페터 춤토르의 감성적 물성으로 본 감각 공간 형성 연구

Abstract

(Background and Purpose) Contemporary architecture has often been criticized for being dominated by image-driven formalism shaped by digital technologies and a visually centered culture, gradually distancing it from its experiential and sensory essence. Against this backdrop, this study adopts Swiss architect Peter Zumthor’s concept of sensuous materiality as a theoretical and interpretive framework, aiming to elucidate how materiality, synesthesia, and temporality converge to form sensory space. Particular emphasis is placed on how these elements are integrated into a“material experience” through the user’s perception and emotional responses, thereby transforming architecture into a lived and narrative encounter rather than a static object. (Method) The research proceeded through three stages. First, the theoretical perspectives of Juhani Pallasmaa and Peter Zumthor were examined in order to establish the academic significance of sensuous materiality. Second, the concept was structured into three major dimensions—materiality, synesthesia, and temporality—and subsequently synthesized into the integrated notion of material experience. Third, based on this framework, a comparative cross-case analysis was conducted on four representative works—Tadao Ando’s Church of the Light and Water Temple, along with Le Corbusier’s Notre-Dame du Haut and Palace of Assembly. The analysis specifically focused on users’ sensory and experiential responses, including the texture of materials, the quality of light and sound, the degrees of openness and enclosure within space, and the sequential unfolding of circulation. (Results) The findings show that sensuous materiality functions not merely as a passive description of material properties but as an active device that incrementally progressively and narratively awakens the senses. Ando’s works employ exposed concrete, water, and light to create spaces that serve as meditative places for contemplation, whereas Le Corbusier uses circulation and spatial sequences to create a rhythm of tension and release, leading users to embody the architecture physically and emotionally. In this process, materiality, synesthesia, and temporality operate complementarily and are consolidated into material experience, enabling sensory awareness to expand progressively and to be deeply imprinted in memory. (Conclusions) This study confirms that sensory space is a holistic construct in which materials, light, sound, and time operate in full integration and where sensory awareness accumulates dynamically through movement. It demonstrates that sensuous materiality evolves beyond mere material attributes into a “lived narrative experience” realized through user perception and embodied memory, highlighting the need to regard sensory experience as a critical design variable in contemporary architecture. Furthermore, the study provides a theoretical basis for future research that advance strategies for sensory spatial design through diverse case studies and participant-based empirical investigations.