UIA 2017 Seoul World Architects Congress

O-0633

The Soul of Architectural and Urban Design

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Anna Tertel

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Anna Tertel Aterier, Poland

Abstract
The soul is in the philosophy of determined element of life, which decides whether human, animal
and plants are living beings. The soul of the material body are elements of the structure of human existence.
Plato considered the soul of the person being decisive about our behaviour and consists of three
parts: the logos (mind, nous, reason), the thymos (emotion, spiritedness, masculine), the eros (appetitive,
desire, feminine). Each of these parts has its place in a balanced and peaceful soul.
In architecture and urban planning, a body is the construction of buildings with the necessary
elements needed for the proper functioning of the city. The rational elements are the law and the rules. The
thymos factors represent lofty ideas, which are the source of image and pride. The eros factors represent
elements that satisfy the temporal needs.
Modern metropolises have lost humanity and excitement thus imbalance between human and
artificial drivers, body and mind, the male and female factors or between predictable and unpredictable factors.
Contemporary architecture and urban planning should provoke and seek to restore the balance in terms of
ecology, aesthetics, culture and security, that leads to the sustainable and harmonious development of the city.
Such soul creates the alive city.

Keywords: complexity, flexibility, harmony, sustainability, humanity,

1. Introduction

The concept of soul appears many times in the work of artists, in religion and philosophy. Soul as the
essence is related to the personality and body of every human being. Over the centuries the concept of the
soul has changed and evolved, under the influence of prevailing doctrines, theological and scientific
knowledge, and the knowledge of the surrounding world. The image of the soul in philosophy is reflected in art
and architecture and urban planning. Theories and knowledge related to art and architecture evolve in line
with prevailing trends and customer requirements. The soul of architecture is closely integrated with the souls
of the inhabitants who interact with the space they occupy. Souls of people with the soul of the city become a
valuable element that through aesthetic experiences leads to an ever better understanding of the surrounding
space. Contemporary architecture and urban planning should provoke and seek to restore the balance in
terms of ecology, aesthetics, culture and security.
2. The soul in European philosophy

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Contact Author: Anna Tertel, Anna Tertel ATerier

Tel: +48 668 228 980

e-mail: ATerier@gmx.com
(The publisher will insert here: received, accepted)

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 The soul is in philosophy defined by the root of life, which determines whether man, animal and plant are
living beings. The soul with the material body is an element of the structure of the human being. For the
Pythagoreans (about 572 BC), the whole universe has a soul that is harmonious, has excellent mathematical
proportions corresponding to the visual and auditory spheres. Individual souls are elements of the soul of the
universe. Pythagoras established the principle of binding geometric solids with the frequency of sounds,
which connects the various spheres of human perception. Plato (427 p.n. - 347 p.n.e.) considers the soul as
the essence of the person who decides about our behaviour, which consists of three parts: reason (mind), lust
(passion), impulsiveness (emotion). Each of these parts has its place in a balanced and peaceful soul. The
human soul according to Aristotle (384 BC - 322 BC) became a perfect form that possessed the capacity to
understand the outside world and the consciousness itself, forming the whole body. In the Middle Ages Saint
Augustine (354-430) recognised the reasoning of the living soul while rejecting sensuality. "We ourselves are
not sensual (Latin animi sensibiles), but rational because we are living." The dignity of the soul to heavenly
bodies, as the angels called. According to Thomas Aquinas (1225-1274), the soul has everything that is alive,
and the manifestation of the soul is the growth of plants and the movement of animals. A man has one
substance of the soul, which is rational (proper humans), sensual (proper animals) and vegetative: (giving
growth, proper plants). Descartes (1596 - 1650) restored the Platonic thesis in the philosophy in which man is
the soul occupying the body (Latin Homo est anima utens corpore). He considered that man is a total thought
being, which accidentally inhabits the unconnected body. In turn Artur Schopenhauer (1788-1860) saw man
as a soul with the body as an instrument.
At the same time Georg Wilhelm Friedrich Hegel (1770 - 1831) created the basis for philosophy, which was
the spirit of alienation and reconciliation. The author found that the spirit is composed of the subjective spirit,
the objective spirit, and the absolute spirit. The subjective spirit emerges from nature and is determined
directly (anthropology), is a consciousness representing nature (phenomenology), and refers to one's own
terms (psychology). The individual spirit takes the path of development from the source to the consciousness
of identity with the supreme spirit. After crossing the threshold of subjectivity, it becomes an objective spirit
and shapes the outside world according to its will by producing the law (abstract law as external form, morality
as subjective feeling and ethics as a combination of both forms). Ethics is a reflection of the soul in social life
through external legality, internal morality and synthetic morality. The absolute spirit is realized through the
identity of artistic creativity, revealed religion and conceptual philosophy. Beauty And absolute is their
counterpart. Unity and the idea of the spirit develop in a symbolic form - the idea in the phenomenon, the
classic - the naive unity of the phenomenon and the idea and the romantic - equating the gap between the
phenomenon and the idea. Art reveals the sensual spirit, while beauty appears between sensuality and pure
thought.
Phenomenologist Edmund Husserl (1859 - 1938) postulated the return to things themselves, unprocessed,
to know the phenomena and phenomena of the world. The fascination with the obvious should be
characterized by "light assurance" and the ability to live the truth. The mood and state of the spirit may be
deprived of intimacy. It strives to capture the pure essence of phenomena. Maurice Merleau - Ponty (1908 -
1961) mentions the subject of the influence of works of art on the soul. The body is for the carrier spirit, which
allows one to cause one to achieve happiness and spontaneity. The work of art fills us spiritually with
something more than a warm tone. True admiration reveals itself at the moment of understanding that every
creator lives the human life of the artist. Miracle is something ordinary, natural, begins with life embodied and
ran out of the boundaries of the world seen. Man is the spirit of the world wherever he goes and looks. He was
entrusted with nature and his own reason, his life was driven by pure research passion, loneliness, curiosity
and pure awareness. Audiences saw the light surrounding it. The vision of painter Paul Klee is a combination
of "physical-optical" things with the image of the essence of things and the world. "There is a place where the
brain connects to the universe." Fragments of works have the value of the whole, and progress is made by
adding, assembling, and decomposing functions. Unity is the unity of coexistence in architecture, where
elements of the vaults are mutually supportive. Roman Ingarden (1893 - 1970) confessed that the personal

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soul has the capacity to mold the body and deepen it and cross one another. As a result, spirituality develops
and strives for freedom while directing the body and discovers the space between the spirit and the body
called the "inner fortress." The soul experiences an aesthetic experience that leads to the constellation of the
object. Observation gives the first impulse to the development of experience, and the work of art becomes its
regulator and introduces into the state of lust resulting from the emotion and astonishment of the
"preoccupation". Emotion leads to the desire to have emotional quality. Aesthetic experiences form the whole,
with the background of everyday life and the weakened things that triggered those experiences. Watching
quality through the soul satisfies the desire for communion and transforms into the enjoyment of this and the
next qualities which in turn lead to a new aesthetic value.

3.The soul of architecture and urban planning

What is the soul of architecture and urban planning? The philosophy of the soul refers to the human body,
but one can compare the philosophy of man to the philosophy of the building that man lives in. Consequently,
the philosophy of the community of people will correspond to the philosophy of the city. The body is the
construction of buildings together with the necessary elements necessary for the proper functioning of the city.
The soul makes the city live. The rationale is the law and the rules by which to operate. The elements of lust
are the factors that serve the temporal needs, and the emotional element are the factors representing the lofty
ideas that are the source of image and pride. The balance of these factors leads to a balanced and
harmonious development of the city.
According to Pythagorean theory, since the universe has a harmonious soul in the visual and spiritual
spheres, both architecture and urbanism are elements of the soul that should have a similar harmonious soul.
The geometrical rules can be considered as guidelines to design such harmonious elements. There is doubt,
however, whether the architecture that violates the principles of harmony also has a soul, is deprived of it, or
whether the soul is so broken as the rules that rule it. So since architecture can have a balanced and peaceful
soul, it should also represent reason (mind), lust (passion), impulsiveness (emotion). Existence of reason in
architecture is unquestionable. The entire design process and use of the building is based on the acquired
and transferred knowledge. However, very often in architecture is missing both passion and emotion.
Aristotle acknowledges that the soul should be one with the body with regard to architecture, the whole idea
of design should be homogeneous and respond to one guiding idea that would combine every element on any
scale into one consistent composition. As a homogeneous whole, it would be an excellent and capable form
to understand by the audience and users. St. Augustine accepted the rationality of the soul contradicting
sensuality. Modernist architecture is strongly driven by pragmatic thinking and logical solutions, but there is no
place for the development of interpersonal relationships. The alignment of the soul and the work of man to the
celestial bodies is a peculiar return to Pythagoras' theory, which recognizes the unity of the whole universe in
every detail. Thomas Aquinas recognized that souls have living elements that seem to contradict architecture.
However, it can be considered that since architecture can arise in living things like plants, it may also contain
soul. It would contain a vegetative soul and the inhabitants would be animal-sensual and human-rational soul.
Descartes' thought of the soul inhabiting the body suggests that it resembles the whole of the surrounding
architecture in the same way. So the architecture is soulless and the soul of the city is inhabited by people.
Schopenhauer's recognition of the body as a tool can be compared to LeCorbusier's recognition of an
apartment and home as a living machine. Hegel's work describes the evolution of the spirit from the subjective
spirit through the objective spirit to the absolute spirit. The absolute spirit is realized in artistic, religious and
philosophical art as beauty and absoluteness, which can also be embodied in architectural and urban forms.
The ideological and homogeneous architecture, with the qualities of sensuality and pure form, seeks to attain
absolute form.
Contemporary architecture increasingly resembles the ideas presented by phemenologists, who rely on
pure perception and reduction. The architectural idea is reduced to a form that can only be described as a
phenomenon. The artist pours out his style and passion for the project he's designing by interacting with his or

UIA 2017 Seoul World Architects Congress 3

her environment. It is only after the design process has the clarity and understanding of the work done. The
resulting work fills the architect's soul, which in turn becomes his soul creating a unique bond. Understanding
the physical and optical principles makes it possible to understand the essence of the universe and to
combine the brain and soul with its essence. By designating its fragment, the value of the whole universe
changes and changes and then evolves as a result of the addition, accumulation or separation of individual
elements. Thanks to this, the unity of coexistence in architecture arises and develops.
In the work of Roman Ingarden, the liberated soul fills the space of the body and beyond and thus fills the
space of architecture in which it resides. Just as it has the ability to form the body as an "inner fortress", it has
the ability to form an interior in which it resides as an "outer fortress". On the other hand, the aesthetic
experience of the soul as a result of emotion and astonishment can be caused by the quality of architecture as
the work of art in which it resides. Architecture-induced experiences form the whole, but are weakened by the
daily functioning of the people. The good quality of architecture satisfies the need for communion and
enjoyment of the soul and brings forth positive aesthetic emotions. The reference to Roman Ingarden's theory
can be found in the architecture designed by his grandson Christopher Ingarden (born 1957). The works of
Christopher Ingarden are inspired by the art and religion of shinto because of his studies in Japan, which
further influences the quality and experience of valuable emotions in contact with his buildings. Each element
of the facade of buildings is repeatedly analyzed in terms of shape, color and material selection, to induce
deeper emotions, and to surprise and shock the observer. The game of light and reflections in buildings
additionally highlights the variety of forms and diligence in often hand-made building materials. The aesthetic
experiences caused by staying in his buildings lead to the development of high quality architecture and urban
planning as a whole.

Fig.1. The Garden of Art in Kraków designed by Ingarden & Ewý (photos made by the author)

4. City with soul for Humanity

The "male spirit" symbolizes power, hardness, power, and lack of emotion. The design features simple
shapes, sharp corners, monumental proportions and decisive colors and gray, black and white. Such a
philosophy was propagated by Saint Augustine, whose philosophy rejected sensuality. Such style was
predominant in the history of architecture, where the details were richly decorated and soothed the rigid,
schematic and monumental character of the building. Le Corbusier (1887-1965) represented the vision of the
world as a machine without feelings or emotions. Pragmatic, minimalist and anonymous housing for workers
without soul. You can observe the lack of space for individuality, excitement, pleasure and harmonious contact
with the environment conducive to making friends, friendship and love. No human scale in architecture and
urban multi-family housing. Le Corbusier has identified five points of modern architecture: the pillar structure

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(Pilotis), horizontal windows, flat roofs and terraces on the roofs, free plan and free elevation. However, and in
his designs appear elements that mitigate the schematic shapes and diversify the even divisions. The most
famous examples of his buildings are: Villa Savoye Poissy (1931 - 44), Unidad de Habitación Marsella (1952 -
65), Notre Dame de Haut Le Ronchamp (1954 - 67). The opposite is the "female soul" associated with
attractive appearance, sensitivity, caring, mysterious and optimistic. The "feminine" architecture is expressed
in vague shapes, rounded corners and subdued colors. This is due, among other things, to the different
reception of stimuli by the brain by men and women. Zaha Hadid (1950 - 2016) was the first architectural star
to represent a dynamic, curvilinear style with bright, clear colors in every scale from detail to town planning.
Zahy Hadid's designs delight in the lightness and smoothness of the mold. Multidimensional shapes prevent
shape identification, so the impact of viewing and staying around the building is much more pronounced.
Sensory impressions remain much longer than the mind-image of the pavilion in the center of the park.
Another embodiment is a multifunctional bridge composed of penetrating curvilinear forms that resemble a
flowing river below. Thanks to the similarity they combine into one and with the environment they form one
coherent whole in the universe. This bridge, through the multiplicity of experiences, leads to a higher level of
experience in the quality of the work of art.

Fig.2. Extension of Summer Pavilion designed by Zaha Hadid (photos made by the author)

Fig.3. Bridge in Zaragoza designed by Zaha Hadid (photos made by the author)
The city with soul contains constant and unchanging structure skeleton and dynamically permeating factors.
These factors adapts to the changes such as weather, life and needs of the population, spontaneous and
planned actions of the authorities, cultural and linguistic changes. Today's architecture developed by the
technology to take more and more attention to the factors that influence shape. Those factors are: the effects
of sunlight, rain, humidity, wind and ventilation of buildings are variable. They have a direct impact on the
energy balance of the building. The use of these factors in the design of a building can significantly increase
their attractiveness and maintain their efficiency.
Frank Gehry said, that it always should be place for humanity. The exterior is matched to all factors
influencing the development of the city. On the other hand, the soul represents the identity of the city. Places
that have a positive impact on the audience and people who light up their surroundings and make the city start
to gain exceptional timeless energy and meaning. The uniqueness of cities, together with their identity,
optimal, sustainable environment is their soul. Such a place that illuminates the environment is a
non-denominational temple of meditation designed by a Japanese architect, whose message and shape
amaze and shriek, leading to a new quality of emotion in terms of artistic, religious and philosophical.

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Harmonious architecture reflect human life style. To keep balance in design should be as many female factors
with soft and curvy shapes as man’s factors.
When draining rainwater from the roof, it is possible to treat it as an element of water decoration, which
flows through the building animating, diversifying the facade and elements of interior. Water can also flow
between buildings combining components into one coherent structure. A similar effect on the building is
affected by the wind, which can have cooling effect and thereby increase the energy needed to maintain the
facility. To reduce energy consumption an aerodynamic shape can be given, that will match to the strength
and direction of the wind. They will remind the aerodynamic shape of vehicles and landscaping or curvature of
the human body. The landscape building can be an extension of the terrain. These shapes enable the use of
the roof as an additional area of green water collection, cooling effect of building and improving the
attractiveness of the environment. Waterfront and the water environment adjust the shape and function of the
liquid form, flexibility and reflectance.
The shape of buildings and facades also affects the aesthetic perception and the nature of urban space.
Rounded and curved buildings are more customer-friendly and make more open reception environment.
Buildings looking like part of nature support resting and reduce stress. The organic and continuous shape of
buildings help with changes in their function and adjustment to the needs of users and the development and
changes in the structure of the habitat. The openness and flexibility of the form is continued by the openness
and flexibility of function, where the key elements are planned and executed, while others are adapted to
changing environmental conditions. The main walls of buildings may remain the same, but partition walls,
joinery and interior trim can be adjusted to the individual needs of users and the settlement. This type of
development fits easily into the proposed human-architectural-urban fabric. According to the theory of
complexity, it is possible to design harmonious urban structure, where each element match harmoniously
neighbouring elements and create a coherent and uniform spatial tissue. Water and land can be equivalent in
terms of programmatic, functional, landscape and economic value in the coherent functioning of the city.
Design concepts will follow those theoretical analysis and propose the most successful solution. Following
this idea in every scale and layer is emerging continuity that organically organise life and structure of the city.

5. Conclusion

In times of rapid progress and technological development, there is less and less time and space for
emotions. Humanity is essential to understand the surrounding world. There are needed places of quietness,
astonishment and contemplation. Presence of places for the soul in the city will make the city more human
and friendly in everyday use. Places of meditation will make possible to find the soul in people and valuable
emotional development. It is worth developing a place of meditation which will improve the quality of life and
aesthetic experience of the inhabitants.
The current architectural styles no longer keep up with the technology and the needs of the residents. The
development of methods of design is crucial to improve more friendly, provoking to interpersonal interactions
and love. The creation of surroundings for plants and animals that satisfy all the needs of residents. Designing
the world in which we would like to live, give a chance to live in this world one day. The saint pope John Paul II
wrote that the architects have responsibility to design following God example. Such places like nature should
encourage and provoke people for human behavior and actions to prevent from consequences (cruelty and
aggression) of age of technology.

References
1) Le Corbusier. (1985) Towards a New Architecture. New York: Dover Publications.
2) Merleau – Ponty, M, (1996) Eye and Mind, The Primacy of Perception, Gdańsk, Drukarnia Wydawnictw Naukowych
3) Collins J., (1965) A History of Modern European Philosophy, Fifth Printing edition. Pub. Co.
4) Jodido P. (2009) Hadid. Complete Works 1979 – 1009. Taschen.

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