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| 3 -
The Importance of Place |
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| Martin
Heidegger in Being and Time makes an argument for a
place-centric approach. He discusses the concept of
Dasein, which he describes as ‘being in space’.
The world is experienced through our bodies, and we can
not separate our selves from this world. In other words,
the physical world is an integral part of our existence
and the basis of our perceptions. For Heidegger, regions,
whether a room or a city, assign a place where man can
dwell in the world. These regions carry meanings. Heidegger further discusses an orientation to space such as up and down, left and right. This orientation is relative to the body and the world. It is not an ‘absolute’ in the sense of Plato. Man is situated in the world, and dwells between earth and sky. Man is part of a fourfold continuum of earth, sky, mortals and divinities. In a more architectural essay, Building Dwelling Thinking, Heidegger argues that building /dwelling is the means by which man places himself in this fourfold. Buildings give a form to this dwelling and its presencing. He refers to the Greek word techne which means to make something appear. While not specifically referenced, the Greek theatre and temple at Delphi (fig 6) seems to be a good example of the fourfold presencing in the world – there is made to appear a place where man and the cosmos are joined together, on the earth beneath the sky. The philosophies of Heidegger, have been adapted by several architectural theorists including Christian Norberg-Shulz and Kenneth Frampton. In particular, the ideas of dwelling in the world and the techne of making something appear have special resonance. Both theorists acknowledge Heidegger’s influence, but their interpretations and theories are different, not least because their theories are architecturally specific, while Heidgger’s theories were more general. Frampton discusses a theory of critical regionalism. He feels that particular aspects of a place are expressed through a tectonic expression of the building/space. The tactile is important in the perception of this built form. In a later work, Studies in Tectonic Culture, a quote of Louis Kahn describes much of Frampton’s views: “Space is architectural when the evidence of how it is made is seen and comprehended.” 4 Christian Norberg-Shulz invokes the concept of ‘Genius Loci’. He speaks of architecture as concretizing the nature of a place. He uses varied examples such as the Saqqara pyramid and the Sea Ranch complex in California (figs 1, 7) to demonstrate architecturally what he feels is the nature of the site. He speaks of man-made places relating to nature in three evolutionary ways: first, that man visualises his understanding of nature; second, that man symbolises his understanding of nature; and finally, that man creates a ‘micro-cosmos’ from his understanding of the world. Both Frampton and Norberg-Shulz use examples of Jorn Utzons work to demonstrate their arguments. There is in modern times a certain ‘cult of the individual’, e.g., referring to ‘Utzon’s Sydney Opera House’ or ‘Scharoun’s Philharmonic Hall’. Unfortunately this way of analysing is unsatisfactory when it comes to issues of place. It is unsatisfactory because many social and historical issues are ignored – issues that have much to do with defining what a place is. The subject of history and memory relative to place is vast, and can only be touched on in a essay of this length. The philosophies noted above show a range in approach from a view of the absolute to a phenomenological place-centred approach. In support of the latter view, there are a number of further points to consider. |
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| Fig 9 - Bagesvard Church | Fig 10 - Altes Museum, Berlin (KF Schinklel, arch) from Studies in Tectonic Culture | Fig 11 - Sydney Opera House; conceptual sketches | Fig 12 - Sydney Opera House, cross section |
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| Fig 13 - Bibliotheque Nationale (H Labrouste, arch) from Studies in Tectonic Culture | Fig 14 - Sydney Opera House | Fig 15 - Sydney Opera House | |
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