Heidegger's Phenomenology

Photography and architecture have a uniquely powerful resonance - architectural form provides the camera with the subject for some of its most compelling imagery, while photography profoundly influences how architecture is represented, imagined and produced. Camera Constructs is the first book to reflect critically on the varied interactions of the different practices by which photographers, artists, architects, theorists and historians engage with the relationship of the camera to architecture, the city and the evolution of Modernism. The title thus on the one hand opposes the medium of photography and the materiality of construction - but on the other can be read

The human body is the ultimate tool for discovering the environment. Human anatomy is considered to be nature’s peak of perfection and certain features serve as inspiration for many architects. To study the relationship between the human body and architecture, one must not be limited to human body parts resemblance to architectural works but to a larger extent consider human emotions, sensory nerves, the mind and general human psychology. In essence everything that makes us human. In its simplest definition Architecture can be described as an art or practice of designing buildings. It is practiced in a way that accomplishes both practical and communicative or expressive requirements. To relate it to human body then Architecture can widely define the place, the site, the energy, the systems, the building, the flora and fauna. These components that bring aesthetic property to humanity apart from the utilitarian purpose it serves. The perfect balance of a normal human body and the proportions are incorporated into architecture from a point of view of imitation, idealized allusion and the actual human use. Evidence of such human incorporation into architecture is seen from the Ancient Greek Architectures where it was common for tower columns to take shape of a human being like in the colossus of the Ancient

Phenomenology also refers to a philosophical attitude and research approach, where the prime position is that the most basic human truths are accessible only

Different architects have different styles because they are trying to get at different things. Architecture is not just about making something beautiful anymore, it is about trying to get across a set of ideas about how we inhabit space. Two of the most famous architects of the twentieth century, one from each side, the early part and the later part up until today each designed a museum with money donated by the Guggenheim foundation. One of these is in New York City, it was designed by Frank Lloyd Wright. The other is in bilbao, Spain, and it was designed by Frank Geary. My purpose of this paper is to interrogate each of these buildings, glorious for different reasons, to show how each architect was expressing their own style.

In the World Like Colossus, the author mentions various types of architect’s version of the truth or the gaze. Each architect, while not directly saying, implies that their truth is absolute. This brings to question is there is such a thing as one universal truth to the way we see and experience architecture; whether it’s through Le Corbusier’s sketching or Mendelsohn’s photography, immersing yourself in the experience or taking a quick view of it. I think the diversity of each architect’s viewpoint negates the idea that one should be a “universal truth”-- instead we should embrace the different opinions of each traveler to form a more holistic approach to whatever truth we may

In Wright and An alto's houses, a powerful sense of insides is generate by opacity. Which, in Falling water is express in roughly dressed stone masonry walls and, in Villa Mairea. By white-painted, solid walls. The transparency of glass windows in both houses thereby connect the two. In both houses, the architects created a strong sense of insideness yet, at the same time, devised ways to connect inside and outside and thereby create a robust continuity between the two. This inside-outside relationship can be translate into environmental and architectural experience in four different ways: (1) in-betweeness; (2) interpenetration generated by inside; (3) interpenetration generated by outside; and (4)

The book, Sensory Design published by Joy Monice Malnar and Frank Vodvarka in 2004, explores a new multi-sensory method of design for architects in 335 pages. The opening of the book starts with a question “What if we designed for all senses?” Very similar to articles from Pallasmaa, the book leaves the reader wanting to know more about this method although this book covered many topics and included many references. Malnar is an associate professor at the University of Illinois, and Vodvarka is an artist who wrote many articles on architectural history.

Husserl calls the given in its immediate disclosure the "phenomenon". Derived from the Greek verb "phainomaf', it means to show visibility or to become visible. Phenomenon therefore suggests that which is disclosed, is shown, which is evident. The term Phenomenology was derived from this concept. Philosophy must broach the given or variable in its reality by means of Phenomenology.

As suggested by the title, this piece of literature attempts to highlight the importance of sensory experience in architecture. It is indeed a response to what the author terms as ‘ocularcentrism’ of Modern Architecture. Ocularcentrism is the act of prioritizing visual stimuli to all other sensory stimuli available to a human perception. He quotes famous German poet, Goethe, in his defense, “the hands want to see, the

“ Architecture organizes and structures space for us, and its interiors and the objects enclosing and inhabiting its rooms can facilitate or inhibit our activities by the way they use this language”(Lawson pg.6).

In his essay, Heidegger discusses the type of dwelling which is poetic in a sense. He then questions further that are the dwellings poetic in a true sense if yes then are other dwellings incompatible with the poetic ones? He further questions about the coexistence of the man’s social and historical life. For Heidegger, poetry is the things that let the man dwell and dwelling is through building. He believes that art of building is very much similar to the art of poetry. The way the verses in a poem depict a simple fact in a really creative way is same as that of the technique of constructing a building and then making the building alive by dwelling in that particular building. This philosophy of Heidegger is reflected in his architectural design sense that he connects the building styles with human life. This poem tends to remove the misconceptions that poems snatch away the realities of this world or poetry is mere fantasy but it’s not like that. Actually, poetry brings fantasy to life. Same as the opposing above and below and belonging to each other; the writer sees different contrasting things as

When we encounter entities in the world we address ourselves to the question of their Being. When a child points at something and asks ‘what's that?’ this means that he is aware that there is a 'Being' and there is a need of a name for it. Moreover, this question points to the fact that there is 'something' which is already distinguishable from the rest of the things in this world and stands out from them in terms of its Being.

Architecture can be viewed with two different types of properties. Properties that can be seen like shapes, their composition, the spaces they create and, the colours and textures that make up their appearance. These properties are considered to be visual while other properties are considered to be abstract. These properties can only be described using words; the meanings behind the architecture and the stories that can be told about it. The context, its cultural background and its function also affects how we view architecture. The question is, what

The word phenomenon is loosely defined as: something that happens. The study of phenomenon in psychology terms is the study of how people experience and interpret these things that happen. Also as architects, we create the things that happen in a building for people to experience. Post-modern architects embraced this idea of creation and took it to places never imagined before. In this essay, I will explain why phenomenology and the post-modern movement went hand in hand and how they were crucial together in the context of the times in which they came into fruition.

Phenomenology and existentialism are two of the critical developments in twentieth century European philosophy, and each endeavored to reassess the technique and topic of philosophy with a specific end goal to reveal the solid components of human experience lost in the dynamics of the philosophical tradition. The abundance and intricacy of the marvels as far as we can tell, and the way in which human existence is formed by the test of settling on the choices even with a flighty future. As demonstrated by established Husserlian phenomenology, our experience is coordinated toward speaks to or means things simply through specific ideas, considerations, thoughts, pictures, and so on. These make up the importance or substance of a given ordeal, and