Phenomenology of Architecture : Kolumba Museum by Peter Zumthor

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

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Background Information o

Definition of Phenomenology of Architecture

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Juhani Pallasmaa’s Perspectives Perspectives

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Objective of the Essay and Structure

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Brief Introduction of the Site – Site – Case Case Study

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History of the Gothic church. World War II, massive destruction. How they embrace the history, present and future.

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The Evidence: Function of the Kolumba Museum. Collection Collection of religious art. Preserving the existing pieces. Old gothic style. Old brick / gothic window at façade. New handcrafted materials.

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The Role of the Body: “the body is not merely physical entity, it is enriched by both memory and dream, past and future” – Pallasmaa. Pallasmaa. J, 1996

Past: The memory and mind. Reminiscing. Reminiscing. Present: Personal appreciation. Contemplation. Meditation. Future: Awareness. Cognition. Distinction. Distinction.

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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.

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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 Atmosphere of t he ruin hall. Octagonal chapel. chapel.

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The Role of the Body: Reflection of the spiritual thoughts. Deep breathing. Realm of f antasies antasies 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.

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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.

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The Evidence: The design of the wall in the entire building. The sound from the street. Huge glass window. Trees and sculpture at the c ourtyard. ourtyard. Movement of light. Sun and clouds. Reflection on the ceiling. Thermal insulation from massive wall hollow bricks.

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The Role of the Body: Sensation of temperature through skin. Embraced in the view of the city c ity and as the whole environment from the interior. Visual apprehension apprehension of spatial depth. Infuses physical and mental structures.

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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 disc loses society’s inter-subjective, inter-subjective, social interactions 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 w ork that involved bodies, memories, identities and minds. “ Architecture Architecture articulates articulates the experiences experiences of beingbeingin-the-world and strengthens our sense of reality and self; it does not make us inhabit worlds of fabrication and fantasy” (Pallasmaa. (Pallasmaa. J, 1996, 1 996, 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 Zumthor’s 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.

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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 Pallasmaa’s Pallasmaa’s The Eyes of the Skin, he claims that, “the body is not m erely physical physical entity, it is enriched 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 relationship of ourselves with t he 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 Zumthor’s hand on the most impressive Kolumba Kolumba 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. 6


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 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 site’s 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 allows visitors to immerse themselves in the presence of their memories and offers them their own experiences experiences on their way as it act as a garden for the works of art to bloom.

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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 façade of grey brick integrates the remnants of the church’s façade into new face for contemporary museum

The mass of the t he new grey brick e ntirely wrapped the remnants of the gothic elements 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

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through through vision-ge v ision-generated, nerated, vision-centered vision-centered interpretation of knowledge, 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 elements and enhance it for the t he 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.

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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 human’s 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 foyer’s 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. 10


However returning back to the foyer it lead through a ruin hall, you will certainly feel the change in the luminance 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. 11


Figure 12a, 12b, 12c, 12d & 12e: Intermittent layering creates a lacy effect of filtered daylight. The soft illumination 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 Zumthor had put together together the filter wall t hat 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 doesn’t 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 14a,14b & 14c: Through lower light intensity, the shadow gives shape and life to the object in light. 13


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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 Alongside the discussion of senses that oneself can be experience in this excavation gallery is firstly as mentioned mentioned in the previous chapter, the absence of visual perceptions. 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, t he 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 from allowing fresh air air and the echo of of the city, it permits the access of of nature sunlight 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 skin’s 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. 15


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 extraordinary healing h ealing experience, experience, making mak ing oneself a part of the eternal cycle of nature. The sense of slow breathing breathing of the earth, sensations of comfort and protection when the body discovers its r esonance esonance in the space, like in the constant dialogue and interaction with the environment through architecture elements. elements. (Pallasmaa. J, 1996, page 67).

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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 today’s 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, countries, the culture c ulture 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, phenomena, but in this museum you can feel that it’s different, it’s the opposite meaning, it is all started with the art, the collection, collection, to bring people back into the blooming garden of art, religion, history, self-identity and memory, it is not just a good investment. 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, it’s 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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Visual Material – Material – Figures: Figures: Figure 1 – 1 – Wikipedia, 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 – 2 – Karen Karen Cilento, 2010, Kolumba Museum Peter Zumthor, digital image, Arch Daily, [viewed 11 October October 2013]. Available from: www.archdaily.com/72192 www.archdaily.com/72192/kolumba-musue /kolumba-musuem-peter-zumth m-peter-zumthor/ or/

Figure 3 – 3 – Wikipedia, Wikipedia, 2013, Kolumba, digital image, Wikipedia The Free Encyclopedia, [viewed 11 October 2013]. Available from: http://en.wikipedia.org/wiki/Kolumba



Figure 6a – 6a – Paul 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 – 6b – Paul 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 – 6c – Karen Karen Cilento, 2010, Kolumba Museum Peter Zumthor, digital image, Arch Daily, [viewed 11 October October 2013]. Available from: www.archdaily.com/72192 www.archdaily.com/72192/kolumba-musue /kolumba-musuem-peter-zumth m-peter-zumthor/ or/

Figure 7a – 7a – Karen Karen Cilento, 2010, Kolumba Museum Peter Zumthor, digital image, Arch Daily, [viewed 11 October October 2013]. Available from: www.archdaily.com/72192 www.archdaily.com/72192/kolumba-musue /kolumba-musuem-peter-zumth m-peter-zumthor/ or/

Figure 7b - Karen Cilento, 2010, Kolumba Museum Peter Zumthor, digital image, Arch Daily, [viewed 11 October October 2013]. Available from: www.archdaily.com/72192/kolu www.archdaily.com/72192/kolumba-musue mba-musuem-peter-zumth m-peter-zumthor/ or/

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Figure 8 – 8 – Ellis Ellis Woodman, 2007, Zumthor’s Cologne Modern Art Museum Is Beyond Time, digital image, Bdonline, [viewed 11 October 2013]. Available from: www.bdonline.co.uk/buildings/zumthor’s -colognemodern-art-museum-is-beyond-time/3095607.article

Figure 9a – 9a – Wikipedia, Wikipedia, 2013, Kolumba, digital image, Wikipedia The Free Encyclopedia, [viewed 11 October 2013]. Available from: http://en.wikipedia.org/wiki/Kolumba

Figure 9b – 9b – Karen Karen Cilento, 2010, Kolumba Museum Peter Zumthor, digital image, Arch Daily, [viewed 11 October October 2013]. Available from: www.archdaily.com/72192 www.archdaily.com/72192/kolumba-musue /kolumba-musuem-peter-zumth m-peter-zumthor/ or/

Figure 10a – 10a – Karen 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 10b – 10b – Karen 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 – 12b – Gabrielle Gabrielle Ammann, 2011, Hélène Binet 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 12c – 12c – Karen 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 12d – 12d – Birgitta Birgitta de Vos, 2011, Ruthless Perfection, digital image, Birgitta de Vos, [11 October 2013]. Available Available from: http://birgittadevos.nl/portfol http://birgittadevos.nl/portfolio-item/ruthless-p io-item/ruthless-perfection erfection

Figure 12e – 12e – Birgitta Birgitta de Vos, 2011, Ruthless Perfection, digital image, Birgitta de Vos, [11 October 2013]. Available Available from: http://birgittadevos.nl/portfol http://birgittadevos.nl/portfolio-item/ruthless-p io-item/ruthless-perfection erfection







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Figure 16a – 16a – Gabrielle Gabrielle Ammann, 2011, Hélène Binet 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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Website: Phenomenology (philosophy): Wikipedia, the free encyclopedia, 2013 [viewed 11 October 2013]. Available Available from: http://en.wikipedia.o http://en.wikipedia.org/wiki/Phe rg/wiki/Phenomenolo nomenology_(philoso gy_(philosophy) phy)

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

Hélène Binet Binet Architecture Photographs: Design Boom,2011 [viewed 11 November 2013]. Available from: http://www.designboom.co http://www.designboom.com/art/helen m/art/helene-binet-architectu e-binet-architecture-phot re-photographs/ ographs/

Ruthless Perfection: Birgitta de Vos, 2011 [11 October 2013]. Available from: http://birgittadevos.nl/p http://birgittadevos.nl/portfolio-item/ruthl ortfolio-item/ruthless-perfection ess-perfection

Printed Material Material - Books: JUHANI PALLASMAA. The Eyes of the Skin, Architecture and the Senses . London: Academy Editions, 1996

Visual Material – Material – Figures: Figures: Figure 1 – 1 – Wikipedia, Wikipedia, 2013, Kolumba, digital image, Wikipedia The Free Encyclopedia, [viewed 11 October 2013]. Available from: http://en.wikipedia.org/wiki/Kolumba

Figure 2 – 2 – Karen Karen Cilento, 2010, Kolumba Museum Peter Zumthor, digital image, Arch Daily, [viewed 11 October October 2013]. Available from: www.archdaily.com/72192 www.archdaily.com/72192/kolumba-musue /kolumba-musuem-peter-zumth m-peter-zumthor/ or/ 25





Figure 6a – 6a – Paul 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 – 6b – Paul 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 – 6c – Karen Karen Cilento, 2010, Kolumba Museum Peter Zumthor, digital image, Arch Daily, [viewed 11 October October 2013]. Available from: www.archdaily.com/72192 www.archdaily.com/72192/kolumba-musue /kolumba-musuem-peter-zumth m-peter-zumthor/ or/

Figure 7a – 7a – Karen Karen Cilento, 2010, Kolumba Museum Peter Zumthor, digital image, Arch Daily, [viewed 11 October October 2013]. Available from: www.archdaily.com/72192 www.archdaily.com/72192/kolumba-musue /kolumba-musuem-peter-zumth m-peter-zumthor/ or/

Figure 7b - Karen Cilento, 2010, Kolumba Museum Peter Zumthor, digital image, Arch Daily, [viewed 11 October October 2013]. Available from: www.archdaily.com/72192 www.archdaily.com/72192/kolumba-musue /kolumba-musuem-peter-zumth m-peter-zumthor/ or/

Figure 8 – 8 – Ellis Ellis Woodman, 2007, Zumthor’s Cologne Modern Art Museum Is Beyond Time, digital image, Bdonline, [viewed 11 October 2013]. Available from: www.bdonline.co.uk/buildings/zumthor’s -colognemodern-art-museum-is-beyond-time/3095607.article 26


Figure 9a – 9a – Wikipedia, Wikipedia, 2013, Kolumba, digital image, Wikipedia The Free Encyclopedia, [viewed 11 October 2013]. Available from: http://en.wikipedia.org/wiki/Kolumba

Figure 9b – 9b – Karen Karen Cilento, 2010, Kolumba Museum Peter Zumthor, digital image, Arch Daily, [viewed 11 October October 2013]. Available from: www.archdaily.com/72192 www.archdaily.com/72192/kolumba-musue /kolumba-musuem-peter-zumth m-peter-zumthor/ or/






Figure 12b – 12b – Gabrielle Gabrielle Ammann, 2011, Hélène Binet Binet Architecture Photographs, digital image, Design Boom, [viewed 11 November November 2013]. Available from: http://www.designboom.co http://www.designboom.com/art/helen m/art/helene-binete-binetarchitecture-photographs/


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Figure 12d – 12d – Birgitta Birgitta de Vos, 2011, Ruthless Perfection, digital image, Birgitta de Vos, [11 October 2013]. Available Available from: http://birgittadevos.nl/portfol http://birgittadevos.nl/portfolio-item/ruthless-p io-item/ruthless-perfection erfection

Figure 12e – 12e – Birgitta Birgitta de Vos, 2011, Ruthless Perfection, digital image, Birgitta de Vos, [11 October 2013]. Available Available from: http://birgittadevos.nl/portfol http://birgittadevos.nl/portfolio-item/ruthless-p io-item/ruthless-perfection erfection







Figure 16a – 16a – Gabrielle Gabrielle Ammann, 2011, Hélène Binet Binet Architecture Photographs, digital image, Design Boom, [viewed 11 November November 2013]. Available from: http://www.designboom.co http://www.designboom.com/art/helen m/art/helene-binete-binetarchitecture-photographs/

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Phenomenology of Architecture : Kolumba Museum by Peter Zumthor

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