Please use this identifier to cite or link to this item: https://scholarbank.nus.edu.sg/handle/10635/221740
Title: UNVEILING ARCHITECTURAL SENSATIONS IN THE ERA OF DIAGRAM
Authors: HUANG YISU
Keywords: Architecture
Erwin John Soriano Viray
Issue Date: 14-Oct-2009
Citation: HUANG YISU (2009-10-14T07:55:28Z). UNVEILING ARCHITECTURAL SENSATIONS IN THE ERA OF DIAGRAM. ScholarBank@NUS Repository.
Abstract: Architectural sensation is the stimulation of our sense organs through architectural means. The appeal of architecture lies in the experiential qualities of spaces that invoke emotions such as feelings of tranquillity, violence, gaiety, curiosity, etc; thereby exemplifying various orders of sensations. The premise for this paper, just as Le Camus’s 1780 exposition, is that architectural sensations can be uncovered through analogy.The objective of the paper is to unearth constituents of architectural sensation that surpasses prejudice, custom and judgements, and elements that passes to the nervous system directly. Therefore, firstly, it will be shown that the notion - function and symbolism should be considered as sources for architectural sensation should be rejected. As much as a disjunction between function and programme can produce the affect of shock, this intrinsically requires a cerebral process. Whereas, symbolism affects only certain individuals, is not inter-subjective, and requires a learning process. This paper then, argues that architectural sensation should perceived through the phenomenological method, however it is recognised that this approach may be criticised for being too subjective a methodology to be evaluated by others. Thus it is proposed that a passing from subjective plane to the objective plane, from essence to concepts, which expanding upon the relationship between constituents of architectural sensation, is necessary. Two buildings are discussed in this paper – Church of St. Mary of the Angels undergoes an eidetic reduction, alongside LASALLE College of the Arts, begins with form and ending with the emergence of two concepts, namely, repetition and deformation. These two concepts are posited in a broader historical framework, and a discussion on the past methodologies of producing architectural sensations ensues. Coming to a realization that contemporary architecture invokes architectural sensation, not by traditional methods but through a diagram of deformation. Two differing approaches are expounded in this dissertation, exemplified in St. Mary and LASALLE. The former induces sensations through visual perception, wherein a diagram of deformation through non-resembling means is superimposed onto it, thus arousing a single sensation. The latter exploits the diagram of physical deformation to a larger degree, throwing spaces into a convulsion of bodily movements, giving rise to a coupled sensation.
URI: https://scholarbank.nus.edu.sg/handle/10635/221740
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