Phenomenology

Phenomenology:
The Concept of Experience in the works of
Le Corbusier
Submitted by-
Aanal Vala
163561050076
Guided by-
Prof. dr. Mansee Bal Bhargava
2021 Undergraduate Thesis
SAL School of Architecture, Ahmedabad
Gujarat Technical University

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Declaration
This work contains no material accepted for the award of any other Degree or Diploma in
any University or other institution. To the best of my knowledge does not contain any
material previously published or written by another person except where due reference has
been made in the text.
Iconsenttothiscopyofthethesistitled:Phenomenology:TheConceptofExperienceintheworks
of Le Corbusier when in the library of SAL School of Architecture, being available on loan and
photocopying.
Student Name: Aanal M Vala Enrollment No.163561050076
Sign: Date:

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Certificate
(ADARSH FOUNDATION)
SAL School of Architecture
Approved by Council of Architecture & All India Council for Technical Education-New Delhi.
Affiliated to Gujarat Technological University-Ahmedabad, Gujarat, India.
Opp. Science City, Sola Road, Ahmedabad-380 060. Ph.: 079-67129000, Fax: 079-29700310
Email: saliter@ymail.com | barc@sal.edu.in | www.sal.edu.in
GRADUATE PROGRAMME IN ARCHITECTURE
STUDENT NAME: AANAL M VALA
THESIS TITLE: PHENOMENOLOGY:
THE CONCEPT OF EXPERIENCE IN THE WORKS OF
LE CORBUSIER
APPROVAL
The following study is hereby approved as a creditable work on the approved subject
carried out and presented in the manner, sufficiently satisfactory to warrant its
acceptance as a prerequisite to the degree of Bachelor of Architecture for which it has been
submitted.
It is to be understood that by this approval, the undersigned does not endorse or approve
the statements made, opinions expressed, or conclusions drawn therein, but approves the
study only for the purpose for which it has been submitted and satisfies him/her to the
requirements laid down in the academic programme.
_________________________
Signature of the Guide
Guide Name:
Prof. dr. Mansee Bal Bhargava
Date:
________________________
Dean, School of Architecture
Date:
ENROLLMENT NO. 163561050076

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Phenomenology:TheConceptofExperienceintheworksofLeCorbusier
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Abstract
This research study aims to explore the experience in Le Corbusier's architectural
instruments in terms of phenomenology. Through pilotis, façade, ribbon windows, ramps,
open plans and roof gardens, the architecture of Le Corbusier actively views the spectacular
natural landscape. The nature experience of Le Corbusier is primarily divided into high-
level viewing and walking-level viewing. The experience of seeing and observing nature
on a large scale has an abstract quality when considering the senses of the body and the
aspects of movement responding to each situation. Seeing nature as an object from afar
essentially restricts the experience of sensory knowledge and nature abstraction. The idea
that the body participates in various sensorial worlds while simultaneously being drawn in
by the situation is needed for a concrete experience of nature. This study seeks to rethink
the qualities of the experience of nature because modernity separates the person from nature
and spirit from the body.
The use of glass and reinforced concrete in modern architecture has enabled the
enlargement of apertures. The desire to perceive nature as an aesthetically beautiful thing
and to own nature through a visual experience of the environment is reflected in
architecture. Architectural instruments designed by Le Corbusier have been widely used in
modern architecture to achieve this visual contact with nature. The pilotis, ribbon window,
façade, open plan, ramp, and roof garden are among these devices. The purpose of this
study is to look at the experiences in Le Corbusier's works through the lens of Merleau-
phenomenological Ponty's perspective.
The objectives taken forward are first understanding what phenomenology is and learning
it through the works of Le Corbusier. Then the second objective that is understanding the
work of Le Corbusier through experience obtained from his architectural instruments will
be achieved by secondary case studies; further, the third objective that is understanding
how phenomenology is perceived in the work of Le Corbusier’s building will be conducted
by the primary case study of Mill Owners’ association building. And the fourth objective,
which is studying the need for Phenomenology in the current architecture, will be achieved
by conducting a questionnaire survey amongst various architects.
Merleau-perspective Ponty's phenomenology is a field of study that looks into the
techniques of perception formed by the interior body reacting to external objects. The
physical ability has an impact on our consciousness, according to this concept.
Furthermore, according to this concept, the body and the thing are strongly intertwined.
This study is required to acknowledge that the current practices lack the resemblance of
phenomenology in it.

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Acknowledgement
A thesis is not enhanced without acknowledgement. Le Corbusier has inspired me, and this
work allowed me the thorough study his works. I’m grateful for it. Firstly, I like to take the
opportunity to express my deepest gratitude towards Prof. dr. Mansee Bal Bhargava for her
invaluable guidance for my thesis, sprinkling knowledge for research, and showing faith
and confidence in me and being extremely patient throughout this journey.
I acknowledge my institution Sal School of Architecture, for valuable thesis jury schedules
and my batchmates Saumyata Bavaria and Nishant Doshi for constructive discussions
during the thesis. Gratitude to Vrushti Parikh from SID 2016 and Himalay Zaveri from
BUD 2017 for discussing and solving doubts. Gratitude to Anubha Thalia, Parth Patel, and
Vaishnavi Akilla from CEPT BUD2017, Richa Garg from CEPT 04 batch Master Thesis,
and Harshit Pathak from TISS, Hyderabad Master Thesis 2019 for sharing their work,
discussing and solving doubts.
Lastly, my deep ad sincere gratitude to my family for their continuous and unparalleled
love, help and support. I am grateful to my brother Harshal Vala for helping me out with
editing my thesis. I am forever indebted to my parents for giving me the opportunities and
experiences that have made me who I am.

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Content
Declaration............................................................................................................................i
Certificate........................................................................................................................... iii
Abstract................................................................................................................................v
Acknowledgement ..............................................................................................................vi
Content...............................................................................................................................vii
1............................................................................................................................................1
Introduction..........................................................................................................................1
1.1. Background..............................................................................................................1
1.2. Aim and Objectives .................................................................................................2
1.3. Theoretical Underpinnings ......................................................................................2
1.4. Methodology............................................................................................................3
1.5. Rationale for Intervention........................................................................................4
1.6. Scope and Limitations .............................................................................................5
1.7. Structure of the Thesis.............................................................................................5
1.8. Schedule...................................................................................................................7
2............................................................................................................................................9
Methodology........................................................................................................................9
2.1. Outline .....................................................................................................................9
2.2. Literature Review ..................................................................................................10
2.3. Secondary Case study............................................................................................11
2.4. Primary Case study................................................................................................11
2.5. Interviews and survey............................................................................................12
3..........................................................................................................................................13
Literature Review...............................................................................................................13
3.1. Outline ...................................................................................................................13
3.2. Historical Background of Phenomenology............................................................13
3.3. Concept of Phenomenology...................................................................................15
3.4. Types of Phenomenology......................................................................................17
3.5. Characteristics of Phenomenology ........................................................................18
3.6. Le Corbusier’s Design Philosophy........................................................................20
3.7. Le Corbusier’s Design Philosophy inspired other Architects ...............................27
3.8. Phenomenology and Le Corbusier ........................................................................30
3.9. Conceptual Framework..........................................................................................38

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4..........................................................................................................................................41
Secondary Case Studies.....................................................................................................41
4.1. Outline ...................................................................................................................41
4.2. Case Study: Villa Savoye, France .........................................................................41
4.3. Case Study: Chapel in Ronchamp .........................................................................52
5..........................................................................................................................................62
Primary Case Study............................................................................................................62
5.1. Outline ...................................................................................................................62
5.2. The Mill Owners’ Association Building, Ahmedabad ...............................................62
5.2.1. Form....................................................................................................................64
5.2.2. Body....................................................................................................................67
5.2.3. Space...................................................................................................................69
5.6. Technique ..............................................................................................................71
6..........................................................................................................................................72
Conclusion .........................................................................................................................72
6.1. Reflection on the thesis..........................................................................................72
6.2. Findings .................................................................................................................73
6.3. Learnings ...............................................................................................................75
6.4. A way Forward ......................................................................................................76
References..........................................................................................................................78
List of Figures....................................................................................................................80
List of Table.......................................................................................................................81
About the Author ...............................................................................................................82

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1.
Introduction
1.1. Background
Architectural Phenomenology is the study of the architectural experiences of humans in the
built environment. Phenomenology in architecture promotes the integration of sensory
perception as a function of a built form. Phenomenological concept strategies in
architectural design intend to develop a unique experience for users. As demonstrated in
architecture, Phenomenology is the manipulation of various themes to create a memorable
encounter through an impact on the human senses. Since architecture has an emotional
effect on humans. Architecture is part of our life; we learn what we experience. Architecture
is designed to serve human activity needs, creating a relationship between human senses
and the built environment. As a result, they lack the true essence of architecture that is the
experience.
The expansion of openings has been allowed by the use of glass and reinforced concrete in
modern architecture. The architectural understanding of the desire to perceive nature as an
aesthetically pleasing object and to own nature through a visual experience of the
landscape. For this visual relationship with nature, Architectural instruments designed by
Le Corbusier have been commonly used in modern architecture. These instruments are the
pilotis, ribbon window, façade, open plan, ramp and roof garden. This research paper aims
to examine the experiences in the works of Le Corbusier from the phenomenological
perspective of Merleau-Ponty.
The objectives taken forward are first understanding what phenomenology is and learning
it through the works of Le Corbusier. Then the second objective, knowledge of Le
Corbusier's work through experience obtained from his architectural instruments, will be
achieved by secondary case studies. Further, the third objective, understanding how
phenomenology is perceived in Le Corbusier’s building, will be completed by the primary
case study of Mill Owners’ association building. And the fourth objective, which is
studying the need for Phenomenology in the current architecture, will be achieved by
conducting a questionnaire survey amongst various architects.
The perspective phenomenology of Merleau-Ponty is an area of research that examines the
methods of perception created by the interior body reacting to external objects. This
philosophy states that physical capacity influences our consciousness. Furthermore, this
philosophy argues that the body and object are closely joined.
This research paper selects the architecture Le Corbusier as an example of modern
architecture with landscape views. From a behavioural perspective, the experiences gained
from his architectural instruments can be divided into two categories: high-level viewing
and walking-level viewing. Further, this characteristic will be analyzed.

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In this chapter, the background, theoretical underpinnings, aim, objective, methodology,
scope and limitations, the rationale for intervention and structure of the thesis is explained.
1.2. Aim and Objectives
In today’s period, architecture has been limited to the form and purpose of space, which is
a good thing, but something is missing, which is experience. That is the relation between
space and humans.
The aim is to examine the experiences in the works of Le Corbusier from the
Phenomenology perspective of Merleau-Ponty.
The objectives are:
i. To understand what phenomenology is concerning experience and its need in current
architecture.
ii. To understand the concept of experience in the works of Le Corbusier through the
architectural instruments.
iii. To experience the phenomenology in the Mill Owners Building in Ahmedabad.
1.3. Theoretical Underpinnings
Architectural phenomenology: exploring experiential aspects of architecture is the main
focus of the thesis. Since Phenomenology itself is a vast topic. The focus of phenomenology
is on the intersection between mind and world, neither of which can be understood in
separation from each other. We are what we are as a function of our planet- involvement,
and the world understood as the fundamental context of meaning is also only what it is
because of our involvement with it.
Our relationship with the world is so obvious and natural that we usually do not reflect
upon it. It is the domain of ignored obviousness that phenomenology seeks to investigate.
The task of phenomenology is not to obtain new empirical knowledge about different areas
in the world but rather to comprehend the essential relation to the world. When
phenomenology emphasizes the methodological necessity of type of reflective reserve –
what Husserl has called the epochê and reductions- this is not because phenomenology
intends to show the world in favour of pure consciousness, but because we can only make
those intentional threads that attach us to the world visible by slacking them slightly.
For a while, phenomenology was out of fashion, replaced by other theories such as
structuralism and deconstruction. If we want to understand the world we live in, we need
to factor in the role played by perceiving, thinking and feeling agents, and here
phenomenology has to offer something. Far from being a distant memory, Phenomenology
is very much alive and well and capable of making significant contributions to
contemporary architecture.
Architects have the capacity of creating meaningful places and producing distinctive,
memorable designs which have extraordinary experiences. But in architecture, there is a
lack of awareness tools through which an experiential understanding of place can be
achieved, communicated and translated into design. Architects can better communicate the
experience humans have with the built environment by understanding the concept of
phenomenology. And we have observed in our modern architecture that it lacks the idea of
phenomenology, which is evident in Le Corbusier’s work.

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The theoretical understanding is built using the keywords: Phenomenology, Experience,
Human sense, Nature, Landscape, High-level viewing, walking level viewing, and Le
Corbusier.
Phenomenology is looked at from various perspectives. For example,
It is the study of human experience and of the ways things present themselves to us in and
through such experience, according to Robert Sokolowski
It is the study of structures of consciousness as experienced from the first-person point of
view, according to Smith (2008)
According to Edmund Husserl, the science of the essence of consciousness is centred on
the defining trait of intentionality, approached explicitly “in the first person.
An experience is an event or occurrence which leaves an impression on someone.
Human Sense is a faculty by which the body perceives an external stimulus; one of sight,
smell, hearing, taste and touch.
Nature is all about the plants, animals, etc. in the universe and all things that happen it
that is not made or caused by people.
Landscapes, which consist of all the visible features of an area of land, are often considered
in their aesthetic appeal. Make (a garden or other place of ground) more attractive by
altering the existing design, adding ornamental features, and planting trees and shrubs.
High-level viewing: Locating a high vantage position to watch the overall landscape.
Walking-level viewing: Viewing the surrounding landscape while walking. [M1]
1.4. Methodology
There are three methods applied to achieve objectives are briefly mentioned here and are
elaborated in chapter 2:
The Literature Review contains a brief introduction of phenomenology, historical
background of Phenomenology, Concept of Phenomenology, Types of Phenomenology
and its Characteristics. It will talk about the relationship of Phenomenology with Le
Corbusier’s work which includes Le Corbusier’s design philosophy, How Le Corbusier’s
design philosophy inspired other architects and its relation between Phenomenology and
Le Corbusier, which further includes ideas and methods of nature, methods of the
experience in the phenomenology and characteristics of experience in the works of Le
Corbusier will be explained in this chapter.
The Secondary Case Studies, Villa Savoye, France and Chapel in Ronchamp, are
thoroughly examined to achieve the second objective: understanding Le Corbusier's work
through the experience obtained from his architectural instruments in the secondary case
study where the two case studies of Le Corbusier are taken.

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Primary Case Studies, which include The Mill Owners’ Association Building,
Ahmedabad, the method is to achieve the third objective in the primary case study of Mill
owner’s association building.
The objective is about understanding how phenomenology is perceived in the work of Le
Corbusier. And the fourth objective would be carried out by a questionnaire survey with
various architects and its opinion on architectural phenomenology.
Figure 1.1 The Research Framework
1.5. Rationale for Intervention
Today most of the buildings are designed as structures for aesthetic purposes to grab
attention. As a result, they lack the true essence of architecture that is the experience.
- Why do very few modern buildings appeal to our feelings? The structures of our own time
may arouse our curiosity with their daring or inventiveness, but they hardly give us any
sense of the meaning of our world or our existence.
The above writing by Juhani Pallasmaa states the style of modern architecture. It suggests
that modern architecture lacks sensory and experiential elements: And apart from the
functional and aesthetic considerations, the design should consider how people will feel
inside the building and how they will interact with space.

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-Experience of architecture is multi-sensory; qualities of matter, space and scale are
measured equally by the eye, ear, nose, skin, tongue, skeleton and muscle. Architecture
strengthens… one ‘s sense of being in the world, essentially giving rise to a strengthened
experience of self. -Juhani Pallasmaa.
The above writing states that our bodies, movement are in constant interaction with the
environment, the world. They self-informed redefine each other constantly. With
interaction between body, imagination and environment, one eventually gains some
experience. However, most architects nowadays sell style rather than architecture, resulting
in areas that lack physical and mental functionality and experience. This depicts the need
of reviving architecture's true nature, which is a human experience.
The need of the study is that forms and functions do play a crucial role in designing
buildings. Still, it should also value the experience of the individual, which can be done by
creating spaces keeping in mind the concept of architectural phenomenology.
1.6. Scope and Limitations
This research seeks to evaluate the experiences through the architectural instruments
created by Le Corbusier in terms of phenomenology. The study is focused on a
philosophical idea presented by Merleau-Ponty in Le Corbusier’s works. The study will
deal with the Methods of two experiences that is high-level viewing and walking-level
viewing through his architectural instruments: pilotis/ ribbon windows, free façade, open
plan, ramps, and roof garden. The thesis will talk about Phenomenology and its historical
background.
The study doesn’t explain all the characteristics of Phenomenology; hence, it will only talk
about the phenomenological interpretation of experience in the works of Le Corbusier by
explaining two methods of experience: high-level viewing and walking-level viewing. It
provided ease to prepare questionnaire surveys for various architects and students to
achieve the answers for phenomenology in current architecture. The thesis is limited to
study the Mill owner’s association building by the dimensions mentioned in the conceptual
framework and Le Corbusier’s work.
The limitation that I could not conduct the planned perception survey of the experts due to
the covid illness of my family members and myself shall stand in the work which I hope to
carry forward in the later stage of the career to pursue my understanding of the subject.
1.7. Structure of the Thesis
The thesis comprises seven chapters, including this Introduction and the concluding
chapters. Chapter 2 is of Methodology to explain the strategy used to achieve aim and
objective and the methods used for achieving the goals: literature review, secondary case
study, and primary case study. It concludes with a conceptual framework that is later used
for conducting secondary and primary case studies.
Chapter 3 consists of a Literature Review which contains a brief introduction of
phenomenology and includes Historical background of phenomenology, Concept of

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Phenomenology, Types of Phenomenology and Characteristics of Phenomenology and then
it will talk about the design philosophy of Le Corbusier’s work and the relationship between
phenomenology and Le Corbusier’s by further explaining the idea and methods of nature
in Le Corbusier’s work, Methods of experience in phenomenology and Characteristics of
experience in the works of Le Corbusier.
Chapter 4 consists of Secondary Case studies, which introduces the secondary case
studies. The second objective is understanding the work of Le Corbusier through the
experience obtained from his architectural instruments.
Chapter 5 consists of Primary Case studies. In this chapter, the primary case study of
Mill owner’s association building is done to achieve the third objective. The objective is
about understanding how phenomenology is perceived in the work of Le Corbusier. And
the fourth objective, which is studying the need for phenomenology in the current
architecture, would be carried out by a questionnaire survey with various architects and its
opinion on architectural phenomenology.
Chapter 6 Concludes the thesis report, and a fourth objective can be achieved from the
findings and conclusions in this chapter. It also includes results and learning from a
literature review. Learnings from secondary case studies and primary case studies are
mentioned.

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Figure 1.2 Structure of a thesis
1.8. Schedule
The research has been conducted since December 2020, when the subject was broadly
explored, and a preliminary proposal was prepared. Later, a detailed proposal preparation
took a quantum of time. The suggestion through the thesis structure while developing the
literature review, the case studies (secondary and primary) happened simultaneously. There
was a lag in work due to covid illness, which also reduced the perception survey as the
primary method of studying the Mill Owners Building. The thesis is completed in June. A
Ghant chart is prepared for the entire research and report writing schedule and presented in
Figure 1.3

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Figure 1.3 Schedule for the Thesis report

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2.
Methodology
2.1. Outline
The chapter lays out the three methods: literature review, secondary case study, primary
case study and perception survey, to achieve the aim and objectives, including the
methodological framework and a conceptual framework. An outline of the research
framework is presented in figure 2.1.
Figure 2.1 The Research Framework

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2.2. Literature Review
They understand the phenomenological explanation of experiences through the lens of
Merleau-Ponty in Le Corbusier’s work. After that, the literature review is divided into eight
subtopics: what is phenomenology? Types of Phenomenology, characteristics of
Phenomenology, Le Corbusier’s design philosophy, Le Corbusier’s design philosophy
inspired other architects, Le Corbusier and Phenomenology which further includes Ideas
and methods of nature in Le Corbusier, Methods of experience in the Phenomenology and
characteristics of affairs in the works of Le Corbusier.
The literature review starts by elaborating on the Historical background of phenomenology,
which briefly shares the history of phenomenology, first developed by the German
philosopher Edmund Husserl. It will be studied here. Followed by the Concept of
Phenomenology, which shares briefly What is Phenomenology? Timeline of various
phenomenologists and talks about the view of multiple theorists on phenomenology. That
is the study of numerous types of experience ranging from perception, thought, memory,
imagination, emotion, desire and volition to bodily awareness. They were followed by the
Types of Phenomenology, which defines all the types of phenomenology and will conclude
by mentioning the kind of phenomenology in the works of Le Corbusier. Following that is
about the Characteristics of Phenomenology, which shares the characteristics of
Phenomenology.
Figure 2.2 Conceptual framework
Following that is about Le Corbusier’s design philosophy, in which five points of Le
Corbusier will be explained in detail with relevant sketches and diagrams. Following that,
share how Le Corbusier’s design philosophy inspired other architects like Steven Holl and
Peter Zumthor, respectively. Following that is about Phenomenology and Le Corbusier,
which will share the relationship of Phenomenology with Le Corbusier—further explained
by elaborating with subtopics, which are Ideas and methods of nature in Le Corbusier,
which illustrates Le Corbusier’s view of nature which is reflected in his architectural works
and opinions of the landscape from seeing from heights and while walking. Experiences
will be analyzed along with a brief explanation of methods of experience, which will focus
on the perception and movement of humans through the philosophy of Merleau-Ponty.
Characteristics of experiences in Le Corbusier's works that state Le Corbusier's ideas

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concerning body appear through Modulor, as he applied Modulor to all of his architecture.
And he was explaining the characteristics of seeing from high and seeing while walking
perspectives. After knowing the aspects of experiences in the works of Le Corbusier, an
understanding of the factors due to which phenomenology in architecture is carried forward
is mentioned below.
2.3. Secondary Case study
Finding the design approaches for better human experience in architectural spaces and
analyzing the works of Le Corbusier are studied. This chapter includes a study of two such
buildings: Villa Savoye, France, Chapel of Ronchamp, France. The design in these two
buildings is analyzed to understand the basics of user experience in these buildings.
This chapter would conclude with the table below, which would show an overview of the
chapter and the parameters and the inferences drawn from the various case studies.
Table 2.1 Case study analysis
Parameters Villa
Savoye
Chapel in
Ronchamp
Introduction Cumulative
analysis
Comparative
analysis
Inferences
Form
Body
Space
Technique
2.4. Primary Case study
This method achieves the third objective: to study how people will feel inside the building
and how they will experience the space? This method carries out the study of the Mill
owner’s association building (Atma House), Ahmedabad, by Le Corbusier. The case would
be analyzed with the parameters mentioned in the conceptual framework.
The learning through secondary case studies and literature review framework is carried out
here. This case will be studied from the human experience by noticing the parameters and
understanding them. The methods used to conduct the case study are described below.
The Physiography analysis is based on mapping various details of the case. It contains
map drawings of the site, location, context, land use, timeline, the evolution of the context,
accessibility, green cover, traffic analysis, current situation etc.
Table 2.2 Case Study Analysis
Parameters Description Inference
Form
Body
Space
Technique
The Dimension analysis is the comparison of the relationships between various
parameters. These parameters are developed from the conceptual framework done by the
literature review.

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The Perception analysis includes interview and questionnaire surveys. This would be
more explained in the fourth method. It would be presenting the details about learnings
from a questionnaire survey conducted. This chapter will reflect with interaction with the
people and considering the view of various architects. According to the parameters, the
inferences from the primary case study would be illustrated in the tabular format at the end
of the primary case study.
2.5. Interviews and survey
A survey of architectural professionals is conducted to determine their views on the
significance of phenomenology in architecture and examine their perceptions and
perspectives on using phenomenological design methods. This chapter presents the
inferences drawn from the viewpoint of architects on the use of phenomenology in
architecture as explained in the survey.
The survey has a high level of relevance in the study. The survey carried out here would be
an e-survey formed from google from where the best resonating questions to the topic
would be raised. This method helps collect the answers and spread the awareness that they
need to be careful of their surroundings.

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3.
Literature Review
3.1. Outline
This chapter explains Phenomenology and its understanding in the works of Le Corbusier.
The study begins with a brief introduction of Phenomenology, including the Historical
background of Phenomenology, the Concept of Phenomenology, Types of Phenomenology
and Characteristics of Phenomenology. After which, Le Corbusier’s design philosophy is
described thoroughly, and Le Corbusier inspired other architects like Peter Zumthor and
Steven Holl. The chapter ends with explaining the relationship between Phenomenology
and Le Corbusier, which contains the ideas and methods of nature in Le Corbusier,
techniques of experience in phenomenology and characteristics of experience in the works
of Le Corbusier, which will further be explained with two methods of experiences that are
high-level viewing (seeing from top) and walking level -viewing (seeing while walking).
3.2. Historical Background of Phenomenology
Phenomenology has a complicated history. (Spielberg. 1982). People have been
experiencing the world informally for millennia, but this area was formed in the early
twentieth century by German philosopher Edmund Husserl to theorize experience
(Stanford,2013) officially.
His Logical Investigations propelled the phenomenological movement (1900-1901).
Different phenomenological schools, styles, and emphases emerged through time.
Christian Norberg-Schulz combined phenomenology with architecture in the 1970s. Most
Phenomenology-based architectural studies have drawn on philosophers such as Husserl,
Heidegger, and Maurice Merleau-Ponty.
Figure 3.1 Origins of Phenomenology Pre-movement
Phenomenology did not originate from the ground up; instead, it evolved. Husserl, who
published The Theory of Phenomenology in 1906, is credited with being its creator. Even
Husserl's understanding of phenomenology as a scientific approach destined to provide a
new basis for philosophy and science evolved slowly and changed until the end of his
career. Husserl was drawn to philosophy by Brentano's descriptive psychology, which
seemed to provide a robust framework for a scientific philosophy (refer to Figure 3.1).
1764-
Johann
Heinrich
Lambert
first
incorporated
the term into
1781-
Lambertat
inspired
Immanuel
Kant to use
the term in
various
1804-
Johann
Fichte used
the term in
his major
work
1807- Georg
Hegel
published
his most
famous
1889-
Franz
Brentano
applied the
term

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The principle of intentionality, or the directedness of consciousness toward an object, is a
fundamental phenomenological concept. It was present in Brentano’s Psychology from an
Empirical Standpoint 1874 “And thus we can define psychic phenomena by saying that
they are those phenomena which, precisely as intentional, contain an object in themselves.”
(Stanford,2013).
A flurry of phenomenological writing followed Husserl’s work in the first half of the 20th
century. In his Logical Investigations (1900–01), Husserl outlined a complex system of
philosophy, moving from logic to philosophy of language, to ontology (theory of universals
and parts of wholes), to a phenomenological theory of intentionality finally to a
phenomenological approach of knowledge. (Stanford, 2013)
Then in Ideas I (1913), he focused directly on phenomenology itself. Husserl defined
phenomenology as “the science of the essence of consciousness”, centred on the defining
trait of intentionality, approached explicitly “in the first person”. In this way,
phenomenology can be described as the study of consciousness—conscious experience of
various kinds—as viewed from the first-person perspective.
In this discipline, we examine various aspects of experience when observing them from the
individual experiencing or conducting them. Thus, we characterize experiences of seeing,
hearing, imagining, thinking, feeling (i.e., emotion), wishing, desiring, willing, etc.
The most famous of the classical phenomenologists were Husserl, Heidegger, Sartre, and
Merleau-Ponty. In these four thinkers, we find different conceptions of phenomenology,
various methods, and different results. A brief sketch of their differences will capture both
1913- Husserl published
his work “Ideas” which
focused on
Phenomenology
1900/1901-
Husserl published his
logical investigations
1927- Martin
Heidegger published
his work “Being in
time”
1936- Jean- Paul Sartre
explored a different
perspective of
Phenomenology
1930’s Phenomenology
migrated from Austria,
Germany then France
1927- Heidegger
presented lectures for a
cause “Basic problem
of Phenomenology”
1943- He wrote “Being
and nothingness.”
1943- Maurice
Merleau-Ponty joined
start in developing
Phenomenology
1945- Merleau-Ponty
wrote “Phenomenology
of perception.”
Figure 3.2 Origin of Phenomenology

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a crucial period in the history of phenomenology and a sense of the diversity of the field of
phenomenology.
3.3. Concept of Phenomenology
In philosophical terms, the interpretive study of human beings by their everyday
experiences in and of the world is known as phenomenology. Phenomenology is the study
of structures of consciousness as experienced from the first-person point of view. The main
form of an experience is its intentionality, directed toward something, as it is an experience
of or about some object. An experience is directed toward an object under its content or
meaning (which represents the object) together with appropriate enabling conditions
(Stanford, 2013). “Architectural phenomenology” can be defined as the phenomenological
study of architectural experiences and meanings as constituted by qualities and features of
both the built environment and human life (SeamonD.,2016).
There are different views by various Phenomenologists as presented in figure 3.3 and
elaborated below.
Edmund Husserl, the founder of phenomenology, believed that there are specific invariant
structures of consciousness under the evolving flux of human experience and perception,
which the phenomenological method could define.
In his Inaugural Lecture at Freiburg in Breisgau (1917), Husserl states:
A new fundamental science, pure phenomenology, has developed within philosophy: This
is a science of a thoroughly new type and endless scope. It is inferior in methodological
rigour to none of the modern sciences. All philosophical disciplines are rooted in pure
phenomenology, through whose development, and through it alone, they obtain their moral
force. Philosophy is possible as a rigorous science at all, only through pure
phenomenology.
In the Crisis of European Sciences and Transcendental Phenomenology (1936), Husserl
describes phenomenology as purely looking at a phenomenon and viewing its essence. The
purpose of taking the phenomenological attitude is to recover human experience on an
immense scale, i.e., using Husserl “terminology “to go back to the things themselves.”
However, other phenomenological thinkers such as the German philosopher Martin
Heidegger and the French philosopher Maurice Merleau-Ponty reacted against Husserl's
transcendental structures of consciousness. These "existential" phenomenologists argued
that such transcendental constructs are arguable since Husserl's existence is founded on
speculative, cerebral reflection rather than direct human experience in daily life.

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Figure 3.3 Timeline of Phenomenologist

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Martin Heidegger describes phenomenology as “the science of phenomena” (Heidegger M.
1977). In its etymological sense, phenomenology is the activity of giving an account of
how things appear. In the introduction to his Phenomenology of Perception (1945), Maurice
Merleau-Ponty gives a more specific idea of phenomenology:
Phenomenology is the study of essences, and according to it, all problems amount to finding
the definition of essences: the essence of perception, or the essence of consciousness, for
example. But phenomenology is also a philosophy which puts essences back into existence
and does not expect to arrive at an understanding of man and the world from any starting
point other than of their facticity ‘. It is a transcendental philosophy which places in
abeyance the assertions arising out of the natural attitude, the better to understand them;
but it is also a philosophy for which the world is always ‗already there ‘before reflection
begins— as an inalienable presence; and all its efforts are concentrated upon re-achieving
a direct and primitive contact with the world and endowing that contact with a
philosophical status. It is the search for a philosophy which shall be a ‗rigorous science ‘,
but it also offers an account of space, time and the world as we ‗live ‘them. It tries to give
a direct description of our experience as it is. (Merleau- Ponty. 1945)
In Being and Time (1962), Heidegger argued that the relationship between individual and
environment had been reduced to either an idealist or a realist viewpoint in conventional
philosophy and psychology.
In an idealist view, the world is a function of a person who acts on the world through
consciousness and actively knows and shapes their world. In contrast, a realist view sees
the individual as a function of the world, with the world acting on them and the individual
responding. Both views, according to Heidegger, are out of touch with the essence of
human life since they assume a separation and directional relationship between person and
environment that does not occur in reality. Instead, Heidegger proposed that people are
intimately tied up in and immersed in the world rather than existing separately from it.
In Phenomenology of Perception , Maurice Merleau-Ponty (1945) broadened Heidegger's
correction to include the active role of the body in human experience.
Merleau-Ponty aimed to reinterpret the western Style philosophical and psychological
distinction between body and mind.
Juhani Pallasmaa presents phenomenology as pure looking at the phenomenon or viewing
its essence (M. Reza Shirazi2014). He claims that we can approach the nature of things
unburdened by convention or intellectualized explanation (Pallasmaa J. 2001).
3.4. Types of Phenomenology
There are seven types of phenomenology as presented in figure 3.4 and briefly described
below.
- Realistic Phenomenology explores the structure of consciousness and intentionality,
assuming that it occurs in a real-world that is primarily external to consciousness and
is not created by consciousness. The most famous of the classical phenomenologists
were Husserl, Heidegger, Sartre and Merleau-Ponty.

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Figure 3.4 Types of Phenomenology
- Transcendental constitutive phenomenology studies how objects are formed in pure
or transcendental consciousness, without regard for their relationship to the natural
world. Intentionally is explained in terms of the contents of the experience rather than
the object of the experience.
- Existential phenomenology is the study of concrete human existence, such as our
experiences of free choice or action in concrete situations.
- Hermeneutical phenomenology is the study of experience's interpretive structures, or
how we understand and engage with the things around us in our human world,
including ourselves and others
- Naturalistic constitutive phenomenology studies how consciousness constitutes or
takes things in the world of nature, assuming that consciousness is a part of nature.
- Generative Historicist Phenomenology studies how meaning, as found in our
experience, is generated in historical processes of collective experience over time is
known as generative historicist phenomenology.
- Genetic phenomenology is the study of the beginnings of meanings in one's stream of
experience.
Out of all the types of phenomenology mentioned above, the interpretation of Realistic
Phenomenology, Existential Phenomenology and Naturalistic Phenomenology is observed
in Le Corbusier's works.
3.5. Characteristics of Phenomenology
The Characteristics of Phenomenology describes the meanings of the experiences that have
been lived by a person or several people concerning a particular concept. It is not interested

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in the explanation, but rather, it is concerned with the essential aspects of the lived
experience.
Phenomenology is the systematic study of the quality of being based on or influenced by
personal feelings, tastes, or opinions (subjectivity). It seeks to describe what underlies the
way people usually describe their experiences and studies the coexistence between a person
within a group. It concentrates on relating to or denoting mental images having unusual
vividness and detail as if actually visible eidetic reduction. It has transcendental deduction
described as the transition from thinking to reflection, which involves a change of attitude.
Schmitt elaborates on what it means to “bracket the objective world” and suspend judgment
(Richard Schmitt, 1967). Which methodically leads to the discovery and analysis of things
or objects in the world.
It also seeks to understand how people construct the meaning of things. Further, it
investigates experiences as they are lived by those who experience them and the importance
that these people give them. Critical truths about reality are based on people’s experiences
and consist mainly of in-depth conversations. The researcher and informants are often
considered secondary participants.
Based on definitions by various theorist’s Phenomenology can be defined as the study of
phenomena, where phenomena refer to human experiences, and any object can shape this
perception, event, condition, or occasion that a person can see, hear, touch, smell, taste,
feel, or perceive.
Figure 3.5. Phenomenology and its aspects
In (refer Figure 3.5), Phenomenology is divided into four categories which are Sense of
place in which through emotions scale, material, temperature and sound in a building is
designed, Human perception is considered through individual’s senses which are listening,
visual, touch, olfactory etc., Then Object vs User depicted through interaction and relation
between them and Emotional response to architecture that is through one’s memory that
comes from an experience. The idea derives from various interpretations of

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phenomenology in architecture as a way, method, or approach to better understanding
architectural problems and their solutions.
3.6. Le Corbusier’s Design Philosophy
Unintuitive and monotonous concrete jungles surround today's city dwellers. On the other
hand, Concrete was the revolutionary material of the twentieth century, shaking the
industry to its core. To suit these new material capabilities, new concepts, methodologies,
and philosophies were created. It was at this period that Le Corbusier gained prominence.
His bold and free revolutionary ideologies opened the way for future generations to produce
works of art for many years to come.
The architectural works of Le Corbusier generate a set of contradictions that are
fundamental to his philosophy. These contradictions constitute the essence of Le
Corbusier's work. For this reason, he refers to these projects as “motifs”. In Le Corbusier's
terminology, the work of a person "operates following the laws of the universe. He does
not ask questions and does not want to know." To understand a person and their works is
to succumb to the abstract (which is the exact opposite of truth and beauty). His work thus
embodies the fact that truth and beauty are univocal values. The issue here is not to
understand this value but rather to fight against an effective way of seeing things. Le
Corbusier's architecture incorporates a series of contradictions. One important example is
that a house with many rooms is less likely to be lived in than a smaller house with fewer
rooms. This is because the efficiency of living in a small house is mainly subjective.
Le Corbusier would rather we live in spacious houses so that we don't have to look at each
other and spend a lot of time dealing with people. He believed that living in tiny houses
would increase the tendency to isolate oneself and indulge in "my internal dwelling within
myself." But if living in a house with many rooms is less efficient, it also increases the
physical comfort of the inhabitants. We all know that in crowded environments, people
take up much more space than they need to. People can also feel uncomfortable around
strangers, and more so around people, they don't know. So, what is the correct amount of
space people need? If we feel more comfortable in an environment with fewer people, why
not use fewer spaces? The answer is that in such a situation, people would constantly be
evaluating one another. Hence, Le Corbusier felt that each person would be judged based
on their ability to serve their "own" needs with such a space.
He made a utopian analysis: that if people spent more time focusing on their own needs,
they would be less inclined to identify with the demands of society and less likely to indulge
in selfishness, which is the root of all social ills.
The Five Points of Architecture of Le Corbusier are elaborated below and represented in
figure 3.6.
1. The Pilotis
2. The Open Plan
3. The Free Facade
4. Ribbon Window
5. The Roof Garden

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Le Corbusier designed Domino House, a modular structure inspired by the new automobile
industry. How an old car was set as the base model for more contemporary car designs
intrigued Le Corbusier's attention. Each vehicle will be a refined version of the one before
it, resulting in a line of identical but forward-thinking automobiles. Le Corbusier defines
structures as "a house is a living machine."(Le Corbusier & Pierre Jeanerette, Oeuvre
Complete Volume I)
Figure 3.6 Le Corbusier’s five points of Architecture
He stated his ideas, including the five points of architecture, conclusively in his famous
book, Toward an Architecture. These points, derived from the Domino, would serve as
different features reflected in his projects.
Concrete slabs
Giving freedom to
design the interior
configuration
Stairway providing
access to each level
on one side of the
floor
Thin, reinforced
concrete columns-
Pilots
Free facade
Source: http://thecityasaproject.org/2014/03/the-dom-ino-effect/
Figure 3.7 The Dom-Ino Image

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3.6.1 The Pilotis
The Pilotis were designed to appear as columns supporting parts of the superstructure above
the ground. For example, the Villa Savoye demonstrates slender columns, or pilots, to
support a visually heavy mass, giving the structure drama (refer to figure 3.7). The Villa
Savoye is a monument of balanced proportions and geometric shapes and a part of the 5
points. The Pilotis helps to define the four corners of the structures, demonstrating the
structure's geometric dominance.
Figure 3.8 Villa Savoye Pilotis
Source: https://www.lescouleurs.ch/en/journal/posts/the-five-points-of-a-new-architecture/
3.6.2 The Open Plan- the absence of supporting walls
The Open plan was a structural marvel aimed to allow a designer's creativity to roam free.
The use of pilots to perform the structural task of walls allowed load-bearing walls to be
used more freely and to accommodate modules with flexible system usage. Today, many
modern mid-rise apartment buildings use the open plan, and the method is almost
universally applied to modern low-rise buildings.
People's experiences were created by Le Corbusier's provision of multiple viewpoints
within the building's premise. The calculated use of walls only for the people directed the
entire show whenever required. The wide seats of the auditorium in between the four walls
made a substantial distinction between the space and its occupants. In small halls with few
people present, space itself became an active participant in the performance. The size and
freedom of the site, the increase in seating capacity of the hall, and the three layers of the
building were all representative of the artistic pursuit of a building that would communicate
the depth of the spirit of Le Corbusier's practice.
The use of ramps and open spaces at Maison La Roche-Jeanerette is about building an
environment for the user. The room was creatively enhanced by the long, uninterrupted
ramps and floors. The changing perspectives and light play gave the interiors of the building
a harmonious dynamic. The interior terraces were added to allow for panoramic views of
the surrounding landscape. The interior finishes highlight the wood-fired concrete
installations, the terrazzo floors and the stair.

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This design was called "promenade architecture" by Le Corbusier, and one of its main
features was the construction of a ramp alongside the staircase. After all, he said that the
ramp connects the floors while the staircase separates them (refer to figure 3.8). Le
Corbusier's first version of the building also came with a balcony pushed into the building
façade. The building was eventually put in storage and forgotten for a long time.
Figure 3.9 Showing ramps, floors and staircase separating them
Source: https://daanico.files.wordpress.com/2013/12/3b6f1iafluidity26dynamism.jpg?w
=594&h=384&zoom=2
3.6.3 The Free Façade
Separating the exterior of the building from its structural function means it sets the façade
free from structural constraints. The façade may now be specifically designed to respond
to people's senses. Le Corbusier, a 20th-century modernist architect, believed in the
expression of materials rather than ornamentation. The basic rule was used to assess the
punctures and volumes of the facade. As a result, Le Corbusier's work has often illustrated
harmony and purity.
The use of the golden rule in facade treatment is seen in La Tourette's façade (refer to figure
3.9). The proportionate factors between the various glass panels formed a noticeable order.
Above the panels, half of the facades establish a high decorum of rectangular windows that
demonstrate dominance.

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Figure 3.10 La Tourette’s elevation
Figure 3.10. Source: https://bearleaderchronicle.com/097-le-corbusier-la-tourette/
3.6.4 Ribbon Window
The most noticeable feature of Le Corbusier's work is the ribbon windows. Immaculate
ribbons run through his facade due to his ability to hone a face to his satisfaction.
During the day, the expansive windows allowed plenty of light to reach the house.
Furthermore, Le Corbusier designed these windows to allow an even distribution of light
into the structure. A certain amount of light will evoke different components within the
building at a specific time of day.
Figure 3.11 Le Corbusier’s sketches
Source: https://www.researchgate.net/figure/Sketches-by-Le-Corbusier-illustrating-that-the-ribbon-
window-allegedly-provides-more-and_fig3_291071731

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A delicate balance between the internal walls and natural light ensures that the user has a
positive experience.
Villa Savoye, which is now recognized as an architectural masterpiece, was the culmination
and near perception to perfection (refer 3.11). It is the first villa to have the entire volume
lifted into the air. Furthermore, though the interior may appear cold, Le Corbusier wanted
a kind of "mathematical lyricism" that he could only achieve by using all Five Points of
Modern Architecture.
Figure 3.12 Villa Savoye elevation
Source: https://i1.wp.com/img.auctiva.com/imgdata/1/7/3/7/5/8/7/webimg
/643513618_o.jpg?zoom=2
3.6.5 The Roof Garden
Roof Gardens is a way to introduce nature into the house. Streamliners inspired Le
Corbusier because their superstructures were raised high above the ground floor, providing
clear site views. Similarly, Le Corbusier opened the roof of his building to these views,
creating an arcadia atmosphere in the process.
The building, according to Le Corbusier, must compensate for the land it occupies.
Incorporating nature into the design space is a significant feature that revitalizes a person's
spirit.
To maintain mental and physical peace, this was a stretch toward biophilic designs.
Le Corbusier's concrete framework and the standards he developed are historical landmarks
for architects in the twentieth century.
The approach and understanding of people's thought processes and needs are highlighted
in a straightforward and efficient form.

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The Villa Savoye is an excellent illustration of a roof garden built for today’s modern
community (refer 3.12).
Figure 3.13 Roof Garden
Source: https://www.archdaily.com/84524/ad-classics-villa-savoye-le-corbusier
3.6.6. La Modular
Le Corbusier believed in collecting information about the site first, then allowing his mind
to evolve naturally. Consideration for the fourfold is inherent in his process. Le Corbusier
had a precise interpretation of humanity’s connection to what he saw as cosmic truth and
natural law (C. Jencks, Le Corbusier and the Tragic View of Architecture
(Cambridge,1973),153). Through his "La Modular (refer to figure 3.13), a system of
measurement focused on the human body," he developed ways to define space in terms of
proportionality to the human body (Meghan Mary Hanson).
Le Corbusier purposefully encouraged the viewer's desires. Like many other artists, he
began his design process to understand what the viewer is likely to expect from his work.
Perez-Gomez stands for the rediscovery of architectural knowledge that can be seen in
everyday human behaviour. Le Corbusier supported Merleau-Ponty's Phenomenological
philosophies, incredibly phenomenal ontology, which attempted to recreate the visuality of
a submissive thought and spiritual environment.
Le Corbusier undoubtedly shared the suspicion of Rene Descartes’s philosophy as a way
of obtaining information: The human mind and body's exercise of intellect, sensory
perception, and facts do not represent a reliable view of the world, but the Divinity may
(Rene Descartes). Merleau-Ponty addressed a different study on understanding and
perception in a way to explain the state of human thought and corporeal: “My body is the
fabric into which all objects are woven, and it is, at least concerning the perceived world,
the general instrument of my comprehension” (Merleau-Ponty). To fully understand this,

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we must first comprehend the fact that since the corporeal dwells on the earth, the earth is
organized as the human body” (Merleau-Ponty 1954, p. 163).
Figure 3.14 Le Corbusier’s La Modular
Source: https://html1-f.scribdassets.com/6e0jpiwv2845n1da/images/7-388c0f8003.jpg35
“Man looks at the creation of architecture with his eyes, which are 5 ft 6 inches from the
ground. One can only consider aims that the eyes can appreciate and intentions that
consider architectural elements,” Le Corbusier, Towards a New Architecture. (ibid pg. 19)
3.7. Le Corbusier’s Design Philosophy inspired other Architects
Le Corbusier to Peter Zumthor passes one straight line…. “Consciousness Inspiration”
Figure 3.15 Consciousness Inspiration Image
Source: https://eliinbar.files.wordpress.com/2013/06/001.jpg

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The most dominant feature in Peter Zumthor’s building is that it is raised from the ground
by huge Pilotis, seen in the Los Angeles County Museum of Art- LACMA new building
(refer to figure 3.15).
Figure 3.16 LACMA, new building
Source:https://eliinbar.files.wordpress.com/2013/06/51af7772b3fc4b225b00014a_a-first-look-at-peter-
zumthor-s-design-for-the-lacma_screen_shot_2013-06-05_at_10-34-53_am-528x351.jpg
Le Corbusier is the architect most associated with the concept of Pilotis. The Pilotis is the
first of Le Corbusier's five architectural principles. The main idea that led to lifting building
Pilotis is to allow a sequence of green areas and free movement of pedestrians. The Unite
D’habitation is raised on pilotis, the green landscape spaces surrounding as Le Corbusier’s
vision for “La Ville Radius” means radiant city (refer figure 3.16).
Figure 3.17 Unite D’ habitation
Source: https://blogs.ethz.ch/making-difference/2017/12/05/book-discussion-desiring-practices/

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Identifying relevant sources of inspiration is an essential part of the Conscious Inspiration
process (existing buildings). The designs that can serve as inspiration are well-known
buildings and generate a sense of inspiration for many designers. Le Corbusier’s Unite d’
Habitation was built-in Marseille 1946-1952 (refer to figure 3.17).
Figure 3.18 Unite D’ Habitation
Source: https://eliinbar.files.wordpress.com/2013/06/1892581429_7699c0b228.jpg
Newly constructed buildings are used as unique sources of inspiration. Jean Nouvel’s Quai
Branly Musée du (museum) that realizes Le Corbusier's design principles established in the
20th century, the first principle of Le Corbusier's five points of architecture, lifts the
building on PILOTIS to enable continuity of ground-level pedestrian movement and
sequence of the forest (refer figure 3.18).
Figure 3.19 Jean Nouvel’s quai Branly Musée du Paris, 1995-2005
Source: https://www.inexhibit.com/mymuseum/musee-du-quai-branly/

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Note the significant values of this Museum, which include a raised horizontal beam on
pilotis that allows pedestrian passage on the ground floor and an evident green
characteristic.
Steven Holl plans a horizontal skyscraper, the Vanke Center in Shenzhen, China (refer to
figure 3.19), one year after completing Jean Nouvel's Branly Musée. The central concepts
of this architecture are a raised horizontal beam, up on pilotis, allowing pedestrian passage
on the ground floor, and a prominent green character.
Figure 3.20 Vanke Center, Shenzhen, China 2006-2009
3.8. Phenomenology and Le Corbusier
In this chapter, Phenomenology and Le Corbusier’s relation through experience will be
discussed. It begins with explaining the Ideas and Methods of Le Corbusier’s works,
different Methods of experience in Phenomenology according to Merleau Ponty will be
presented after which the study of both Ideas and Methods of Le Corbusier and Methods
of experience in Phenomenology relation will be explained in Characteristics of experience
in the works of Le Corbusier.
3.8.1. Ideas and Methods of Nature in Le Corbusier
In his architectural works, Le Corbusier's perception of nature is reflected. As a result, it's
essential to talk about his views on nature before talking about his works. His understanding
of nature is faithful to modern dualism since he was a pioneer of contemporary architecture.
His earlier writings, in general, indicate that in his philosophy, he essentially divided
humanity and nature. Nature was operated by immanent law, and its appearance is chaotic
(Le Corbusier 1964).
a. Ideas of Nature in Le Corbusier
He believed that only human rationality could find and apply mathematical laws
(geometry), or order, in nature's essence. Hence, he interpreted objects in spirit via
geometrical shapes such as circles, right angles, and straight lines (Le Corbusier 1996).

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This dualistic way of thought is also evident in his work. He followed essential and
universal beauty by composing pure geometrical forms created by human rationality,
particularly in his earlier works.
Figure 3.21 Sketches by Le Corbusier for Expansion of Rio De Janeiro
A clear example is a purism in his earlier work. He synthesizes organic forms using free
curves in his later works, but most of his work is focused on geometrical form
compositions. On the other hand, when pursuing the beauty of nature's presence, he
preferred a stunning landscape. Surprisingly, he found beauty in the landscape he had
described as chaotic. For example, the sketches for expanding in Rio de Janeiro (refer to
Figure 3.21) show that he plans an interior life to appreciate the primitive natural landscape
through an entire window in the room (Le Corbusier and de Pierrefeu, F. (1942).
In most of his work, he pursues nature from a view of the beautiful landscape. He also
idealized the significance of the distinct contrast between artificial constructs and nature
when it came to harmony. He was drawn to the difference between pure white geometrical
objects and natural surroundings that humans had not influenced. The effect was to present
an image that emphasizes the two (2004, Le Corbusier et la nature) differences.
Several works by Le Corbusier exemplify regionalism, including Maison de Mandrot
(1931), Maison de Weekend (1935), and others. However, the majority of his design work
is focused on modern mechanical era geometric architecture. In his later works, realizing
organic forms by incorporating free curves is another development into a new type of
contemporary architecture. Since an organism refers to structural conditions rather than the
external appearance of nature, this organic philosophy is also a branch of modernity. As a
result, it seeks out the essence. Thus, Le Corbusier's perspective on nature and design is
based on modern dualism, in which the existential element is prioritized.

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Figure 3.22 modern mechanical era geometric architecture, The Marseilles Unite
Source: Le Corbusier in the Sun, published initially in AR February 1993
b. Viewing the Landscape: High-level viewing and Walking-level viewing
In Le Corbusier's architecture, the body's experience of seeing the landscape can be
divided into high-level viewing, which means seeing from high and Walking-level
viewing that means seeing while walking. Due to the small openings at ground level,
some of his works imitate dark caves, in contrast to the free accessibility to nature.
However, an effective method of Le Corbusier's architecture regarding nature is
finding a high location to watch the overall landscape, which is meant by high-level
viewing. The sketch of la Ville radieuse is an excellent example of this method (refer to
figure 3.23)
Figure 3.23 La Ville radieuse
Source: https://cargocollective.com/lc-live-drawing/12_Sketch-Analysis

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The landscape is visible through the window from inside the room. The outside is framed
like a piece of landscape art from the inside. The mountain and the sea can also be seen
from the roof garden. The roof garden will provide both High-level viewing and Walking
-level viewing methods. Walking-level viewing is the experience of the promenade
architecturale in the words of Le Corbusier. Viewing the surrounding landscape while
walking on a ramp, in a roof garden, or on the ground under a building raised by pilotis is
an example of this. In this case, when moving, you'll see the scenery from various
perspectives and directions as your visual position moves. The contrast between the
artificial structure and the surrounding landscape can be seen from different angles when
walking on the ramp that connects the second-floor roof garden and the third-floor solarium
in the Villa Savoye (1928-9) (refer to figure 3.24).
Figure 3.24 The ramp of the Villa Savoye
Source:https://medium.com/@yasmine.sadek4/the-villa-savoye-le-corbusier-8bc0ae01b769
Similarly, in the Mill owner's association building (1951-4), Carpenter centre for the visual
arts at Harvard University (1961-4) and the Church Saint Pierre de Firminy (1970-2006),
When entering the building through a ramp, you can see the surrounding landscape. The
promenade architecture is also noticed at ground level, as the pilotis lift the structure. The
surrounding lake and mountain can be seen while walking on the ground from the
Figure 3.25 Le Corbusier’s parents’ house sketches
Source: Various sources

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The pilotis raised space underneath the building in the League of Nations building in
Geneva (1927). Similarly, Le Corbusier's parents (1923) (refer to figure 3.25) allows
visitors to view the surrounding lake's overall landscape from different perspectives by
walking around the building and up to the roof garden through the stairs. The Pavilions
Suisse (1930-32) and Marseille's unite d'habitation (1946-52) also have access to the
architectural promenade underneath the buildings. In this way, they were seeing while
walking involves shifting the body's position to view the surrounding landscape and the
synthesized image of the building from different angles.
3.8.2. Methods of Experience in the Phenomenology
It is crucial to establish the assumption that human life is an overlapping of perception and
movement before moving on to the discussion of perception and movement. There are both
physical and social factors of this. It is not possible to think only of physical existence, nor
of only social existence (Berque, A. (2000) Ecouméne). To put it more simply, human life
is educated through language in society, formed through communication with others, and
acted upon with the body in each physical and social situation. As a result, the physical and
social aspects of the body's ability to move and be drawn to objects are combined. A
landscape, for example, is sensed by the body for its physical dimensions, but it is also a
cultural and social phenomenon.
a. Movement and Experience according to Merleau- Ponty
In the philosophy of Merleau-Ponty, perception and sensation are in the same dimension,
as there is already intention involved in our perception and feeling (Merleau-Ponty, M.
1965). The perceiving agent activates the intentional threads that link the subject to the
surrounding environment, allowing the subject to perceive and step towards it. This is
expressed as 'the living body raising itself toward the world'(Merleau-Ponty, M.). The most
critical concept in perceptual phenomenology is the concept of "being against the
environment." There is no separation between the perception, sensation, and movement of
existence in this environment. Perception does not follow the movement. It is not moving
after seeing, but the seeing behaviour is movement in and of itself, and what has seen
changes as a result of this movement. In other words, perception and movement prescribe
and are prescribed by each other (Merleau-Ponty, M.). Walking in a garden and
appreciating nature is walking through a time-space, physical, and human situation; it is
walking while perceiving, moving, considering, and in a condition that varies with each
passing moment.
With each phase, a new perception is obtained, a conceptual point of view can evoke new
thoughts, and the walking path can be changed. Husserl also explains the interrelationship
of experience and movement as follows. When movement is complete, experience
prescribes the possibility of imminent movement influenced by choice (Husserl E, 2012).
b. Space and Time around the body, according to Merleau-Ponty
In phenomenology, time is thought to be relative to one's perspective. According to
Heidegger, time-space can be close based on a human's interpenetration of meaning
(Dasein). This concept of relative space is what defines the location (Ort). Merleau-Ponty
also sees time and space as expanding from the body. These are not absolute, objective, or

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unchangeable concepts, but rather ideas that can undergo qualitative change due to their
existence.
Merleau-Ponty said, "We must not say that our body is in space, nor for that matter in time.
It inhabits space and time (Merleau-Ponty, M). The body is not inside space in terms of
space; rather, space exists only after the body becomes involved. My body is given to me
for as long as I am alive, and in a real situation, we view the exterior space from the centre
of the body—space changes in response to body movement. Furthermore, time is relative
in the sense that there is fast flowing time and slow-flowing time depending on the situation
we are in: "I am not in space and in time; nor do I think space and time; rather, I am of
space and of time; my body fits itself to them and embraces them. Space and time that I
inhabit are always surrounded by indeterminate horizons that contain other points of view.
The synthesis of time, like of space, is always to be started over again"(Merleau-Ponty, M).
In this way, Merleau-Ponty's time and space are qualitative and relative to our body and
situation.
Figure 3.26 Implications for Architectural and Environmental Studies
Source: https://www.semanticscholar.org/paper/Merleau-Ponty
3.8.3. Characteristics of Experiences in the works of Le Corbusier
Le Corbusier's ideas about the body are demonstrated in 'Modulor.' For a harmonious
proportion, Le Corbusier used 'the Modulor' in all of his architecture, from door handles to
ceiling height. Modulor was suggested to be 'a harmonic measure to the human scale,
universally applicable to architecture and mechanics (Berque, A). The Modulor is a
mathematical figure theory in the physical dimension of the body, not a perception and
phenomenon theory. This idea relates to his modern dualistic view of nature. It is an
example of applying the intrinsic law of nature microscopically to the body and architecture
to create a new creation based on natural laws. The Modulor has nothing to do with human
perception or the scene of a phenomenon.

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a. Experience in High-level viewing
Le Corbusier's perspective on the landscape is based on seeing from above. This refers to
seeing the overall spectacular view from a high elevation. As an opposed object, nature
(landscape) is spread out in front of the subject. Viewing the landscape is one way to
experience nature, but the perceived nature and the perceiving subject cannot escape the
stationary situation of the moment.
The body is immersed in it to see a landscape, and the body's movement is attracted toward
it. For example, as we walk around on a hillside, we perceive another image of a far
mountain that we had previously perceived. By contrasting near and far, we perceive the
overall mountain, and our location is identified. However, when looking down from above,
one focuses on a single point of one aspect of nature. It is impossible to compare the small
scale of character to the large scale of nature in this situation. Nature's sensory worlds can
only be seen from a distance. As a result, this experience is purely visual. Authentic nature
experience, on the other hand, involves perception through all of the senses: seeing,
hearing, touching, smelling, and tasting. Sensing and moving create 'purposeful
discussions' that connect us to nature.
Furthermore, seeing from above involves thinking about space and time rather than
inhabiting space and time. As a result, it is easy to abstract the experience that was
previously a thoughtful way of thinking. As a result, seeing from above is characterized by
constancy and abstractness, as natural things such as mountains, trees, leaves, grasses, and
moss are separated by a single-colour green. Le Corbusier meant that nature is divided into
three abstract elements: light, air, and green (Berque, A).
b. Experience in Walking-level viewing
The experience of nature gained by walking can be more detailed than that achieved by
looking down. However, because the movement is performed at a high elevation and within
the confines of a building, the experience of nature is abstract. In the unite d'habitation in
Marseille, we walk on the ground beneath the building raised by pilotis, but we see the roof
garden from the air.
Figure 3.27 Roof Garden of a Marseille unite d'habitation
Source: https://science.howstuffworks.com/engineering/architecture/brutalism.html

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On the roof garden of a Marseille unite d'habitation, it has both the characteristics of seeing
from above and seeing while walking. We can see the sea and the outline of the mountain
while walking on the roof garden, and we can check the position of the sky and sun. By
looking around the landscape in all directions, we can determine our location within this
nature. However, compared to the magnificence of nature, the scale of the roof garden is a
single point. We can't walk toward the mountain on the roof garden, so we can't see the
other images of the hill.
The nature experience from the unite d'habitation in the Marseilles roof garden is more
detailed than from an interior room, but it is still abstract. The experience of nature through
seeing while walking can break free from abstract ideas because it is closer to the ground
and because the direction of movement can be changed. In this case, a more varied visual
sequence can be viewed. The sense of sight is not the only one that can be used. The walk
and concrete and contingent experience of nature are made possible by the space beneath
the Pavilion Suisse raised by pilotis and the space surrounding the building of Le
Corbusier's parents.
In the case of the Villa Savoye, consisting of the natural environment around oneself, Low-
rise buildings, on the other hand, can provide a more diverse environment. Even though
situations high in the air have a more visible appearance, the movement is limited by the
boundary of the roof garden and the ramp. Walking changes the viewer's location and
allows the viewer to experience the background regarding the various ways the building
and surrounding nature appear together. This is an architectural strategy for combining
movement and perception when constructing a structure. However, in Le Corbusier's
architecture, the experience of nature is primarily abstract, imagining nature from a
distance.
c. Different Situations and Different Contexts
Previously, the experience of nature while looking down from a great height was classified
as abstract. This, however, varies depending on the state of the body and consciousness.
When we look out the window at the landscape, we are drawn to it and feel the desire of
our bodies to walk towards it. Depending on our intention and the state of our body and
consciousness, our experience may differ.
Figure 3.28 Church Saint Pierre de Firminy
Source: https://www.pinterest.com/pin/456904324681966618

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Merleau-Ponty expressed this non-clearness and ambiguity using the terms 'hollow and
fold’(Merleau-Ponty). Harmony with the surrounding environment will also be kept in
mind. Based on the situation, the concreteness and contingency of the experience gained
by walking up a ramp may be limited.
The church's ramp in the church Saint Pierre de Firminy leads to the church's interior. Our
body and consciousness have a purpose in walking and viewing the surroundings to enter
the church. To enter, we must look to the front, whereas we must look to the side to see the
surrounding landscape. The ramp leading to the church and the surrounding urban
landscape creates an individual purpose and end. These ramps produce body movement,
but the regular speed and perception while on the ramp are consistent.
3.9. Conceptual Framework
The conceptual framework summarises the entire literature review, including all the
parameters experimented in the research ahead. The aim is to establish the experiences in
the works of Le Corbusier from a phenomenology perspective. Through phenomenology
aspects which are mentioned below, the study will be taken forward.
Figure 3.29 Guiding Principles of Phenomenology
These Phenomenology aspects are divided into four categories that are a sense of place,
human perception, which will include only visual sense in the further study; emotional
response to architecture which is further divided into movement and experience, which will
be more focused in this research, and object vs user interaction/relation.

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The above phenomenology framework and Le Corbusier’s design philosophy, including
pilotis, ribbon window, free façade, open plan, and roof garden, will be combined and
explained through the parameters form, space, body, and technique secondary primary case
studies.
Figure 3.30 Conceptual Framework

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4.
Secondary Case Studies
4.1. Outline
The fourth chapter is about secondary case studies which contain two case studies and a
Conceptual framework. This particular chapter focuses on the second objective as to
understand the works of Le Corbusier through the experience obtained from his
architectural instruments where the factors of the conceptual framework as space, form,
body and technique will be studied in detail by doing the case studies. The purpose of doing
this case studies is to show how phenomenology is seen in Le Corbusier’s modern
architecture with the help of his design philosophy. The secondary case studies are
completed by analyzing the relationship established between Phenomenology and Le
Corbusier as per the table below, noting down the cumulative analysis, comparative
analysis and interference concerning the parameters.
4.2. Case Study: Villa Savoye, France
Le Corbusier took an approach to house design that applied industrial principles of factory
buildings on an individual scale; in sum, he was interested in progress and the use of
technology (Gossel, Gabriele 2005).
Figure 4.1 External view of Villa Savoye
Source: various sources

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One of the last of Le Corbusier’s purist villas, and the last of his four compositions, the
Villa Savoye (named “Les Heures Claires” by Le Corbusier) (Benton, Tim, 2007) is
recognized as the most faithful to his five points of architecture: “the columns [pilotis], the
roof garden, the free plan, the long window, the free façade (Meier Richard, 1999).
4.2.1 Space
The Villa Savoye (the Villa) symbolises Le Corbusier's ideas and methodology, designed
and built between 1929 and 1931. The main focus of this unique building is the ideas of Le
Corbusier about how space should be arranged and experienced.
Figure 4.2 The sequence of movement – experiences along the path
Space can be seen as fundamental to human experience; therefore, it is realistic to infer that
much of our spatial environment, whether a landscape, city, house, or room, is designed by
people with people in mind (Birkhauser 2009). We perceive spaces through our senses
individually; form, materiality, light, and colour are all times that can stimulate the
individual and aid in the evaluation of space (Exner & Pressel 2009). Ultimately, space is
a relationship on the cognitive and sensory level; the individual is between things and
bodies, which vary in scale from acoustic and visual signals to the phenomenology of space
(Exner & Pressel 2009).
Figure 4.3 The sequence of movement – experiences along with the vertical levels

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Concerning architecture, space can inform users, which is sometimes reflected in the
overall form; the intended actions within (Exner & Pressel 2009). The function of a space
and its spatial features can influence the user and provide a container for a specific activity
or interaction (Exner & Pressel 2009). When designing the public and private areas of Villa
Savoye, Le Corbusier decided to blur the line between interior and exterior spaces.
Figure 4.4 Villa Savoye master bathroom; showing how space is used
Source: https://vdocuments.mx/le-corbusiers-villa-savoye.html
The number of openings and materials used in the building's spatial structure express a
narrative between the interior and exterior of the space. Areas in the residential space are
divided into zones based on their function and privacy requirements. The ‘publicness’ or
‘privateness’ of space directly influences an individual’s behaviour while engaging with
space (Exner & Pressel 2009). For example, a more private space, such as the master
bathroom in Villa Savoye, would be built on a human scale to provide familiarity, comfort,
privacy, and a space to reflect.
The bathrooms and bedrooms are organized in a protective structure of privacy deep inside
the building by using space and physical boundaries. Doors and walls leading to these areas
are painted dark colours to deflect light and focus away from them, resulting in little
opportunity for exploration and a stark contrast to the inviting wall of windows leading to
the hanging garden. Within the master bathroom itself, a skylight above and a tiled chaise
lounge attempt to bridge the inside and outside of the intimate space (Gans, Deborah 2006).
The chaise's curving surface is meant to resemble the landscape. At the same time, the
skylight creates a direct connection to the outside, allowing natural light and sky into the
otherwise private place, redefining the importance of the outdoors.
More public space is designed with the many in mind and attempts to generate an area free
of social control; It is a space for movement, activities, and lingering (Exner & Pressel
2009). The hanging garden on the main level offers an open-air region that links the rooftop
garden to the rest of the house, providing a more public space inside Villa. This space's
permeability, freedom of movement, and inviting views create a welcoming atmosphere
that draws people in and encourages interaction. The positioning of furniture in this space
draws the individual's attention to areas that the architect has identified as activity areas.
Walking through space allows an individual to experience the dimension of time; a spatial
sequence might be conditional upon the speed of a user (Exner & Pressel 2009). Materiality
can also be defined by time and the trends and materials available (Exner & Pressel 2009).

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Space, on the other hand, changes as time passes. The lower level's exterior proportions are
nearly equal on both sides, de-emphasizing the front and back. The drive wraps around the
lower level through the pilotis, forming a scripted entry route that leads to the main entrance
and Le Corbusier's architectural promenade that runs through the house's interior.
Figure 4.5 Villa Savoye, the pace of the space
Source: https://vdocuments.mx/le-corbusiers-villa-savoye.html
The architectural promenade can be seen in the ramp that connects the floors from the lower
level to the rooftop solarium and the spiral staircase that runs alongside it. This prescribed
routing allows those experiencing the space to experience it in a “series of partitions of
infinite space” (BanHam, Reyner 1975). The structure and geometry of the building
bounded and described the infinite space that one is seeing. Le Corbusier's design allows
for glimpses outward, allowing the interior to flow outward into this endless space.
Figure 4.6 Movement analysis, Villa Savoye
Source: https://arch1201designstudio3.blogspot.com/2011/05/project-2-villa-savoye.html
Le Corbusier incorporated the ramp because “…one rises imperceptibly through a ramp,
which is a completely different sensation from going up a flight of stairs. A staircase
separates one floor from another; a ramp connects” (Baltanas, Jose 2005). This ramp is an
essential element as it is dynamic and serves as a necessary contrast to the house’s inherent
horizontality. The ramp also allows a sense of moment through the structure; this is an
important relationship to the observer that has become vital to modern architecture
(BanHam, Reyner 1975).

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Le Corbusier gives the inside and outside spaces special attention. The terrace and solarium
are carefully integrated into the system to flow into the interior space and vice versa. The
building's spatial flow arranged around the ever-climbing promenade orients and guided
visitors through the room. As Norberg-Schulz (2013) points out in his Phenomenon of
Place, character and space come together to create a spirit of place (Norberg-Schulz, 2013).
Le Corbusier's unique character or atmosphere creates a constantly surprising setting and
enticing to a single person with such an upbeat personality and deft use of language, a limit.
Space is a broad concept classified as either produced (constructed) or natural
(environment). An individual's perception of space is an experience or interpretation based
on sensory stimuli, regardless of how it is produced. It is an intense relationship between
the user and the building through the act of movement (Tschumi, Bernard, 1996).
Compared to an open terrace, a steep staircase or narrow corridor creates a different
perception of space. The concept of space is focused on the unique human experience.
Figure 4.7 The gradation from outside to inside
4.2.2 Form
Le Corbusier believed that the key to having an architecture respond to precise machinery
was geometry and, further to that, what he called’ pure volumes’ (Gossel 2005). This
mathematical approach of these ‘pure volumes’ proved that architecture could be more than
mechanical stereotype forms (Gossel 2005). This concept was applied to the Villa Savoye,
which considered ideal geometric proportions and the capacity to guide visitors through the
architecture.
Figure 4.8 The overlapping elements
The Domino Structure, characterized by horizontal slabs joined by a dogleg staircase, was
designed by Le Corbusier using structural concepts from the Maison Domino. A ramp was
added to the mix at the Villa Savoye, allowing for a shape with a dual function of being

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meant to be seen while also allowing for viewing Le Corbusier's architectural promenade
as it flows upward from the ground floor to the solarium, both inside and outdoors.
Figure 4.9 The plane of contemplation emerged into the domain of nature, the sky.
To create the final form, Le Corbusier began with a cubic volume and eroded elements.
Rectangles, cylinders, and cubes are used in the Villa Savoye to fill in the voids left by his
erosion of the overall cubic volume (which is stretched along one axis, making it a
rectangular book). By carving out the volume, Le Corbusier creates a form that appears to
float above the horizontal plane, one that attracts a person into the building.
Figure 4.10 Villa Savoye; Elevations
Source: https://danmorrissey.files.wordpress.com/2010/01/case-study-final.pdf
By carving out the lower-level sides to form a driveway that is contained under the upper
level and informs the lower-level exterior wall as it wraps around in a semi-circular pattern
that is based on the turning radius of the car as it follows its fixed path from the drive,
around the entry, and to the garage, this exterior form contains the preferred and intended
mode of travel in the building, the automobile.

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Figure 4.11 Diagramming routes, scenes, and thresholds in Le Corbusier’s Villa Savoye
Source: https://wanderlustworkshop.wordpress.com/2014/10/10/weyrauch_phase3/
He was able to open up the structure to frame the surrounding environment by purposefully
leaving voids within the wall spaces and roof. This point was well illustrated at the top of
the ramp to the roof garden. When you look up the ramp, you'll notice a void in the wall
(Figure 4.3). This void was supposed to be a window for Le Corbusier's initial plan to put
the master bedroom on the topmost level. Still, by leaving it in, he frames the top of his
architectural promenade and allows it to extend outside from the physical form into the
environment. Rooftop windows generate gaps in the ceiling, which are used to bring light
Figure 4.12 (left)window at the top of the ramp, framing view outside, (right)light from rooftop window
reinforcing form in the bathroom
Source: https://purposeprocess.wordpress.com/october-25th-poisy-and-villa-savoye/
Into the structure in strategic locations to create specialized pools of light, such as the
master bath. Interplays of light and shadow were common in Le Corbusier's work. To bring
the forms he uses to live; he uses light and shadow. Dark lines can be used to frame or

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outline elemental forms, just as they can in painting. However, Le Corbusier inverted this
relationship, highlighting the structure with light rather than dark.
Using gaps around the form, he refutes the structural characteristics and load-bearing
capabilities (Samuel, Flora 2007). he was making the presence of the primary form both
more intense and more on a human scale. The Villa Savoye completed Le Corbusier's
experiments with pure geometric shapes in his five points. Through his use of form, he was
a master at blending different forms to create a unique spatial experience. He used a mixture
of parallel planes, light, shadow, and void to highlight these figures. The Villa Savoye's
fundamental shapes come together to make a singular sensual form that offers a unique
experience to those who go through it. These forms function in harmony with the massing,
light, and shadow generated by dissolving and mixing them. While it is a prime example
of the purist approach of modernism (though not so much as his later work, or that of Mies
Van Der Rohe), it also shows us that modernism has its faults and drawbacks and was not
the end state that it was desired to be.
Figure 4.13 Corbusier’s sketches are showing the distinct nature of each layer.
Source: https://lecorbusier-worldheritage.org/en/villa-savoye-et-loge-du-jardinier/
4.2.3 Body
Le Corbusier employed the concept of the house as a ‘machine for living’ as previously
stated. This notion was the fuel Le Corbusier used towards a new contemporary architecture
(Gossel 2005). Due to its reliance on automobiles, the Villa Savoye demonstrates a rather
literal interpretation of the house as a "machine for living." This idea has already been
established, and however, in the context of the body, the vehicle might be regarded as the
building's heart.

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