1208:
about us. ...There are other experiences which we may at all times identify with selves. We can distinguish, I think, very clearly between certain types of experience, which we call subjective because we alone have access to them, and that experience which we call reflective. ...The physical object is an abstraction which we make from the social response to nature. We talk to nature; we address the clouds, the sea, the tree, and objects about us. We later abstract from that type of response because of what we come to know of such objects. The immediate response is, however, social; where we carry over a thinking process into nature we are making nature rational.
932:, p. 29). Sounds are associated with certain rooms, places and memories. Empty spaces still produce sound through the stillness and silence of scale and materials. Sound in architecture is heard through physical presence and sensitivity. Sound induces emotional and sensual responses. Material, scale, memory and familiarity all create a sense of sound inside a building. It is up to individuals within a space to identify and associate with the sounds present. Sound is both a tangible and intangible sensational atmospheric quality. It allows the individual to physically hear, as well as feel and sense the characteristics present in architecture.
785:(p. 402) to experience space in its complete entirety. By inhabiting space individuals can sense the character that surrounds them. Inhabitants sense its atmosphere. Photography, written articles and the interpretation of other viewers of a space cannot compare to individual experience and interaction in interior spaces. Spaces begin as voids, tangible and undefined structures, its atmospheres are articulated through cognitive subjects (memory, perception, judgement, emotion) and physical presence. Recently an italian philosopher
889:
than inherent. Objects determine spaces of place. The objects placed in an interior create a certain atmosphere sought by the inhabitant. Objects act as replacements, products of mass production. Putting objects in a space is a means of expressing yourself. Thus the interior, through a series of cultural connotations takes on its âatmosphericâ qualities, where the term is used to describe a personal expression of status.
87:
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the light on things, is so moving to me that I feel almost a spiritual quality. When the sun comes up in the morning â which I always find so marvelous⊠and casts its light on things, it doesnât feel as if it quite belongs in this world. I donât understand light. It gives me the feeling thereâs something beyond me, something beyond all understandingâ (
906:
polymorphous, subject to stress, strain and fatigue. The most important agitations of space sound, heat and odour" (p. 3). Connor expresses that these agitations are carried by air and fill space. Buildings defend and sustain their interiority; air creates an apparent atmosphere within architecture.
914:
Materials create architectural atmospheres. Materials can be transformed in multiple ways to obtain certain atmospherics in architecture and spaces. For example a stone can be split, cut, sawed, drilled, polished and with each process it will have a different quality. Materials are also combined with
784:
has also expanded on the architectural atmosphere, in his essay "Atmosphere as the
Subject Matter of Architecture". He addresses the nature of space as the physicality of an actual space and the atmospheric qualities that are embedded within a space. Böhme states that âwe must be physically presentâ
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The word 'atmosphere' can simultaneously evoke both a body of air, or even simply space, along with its prevailing affective characteristics. ... space and subjectivity. The meaning can oscillate between, for example, the latent atmosphere of a room or the complex interplay between multiple subjects
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From the early 19th century onwards, the use of the word 'atmosphere'...can refer to the prevailing mood of a place, situation, or cultural representation such as the feeling evoked by a film or a novel. ... The understanding of atmospheres as a distinctive kind of 'mood' or 'situation' has become a
888:
used the term âatmosphereâ within the context of interior design to refer to the status image of consumption. The functional interior design, in
Baudrillardâs description, is created of the combination of objects. This gives interior design its function. Objects within a space are constructed rather
1207:
Occasionally we have experiences which we say belong to the atmosphere. The whole world seems to be depressed, the sky is dark, the weather is unpleasant, values that we are interested in are sinking. We do not necessarily identify such a situation with the self; we simply feel a certain atmosphere
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The relationship between light and architecture occurs inevitably. Light, depending on how it is used can transform the spatial context. It can make a space seem pleasant or unpleasant, moving or ambiguous, light also plays with scale or it could be used simply to highlight elements within a space.
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Light that fills a room can give the impression of a space being serene, exhilarating, gloomy, celebratory or creepy. Spaces are experienced by the mood transmitted within. Peter
Zumthor describes his interest in light, which is crucial in creating atmospheres within his architecture â ââŠDaylight,
868:
describes atmospheres poetically, through space and light within
Japanese thought and practice of inhabiting in variations of darkness. âAn empty space⊠a mere shadow, we are overcome with the feeling that in this small corner of the atmosphere there reigns complete and utter silence; that here in
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addresses the theory of atmospheres in a thorough and systematic way, examining the role of atmospheres (underestimated in traditional aesthetics) in daily life and their main ontological and phenomenological characteristics, and aims to consider atmospherical feelings and moods (including pain,
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Peter
Zumthorâs view on objects within a space is that â âThe idea of things that have nothing to do with me as an architect taking their place in a building, their rightful place⊠Itâs a great help to me to imagine the future of rooms in a house I am building, to imagine them actually in useâ
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ighting techniques could also have a 'psychological effect,' creating 'reassuring' and 'less formal' spacesâcharacteristics typically expected of the domestic environment. Color choice, Kelly advised, also affected the mood or psychological conditions of the interior. ... The lack of scholarly
748:
noted that since the human body is the measure of architecture, it is also that which determines atmospheric qualities. It is the human body that emanates the structural qualities of architecture. Drawing from
Vitruviusâ discussion of architecture, a number of twentieth-century architects have
905:
Air encapsulates buildings. Building are said to be alive. By inhabitation, life is given to interior spaces through imagination and presence. Air in buildings forms an atmosphere. Steven Connor in his essay "Building
Breathing Space" states, âLike the sky, space mobile, mutable, perturbed,
1241:
As early as 1998, for example, the German philosopher Jens
Soentgen refers to an 'atmospheric turn' within European phenomenology and reference to 'affective atmospheres' has become more frequent within fields such as anthropology, architectural theory, and cultural geography. ... Anderson
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other materials in a building that play with texture, colour, temperature and tone; all of which create an atmosphere and mood. For
Zumthor, âMaterials react with one another and have their radiance, so that the material composition gives rise to something unique. Material is endlessâ (
897:, p. 39). Objects in a space give a sense of identity and expressiveness to place. Objects can acquire both tangible and intangible qualities, for example; an idea, memory, colour, furniture, smell, light and texture. These are all atmospheric features present within architecture.
927:
Peter
Zumthor outlines that, âInteriors are like large instruments, collecting sound, amplifying it, transmitting it elsewhere. That has to do with the shape peculiar to each room and with the surface of materials they contain, and the way those materials have been applied.â
863:
Böhme outlines the concept; that stage design, like architecture provokes emotions and atmosphere. This sense of atmosphere is enhanced ânot only of objects, wall and solids, but also of light, sound, colourâŠâ Japanese novelist Junichiro Tanizaki in his book
728:
Atmosphere is an immediate form of physical perception, and is recognised through emotional sensibility. Architects and designers use the notion of atmosphere to argue that architecture and space is designed and built for people to use and experience.
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attention given to the soft architecture of the domestic environmentâincluding window treatments, textiles, interior finishes, and electric lightingâis surprising, given the significance it holds in the design and experience of the modern interior.
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acknowledges that we are dealing with an 'odd archive' comprising a heterogeneous array of perspectives drawn from disparate fields such as anthropology, critical theory, phenomenology, and other disciplines.
1301:
McCormack draws on Spinoza's expanded conception of what constitutes a 'body' to develop a kinetic reading of an atmosphere as a set of perpetually unfolding and intersecting materialities.
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this singular density and mood, this feeling of presence, well-being, harmony, beauty...under whose spell I experience what I otherwise would not experience in precisely this way.
869:
the darkness immutable tranquillity holds swayâ (p. 33). The mystery and ambiguity of shadows created by light are primary atmospheric conditions of interior spaces.
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adopted a phenomenological interpretation of their work, to understand architectureâs primary concern as the body in space. Among these architects include; Peter Zumthor,
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shame, twilight, gaze, felt-bodily isles, etc.) as prototypes of the new ontological category of quasi-things.
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1359:. Vol. 1. Translated by Hoenig, J.; Hamilton, Marian. The Johns Hopkins University Press. p. 81.
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Several aspects of architectural and spatial design have been identified as contributing to atmosphere:
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As with the contents of perception, so it is with the appreciation of space, which also takes on
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Bruno Mondadori, Milano 2013. tr. Quasi-Things. The Paradigm of Atmospheres, Suny, New York 2016
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1329:. Laterza, Rome-Bari. tr. Atmospheres. Aesthetics of Emotional Spaces, Ashgate, Farnham 2014
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asserts that, âthe body and mind cannot be separated as subject and objectâ. The
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Böhme, Gernot (2005). âAtmosphere As The Subject Matter of Architectureâ in
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Light makes space more enjoyable, comfortable, inhabitable and visible.
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757:. Their architectural works draw from the philosophical tradition of
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1355:, Karl (1997) . "Subjective Phenomena of Morbid Psychic Life".
1187:. Chicago: The University of Chicago Press. pp. 166, 184.
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focal point for emerging interest in 'affective atmospheres'.
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Connor, Steven (2004). âBuilding Breathing Spaceâ in
777:of body influences what is perceived by the mind.
16:Mood, situation, or sensorial qualities of a space
1327:Atmosferologia. Estetica degli spazi emozionali
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685:of the architecture. Atmosphere (or projected
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671:containing atmosphere are shaped through
804:For broader coverage of this topic, see
721:For broader coverage of this topic, see
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1193:10.7208/chicago/9780226112879.001.0001
1479:http://www.bbk.ac.uk/english/skc/bbs/
1340:Quasi-cose. La realtĂ dei sentimenti.
837:Features of architectural atmospheres
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1316:. Herzog and de Meuron, Switzerland.
23:. For the semiotic-sign-sphere, see
1475:Going Ariel: Air, Art, Architecture
14:
1398:. Leeteâs Island Books, Canberra.
1429:10.2752/175174212X13202276383779
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39:. For the influence-sphere, see
1266:Merleau-Ponty, Maurice. (1945)
1408:Petty, Margaret Maile (2012).
1:
707:phenomenology of architecture
35:. For the public sphere, see
31:. For the reason-sphere, see
1394:Tanizaki, Junichiro (1977).
1375:. L. Binswanger called it '
1268:Phenomenology of Perception
767:Phenomenology of Perception
43:. For sphere of memes, see
27:. For the word-sphere, see
1513:
1460:Baudrillard, Jean (1968).
1257:. Birkhauser, Switzerland.
1183:, George Herbert (2015) .
1072:Philosophical anthropology
1062:Phenomenology (philosophy)
1007:Aether (classical element)
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814:
803:
797:
720:
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1381:emotionally-colored space
1338:Griffero, Tonino (2013).
1325:Griffero, Tonino (2010).
1168:in crowd-like situations.
1067:Phenomenology (sociology)
851:List of types of lighting
817:Existential phenomenology
1377:space with an atmosphere
1185:Mind, Self & Society
831:space with an atmosphere
50:Not to be confused with
1357:General Psychopathology
1280:Gandy, Matthew (2017).
1253:Zumthor, Peter (2006).
1220:Gandy, Matthew (2017).
1146:Gandy, Matthew (2017).
1112:Gandy, Matthew (2017).
1032:Contextual architecture
821:Space that takes on an
19:For human spheres, see
1373:an affective character
1270:. Routledge, New York.
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679:interactions with the
113:Emotional intelligence
1462:The System of Objects
1057:Interior architecture
886:The System of Objects
759:Maurice Merleau-Ponty
1396:In Praise of Shadows
1286:Cultural Geographies
1226:Cultural Geographies
1152:Cultural Geographies
1118:Cultural Geographies
866:In Praise of Shadows
695:architectural theory
645:affective atmosphere
316:Emotional Detachment
1282:"Urban atmospheres"
1222:"Urban atmospheres"
1148:"Urban atmospheres"
1114:"Urban atmospheres"
823:affective character
780:German philosopher
56:Atmosphere of Earth
41:Sphere of influence
1082:Social environment
794:In psychopathology
773:perception of the
703:cultural geography
1314:Natural Histories
1202:978-0-226-11273-2
1022:Celestial spheres
827:Ludwig Binswanger
689:) is linked with
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858:Atmospheres
806:Temporality
771:Spinozistic
751:Steven Holl
641:film theory
406:Humiliation
351:Frustration
251:Contentment
25:Semiosphere
1296:2022-02-21
1236:2022-02-21
1162:2022-02-21
1128:2022-02-21
1099:References
1037:Ălan vital
993:Bruno Zevi
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711:pragmatism
673:subjective
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326:Enthusiasm
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161:Acceptance
108:In animals
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661:situation
571:Suspicion
561:Suffering
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336:Euphoria
291:Distrust
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