(Source:

Phenomenology acts as the bridge between

Image 2: Conceptual image of the Beijing Na

(Source: Skyscraper Cityii)

Image 1: Modernising traditional china

Source: Bird’s Nest - Herzog & De Meuron in Chinai)

Phenomenology acts as the bridge between the old world and the new world

Assignment 2: Theory Report

Michael Dernee: c3089219

ational Stadium ‘Birds Nest’ Theme:

Building: Beijing National Stadium (Bird’s Nest)

the old world and the new world

Assignment 2: Theory Report

Michael Dernee: c3089219

Theme: Phenomenology

Building: Beijing National Stadium (Bird’s Nest)

Abstract:

The aim of this writing is to consider in detail phenomenology in contemporary architectural theory,

developing an original and sustained critical argument that demonstrates an awareness of the

political, cultural, social and economic dimensions that have shaped the theory in question, it will

interpret, appreciate and critically dissect the Beijing national Stadium.

My argument is that phenomenology acts as the bridge between the old world and the new world

and through that a harmonious connection took place.

This writing is here to understand how Herzog and De Meuron created a building through

phenomenology that harmoniously worked for the traditional eastern nation with a political

background that is communist, whilst still working for the extremely westernised Olympic

committee.

This writing experiments with the inner theories of phenomenology; the three fields, genus loci,

senses and concept, to directly answer the question of how the political, cultural, social and

economic dimensions are balanced.

Through the theories of phenomenology the Beijing national stadium enables the Chinese

traditionalist to feel their own culture in a modern context without experiencing concerns about not

meeting Western requirements.

Phenomenology questions the most basic theories of architecture to open up the mind to new

architecture. It is a major movement that juxtaposes rationalism; instead of questioning the quantity

it focuses on the quality of architecture and not the magnitude of the enterprise. Phenomenology of

architecture refers to the viewers’ sensory experience through sensory properties through the use of

building materials, features and textures; a philosophy where the building does not function in the

first, second dimension or third dimension, but the fourth dimension of time (a perception of sight,

touch, and feel).

The following theory report will evaluate the Beijing National Stadium in reference to a major theme

in contemporary architectural theory and the implications that this movement has had upon the

location and its people. This theory report will aim to give a thorough insight into the history of the

site, government and architecture of Beijing the history of the Olympics and the problems associated

with these subjects. It will then go on to describe how the theory of phenomenology acts as the

bridge between the old world and the new world. In summary by using phenomenology in

architecture, it allows any architect whether they are a foreign or native to create harmonious

buildings that reconcile opposing themes and beliefs and then associate with the population whilst

also teaching the local audience.

In the theory of phenomenology, a sub-branch coined by Christian Norberg-Shulz as the ‘Genus lociiii’

or in other words the introduction of ‘the sense of place’ in the thought of architecture is one used

in the Beijing National stadium. The problem arises when that place that is being created is being

built under an architectural political and cultural regime that is rather controversial in nature.

China is a thriving country built on the success of the people working to overcome physical

impossibilities to create and perform at the peak of their physical and mental capacities. Sport is

hugely important aspect in their culture, physical fitness is held in high regard and as the country has

developed so too have their capabilities at the Olympics. In the two thousand and eight Olympic

Games, China sprang onto the world stage: they came first, exceeding the USA in most gold medals a

first time in sixteen years showing their countries true ability rise up to the occasion and their degree

of improvement. Within five Olympics Games, China went from the eleventh ranked nation to the

best competing country in the world, one of the most rapid improvements for a country in the top

ten and the fastest ever progress for a world championship team.

Beijing at this time was also the largest growing high-rise city in the world and as Ai Weiwei

describes: “The entire city comes from one same plan, always the same design. All the buildings look

the same, all the street looks the same and even the trees how they planted looks the same, and it is

indistinguishableiv”. The new Beijing has totally lost the identity it previously had, and it is impossible

to understand where in the city you are located, what kind of culture there is and what kind of

history surrounds the location in which they reside.

China has a rich history, from their earliest creation of buildings to the Great Wall of China; the

country is recognised for its vernacular style for which the capital city of Beijing is blessed with and

world renown. An important aspect of discussing the region comes when we examine the Beijing

imperial axis which travels through the temple of heaven, Tiananmen Square and the Forbidden City.

Sadly all the sites of Beijing and all of the cultural buildings of Beijing are obsolete in reference to a

modern Olympic stadium.

The Olympic culture and tradition aims to show the physical peak of humans, where only the great

countries are able to host the Olympics games. For Beijing this is the milestone that demonstrates

that Beijing has arrived on the world stage as a dominant figure, with the pearl of the Olympics to be

the National stadium. Out of the twenty-nine summer Olympics there have only been three eastern

countries hosting the games and only three countries have hosted the Olympic Games have been

under the political regime of a communistic institution. Chen Gang Deputy mayor of Beijing

summarises the Olympics by saying:

‘I think the Olympics presents a two way opportunity. On one hand China is given a

venue to show the world our strength our culture, our development and process. On the

other hand with the door to china open to the world, we also learn a lot from the

worldv’

The challenge then is: how do you design a building that will work during and after the Olympics,

whilst being a monumental building for the country of China and also modern building that reflects

the power of the nation.

Herzog and de Meuron’s chose a Chinese artist to assist with the construction and design of the

stadium. Ai Weiwei is an artist, architectural designer and an activist best known for his art of

dropping ancient pottery and the intensely expressive ‘fuck off’ exhibition. He shows Herzog and de

Meuron how far they could go with challenging Chinese ideas, what kind of language or what the

kind of forms the ideas would be to be understood when expressed in a certain way by the local

audience. Ai Weiwei went on to explain that for such a monumental building which is aiming to put

Beijing on the map as an Olympic host, the building itself does not need to be tied down to cliché

notions of traditional Chinese design. The aim would need to be not so much mocking the traditional

ways but showing that the building is a modern one and synthesising the old and new conceptually.

The aim as we find is to create a monument that works to describe the new powerful city of Beijing.

The Beijing National Stadium is a steel structure of woven metal columns that thread bend and twist

in a manner that is seemingly like a built version of a birds nest. The actual stadium is detached from

the steel columns; in a concrete bowl that is painted red and is raised up to steel columns which are

segregated as well. The stadium ground level is completely open which allows the public to stroll

through from the outside into the transitional space with the crisscrossing columns, then to venture

further into the arena and stare into the vast vacant cavity of the stadium.

The Beijing National Stadium is a bridge between the old world and the new world, welcoming the

traditions and culture of China whilst bringing forth a new modern China thriving on the competitive

nature of the world. The stadium depicts the Olympic stature whilst also abiding by the rules of the

local government.

‘Making a non-empirical architecture requires a conception or a formative ideavi’. The design of the

Beijing National Stadium is not of the vernacular imperial nature and due to this factor a strong

concept was needed to integrate the new with the old and keep the traditionalists happy. Deciding

on the right symbols in China can be tricky for Western architects as the design can be perceived

colossally different due to the vast cultural differences and cultural misunderstandings. The design

of the Beijing national stadium also has to depict the legacy of what the capital city of a country is:

that is rapidly becoming a world super power. The design of the columns of the national stadium

was influenced by the patterns found on traditional Chinese pottery as well as the random effects of

nature; this in turn was dubbed as a birds nest due to its resemblance to that of woven twigs. This

concept of a birds nest can continue even further when analysing the roof structure. It is finished in

a padded scheme that tactically seals the spaces within the structure veneer to control wind,

weather, and sunlight. On the rooftop, the cushions inflate to fill gaps. “Just as birds stuff the spaces

between the woven twigs of their nests with a soft filler, the spaces in the structure of the stadium

will be filled with inflated cushions.vii

” Named by the people of china the Birds Nest was a big hit, it is

now depicted on the currency of the Yuan replacing the Chairman Mao Zedong's face a moving away

from its traditional look. The metaphorical representation of the bird’s nest symbolizes the launch of

a phoenix bringing redemption and the re-birth of a country. This concept allowed for the linkage

between the two worlds by creating a modern building that was also fitting for the situation of an

Olympic centre stadium in an eastern country with a communistic parliament. It shows the

development of the nation and in many respects has acted as a nest for the development of China’s

confidence in itself.

Image 3: Ten Yuan with the Beijing National Stadium depicted on it

(Source: Neohideviii

)

The theory of Genus Loci is a key aspect of phenomenology and can be applied to the birds nest in

many ways. The Birds Nest can be an example of polar opposites balancing each other out, a ying

yang effect. When looking at the site of the birds nest, what Herzog and de Meuron have done in the

national stadium is create an environment around the building; from the green site, through the

shopping centre to the eastern corner; to which there are many places that connect with the culture

and the traditional style whilst creating a modern environment. The viewer when focusing out and

looking at the larger scale of the Olympic green sees the site where the majority of the competitions

took place. The entire site including the green area was created completely from scratch and it is

interesting to note that the site is located on the imperial axis. This axis travels through the Temple

of Heaven, Tiananmen Square and the Forbidden City. When this line is extended a further eight

kilometres it reaches Chaoyang, the centre of which is the green Olympic site. It can then focus

solely on the building itself mimicking the nature of the culture and politics of the proud nation that

it represents.

In a broader picture the imperial axis acts as polar opposites of a cultural scale. The imperial axis is a

traditional line of site that goes through the most significant building of China’s history.

The Forbidden City was the Chinese Imperial Palace which was the home for the emperor and his

entourage’s residence. It was also the Centre of Ceremonies and politics of the Chinese and a place

where much action has occurred. From the Ming Dynasty to the end of the Qing Dynasty the

Forbidden City reigned: for almost five hundred years, it served as the exclusive base of the emperor

and all other people were forbidden from entering into it. On the contrary the Beijing National

Stadium functions in a completely different manner: allowing anyone to enter into the frame of the

structure which Jacques Herzog has described as "an architectural forestix" where:

“Its beams, stairs, frames and other steel elements standing in for trees and branches,

and providing an awe-inspiring transitional space between the exterior, the Olympic

Park, and the interior, where the arena awaits.”

Image 4: Architectural Forest

(Source: archiCentralx)

Herzog and de Meuron wanted to create a space where, the stadium is more than just a building. It's

a part of a city a public space, where:

“Social life is possible, where something can happen, something that can, quite

deliberately, be subversive or -- at least -- not easy to control or keep track of.xi”

This is a juxtaposition of space where the traditional architecture of controlling peoples actions to

the freedom of the people to do what they want, acts as the bridge between the old world and the

new world and a way of letting old prejudices go. This is formed by the differing spaces created by

Herzog and de Meuron.

When looking into the site of the Birds Nest a polar opposite of a cultural scale occurs. The green site

of the Olympics was completely created from scratch allowing the site of the National Stadium to be

restructured to generate an atmosphere which is closely related to what is the natural Chinese

environment. From the inside of the foyer, where the architectural forest invites the spectators to

explore the building, so too does the greenery which completely circles the building creating a

language prevalent to the locals of area. This space differs from Chinese architecture which encloses

greenery: here the greenery encloses the structure; this can also be referred to in the Beijing

National Stadium’s foyer to "an architectural forestxii

" the plays on polar opposites balancing each

other out creating a yin yang effect of the outside and inside is created. The pathways of the stadium

also create the feel of a forest due to the pathways never going straight into the building, and hence

not allowing the patron to see the building straight away. These pathways also act as a planned

version of the birds’ nests concept, which is derived from the patterns taken from the traditional

Chinese pottery creating a random effect that acts to mimics nature. Mimesis connects the building

not only to traditional Chinese ways and theories but it also works towards creating a modern path

that is connecting the old world and the new world through the theories of Phenomenology.

Image 5: Site Plan Image 6: Green Site

(Source: "Bird's Nest" National Stadium (Beijing Olympic Games 2008)xiii

) (Source: 1800what?xiv

)

Looking in closer detail the national stadium mimics the culture and hierarchy of a proud nation in

many ways, from the seemingly arbitrary state of the building stepping up onto a mound to the

hierarchal seating arrangements in the building which allow for the culture to be expressed. Pierre

de Meuron in the documentary “Bird's Nest - Herzog & De Meuron in China (2008)xv

” describes this

theory of having to step into something where there is a vertical rise, describing it as an interesting

design likening it to the Temples of China and how they have used this method to create a transition

zone between the areasxvi

. This allows for a spiritual connection between the colossal stadium and

all the major temples of China, creating a relationship between the old world and the new world

that allows for a special repoire to take place. Another very subtle but extremely important element

of enabling this rapport to be established took place in the creation of the seating arrangement. The

design had to relate back to the culture of china where the hierarchy exists but on the other hand it

had to not make a grand gesture that the building would not be oppressive and overwhelming. To do

this they created a design that balanced between disorder and order, seeming random and chaotic

at the same time but when explained it showed a very clear structural rationale. By allowing a

persona to explore the building the architect is allowing the persona to create their own perspective

on the building and not telling them what to feel. This is present in the stairs to the higher levels.

Branching off the columns the stairs do not go straight up but curve with the structure. This curve

creates a certain mystique to the building whilst creating a chaotic form as the stairs cut and

drastically change in width. The balance of these stairs occurs extremely subtly as the stairs are the

most direct way up to the higher levels. This links throughout the theory of genus loci where old and

new worlds are linked together although extremely subtly these two worlds exist in unison through

the building.

The Birds Nest also uses the theory of the senses from the theme of phenomenology to allow

differing perspectives to liberate the local’s whilst also showing the complexity and incredible

quantity of work that the nation can create. A main argument in the theory of phenomenology is

that architecture should be designed in reference to the experience through sensory properties;

these sensory properties should be from many different stimuli and not only sight. This is displayed

in the latticework of the columns where the intensities of light and dark act to warm and cool down

the perceiver. The design of the Stadium also allows a natural wind to come across and whisper

through the columns creating a natural passive ventilation system that the patrons can hear and

feel. This theory creates a dramatic difference of feel in a building, a positive effect where the spirit

can bond with the building.

Picture 7: View from the Greenery Picture 8: Transitional Foyer

(Source: The Official Website of the Beijing 2008 Olympic Gamesxvii

) (Source: The Official Website of the Beijing 2008 Olympic Gamesxviii

)

Traditional Chinese culture relies on the bright visual display to associate with different feelings and

sensory cues or impressions. The cultural beliefs of colours and their effect on the Chinese way are

very dubious for instance happiness and good luck is believed to be brought on by the colour red a

colour used in the concrete shell. Red is an auspicious colour which for an Olympic stadium is also a

perfect choice of colour to represent the vitality of the Olympics.

Another sense is depicted by the use of nature. The stadium is enveloped by serenity due to the

natural surroundings of the Olympic forest park. The forest park enhances the space by allowing

nature to surround the Olympic stadiums. Nature is a mechanism for sensory interaction; the

colours, sounds and textures as well as scents provoke the sensory systems. The Olympic forest park

has a lake that rests around the building from the north around the eastern side to which it curves

around the structure and follows down south towards other Olympic venues. This forest park is an

artificial one that allows patrons to stand right next to the lotus flower and observe the five hundred

thousand plants and one hundred and eighty species right next to the national stadium. This type of

landscape was created in a much larger scale in China’s past. The Old Summer Palace was built in the

seventeenth and eighteenth century and had a mound that was created from digging up an artificial

lake, this cost the emperor in an excessive amount and because of tradition of burying the emperor

it did not matter despite the discomfort it caused to the emperor’s subjects. The Olympic forest park

was planned to have a large mound but due to costs the area was instead turned into a green forest

area.

Picture 9: the Chinese lotus

(Source: The Official Website of the Beijing 2008 Olympic Gamesxix

)

Due to the use of all the senses and not just one key sense, Herzog and De Meuron created a journey

through each threshold. This journey through the threshold could be from an inner room to an outer

room and was achieved by the architects by using juxtaposing materials, environments and colours

to create a feel that no geometry can create. This journey is a memorable one where the viewer

walking through the architects design could see a positive idea and concept and also would

experience nostalgia for the old ways.

In the readings by Steven Holl’s ‘Pre-Theoretical Ground’ we find that in understanding the

importance of using the senses to understand a structure one has to understand that perception of

perspectives is the basis of the process. Steven described the three fields; ‘the foreground, middle

ground and distant view’. It is apparent that Herzog and De Meuron designed with these techniques

in mind as the Beijing pavilion is instantly recognisable from the great distances and successfully

creates an iconic image; the nickname itself is enough evidence to explain that Herzog and De

Meuron have successfully achieved recognition through continuous focus on the use of three fields.

Picture 10: View from the North East

(Source: Kinabalooxx

)

As the patron comes closer the building and passes the threshold of the middle ground a new

environment comes forth. It cleverly integrates concept of Chinese pottery through the allocation of

entrances and the use of lighting and through the integrated columns throughout the transitional

area works on building the new environment.

Picture 11: In the middle ground looking outside Picture 12: looking through the structure from the outside

(Source: Dezeenxxi

) (Source: Dezeenxxii

)

When the patron arrives in the stadium the use of the EFTE light padded roof allows for the

maximum amount of light into the stadium without overexposure, while the chairs reciprocate the

colour of the concrete shell to which the chairs colours fade up into at the top where it rejoins the

nest and meshes the two entities together.

Picture13: Looking from the inside watching

(Source: Dezeenxxiii

)

The Beijing stadium uses phenomenology to bridge between the differences old world and the new

world, welcoming the traditions and culture of ancient China whilst bringing forth a new modern

China thriving on the competitive nature of the world. This is achieved through a strong concept of

integrating the new with the old and the old with the new to keep the traditionalists happy. Herzog

and De Meuron received this idea from Ai Weiwei; the idea influenced by the patterns found on

traditional Chinese pottery as well as the random effects of nature. Another way this building utilises

Phenomenology is through the application of the theory of Genus Loci; a particular space having a

particular identity to which every space has its own, the Genus Loci is crucial in the sense of creating

a sensation of internal and external world and causing a seamless merge between the two which

reflects the wish that China has to reconcile its past with its future.

The Birds Nest utilisation of the senses by Herzog and De Meuron aims to stimulate through basic

feelings that there is a sense connection to the building and the outer world creating experiences

with the viewer will never forget. These experiences and design using the senses one has to

understand that perception of perspectives as the basis of the process. To do such a thing though is

not to design in plan or section but to design in perspectives of all three fields; the foreground,

middle and distant view, to allow for the finest detail to the complete building in view a memorable

one. The foreground, middle and distant view are not like China’s cultural history in that at each

level and stage there have been infinite twists and turns and challenges, and they echo with China’s

urge to making a lasting impression on the rest of the world.

The Beijing National stadium depicts the Olympic stature whilst also abiding by the rules of the local

government. The following theory report has shown that the Beijing National Stadium in reference

to a phenomenology has acted to bridge between the differences old world and the new world,

welcoming the traditions and culture of China whilst bringing forth a new modern China thriving on

the competitive nature of the world. The stadium depicts the Olympic stature whilst also abiding by

the rules of the local government. It aims to reconcile the cultural differences by creating a modern

synthesis that maintains the grandeur of past enterprises but is comparable on a modern scale to

western cultures: it seeks through principles of phenomenology to demonstrate the struggles

between the outer and inner worlds: the internal culture of China that has been dominated by its

attempts to become a greater world power. This structure has allowed the Chinese traditional

culture to retain its sense of pride and belonging and at the same time achieve greater status by

creating a modern building that is such a prestigious structure. Phenomenology enables the Chinese

traditionalist to feel their own culture in a modern context without experiencing concerns about not

meeting Western requirements, by using the three fields and the genus loci, senses and concept as a

mechanism to “modernise” traditional culture in harmonious way.

Bibliography:

Lecture:

• Phenomenology: Week 3 Tuesday

Video:

• 2 June 2008 Talking Heads - Glenn Murcutt

• Birds Nest - Herzog & De Meuron in China(2008)

Book:

• Peter Zumthor, Thinking Architecture (Basel: Birkhäuser, 1999), pp. 246, 248-250.

• Juhani Pallasmaa, “The Geometry of Feeling” in Kate Nesbitt (ed), Theorizing a New Agenda

for Architecture (New York: Princeton Architectural Press, 1996), pp. 448-452.

• Christian Norberg-Schulz, “The Phenomenology of Place” in Kate Nesbitt, Theorizing a New

Agenda for Architecture (New York: Princeton Architectural Press, 1996), pp. 414- 415.

• Steven Holl, “Pre-theoretical Ground” in Steven Holl (Basel: Birkhäuser-Verlag, 1996), [up].

i A screenshot in the film ‘Bird's Nest - Herzog & De Meuron in China’ (2008) 1:00min ii http://www.skyscrapercity.com/showthread.php?t=660330&page=71

iii Christian Norberg-Schulz, “The Phenomenology of Place” in Kate Nesbitt, Theorizing a New Agenda for

Architecture (New York: Princeton Architectural Press, 1996), pp. 414- 415 iv Birds Nest - Herzog & De Meuron in China(2008) 56:30

v Interview with Chen Gang Deputy mayor of Beijing ‘Bird's Nest - Herzog & De Meuron in China’ (2008)

7:00min vi Steven Holl ‘Pre-theoretical Ground’

vii http://www.chinese-architecture.info/OLYMPICS/OL-001.htm

viii http://www.neohide.com/new-china-bird-nests-currency-note

ix Metaphors and materials meet in Beijing’s National Stadium, Fabric Architecture | May 2008, By Frank

Edgerton Martin, http://fabricarchitecturemag.com/articles/0508_f3_stadium.html x http://www.archicentral.com/national-stadium-beijing-wins-ribas-prestigious-international-architecture-

award-21885/ xi Spiegel Online: an online interview with Jacques Herzog

http://www.spiegel.de/international/world/0,1518,569011,00.html xii

Metaphors and materials meet in Beijing’s National Stadium, Fabric Architecture | May 2008, By Frank

Edgerton Martin, http://fabricarchitecturemag.com/articles/0508_f3_stadium.html xiii

http://www.facebook.com/photo.php?fbid=545983627281&set=o.21502051911 xiv

http://www.1800what.com/2008/08/ xv

Birds Nest - Herzog & De Meuron in China(2008) xvi

Birds Nest - Herzog & De Meuron in China(2008) 21:00 xvii

http://en.beijing2008.cn/cptvenues/venues/nst/n214078095.shtml xviii

http://en.beijing2008.cn/cptvenues/venues/nst/n214078095.shtml xix

http://en.beijing2008.cn/cptvenues/venues/nst/headlines/n214102748.shtml xx

http://www.kinabaloo.com/olympics.html xxi

http://www.dezeen.com/2008/07/30/national-stadium-beijing-by-herzog-de-meuron/ xxii

http://www.dezeen.com/2009/07/15/national-stadium-in-beijing-wins-riba-lubetkin-prize/ xxiii

http://www.dezeen.com/2009/07/15/national-stadium-in-beijing-wins-riba-lubetkin-prize/