“Embodied Space: Perception, Sensation, and Temporal Dynamics in Architecture” is a concept that explores the relationship between architecture and the human body, emphasising how our perception, sensory experiences, and the passage of time are intertwined with the built environment.
In Architecture, space is experienced by the dual act of the human body and mind. Experience can be gained by putting oneself in the space. Once in it, the human body refers to all the senses simultaneously, shaping their overall experience.
One does not relate to a still image of the space, but we mentally construct a sequence of frames in which the passage of time is constantly changing. The collective journey is marked by an ever-evolving and transformative experience. And the frames serve as a visual record, capturing the dynamic interplay of light, shadow, shape, and texture that unfold before us as we traverse the intricacies of architectural spaces.
Swiss architect Peter Zumthor is renowned for his architectural work, which he approaches with a keen focus on phenomenology. He emphasises the significance of material selection and meticulous detailing to create a truly immersive and multi-sensory experience.
He says “The sense that I try to instil in materials surpasses all compositional rules, and their tangibility, smell, and acoustic qualities are merely elements of the language that we must use. When I succeed in bringing forth the special meanings of certain materials in my structures, meanings that can only be recognized in this one building, sense develops.”
Perception, sensation, effect, and time are the important aspects of Embodied Spaces in Architecture.
Sensation
Perception and sensation are the two terms mostly used in psychology. However, they are the mere factors enforcing experiences in the spaces. The sensation is acquired by humans via the use of sensory receptors that are present inside their physical bodies, enabling them to perceive the external environment. The primary sense is the one we share with animals; it is unreflective and instinctive. The senses: Sight, hearing, taste, touch, and taste people have, it helps them to take in the world around them.
The architectural contributions of Enric Miralles, a renowned Spanish architect, provide an excellent example of this phenomenon. The spaces he creates are imperceptible, rendering them inaccessible to mere visual observation and contemplation from a far standpoint. The individual must fully engage with the environment, moving through it and experiencing it physically, to develop a profound sensory awareness without attaching any subjective interpretations or symbolic representations since there are no such elements there. The University of Vigo is a perfect illustration of his work.
The Object of Sensation
Sensation has a self-referential experience where subjects and objects get fused and lose their boundaries. The body converts itself into an object of sensation. Spaces of sensation need to be experienced through sensation through a changing, moving conception, at times ambiguous and fleeting. The sensorial experience varies according to the spatial environment.
Perception
Perception, on the other hand, is the act of organising and interpreting these sensations. These perceptions lead to the creation of the experience. The more we absorb, the more we lose ourselves in it, and the less we separate ourselves from it. The cognitive faculties of the human mind engaged in transforming sensory stimuli from the external environment into electrical signals, afterwards subject to additional processing inside the central nervous system. These perceptions lead to the creation of the experience.
The Object of Perception:
Concepts of perception are the object we are directly aware of when perceiving. The theory of perception posits that when a subject S directs their gaze toward an object O, object O influences S, resulting in the subject’s visual experience. Also, the perception of one thing randomly triggers another thing.
Affect
Experience occurs with the perception of the mind and the sensation of the body. The experience generated is a case of dualism, mind-body dualism. If one considers perception as a function of the mind and sensation as a function of the body, it follows that the mind cannot dictate bodily sensations, just as the body cannot influence thoughts. This is where the concept of effect comes into existence. The effect is not an idea; it is rather a sensation. The effect itself does not have a representation, which has a representation external to the body and is not necessarily an idea. The notion of effect is much broader in scope. It is present inside an emotional state that influences both the physical and cognitive aspects.
The object of Affection: Movement
Movement and effect are linked through the conception of the body. The movement has a physical component (the body) as well as a mental/emotional counterpart (affect). The body is an entity that is in transition and has a constantly changing relationship with the environment. Having a physical presence, we can understand the natural environment and even the built environment.
The experience of spaces is derived from sensations stimulated by sensory organs from the external environment. This experience changes our mental and physical states affection both mind and body. Our understanding of a body is incomplete unless we have know its capabilities, namely, the affects it produces and its ability to interact or not interact with the affects of another body.
The movement also imposes perception from experience. For example, consider Le Corbusier’s promenade architecture. Through an imaginative interconnection of locations, experience is generated with temporal progression. This enables a slow and sequential exploration of the space, which is frequently accomplished through the use of ramps. Perception of space and components varies when one’s location in space-time within a building shifts.
Time and Space
The concept of temporal dynamics in architecture relates to the recognition that the experience of a constructed environment is not static but evolves through time. It takes into account the ever-changing interaction between users and the space, as well as the impact of time-related aspects like movement, light, and the passing of seasons. Architects may design places that engage consumers on a deeper level and create memorable experiences by taking temporal considerations into account.
According to Juhani Pallasmaa, architecture liberates individuals from the confines of the current moment and enables them to engage with the gradual and therapeutic passage of time. In the realm of architecture, there are profound instances when the elements of space, matter, and time converge harmoniously, amalgamating into a unified dimension that forms the fundamental essence of existence, permeating our cognitive awareness. Slow spaces are those which enhance the human soul and generate deep expressions, writes Pallasmmaa in his book: The Eyes of the Skin: Architecture and the Senses.
The concept of time in architecture is suspended; inside the most remarkable structures, time remains resolutely still. Architecture is the artistic practice that facilitates the process of harmonising human beings with their surroundings. This act of mediation occurs primarily via the stimulation of the senses.
The concept of change is inexorably tied to the concept of time, and change is linked to the time of change, writes Yatin Pandya. The past and future may be seen as separate entities within the continuous flow of time as change unfolds via successive occurrences.
Incorporating temporal dynamics into an architectural design requires a comprehensive grasp of how the built environment interacts with the human experience. It entails looking beyond the initial aesthetic effect and examining the growing interaction between users and the place throughout their stay.
References:
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