVES AND THE WORLD.
ARCHITECTURE IS FAR MORE THAT JUST VISUAL, IT SHOULD INVOLVE PEOPLE
NOT ONLY PHYSICALLY BUT MENTALLY.
 PERCEPTION IS THE MOST IMPORTANT ASPECT WHEN WE TALK ABOUT A SPACE.
ARCHITECTURAL EXPERIENCE MUST BE PERCEIVED BY EACH AND EVERY
INDIVIDUAL WHO IS A PART OF THAT ARCHITECTURAL SPACE. THROUGH
UNCONCIOUS PERCEPTION, ONE CAN FEEL THE SPACE WITH THE HUMAN SENSES.
 MULTISENSORY ARCHITECTURE CONNECTS PEOPLE WITH A MEMORABLE
EXPERIENCE THROUGH THE HUMAN SENSES.
 AS JUHANI PALLASMA SAID, “ARCHITECTURE IS THE ART OF CONCILIATION
BETWEEN OURSELVES AND THE WORLD, AND THIS MEDIATION TAKES PLACE
THROUGH THE SENSES”.
 HUMAN SENSES
 IT IS IMPORTANT TO REMEMBER THAT ARCHITECTURE IS THE ONLY ART FORM
WHICH PEOPLE CAN INHABIT, WHICH CAN SPEAK FOR ITSELF AND TO ITS
USERS AND MAKES THEM FEEL PART OF SOMETHING IN THE ATMOSPHERE.
 INTEGRATING OF ONE’S BODY THROUGH THE HUMAN SENSES WHICH ARE:
VISUAL, TOUCH,SMELL,TASTE & HEAR.
 OUR SENSES ARE OUR LEARNING TOOLS. AS CHILDREN,WE INNOCENTLY
TOUCH OR BITE TO GET THAT SENSE OF ENVIRONMENT. A COMPLETE
MULTISENSORY EXPERIENCE CAN HELP PEOPLE TO LEARN ABOUT
THEMSELVES, THE ENVIRONMENT AROUND THEM AND THE WORLD.
 INSTEAD OF ONLY THE OCULAR SENSE, FIVE
CLASSICAL SENSES, ARCHITECTURE INVOLVES
SEVERAL REALMS OF SENSORY EXPERIENCE
WHICH INTERACT AND FUSE INTO EACH OTHER.
 LATELY, ARCHITECTURE HAS BEEN ONLY ABOUT THE VISUAL ASPECT.
ARCHITECTS HAVE DISREGARD THE PHYSICAL, EMOTIONAL AND
PSYCHOLOGICAL CONNECTIONS HAVE TO THE SPACE. ARCHITECTURE SHOULD
BE USER EXPERIENCED AND NOT ONLY AESTHETICS DRIVEN.
 THIS HAS REDUCED THE LEVEL OF USER EXPERIENCE AS IT IS THROUGH THE
BODY THAT ONE PERCEIVES , ENGAGES AND ENJOYS ARCHITECTURAL SPACES.
 ALVAR ALTO’S ARCHITECTURE INVOLVED ALL THE SENSES INVITING THE USER
TO TOUCH MATERIALS CREATING INTIMACY AND WARMTH THROUGH
CONSTRUCTION TECHNIQUES, MATERIALS AND FEATURES.
 IT IS IMPORTANT TO UNDERSTAND THAT ARCHITECTURE IS MORE THAN
MATERIALS AND FORM BUT DEALS WITH THE HUMAN ASPECT, LOOKING AT
THEIR SENTIMENTS, ENVIRONMENT, SPACE AND INTERACTIONS BETWEEN
THEM.
IMPACT OF INDUSTRIAL REVOLUTION
 THE FIVE SENSES WERE ALL OF IMPORTANT BUT
DURING THE RENAISSANCE PERIOD OCULAR
CENTRIC ARCHITECTURE GOT MORE PRIVILEGED
AND THAT INDUSTRIAL REVOLUTION MADE THIS
ASPECT MORE STRONG.
 INDUSTRIAL REVOLUTION BROUGHT MASS
PRODUCTION OF IRON,STEEL,GLASS.
 MATERIALS WHICH WERE USED BEFORE THEN LIKE
WOOD,BRICK,STONE WERE ABLE TO TRIGGER THE
OTHER SENSES THAN JUST VISION.
 ARCHITECTURE BEFORE INDUSTRIAL REVOLUTION
WAS ABLE TO ACHIEVE USER EXPERIENCED
THROUGH THE QUALITY OF SPACES WITH THE HELP
OF MATERIALS.
 ARCHITECTURE WITH THE
MATERIALS
 INTEGRATING ONE’S BODY THROUGH THE ROLE OF EYES, THE
AUDITORY EXPERIENCE, OLFACTORY IMAGERY OF SPACES,
INDUCTION OF ORAL SENSE AND THE TACTILE EXPERIENCE IS ONLY
POSSIBLE WITH THE MATERIALS.
 NATURAL MATERIALS LIKE STONE AND WOOD ALLOW US TO
PERCIEVE THE INTEGRITY OF THE BUILT RATHER THAN THE
MACHINE MADE MATERIALS LIKE THE GLASS FACADES.
 GIVEN BY THE LIGHT, RESONANCE OF THE SPACE, SMELL &
TEXTURE OF THE MATERIALS, WHICH MAKE ARCHITECTURE A
SENSORY EXPERIENCE AND IT IS WHAT THESE THINGS ARE
CAPABLE OF EVOKING IN PEOPLE WHICH MAKE ARCHITECTURE A
SENSITIVE EXPERIENCE.
 A SUDDEN CHANGE IN THE SCALE OF THE SPACES CAN
STILMULATE THE SENSES AT VARIOUS LEVELS.
 PLAYING WITH LIGHT AND SHADOW TRIGGERS THE HAPTIC SENSE
AS WELL AS THE SENSE OF VISION.
 INTERNATIONAL ARCHITECTS
 THERE ARE MANY ARCHITECTS WHO DESIGN THEIR OWN IDEALISM OF HUMAN
SENSES IN ORDER TO KEEP A INTIMATE CONNECTION BETWEEN THE USERS AND THE
ARCHITECTURE
 THEY GIVE A THOUGHT OF SENSES WHILE BUILDING THEIR STRUCTURES.THEY ALWAYS
TRY TO FUSE EVERY USER OF THAT SPACE WITH RESPECTIVE ARCHITECTURE.
 AR.ALVAR ALTO, AR.TADAO ANDO, AR.PETER ZUMTHOR HAVE THEIR OWN
PHILOSOPHIES AND TECHNIQUES TO ACHIEVE A USER FRIENDLY EXPERIENCE WITH THE
HELP OF HUMAN SENSES.

 AR. TADAO ANDO
STYLE- ELEMENT OF LIGHT, WATER,
CONCRETE & GLASS.
SIMPLIFIED RECTILINEAR FORMS.
BARE CONCRETE WALLS THAT DEFINE
THE SPACES WITHIN
 FIVE SENSES DESIGN MODE
ANDO’S DESIGN PRESENTS THE CONCEPT OF THE SPIRIT OF PLACE
AND ESTABLISHES THE NATURE AND SOUL OF ARCHITECTURE.
THE ESSENCES OF NATURE, GEOMETRY, AND SMOTIONS AND SPACE
EXPRESSIONS IN DETAIL DESIGN BY OVERCOMING APCE CONSTRAINTS
USING THE ELEMENTS OF WATER, PLANTS, AND NATURAL SHADOWS.
THIS ENABLES PEOPLE TO FEEL THE ARCHTECTURE FROM THE
BOTTOM OF THEIR HEARTS AND EXPERIENCE THE METAL
CONSONANCE AND INSPIRATION BETWEEN ONE’S APIRIT AND THE
ARCHITECTURE.
MATERIALS ARE EMPLOYED TO LET PEOPLE USE DIFFERENT SENSE
ORGANS TO FEEL THE BEAUTY OF THE BUILDING SPACE VIA VISION,
HEARING, TOUCH, SMELL, AND TASTE.
WATER TEMPLE OF BENFUSI
COMPOSITION SITUATION AND
SPIRIT OF PLACE
ANDO USES SIMPLE AND LOW-KEY LINES TO
FORM AN IMAGE OF AN ENTRANCE BY USING A
3 METER RECTANGULAR FAIR- FACED CONCRETE
WALL.
FOLLOWING THIS WALL, THERE IS A CIRCULAR
AS-CAS-FINISH MOLD CURVED WALL,
CONSTITUTING THE BEAUTIFUL ARCS OF THE
SQUARE AND CURVED WALLS BY WALKING
ALONG THE CURVED WALL, ONE’S VISION IS
SUDDENLY WIDENED AT THE TURNING POINT
OF THE WALL BY AN OVAL ELEGANT LOTUS
POND.
AT THE CENTER OF THE LOTUS
POND, THERE IS A LINE STAIRS OF
LEADING TO AN UNDERGROUND
TEMPLE “WATER” ELEMENT.
IN THE WATER TEMPLE, THE
LOTUS POND FORMS THE ROOF.
THE OVAL TOTUS POND
SYMBOLIZES BIRTH AND
REGENERATION.
THE CALM AND ELEGANT SURFACE
OF THE POND RELAXES PEOPLE’S
MIND, ENABLING THEM TO
EXPERIENCE A DEEPER MEANING
OF RELIGION AND PROVIDING
THEM WITH PROFOUND
INSPIRATION IN THEIR SOULS.
“LIGHT” ELEMENTS
AFTER ENTERING INTO THE BUDDHIST TEMPLE, ONE CAN SE THE LIGHT-FLOWING IMAGE CREATED
BY ANDO.
PEOPLE’S MINDS ARE PURIFIED BY THE ORDINARY WORLD EVINCED BY THE WHITE WALL, LEADING
INTO THE ETHEREAL WORLD OF THE POND.
THE LIGHTS GRADUALLY BECOME WEAK AND DIM AS ONE WALKS DOWN THE STAIRS.
THIS JOURNEY IN THE LIGHT IS A SUMBOL OF PURIFICATION, DEATH, AND REBIRTH
 CHURCH
OF
LIGHT
• LOCATION –
OSAKA, JAPAN
• DATE COMPLETED –
1999
• CONCEPT –
USE LIGHT IN A WAY
TTHAT WOULD
STRENGHTEN THE
POWER OF RELIGION
• THE CHURCH IS SEEN
AS A PLACE OF
RETREAT WHERE THE
OUTSIDE WORLD IS
FORGOTTEN AND THE
NATURAL WORLD IS
EMPHASIZED IN A
RATHER ABSTRACT
MANNER AND
CONTROL OF LIGHT.
 SEQUENCE OF SPACES

CONNECTION FROM INSIDE AND OUTSIDE

THE WALL IS THE COMMANDING ELEMENT THAT IS

EASILY RECOGNIZED INSIDE AND OUTSIDE OF THE
BUILDING.
 PUBLIC, PRIVATE, AND
TRANSITIONAL SPACES
PUBLIC

HIERARCHY PRIVATE

THE SUPPORT SPACES

OF THESUNDAY
SCHOOL ROTATES AWAY PUBLIC
FROM THE MAIN SPACE
OF THE CHAPEL
TRANSITIONAL

PUBLIC
TADAO ANDO’S
PRINCIPAL FOCUS ON
SIMPLICITY AND
MINIMALIST
AESTHETICS IN THE
CHURCH OF THE
LIGHT IS SILENCING.
THE CHAPEL CONSISTS OF A
RECTANGULAR VOLUME OF THREE
CUBES THAT ARE PINCTURED BY A
WALL AT A FIFTEEN DEGREE ANGLE
THAT NEVER ACTUALLY TOUCHES THE
OTHER WALLS OR CEILING OF THE
CHAPEL.
THE GEOMETRY IS NOTHING MORE
THAN SIX WALLS AND A ROOF, A
MINIMALIST END POINT THAT
REQUIRES A THOUGHTFUL PROCESS
THAT IS ABLE TO ELIMINATE ANYTHING
ELSE THAT IS NOT RELEVANT.
THIS CHURCH IS A SIMPLE BUILDING
THAT MAKES THE MOST OF WHAT IT
CAN, A TESTAMENT TO THE PHRASE
“LESS IS MORE”.
THE CHURCH OF THR LIGHT, A SAMLL
SPACE OF AROUND 100 SQUARE METERS,
HAS THE ABILITY TO RAISE AWARENESS
JUST BECAUSE THE INTRICATE PLAY OF
VOID AND LIGHT MAKES SUCH A SMALL
ROOM APPEAR TO BE LINKED TOO SUCH
A GREAT ENTITY.
ONE IMMEDIATELY FEELS THE SPIRITUAL
AND SECULAR WITHIN THEMSELVES, AND
IS COMPELLED EITHER TO PROCEED IN
SUBMISSION OR BACK AWAY IN
MORTIFICATION.
THE CONCRETE ITSELF ADDS TO THE
DAKNESS OF THE CHURCH BY CREATING
A MORE HUMBLE, MEDITATIVE PLACE OF
WORSHIP.
• THE LIGHT FROM THE CROSS
AND CALCULATED SLITS ON
THE BUILDING
DEMATERILIZED THE INTERIOR
CONRETE WALLS AND
TRANSFORMS THE DARK
VOLUME INTO AN
ILLUMINATED BOX.
• THIS HAS A SURREAL EFFECT
THAT PERPETUALLY CHANGES
MATERIAL INTO IMMATERIAL,
DARK INTO LIGHT, LIGHT INTO
DARK SPACE.
 • THE PURPOSE OF THE CIRCULATION
SEQUENCE IS REALIZED AS ONE
PASSES THROUGH THE WALL.
• BY KEEPING THE AMOUNT OF
OPENINGS TO A MINIMUM, THE
POWER OF THE LIGHT EMANATING.
• THE LIGHT FROM THE CROSS AND
CALCULATED SITS ON THE BUILDING
DEMATERIALIZED THE INTERIOR
CONCRETE WALLS AND TRANSFORMS
THE DARK VOLUME INTO AN
ILLUMINATED BOX.

THIS HAS A SURREAL EFFECT THAT PERPETUALLY

CHANGES MATERIAL INTO IMMATERIAL, DARK
INTO LIGHT, LIGHT INTO SPACE.
 AR. PETER ZUMTHOR

• BORN –
26TH APRIL 1943

• SWISS ARCHITECT
BRUNDER KLAUS
FIELD CHAPEL,
GERMANY
• A SMALL CONCRETE CHAPEL
BUILT BY LOCAL FARMERS ON
THE EDGE OF A FIELD.
• THE METICULOUS
ARRANGEMENT OF THE TREES
TREARDROP OR LEAF CREATED
THE OCULUS THAT PROVIDES
THE ONLY DIRECT LIGHT TO THE
SMALL DARK SPACE.
 CONCEPT
• IN ORDER TO DESIGN BUILDINGS
WITH A SENSUOUS CONNECTION TO
LIFE, ONE MUST THINK IN A WAY
THAT GOES FAR BEYOND FROM AND
CONSTRUCTION.
• THIS CONCEPT RINGS TRUE IN THE
DESIGNE OF PETER ZUMTHOR TO
THE BRUDER KLAUS FIELD CHAPEL,
WHERE A MYSTICAL AND INTIMATE
INTERIOR THAT INVITES REFLECTION,
IS MASKED BY A VERY RIGID
RECTANGULAR OUTER.
 SECTIONS
PLAN
• IN ITS IRREGULAR FIVE-SIDED FORM, RISING STARKLY ABOVE THE
SURROUNDING LANDSCAPE, THERE ARE VIRTUALLY NO CLUES TO WHAT LIES
WITHIN.
• A NARROW GRAVEL PATH LEADS FROM THE ROAD DIRECTLY TO ITS MASSIVE,
TRIANGULAR STEEL DOOR.
• THE TOWER RISES 12M IN 24 LAYERS OF CONCRETE EACH OF 50CM THICK.
 STRUCTU
RE
• THE FIRST STEP IN BUILDING
THIS CHAPEL IS RIDING
TRUNKS THAT SHUTTERING
WILL HAVE TO ENDURE
LATER REINFORCED
CONCRETE.
• THE CONCRETE IS POURED,
THE FORMWORK WITHOUT
COMLETELY COVER UP THE
12M HIGH, INTERRUPTING
THE SPILL A FEW METERS
BEFORE THE TOP AND
LEAVING THE TIPS OF FREE
TRUNKS, LIKE A WIGWAM.
• SUBSEQUENTLY, FOR
REMOVING THE INNER
FORMWORK, TRUNKS THAT
ONCE CONSUMED LEAVING
A SPACE THAT IS THE EXACT
NEGATIVE OF THE SAME
SHAPE ARE BURNED.
IN HIS UNIQUE AND INTIMATE
SPACE INSIDE A STATUE OF SPACES
BROTHER KLAUS, A BENCH AND
SOME CANDLES ARE LOCATED
 LIGHT
THE OBVIOUS DIRECTIONALITY OF WALL LEADS
THE EYE UPWARDS TO THE POINT WHERE THE
ROOF IS OPEN TO THE SKY AND NIGHT STARS.
THIS APERTURE CONTROLS THE INDOOR
CLIMATE IN THE CHAPEL. BOTH SUNLIGHT AND
AIR AND RAIN PENETRATE THE OPENING AND
CREATE A VERY SPECIFIC ENVIRONMENT OR
EXPERIENCE BASED ON TIME OF DAY AND
SEASON.
 AR. ALVAR ALTO
• BORN: 3RD FEBRUARY 1898,
KUORTANE, FINLAND

• DIED: 11TH MAY 1976, HELSINKI,

FINLAND
• HIS DESIGN PHILOSOPHY WAS INFLUENCED BY NATURE AND
ORGANIC MATERIALS.

• WITH HIS INNOVATION DESIGNES AND NATURAL FORMSHE

CHANGED THE COUTSE OF DESIGN TOWARDS ORGANIC
MODERNISM.

• THE BEAUTY OF HIS WORK IS HIDDEN IN HIS DESIGN APPROACH OF

FUNCTIONALISM BUT WITH A STRONG CONNECTION TO THE
ORGANIC RELATIONSHIP BETWEEN MAN, NATURE AND BUILDING.
 SAYNATSALO TOWN HALL
• LOACTION: SAYNATSALO,
FINLAND
• BUILT: 1952
• BUILDING TYPE: GOVERNMENT

OFFICE, CITY HALL,

INCLUDING PUBLIC LIBRARY
• CONSTRUCTION SYSYEM:
BRICK,
WOOD
• CLIMATE: COLD AND DRY
• CONTEXT: SMALL TOWN
CENTER
• STYLE: MODERN
PLAN
SECTIONS
ELEVATIONS