EXPERIENCING

Architecture Extract from a lecture by Jan van Dijk

"Architecture domesticates limitless space and enables us

to inhabit it, but it should likewise domesticate endless time

and enable us to inhabit the continuum of time."

Juhani Pallasmaa, “The Eyes of the Skin”, 2009

Experiencing Architecture How a person experiences a moment or a period of time

in their lives is affected by the surroundings within which

that experience is set. I regularly go walking in the

mountains and on the roads near my house. The

experience of the walk is totally different in the different

environments. When walking on the road the quality of

the experience is largely determined by the people I

meet, the conversations with those people, the intensity

of the traffic, and whether the tide is in or out along the

beach. As the walk is relatively flat it is not affected by

the rigor of the walk. I have never described or

remembered feeling that I have a memorable special

experience on this walk.

However, when I walk in the mountains the quality of the

experience is determined by the weather conditions, the

rigor of the climb and the quality of the view from the top.

I remember numerous occasions when either because

the sun was shining at a particular angle over the nearby

sea, or because the latter part of the walk was through

snow or because the walk brought me above the level of

the clouds that there were moments when the

experience of the walks were utterly memorable and

moving.

You will note that in describing the experiences above

there were both human interaction and environmental

factors which determined the quality of the experience.

The same is true about architecture.

Increasingly as city dwellers most of our experiences today are environmentally affected by the manmade spaces

where we spend our time – vehicles, buildings, streets, squares, gardens etc. Apart from vehicles the quality of

those environments in terms of their contribution to people’s experience is largely determined by the quality and

intensity of the architectural input during their creation.

In essence, I would describe architecture as the backdrop to the theatre of life.

There is nothing special in thinking this or noting the change in people’s circumstances. Most architectural

theorists and writers from Hans van der Laan to Robert Venturi to Dean Hawkes describe and search for

approaches to architecture, proportional systems, or methods of detailing buildings which are intended to enhance

the architectural experience. The need for that quality of experience is taken as the unwritten goal for their efforts.

However, I would argue that the most important factors for

architecture are the moving, transitional, momentary

experiences. Great ideas come from deep thinking. To be truly

creative as architects we explore new possibilities for improving

our everyday experiences. To understand how buildings will be

perceived and if possible enjoyed over the long term we have to,

like a method actor, immerse our thoughts with the experience of

future users. When we let the rituals, and perception of

everyday use inform our ideas then we can achieve architecture

of real meaning.

"What I am thinking of are my human surroundings�and of the

building becoming part of people's lives� That is the first

transcendent level in my work: the attempt to conceive of

architecture as a human environment"

Peter Zumthor, Page 64, Atmospheres, Birkhauser, 2006

Most architects carry out the typical baseline studies common in

every practice, photo graphic surveys, topographical surveys and

then produce images boards to “get ideas” for the proposed

design. We in van Dijk International of course do the same but

further spend time talking and thinking about how people will

pass through the building, how people will arrive at the building,

how they will use it and most importantly what addition to that

experience would make the building “special” for the user.

WELCOME

The first experience that virtually any building should give the

user is the experience of welcome. It is natural for people when

welcoming friends or family that they care for to hold out their

arms and embrace the visitor. Buildings to can provide a sense

of welcome to the visitor. This can be done by the building

reaching out to “embrace” people, by providing shelter to them

as they arrive, by making them feel safe and cared for when

alighting from vehicles, or by making the entrance and

approach legible. The celebration of the doorway to buildings

and the means of entrance is an intrinsic part of most

vernacular architecture

ENTRANCE

"Architecture occurs at the meeting of interior and exterior

forces of use and space".

From Pg 86 "Complexity and Contradictions", R. Venturi 1966

The entrance to a building, the passage between inside and

out, that portal where we leave the limitless space of our

planets atmosphere to enter the safety and enclosure of man-

made form is a place where architects can begin to work their

magic. It is the place where the physical experience of the

building itself begins.

PROMENADE

In these days of speed and hurry, we more than ever needs places to promenade, places where we can walk

slowly, that don’t particularly go anywhere and even lead back to the same spot. A place of contemplation is not

simply one where we can sit and think, walking slowly and calmly under cover or while seeking out beauty in the

objects that surround us is an experience that buildings can encourage.

PASSAGE

"The movement between rooms I as important as the rooms themselves; and

it's arrangement has as much effect on social interaction in the rooms as the

interiors of the rooms".

Quote from Page 628, "A Pattern Language, Christopher Alexander, 1977

Celebration of the movement between one space and the next

is an important element in the creation of surprise. The act of

passing can enhance the experience of the spaces either side.

Being attracted up a staircase from one floor to the next can

make moving through a building special.

PROCESSION

"The ideals of traditional architecture are a classical proportion

that reflects an ordered cosmos, harmony, a seamless integra-

tion of past and present and the use of timeless, Platonic

forms."

Charles Jencks from "The Volcano and the Tablet", Wiley-Academy, 2007

Procession is the act of moving in a formal or ceremonious

manner. Special occasions, religious ceremonies, and formal

entertainment can be enhanced by the celebration of

procession.

GATHERING

One of the most basic human needs is to come together with a sense of community. This happens at football

matches, religious events, community meetings, theatre nights, concerts etc. Architects often make the mistake of

thinking only of the need to see the event. The ability to feel part of the audience is an equally important and

emotive experience which should be considered.

ENCOUNTER

"The Informal gives rise to ambiguity. This means interpretation and experi-

ment as a natural course of events".

Cecil Balmond, Quote from "Informal", Prestel, 2002

Many of even the best architectural spaces are “set pieces”

created by the architect’s imagination for the carrying out of a

single activity—viewing art, watching theatre, or working at our

desks. However, creativity and meaningful communication

often happen when informal meetings take place. Architects

can provide opportunities in their buildings for such encounters.

This thinking is not only important for creativity in offices but for

the everyday life of human beings everywhere.

VISTA

"If architecture, the making of Places, is as we propose a matter of extending the inner landscape of human being

into the world in ways that are comprehensible, experiential, and inhabitableB"

Charles Moore from "Body, Memory and Architecture", Yale University Press, 1977

One of architectures greatest pleasures is framing or providing opportunities to look outwards from within the

building. Similarly stepping out onto a balcony to enjoy a panorama can be a memorable experience.

PROTECTION

"And yet buildings are not only enclosure; they are also

extensions of ourselves, like clothing".

Joseph Rykwert from "Ornament is no crime", "The necessity of

Artiface", Academy Editions, 1982

Ultimately buildings provide protection, protection from the

elements, protection from danger, protection from exposure.

Historically this was reflected in thick walls and small windows.

Today with thin skin technology and planar glazing we have lost

that sense of protection in our architecture. However there are

many times when even in our modern world humans need to

feel protected and secure.

CONCLUSION

“We are interested in the infinite richness and ambiguity

of concrete reality. Architecture seems to be increasingly

pre-occupied with inventing new systems of abstractions

and complexity. This kind of complexity is impoverished

compared to the complexity of the world around us, and

misses the opportunity to engage with the powerful web

of emotions and expectations, of meaning that underlies

reality".

Adam Caruso from "The feeling of things" Page 43, "The

Feeling of things", Adam Caruso, 2008

To conclude, I am not calling for something new in

architecture, I am simply re-emphasising something that

I feel we are in danger of losing in our blind rush for

modernity. I hope that the examples I have chosen show

a continuity between the historical and the contemporary

in the creation of experiential space.

I simply believe that with a greater emphasis on thinking

about the way that our buildings are used that we can

create better buildings for everyday and for special

occasions. It is in the celebration of the richness of

human life that architecture becomes truly meaningful.

Jan van Dijk