Applying theories of phenomenology to religious spaces (Pages

Chapter 2-

Theories of phenomenology applied to religious spaces

The importance of creating an atmosphere is fundamental in the phenomenological experience of any space including that of religious importance.

According to the book, ‘Architectural Atmospheres: On the Experience and Politics of Architecture’ (2014), the creation of this atmosphere

begins immediately after the user enters the structure using each key sense that is triggered by the surroundings as well as how well the building

is complemented by the context of the site. This is because a building which doesn’t fit with the site context can take the user away from the phenomenological immersion before they even enter and as such many contemporary buildings struggle with further profits instead in this way design can act as a means of storytelling being able to guide users down a specific route (Fig. 13). Additionally, the basis of a phenomenological designed building is experience and many theorists including French philosopher Gaston Bachelard (1885-1962) who wrote ‘The poetics of space’

which explains that architects need to design spaces based on lived experience as a opposed to the need to fulfil a quota, thereby it entrusts the design to create positive experiences that in some way invoke users to think of the space as more than just a shelter and in the case of religious

structures combining the spiritual with the physical and emotional psyche of users (Bachelard & Jolas, 1994).

The way to create this unique phenomenological experience for the users however is through space. Which can become individualised and can

entirely be based around an architect's own judgement of the importance of certain factors to include, increase or reduce to create the desired

effect for a particular mood or atmosphere (Aravot, & Neuman, 2009). When looking at religious and sacred structures the phenomenological

experience of these buildings becomes another layer within the mind of a believer of that particular faith, however through structure, design and

arrangements those who hold little or no faith in the presence of a greater power can also be moved and begin to manifest their own ideas and

place within the world.

The manipulation of visuals is a key element to experiencing a space, because the eyes help users understand a space, although it isn’t the only

sense that is used when a user experiences a building. Mallgrave (2018) discusses that the feeling for space and form can be determined by the

elements within a structure, an example included was staircases because as the user approaches the stairs their brain triggers a certain reaction

to lift their foot, grab the handrail and continue to climb (Fig. 14). Therefore visuals become the first point the brain uses to understand a space. However, along with visual indicators the way to experience a space is through touch as once light within a space is gone users often use their

hands to feel the wall, floors and objects around them. This materiality aspect should be considered as it can greatly affect the user by creating conditions such as using concrete for walls. Concrete not only acts as a heat conductor, therefore altering the temperature of the space but also

the reflections of light and creation of shadows (Fig. 15). The acoustical properties are also affected by the material fabric of a building, often architects choose materials for specific ambiances they try to create (Augoyard & Torgue, 2006). An example of a mosque being designed to echo the sound of the call to prayer to signal believers the join (Fig. 16). Thereby placing an importance on what material is used and for what purpose

to create an atmosphere or to convey a message to users within and around the space.

architects to consider the effect on users when considering how much light is needed to fully understand and appreciate a space (GERTZ, 2010). Light is affected and manipulated by many elements within a building such as interior materials reflecting and absorbing, space size as enclosed spaces would need significantly less windows than larger spaces and the amount of windows/artificial light sources used throughout the building (Fig. 17) (Unwin, 2013). In religious structures, it would be more favourable for architects to design a space with natural sunlight present because of

the spiritual connection between light and the presence of God. Moreover, the sunlight and weather itself is controlled by nature and to those who

believe it is controlled by a higher power therefore spaces which are to be naturally lit by the sun rays are left to be controlled by God (Stegers,

2008). Therefore, light itself can be used as a tool by architects to guide users down a certain pathway by using shadows to block out areas which

are not supposed to be accessed, those who believe can akin to being led by God's light (Fig. 18).

These elements in design all affect the psyche of users within and around the space and in designing a space in a religious context. Increasing

the spiritual presence of God by manipulating certain elements can create a positive phenomenological experience of the religious space and

depending on the idea behind the design from the architect can convey a message for those users who experience it.