The sensory perception of architecture through its materiality

Going from the general to the specific, the sensory perception of architecture can be analyzed at its different scales. As Alvaro Siza rightly states, sensitivity toward the environment is not an isolated attribute; it is intrinsically linked to our ability to learn from others and from our history, to what we feel when we see and visit one project or another. In her book X-Ray Architecture, Beatriz Colomina uses the metaphor of the X-ray to investigate how architecture is not only presented through the superficial gaze, but also through its deeper layers. She delves into how architecture affects our perceptions of what we see, how it influences our understanding of space and form, and how representation media allow us to read architecture in a more intense or "internal" sensory way. Along the same lines, but focusing on the scale of materials, Juhani Pallasmaa shares his reflections in The eyes of the skin, arguing that architecture should not be solely focused on the visual, as has traditionally been the case, but must consider all the senses, as they deeply influence our spatial experience.

Pallasmaa argues that materials have an inherent capacity to generate sensations that go beyond the visual. For him, the texture, weight, temperature, and sound of materials can activate other senses, creating a richer and more complex relationship with space. For instance, a stone wall may feel cold to the touch and evoke a sense of solidity and permanence, while a wooden surface may be perceived as warmer and more organic, inviting a more tactile and emotional relationship. This idea is shared by Peter Zumthor, who also expresses it in his book Thinking architecture, defending that architecture should not be understood solely from a visual perspective, but as a total experience that involves the entire body. In this sense, materials have a unique capacity to affect our sensory perception, and Zumthor calls on architects to focus on how materials can resonate emotionally with users. For him, architecture must be something that is felt, not only something that is seen.

Specifically, the poet Rainer Maria Rilke already advocated for the soul of materials. Zumthor himself defends that materials should be chosen for their ability to generate tactile, acoustic, thermal, and even olfactory sensations. According to Zumthor, materials should be able to speak to the body in an intimate way, allowing space to become a deep and immersive experience. For example, concrete, wood, stone, or steel are not just structural elements, but have textures, temperatures, and resonances that affect the way we inhabit space.

As an architectural firm, we also place significant emphasis on the materiality of our designs and its sensory character. We believe that beauty in architecture should not be a superficial quality but one that is effective, fulfilling an aesthetic function that simultaneously enhances the lives of users. Our approach to materiality is rooted in the idea that the relationship between people and their built environment goes beyond mere visual perception. The tactility of materials, their ability to evoke warmth or cold, softness or hardness, silence or sound, plays a vital role in shaping our experience of the space. Architecture is not merely a visual experience; it is a multisensory one. As architects, we must continue to explore and refine our approach to materiality, ensuring that our designs contribute to an immersive experience for all who encounter them.