Final Report

nascent
I would like to extend my deepest gratitude to The Skidmore, Owings and Merrill Foundation
for providing me with the catalyst and the support for my journey and discover y through
Europe during the Summer of 1999. My Traveling Fellowship has profoundly influenced my
perception of art, design, architecture and the human condition. My travels have been the
perfect supplement to my undergraduate coursework, and the best preparation for my move
across the countr y, to San Francisco, in the months since my return from Europe.
I would also like to thank all of my teachers– formal and informal. Without these amazing
individuals I would not be able to search for truth and beauty in all things.
And so I dedicate this report, this beginning of an idea, to anyone possessed of insatiable
curiosity and the courage to illicit the same desire for knowledge in ever yone.
Erin Duncan
1998 SOM Traveling Fellowship Recipient
DEDICATION
“This is only the beginning...”
Infamous words uttered by so many embarking upon a journey
in a new direction of thought, emotion or action. Such is the
case with the ideas which follow in this report – ideas borne
of academic curiosity, awakened by travel and nurtured by
reflection and perpetual discover y.
This report is a work in progress. In its present form it is a
fourth generation collection of thoughts and obser vations
rooted in the experiences of my six week travel abroad
during my SOM Foundation fellowship. The current tone and
presuppositions of my musings reflect an evolution in thought.
It is my intention to communicate my obser vations in a
manner as true to their initial conception as possible. However,
in the months that have passed since my initial travel, my
interpretations have steeped in my restless psyche and are
now infused with the ever-changing character of my life
experiences.
studies from the guggenheim museum–bilbao
At this stage in the evolution of this report, my focus is not
t h e v i s i o n o f a ny g i ve n a rc h i t e c t , b u t r a t h e r my o w n
interpretation and perception of the nature of the role
architecture plays in the relationship between the surrounding
landscape and the interior spaces which host the actions of
h u m a n l i fe . M y j u d g m e n t s a re ro o t e d i n b a s i c s e n s o r y
perception. My observations are visual, tactile, auditory and
olfactor y. To support these interpretations, I have educated
myself in the general aspects of each site. I have considered
the geographic location, surrounding landscape , regional
culture, the function and historical significance of the structure
as well as the intent of the architect to hone the shape of
my conclusions.
Additional factors have influenced the course of my study
and of my travels. My original itinerary submitted during the
Fellowship competition in May of 1998 contained one or
more sites, which had been closed for refurbishment in
preparation for the new millennium by the time travel,
commenced in the summer of 1999. The Pompidou Center
and the Vitra Design Museum were among these restricted
sites. As a result, I have made site substitutions and additions,
a s I d e e m e d ap p ro p r i a t e . S o m e o f my m o s t f a s c i n a t i n g
obser vations regarding the focus of my study occurred by
happenstance. Happily, these additional sites reveal my theories
to be more universally applicable than I had anticipated.
Even yet, I ache to return to the inaccessible buildings in
order to explore their structures and to consider their forms
and spaces. In an ideal circumstance I would choose to visit
all sites, at all seasons, at all hours of the day to experience
the spaces in their entirety. I am–by great fortune or great
fault–only one being. I will have to be content with snapshot
visions and lingering contemplation of what I witnessed, felt,
h e a rd , t a s t e d a n d s m e l l e d d u r i n g t h e s i x we e k s o f my
a r c h i t e c t u r e p i l g r i m a g e t h r o u g h We s t e r n E u r o p e .
“One never knows enough. From there, one finds the unknown
a n d f o l l o w s i t s c a l l , i n w h a t i s a l r e a d y k n o w n .”
– Chillida
PREFACE
2
For thousands of years humans have inhabited the ear th,
engaged in a complex relationship with our host planet. This
symbiosis has fluctuated in meaning and in purpose as humanity
has evolved to its present position at the threshold of the
2 1 s t c e n t u r y. O n a d a i ly b a s i s we m a n i p u l a t e a n d a re
manipulated by the forces of nature. We harness the earth’s
dynamic power to feed, clothe, shelter and nurture ourselves
while we simultaneously use our wits and our brawn to
s u r v i ve t h e l a r g e ly u n c o n t ro l l a b l e e l e m e n t s o f n a t u re .
The Ear th’s rugged landscape has caused humans to move
indoors–to create structures to provide a protective link
between ourselves and the natural world. Yet the rough
topography, flowing rivers, sparse tundra and arid deserts,
from which we have sought to separate ourselves, define
humanity at the most primar y level. These natural elements
are the foundation on which we construct our homes, our
lives and our philosophies.
Architecture finds its foundation in the land and is grounded
by the planetary forces of gravity. When humans move through
and interact with these structures, our lives and philosophies
are influenced by the connection that has been created
between a building and the surrounding environment. The
architecture, which provides us with shelter also, links us to
the earth.
The structures we build are a visual record of the ongoing
relationship between humans and the earth. A building shelters
our body, defines our identity and reveals the tacit aspects
of our interaction with the earth. Architecture influences the
appearance of the landscape and reflects our attitudes toward
kiasma interior color study
the surrounding environment. This phenomenon is perceptible
in rural areas, in dense urban centers, and in places in between.
The topography of our immediate atmosphere is an extension
of the earth, whether man made or natural. Beyond its purpose
to shield us from the adverse forces of nature, architecture
acts as a conduit for our evolutionar y dialogue with the
earth. The location, the function and the formal attributes of
a building define the nature of this discourse.
A second series of relationships–between architecture and
t h e e a r t h , b e t we e n i n t e r i o r s p a c e s a n d a rc h i t e c t u r a l
structures, and between humans and our immediate
surroundings–provides a subtext for the conversation between
humans and the earth. As each link in this chain of relationships
is formed, the influence of each element is transferred to
the others. The resonance of this human-to-earth discourse
depends upon the sensor y experiences of the people who
travel between the zones of the surrounding environment,
architectural form and interior space. The manner in which
a building engages the senses of an inhabitant relates directly
t o t h e p e rc e p t i o n o f t h e s p a c e a n d t h e n a t u re o f t h e
i n t e r a c t i o n b e t we e n t h e h u m a n , t h e s t r u c t u re a n d t h e
landscape.
As a bonding force between humankind and the ear th, a
building can act as a host and facilitator, as an interpreter,
o r a s a f i l t e r f o r o u r evo l u t i o n a r y d i a l o g u e w i t h t h e
environment. The success of this dialogue depends upon the
continuity between landscape, architecture and interior space
t o s a t i s f y t h e h u m a n n e e d t o b e i n h a r m o ny w i t h o u r
surroundings.
villa savoye rooftop view
INTRODUCTION
4
Architecture, acting as a host and facilitator for the interaction
between humans and the landscape, is characterized by an
ease of accessibility and by a metamorphic function. These
structures are enlivened by the presence of people and are
often places occupied by human beings on a daily basis:
homes, public parks, and city centers. Functionally, the purpose
of these spaces is loosely defined, largely determined by the
will of the inhabitants. Host architecture is respectful, if
not harmonious, with the surrounding environment. Exterior
forms are simple and tend to resemble the characteristics
of the existing landscape. Circulation through these spaces
is intuitive and nonrestrictive. Paths and carefully composed
vistas are contrasted with open spaces to engage interest
and to conform readily to the innumerable desires of the
occupants.
The degree to which a building acts as a host or as a facilitator
for the interaction between humans and their surroundings
is influenced by the level of bias exuded by its architecture–the
amount of an environment’s character that is censored by
interior and exterior form. The more a structure resembles
the environment in its pure state, the more it acts as a host
for interaction. As more natural elements are censored by
t h e s t r u c t u re , i t s ro l e b e c o m e s t h a t o f a f a c i l i t a t o r.
lejre iron age village
ulm stadthaus
parc guëll
HOST
4
The reconstructed Iron Age Village at the Lejre Research
Center in Eastern Denmark is an example of host architecture.
Composed of a series of primitive dwellings nestled amidst
the grasslands, the settlement at Lejre reflects the harmony,
which existed between Nordic agrarian culture and the earth
from 500bc to 800ad. The forty-acre site consists of a lake,
a stream, meadows and a wooded bog, and is considered to
have been the residence of the prehistoric mythical kings of
Zealand (lejre-center.dk). The round mound-like structures
of the village have been built using the materials of the
landscape, using historically accurate construction techniques.
The function of these structures is inherently primal. Used
as shelter from the elements and for storage of provisions,
the huts are the products of the sur vival needs of villagers
a n d o f t h e e l e m e n t s , w h i c h c o m p o s e t h e s u r ro u n d i n g
environment. It is assumed the ver y people who lived and
w o r ke d w i t h i n h o u s e s s u p p l i e d t h e l a b o r f o r t h e i r
construction.
Resting low to the ground, with thatched roofs that mimic
the rolling hills, each hut occupies an oval footprint. Walls
are built of stone and earth and are more than a foot thick.
They reach a maximum height of four feet at the point where
the timber of the roof structure meets the top edge. Roughhewn logs, barely stripped of their bark are pitched skyward
and joined to support layers of straw. At the center of the
roof peak is a ventilation opening, which positioned directly
above a fire pit. A low arched doorway sits in direct line with
the fire pit, on one or both longitudinal sides of the dwelling.
Platform bunks line the perimeter of the interior, leaving the
center of the hut open and unobstructed around the fire .
The expanse of area surrounding the fire pit is used for a
variety of work, celebration and congregation activities. A
dominant vertical connection exists between the ground, the
fire and the opening to the sky. This linkage defines the core
of the hut and references the axis mundi. The strength of the
relationship of these elements confirms the importance of
the central zone of the dwelling in the culture of the village.
The spine of the home unites humankind with the earth and
with the heavens. The threshold between the home and the
village lies in a trajector y path that radiates outward from
the core of the hut. Doorways often faces east or southeast
to face the morning sun. When possible, the main entry and
the dwelling itself are carefully oriented to align with the
exact position of the rising sun at winter solstice (Gwilt and
Haselgrove 148), further linking the village and its culture to
the natural world.
The harmony created between the living structures and the
landscape at Lejre is striking. The forms and surfaces of the
huts blend into the topography of the land. Simultaneously,
connections are made by the function and organization of
the interior spaces in order engage the intangible forces of
nature as a defining element in the lives of the villagers.
LEJRE
5
A step into the future illuminates yet another example of
architecture that acts as a host and facilitator to engage
humanity and the ear th in conversation. High in the hilly
terrain of Muntanya Pelada in Northeast Barcelona, Spain lies
Parc Guëll. Originally conceived as a garden colony by architect
Antonio Gaudi in the first decade of the twentieth
c e n t u r y ( N o n e l l , 2 0 2 ) , i t e x i s t s t o d ay a s a p u b l i c p a r k .
Meandering pedestrian paths and ornamented terraces define
the landscape, yet are sympathetic to the natural character
of the site. Though arches and colonnades appear as mythical
e a r t h w o r k s o f G a u d i ’s c r e a t i o n , i n t r u t h , v e r y l i t t l e
manipulation of the existing terrain took place . A stroll
through Parc Guëll juxtaposes wide-screen vistas of the city
and the Catalan region with carefully composed zones of
seclusion and compression. A hall of white , mosaic-clad
columns creates a maze of solitude in echoes in the darkness
beneath a gleaming open terrace , alive with onlookers. A
wave of red rock pillars crashes toward a beach of lush green
grass. The pungent fragrance of tuberose punctuates the open
air.
The park is a host for relaxation, for celebration and for
communion with nature. Visitors awaken the park with their
presence , and in turn the park awakens their senses. The
variety of spaces at Parc Guëll facilitates numerous types of
i n t e r a c t i o n . L i ve ly p a t i o s w i t h i n t e g r a t e d s e a t i n g l e n d
themselves to impromptu musical performances. Open fields
beckon to soccer-minded children. Secluded paths among the
flora and fauna delight the eyes of a wear y city dweller.
Responsive to the needs and desires of its visitors Parc Guëll
acts as a meaningful link between the citizens of Barcelona
and the Catalan landscape. Guëll’s location amidst a residential
area makes its structures inherently accessible. As a park, its
purpose is to preserve and to showcase nature. Beyond these
obvious factors, the resonance of the resulting dialogue
between humans and the environment is due to Gaudi’s
s e n s i t i ve a n d p l ay f u l m a n i p u l a t i o n o f t h e E a r t h .
PARC GUËLL
6
A site separated yet far ther from a natural landscape , but
n o n e t h e l e s s a f a c i l i t a t o r fo r t h e d i s c o u r s e b e t we e n
humankind and the surrounding environment is Richard
Meier’s Stadthaus in Ulm, Germany. Situated at the foot of
G e r m a ny ’s t a l l e s t c a t h e d r a l s p i re , t h e S t a d t h a u s i s t h e
energizing force for the new public square, which connects
the cathedral, the city and the people. Completed in 1995,
the Ulm Stadthaus has revitalized the heart of the city after
a century of political debate and after five decades of damage
and neglect since World War II.(richardmeier.com) The
Stadthaus is the host for a variety of community activities,
housing galleries, performance spaces and a restaurant. In
function and in form, the building acts as the catalyst for
interaction among the citizens of Ulm.
The building is composed of crisp white forms clad with
s t u c c o i n ke e p i n g w i t h t h e b u i l d i n g c u s t o m s o f t h e
region.(richardmeier.com) Columns support the geometric
structure and glazed walls are stepped back from the façade,
opening the ground floor for easy obser vation. Enclosed
masses extend their perimeters beyond the columns and
overlook the plaza as balconies and terraces. A section of
glazed roofing rises above the austere white blocks and
re f l e c t s t h e p i t c h o f t h e g a b l e s o f n e a r b y b u i l d i n g s .
People travel easily between the city, the plaza and the
Stadthaus. Much of the multi-story building can be seen from
the perspective of the casual passerby, however entry to the
building is intuitive, and is barely perceptible until after one
has actually crossed the threshold into the gallery. From the
interior, the of building’s mass falls away. Natural light floods
all floors through a central atrium located beneath the
t r i p a r t i t e g l a z e d ro o f . C a re f u l ly c o m p o s e d fe n e s t r a t i o n
captures dynamic views of the cathedral and of the city.
Walkways link the functional areas of the building with rooftop
terraces. At each level the view of the surrounding urban
landscape is unparalleled.
Though strikingly modern in form, Meier’s Stadthaus is
respectful of the existing environment. The building is a
conduit for cultural, physical and visual interaction between
people and the city of Ulm. This phenomenon is felt most
powerfully when one is immersed among the interior spaces.
Undoubtedly the architecture of the Stadthaus ser ves its
function as a venue for performance and exhibition. Yet, in
its form and in its composition, the building facilitates the
relationship between people and place through the
manipulation of the landscape and of the human senses.
Each of these three structures forges an individual bond
between their respective inhabitants and the natural world.
The location, appearance and purpose of these sites are
varied, as is their context within cultural history. Diverse as
these buildings may be , they are similar in their ability to
promote the interaction between people and their
s u r r o u n d i n g s w i t h r e v e r e n c e a n d w i t h h a r m o n y.
ULM STADTHAUS
7
As architecture moves away from the inherent characteristics
of the surrounding landscape, it begins to assume a role other
than that of host or facilitator for the interaction between
humans and the surrounding environment. The growth of
modern civilization has produced a diverse collection of
structures to ser ve a myriad of functions. As culture has
evolved to a new level of complexity within urban centers
so has our need for a refined sort of interaction with the
e a r t h – o n e t h a t i s re l e v a n t i n o u r m u l t i f a c e t e d l i ve s .
Architecture must not only help us relate to the landscape,
but architecture must educate us about our surroundings.
Buildings which reveal the forces and personalities of the
environment which are not readily perceptible in direct,
naked-eye contact between humans and their surroundings
act as interpreters. Architecture, in this role, gives order and
reason to the perceived chaos of nature. In order to build
greater level of understanding, these structures simplify and
villa savoye
casa mila
often idealize complex concepts and forces often overlooked
by the casual obser ver. The audience, which is most in need
of a higher level of environmental awakening, is frequently
the populace of an active urban center. With senses dulled
by the cacophony of metropolitan life , people need to be
dynamically engaged to become aware of the subtle character
of their surroundings.
Often the hosts of utilitarian function, buildings that interpret
the landscape capitalize on location and formal attributes to
capture the awareness of the people. Carefully woven into
the city grid and the fabric of the suburbs, these homes,
museums and ser vice structures exaggerate natural
phenomena and sharply contrast the architectural conventions
of their purpose and place within the metropolis.
guggenheim museum–new yor k
centre pompidou
vitra fire station
INTERPRETER
8
Similar to the Ulm Stadthaus with its pure white form, stepped
back ground floor and punctured fenestration, Le Corbusier’s
Villa Savoye is perhaps a building which bridges the categories
of both facilitator and interpreter. Built in 1931 as a private
residence for the Savoye family, it is located in the town of
Poissy-sur-Seine , France , twenty miles outside of Paris.
Positioned in a clearing among deciduous trees, the house is
poised above the ear th on narrow columns. It appears to
barely touch the grass and gives the impression it could take
flight from the earth at any moment, leaving the surrounding
landscape untouched. The lower floor recedes in shadow
behind the colonnade and leads to the main entry in a faceted
cur ve of narrow glass planes that extend from the ground
to the ceiling. The second story defines the exterior form of
the building. It is a singular rectangular solid pierced by a
horizontal band of window openings, which extends the full
length of each side. A cylindrical form rises above the top
edge of the second level, and is only visible as one approaches
the house from a distance.
While the stark and formal exterior is foreign to the lush
green landscape, the interior volumes are a study in color
and proportion. At the lower level the spaces are stark and
well enclosed, nearly subterranean though their white color
and the glazed wall of the entr y hall defies that notion. A
staircase helix and switch back ramp provides circulation
paths to the upper floor. The ramp rises to the terrace of
the second floor and recalls the natural grades of the rolling
hills of the region. By contrast the circular staircase leads to
the enclosed living quarters of the upper level. Spun tightly,
movement takes place in two directions, not unlike the spiral
path of a falling leaf.
The primary functional areas are located within the enclosed
interior spaces of the second stor y. The main living area
occupies a quadrant of the second floor. Its interior boundary
is composed of sliding glass panels that open onto a roofless
patio. The exterior facing walls of the living room are warm
with blush pink paint. A semi-enclosed hallway connects the
rest of the rooms of the house.
The private sleeping area is calm and simple. It is connected
to the adjoining terrace by an intimate corridor. The vestibule
acts as a zone of compression before entrance to open air
terrace. The contrast in physical perception of these spaces
heightens one’s awareness of emerging into the outdoors.
Views from the terrace into the surrounding trees are artfully
framed by the fenestration. Windows continue in a ribbon
that encircles the perimeter of the house . Raised to this
second level, a person floats in a parallel dimension with the
surrounding foliage. As light, color, sound and air move through
the terrace and interior volumes the senses are awakened
and a connection is made between the human and natural
worlds.
The environment created on the uppermost level of the
house deepens the immersion of the human in nature . A
continuation of the interior ramp leads to a rooftop garden
defined by planters and by the ver tical extension of the
staircase volume. At this height, a person has a birds eye view
of the surrounding region. From one angle atop the house,
the view is unobstructed, from another; a carefully composed
vista of nature is framed by an opening in a pure white wall.
The juxtaposition of what we see with our own eyes and
what we are able see through the eyes of the building is the
essence of the act of interpretation. Villa Savoye enlightens
the human mind by providing a new visual perspective as
people move vertically among the levels and interior spaces
of the building. By capturing the attention of the occupants,
the structure is able to make the language of nature accessible
to all.
VILLA SAVOYE
9
A second suburban structure that speaks the unwritten
language of the ear th is the Vitra Fire Station in Weil-amRhine, Germany. Designed by Zaha Hadid, the building serves
as a functioning fire station on the factor y campus of the
re n o w n e d f u r n i t u re m a n u f a c t u re r, V i t r a . U n l i ke o t h e r
structures which act as interpreters, the Vitra Fire Station
is not freely accessible on a daily basis to the general public.
None the less, as the building captures the consciousness of
the people who move in and around its spaces, it reveals new
realities about the natural world. Composed of dynamic
planes of concrete and glass, the Vitra Fire Station is a building
in virtual motion. The smooth, sleek surfaces, which enclose
the structure and define its interior spaces, allude to speed.
It as if the architectural foot print is actually an air current
flow map, and that the building is the three dimensional
representation.
Entr y to the building is gained through a perforation in a
long concrete wall. Once inside, the chasm is revealed to be
a corridor that splits apart the volume of the garage from
the remaining spaces of the building. The hallway bends sharply
to the left and leads to the meeting and storage areas of the
fire station. One wall splits in two and continues beyond the
hallway space to become a series of lockers that define the
changing rooms.
to slope downward toward the building’s end though in reality
it rises. Much of the character of interior space is infused
by parallax error. The results are dramatic, and not unlike
the implied motion of an Italian Futurist painting. Rhomboid
planes of glazing bisect solid walls and cut the building open
to reveal views of the surrounding landscape that appear
larger-than-life. The natural light of the outside world contrasts
with the cool illumination of the indoor environment, which
emanates from an invisible source. Planes of flat color give
t h e o n l y w a r m t h t o t h e o t h e r w i s e s t e e l y i n t e r i o r.
With slanted walls and deceptive formal composition, the
architecture of the Vitra Fire Station proves that human
sensor y perception is not the ultimate truth. This notion
threatens our sense of self and brings into question the
superiority of humankind in a natural environment. Hadid
herself relishes this type of interaction between humans and
architecture and states, in an inter view in the magazine, Ar t
In America, “Multiple perceptions and distant views should
create a richer, more perplexing experience, taking your body
through a journey of compression and reflection.”(43) The
building manipulates human assumptions of structure and
form and exaggerates the shape and motion of natural forces.
As a result, we are challenged to contemplate the reality of
our surroundings.
Tapered walls lean and appear to nearly converge before
bending deftly in a different direction. The roof plane appears
VITRA FIRE STATION
10
Located on the corner of a well-traveled intersection in heart
o f B a rc e l o n a , S p a i n , C a s a M i l a i s a c o r n e r s t o n e f o r
interpretation of the natural world. The product of Antonio
Gaudi’s lyrical vision of urban architecture at the dawn of
the twentieth century, the building is an apartment and office
complex which is still used today, though the attic space has
been converted into a Gaudi museum.
courtyards are painted with frescoes of flora and fauna while
anamorphic columns and balustrades line the labyrinth system
of circulation between the apar tments. The plans of the
dwelling units are irregular, lacking the right angles common
t o t r a d i t i o n a l a rc h i t e c t u r e . A s s e m b l e d t o g e t h e r, t h e
organization of the units on an entire floor resembles the
c ro s s - s e c t i o n o f t h e c e l l s t r u c t u r e o f a p l a n t s t e m .
The undulating contours of the Casa Mila façade flow outward
toward the street and contrast the rectilinear architecture
of the adjoining buildings. Languid curves frame the doorways
and windows which rise four stories high above the street,
giving the illusion that the building is fluid. Architectural
historian Wolfgang Pehnt has made the observation that Casa
Mila mimics the forms of a water worn rock. (Höcker, 136)
Allusions to landscape continue on the building’s roof terrace.
Walkways meander across the rooftop while twisting spires
rise into the sky. Balcony walls clad with a mosaic skin glitter
and shine in the sunlight like a reptile. Together these elements
create a topography of their own.
The rich golden color of the exterior, coupled with the
organic forms of cast-iron balcony railings, fur ther
differentiates Casa Mila from Barcelona’s urban topography.
By breaking the formal conventions of the city’s existing
architecture, the impact and influence of Gaudi’s building is
dramatic . Inherently accessible , ever y person who passes
through the intersection along the Paseo de Gracia is able
to interact with the stylized natural forms of Casa Mila.
Casa Mila is a human scale representation of the minute
cellular structures found in nature. As people encounter its
interior and exterior spaces, they experience an interpretation
of the organic elements of the ear th. The use of stylized
organic forms in the architecture of a basic urban
component–an apartment building–heightens a city dweller’s
awareness of his or her surroundings. Casa Mila’s contrast
with the adjoining architecture makes the importance of the
unique languages of nature and of the city perceptible to the
surrounding community.
The interior volumes of the building also reflect the chaos
of nature presented in the exterior structure. Ovular interior
CASA MILA
11
The invisible structural language of the city of Paris, France
is revealed in the architecture of the Centre Georges
Pompidou. An icon of high tech design, the Piano and Rogers
building is a center for modern art and culture. Even with
its interior galleries closed for renovation, the impact of the
Pompidou Center is impressive. A hulking mass of glass,
structural scaffolding and colored pipes and ducts, the building
sits at one end of a public plaza, which is bounded by a music
academy, an ancient cathedral, and the classical architecture
of central Paris. With all of its internal organs and functions
visible from the outside, the Pompidou Center exposes the
true lifelines of the urban jungle. Even the casual obser ver
cannot ignore the existence of a water pipe, of a heating
duct or a structural beam when they are boldly painted in
blue red and green. The Pompidou Center challenges people
to see beyond the romance and ornamentation of classic
architecture and to appreciate its empirical beauty.
CENTRE POMPIDOU
22
As in Europe, architecture in the urban centers of the United
States assumes the role of interpreter in the conversation
between people and their surroundings. The Solomon R.
Guggenheim museum in New York City is one such structure.
Built by Frank Lloyd Wright from 1956 to 1959, the museum
is situated among the rectangular blocks of luxury high-rise
apartment buildings of the Upper East Side, directly across
from Central Park. A contrast to the New York norm in color
and in form, the dominant volume of the building is a large
white cyclone absent of discernible fenestration. A horizontal
rectangular form acts as a supporting plinth and is the location
of the museum’s main entrance.
Once inside, the center of the cyclone is revealed as a spiraling
ramp, which provides the primary route for circulation among
the galleries. Exhibition spaces line the exterior curve of the
spiral in between the galleries and lack a level surface by
which to judge the alignment of a painting. The result disturbs
the accuracy of visual perception. The interior radius of the
ramp creates a central rotunda that extends the full height
of the building. It is a hub of interaction as people congregate
in the open space on the ground floor, while others migrate
along the spiraling circulation path. The top of the rotunda
is a large circular skylight segmented into twelve panes,
referencing the units of a sundial.
the urban landscape people of all sorts encounter its exterior
on a daily basis. As an art museum, its interior is experienced
occasionally by the select population who chooses to enter.
In either case , The New York Guggenheim influences the
human perception of urban space. As the formal antithesis
to traditional New York architecture , the museum calls
attention to the repetitious nature of the city’s buildings and
storefronts. With a new awareness of the urban environment
we are challenged to look for the elements which differentiate
t h e t o p o g r a p hy o f t h e c i t y, n o m a t t e r h o w s u b t l e .
The nature of buildings which act as interpreters for the
dialog between humans and the landscape is somewhat
ambiguous. The elements of the environment revealed by a
given work of architecture are directly linked to its location,
purpose and cultural context. Of the five sites outlined as
interpreters, all influence human perception with exterior
form alone. This casual interaction between a person and a
building imparts a basic degree of insight into the relationship
between humanity and the surrounding environment. It is
w h e n a p e r s o n m o ve s i n s i d e t h e s e b u i l d i n g s t h a t t h e
interpretation of the landscape becomes most resonant. In
the protected and private areas of the interior, one is able
t o f e e l t h e i n t i m a t e i n f l u e n c e o f t h e o u t s i d e wo r l d .
The round shape of the building, coupled with its bright, pure
exterior, makes it a beacon for cultural enlightenment amidst
dingy urban towers. It draws attention as an aberration in
the city grid and in the routine of everyday life. As a part of
GUGGENHEIM NYC
24
A structure assumes the role of filter for the interaction
b e t we e n h u m a n k i n d a n d t h e l a n d s c ap e w h e n i t e xe r t s
significant control over the forces of nature . Architecture
that embraces the Earth’s arcane elements creates energy
i n f u s e d e n v i ro n m e n t s u s e d f o r c u l t u r a l a n d re l i g i o u s
celebration. Such buildings are located both in city centers
and in the remote wilderness and summon visitors from near
and far. Designed and positioned to capture attention, these
sites are composed of mesmerizing shapes and surfaces.
I n t e r i o r s h a r n e s s e l u s i v e c o m p o n e n t s o f t h e E a r t h ’s
atmosphere to create sublime settings for discover y and
contemplation.
kiasma
guggenheim museum–bilbao
Museums and pilgrimage churches are visited sporadically
throughout a person’s life. The visceral interaction that occurs
within these buildings transcends time. Therefore, their design
must pay homage to the past and anticipate the future. The
attendance of a human is the only evidence of the present.
These spaces captivate the senses to communicate the
significance of cultural and spiritual enlightenment in the
evolution of humanity. Often one or more senses is subdued
while another is elevated, resulting in a dynamic shift in
perception. In the presence of buildings that distill the Earth’s
forces, humankind assumes a new awareness of self and of
the natural world.
notre dame du haut
FILTER
14
Poised at the confluence of the Ner vión river and the City
of Bilbao, Spain Frank Gehr y’s 1997 Guggenheim Museum is
cultural symbol of humanity at the turn of the millennium.
The gleaming, sinuous building ripples along the water’s edge
and underneath the Puente de Salve Bridge, forms gesticulating
in wind swept trajectories. Occupying a strip of land that
separates the old city from the surrounding suburbs, the
titanium clad museum is the crown jewel of the Basque
Countr y’s once industrial capital.
The dynamic shapes and surfaces of the structure respond
to the surrounding landscape . The metallic scales, which
dominate the building exterior, reflect the ever-changing color
of the sky. The supplemental use of ashlared limestone ,
references the architectural traditions of the Basque region.
The grand scale of the structure is contrasted by gently
sloped pedestrian walkways and serene reflecting pools. A
stone paved plaza extends from the main street to the stairs
w h i c h s l ow ly d e s c e n d t o t h e M u s e u m ’s p o i n t o f e n t r y.
To pass across the threshold from exterior to interior is to
m o ve t h ro u g h e a c h m a t e r i a l s u r f a c e – g l a s s , s t o n e a n d
titanium–molecule by molecule. The transition is ghost like,
and emergence into the lobby is like waking from a dream.
Through a tall sliver of an opening, one enters the atrium
which houses the main vehicles for circulation; a glass elevator
and a series of staircases. The volumes of the upper balconies
hang in the billowed cur ves of a skir t’s hem. Natural light
spills into the space from a glazed chasm that overlooks the
Nervión. Additional illumination cascades down from a series
of skylight apertures.
Alcoves adjacent to the atrium create intimate exhibition
s p a c e s , w h i l e o t h e r fo r m a l g a l l e r i e s swe l l t o f a c i l i t a t e
meaningful contemplation of two and three-dimensional works
of art. The large “boat galler y” stretches below the span of
the bridge for 130 meters, and brilliantly showcases the
m o nu m e n t a l s c u l p t u re s o f R i c h a rd S e rr a . ( S l e s s o r, 4 2 )
Circulating upward to the remaining exhibition spaces, one
filters through zones of compression and expansion, as though
traveling through the Ear th’s subterranean landscape . The
path among the galleries is cyclical, similar to the spiraling
ramp of F.L. Wright’s New York Guggenheim. Bridges and
catwalks overlook the atrium and the galleries below, providing
an unparalleled perspective for viewing sculptural works. A
series of rectangular chambers compliments the complex
c u r v a t u re o f t h e b u i l d i n g a n d h o u s e s t h e l a r g e ly t wo dimensional permanent collection.
A visit to the Bilbao Guggenheim sharpens one’s response
to light and challenges one’s perception of form, key factors
in the interpretation of art. Through the clever manipulation
of organic shapes and the natural illumination, the architecture
of the museum awakens the senses and encourages a person
to embrace a new cultural awareness.
GUGGENHEIM BILBAO
15
Steven Holl’s Kiasma is a building that cultivates harmony
between human culture and the natural world. The
Contemporar y Art Museum of Helsinki, Finland rests upon
a sliver of land at the hear t of the city at the point of
convergence of two city grids. (Steele, 38) The structure is
composed of intertwined forms which intersect and extend
in the direction of invisible paths which link the museum to
the Töölönlahti Bay and to nearby civic and cultural buildings.
A statue of Marshall Mannerheim, “the father of modern
Finland,” (Lecuyer, 46) occupies a prominent position on the
Kiasma site, and is referenced from the interior of the museum
from the exhibition galleries.
The concave face of the western wall is composed of elongated
frosted glass blocks. This allows for maximum penetration of
the low-angled Nordic light to the gallery spaces. (Holl, 1999)
An aluminum-clad rectilinear volume runs parallel to Helsinki’s
main street, Mannerheimtie, and connects with the curve of
the glass wall. A notch is created at the point of intersection
and through it flows a channel of water. The worm-like eastern
volume is clad with standing-seam sheets of zinc which follow
the swell of the form, like the ribs of a whale’s belly. This
surface bends to join with the glass block wall. The resulting
form terminates at the buildings northern end, in a bas-relief
assemblage of windows and metal grates.
Entr y to the museum is gained through a split in the forms
at the building’s southern end. The doorway is framed by
copper-toned brass (kiasma.fi) and is announced by the flame
orange color of the patinated metal beams that support a
canopy and a frosted glass-block panel. The interior opens
as a narrow white corridor. The wall to the east cur ves
westward and supports a ramp leading to the upper floors
of exhibition spaces. The horizontal ribs of the corridor walls
are not unlike the wooden bands of a ships hull. The black
concrete floor falls away from the purity of the space. Above,
a milk glass skylight folds, spine downward, and glows evenly
with diffused natural light.
Moving northward, one exits the corridor and emerges at a
spiral staircase which leads upward to the first series of
rectangular galleries. These spaces are cool with diffused light
that emanates from seemingly imperceptible sources. A rise
t o t h e n e x t l eve l reve a l s l a r g e r e x h i b i t i o n s p a c e s w i t h
perimeters that cur ve slightly. The spaces of the third level
mimic those of the first, while the fourth floor reveals a vast
open gallery, flexible to accommodate a variety of exhibitions.
It’s ceiling cur ves and is notched to reveal the sky above .
Monochromatic and minimal, Kiasma’s interior spaces allow
art to impart color and ornament to the building. A seemingly
neutral environment for the display of creativity, the museum
is a vehicle for the influence of the Nordic landscape upon
cultural discovery. As people freely circulate among the quiet
galleries, their appreciation of the artwork is facilitated by
the light that enters the museum from the outside world.
Composed vistas of the surrounding city and its monuments
provide a glimpse into the past and into the future of Helsinki.
A person’s awareness of ar t and of the surroundings is
heightened by the selective use of light and contextual
perspective found in interior and exterior volumes of Kiasma.
KIASMA
16
Perched atop a remote hill in the Alsace region of France,
the pilgrimage chapel of Notre Dame du Haut beckons to
the rolling landscape and to the people below. The building
occupies a site that has been holy since pagan times. Built in
1955, it replaces the original church that had been destroyed
in a time of conflict. A swooping gray roof hovers slightly
above the pure white monolith. Lush green foliage envelops
the pleasingly asymmetrical structure.
To reach the site from the small town of Ronchamp, one
must ascend the hill along a winding two mile path. At the
hilltop the rounded form of one of the chapel’s three altar
towers emerges from the screen of trees. It is followed by
the curved adjacent wall that perforated by deeply set cavities.
An entry is positioned in the full-height recess between the
wall and the tower. A ver tical stack of narrow windows
occupies the space above the colorfully painted door. Rounding
the bend of the dirt path, one is drawn to step onto the lawn
and circle the chapel before entering. The valley facing wall
is an open air altar. Set against the building and beneath the
ship curve of the roof, this holy space is defined by the light
and shadows cast upon it by the rising and setting sun. Turning
yet another corner one moves past a wall of small and shallow
glazed perforation that leads to the unceremonious entrance
to the church.
The perception of space disappears as one is blinded by
darkness of the interior. As the eyes adjust, one is mesmerized
by the glowing shafts of light which cut into the chapel from
stained glass windows embedded in the hulking concrete
wall. The deep recess of each window is a room of its own.
As a person leans into the opening to clearly see the color
and pattern of the glass, his or her peripheral vision is
absconded by the depth of the niche. Encountered as a whole
or as individual elements, the glazed openings awaken the
human perception of form and light.
The cavernous interior echoes with each footstep that passes
across its zones of stone and wood flooring. Furnishings are
m i n i m a l . A row o f s i m p l e wo o d b e n c h e s l i e s a l o n g t h e
perforated wall. These pews face the main interior altar,
which sits directly behind its exterior counterpar t. Small
altar alcoves are set away from the main interior of the
chapel. These intimate sanctuaries for worship and reflection
rest at the base of tall, semi-cylindrical shafts. These towers
rise above the chapel roof to capture the light of the sun.
The interior surface of each shaft is painted a different color.
Warmth radiates in an orange glow, while serenity floats in
a waft of pale blue.
Notre Dame du Haut serves its purpose of a pilgrimage with
sublime facility. In a remote location is draws the focused
attention of all visitors in the journey alone. In the presence
of the gleaming white structure, shrouded by the embrace
of earth and sky, a pilgrim is awakened to the boundless of
power of God and of nature. A second pilgrimage takes place
upon entr y to the chapel interior–a journey to the center
of the human soul. Divorced of distraction and sensor y
saturation, a person is awakened to the essence of the spirit.
The ephemeral qualities of light and color are conjoined with
the solitude of the interior, making the culmination of the
pilgrimage haltingly introspective. A site of intimate discovery,
the Chapel at Ronchamp draws humanity to the visceral
worlds of nature and divine spirit.
Spaces that filter the powers of nature invoke human
experiences that are elusive in the routine of ever yday life.
Museums and churches facilitate subjective cultural and
spiritual discoveries. When the Earth’s magnificent forces are
melded with architecture, a building is able to transcend all
definitions of function, form and purpose. Without the
presence of humankind, these spaces are not fully realized.
However, the fleeting nature of human perception makes the
true meaning of a building intangible.
NOTRE DAME du HAUT
17
A rc h i t e c t u re i s n o t o n l y a re c o rd o f h u m a n i t y ’s p a s t
interactions with the earth–it is a kinetic portal for future
conversation and discover y. The buildings we create give
meaning to our existence and allow us to establish ourselves
as members of the human civilization which belongs to the
of the earth.
The true nature of the bond between humans and our
surroundings is not entirely discernible through the study of
architecture. Its role in our ever yday lives provides only a
singular insight into our relationship with the environment.
In the words of architect Mike Cadwell, “Architecture is
material giving form to space in light and it can be fully
appreciated only by the engagement of the human body.”(6)
Perhaps if supplemented by similar examinations of history,
geography, anthropolog y and sociolog y, the obser vations
presented in this document would more accurately illuminate,
the multi-dimensional influence of architecture in humankind’s
perception of our surroundings. However, the absence of
s u c h i n fo r m a t i o n d o e s n o t d i m i n i s h t h e i m p o r t a n c e o f
architecture in the context of human culture .
As we evolve as a species, so will our relationship with the
environment. Centuries from now we may eschew our present
attitudes toward architecture and our natural surroundings.
We may depend far less on the physical attributes and
resources of a terrestrial planet. As a result, our interactions
with the Earth may be governed by new forces, many of them
under complete control of the human mind. For now, and for
the next few decades at least, we are inhabitants of the earth,
and we will search for meaning in our bond with our host
planet as we continue to build the structures which protect,
enlighten and define our lives.
CONCLUSION
18
Cadwell, Mike. Small Buildings: Pamphlet Architecture 17.
Princeton
Architectural Press: New York, 1996.
Lecuyer, Annette. “Iconic Kiasma.” The Architectural Review.
August, 1998: 46-52.
Ching, Francis D.K. Architecture: Form, Space & Order. Van
Nostrand Reinhold: New York, 1996.
Maunula, Leena. “Kiasma.” Form Function Finland. January, 1998:
6-8.
Dal Co, Francesco, et al. Frank O. Gehr y: The Complete Works.
Monacelli Press: New York, 1997.
Nonell, Juan Bassegoda. Antonio Gaudi: Master Architect.
Abbeville Press: New York, 2000.
Giovannini, Joseph. “Terrain Vague.” Architecture. July, 1999:
70-74.
Slessor, Catherine. “Atlantic Star.” The Architectural Review.
December, 1997: 30-42.
Giovannini, Joseph. “Hadid’s Midwest Coup.” Ar t in America.
Februar y, 1999: 41-44.
Steele, James ed. Architecture in Process . Academy Editions:
London, 1994.
Giovannini, Joseph. “Vitra Fire Station.” Architecture. September,
1993: 68-73.
Steiner, Dietmar. “Kiasma Museum of Contemporar y Art.”.
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Gwilt, Adam and Colin Haselgrove. Reconstructing Iron Age
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Vercelloni, Matteo. “Sotto il tetto della Pedrera.” Abitare. May,
1999: 142-145.
Höcker, Christoph. Architecture, An illustrated historical overview.
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www.kiasma.fi
www.richardmier.com
Holl, Steven. Parallax. Princeton Architectural Press: New
York, 2000.
Holl, Steven. Lecture at Ohio State University, November,
1999.
www.lejre-center.dk
www.stadthaus.ulm.de
Le Corbusier and Jean Petit, editor. Le Corbusier : Texts and
Sketches for Ronchamp. 1965.
inspiration sketches from barcelona
inspiration sketches from guggenheim–bilbao
REFERENCES
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