Phenomenology of Architecture: Kolumba Museum by Peter Zumthor

ARCHITECTURE IN CONTEXT 2 PHENOMENOLOGY OF ARCHITECTURE
KOLUMBA MUSEUM, COLOGNE, GERMANY PETER ZUMTHOR

ESTHER CHAN YUEN YIN A3505
SCHOOL OF ART & DESIGN/AIC 2 /ESTHER CHAN YUEN YIN/A3505/IAD YEAR 2
TABLE OF CONTENT
INTRODUCTION Background Information o o Definition of Phenomenology of Architecture Juhani Pallasmaas Perspectives
Objective of the Essay and Structure Brief Introduction of the Site Case Study
CHAPTER 1 : ADVANTAGE 1 MEDITATION THE HISTORY, PRESENT AND FUTURE History of the Gothic church. World War II, massive destruction. How they embrace the history, present and future. The Evidence: Function of the Kolumba Museum.
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Collection of religious art. Preserving the existing pieces. Old gothic style. Old brick / gothic window at faade. New handcrafted materials. The Role of the Body: the body is not merely physical entity, it is enriched by both memory and dream, past and future Pallasmaa. J, 1996 Past: The memory and mind. Reminiscing. Present: Personal appreciation. Contemplation. Meditation. Future: Awareness. Cognition. Distinction.
CHAPTER 2 : ADVANTAGE 2 MEDITATION BETWEEN THE MATERIAL AND SPIRITUAL
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Material design. Honey-comb-like wall. Unique shadows. Mystical ambience. How architect uses wide range of material to achieve deeper spiritual reflection.
The Evidence: The shadow and darker spaces created in the excavation gallery. The design of filter wall. The subdued in color in exhibition rooms. Icons and religious statues. Courtyard. Atmosphere of the ruin hall. Octagonal chapel.
The Role of the Body: Reflection of the spiritual thoughts. Deep breathing. Realm of fantasies and dreams arise. Sense of solidarity. Opposite direction of interaction. Sense of focus. Sense of nearness. Sense of intimacy and affection. Dim sharpness of vision. Invite tactile fantasy.
CHAPTER 3 : ADVANTAGE 3 ENGAGEMENT OF ENVIRONMENT AND ARCHITECTURE
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Environment elements. Nature lights. View. Background sound. Fresh air. How architect uses the lights. Permitting the access of nature resources. How nature elements is used to engage with design elements of architecture.
The Evidence: The design of the wall in the entire building. The sound from the street. Huge glass window. Trees and sculpture at the courtyard. Movement of light. Sun and clouds. Reflection on the ceiling. Thermal insulation from massive wall hollow bricks.
The Role of the Body: Sensation of temperature through skin. Embraced in the view of the city and as the whole environment from the interior. Visual apprehension of spatial depth. Infuses physical and mental structures.
CONCLUSION BIBLIOGRAPHY REFERENCE LIST
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INTRODUCTION
Phenomenology is a systematic study of consciousness and subjective experience begins in the work of Edmund Husserl at the early of 20th century and developed by his followers at the universities of Gottingen and Munich in Germany. Phenomenology studies emphasize on the vitality of embodiment plays in perception and cognition that investigates among affective, aesthetic and action-oriented experience through the environmental factors and potential bodily movement. It tends to investigate the ways of society physical and social environment for cognition discovery, experience, problem solving and as a reflective attentiveness that discloses societys inter-subjective, social interactions and lived experience.
In the practice of phenomenology perspective and philosophy, Juhani Pallasmaa wrote in The Thinking Hand that expressed his perspectives on phenomenology architecture, he speaks of the very personal and powerful emotive quality on how architecture can shape society experience through his design work that involved bodies, memories, identities and minds. Architecture articulates the experiences of beingin-the-world and strengthens our sense of reality and self; it does not make us inhabit worlds of fabrication and fantasy (Pallasmaa. J, 1996, page 45).
The objective of this analysis and study of research is to determine the role of the body in architecture and to explain the importance of creating a multisensory architectural experience. This essay has been divided into four main points of the advantages of building phenomenology architecture by using a case study of a Swiss architect Peter Zumthors work, Kolumba Museum situated in Cologne, Germany. Through deeper and more precise explanation of his work, the essay will covered the role of the body and how it will engage with the architecture and environment.
CHAPTER 1: MEDITATION THE HISTORY, PRESENT AND FUTURE When we mentioned about multisensory architecture, one basic message of the theory is to open up the mind to new architecture, to a new level of life-enhancing experience through sensory. In the writing of Pallasmaas The Eyes of the Skin, he claims that, the body is not merely physical entity, it is enriched by both memory and dream, past and future. (Pallasmaa. J, 1996, page 45). This first part of the essay should address the primary advantage of creating multisensory architecture, and that would be the relationship of ourselves with the history, present and future. How multisensory architecture can improve our consciousness towards the relationship between history, present and future?
Figure 1: St. Columba Church before World War II bombing.
Figure 2: The church after allied bombing.
Before the touch of Peter Zumthors hand on the most impressive Ko lumba Museum, it used to be the most important church of diocese in Cologne, Germany. Regrettably to mention that the building was utterly ruined during the World War II and merely remained few pieces survive intact.
Figure 3: Remaining pieces of the building that still intact despite a rough impact.
Figure 4: Rebuilt the most impressive symbol of the city
Figure 5: The Kolumba Museum in 2007
After all the massive destruction, it is such an encouraging work of the people to embrace the history. Instead of eliminating the old brutal structure of the building and provide a substitution for new building programme that return a promising financial pathway, needed to respect the sites history and preserve its essence, the art society in Kolumba commissioned a competition in order to turn this wreck to a museum that could hold a large extraordinary collection of Christian art spanning from the early Christianity to contemporary art. (Kolumba Museum Peter Zumthor, Karen Cilento, 2010)
Unconsciously, this intersection of the art collections had established a connection of memory between past and present to the local community through the ability of making people think and feel the inner value of arts as well as its spiritual value. The museum sheltering one of the most respected statue of the local, the statue of Mary, it restores the sense of identity of the local community through collection of past experience and memories. This place is meant for self-reflection in the present time.
Such intention is vividly marking the museum as a direction for the society to an embracement of history, fine art, religion, architecture and through awareness of the present programme and shaping society future. Kolumba allows visitors to immerse themselves in the presence of their memories and offers them their own experiences on their way as it act as a garden for the works of art to bloom.
Figure 6a, 6b & 6c: The brown shade of brick and gothic windows from the past is fuse with the new grey handcrafted brick to be united and preserved. The fusion between the old and new, the history, present and future.
Figure 7a & 7b: The faade of grey brick integrates the remnants of the churchs faade into new face for contemporary museum
The mass of the new grey brick entirely wrapped the remnants of the gothic elements interacting through our body and senses creating a sense of new sphere that embodied our past in present days, having a meditation of personal experience through the work of architectural elements. This fusion of material usage not merely symbolizing the relationship between past and present but somehow through our
through vision-generated, vision-centered interpretation of knowledge, we are aware about the exchange of knowledge between history and the present day. (Pallasmaa. J, 1996, page 16) The mind comprehend the intersection of belief and knowledge, the flash back of the incidents that happened from the past and the sense of time and historical connections between vision and knowledge. The affliction, sorrow and impact of war make it vivid for self-reflection and sentimental experience, which is a truly essential factor for consideration of having a harmony, pleasant and peaceful future. The old was adapted to the new, the new to the old, in the interest of complete, integrated appearance of its evolution. (Pallasmaa. J, 1996, page 16)
Meanwhile instead of covering the tragedy element form the past during World War II, we embrace the elements and enhance it for the future. Using the work of multisensory architecture, we should be able to dwell in the transaction between body, imagination and environment of the history, present and future.
CHAPTER 2: MEDIATION BEWTEEN THE MATERIAL AND SPIRITUAL Construction is the art of making a sensible and meaningful whole out of many parts but one of the most promising ability is to as well contribute in constructing humans feeling, behavior and experience in the space. Each of the erected structure and internal elements of the building should adapt to the needs of human settlements. Therefore in this second chapter of the essay is to explore how architect using wide range of materials in their architecture design in order to achieve deeper spiritual reflection.
Brief introduction to the interior space of Kolumba Museum, entering the museum, faced with a blank wall which deflects visitors left toward the reception desk and everything here is flooded in bright sunlight from the foyers window wall which overlooks the court that Peter Zumthor has created for contemplation. (Diocesan Museum By Peter Zumthor Cologne Germany, Peter Davey, 2011)
Figure 8: The ground floor plan of Kolumba Museum
Figure 9a & 9b: Courtyard, created to recall the old churchyard for outdoor contemplation space, scattered chairs, newly-planted trees, stone Medieval fragment carefully preserved.
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However returning back to the foyer it lead through a ruin hall, you will certainly feel the change in the luminance between the bright foyer and mysterious twilight of excavation hall. This dramatic transaction of space tend to close off the distancing sense of vision, preparing ourselves toward the process of overpowering emotional experience. Taking a further step toward this mystical atmosphere, welcoming to lean on the red zig-zag wooden boardwalk yet movement is restrained, and feeling oneself humbly confronting the double height ceiling. (Diocesan Museum By Peter Zumthor Cologne Germany, Peter Davey, 2011)
Figure 10a & 10b: Excavation Hall, deep shadows and darkness, mysterious invitation of the boardwalk.
Figure 11a & 11b: Excavation Hall intended to emphasize the intimate secrecy, mystery and shadow in this space.
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Figure 12a, 12b, 12c, 12d & 12e: Intermittent layering creates a lacy effect of filtered daylight. The soft illumination shows sensitivity to the hall.
One of the most powerful designated architecture elements of this excavation gallery is the repetition of tiny opening wall that create the mystical ambience through the permission of daylight. The combination of patterned sunlight in this dark spaces leaving us nothing but the realm of fantasies and meditation between the two worlds.
Peter Zumthor had put together the filter wall that allows daylight, fresh air and the street sounds behind the wall of the city calls for a deep breathing, inviting oneself to the reflection of spiritual thoughts. The imagination and dreams arises are stimulated by the dim light of the environment, vision suppressed for thoughts and swipe away the sense of place, contributing to a perfect meditation. (Pallasmaa. J, 1996, page 16)
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Figure 13a & 13b: Composition of warm-coloured volumes. Integrates both urban context and historic fragments The subdued in colour of crumbled brick, stone walls, arches, vaults and column bases in the space had communicates thoughts of oneself with sense of solidarity, creating the opposite direction of interaction and immerse into the meditation of body, mind and God. How does this crumbled pieces that Zumthor intended to blend with the new modern material doesnt evoke the sense of spiritual? It is the rough texture of the material express their age, story, and essence, it engage oneself to the incident of the impact and convey the seriousness of its contents. The new erected wall shelter the remaining piece of the old church, in the conjunctions of building the continuity of Christian faith, a conversation between ancient and modern, temporal and spiritual. (Diocesan Museum By Peter Zumthor Cologne Germany, Peter Davey, 2011)
Figure 14a,14b & 14c: Through lower light intensity, the shadow gives shape and life to the object in light.
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CHAPTER 3: ENGAGEMENT OF THE ENVIRONMENT AND ARCHITECTURE. This final chapter of the essay should draw our attention about how nature elements is used to engage with elements of architecture in our lived experience of the world as well as our experience of interiority in the spaces we inhabit. Architecture articulates the experiences of being-in-the-world and strengthens our sense of reality and self; it does not make us inhabit worlds of mere fabrication and fantasy. The ultimate meaning of any building is beyond architecture; it directs our consciousness back to the world and towards our own sense of self and being. (Pallasmaa. J, 1996, page 11).
Figure 15: Excavation Hall. The connection with world in the museum.
Alongside the discussion of senses that oneself can be experience in this excavation gallery is firstly as mentioned in the previous chapter, the absence of visual perceptions. Mist and twilight effect awaken the imagination when images are unclear and ambiguous through dimmer light intensity in the space, thus promoting self-meditation.
As far as the sight isolates, sound incorporates, the sounds of street from the city, the echo of steps on paved street articulates the experience and understanding of space. Oneself is reminded through the
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sounds of modern vehicle from the outside world while fuse into this intimate secrecy in this contemporary museum. The sounds of the singing pigeons and the fresh air calm the emotional states. The connection with the world should not be shut down and this is possible through the design of the unique wall of the museum. The wall permits nature resources to enter the interior space.
Figure 16a & 16b: The shadow plays in the whole building.
Apart from allowing fresh air and the echo of the city, it permits the access of nature sunlight to the entire space of the building, creating movement in the space through the play of the sun and clouds movement. This vividly gives us the impression of us connected to the world in the space we inhabit. The shadows on the wall or on the ceiling certainly provide us with the sense of time and environment outside the building. Our skins receptors will also be able to detect the thermal changes behind this grey wall, the communication with the environment and the world is never ending is the elements of architecture made it possible. (Diocesan Museum By Peter Zumthor Cologne Germany, Peter Davey, 2011)
Figure 17a & 17b: The street of Cologne.
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Figure 18a & 18b: Large windows on the second floor.
The rooftop view come as a relief after the relentless interiority of the ground level, these marvelous huge windows are positioned so as to create a glow of light around each corner, to capture views of the cathedral and the surrounding city. Through visual apprehension of spatial depth, sensing the warmth of the daylight, oneself can embrace in the view of the city and as the whole environment from the interior, infused physical and mental structures. (Diocesan Museum By Peter Zumthor Cologne Germany, Peter Davey, 2011)
An extraordinary healing experience, making oneself a part of the eternal cycle of nature. The sense of slow breathing of the earth, sensations of comfort and protection when the body discovers its resonance in the space, like in the constant dialogue and interaction with the environment through architecture elements. (Pallasmaa. J, 1996, page 67).
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CONCLUSION
Kolumba Museum is one of the contemporary work of Phenomenology Architecture that was reflecting in the embracement of history and present, the meditation of material and spiritual, the inner values of architecture elements that engage with the environment through our stimuli, consciousness and reflective capacity. Peter Zumthor giving the finest detail that show he was more interested in the encounter of architecture element and the body of user than in mere visual aesthetics to create embodied existence that would structure and strengthen our being in the world, which is very much an impressive character of an architect towards the approach of designing buildings in todays world. His work enables us to settle ourselves in the world, in the continuum of culture, time, art, religion, environment, self-identity, memory, consciousness, meditation, and interaction. Nowadays we are used to the fact that a lot of museums are part of a marketing campaign. From cities to cities, countries to countries, the culture and art plays minor role, people are interested that the architects would design with a sensational shape that attracts people. This is the famous Bilbao Effect, a worldwide phenomena, but in this museum you can feel that its different, its the opposite meaning, it is all started with the art, the collection, to bring people back into the blooming garden of art, religion, history, self-identity and memory, it is not just a good investment. The art is not collected as an investment but for the reasons that one can feel. This architecture simply makes people believe in the true value of art, spiritual values, its ability to make us think and feel, opening ourselves to the historical events and the fantasy that come endless. Kolumba Museum find the best solution to cease finding architecture nowadays as slowly and merely serving the purpose of marketing a city through vision attraction buildings.
Beauty lies not only in what you see, it is often more beautiful not to see certain things but feel it, what will it be in the world losing its soul of everything just for the sake of aesthetics?
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BIBLIOGRAPHY
Website: Phenomenology (philosophy): Wikipedia, the free encyclopedia, 2013 [viewed 11 October 2013]. Available from: http://en.wikipedia.org/wiki/Phenomenology_(philosophy)
Kolumba Museum Peter Zumthor: Arch Daily, 2010 [viewed 11 October 2013]. Available from: www.archdaily.com/72192/kolumba-musuem-peter-zumthor/
Atelier Peter Zumthor, Diocesan Museum Cologne, Germany: Architecture Today, 2007 [viewed 24 October 2013]. Available from: www.architecturetoday.co.uk/?p=6639
Kolumba Art Museum: Architecture Week, 2009 [viewed 22 October 2013]. Available from: www.architectureweek.com/2009/0107/design_1-2.html
Contemplating Art and Religion in Kolumba: Metropolis, 2012 [viewed 22 October 2013]. Available from: www.metropolismag.com/Point-of-View/April-2012/Contemplating-Art-and-Religion-in-Kolumba/
Cologne 2: Kolumba: Eikongraphia, 2009 [viewed 22 October 2013]. Available from: www.eikongraphia.com/?p=2553
The Perforated Palace: The Guardian, 2007 [viewed 20 October 2013]. Available from: www.theguardian.com/world/2007/nov/19/germany.architecture
Opposites Playing Happily Together: Supperstories, 2013 [viewed 22 October 2013]. Available from: supperstories.wordpress.com/2013/05/01/opposites-playing-happily-together/
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Zumthors Cologne Modern Art Museum Is Beyond Time: Bdonline, 2013 [viewed 11 October 2013]. Available from: www.bdonline.co.uk/buildings/zumthors-cologne-modern-art-museum-is-beyondtime/3095607.article
Diocesan Museum By Peter Zumthor, Cologne Germany: The Architectural Review, 2011 [viewed 11 November 2013]. Available from: http://www.architectural-review.com/home/innovators/diocesanmuseum-by-peter-zumthor-cologne-germany/8616966.article
Hlne Binet Architecture Photographs: Design Boom,2011 [viewed 11 November 2013]. Available from: http://www.designboom.com/art/helene-binet-architecture-photographs/
Ruthless Perfection: Birgitta de Vos, 2011 [11 October 2013]. Available from: http://birgittadevos.nl/portfolio-item/ruthless-perfection
Internet Sources Individual Works
SUSAN JANE HALL. Enhancing Well-being: A Multisensory Interior Environmental Experience. Washington State University, 2008 [viewed 22 October 2013]. Available from: spokane.wsu.edu/academics/design/documents/susanjanehall.pdf
DAVID SEAMON. Phenomenology, Place, Environment and Architecture: A Review. 2007 [viewed 23 October 2013]. Available from: www.arch.ksu.edu/seamon/Seamon_reviewEAP.htm
PER OLAF FJELD. Touching the World Architecture, Hapticity and The Emancipation of The Eye. 1996 [viewed 22 October 2013]. Available from: www.arquitectura-ucp.com/images/PallasmaaTW.pdf
KLAUS DIETZ, ANDRE SCHURMANN. Foundation Improvement of Historic Buildings by Mirco Piles,
Museum Island, Berlin and St. Kolumba, Cologne. 2010 [viewed 22 October 2013]. Available from: dietzgeotechnik.de/pdf/11.pdf
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TERESA NORTON. The Drowned and the Saved Transmitting the Spirit of Place. 2008 [viewed 23 October 2013]. Available from: openarchive.icomos.org/96/
Printed Material - Books: JUHANI PALLASMAA. The Eyes of the Skin, Architecture and the Senses. London: Academy Editions, 1996
PETER ZUMTHOR. Thinking Architecture. 2nd ed. Germany: Birkhauser Verlag, 2006
Films Das Kunstmuseum Kolumba des Erzbistums Kln. Goetheinstitut, 2009, [viewed 13 October 2013]. Available from: http://www.youtube.com/watch?v=vXxk700hGyQ Peter Zumthor. Sergio Hernandez, 2008, [viewed 13 October 2013]. Available from: http://www.youtube.com/watch?v=_jKoqKGP9N8
Museo Kolumba. Sergio Hernandez, 2008, [viewed 13 October 2013]. Available from: http://www.youtube.com/watch?v=QRSz4_HrH9I
Peter Zumthor - Dizesanmuseum in Kln. Kunstspektrum, 2013, [viewed 13 October 2013]. Available from: http://www.youtube.com/watch?v=25KtvsIqoMI
Visual Material Figures: Figure 1 Wikipedia, 2013, Kolumba, digital image, Wikipedia The Free Encyclopedia, [viewed 11 October 2013]. Available from: http://en.wikipedia.org/wiki/Kolumba
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Figure 2 Karen Cilento, 2010, Kolumba Museum Peter Zumthor, digital image, Arch Daily, [viewed 11 October 2013]. Available from: www.archdaily.com/72192/kolumba-musuem-peter-zumthor/
Figure 3 Wikipedia, 2013, Kolumba, digital image, Wikipedia The Free Encyclopedia, [viewed 11 October 2013]. Available from: http://en.wikipedia.org/wiki/Kolumba
Figure 6a Paul Clemence, 2012, Contemplating Art and Religion in Kolumba, digital image, Metropolis, [viewed 22 October 2013]. Available from: www.metropolismag.com/Point-of-View/April2012/Contemplating-Art-and-Religion-in-Kolumba/
Figure 6b Paul Clemence, 2012, Contemplating Art and Religion in Kolumba, digital image, Metropolis, [viewed 22 October 2013]. Available from: www.metropolismag.com/Point-of-View/April2012/Contemplating-Art-and-Religion-in-Kolumba/
Figure 6c Karen Cilento, 2010, Kolumba Museum Peter Zumthor, digital image, Arch Daily, [viewed 11 October 2013]. Available from: www.archdaily.com/72192/kolumba-musuem-peter-zumthor/
Figure 7a Karen Cilento, 2010, Kolumba Museum Peter Zumthor, digital image, Arch Daily, [viewed 11 October 2013]. Available from: www.archdaily.com/72192/kolumba-musuem-peter-zumthor/
Figure 7b - Karen Cilento, 2010, Kolumba Museum Peter Zumthor, digital image, Arch Daily, [viewed 11 October 2013]. Available from: www.archdaily.com/72192/kolumba-musuem-peter-zumthor/
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Figure 8 Ellis Woodman, 2007, Zumthors Cologne Modern Art Museum Is Beyond Time, digital image, Bdonline, [viewed 11 October 2013]. Available from: www.bdonline.co.uk/buildings/zumthors-colognemodern-art-museum-is-beyond-time/3095607.article
Figure 9a Wikipedia, 2013, Kolumba, digital image, Wikipedia The Free Encyclopedia, [viewed 11 October 2013]. Available from: http://en.wikipedia.org/wiki/Kolumba
Figure 9b Karen Cilento, 2010, Kolumba Museum Peter Zumthor, digital image, Arch Daily, [viewed 11 October 2013]. Available from: www.archdaily.com/72192/kolumba-musuem-peter-zumthor/
Figure 12b Gabrielle Ammann, 2011, Hlne Binet Architecture Photographs, digital image, Design Boom, [viewed 11 November 2013]. Available from: http://www.designboom.com/art/helene-binetarchitecture-photographs/
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Figure 12d Birgitta de Vos, 2011, Ruthless Perfection, digital image, Birgitta de Vos, [11 October 2013]. Available from: http://birgittadevos.nl/portfolio-item/ruthless-perfection
Figure 12e Birgitta de Vos, 2011, Ruthless Perfection, digital image, Birgitta de Vos, [11 October 2013]. Available from: http://birgittadevos.nl/portfolio-item/ruthless-perfection
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Figure 16a Gabrielle Ammann, 2011, Hlne Binet Architecture Photographs, digital image, Design Boom, [viewed 11 November 2013]. Available from: http://www.designboom.com/art/helene-binetarchitecture-photographs/
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REFERENCE LIST
Website: Phenomenology (philosophy): Wikipedia, the free encyclopedia, 2013 [viewed 11 October 2013]. Available from: http://en.wikipedia.org/wiki/Phenomenology_(philosophy)
Kolumba Museum Peter Zumthor: Arch Daily, 2010 [viewed 11 October 2013]. Available from: www.archdaily.com/72192/kolumba-musuem-peter-zumthor/
Diocesan Museum By Peter Zumthor, Cologne Germany: The Architectural Review, 2011 [viewed 11 November 2013]. Available from: http://www.architectural-review.com/home/innovators/diocesanmuseum-by-peter-zumthor-cologne-germany/8616966.article
Hlne Binet Architecture Photographs: Design Boom,2011 [viewed 11 November 2013]. Available from: http://www.designboom.com/art/helene-binet-architecture-photographs/
Ruthless Perfection: Birgitta de Vos, 2011 [11 October 2013]. Available from: http://birgittadevos.nl/portfolio-item/ruthless-perfection
Printed Material - Books: JUHANI PALLASMAA. The Eyes of the Skin, Architecture and the Senses. London: Academy Editions, 1996
Visual Material Figures: Figure 1 Wikipedia, 2013, Kolumba, digital image, Wikipedia The Free Encyclopedia, [viewed 11 October 2013]. Available from: http://en.wikipedia.org/wiki/Kolumba
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Figure 6a Paul Clemence, 2012, Contemplating Art and Religion in Kolumba, digital image, Metropolis, [viewed 22 October 2013]. Available from: www.metropolismag.com/Point-of-View/April2012/Contemplating-Art-and-Religion-in-Kolumba/
Figure 6b Paul Clemence, 2012, Contemplating Art and Religion in Kolumba, digital image, Metropolis, [viewed 22 October 2013]. Available from: www.metropolismag.com/Point-of-View/April2012/Contemplating-Art-and-Religion-in-Kolumba/
Figure 7b - Karen Cilento, 2010, Kolumba Museum Peter Zumthor, digital image, Arch Daily, [viewed 11 October 2013]. Available from: www.archdaily.com/72192/kolumba-musuem-peter-zumthor/
Figure 8 Ellis Woodman, 2007, Zumthors Cologne Modern Art Museum Is Beyond Time, digital image, Bdonline, [viewed 11 October 2013]. Available from: www.bdonline.co.uk/buildings/zumthors-colognemodern-art-museum-is-beyond-time/3095607.article
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Figure 9a Wikipedia, 2013, Kolumba, digital image, Wikipedia The Free Encyclopedia, [viewed 11 October 2013]. Available from: http://en.wikipedia.org/wiki/Kolumba
Figure 12b Gabrielle Ammann, 2011, Hlne Binet Architecture Photographs, digital image, Design Boom, [viewed 11 November 2013]. Available from: http://www.designboom.com/art/helene-binetarchitecture-photographs/
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Figure 12d Birgitta de Vos, 2011, Ruthless Perfection, digital image, Birgitta de Vos, [11 October 2013]. Available from: http://birgittadevos.nl/portfolio-item/ruthless-perfection
Figure 12e Birgitta de Vos, 2011, Ruthless Perfection, digital image, Birgitta de Vos, [11 October 2013]. Available from: http://birgittadevos.nl/portfolio-item/ruthless-perfection
Figure 16a Gabrielle Ammann, 2011, Hlne Binet Architecture Photographs, digital image, Design Boom, [viewed 11 November 2013]. Available from: http://www.designboom.com/art/helene-binetarchitecture-photographs/
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ARCHITECTURE IN CONTEXT 2 PHENOMENOLOGY OF ARCHITECTURE

KOLUMBA MUSEUM, COLOGNE, GERMANY PETER ZUMTHOR

SCHOOL OF ART & DESIGN/AIC 2 /ESTHER CHAN YUEN YIN/A3505/IAD YEAR 2

INTRODUCTION Background Information o o Definition of Phenomenology of Architecture Juhani Pallasmaas Perspectives

SCHOOL OF ART & DESIGN/AIC 2 /ESTHER CHAN YUEN YIN/A3505/IAD YEAR 2

CHAPTER 2 : ADVANTAGE 2 MEDITATION BETWEEN THE MATERIAL AND SPIRITUAL

CHAPTER 3 : ADVANTAGE 3 ENGAGEMENT OF ENVIRONMENT AND ARCHITECTURE

SCHOOL OF ART & DESIGN/AIC 2 /ESTHER CHAN YUEN YIN/A3505/IAD YEAR 2

CONCLUSION BIBLIOGRAPHY REFERENCE LIST

SCHOOL OF ART & DESIGN/AIC 2 /ESTHER CHAN YUEN YIN/A3505/IAD YEAR 2

SCHOOL OF ART & DESIGN/AIC 2 /ESTHER CHAN YUEN YIN/A3505/IAD YEAR 2

Figure 1: St. Columba Church before World War II bombing.

Figure 2: The church after allied bombing.

SCHOOL OF ART & DESIGN/AIC 2 /ESTHER CHAN YUEN YIN/A3505/IAD YEAR 2

Figure 4: Rebuilt the most impressive symbol of the city

Figure 5: The Kolumba Museum in 2007

SCHOOL OF ART & DESIGN/AIC 2 /ESTHER CHAN YUEN YIN/A3505/IAD YEAR 2

SCHOOL OF ART & DESIGN/AIC 2 /ESTHER CHAN YUEN YIN/A3505/IAD YEAR 2

SCHOOL OF ART & DESIGN/AIC 2 /ESTHER CHAN YUEN YIN/A3505/IAD YEAR 2

SCHOOL OF ART & DESIGN/AIC 2 /ESTHER CHAN YUEN YIN/A3505/IAD YEAR 2

SCHOOL OF ART & DESIGN/AIC 2 /ESTHER CHAN YUEN YIN/A3505/IAD YEAR 2

SCHOOL OF ART & DESIGN/AIC 2 /ESTHER CHAN YUEN YIN/A3505/IAD YEAR 2

SCHOOL OF ART & DESIGN/AIC 2 /ESTHER CHAN YUEN YIN/A3505/IAD YEAR 2

SCHOOL OF ART & DESIGN/AIC 2 /ESTHER CHAN YUEN YIN/A3505/IAD YEAR 2

Figure 17a & 17b: The street of Cologne.

SCHOOL OF ART & DESIGN/AIC 2 /ESTHER CHAN YUEN YIN/A3505/IAD YEAR 2

Figure 18a & 18b: Large windows on the second floor.

SCHOOL OF ART & DESIGN/AIC 2 /ESTHER CHAN YUEN YIN/A3505/IAD YEAR 2

SCHOOL OF ART & DESIGN/AIC 2 /ESTHER CHAN YUEN YIN/A3505/IAD YEAR 2

SCHOOL OF ART & DESIGN/AIC 2 /ESTHER CHAN YUEN YIN/A3505/IAD YEAR 2

Internet Sources Individual Works

SCHOOL OF ART & DESIGN/AIC 2 /ESTHER CHAN YUEN YIN/A3505/IAD YEAR 2

SCHOOL OF ART & DESIGN/AIC 2 /ESTHER CHAN YUEN YIN/A3505/IAD YEAR 2

SCHOOL OF ART & DESIGN/AIC 2 /ESTHER CHAN YUEN YIN/A3505/IAD YEAR 2

SCHOOL OF ART & DESIGN/AIC 2 /ESTHER CHAN YUEN YIN/A3505/IAD YEAR 2

SCHOOL OF ART & DESIGN/AIC 2 /ESTHER CHAN YUEN YIN/A3505/IAD YEAR 2

SCHOOL OF ART & DESIGN/AIC 2 /ESTHER CHAN YUEN YIN/A3505/IAD YEAR 2

SCHOOL OF ART & DESIGN/AIC 2 /ESTHER CHAN YUEN YIN/A3505/IAD YEAR 2

SCHOOL OF ART & DESIGN/AIC 2 /ESTHER CHAN YUEN YIN/A3505/IAD YEAR 2

SCHOOL OF ART & DESIGN/AIC 2 /ESTHER CHAN YUEN YIN/A3505/IAD YEAR 2

SCHOOL OF ART & DESIGN/AIC 2 /ESTHER CHAN YUEN YIN/A3505/IAD YEAR 2

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