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Uninhibited D w e l l i n g
Constructing the primitive cave in contemporary
Architecture.
Peter Langford
3091880
Acknowledgements
Though research and writing are intensely personal efforts they are often founded in
collaboration. Without the guidance, idea bouncing and the open ears of others this
thesis would be much less valuable than what it is, so in saying this I would like to
issue my sincerest gratitude to first of all my research supervisor Dr. Harpreet
(Neena) Mand for her limitless breadth of knowledge and patience in helping this
research to fruition. My contemporaries and close friends who have helped to
crystalize my ideas into coherent thoughts through numerous discussions as well as
my partner and family for willingly or not lending an ear for the research to become
clearer through relaying and for questioning the areas too far removed from the
subject matter. Though not necessarily of custom for a research project of this size,
it is felt that without acknowledging the help received the integrity of the research
would feel lessened.
Contents
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Introduction .
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Research Question .
Research Aims
Objectives
Significance of Research .
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Research design
Limitations
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Gravity
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Spatial gradient
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Wholeness .
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Reference List!
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List of Figures!
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Abstract
Architecture's obsession with the redeeming qualities of the primitive has a
long history. A return to origins is posited as the architectural fountain of youth,
that by looking back we are able to understand what an architecture
connected to our base needs unadulterated by culture provides. Many; from
Vitruvius through Laugier, Semper and Wright have gravitated to these fabled
beginnings in order to justify a form of architectural invention pulling authority
from the purest form of architecture. In doing so architecture has taken to this
idea that the origins of habitat lie in the hut (Laugiers hut). However in these
simplified conversations of architectural origins one unexplored typology is
mentioned again and again; the cave. The cave here is often commented on
as having an affect on the beginnings of mans dwelling, but is too often
overlooked for the spatial lessons and significance it can provide.
This paper argues that where the origins of architecture are involved, and the
cave specifically, we find that a biological understanding of how we interpret
space as a means of survival can have a significant impact on how we should
design spaces. Furthermore the cave has an enormous significance in culture
relating to spirituality and myth, and so from the birth of art in the Lascaux
caves to the primitive understanding of space, it is possible to draw a large
body of knowledge from a thus far underutilised spatial typology. This paper
through a process of logical argumentation suggests that through analysis of
the latent spatial qualities of the cave it is possible to influence the way in
which a nuanced approach to gravity, envelopment and spatial gradient can
affect our perception of space. With the bias towards the hut, architecture has
taken a series of turns predicated on rather disputed and misunderstood
grounds. With Laugiers hut and the understanding of architecture as column,
entablature and pediment what we are left with is an architecture based on
construction rather than space. An architecture that has left the cave as a
found object despite its significance in addressing our primal needs. It is
argued herein that an understanding of the cave and what it can bring to
architectural discourse can be of significance in creating an architecture that is
powerfully primitive.
Chapter 1:
Research Questions
The research presented in the following chapters is predicated on a number of
questions: Primarily; What spatial lessons does the cave hold for contemporary
architecture? In order to answer this there are other secondary questions along the
way; why the cave is overlooked in architectural discourse? Why do many dissimilar
cultures throughout history have a similar spiritual reverence for the cave despite
differing ideologies?
Research Aims
The study seeks to draw out significant attributes and spatial qualities from the cave
that can provide an alternate genealogy for the creation of a more powerfully primitive
architecture. As a study of the cave the more traditional forms of analysis become
difficult in objectifying a natural edifice and as such this research is intentionally aimed
at qualitative study based on a reading of space.
Objectives
1. Explore significant spatial attributes of the cave for use in informing contemporary
architecture.
2. Trace out reasons for the avoidance of a focused analysis of the cave in western
architectural discourse.
3. Seek to understand how the spatial qualities of the cave have had significance in
the cultivation of primitive spirituality.
Significance of Research
Where discourse surrounding the primitive has varied in popularity the subject
matter is considered intrinsic to the history of architectural ideas, and as such
warrants a constant revisiting. Situated within the discourse of the primitive and
concerned primarily with the role of origins the study seeks to define a
qualitative analysis of the spatiality of the other archetype; the cave. Many
theorists and architects have used the primitive and consequently the narrative
of origins in order to justify significant reappraisals of architecture.12 As such
this research is concerned with exploring the alternate origin of the cave in
order to establish spatial qualities for creating a psychologically enriching
architecture.
______________________________________________________________________
Notes:
1
Forty, A. (2006). Primitive The word and concept. In J. Odgers, F. Samuel, & A. Sharr
(Eds.), Primitive Original matters in architecture (pp. 314). New York: Routledge.
Semper, G. (1989). The Four Elements of Architecture and Other Writings (1851). (W.
Herrmann, Trans.). Cambridge: Cambridge University Press.
10
van Schaik, L. (2008). Spatial Intelligence. West Sussex: John Wiley and Sons.
11
12
Chapter 2:
Research Method
This research paper seeks to use the method of logical argumentation set forth
by Groat and Wang in Architectural Research Methods.1 The scope of works is
to explore the significant spatial features of the cave and contribute to the
discourse surrounding architectures primitive origins. This system of logic
follows that of the cultural/ discursive element of architectural academic
research, in order to qualitatively argue the validity of the cave in reference to
nature and culture, and to mine the significance of questioning the current
architectural paradigm premised on the hut.2 The study therefore is seeking to
9
10
Limitations
Where this research aims to create a synthesis of significant spatial attributes
of the cave, it like all research comes with a set of limitations. The major
limitation being the time constraints involved in writing a masters of
architecture dissertation. The study is therefore purposely limited in scope to
achieve the outcomes outlined in the above section.
The study will be limited to extrapolating guiding principles for conceptualising
cave space in modern terms through pursuing its significance in architectural
origin theories, somatic and psychological comfort and cross cultural
spirituality. The number of texts will need to be limited due to the time taken to
source, read and critically analyse the information presented. As a result this
will have an effect on the depth of information available and as such the study
will need to be relatively broad.
The study, therefore will intentionally focus on the significance of the cave in
relation to broadening contemporary architectural spatial vocabulary and as
such is not a significant study in the history or cultural identity of the typology.
The research undertaken does not seek to take an archaeological
interpretation of the phenomena of caves but instead seeks to posit on their
significance to architecture using already published work. The choice of
explanatory information such as examples of architects and projects, is a result
of this decision and will affect the scope and outcomes of the research project.
In conjunction with this, it is of note that the research comes from a
fundamentally western perspective. Many Eastern cultures hold a high value
for caves and their spirituality. Where the study hopes to include and
understand this, the time constraints do not allow an immersion into these
cultures, only at best a brief overview.
Again in summation the research undertaken is not an empirical study, nor is it
a study based on what is available far outside of that architectural discourse.
This text is based upon available architectural discourse while taking aspects
of hereditary theory and sociology in order to underline how the cave can
enrich current design practices. It is worth noting that the study is not
attempting to be historically accurate or relate empirical measurements and
instead is based upon the theorizing of the architectural discourse on the
mythical origins of architecture which in and of themselves are not accurate
depictions of real world phenomena. There is no archeological merit implicit in
the study and should be read only as a cursory and largely introductory
understanding of how cave spaces can contribute to a more sophisticated and
somatic approach to architecture in the future.
11
______________________________________________________________________
Notes:
1
Ibid p323
Ibid p307
Ibid p315
van Schaik, L. (2008). Spatial Intelligence. West Sussex: John Wiley and Sons.
Ibid
van Schaik, L. (2008). Spatial Intelligence. West Sussex: John Wiley and Sons.
10
11
Ibid p304
12
Chapter 3:
significant spiritual relationship with the cave western architectural culture has
come to leave the cave behind. Despite this, others have made the implication
that the cave served as a precursor to spiritual architecture. In directly positing
that the cave is an element related to religious architecture E. O. James From
cave to cathedral frames caves as the first, in a progression religious
architecture. He likens Muslim mosques to the earlier Egyptian architecture,
describing many of the same formal characteristics that De Quincy had
attributed to the cave.37 38 On the other hand J. Walter Fewkes in his
presidential address to the Anthropological Society of Washington in 1910
expresses the way in which cave dwellings in the old and new worlds have had
a significant impact in culture, from folk law, to storage of precious goods and
mortuaries and makes clear that despite the influence the cave has had,
higher culture as a result of the influence of the mind has moved away from the
cave dwelling cultures.39 This is symptomatic of what Glsm Baydar
Nalbantoglu a Turkish architectural theorist posits as the family of binary
constructs that lies at the basis of the architectural discipline: nature/ culture...
and traditional/ modern.40 So while this may partly explain the absence of the
cave in the contemporary discipline of architecture, it does not explain why the
discourse surrounding the primitive (of which is concerned with the nature and
traditional parts of the aforementioned dichotomies) is still largely blind to the
validity of the cave as an archetype.
Joseph Gandy an accomplished and respected perspectivist in 1830 for his
exhibition of Comparative Architecture presented in drawing an exhaustive
study of the history and mythography of architecture.41 Delving into origins and
their development to explore the significance of their meaning. As such as a
comparative study Gandy sets up a way to look at architectural beginnings
and their significance in an advancing culture. Stating that astronomy and
caverns have given the origins of all ideas in architecture, Gandy in his
detailed knowledge makes an explicit case for the cave as of paramount
significance in the genealogy of architecture. 42 An example of the
consequence of the cave as a defining factor then might be seen in the Temple
of the Sun at Teotihaucan (Fig.7), where the cave of origins (as in many myths
man, or even gods such as Zeus are thought to be born of the cave) defines
the placement and character of the temple.43
17
With all this significance placed on the cave in relation to primitive man and
then the resurrection of the primitive into architecture are there existing cases
of the cave in contemporary architecture? Yes, in abstract ways cave like
spaces are still to be found in contemporary architecture even an enveloping
poch of an ancient castle, written about by Jennifer Bloomer has similarities
in atmosphere to the cave.44 Whether referenced as being influenced by the
cave or not the atmosphere of a number of architectural projects is distinctly
cave-like. For the ease of argument it is sensible to turn to contemporary works
which do reference the cave first. Japanese architect Sou Fujimoto uses the
idea of the cave as a spatial adjustment to modernism (Fig.8), where Fujimotos
cave idea differs is by using space in a non traditional way where the cave
exists despite the way we have prescribed functions.45 Where we would be
used to seeing an on/ off style division of space (such as Japanese
predecessor Kazuo Shinoharas concept of divisive space) using walls to
separate functions Fujimotos architecture is provocative in its use while still
being passive.46 This leads to what Taro Igarashi explains as the primitive
nature of Fujimotos work where it could almost have existed long before now.47
On the other hand Spanish architect Alberto Campo Baezas use of the idea of
the cave is in relation to Sempers theory of tectonics.48 By grounding a number
of his projects as being a hut on top of a cave he is able to deftly root his work
in the landscape while resolving a clear minimalist expression of light and
gravity in a built idea. In this way Campo Baezas architecture takes on a poetic
quality of stillness within a landscape and walks a fine line between
monumental and immaterial. The reference to the cave in many of his works is
becomes a platform for the hut and also the main source of refuge, deliberately
introverted it always inevitably becomes a severe yet hauntingly beautiful
expression within the landscape.
As well as those who are explicit about their influence from the cave there are
many others whos work in parts exhibit cave like properties. Among these is
pritzker prize laureate and well respected Swiss architect Peter Zumthor.
Zumthors most venerated work, a hot spring in Vals (Fig.9) in the Swiss Alps
creates an atmosphere conducive to relaxation, one where a completeness of
the work envelops one in the earthly delights of the mountain and away from
18
the nervous energy of modern life. In addition to this Zumthors Bruder Klaus
chapel in Germany has a significantly cave like atmosphere, layered like that of
the earth through the toil of the locals the interior mediates the world beyond in
order to create a spiritual experience while limiting the need for religious
symbolism. This transcendental quality of Zumthors work is far from
coincidental, as he outlines in his books Atmospheres and Thinking
Architecture Zumthors sensitivity to place and mood reflect a thorough
understanding of spatial intelligence and nostalgia.49 50 Another well respected
Swiss architect Valerio Olgiati offers instead of making cave like space (though
some of his spaces are phenomenologically reminiscent of cave like
environments) an approach of designing a work to look and act like one
thing.51 Performing much then as the cave does this form of organic thinking
and reductionism can be informative of a design approach to cave spaces
more so than the approach to the spaces themselves.
In analysis of the literature not only is a significant gap in knowledge about the
cave highlighted, but also the importance of the cave in architecture. Perhaps
more relevant now than ever with architectures mediascape flooded with image
based architecture, now seems the perfect time for the reappraisal of primitive
values of introspective and quiet atmospheres for escape of the ever present
chatter of social media and advertising. So in looking at the primitive values of
the cave and the man who started architecture, in the words of Umberto Eco
it may be possible to draw out spatial techniques for contemporary architects.
52 Through analyzing the relevance of the cave three main bodies become
evident for further discussion. Firstly the way in which architecture took
preference of the hut, after which an explanation of how the caves space is
conducive to positive feelings of comfort and lastly how these feelings have
manifested as a form of non-specific spirituality. In conducting this research it
is hoped that a new manifestation of the cave in contemporary architecture can
produce a more enriching and powerfully primitive architecture.
______________________________________________________________________
Notes:
1
Forty, A. (2006). Primitive The word and concept. In J. Odgers, F. Samuel, & A. Sharr
(Eds.), Primitive Original matters in architecture (pp. 314). New York: Routledge. p8
Semper, G. (1989). The Four Elements of Architecture and Other Writings (1851). (W.
Herrmann, Trans.). Cambridge: Cambridge University Press.
Forty, A. (2006). Primitive The word and concept. In J. Odgers, F. Samuel, & A. Sharr
(Eds.), Primitive Original matters in architecture (pp. 314). New York: Routledge.
19
10
11
12
13
14
Forty, A. (2006). Primitive The word and concept. In J. Odgers, F. Samuel, & A. Sharr
(Eds.), Primitive Original matters in architecture (pp. 314). New York: Routledge.
15
16
Unwin, S. (2006). The wisdom of the sands. In J. Odgers, F. Samuel, & A. Sharr
(Eds.), Primitive Original matters in architecture. New York: Routledge.
17
18
Harries, K. (1983). Thoughts on a Non-Arbitrary Architecture. Perspecta, 20 IS (ArticleType: research-article / Full publication date: 1983 / Copyright 1983 Yale
University, School of Architecture), 920.
19
20
Harries, K. (1983). Thoughts on a Non-Arbitrary Architecture. Perspecta, 20 IS (ArticleType: research-article / Full publication date: 1983 / Copyright 1983 Yale
University, School of Architecture), 920.
21
22
Heidegger, M. (1993). Basic Writings: Martin Heidegger. (D. Farfell Krell, Ed.).
London: Routledge.
23
24
25
Samuel, F., & Menin, S. (2006). The modern-day primitive hut? In J. Odgers, F.
Samuel, & A. Sharr (Eds.), Primitive Original matters in architecture. New York:
Routledge. p207
26
27
28
29
30
31
32
33
34
35
van Schaik, L. (2008). Spatial Intelligence. West Sussex: John Wiley and Sons.
36
37
38
39
Fewkes, J. W. (1910). The Cave Dwellings of the Old and New Worlds. New Series,
12(3), 390416.
40
41
42
Ibid p289
43
44
Bloomer, J. (1996). The Matter of Matter: A Longing for Gravity. In The Sex of
Architecture. New York: Harry N. Abrams. p161
45
46
Taki, K., Warren, N., & Ferreras, J. M. E. (1983). Oppositions: The Intrinsic Structure
of Kazuo Shinohara's Work. Perspecta, 20 IS -(3), 4360.
47
Igarashi, T. (2010). Geometry Without Right Angles. In Primitive Future. Tokyo: INAX
Publishing.
48
Campo Baeza, A. (2009). Idea, Light and Gravity. Tokyo: TOTO Publishing.
49
50
51
Olgiati, V. (2007). Valerio Olgiati - Conversation with Students. (M. Breitschmid, Ed.).
Blacksburg: Virginia Tech Architecture Publications.
52
Eco, U. (1980). Function and Sign: The Semiotics of Architecture. In Bunt, Jencks,
Broadbent (Eds.), Signs, Symbols and Architecture. New York: Wiley.
22
Chapter 4:
Fig.10 Fujimotos Final Wooden House, Japan. Where a house modeled on the hut
would divide spaces into rooms, Fujimoto uses the cave to inform an architecture
that uses spatial gradient techniques to meet a primitive form of functionality.
24
the spatial attributes of the cave have influenced our spatial instincts, leading
to a universal reverence for the cave, it is hoped the cave can now better
inform a contemporary architecture in enriching our primitive sense of
spirituality.
26
tastes with survival success it seems logical to accept that our emotional
intelligence would be attuned to this also.19 Therefore the cave comes to elicit
behavioural states that would be less likely in less protected spaces.
Fig.13 Campo Baezas Olnick Spanu House, USA. Showing the heavy
cave like element as a refuge symbol and rooting the building
physically and spiritually.
complete form of refuge, and far as attesting to the relevance of the cave
perhaps Appleton phrased it best when he wrote;
the cave is the most complete general purpose sanctuary...and
vestiges of human habitation all over the world testify to the
supremacy as well as the antiquity of the cave.21
The completeness of the refuge has with it unique effects on the psyche, as
such the feelings of comfort can be harboured and manifest themselves in
what was previously uncharacteristic behaviour, like that at Lascaux for
example.22 But beyond this the cave becomes an apparatus, one with a
purpose and one that comes to elicit certain behaviour as is natural and to
illicit an odd kind of respect because of this, it deals with perceptions of space
as relating to feelings of well being, safety and provides atmospheres facilitate
what Bachelard gives great credit to, day dreaming.23
Intellectualized in architectural discourse only as a way of meeting criteria of
needs; shelter, thermal comfort, defensibility, storage and entry the cave goes
much further to prove a powerful space in the development of primitive man.
Bloomers description of an enveloping poch of an ancient castle can help
us understand the way our spatial intelligence affects our being in cave
spaces. The warmth of stone, the weight of it, though seemingly
inconsequential these feelings of space enveloped in a mass has a distinct
feeling, she states I am swallowed by this wall, warm, safe, comfortable, but
also pricked by longing.24 This longing we can relate to nostalgia, perhaps
again this unclear nostalgia for the womb as proposed by Eco.25 So we find
that working with our spatial intelligence to cultivate this unclear nostalgia
working with envelopment, spatial gradient and gravity become powerful tools
to reintroduce a quality to our dwelling that has been long since repressed.
29
The encultured ca ve
Having analysed the significance of the cave in terms of the narrative of origins
and the way in which the cave can have instinctive aesthetic benefits we turn
now to how the cave became entrenched in culture. In order to further the
reasons for reinterpreting the cave into todays architectural discourse we
should at least begin to understand the significance of the cave in mythos and
cultural production. Realizing this it would seem objectionable to then not seek
to understand how this space across many cultures became so enmeshed in
feelings of spirituality and cultivation of cultural practice. The effort here is on
the way in which we can begin to understand how the spatiality of the cave can
bring a renewed vigor to the spirituality of the everyday.
As a structure the cave is divorced from any kind of spiritual or religious
iconography or any part of a larger group of symbolism applying to spirituality.
The question then is how has this structure, encountered by many different
cultures separated by time and geography almost always a significant part of
any culture. As discussed previously it may be due to the inherent protective
nature of the cave as refuge. Perhaps the idea of an unclear nostalgia of
envelopment brought on through mass (gravity), light, space (spatial gradient),
colour and texture but while the myths and practices attached to the cave
differ per culture, almost every culture during its early development has an
affinity with the cave. As discussed in the previous section the understanding
of nostalgia as at least partially an instinctual response to the feelings of
security could be said to make up part of its spiritual significance. Where the
cave proved beneficial in supporting critical human behaviours through
generations our spatial intelligence would then have seemed to respond to
this. The spirituality of the cave then could be a cultural manifestation of these
instinctual feelings, by supporting copulation and birth the cave has an imbued
in it a relationship to the animal nature of man. The most obvious primitive
symbol of spirituality, the phallus, may be indicative then of the way that these
instincts transcend a physical need and lead to cultural symbolism.26
This relationship between the cave and primitive man as a larger part of his
culture can evidenced by the colloquialism caveman. This term is often used
as a derogatory summation of primitive man, as one who is unthinking and acts
on instinct, one without a defined culture and unfettered by epistemology.
However this is perhaps an over simplistic understanding of the phrase,
inherent in this we understand that man dwelt in caves, and as the house is
the most truthful expression of the mind and the culture, we gain an insight
into the significance of the cave in an evolution of culture.27 The cave paintings
found and celebrated across the globe are testament to this, and the use of
tools in creating art gives the appearance of a body of knowledge beginning to
be passed on through generations. Knowing how as a form of knowledge
itself showed the state of man at this time and one cant help but view the cave
as an omni-present bystander to these developments.28
While the scope of this research is not to claim that the cave is in many cases
responsible for development across cultures, but instead question
architectures lack of exploration of the cave and its implications. In looking at
the way in which many cultures have a deep reverence for the cave in mythos
or dwelling we can begin to root out perspectives on the attachment and thus
30
the spatial and emotional power of the cave. Bataille in considering the cave
paintings at Lascaux as the birth of art even if drawn by neanderthal man
considers the sanctuary of the cave as arenas of play in the sense that work
as a determinant of intelligence was adapted to play (work that was not
necessary for survival) and in doing so created art.29 This fundamental shift in
the way work became play is important when considering the event taking
place in the cave and Batailles argument to the way in which he states the
charged atmosphere of these caves it was seduction, the profound seduction
of play that was preeminent, inferring that the nature of the cave was in some
way decisive in this shift of work to play.30
Fig.15 Joseph Gandys Emblematic Sketch from the Exhibition Comparative Architecture. The sides of the image show
the primitive origins of architecture in forest groves, caves, followed by a hut and tent and further developing intp the
ark.
And so moving on from primitive man we still see that the cave, across cultures
separated by ideals, geography and time has held a significant place in the
development of cultures and spirituality. This fact again prompts us to examine
why it is that architectural discourse has come to mean leaving the cave
behind, and if that is the case what is it that we have repressed in our nature in
doing so. Following through ideas presented by Heidegger that the bodily
experience of being in the world is the way in which we measure meaning we
can begin to situate architectural meaning with the cave in terms of spatial
cognition and a fostering environment for intimacy and play. Furthermore the
cross cultural reverence for the cave can begin to signify a way to look at the
cave and dwelling in the sense of Heideggers fourfold and as a representation
of a shared history, and in this way it is hoped we can reconnect with why we
build and what the profession of architecture holds as primitive values.33
______________________________________________________________________
Notes
1
Harries, K. (1983). Thoughts on a Non-Arbitrary Architecture. Perspecta, 20 IS (ArticleType: research-article / Full publication date: 1983 / Copyright 1983 Yale
University, School of Architecture), 920. p15
van Schaik, L. (2008). Spatial Intelligence. West Sussex: John Wiley and Sons. p11
10
Bataille, G. (1961). Tears of Eros (pp. 2531). Paris: Jean-Jacques Pauvert. p25
11
Ibid p46
12
Eco, U. (1980). Function and Sign: The Semiotics of Architecture. In Bunt, Jencks,
Broadbent (Eds.), Signs, Symbols and Architecture. New York: Wiley.
13
Bloomer, J. (1996). The Matter of Matter: A Longing for Gravity. In The Sex of
Architecture. New York: Harry N. Abrams. p161
32
14
15
van Schaik, L. (2008). Spatial Intelligence. West Sussex: John Wiley and Sons.
16
17
18
Appleton, J. (1975). Experiencing the Landscape. John Wiley and Sons. p66
19
van Schaik, L. (2008). Spatial Intelligence. West Sussex: John Wiley and Sons.
20
Unwin, S. (2006). The wisdom of the sands. In J. Odgers, F. Samuel, & A. Sharr
(Eds.), Primitive Original matters in architecture. New York: Routledge.
21
Appleton, J. (1975). Experiencing the Landscape. John Wiley and Sons. p92
22
23
24
Bloomer, J. (1996). The Matter of Matter: A Longing for Gravity. In The Sex of
Architecture. New York: Harry N. Abrams. p161
25
Eco, U. (1980). Function and Sign: The Semiotics of Architecture. In Bunt, Jencks,
Broadbent (Eds.), Signs, Symbols and Architecture. New York: Wiley.
26
Bataille, G. (1961). Tears of Eros (pp. 2531). Paris: Jean-Jacques Pauvert. p23
27
Fewkes, J. W. (1910). The Cave Dwellings of the Old and New Worlds. New Series,
12(3), 390416. p390
28
Bataille, G. (1961). Tears of Eros (pp. 2531). Paris: Jean-Jacques Pauvert. p40
29
Ibid p47
30
Ibid p48
31
32
33
Heidegger, M. (1993). Basic Writings: Martin Heidegger. (D. Farfell Krell, Ed.).
London: Routledge.
33
Chapter
5:
F i g . 1 6 Z u m t h o r s T h e r m e Va l s ,
Switzerland. Anchored into the mountain
side the building moderates the exterior
in order to foster a protective
atmosphere.
Envelopment
Through the envelopment of man in matter, like that of an earthen womb it is
possible to provide a space which can be free from fear, a place conducive of
primitive behaviours from day dreams to copulation, spirituality, play, birth and
death.3 4 The cave presents a being in the world defined by mediation of the
exterior environment. A total interior, the insularity of which can be likened to
that of the 'shell' or the 'womb'.5 6 7 The 'superiority' of the cave as a refuge
element alone defines it's significance.8 In our current lifestyle we have
reached a point in which survival is all but guaranteed, and as a result the
erosion of refuge elements has become the norm. Like that of the 'cave-like'
34
interior Zumthor's Therme Vals (Fig.16) and even Bruder Klaus Chapel (Fig.17)
the cave mediates the feelings of envelopment in relation to the external
environment.9 By working with the atmosphere of his spaces Zumthors use of
his own spatial intelligence in creating spaces conducive to spirituality and
relaxation serves as example of how recognizable spatial attributes of the cave
are still fundamental to how we feel space.10
Fig.18 Campo Baezas Ulnick Spanu House, USA. The steady platform
becomes the key refuge element as well as a means to steady the
object in its milieu.
Gravity
The physicality of the mass in the vault of the cave and the permanence of its
walls evoke a feeling of being enmeshed within the bosom of the earth.
Beyond a feeling of static equilibrium the pressure exacted by the weight of
stone shakes free of any feeling of precariousness in both a physical and
psychological sense.11 Where lightness of structure has an ephemeral quality
like that of Spanish architect Santiago Calatrava, the quality of celebrating
weight and mass is becoming lesser held as an equal. Where the expression
of gravity became a novel pursuit in resolving beautiful and technological
structures the understanding of how heaviness effects the atmosphere of a
space became less prevalent.12 The cognitive advantage that gravity bestows
in architecture can also be used to situate important aspects of a building, like
the permanence of the stone hearth in Frank Lloyd Wright's falling water (Fig.
19) or the relating of mass to the earth and rest in many of Campo Baeza's
(Fig.18) residential projects it is possible to communicate through the
magnetism of gravity.
Spatial Gradient
Spatial gradients afford a way in which to mediate interpersonal functions and
enable reaction to situations by moving to either prospect of refuge dominant
parts of the architecture. This allows a more direct relationship between the
architecture and the interpersonal and introspective dialogues that occur
inside the work. Perhaps prevalent already in contemporary architecture is the
concept of spatial gradient as a means of primitive functionalism. As opposed
to the divisive strategies of space discussed by Japanese architect Kazuo
Shinohara, the idea that the demarcation space is not a simple on/ off
arrangement but instead acts as a gradual change of space from one to the
next.13 14 Presented by Fujimoto in his primitive futures monograph is how the
35
'Wholeness'
Wholeness is the key spatial attribute that one can derive from the cave. Just
as prospect and refuge are both required in meeting the criteria for "seeing
without being seen," stipulated by Appleton so too does the cave rely on more
than any one factor at a time.17 While the above mentioned attributes are
significant spatial qualities in their own right the atmospheric quality of the cave
is due to the seamless merger of all of the above factors (as well as the
possibility of others pending further exploration). This attribute can be said to
be part of the reality that the cave is a natural structure, formless and
impossible to objectify.18 In identifying an approach to achieving 'wholeness'
the renown Swiss architect Valerio Olgiati may be thought of as an unknowing
precedent. Where Olgiati strives to make buildings that "act like one thing," in
the way that an organism would, it is comprehendible that making cave like
architecture would be approached in a similar way.19 The pursuit of the purity
of the cave as a powerful space then relies on the mediating of these attributes
in response to required functions.
In closing; The cave, though a natural edifice defiant of traditional methods of
analysis and communication, can be established as having qualities that are
transposable within todays architectural vocabulary. By seeking to create a
physically and psychologically enriching architecture from the cave it is
possible to now establish a genealogy of architecture based on these primitive
spatial techniques of this forgotten origin. Far from referencing or copying
cultural building languages the cave instead acts as a mediator between
ourselves and our concrete reality.
36
Ibid p5
Bataille notes all of these situations of life to be definitive in the spirituality and
eroticism of the cave. In Bataille, G. (1961). Tears of Eros (pp. 2531). Paris:
Jean-Jacques Pauvert.
Eco, U. (1980). Function and Sign: The Semiotics of Architecture. In Bunt, Jencks,
Broadbent (Eds.), Signs, Symbols and Architecture. New York: Wiley.
Appleton, J. (1975). Experiencing the Landscape. John Wiley and Sons. p92
van Schaik, L. (2008). Spatial Intelligence. West Sussex: John Wiley and Sons. p146
10
11
A telling example of this is the addition of the four stone towers to the Sydney
Harbour Bridge, though not structurally necessary the spatial intelligence of Sydney
siders reacted to a feeling of precariousness. The massive towers weight was added
in order to reduce anxiety despite not having a structural role in the bridge.
12
Semper, G. (1989). The Four Elements of Architecture and Other Writings (1851). (W.
Herrmann, Trans.). Cambridge: Cambridge University Press.
13
Taki, K., Warren, N., & Ferreras, J. M. E. (1983). Oppositions: The Intrinsic Structure
of Kazuo Shinohara's Work. Perspecta, 20 IS -(3), 4360.
14
15
16
Igarashi, T. (2010). Geometry Without Right Angles. In Primitive Future. Tokyo: INAX
Publishing.
37
17
Appleton, J. (1975). Experiencing the Landscape. John Wiley and Sons. p66
18
19
Olgiati, V. (2007). Valerio Olgiati - Conversation with Students. (M. Breitschmid, Ed.).
Blacksburg: Virginia Tech Architecture Publications.
38
Reference List
Appleton, J. (1975). Experiencing the Landscape. John Wiley and Sons.
Bachelard, G. (1969). The Poetics of Space. (M. Jolas, Trans.). Boston,
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Bataille, G. (1961). Tears of Eros (pp. 2531). Paris: Jean-Jacques Pauvert.
Bloomer, J. (1996). The Matter of Matter: A Longing for Gravity. In The Sex of
Architecture. New York: Harry N. Abrams.
Campo Baeza, A. (2009). Idea, Light and Gravity. Tokyo: TOTO Publishing.
Coyne, R. (2006). Digital commerce and the primitive roots of architectural
consumption. In J. Odgers, F. Samuel, & A. Sharr (Eds.), Primitive Original
matters in architecture (pp. 229239). New York: Routledge.
Eco, U. (1980). Function and Sign: The Semiotics of Architecture. In Bunt, Jencks,
Broadbent (Eds.), Signs, Symbols and Architecture. New York: Wiley.
Fewkes, J. W. (1910). The Cave Dwellings of the Old and New Worlds. New Series,
12(3), 390416.
Forty, A. (2006). Primitive The word and concept. In J. Odgers, F. Samuel, & A. Sharr
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Fujimori, T., & Fujimoto, S. (2010). Artificial Architecture, Natural Architecture:
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K. Yoneda (Trans.), Primitive Future. Tokyo: INAX Publishing.
Fujimoto, S. (2010). Primitive Future. Tokyo: INAX Publishing.
Groat, L., & Wang, D. (2002). Logical Argumentation. In Architectural Research
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Harries, K. (1983). Thoughts on a Non-Arbitrary Architecture. Perspecta, 20 IS (ArticleType: research-article / Full publication date: 1983 / Copyright 1983
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Heidegger, M. (1993). Basic Writings: Martin Heidegger. (D. Farfell Krell, Ed.).
London: Routledge.
Hildebrand, G. (1999). The Origins of Architectural Pleasure. Berkley and Los
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Igarashi, T. (2010). Geometry Without Right Angles. In Primitive Future. Tokyo: INAX
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James, E. O. (1965). From Cave to Cathedral. London: Thames & Hudson.
39
40
List of Figures
Cover Photo
from
Retrieved
http://ad009cdnb.archdaily.net/wp-content/uploads/ 2008/10/728188514_04.jpg
Fig 1
Author image
Fig 2
Author image
Fig 3
Semper, G. Caribbean Hut. (Found in Four Elements of Architecture.)
Retrieved
from http://www.tu-cottbus.de/theoriederarchitektur/Wolke/wolke_neu/inhalt/en/issue/issues/207/Blais/figure-3.jpg
Fig 4
Laugier, M. Rustic Hut Retrieved from http://3.bp.blogspot.com/_rlhZCdZl2is/TC6GUMBOvrI/
AAAAAAAANFU/oEMbaaM7PjE/s1600/Primitive+Hut+Laugier.jpg
Fig 5
Amateur photo, Cave paintings in Lascaux. Artist Unknown Retrieved
f ro m h t t p : / /
2.bp.blogspot.com/-BKekWZJNQlM/TyrE6bs5atI/AAAAAAAABNo/Q9jZRLO6w-w/s1600/Lascaux+bird
+shaman.jpg
Fig 6
Fig 8
Fujimoto, S. (Designer). (2008). Final wooden house. [Print Photo]. Retrieved from
http://ad009cdnb.archdaily.net/wp-content/uploads/ 2008/10/728188514_04.jpg
Fig 9
Zumthor, P. (Designer). (1996). Therme vals Interior. [Print Photo]. Retrieved from
http://3.bp.blogspot.com/-OlFkbUChAU4/Tvqaq2KBjGI/AAAAAAAAAVE/JuBwM1eMnG0/s640/8_thermal-bathhouse.jpg
41
Fig 10
Fujimoto, S. (Designer). (2008). Final wooden house. [Print Photo]. Retrieved from
http://ad009cdnb.archdaily.net/wp-content/uploads/ 2008/10/728188514_04.jpg
Fig 11
Fig 12
Zumthor, P. (Designer). Bruder Klaus Chapel Section. Retrieved from
h t t p : / /
cubeme.com/blog/wp-content/uploads/2008/02/peter-zumthor-bruder-klaus-chapel-mechernich-germany3.jpg
Fig 13
Campo Baeza, A. (Designer) Olnick Spanu House. Idea, Light Gravity. p168-175
Fig 14
Zumthor, P. (Designer). (1996). Therme vals Exterior. [Print Photo]. Retrieved from
http://en.wikipedia.org/wiki/Therme_Vals&docid=ZRl61T-4bolP_M&imgurl=http://upload.wikimedia.org/wikipedia/
commons/thumb/5/56/Therme_Vals_wall_structure,_Vals,_Graub%2525C3%2525BCnden,_Switzerland__20060811.jpg/200px-Therme_Vals_wall_structure,_Vals,_Graub%2525C3%2525BCnden,_Switzerland__20060811.jpg&w=200&h=267&ei=AZCfUJa_GtHImAWOpYGADw&zoom=1&iact=rc&dur=451&sig=116228296
764649853480&page=1&tbnh=137&tbnw=114&start=0&ndsp=25&ved=1t:429,r:3,s:0,i:78&tx=103&ty=60
Fig 15
Fig 16
Zumthor, P. (Designer). (1996). Therme vals Interior. [Print Photo]. Retrieved from
http://3.bp.blogspot.com/-OlFkbUChAU4/Tvqaq2KBjGI/AAAAAAAAAVE/JuBwM1eMnG0/s640/8_thermal-bathhouse.jpg
Fig 17
Fig 18
Campo Baeza, A. (Designer) Olnick Spanu House. Idea, Light Gravity. p168-175
Fig 19
Wright, F. L., Falling water fireplace. Amateur photograph. Unknown Photographer. Retrieved
from
http://3.bp.blogspot.com/-EsBYSJ9ELO0/T_ujVg1g9uI/AAAAAAAAFIw/9RXMSAplyN4/s1600/3.JPG
Fig 20
Zumthor, P. (Designer). (1996). Therme vals stairs. [Print Photo]. Retrieved from http://
1.bp.blogspot.com/-nGV0FsSdvDc/T-KTHKLbd5I/AAAAAAAAAIQ/fTihvW32bLA/s1600/Therme_1(3).jpg
Fig 21
Fujimoto, S. (Designer). (2008). Final wooden house. [Print Photo]. Retrieved from
http://ad009cdnb.archdaily.net/wp-content/uploads/ 2008/10/728188514_04.jpg
42