peter langford dissertation 2012

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Peter Langford

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11.11.2012

11.11.2012

Tessa Morrison/ Neena Mand

Callaghan

Research Dissertation

Research in the Built Environment B

Peter Langford

[email protected]

A R B E 4 1 2 1B

3 0 9 81 8 0

10000

Uninhibited D w e l l i n gConstructing the primitive cave in contemporary Architecture.

P e t e r L a n g f o r d

3091880

A Thesis Submitted to University of Newcastle Faculty of Architecture and the Built Environment in Partial Fulfillment of the Requirements for the Degree: Masters of Architecture

A c k n o w l e d g e m e n t sThough research and writing are intensely personal efforts they are often founded in collaboration. Without the guidance, idea bouncing and the open ears of others this thesis would be much less valuable than what it is, so in saying this I would like to issue my sincerest gratitude to first of all my research supervisor Dr. Harpreet (Neena) Mand for her limitless breadth of knowledge and patience in helping this research to fruition. My contemporaries and close friends who have helped to crystalize my ideas into coherent thoughts through numerous discussions as well as my partner and family for willingly or not lending an ear for the research to become clearer through relaying and for questioning the areas too far removed from the subject matter. Though not necessarily of custom for a research project of this size, it is felt that without acknowledging the help received the integrity of the research would feel lessened.

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C o n t e n t s

Abstract! .! .! .! .! .! .! .! .! .! 5

Chapter 1: Origins & Architectural Invention! .! .! .! .! 6

Introduction . . . . . . . . 6

Research Question . . . . . . . 7

Research Aims . . . . . . . 7

Objectives . . . . . . . . 7

Significance of Research . . . . . . 7

Chapter 2: Examining the Primitive (Methodology)! .! .! .! 8

Research gap . . . . . . . 8

Research design . . . . . . . 8

Limitations . . . . . . . . 10

Chapter 3: Primitive Propositions (Literature Review)! .! .! 13

Chapter 4: Uninhibited Dwelling (Discussion).! .! .! .! 23

Overlooking the found object . . . . . 23

Hereditary theory & spatial intelligence . . . . 27

The encultured cave . . . . . . 30

Chapter 5: The poetics of the cave (Conclusions).! .! .! .! 34

Envelopment . . . . . . . . 34

Gravity . . . . . . . . 35

Spatial gradient . . . . . . . 35

‘Wholeness’ . . . . . . . . 36

Scope for further research . . . . . . 37

Reference List! .! .! .! .! .! .! .! .! 39

List of Figures! .! .! .! .! .! .! .! .! 41

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Abstract

Architecture's obsession with the redeeming qualities of the primitive has a long history. A return to origins is posited as the architectural fountain of youth, that by looking back we are able to understand what an architecture connected to our base needs unadulterated by culture provides. Many; from Vitruvius through Laugier, Semper and Wright have gravitated to these fabled beginnings in order to justify a form of architectural invention pulling authority from the purest form of architecture. In doing so architecture has taken to this idea that the origins of habitat lie in the hut (Laugier’s hut). However in these simplified conversations of architectural origins one unexplored typology is mentioned again and again; the cave. The cave here is often commented on as having an affect on the beginnings of mans dwelling, but is too often overlooked for the spatial lessons and significance it can provide.

This paper argues that where the origins of architecture are involved, and the cave specifically, we find that a biological understanding of how we interpret space as a means of survival can have a significant impact on how we should design spaces. Furthermore the cave has an enormous significance in culture relating to spirituality and myth, and so from the birth of art in the Lascaux caves to the primitive understanding of space, it is possible to draw a large body of knowledge from a thus far underutilised spatial typology. This paper through a process of logical argumentation suggests that through analysis of the latent spatial qualities of the cave it is possible to influence the way in which a nuanced approach to gravity, envelopment and spatial gradient can affect our perception of space. With the bias towards the hut, architecture has taken a series of turns predicated on rather disputed and misunderstood grounds. With Laugier’s hut and the understanding of architecture as column, entablature and pediment what we are left with is an architecture based on construction rather than space. An architecture that has left the cave as a found object despite its significance in addressing our primal needs. It is argued herein that an understanding of the cave and what it can bring to architectural discourse can be of significance in creating an architecture that is powerfully primitive.

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C h a p t e r 1 :Origins & Architectural Invention [Introduction]

The concept of the primitive has been fundamental in western architectural discourse. Far from the derogatory meaning the word holds in other disciplines, architectures affinity with the term bares relation to the redeeming qualities of an original architecture.1 This grand narrative of origins though heavily contested is mined for ideas of the ‘essential’ in order to propose an irreducible and therefore ideal architecture. The qualities imbued in the conception of the primitive are used to represent a more authentic form of dwelling and have been consequently used as a safeguard against arbitrariness in architectural invention. From Vitruvius’ The Ten Books on Architecture proposing architectures history in the cave, the tent and the hut, Laugier’s An Essay on Architecture attempting to refine the meaningful elements of architecture, Semper’s The Four Elements of Architecture enclosing theories of style in the tectonic art of architecture and even as pervasive and far reaching in modern times as Corbusier’s analysis of the savage’s hut in Towards a New Architecture, history and origins have played a significant part in the continual reinvention of architectural theory.2 3 4 5

This perpetual fascination with the qualities of the primitive most elaborately documented regarding the genealogy of the ‘rustic hut’ serves as a potential springboard in justifying a reexamination of architectures relationship with origins. As Rykwert’s seminal text On Adam’s house in Paradise makes clear a return to the primitive qualities of the hut premises a “rethinking of what [we] do customarily, an attempt to renew the validity of [our] actions.”6 This is of no small significance to the making of architecture, with a return to origins serving as a safeguard against arbitrariness in not only what we build but why we build. So if we are to revisit the fertile ground of architectural origins as a means to a way forward, a problematic relationship develops between the competing origin theories. To quote architectural educator and researcher Richard Coyne “the simple question is: why is it that one or another artifact (the hut, the cave, the mound, the hollow, the tent) should assume status as the primary generator of all architecture?”7 In referencing Semper Coyne makes evident the existing claims to a first architecture and the issue of holding any one above the others.

Despite the origins of architecture being more or less agreed upon as belonging to the various competing archetypes there has been a significant bias in directing attention toward the measurable and repeatable values of the hut. From Vitruvius, to Laugier, Semper and many since, there has been a well documented study of the ‘primitive hut’ as the primary originator of architecture.8 The problem implicit in this is therefore the lack of attention shown toward the alternate origins often mentioned but still very much unexplored. As a natural structure rich in history and steeped in mythology the cave exhibits many key attributes of primitivism in its atmosphere. It therefore becomes increasingly troubling that very few architectural texts take a comprehensive account of the genealogy of architectural space embodied in the cave.

Forming a significant part of primitive mythology and even attributed by Georges Bataille with “the birth of art” the cave’s spatial attributes are thus explored as being part of eliciting such similar reverence throughout time and culture.9 The complexity of resolving the ambiguity of the cave within architectural discourse lies therefore within the understanding of spatial intelligence.10 The desire to communicate elements of the cave becomes an exploration of spatial qualities, unable to be objectified and quantified as Laugier did with the hut the cave instead represents an approach to architecture more attuned to our perceptions of comfort and security.11 With an over-

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saturated mediascape surrounding architecture celebrating spectacle and threatening the early primitive values of ‘genuine dwelling’ perhaps now is the right time to return to the spatiality of the cave in hope for a better understanding of the spiritual connection current architecture struggles to provide. What this study seeks to speculate on is a potential approach to architecture based on the cave as part of the primitive origins in order to draw out consequential spatial attributes in creating new architecture.

Research QuestionsThe research presented in the following chapters is predicated on a number of questions: Primarily; What spatial lessons does the cave hold for contemporary architecture? In order to answer this there are other secondary questions along the way; why the cave is overlooked in architectural discourse? Why do many dissimilar cultures throughout history have a similar spiritual reverence for the cave despite differing ideologies?

Research AimsThe study seeks to draw out significant attributes and spatial qualities from the cave that can provide an alternate genealogy for the creation of a more powerfully primitive architecture. As a study of the cave the more traditional forms of analysis become difficult in objectifying a natural edifice and as such this research is intentionally aimed at qualitative study based on a reading of space.

Objectives1. Explore significant spatial attributes of the cave for use in informing contemporary architecture.

2. Trace out reasons for the avoidance of a focused analysis of the cave in western architectural discourse.

3. Seek to understand how the spatial qualities of the cave have had significance in the cultivation of primitive spirituality.

Significance of Research

Where discourse surrounding the primitive has varied in popularity the subject matter is considered “intrinsic to the history of architectural ideas,” and as such warrants a constant revisiting. Situated within the discourse of the primitive and concerned primarily with the role of origins the study seeks to define a qualitative analysis of the spatiality of the other archetype; the cave. Many theorists and architects have used the primitive and consequently the narrative of origins in order to justify significant reappraisals of architecture.12 As such this research is concerned with exploring the alternate origin of the cave in order to establish spatial qualities for creating a psychologically enriching architecture.

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Notes:

1 Forty, A. (2006). Primitive The word and concept. In J. Odgers, F. Samuel, & A. Sharr (Eds.), Primitive Original matters in architecture (pp. 3–14). New York: Routledge.

2 Vitruvius, M. (1914). On Architecture. (M. H. Morgan, Trans.). Cambridge: Havard University Press.

3 Laugier, M. A. (1977). An Essay on Architecture. (W. Herrmann & A. Herrmann, Trans.). Los Angeles: Hennessey & Ingalls.

4 Semper, G. (1989). The Four Elements of Architecture and Other Writings (1851). (W. Herrmann, Trans.). Cambridge: Cambridge University Press.

5 Le Corbusier. (1927). Towards a new architecture. (F. Etchells, Trans.). London: Architectural Press.

6 Rykwert, J. (1981). On Adam's House in Paradise (2nd ed.). Cambridge, Massachusetts: The MIT Press.

7 Coyne, R. (2006). Digital commerce and the primitive roots of architectural consumption. In J. Odgers, F. Samuel, & A. Sharr (Eds.), Primitive Original matters in architecture (pp. 229–239). New York: Routledge.


9 Bataille, G. (1961). Tears of Eros (pp. 25–31). Paris: Jean-Jacques Pauvert.

10 van Schaik, L. (2008). Spatial Intelligence. West Sussex: John Wiley and Sons.



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C h a p t e r 2 : Examining the Primitive [Methodology]

Research Gap

As outlined above, architectures affinity with the primitive in regards to origin theories predicates an account of architecture derived predominantly from the hut and the cave. However in this grand narrative of origins a significant bias for the hut has seen architectural theories regarding the cave in short supply. In contrast, various discourses from cultural theory and anthropology hold the cave in high regard for it’s significance across many cultures. Missing therefore is an understanding of how the cave as an archetype with latent spatial qualities can be adapted to the making of contemporary architecture. In analysing the spatial attributes of cave-like space it is hoped a position for the re-evaluation of the cave is established and results in the defining of some guiding principles for the creation of a powerfully primitive architectural formulation of space. Figure one (Fig.1) outlines the overlapping of the related discourse with figure two (Fig.2) showing the subject areas by volume of available research.

Research Method

This research paper seeks to use the method of logical argumentation set forth by Groat and Wang in Architectural Research Methods.1 The scope of works is to explore the significant spatial features of the cave and contribute to the discourse surrounding architecture’s primitive origins. This system of logic follows that of the cultural/ discursive element of architectural academic research, in order to qualitatively argue the validity of the cave in reference to nature and culture, and to mine the significance of questioning the current architectural paradigm premised on the hut.2 The study therefore is seeking to

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Fig.1 Key areas diagram. Showing the overlapping discourses and where the cave fits.

Fig.2 Discourse body of knowledge graphical analysis.

form a defined polemic with specific implications in better marrying contemporary design with primitive spatial cognition.

The research requires the logical ordering of both current and past agreed upon theories put forth by others (historians, anthropologists, philosophers, architects and theorists) in order to define a theory based around the benefits cave space can provide to mankind. As such the basis of the research will identify the cave or cave-like space and the concept of ‘the primitive’ as being central to the internal logic of the argument. These terms are to be based on the academic writing of others and will be defined based off a combination of internal logic (within the thesis) and the culmination of the current accepted paradigm within each area of study.

In conjunction, this thesis will be grounded in a wholly western world view and take root in the transcendental realm of nature/ biology and, where necessary, the existential philosophy based there upon.3 As such the result of the thesis will be consistent and sympathetic to these world views and utilise this as a more specific focus of the broad theories put forth by others in this area.

Predominantly focused on first principles of origin the study aims to narrow the focus towards the under explored notion of the cave in western architecture.4 As such by inferring from first principles (in many ways considered right because they were first) the system of logic will follow through the implications put forward in architectural discourse surrounding the cave, primitive and hereditary theories of aesthetic preference and spatial intelligence such as Jay Appleton’s venerated work The Experience of Landscape.5 6

As such the study seeks to define the precursor to the biological impulses of comfort implicit in modern cave space and the connection to man as a base animal through reference of the widely excepted (though not empirically proven) theories put forth by researchers such as Appleton, van Schaik and Hildebrand.7 8 9 Whereby using techniques outlined by Groat and Wang such as definition: first principles and rhetorical tactics naming in the process of situating the research within the larger discourse of the primitive.10 The research seeks to put together the briefly reasons for the under appreciation of the cave, followed by how and why it is significant in creating a more evocative architecture.

This research predicates its mediated position of authority through the reference of select primary and secondary texts pertaining to the cave as a specific and the primitive as a larger field and as such is designed to use persuasive arguments in order to reach a ‘broad systematic applicability’.11 As such the expected outcomes of the study is to provide a solid polemic for why cave spaces should have a place in the contemporary architectonic lexicon. The curious absence thus far in the linking of modern architecture and the hereditary importance of cave spaces and their significance in culture is hoped to be sated.

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Limitations

Where this research aims to create a synthesis of significant spatial attributes of the cave, it like all research comes with a set of limitations. The major limitation being the time constraints involved in writing a masters of architecture dissertation. The study is therefore purposely limited in scope to achieve the outcomes outlined in the above section.

The study will be limited to extrapolating guiding principles for conceptualising cave space in modern terms through pursuing its significance in architectural origin theories, somatic and psychological comfort and cross cultural spirituality. The number of texts will need to be limited due to the time taken to source, read and critically analyse the information presented. As a result this will have an effect on the depth of information available and as such the study will need to be relatively broad.

The study, therefore will intentionally focus on the significance of the cave in relation to broadening contemporary architectural spatial vocabulary and as such is not a significant study in the history or cultural identity of the typology. The research undertaken does not seek to take an archaeological interpretation of the phenomena of caves but instead seeks to posit on their significance to architecture using already published work. The choice of explanatory information such as examples of architects and projects, is a result of this decision and will affect the scope and outcomes of the research project.

In conjunction with this, it is of note that the research comes from a fundamentally western perspective. Many Eastern cultures hold a high value for caves and their spirituality. Where the study hopes to include and understand this, the time constraints do not allow an immersion into these cultures, only at best a brief overview.

Again in summation the research undertaken is not an empirical study, nor is it a study based on what is available far outside of that architectural discourse. This text is based upon available architectural discourse while taking aspects of hereditary theory and sociology in order to underline how the cave can enrich current design practices. It is worth noting that the study is not attempting to be historically accurate or relate empirical measurements and instead is based upon the theorizing of the architectural discourse on the mythical origins of architecture which in and of themselves are not accurate depictions of real world phenomena. There is no archeological merit implicit in the study and should be read only as a cursory and largely introductory understanding of how cave spaces can contribute to a more sophisticated and somatic approach to architecture in the future.

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Notes:

1 Groat, L., & Wang, D. (2002). Logical Argumentation. In Architectural Research Methods (pp. 301–340). John Wiley and Sons. p301

2 Ibid p323

3 Ibid p307

4 Ibid p315


6 Appleton, J. (1975). Experiencing the Landscape. John Wiley and Sons.

7 Ibid


9 Hildebrand, G. (1999). The Origins of Architectural Pleasure. Berkley and Los Angeles: University of California Press.

10 Groat, L., & Wang, D. (2002). Logical Argumentation. In Architectural Research Methods (pp. 301–340). John Wiley and Sons. p323

11 Ibid p304

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C h a p t e r 3 :Primitive Propositions [Literature review]

The primitive as a concept has a long standing tradition in architecture, as a defense against the arbitrary and by striking a division between nature and culture. Architectural documentation for as long as can be known has been concerned with the primitive origins of architecture, as Vitruvius’ de architectura sets forth the idea that architectures beginnings have a resounding effect on how we produce architecture as a culture.1 Perhaps most evident in this claim to the efficacy of the concept of the primitive is Joseph Rykwert’s authoritative position that the primitive is a constant in the renewal of architectural thinking.2 That as a measure of the ‘essential’ the origins form the basis for an ideal of genuine dwelling, and a way to validate architectural invention. This entire narrative of origins forms part of architectural discourse revolving around a spirit of, rather than a realization of, the actual origins. Rykwert’s seminal text in the field On Adam’s House in Paradise comprehensively presents the genealogy of the speculative ‘rustic hut’ (Fig.3) throughout history. The mythological nature of architectural origins serves as an ideal, necessary for the critique of current practice rather than the analysis of the real state of things.3

The use of the primitive as a means for justifying a form of architectural invention has a long history of paradigm shifting moments in architecture. With those who wield it’s properties claiming absolute theories in reference to the defining characteristics of the primitive. This tradition has played out in a number of ways, from Vitruvius’ hut becoming petrified to Laugier’s misguided reduction of architecture to column, pediment and entablature in his 1753 an essay on architecture through to Semper’s four elements premising arguments through the cataloguing of the Caribbean hut (Fig.4).4 5 6 7 So from Vitruvius, to Laugier, Semper, to even Le Corbusier’s modernist treatise Towards a New

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Fig.3 Laugier’s fictional ‘rustic hut’ is by far the most recognizable ‘primitive’ work of architecture.

Fig.4 Drawings of the Caribbean hut proved instrumental in Semper’s architectural theories.

Fig.5 Lascaux caves in France are credited as ‘the birth of art’ show the beginnings of mythology and spirituality.

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Architecture a referencing of primitive values largely premised by the ‘rustic hut’ validates a series of paradigmatic shifts based on and authenticated by the primitive. 8

The mythological origins present a unique problem perhaps best asked by educator and researcher Richard Coyne “the simple question is: why is it that one or another artifact (the hut, the cave, the mound, the hollow, the tent) should assume status as the primary generator of all architecture?”9 This problem of associating an entire genealogy with an intangible artifact brings attention to the failings of the discourse surrounding the primitive. Architectural theorist Quartremère de Quincy was one of the first to propose links between the differing origins developing into different cultural systems of building.10 As an Egyptologist his views on the cave informing the monumentality of Egyptian architecture has been questioned but brings about a point at which to reconsider the narrative of origins for lessons still lurking in other areas of the primitive.11

As a means to an end the virtues of the primitive have been associated with the redeeming quality of being attuned to our baser needs and desires and as being conducive to “the recuperation of nervous forces.”12 The 2006 edited book entitled Primitive shows how many established contemporary writers spanning that of; David Leatherbarrow, Adrian Forty, Dalibor Vesely and Simon Unwin have examined the use and usefulness of the term furthering its contemporary credibility.13 14 15 16 Other well known architectural researchers such as Joseph Rykwert and Karsten Harries have also examined the idea of the primitive in a proposition of firstly what they each define it to conceptualize and how it can be used to change how architecture performs or is created.17 18

Drawing from the idea that there is an essential and it is therefore realizable, many authors gain authority through an appeal in some way to “the subconscious necessities of the masses.”19

The belief here that a simplification, or a setting back from, ingrained cultural ideologies plays a role in how our bodily existence relates to architecture, says much about the frustration of contemporary architecture and its relationship to our somatic urges. Harries essay Thoughts on a Non-arbitrary Architecture, takes the belief that a return to the essential is the greatest safeguard against arbitrariness.20 This ideal of genuine dwelling brought on through a study of Heidegger and the relation of a first architecture pieces together the nature of the primitive and existential philosophy of those significantly studied in architecture; Gaston Bachelard, Martin Heidegger and Carl Jung.21 22 23 This relationship of the primitive in the study of Heidegger prompts reflection on not only the example of the black forest house on which Heidegger writes but also recognition of where it is he wrote about concepts of dwelling. Architect and educator Adam Sharr’s analysis of the reclusive ‘hut’ within which Heidegger wrote many of his most famous writings shows not only the simplicity of the architecture but the qualities of an “almost mytho-poetic view of life, breaking down the boundaries between self, time and architecture.”24 25 The nature of the primitive as that which is essential has become more prevalent as the area of study has matured. Less so is it related to the actual anthropological underpinnings of architecture like that of Rudofsky’s 1960’s study Architecture without architects and is used instead as a measure of the detachment from what are the primitive essentials still necessary in modern life.26

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The introspective relationship between time, place and architecture implicit in the recalling of primitive values is where this study intends to take its power. As much as theory can hope to guide the process of making, so too is it felt that the analysis of objects laden with human significance can inform a way forward in the reflection on the essential. To this end the study of the hut has provided numerous leaps in creating a unified language of architecture and built up an understanding of communicable elements and architectural philosophies.27 28 In the pursuit of understanding the hut it is also worth considering the other documented original shelters in order to maintain a balanced view of the primitive as to ascertain universal values. In an effort to afford universality the world over one artifact almost always is referenced and seldom explored. The cave, significant in many cultures and attributed as an instigator in the “birth of art” (Fig.5) is in many ways held as a precursor even to the hut.29 To this end this research project takes aim at exploring the qualities of the cave and how through the guise of the primitive that this early form of inhabitation can inform contemporary architecture.

With the premise of exploring the transposable poetic qualities of the cave in much the same way as having been done in the hut it becomes clear in a reading of existing architectural discourse how barren this topic is. The cave though rich in anthropological study and having significance in many cultures rituals and myths has merited very little in the way of focused attention from architectural scholars. With the lack of any thorough studies of the concept of the cave as a whole the task first comes to compiling the texts relating it to the primitive and to ascertain possible reasons why it could have been overlooked. Research into the cave outlines a body of architectural knowledge left largely absent of study, and as such returning to paraphrase Coyne’s earlier question, why is it that one artifact merits study over another?30 In the analysis of the more contemporary uses of the concept of the primitive, the question does not fall so much to what was the first architecture, but how do it’s primitive qualities help relate us to a more wholesome bodily existence and that which is essential rather than an ingrained cultural action. In this way the primitive should be considered a tool for questioning the cultural apparatus in a bid to regain a reconnection with a more physically and psychologically enriching environment.

The combative forces of nature versus culture in the evaluation of the primitive and its recurrence in architectural discourse places an emphasis that our baser instincts are not all satisfied in modernity.31 This becomes the core concern in a critical analysis of how the cave can inform modern architecture. With the cave documented as a place of deep spirituality with many cave paintings representing the earliest form of recorded art and even engendered as “play” it becomes apparent that whether as a dwelling or as a precursor to religious architecture the cave still hides many secrets of understanding.32 In need of questioning then is how these behaviours and emotive responses to the cave despite varying cultural relationships, are manifest due to the spatial qualities of the cave. By accepting the cave as part of landscape as well as architecture we can then move on to how best to describe the compulsion for revering the cave. Jay Appleton’s seminal text The Experience of Landscape derives from a theory that aesthetic landscape preferences are inherently hereditary genetic dispositions brought on through increasing survival

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success. Whereby the favouring of certain landscape situations would yield a higher chance at surviving to copulate and that in doing so the offspring would have the same preferences in order to survive. These preferences are based on what Appleton defines as the need to “see without being seen.” This simple need is is the premise of his prospect/ refuge theory, which dictates that situations require both in order to be preferable. In application to the cave, it is stated by Appleton that “the cave is the most complete general purpose sanctuary,” and that human habitation the world over testifies to it’s supremacy.33

In application of Appleton’s hereditary theory of prospect/ refuge to architecture Grant Hildebrand outlines why we find certain architectural spaces more comfortable and pleasurable than others.34 Origins of architectural pleasure deriving its core premise from the primary text of Appleton is a well written argument of how prospect/ refuge theory can influence architecture. In doing so makes an argument for internal prospect/ refuge as well as the significance of being able to recognize from afar the symbols of prospect and refuge in creating pleasant situations. As a theory, Appleton and as a result Hildebrand present a way that we primitively relate to our environment and define characteristics conducive to our baser instincts. These theories differ greatly in their approach from other methods of examining the primitive by taking an objective view at how our primitive instincts are still prevalent today and how space, rather than construction is the answer to restoring a primitive notion of how we experience our concrete environment. What these texts do is to make clear spatial techniques rather than prescribe a way of building predicated on how we feel space. The ‘how’ in how we feel space has been explored at length by professor of architecture at RMIT: Leon van Schaik in his popular work Spatial Intelligence: New Futures for Architecture in which he argues that the undervalued human capacity of spatial intelligence is worth reevaluating in considering how we perceive and create architectural spaces.35

This resolves some of the ambiguity of the cave by defining the space as having an architectural character more so than the form. Therefore by establishing what defines the spatial characteristics the cave can be transposed into contemporary architecture. This position is sympathetic to an existential world view in which architectural meaning is considered as a bringing into presence as opposed to representational. The cave then isn’t a product of replicating or referencing cultural symbols but is instead a vessel within which man may dwell. In this way, Christian Norberg-Schulz’s view in Intentions in Architecture of “the cave as the first spatial element,” helps to develop an understanding of how developing spatial intelligence informed primitive man in making architecture.36 Norberg-Schulz carries on to explain the way in which the cave became “tectonized” and then liberated from the earth as an ‘artificial cave’ in the form of a dolmen (Fig.6) as his choice of example. It is a particularly telling example then that these stoic forms would require serious effort on the part of the builder and like that of the dolmen at stone henge have lasting spiritual value.

The consistence of the cave as a spiritual entity across many cultures then is logically likely to be premised on the spatial qualities of the cave. If not then the same reverence shown to the cave across many cultures, regions and time periods would appear to be suspiciously coincidental. Where Asia has a

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significant spiritual relationship with the cave western architectural culture has come to leave the cave behind. Despite this, others have made the implication that the cave served as a precursor to spiritual architecture. In directly positing that the cave is an element related to religious architecture E. O. James’ From cave to cathedral frames caves as the first, in a progression religious architecture. He likens Muslim mosques to the earlier Egyptian architecture, describing many of the same formal characteristics that De Quincy had attributed to the cave.37 38 On the other hand J. Walter Fewkes in his presidential address to the Anthropological Society of Washington in 1910 expresses the way in which cave dwellings in the old and new worlds have had a significant impact in culture, from folk law, to storage of precious goods and mortuaries and makes clear that despite the influence the cave has had, higher culture as a result of the influence of the mind has moved away from the cave dwelling cultures.39 This is symptomatic of what Gülsüm Baydar Nalbantoglu a Turkish architectural theorist posits as the “family of binary constructs that lies at the basis of the architectural discipline: nature/ culture... and traditional/ modern.”40 So while this may partly explain the absence of the cave in the contemporary discipline of architecture, it does not explain why the discourse surrounding the primitive (of which is concerned with the nature and traditional parts of the aforementioned dichotomies) is still largely blind to the validity of the cave as an archetype.

Joseph Gandy an accomplished and respected perspectivist in 1830 for his exhibition of Comparative Architecture presented in drawing an exhaustive study of the history and mythography of architecture.41 Delving into origins and their development to explore the significance of their meaning. As such as a comparative study Gandy sets up a way to look at architectural beginnings and their significance in an advancing culture. Stating that “astronomy and caverns have given the origins of all ideas in architecture,” Gandy in his detailed knowledge makes an explicit case for the cave as of paramount significance in the genealogy of architecture.42 An example of the consequence of the cave as a defining factor then might be seen in the Temple of the Sun at Teotihaucan (Fig.7), where the cave of origins (as in many myths man, or even gods such as Zeus are thought to be born of the cave) defines the placement and character of the temple.43

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Fig.6 The Dolmen as an artificial cave made by primitive man.

Fig.7 Temple of the Sun, Teotihaucan. Driven by mythology the temple was situated over the cave of origin.

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With all this significance placed on the cave in relation to primitive man and then the resurrection of the primitive into architecture are there existing cases of the cave in contemporary architecture? Yes, in abstract ways cave like spaces are still to be found in contemporary architecture even an “enveloping poché of an ancient castle,” written about by Jennifer Bloomer has similarities in atmosphere to the cave.44 Whether referenced as being influenced by the cave or not the atmosphere of a number of architectural projects is distinctly cave-like. For the ease of argument it is sensible to turn to contemporary works which do reference the cave first. Japanese architect Sou Fujimoto uses the idea of the cave as a spatial adjustment to modernism (Fig.8), where Fujimoto’s cave idea differs is by using space in a non traditional way where the cave exists despite the way we have prescribed functions.45 Where we would be used to seeing an on/ off style division of space (such as Japanese predecessor Kazuo Shinohara’s concept of divisive space) using walls to separate functions Fujimoto’s architecture is provocative in its use while still being passive.46 This leads to what Taro Igarashi explains as the primitive nature of Fujimoto’s work where it could almost have existed long before now.47 On the other hand Spanish architect Alberto Campo Baeza’s use of the idea of the cave is in relation to Semper’s theory of tectonics.48 By grounding a number of his projects as being a hut on top of a cave he is able to deftly root his work in the landscape while resolving a clear minimalist expression of light and gravity in a built idea. In this way Campo Baeza’s architecture takes on a poetic quality of stillness within a landscape and walks a fine line between monumental and immaterial. The reference to the cave in many of his works is becomes a platform for the hut and also the main source of refuge, deliberately introverted it always inevitably becomes a severe yet hauntingly beautiful expression within the landscape.

As well as those who are explicit about their influence from the cave there are many others who’s work in parts exhibit cave like properties. Among these is pritzker prize laureate and well respected Swiss architect Peter Zumthor. Zumthor’s most venerated work, a hot spring in Vals (Fig.9) in the Swiss Alps creates an atmosphere conducive to relaxation, one where a completeness of the work envelops one in the earthly delights of the mountain and away from

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Fig.8 Fujimoto’s Final Wooden House, Japan. Fujimoto’s use of the cave as an archetype is to question current practice.

Fig.9 Zumthor’s Therme Vals, Switzerland. Zumthor’s use of spatial intelligence in d e v e l o p i n g a t m o s p h e r e i s w i d e l y recognized.

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the nervous energy of modern life. In addition to this Zumthor’s Bruder Klaus chapel in Germany has a significantly cave like atmosphere, layered like that of the earth through the toil of the locals the interior mediates the world beyond in order to create a spiritual experience while limiting the need for religious symbolism. This transcendental quality of Zumthor’s work is far from coincidental, as he outlines in his books Atmospheres and Thinking Architecture Zumthor’s sensitivity to place and mood reflect a thorough understanding of spatial intelligence and nostalgia.49 50 Another well respected Swiss architect Valerio Olgiati offers instead of making cave like space (though some of his spaces are phenomenologically reminiscent of cave like environments) an approach of designing a work to look and act “like one thing.”51 Performing much then as the cave does this form of organic thinking and reductionism can be informative of a design approach to cave spaces more so than the approach to the spaces themselves.

In analysis of the literature not only is a significant gap in knowledge about the cave highlighted, but also the importance of the cave in architecture. Perhaps more relevant now than ever with architectures mediascape flooded with image based architecture, now seems the perfect time for the reappraisal of primitive values of introspective and quiet atmospheres for escape of the ever present chatter of social media and advertising. So in looking at the primitive values of the cave and “the man who started architecture,” in the words of Umberto Eco it may be possible to draw out spatial techniques for contemporary architects.52 Through analyzing the relevance of the cave three main bodies become evident for further discussion. Firstly the way in which architecture took preference of the hut, after which an explanation of how the caves space is conducive to positive feelings of comfort and lastly how these feelings have manifested as a form of non-specific spirituality. In conducting this research it is hoped that a new manifestation of the cave in contemporary architecture can produce a more enriching and powerfully primitive architecture.______________________________________________________________________Notes:



3 Forty, A. (2006). Primitive The word and concept. In J. Odgers, F. Samuel, & A. Sharr (Eds.), Primitive Original matters in architecture (pp. 3–14). New York: Routledge. p8






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9 Coyne, R. (2006). Digital commerce and the primitive roots of architectural consumption. In J. Odgers, F. Samuel, & A. Sharr (Eds.), Primitive Original matters in architecture (pp. 229–239). New York: Routledge. p230

10 Lavin, S. (2012). Quatremère De Quincy and the invention of a modern language of architecture. Cambridge: The MIT Press.

11 Mallgrave, H. F. (2005). Neoclassicism and Historicism. In Modern Architectural Theory: A Historical Survey, 1673-1968 (pp. 67–90). Cambridge: Cambridge University Press.


13 Leatherbarrow, D. (2009). Practically Primitive. In Architecture Orientated Otherwise (pp. 173–194). New York: Princeton Architectural Press.


15 Vesely, D. (2006). The primitive as modern problem: invention and crisis. In J. Odgers, F. Samuel, & A. Sharr (Eds.), Primitive Original matters in architecture (pp. 17–32). New York: Routledge.

16 Unwin, S. (2006). The wisdom of the sands. In J. Odgers, F. Samuel, & A. Sharr (Eds.), Primitive Original matters in architecture. New York: Routledge.


18 Harries, K. (1983). Thoughts on a Non-Arbitrary Architecture. Perspecta, 20 IS - (ArticleType: research-article / Full publication date: 1983 / Copyright © 1983 Yale University, School of Architecture), 9–20.

19 Fujimori, T., & Fujimoto, S. (2010). Artificial Architecture, Natural Architecture: Dialogue summary of conversation between Terunobo Fujimori and Sou Fujimoto. In K. Yoneda (Trans.), Primitive Future. Tokyo: INAX Publishing. p137

20 Harries, K. (1983). Thoughts on a Non-Arbitrary Architecture. Perspecta, 20 IS - (ArticleType: research-article / Full publication date: 1983 / Copyright © 1983 Yale University, School of Architecture), 9–20.

21 Bachelard, G. (1969). The Poetics of Space. (M. Jolas, Trans.). Boston, Massachusetts: Beacon Press.

22 Heidegger, M. (1993). Basic Writings: Martin Heidegger. (D. Farfell Krell, Ed.). London: Routledge.

23 Jung, C. (1986). Memories, Dreams, Reflections. London: Fontana.

24 Sharr, A. (2006). Heidegger's Hut. Cambridge: The MIT Press.

25 Samuel, F., & Menin, S. (2006). The modern-day primitive hut? In J. Odgers, F. Samuel, & A. Sharr (Eds.), Primitive Original matters in architecture. New York: Routledge. p207

26 Rudofsky, B. (1964). Architecture without architects. New York: Museum of Modern Art.

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30 Coyne, R. (2006). Digital commerce and the primitive roots of architectural consumption. In J. Odgers, F. Samuel, & A. Sharr (Eds.), Primitive Original matters in architecture (pp. 229–239). New York: Routledge.

31 Fujimori, T., & Fujimoto, S. (2010). Artificial Architecture, Natural Architecture: Dialogue summary of conversation between Terunobo Fujimori and Sou Fujimoto. In K. Yoneda (Trans.), Primitive Future. Tokyo: INAX Publishing.



34 Hildebrand, G. (1999). The Origins of Architectural Pleasure. Berkley and Los Angeles: University of California Press.


36 Norberg-Schulz, C. (1966). Intentions in Architecture. Oslo: Universitetsforlaget. p125

37 James, E. O. (1965). From Cave to Cathedral. London: Thames & Hudson.


39 Fewkes, J. W. (1910). The Cave Dwellings of the Old and New Worlds. New Series, 12(3), 390–416.

40 Nalbantoglu, G. B. (1997). Limits of (in)tolerance. In W. S. Thai & G. B. Nalbantoglu (Eds.), Post Colonial Spaces. New York: Princeton Architectural Press. p89

41 Lukacher, B. (1994). Joseph Gandy and the Mythography of Architecture. Journal of the Society of Architectural Historians, 53(3), 280–299.

42 Ibid p289

43 Taube, K. A. (1986). The Teotihaucan cave of origin. Anthropology and Aesthetics, 12, 51–82.

44 Bloomer, J. (1996). The Matter of Matter: A Longing for Gravity. In The Sex of Architecture. New York: Harry N. Abrams. p161

45 Fujimoto, S. (2010). Primitive Future. Tokyo: INAX Publishing.

46 Taki, K., Warren, N., & Ferreras, J. M. E. (1983). Oppositions: The Intrinsic Structure of Kazuo Shinohara's Work. Perspecta, 20 IS -(3), 43–60.

47 Igarashi, T. (2010). Geometry Without Right Angles. In Primitive Future. Tokyo: INAX Publishing.

48 Campo Baeza, A. (2009). Idea, Light and Gravity. Tokyo: TOTO Publishing.

49 Zumthor, P. (2006b). Atmospheres. Basel, Switzerland: Birkhauser.

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50 Zumthor, P. (2006a). Thinking Architecture (2nd ed.). Basel: Birkhauser.

51 Olgiati, V. (2007). Valerio Olgiati - Conversation with Students. (M. Breitschmid, Ed.). Blacksburg: Virginia Tech Architecture Publications.

52 Eco, U. (1980). Function and Sign: The Semiotics of Architecture. In Bunt, Jencks, Broadbent (Eds.), Signs, Symbols and Architecture. New York: Wiley.

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C h a p t e r 4 : Uninhibited Dwelling [Discussion]

O v e r l o o k i n g t h e f o u n d o b j e c t

The reference of the primitive in architecture is oft used to infer a system where nothing is superfluous, an architecture unfettered by referencing cultural systems and therefore presents us with an essence of sorts. This essence has come to mean many things, foremost in the veneration of the origins right because they were first and also as a means to highlight a dissatisfaction with the current world views. By questioning not only the architecture we make, but the lifestyle that it is attuned to, it is possible to use the concepts of the primitive in reconnecting to base human physical and psychological needs.1

Therefore this chapter aims to look at why the hut is preferred as a topic and furthermore how the introspective nature of the cave can begin to establish that reconnection to our psychological needs.

Firstly in seeking to recognize how the cave became overlooked it is necessary to evaluate its value as an architectural object. The hut as a concept has a great deal of significance as an architectural object, in western architectural discourse it has been used many times in proposing a refining of the communicable elements of architecture.2 So where hut’s obvious technical qualities set it as the first structure realized by man the caves stature as a found object defies the traditional sensibilities of architecture. The nature of the cave as a natural edifice leads to an issue of where it lies within architecture. Where the hut with its obvious architectonic forms and techniques the inhabited cave as suggested by Nalbantoglu “lies at the significatory boundary of architecture rather than falling simply outside.”3 This ambiguity of belonging to architecture paired with the difficulty in objectifying the cave has perhaps been a key cause in the way in which it has been left behind.

Where the hut is said to be the convalescence of both the forest and the cave as a means of providing shelter in reverence of nature it is easy to see that as Harries argues the forest has “triumphed over the cave.”4 The hut, as an artificial object is repeatable, it has intent and can be broken down and analysed through its expression of building. The tectonics of the rustic hut are omnipresent according to Rykwert and are still obvious today even in the ubiquitous kit home.5 As such this culture of building begins to override the reason we build in the first place. In this way the hegemony of the hut can be seen in relation to what Schaik characterizes as being the bane of contemporary architecture. Schaik argues that in the founding of the profession of architecture in the 1840’s the body of knowledge that architecture was to take patronage over was that of the master builder, in doing so architecture as Schaik outlines has become predicated on building rather than space.6

As an architectural object the hut is simple enough to objectify, the technical qualities like that of framing or even Laugier’s are replicable and easily referenced, it is simple to communicate through conventional drawings and is ever present.7 The cave however represents a being in the world that cannot be communicated adequately on paper. In dealing with how to analyze the

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cave, traditional methods of breaking down to definable physical elements proves difficult. The cave as an architectural artifact is one that defies traditional norms, a space divorced from form, a “pure interior” and considered to be structureless.8 This it is seen lies at the root of a myriad of reasons the cave has been overlooked in contemporary western architectural discourse. The caves ambiguity in structure, form and intent as a found object means that for the most part the cave isn’t repeatable in it’s entirety, however the aim of this study is relaying transposable elements of the cave. As such by examining the nature of the cave as a spatial construct capable of inhabitation its is possible to take lessons from the cave on how to create a powerfully primitive space.

The cave differs in the way in which it is interpreted, as an understanding of introspective space the cave becomes a vessel for human activity in an interestingly functional way, it is foremost for the protection of primitive human functions, from; birth to “day dreaming”, copulation to protecting the young and finally the ritualization of death.9 10 As a result of the cave being created without intent, mankind learned to use it. By developing behaviours based around the space man unique practices occurred such as Bataille’s theory that the cave was a catalyst in the change of work to play and through this to the “birth of art.”11 This space without intent then has a curious affect on the way space becomes part of the human element, where we now divide spaces according to any particular function the cave operated on a very different set of spatial rules. The spatial make up of the cave, which we will call a spatial gradient as opposed to the more traditional divisive strategies of walling in spaces. This means that in the process of inter human functions spaces would be chosen best appropriate to the requirements, sleeping would dictate a safe distance from the entrance, more than likely in an area with a low ceiling and a raised plateau, where as cooking and living around a fire would necessarily need to be near the entrance threshold to exhaust smoke and have ample sight. Through simple behaviours the space becomes an enriching form of intellectual exercise and accordingly space and functionality form a living apparatus for dwelling. (Fig.10)

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Fig.10 Fujimoto’s Final Wooden House, Japan. Where a house modeled on the hut would divide spaces into rooms, Fujimoto uses the cave to inform an architecture that uses spatial gradient techniques to meet a primitive form of functionality.

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The traditional concept of intent therefore in making rather than inhabiting architecture seems at odds with the cave. As the cave exists prior to the intent to inhabit it, it could be said that it brings into presence the space and, therefore, the intent and the knowledge to use that space. This is separate from the way the hut responds, and having matured from the hut our current spatial dialogues occur with labels of bedroom or dining room more than they do with anything instinctual. By recognizing the way space differs in the cave it can therefore be understood as a model. In controlling space in a way more favourable to the way our bodies and instincts work (as opposed to how our furniture or modern functions like home theaters fit) and in doing so further develop our spatial understanding of architecture. In returning to instinct and space, if we were to again consider Eco’s “man who started the history of architecture,” who is driven by the elements to seek shelter and in doing so relies on instinct and reason reacting in a “confused way” we find that primitive man acting in harmony with his spatial environment is a natural behaviour.12 Eco’s primitive man then finds that the cave as a space of comfort invokes feeling “an unclear nostalgia for the womb.” Now far beyond the simpleness of a spaces use we find that the cave as a space has a power for evoking images of maternity without being specific.

Curiously the reference to an unclear nostalgia is given to be present due to the spatial qualities of the inside space. The womb and thusly the sanctuary of the earth share a psychic and instinctual connection to man, where the space is indicative of something unclear and ultimately relatable to our base instincts. This something then we can relate to the nostalgia of which Eco speaks, and in continuing this line of thought Bloomer in her essay makes point of modernities repression of nostalgia. Whereby, Bloomer in understanding the negative consequences of this repression makes the point that “any attempt to ignore or repress animal yearnings must always be dominated by an uneasy awareness of their pressures.”13 In acknowledging these animal yearnings as instinctual then the issue is in having repressed them how can architecture begin to recover the same instinctual spiritual connection said to be conjured by the cave. Further reading of Bloomer would indicate that in an “enveloping poché of an ancient castle,” she feels the same non-descriptive feelings of nostalgia. The element of envelopment here becomes reminiscent of the spatial quality of the cave, and which is worth naming as a key spatial element. Through the envelopment of man in matter, like that of an earthen womb, it is possible to induce feelings of protection and safety, feelings primarily concerned with being free of fear from the outside world. (Fig.11) The mediation therefore of the outside world becomes part of this spatial element. (Fig.12) The protective embrace of solid matter it would then seem is a pregnant source of this instinctual nostalgia.

Overlooked as a found object of ambiguous architectural merit the disregard of the cave has thus been to the detriment of contemporary architecture. The cave though overlooked for its lack of authorship and intent, considered ‘structureless’ and difficult to communicate traditionally, it still harbours many lessons for architects today. The preference of the hut throughout architecture has led to a discipline premised on building rather than space. Laugier’s hut perhaps the most (in)famous, is especially characteristic of this tendency for structural and objective beauty and leads to an architecture which represses the emotive power of space.14 Thus by exploring in the following sections how

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the spatial attributes of the cave have influenced our spatial instincts, leading to a universal reverence for the cave, it is hoped the cave can now better inform a contemporary architecture in enriching our primitive sense of spirituality.

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Fig.11 Zumthor’s Bruder Klaus Chapel, Germany. The Layering of concrete like sediment coupled with the severe mediation of the exterior (except weather) makes for a sp i r i t ua l space w i thou t a need fo r iconography.

Fig.12 Zumthor’s Bruder Klaus Chapel, Germany. Sectional drawing showing the inclining walls that create a cave like atmosphere, providing the emotive feelings but without shelter shows that space can be functional without sheltering through strong refuge.

H e r e d i t a r y t h e o r y a n d s p a t i a l i n t e l l i g e n c e

Having considered the way in which the cave was overlooked in the previous section, it is now worth exploring how we experience it and why that is significant. The research in this section seeks to make evident the relationship of the cave to our spatial intelligence and how through Appleton’s prospect/ refuge theory feelings of security and as a result spirituality can assist in guiding contemporary architecture to creating more enriching human environments.15 16 Hereditary spatial dispositions in habitat selection evolved based on survival success but now that our environment has changed and survival is all but guaranteed we see that refuge specifically as part of this dichotomy becoming eroded in contemporary architecture. This is largely due to the prevalence of image based architecture and a striving for lightness spurred on through the copying of modern masters.17 Through this paper it is hoped that a reinterpretation of the significance of the cave can assist in further developing an architectural vocabulary geared towards a spatial understanding of our baser instincts as a human animal.

Considering mankind as an animal we are distinctly disadvantaged, no fur for warmth, no claws for defense, with poor smell and sight as compared to a number of predatory animals (smell in dogs and sight in birds for example). Consequently survival success would often hinge on the ability to find suitable habitation and in surviving to copulate a genetic predisposition for habitat selection is formed. Appleton suggests that our genetic dispositions towards situations of combined prospect and refuge serve to increase survival success and that our aesthetic and instinctual tastes are affected by this. Appleton’s theory of prospect/ refuge is developed through the simple premise that survival success and thus aesthetic preferences can relate to the desire to “see without being seen.”18 Foremost this is a manifestation of our earliest spatial intelligence at work, one that has stayed with us through aeons of evolution. The cave as a spatial arrangement performs according to prospect/ refuge theory in a certain way, by in the simplest sense having a dark inside where one can hide and an outlook to survey it allows one to see directly without being seen. Taking this further the threshold of the cave mouth serves as another pertinent feature, the security in having ones back to the wall and a clear view of the entrance is extremely desirable as a defensive position. This again further relates to the act of seeing without being seen within the microcosm of the cave. Furthermore as a spatial gradient the cave can exert qualities of prospect/ refuge at a number of scales where the relation to of the cave mouth to the vault can be different to the threshold between the rear of the cave and the vault space. This leaves an opportunity for situational and emotional intelligence to correspond with our spatial intelligence. By having the capacity for spatial intelligence it is worth an aside that like captive animals require enriching environments we too benefit from being able to make use of our spatial innate behavioural instincts.

In its role as refuge the cave becomes a space for rest, of copulation, birth, child rearing and of meditation and play, it encapsulates an escape from the violence of life into the sanctuary of the earth. By learning to associate these necessary but ultimately more vulnerable behaviours with the cave our spatial intelligence learns to trigger an emotive response to signify that the space is right for these acts. Like Appleton’s hereditary theory situating our aesthetic

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tastes with survival success it seems logical to accept that our emotional intelligence would be attuned to this also.19 Therefore the cave comes to elicit behavioural states that would be less likely in less protected spaces.

As previously discussed, the envelopment and spatial gradient of the cave play a significant part in the feelings of protection and mediation that are experienced. In exploring the idea that protection and refuge as being pertinent to the emotive responsiveness that our body takes to the cave another element arises. Protection is a more than a commodity to primitive man, but protection isn’t just implied by space but is also implied by the steadfastness of our surroundings. (Figs.13 & 14) Consider the difference in the feeling of protection when enveloped in a typical room of lets say plaster board panels versus a room of brick. The texture and the sound plays a role but for the most part we understand that the weight and the permanence of the brick is vastly more protective, and as the cave is formed of age old stone it is significantly more protective than brick. In order to express this understanding this study will use the term gravity. As a concept it stipulates that the gravity and the mass of a material has a quality that is conducive of protection. Like the way we seek caves or “anchor ourselves to rocks,” the solidity and permanence of gravid objects has clear repercussions on our spatial intelligence.20 It could be said then that we have learn through precarious situations where things may collapse that permanence is something necessary to gravitate toward.

This comfort of envelopment in the heavy earth then begins in man a cognitive process, the experience of the space and the behaviours it evokes forms the psychological significance of the cave and this can begin to develop our understanding of mental space. The cave then is arguably where we began to understand the meaning of architecture, the bringing of fire to the cave and suddenly the cave comes to symbolize much more than shelter. Its function both physical and mental is understood through the perception of envelopment , gravity and internal topography (spatial gradient) of the and the feelings brought on through spatial situations. The physiological consequences of the cave can then be said to hinge on the fact that it provides the most

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Fig.13 Campo Baeza’s Olnick Spanu House, USA. Showing the heavy cave like element as a refuge symbol and rooting the building physically and spiritually.

Fig.14 Zumthor’s Therme Vals, Switzerland. Deep reveals and heavy walls of the local stone anchor the building while exhibiting strong refuge symbols.

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complete form of refuge, and far as attesting to the relevance of the cave perhaps Appleton phrased it best when he wrote;

“the cave is the most complete general purpose sanctuary...and vestiges of human habitation all over the world testify to the supremacy as well as the antiquity of the cave.”21

The completeness of the refuge has with it unique effects on the psyche, as such the feelings of comfort can be harboured and manifest themselves in what was previously uncharacteristic behaviour, like that at Lascaux for example.22 But beyond this the cave becomes an apparatus, one with a purpose and one that comes to elicit certain behaviour as is natural and to illicit an odd kind of respect because of this, it deals with perceptions of space as relating to feelings of well being, safety and provides atmospheres facilitate what Bachelard gives great credit to, day dreaming.23

Intellectualized in architectural discourse only as a way of meeting criteria of needs; shelter, thermal comfort, defensibility, storage and entry the cave goes much further to prove a powerful space in the development of primitive man. Bloomer’s description of an “enveloping poché of an ancient castle” can help us understand the way our spatial intelligence affects our being in cave spaces. “The warmth of stone, the weight of it,” though seemingly inconsequential these feelings of space enveloped in a mass has a distinct feeling, she states “I am swallowed by this wall, warm, safe, comfortable, but also pricked by longing.”24 This longing we can relate to nostalgia, perhaps again this unclear nostalgia for the womb as proposed by Eco.25 So we find that working with our spatial intelligence to cultivate this unclear nostalgia working with envelopment, spatial gradient and gravity become powerful tools to reintroduce a quality to our dwelling that has been long since repressed.

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T h e e n c u l t u r e d c a v e

Having analysed the significance of the cave in terms of the narrative of origins and the way in which the cave can have instinctive aesthetic benefits we turn now to how the cave became entrenched in culture. In order to further the reasons for reinterpreting the cave into todays architectural discourse we should at least begin to understand the significance of the cave in mythos and cultural production. Realizing this it would seem objectionable to then not seek to understand how this space across many cultures became so enmeshed in feelings of spirituality and cultivation of cultural practice. The effort here is on the way in which we can begin to understand how the spatiality of the cave can bring a renewed vigor to the spirituality of the everyday.

As a structure the cave is divorced from any kind of spiritual or religious iconography or any part of a larger group of symbolism applying to spirituality. The question then is how has this structure, encountered by many different cultures separated by time and geography almost always a significant part of any culture. As discussed previously it may be due to the inherent protective nature of the cave as refuge. Perhaps the idea of an unclear nostalgia of envelopment brought on through mass (gravity), light, space (spatial gradient), colour and texture but while the myths and practices attached to the cave differ per culture, almost every culture during its early development has an affinity with the cave. As discussed in the previous section the understanding of nostalgia as at least partially an instinctual response to the feelings of security could be said to make up part of its spiritual significance. Where the cave proved beneficial in supporting critical human behaviours through generations our spatial intelligence would then have seemed to respond to this. The spirituality of the cave then could be a cultural manifestation of these instinctual feelings, by supporting copulation and birth the cave has an imbued in it a relationship to the animal nature of man. The most obvious primitive symbol of spirituality, the phallus, may be indicative then of the way that these instincts transcend a physical need and lead to cultural symbolism.26

This relationship between the cave and primitive man as a larger part of his culture can evidenced by the colloquialism “caveman”. This term is often used as a derogatory summation of primitive man, as one who is unthinking and acts on instinct, one without a defined culture and unfettered by epistemology. However this is perhaps an over simplistic understanding of the phrase, inherent in this we understand that man dwelt in caves, and as the “house is the most truthful expression of the mind and the culture,” we gain an insight into the significance of the cave in an evolution of culture.27 The cave paintings found and celebrated across the globe are testament to this, and the use of tools in creating art gives the appearance of a body of knowledge beginning to be passed on through generations. ‘Knowing how as a form of knowledge’ itself showed the state of man at this time and one can’t help but view the cave as an omni-present bystander to these developments.28

While the scope of this research is not to claim that the cave is in many cases responsible for development across cultures, but instead question architectures lack of exploration of the cave and it’s implications. In looking at the way in which many cultures have a deep reverence for the cave in mythos or dwelling we can begin to root out perspectives on the attachment and thus

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the spatial and emotional power of the cave. Bataille in considering the cave paintings at Lascaux as “the birth of art” even if drawn by neanderthal man considers the sanctuary of the cave as “arenas of play” in the sense that work as a determinant of intelligence was adapted to play (work that was not necessary for survival) and in doing so created art.29 This fundamental shift in the way work became play is important when considering the event taking place in the cave and Bataille’s argument to the way in which he states “the charged atmosphere of these caves it was seduction, the profound seduction of play that was preeminent,” inferring that the nature of the cave was in some way decisive in this shift of work to play.30

As well as the cave’s development of man it also stood as an early guide to architecture. Where the hut is said to have encapsulated the forrest and the cave we find that instead truer architectural associations to the cave have been performed in spiritual architecture. The caves presence in Joseph Gandy’s cataloguing of architecture shows its importance in the roots of architectural theory, he even goes so far as to posit “astronomy and caverns have given the origins of all ideas in architecture.”31 (Fig.15) This relationship of the earth and the heavens thus reaching spiritual significance we find that the cave does in fact have flow on effects. Take for example the Mesoamerican Pyramid of the Sun in Teotihaucan which following the mythology of the culture must be situated over the mouth of the cave of life.32 By attaching meaning to the cave and then constructing a temple to enclose and aggrandize this we see how the simple found edifice of the cave has had a resounding affect on the people of that place. This example is characteristic of a culture and where many cultures differ in how they celebrate the cave anthropological discourse is rich with documentation on cave paintings, carved dwelling and cave temples.

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Fig.15 Joseph Gandy’s Emblematic Sketch from the Exhibition Comparative Architecture. The sides of the image show the primitive origins of architecture in forest groves, caves, followed by a hut and tent and further developing intp the ark.

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And so moving on from primitive man we still see that the cave, across cultures separated by ideals, geography and time has held a significant place in the development of cultures and spirituality. This fact again prompts us to examine why it is that architectural discourse has come to mean leaving the cave behind, and if that is the case what is it that we have repressed in our nature in doing so. Following through ideas presented by Heidegger that the bodily experience of being in the world is the way in which we measure meaning we can begin to situate architectural meaning with the cave in terms of spatial cognition and a fostering environment for intimacy and play. Furthermore the cross cultural reverence for the cave can begin to signify a way to look at the cave and dwelling in the sense of Heidegger’s fourfold and as a representation of a shared history, and in this way it is hoped we can reconnect with why we build and what the profession of architecture holds as primitive values.33

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Notes

1 Fujimori, T., & Fujimoto, S. (2010). Artificial Architecture, Natural Architecture: Dialogue summary of conversation between Terunobo Fujimori and Sou Fujimoto. In K. Yoneda (Trans.), Primitive Future. Tokyo: INAX Publishing.



4 Harries, K. (1983). Thoughts on a Non-Arbitrary Architecture. Perspecta, 20 IS - (ArticleType: research-article / Full publication date: 1983 / Copyright © 1983 Yale University, School of Architecture), 9–20. p15


6 van Schaik, L. (2008). Spatial Intelligence. West Sussex: John Wiley and Sons. p11




10 Bataille, G. (1961). Tears of Eros (pp. 25–31). Paris: Jean-Jacques Pauvert. p25

11 Ibid p46



32




17 Hildebrand, G. (1999). The Origins of Architectural Pleasure. Berkley and Los Angeles: University of California Press. p39

18 Appleton, J. (1975). Experiencing the Landscape. John Wiley and Sons. p66


20 Unwin, S. (2006). The wisdom of the sands. In J. Odgers, F. Samuel, & A. Sharr (Eds.), Primitive Original matters in architecture. New York: Routledge.



23 Bachelard, G. (1969). The Poetics of Space. (M. Jolas, Trans.). Boston, Massachusetts: Beacon Press. p5




27 Fewkes, J. W. (1910). The Cave Dwellings of the Old and New Worlds. New Series, 12(3), 390–416. p390


29 Ibid p47

30 Ibid p48

31 Lukacher, B. (1994). Joseph Gandy and the Mythography of Architecture. Journal of the Society of Architectural Historians, 53(3), 280–299. p289

32 Taube, K. A. (1986). The Teotihaucan cave of origin. Anthropology and Aesthetics, 12, 51–82.

33 Heidegger, M. (1993). Basic Writings: Martin Heidegger. (D. Farfell Krell, Ed.). London: Routledge.

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C h a p t e r 5 :

The Poetics of the Cave [Conclusions]

Outlined in previous chapters are arguments for the reconsideration of the spatial attributes of the cave, properties thought to aid the current practice of architecture in eliciting similar spiritual and emotional responses in composing new spaces. Using architectures manifest reverence for an idyllic past therefore allows us a sharper focus for the critique of contemporary life.1 The desire for return to a simpler state reconnects architecture with the introspective and spiritual needs of man and his concrete environment.2 This thesis suggests the latent spatial characteristics of cave-like space can aid in remedying a current design approach which is increasingly prospect driven and can therefore begin to reconnect with self through introspective spaces. From the literature and discussion this paper has drawn out four significant qualities important in understanding the spatial qualities of the cave. Cave like attributes of envelopment, gravity, spatial gradient and ‘wholeness’ are as a result proposed as a few guiding principles in prompting further study of the primitive architectural qualities of the cave.

Envelopment

Through the envelopment of man in matter, like that of an earthen womb it is possible to provide a space which can be free from fear, a place conducive of primitive behaviours from day dreams to copulation, spirituality, play, birth and death.3 4 The cave presents a being in the world defined by mediation of the exterior environment. A total interior, the insularity of which can be likened to that of the 'shell' or the 'womb'.5 6 7 The 'superiority' of the cave as a refuge element alone defines it's significance.8 In our current lifestyle we have reached a point in which survival is all but guaranteed, and as a result the erosion of refuge elements has become the norm. Like that of the 'cave-like'

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F ig .16 Zumtho r ’s The r me Va l s , Switzerland. Anchored into the mountain side the building moderates the exterior i n o rde r t o f os te r a p ro tec t i ve atmosphere.

Fig.17 Fujimoto’s Final Wooden House, Japan. Fujimoto’s use of the cave as an archetype is to question current practice.

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interior Zumthor's Therme Vals (Fig.16) and even Bruder Klaus Chapel (Fig.17) the cave mediates the feelings of envelopment in relation to the external environment.9 By working with the atmosphere of his spaces Zumthor’s use of his own spatial intelligence in creating spaces conducive to spirituality and relaxation serves as example of how recognizable spatial attributes of the cave are still fundamental to how we feel space.10

Gravity

The physicality of the mass in the vault of the cave and the permanence of its walls evoke a feeling of being enmeshed within the bosom of the earth. Beyond a feeling of static equilibrium the pressure exacted by the weight of stone shakes free of any feeling of precariousness in both a physical and psychological sense.11 Where lightness of structure has an ephemeral quality like that of Spanish architect Santiago Calatrava, the quality of celebrating weight and mass is becoming lesser held as an equal. Where the expression of gravity became a novel pursuit in resolving beautiful and technological structures the understanding of how heaviness effects the atmosphere of a space became less prevalent.12 The cognitive advantage that gravity bestows in architecture can also be used to situate important aspects of a building, like the permanence of the stone hearth in Frank Lloyd Wright's falling water (Fig.19) or the relating of mass to the earth and rest in many of Campo Baeza's (Fig.18) residential projects it is possible to communicate through the magnetism of gravity.

Spatial Gradient

Spatial gradients afford a way in which to mediate interpersonal functions and enable reaction to situations by moving to either prospect of refuge dominant parts of the architecture. This allows a more direct relationship between the architecture and the interpersonal and introspective dialogues that occur inside the work. Perhaps prevalent already in contemporary architecture is the concept of spatial gradient as a means of primitive functionalism. As opposed to the divisive strategies of space discussed by Japanese architect Kazuo Shinohara, the idea that the demarcation space is not a simple on/ off arrangement but instead acts as a gradual change of space from one to the next.13 14 Presented by Fujimoto in his primitive futures monograph is how the

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Fig.18 Campo Baeza’s Ulnick Spanu House, USA. The steady platform becomes the key refuge element as well as a means to steady the object in its milieu.

Fig.19 Wright’s Falling Water House, USA. The large stone fireplace comprising a significant vertical element root the living around the mass.

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cave directly influenced his ideas of spatial gradients as a primitive form of functionalism.15 (Fig.21) By creating space that performs on an instinctive level it is possible to enrich and continue development of our spatial intelligence.16 This requires a more nuanced approach to space, by using our spatial and emotional intelligence it is possible to design in such a way that doors, nor bedrooms or dining rooms exist in the same way again. (Fig.20)

'Wholeness'

Wholeness is the key spatial attribute that one can derive from the cave. Just as prospect and refuge are both required in meeting the criteria for "seeing without being seen," stipulated by Appleton so too does the cave rely on more than any one factor at a time.17 While the above mentioned attributes are significant spatial qualities in their own right the atmospheric quality of the cave is due to the seamless merger of all of the above factors (as well as the possibility of others pending further exploration). This attribute can be said to be part of the reality that the cave is a natural structure, formless and “impossible to objectify.”18 In identifying an approach to achieving 'wholeness' the renown Swiss architect Valerio Olgiati may be thought of as an unknowing precedent. Where Olgiati strives to make buildings that "act like one thing," in the way that an organism would, it is comprehendible that making cave like architecture would be approached in a similar way.19 The pursuit of the purity of the cave as a powerful space then relies on the mediating of these attributes in response to required functions.

In closing; The cave, though a natural edifice defiant of traditional methods of analysis and communication, can be established as having qualities that are transposable within todays architectural vocabulary. By seeking to create a physically and psychologically enriching architecture from the cave it is possible to now establish a genealogy of architecture based on these primitive spatial techniques of this forgotten origin. Far from referencing or copying cultural building languages the cave instead acts as a mediator between ourselves and our concrete reality.

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Fig.20 Zumthor’s Therme Vals, Switzerland. The Therme Vals bath complex operates through a series of thresholds and envelopment in order to instill a secure and relaxing atmosphere.

Fig.21 Fujimoto’s Final Wooden House, Japan. Fujimoto’s use of the cave as an archetype shows a creative use of spatial gradient.

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Scope for further research

Where this study was concerned with developing a spatial language of the cave many aspects of this natural origin remain unexplored in western architectural discourse. There are still vast opportunities in not only improving this study but also in further evaluating the psychological stigma surrounding the cave. The use of caves in pop culture as lairs or hide outs belies a view of the cave which has changed significantly since our ancestral beginnings sheltering in the cave.

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Notes:



3 Ibid p5

4 Bataille notes all of these situations of life to be definitive in the spirituality and eroticism of the cave. In Bataille, G. (1961). Tears of Eros (pp. 25–31). Paris: Jean-Jacques Pauvert.


6 Bachelard, G. (1969). The Poetics of Space. (M. Jolas, Trans.). Boston, Massachusetts: Beacon Press. p105



9 van Schaik, L. (2008). Spatial Intelligence. West Sussex: John Wiley and Sons. p146

10 Zumthor, P. (2006b). Atmosphere. Basel, Switzerland: Birkhauser.

11 A telling example of this is the addition of the four stone towers to the Sydney Harbour Bridge, though not structurally necessary the spatial intelligence of Sydney siders reacted to a feeling of precariousness. The massive towers weight was added in order to reduce anxiety despite not having a structural role in the bridge.


13 Taki, K., Warren, N., & Ferreras, J. M. E. (1983). Oppositions: The Intrinsic Structure of Kazuo Shinohara's Work. Perspecta, 20 IS -(3), 43–60.

14 Fujimoto, S. (2010). Primitive Future. Tokyo: INAX Publishing. p24

15 Fujimoto, S. (2010). Primitive Future. Tokyo: INAX Publishing. p36

16 Igarashi, T. (2010). Geometry Without Right Angles. In Primitive Future. Tokyo: INAX Publishing.

37



19 Olgiati, V. (2007). Valerio Olgiati - Conversation with Students. (M. Breitschmid, Ed.). Blacksburg: Virginia Tech Architecture Publications.

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Taube, K. A. (1986). The Teotihaucan cave of origin. Anthropology and Aesthetics, 12, 51–82.

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List of FiguresCover Photo Fujimoto, S. (Designer). (2008). Final wooden house. [Print Photo]. R e t r i e v e d from

http://ad009cdnb.archdaily.net/wp-content/uploads/ 2008/10/728188514_04.jpg

Fig 1 Author image

Fig 2 Author image

Fig 3 Semper, G. Caribbean Hut. (Found in Four Elements of Architecture.) R e t r i e v e d from http://www.tu-cottbus.de/theoriederarchitektur/Wolke/wolke_neu/inhalt/en/issue/issues/207/Blais/figure-3.jpg

Fig 4 Laugier, M. ‘Rustic Hut’ Retrieved from http://3.bp.blogspot.com/_rlhZCdZl2is/TC6GUMBOvrI/AAAAAAAANFU/oEMbaaM7PjE/s1600/Primitive+Hut+Laugier.jpg

Fig 5 Amateur photo, Cave paintings in Lascaux. Artist Unknown Retrieved f rom ht tp: / /2.bp.blogspot.com/-BKekWZJNQlM/TyrE6bs5atI/AAAAAAAABNo/Q9jZRLO6w-w/s1600/Lascaux+bird+shaman.jpg

Fig 6 Amateur photo, Dolmen (Ireland). Photographer unknown. Retrieved from http://www.redbubble.com/people/upthebanner/works/2905222-dolmen-megalithic-tomb-grave-county-clare-ireland&docid=eebyiL7ZiGi83M&imgurl=http:// ih0.redbubble.net/image.5500625.5222/flat,5 5 0 x 5 5 0 , 0 7 5 , f . j p g & w = 5 5 0 & h = 3 6 5 & e i = H o - f U M e w D Y r a m A X -nYDAAw&zoom=1&iact=hc&vpx=625&vpy=330&dur=629&hovh=135&hovw=213&tx=96&ty=97&sig=116228296764649853480&page=2&tbnh=135&tbnw=213&start=24&ndsp=27&ved=1t:429,r:18,s:20,i:187

Fig 7 Amateur photo, Teotihaucan Pyramid of the Sun. Photographer unknown

Fig 8 Fujimoto, S. (Designer). (2008). Final wooden house. [Print Photo]. Retrieved from


Fig 9 Zumthor, P. (Designer). (1996). Therme vals Interior. [Print Photo]. Retrieved from

http://3.bp.blogspot.com/-OlFkbUChAU4/Tvqaq2KBjGI/AAAAAAAAAVE/JuBwM1eMnG0/s640/8_thermal-bath-house.jpg

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http://ad009cdnb.archdaily.net/wp-content/uploads/


http://www.redbubble.com/people/upthebanner/works/2905222-dolmen-megalithic-tomb-grave-county-clare-ireland&docid=eebyiL7ZiGi83M&imgurl=http://ih0.redbubble.net/image.5500625.5222/flat,550x550,075,f.jpg&w=550&h=365&ei=Ho-fUMewDYramAX-nYDAAw&zoom=1&iact=hc&vpx=625&vpy=330&dur=629&hovh=135&hovw=213&tx=96&ty=97&sig=116228296764649853480&page=2&tbnh=135&tbnw=213&start=24&ndsp=27&ved=1t:429,r:18,s:20,i:187














Fig 11 Zumthor, P. (Designer). Bruder Klaus Interior. Atmospheres p24

Fig 12 Zumthor, P. (Designer). Bruder Klaus Chapel Section. Retrieved from h t t p : / /cubeme.com/blog/wp-content/uploads/2008/02/peter-zumthor-bruder-klaus-chapel-mechernich-germany3.jpg

Fig 13 Campo Baeza, A. (Designer) Olnick Spanu House. Idea, Light Gravity. p168-175

Fig 14 Zumthor, P. (Designer). (1996). Therme vals Exterior. [Print Photo]. Retrieved from

http://en.wikipedia.org/wiki/Therme_Vals&docid=ZRl61T-4bolP_M&imgurl=http://upload.wikimedia.org/wikipedia/commons/thumb/5/56/Therme_Vals_wall_structure,_Vals,_Graub%2525C3%2525BCnden,_Switzerland_-_20060811.jpg/200px-Therme_Vals_wall_structure,_Vals,_Graub%2525C3%2525BCnden,_Switzerland_-_20060811.jpg&w=200&h=267&ei=AZCfUJa_GtHImAWOpYGADw&zoom=1&iact=rc&dur=451&sig=116228296764649853480&page=1&tbnh=137&tbnw=114&start=0&ndsp=25&ved=1t:429,r:3,s:0,i:78&tx=103&ty=60

Fig 15 Gandy, J. (1837) Emblematic Sketch. Sir John Soane Museum.

Fig 16 Zumthor, P. (Designer). (1996). Therme vals Interior. [Print Photo]. Retrieved from

http://3.bp.blogspot.com/-OlFkbUChAU4/Tvqaq2KBjGI/AAAAAAAAAVE/JuBwM1eMnG0/s640/8_thermal-bath-house.jpg

Fig 17 Zumthor, P. (Designer). Bruder Klaus Interior. Atmospheres p24

Fig 18 Campo Baeza, A. (Designer) Olnick Spanu House. Idea, Light Gravity. p168-175

Fig 19 Wright, F. L., Falling water fireplace. Amateur photograph. Unknown Photographer. Retrieved from

http://3.bp.blogspot.com/-EsBYSJ9ELO0/T_ujVg1g9uI/AAAAAAAAFIw/9RXMSAplyN4/s1600/3.JPG

Fig 20 Zumthor, P. (Designer). (1996). Therme vals stairs. [Print Photo]. Retrieved from http://1.bp.blogspot.com/-nGV0FsSdvDc/T-KTHKLbd5I/AAAAAAAAAIQ/fTihvW32bLA/s1600/Therme_1(3).jpg



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