FINAL PROJECT PROPOSAL – DA184703

Exploration of Tropical Architecture Identities

Based on Temporal Perspective in the Design of
Cultural Centre in Surabaya

TONY HERMAWAN

NRP 08111940000016

ADVISOR

Dr.Eng. Didit Novianto S.T., M.Eng.

NIP 1987202011067

Undergraduate Program

Departement of Architecture

Fakultas Teknik Sipil, Perencanaan, dan Kebumian

Institut Teknologi Sepuluh Nopember

Surabaya

2023
1
 Temporality as Identity of Tropical Architecture in Indonesia

Nama Mahasiswa : Tony Hermawan

Dosen Pembimbing : Dr.Eng. Didit Novianto S.T., M.Eng.

ABSTRACT

Architectural theory suggest the existence of both physical material and also the
immaterial aspect of architecture. Combination of both material aspect will generate what
Jonathan Hill said material or immaterial architecture. Material architecture is often stable and
static and immaterial architecture is dynamic and in constant change both in meaning or
physical sense. This relationship between material and immaterial aspect also revolved around
relationship between time and architectural itself. Different perception of time will generate
different tectonic and materiality itself. There are difference in how each culture understanding
the concept of time. This project will explore the translation of Indonesian culture perception
of time to tectonic and materiality of architecture. Using contestation of land as a background,
this project will explore and enrich the identity of architecture in Indonesia.

Keyword : Tectonic, materiality, identity, architecture in Indonesia, time-architecture

relationship

i
 TABLE OF CONTENT

ABSTRACT ................................................................................................................................ i

CHAPTER 1 INTRODUCTION ................................................................................................. 1

1.1 Theoretical Background .................................................................................... 1

1.2 Design Context ................................................................................................. 2

1.2.1 Temporality in Architecture ....................................................................... 2

1.2.2 Temporality as Identity Tropical Architecture in Indonesia ........................ 4

1.2.3 Context ...................................................................................................... 4

1.3 Supporting Data ................................................................................................ 5

1.3.1 How Does Time is Translated to Architecture ............................................ 5

1.4 Problem Formulation ........................................................................................ 7

1.5 Goal .................................................................................................................. 7

1.6 Benefit .............................................................................................................. 7

CHAPTER 2 METHODOLOGY AND LITERATURE REVIEW............................................... 8

2.1 Design Approach and Design Method ............................................................... 8

2.1.1 Design Framework .................................................................................... 8

2.1.2 Design Approach ....................................................................................... 9

2.1.3 Design Method ........................................................................................ 10

1) Design Method Example in Metabolism Architecture ........................................ 10

2.2 Literature Studies ................................................................................................. 12

2.1.4 Human Perception of Time ...................................................................... 12

2.1.5 David Leather Barrow Category of Time and Architecture Relationship .. 13

i
 2.1.6 Precedent Studies on Translation of Time in Architecture ........................ 13

2.2 Environmental and Site Study ......................................................................... 14

2.2.1 Site Selection ........................................................................................... 14

2.2.2 Site Study ................................................................................................ 14

2.2.3 Regulation Study ..................................................................................... 15

REFERENCE ............................................................................................................................16

ATTACHMENT ........................................................................................................................18

ii
 CHAPTER 1 INTRODUCTION

1.1 Theoretical Background

How does time is perceived and translated in architecture? This question comes up in the
discourse in architecture especially in the discourse on tectonic and materiality. To understand
this question better, a further examination on understanding of materiality and tectonic in
architecture is required

Earlier treaties about materiality in architecture is conceptualized by Leon Batista Alberti

in his work The Art of Building in Ten Books. In his work he explain the techniques of
procurement, refinement and the employment of materials in architecture. Material according
to him are material which are procured from natural realm such as stone, clay and etc. Alberti
technique are derived from objective, practical and empirical methods which often emphasized
on the durability of material translating raw materials properties to built form (Smith, 2012).

Furthermore the dominance of visual elements in architecture is prevalent in the

development of Western architecture (Pallaasma, 2006). This dominance of visual elements is
translated to numerous treaties and concern over perspective, proportion and other visual rule.
This understanding of materiality only reduced architecture as a visual art which only could be
enjoyed by visual sense. This regard on visual and the emphasized on physical material are the
characteristics on conventional western architectural thinking.

Fig. 1 Visual proportion rule on classical architecture. Wikipedia

1
measured by visual sense like weight but this “weight” is first be measured by the eye
(Pallaasma, 2006). He called this type of architecture retinal architecture and furthermore he
explained this retinal architecture relies on in striking visual imagery and geometry to
gisensation to its audience (Pallaasma, 2006).

In the same book Pallaasma argued another form of architecture and materiality which
prioritized more on the spatial experience. This type of architecture are more sensuous and
embodied because it utilized not only visual senses but also other senses of human. In this type
of architecture, the audience need to experience, utilizing all of their senses to derived its
“meaning”. Unlike the visual architecture which rely on instantaneous first impression of its
visual elements to derived their meaning (Jameson in Pallaasma, 2006). Pallaasma called this
architecture with experiential depth. This “depth” implied the presence of another material
which not necessarily physical being layered on top of physical materials.

The relationship between material and the immaterial (non-physical material) are not
dichotomous, they both can co-exist in the same place. Jonathan Hill argues for architecture
which embrace both immaterial and material aspect (Hill, 2006). In defining the term
immaterial, Hill proposed idea which consider immaterial architecture as perceived absence of
the matter not the absence of the matter itself (Hill, 2006). Elaborating his argument further,
creative perception or interpretation of the audience is important aspects determining which
architecture is immaterial or not.

From the discussion it is safe to conclude that material and immaterial aspect are
interdependent to each other. The tectonic or materiality of architecture is dependent with the
architect perception of immaterial aspect like culture, time or value. Also the tectonic and
materiality architecture with the combination with immaterial aspect will influence the
perception of the architecture itself.

1.2 Design Context

1.2.1 Temporality in Architecture

Time unlike stone or clay is not physical material, time exist in physical world but can be
used in construction in conventional sense. Just like that human can’t sense but only experience
the presence of time, Time only could be perceived or interpreted through material or tectonic
in architecture.

2
 Pallasmaa stated the importance of time as a dimension in architecture through his work
The Space of Time. He argues that human live in mental worlds in which the experienced,
remembered and dreamed, as well as the present, past and future, constantly fuse into one
another and architecture as medium to experience and relate to unstoppable power of time
(Pallasmaa, 1998). Architecture is not about domesticating space but also as defense against the
terror of time (Harries in Pallasmaa, 1998). Architecture has an ability to “halt or suspend” the
perceived flow of time and also help human to relates to the flow of time.

The translation of time or temporality in material and tectonic of architecture is influenced

by the culture perception of time itself. According to Pallasmaa, the current western architecture
is influenced by the perceived linearity of time, western culture sees time as a linear, there is
clear distinction between past, now and present. This perception is translated into architecture
which is stable and durable. This notion is very apparent in the teaching of Alberti in his The
Art of Building in Ten Books as he put emphasis on stability and durability of material as he
put it that reasoned harmony of all the parts within a body, so that nothing may be added, taken
away, or altered, but for the worse (Alberti in Pallasmaa, 1998).

This out-of-time or ageless architecture strive for perfection, architecture must be totally
complete after its construction and allowing no revision or imperfection after its completion.
This mindset of architecture is not only constrained in the classical era, Modern architecture
also suffer from this linear time perception. The inevitable proceses of aging and wear were not
considered to be positive elements of design. Through the evocation of a constant present tense,
modernist architects aspired to evoke an air of ageless youthfulness (Pallasmaa, 1998). The
passage of time is considered hostile in modern architecture, forces of time attack modernist
building destructively (Pallasmaa, 1998).

The vernacular approach of time which is prevalent in eastern culture is different than
wester perception and conception of time vernacular perception of time is more contextual and
emphatetic to passage of time (Judson, 2011) .Just as the western culture, this perception of
time is translated into tectonic and materiality in eastern society. This translation is best
illustrated by the Metabolist movement in Japan. Based on Buddhist philosophy of
reincarnation cycle, Metabolist architect translate this philosophy into built form recognizing
building ability to grow, change and evolve (Lin, 2012). The tectonic of metabolist building
also reflect this philosophy of cycle. In Nakagin Capsule Hotel, the hotel bedroom is modular
which designed to be able to detached and changed. This understanding that building has a

3
lifetime and could grow old and to be regenerated was the translation of cyclical perception of
time.

1.2.2 Temporality as Identity Tropical Architecture in Indonesia

The proposed final project tried to explore temporality as a facet of Tropical Architecture
identity. Tropical Architecture is a broad term, mostly referring to architecture in tropical
climate area. This project frame tropical architecture as an extension of Indonesian Architecture
(Nusantara Architecture). The exploration of temporality as a identity of tropical architecture
started from the recent reductionist view of Tropical Architecture discourse which only focused
on climatic side. Culture, this include the perception of time has a huge role in shaping identity
of architecture as well as climate.

Indonesian architectural identity are indebted to the existence of multiple vernacular

architecture identity spread throughout Indonesia. Indigenous or vernacular culture has its own
temporal perception which is more contextual and empathetic. Vernacular culture is not
oppositional to change but rather change comes through interaction and necessity rather than
from a vacuum (Rudofsky, 1977). Vernacular architecture has a more empathetic relationship
to time which is represented by climate or physical force, pursuing not to go against the passage
of time but rather to seek more beneficial relationship with time.

The vernacular approach to time is very different than the western or modern society
approach to time which are more pervasive to current society. Vernacular approach to contain
identity which are unique to culture. This exploration is important to further investigate and
enrich the catalogue of identity of tropical architecture especially in the context of Indonesia.

1.2.3 Context

This project tried to use the dynamic exchange between two cultures in Indonesia as the
design context. Indonesia colonial past left Indonesia with many colonial buildings. This
colonial building is the embodiment of western culture and civilization because it is built by
Dutch government to legitimize Dutch power in Indonesia. Colonial building also represents to
polar opposite of the Asian culture concept of time. By showing this to opposite, the condition
will hopefully be enough to give dramatic effect to the proposed final project. Using cultural
center as the building typologies will allowed more flexible aesthetic and form exploration
because it is not constrained by rigid programmatic requirements. More flexible building is
required to allow more in-depth and comprehensive exploration process.

4
1.3 Supporting Data
1.3.1 How Does Time is Translated to Architecture

Human construct spatialized experience of time in terms of years and days, with seasonal
and diurnal cycles characterized by distinctive differences in sensory input (Simon, 2023).
Architecture as a medium of expression are frame of reference to experience the passage of
time. The passage of time are experienced and interpreted through change observed in
architecture. Building could help us intensified our perception of time through visual, auditory,
haptic, or kinesthetic stimuli (Simon, 2023)

1. Ise Shrine

Fig. 2 Ise Shrine. (Wikipedia)

One of the architectural work best illustrates how eastern culture approach and understand
the concept of time is Ise Shrine. Ise shrine are Shinto shrine which dedicated to solar goddess
Amaterasu. Interpretation on time is translated into the concept of cycle in this architectural
work, Ise shrine will be built and demolished and rebuilt again in 20 years period. Ise shrine
embodied the philosophy of cycle of life that an organism that start with birth to mature continue
to decay and will end in destruction (Mare, 2002). The detached from permanence of materiality
is very different from western effort to create ageless architecture. Indigenous culture in
Japanese understand that material is still under the influence of time. By embracing the
inevitable of destruction, permanence is achieved through regeneration of material. The
permanence of Ise shrine is achieved by adapting not forcing to “halt or suspend” the flow of
time.

5
 2. How Passage of Time is Interpreted in Vernacular Architecture

Fig. 3 Weathering of material in Bali Aga Vernacular Architecture. (Wikipedia)

Passage of Time could be integrated into the tectonic or the experience of architectural
object. This is possible because architecture itself is a frame of reference to experiencing the
passage of time (Simon, 2023). This temporal quality is being interpreted through dynamic
sensual qualities inside architecture as time itself never static. The static quality inside
architecture are giving the sensation of time is being suspended (Simon, 2023).

Fig. 4 Aging natural material in NTT Vernacular Architecture. (Wikipedia)

The dynamic quality is often include natural aspect such as sunlight, air, or water. Constant
changing of light and shadow, sound of water flowing, changing temperature, or the aging of
material is often utilized to interpret the passage of time. This quality also often found in
vernacular architecture of Indonesia.

6
 Fig. 5 The “openness” to exterior space in Balinese Vernacular Home. (Wikipedia)

1.4 Problem Formulation

Exploration on representation of Tropical Architecture is often stuck only on its relationship

with climate or vernacular symbolism. New approaches is required to explore another means
or facet of identity of Tropical Architecture. This proposed final project is trying to explore
another means to represent Tropical Architecture. Using established understanding on the
relationship between tectonic and materiality with time, this project explore how time could
influence or shape identity of architectural object especially in Tropical Architecture.

1.5 Goal

The goal of the proposed final project is to understand the implication of time perception
and concept of eastern culture to identity of architecture represented by tectonic and material
aspect.

1.6 Benefit

This proposed final project will give contribution to architectural knowledge and discourse
regarding the relationship between tectonic, material and immateriality.

7
 CHAPTER 2
METHODOLOGY AND LITERATURE REVIEW

2.1 Design Approach and Design Method

2.1.1 Design Framework

Fig. 6 The diagram explains each step of design framework following Plowright Concept-based
framework. (Author)

Design framework can be categorized into three category: Pattern-based, Force-based, or

Concept-based Framework (Plowright, 2014). Each framework has a distinct characteristic, for
example each of the frameworks has a distinct starting point. Concept-based framework used
general abstract idea as a initial reference to generate the architectural element (Plowright,
2014). The usage of concept as a judgement basis for the generated architectural element is
important to ensure that all the elements will speak in ‘same language’ (Plowright, 2014).
Concept-based framework is suitable for the proposed final project as the project will be
exploring the translation of the concept hypothesized in previous chapter into the architectural
form. The first step of this framework include the background analysis of an issue, phenomena
or theoretical problem is used to generate the general concept (Plowright, 2014). The concept
generates will serve as starting point to generate or formulate architectural elements in the
subsequent step. Method of analogies or translation is often required in this step because the
concept generated can be from outside of architecture domain (Plowright, 2014). In the last step
all the architectural elements generated from the concept will be arranged in more coherent way.

8
2.1.2 Design Approach

1) Narrative Architecture
A narrative could be conveyed through various sign or symbol such as language,
visual, or architecture (Coates, 2012). Spatially, a narrative could form in the audience
through complex interface of human experiences and complex sign (Coates, 2012). Just
like in other forms of narrative, narrative in architecture also could be formed from a
sequence. Yet usually the linearity of sequence blurred in architecture and could be
experienced at once or in random order (Coates, 2012). The sequence in architecture
which Coates refer is the sequence of situations, situations which are created by the
combination of experience and spatial qualities. In this project sequence also include
the sequence of time which will be translated into a building which not only be able to
be perceived in ‘one-time’ but also need to be perceived throughout its live. The
approach of narrative architecture is needed in the phase of element arrangement to
ensure that all the elements will have a coherent meaning.
2) Architecture of Metaphor
Metaphor is a bridge to connect two dots which reside in different contexts. It is a
medium to convey meaning, thought or emotion in one context to another different
context, making the previously unrelated context to be associated (Fez-Barringten &
Hart, 2012). Conceptual metaphor works by mapping intangible or abstract idea into the
realm of architectural elements such as concept of rhythm into building façade (Casakin,
2019). Metaphor as tool for cognitive thinking is recognized in psychology, in design
metaphor is used by the designer as a tool for reasoning the problem and also how they
approach the solution from novel perspective (Casakin, 2019). Metaphor allowed
unconventional creative thinking in early stages which could resulted in innovative
design solutions (Casakin, 2019). Unconventional thinking is made possible because
metaphors allow the designer to understand, gather and combine a lot of concepts from
various sources outside architecture domain. Metaphor is a necessary tool to be used in
this project because the nature of this project requires heavily for the act of analogies or
translation of an abstract concept such as the concept of time. Time itself does not
inherently has a tangible aspect, from the discussion in previous chapter it is understood
that we perceive or ‘see’ time from the phenomenon happen in an object: rust on the
metal, rotation of the sun. We understand the concept of time by observing an object
therefore we understand the concept of time through metaphor.

9
2.1.3 Design Method

The main problem regarding the design process of this project is related to the method for
translating the intangible concept of time to architectural qualities. Plowright (2012) offers a
thinking tool for tackling translation and analogies problems in the design process. Domain-to-
domain transfer is an operation to translate the external knowledge into architectural syntax
(Plowright, 2014). The translation found in the architectural syntax is not an explicit translation
of the external knowledge but rather an implied translation (Plowright, 2014).

Fig. 7 The diagram explains basic mechanism of Domain-domain Transfer. (Plowright,2014)

This tool requires three steps. The first step requires the source knowledge to be refined
into its most basic principles, this basic principle will serve as parameter for the architectural
syntax. The next step explores and generates architectural syntax, the syntax will be compared
with the parameter generated from previous step. The close translation requires the syntax and
the and the external knowledge shares similarities in the basic principles they had.

1) Design Method Example in Metabolism Architecture

Fig. 8 The diagram explains each step of design framework following Plowright Concept-based
framework. (Author)

10
 According to Kenzo Tange, Metabolism is architectural embodiment of the concept of
reincarnation and renewal (Lin & Tange, 2010). He pointed that degradation of the architecture
is inevitable and architect should find a solution for the renewal process of each part (Lin &
Tange, 2010). The motive behind the Metabolist movement could also be understood as an
effort in translation of concept of time in architecture. Reincarnation or renewal is very closely
related to eastern culture cyclical view of time. In this context, time is understood via the
biological or philosophical perspective. Time is observed metaphorically in the phenomena
occurring in biological realm, which is the lifecycle of an organism or cell. This phenomenon
is then dissected into its basic principles and then this principle is used as criteria for the
architectural element generated. Architectural elements must have same underlying principles
with the criteria created before.

Fig. 9 Kiyonori Kikutake’s sketches showing biomimetic attempts to bring cell molecular structures
into building (Saburaku, 2021)

2) Design Method Finding

Fig.10 Diagram showing the framework of design method while dealing with Time as a source of
metaphor in architecture (Author)

Based on the example of design method gathered above, there are three step required when dealing on
the translation of time concept into architecture.

11
 1. Finding the source concept

Time must first be understood in more tangible ways through visible phenomena which
exist in world. It could be through nature, culture, biology, physic or etc. This process can be
heavily influenced by the culture of the context.

2. Generating basic principles

Then the source concept will be stripped down into its most basic principle. The basic
principle usually revolves around changes of events in time. It can be change of sun position,
the growth of organism or other. The concept of cycle is also usually found in the source concept
of time.

3. Mapping to architecture

This step requires exploration of architectural elements. Exploration is necessary for

finding an array of architectural elements which could have same basic principles as the basic
principle created before. The closer the basic principle of elements generated is to the basic
principle of the source concept, the more likely it is that the element will be used final
arrangement.

2.2 Literature Studies

2.1.4 Human Perception of Time

The perception of an object usually requires that the object or its properties are able to be
experienced through human senses. Time does not possess such properties and our sense does
not have the ability to ‘see’ time, therefore how does time is perceived by human?. We does
not necessarily need to perceived time directly, instead we understand time through change of
event or event in time (Le Poidevin, 2019). Human perception it not only relies on the
experience of an event itself but must also use the memories of previous experience of event
(Le Poidevin, 2019). Humans may only be able to perceive an event at the present time but by
relating this present perception to the memories of previous event it is able to derive the
constructed experience of the passage of time. This present experience is called ‘specious
present’ in which our consciousness recognizes an interval of event changes as a present
moment (James, 1890). Specious presents served as human anchor point in their understanding
of the passage of time. The interval of the specious present is variable depending on many
context such as emotion or the event itself.

12
 Fig. 11 The diagram explains basic mechanism of human perception of time. (Author)

2.1.5 David Leatherbarrow Category of Time and Architecture Relationship

Fig. 12 Category of Relationship between Time and Architecture. (Author, based on (Leatherbarrow,
2021))

Translation of concept of time in architectural elements follow the basic mechanism,

architecture is being used as a medium where series of events could be experienced and
perceived. Passage of time could be experienced by just observing the change of events which
occurred in architectural object. Events could be change in material, change in function or form,
or change in environment. David Leatherbarrow categorizes the relationship between time and
architecture into three categories.

2.1.6 Precedent Studies on Translation of Time in Architecture

Aspect Building

Architect De Bijenkorf Proposal for Swimming Pools Ise Shrine

Department Store Tokyo Bay at
Leça da Palmeira
Architect Marcel Bauer Kenzo Tange Alvaro Siza -

13
 Aspect Façade Facade Form Form Form
Source Material’s Nature Philosophy/Biol Time Perception Philosophy
concept of property ogy
time
Translation Rust Stain Renewable Controlling user The routine act of
of time in (Weathering) (Weathering) Form walking/movemen building and
Arch t pace dismantling.
Element

Category Time of The Time of The Time of Project Time of Body Time of Project
World World

Table 1.Precedent studies on Translation of Time in Architecture. (Author)

2.2 Environmental and Site Study

2.2.1 Site Selection

Several criteria have been selected as the site selection criteria. The presence of colonial
buildings had become a good point as the colonial structure could enrich the overall meaning
of the new architecture. The stark contrast between the western culture building and the eastern
culture building will give a good comparison for the audience and the user for the point this
project tried to assert. Another criterion is the ample open space which especially overgrown
with vegetation. The effect of overgrown, humid, and partly look abandoned can give good
nuance for the overall experience of the site.

2.2.2 Site Study

Fig. 13 Sattelite view of site.

The site is in Bubutan area in Surabaya. This site is located on the area of the now
abandoned Gedung Hallo building. Nearby buildings used to be a hospital in colonial era and
then repurposed as a restaurant but now lies abandoned. Site study is carried out to map (Simon,
n.d.)the overall physical or cultural attributes of the site.

14
 Physical Attributes Finding Potential Constraint Syntesis

Topography Mostly flat ground lies Doesn’t pose a lot of Provide very static The building will
on 7 meter above the constraint on the landscape experience focused on the
sea (BMKG,2022) construction of landscape
building
Geology Alluvial Earth Good for structural
(BPS,2019)
Climate Have temperature Uncomfortable for Weather is
around 22-29 celcius human activity uncomfortable, better
environmental system
is required for the
building
Sun Usual tropical sun path Good lighting Posed some Shadow changes
throughout the day uncomfortable heat bring by rotation of
from time to time the sun could become
an aesthetic choice
Weather Have high humidity in Provide dynamic Humidity is not The humidity and
dry season and have material for the comfortable for may be uncomfortable
276 mm of rainfall building or the human. but it allow for
during rainy season landscape weathering of the
material occurs
Wind Came from east to west Provide dynamic - Wind allow for more
direction with speed of material for the dynamic sensation
12km/hour building or the experience
landscape
Biological Finding Potential Constraint Syntesis
Attributes

Vegetation The site is filled with Give more rustic May become nest of Better landscape
overgrown wild plant. experience and feel. dangerous animal management must
Shrub or small tree need for the
landscape

Table 2.Mapping of potential and constraint in site. (Author)

2.2.3 Regulation

Based on Surabaya City Regulation No. 52 of 2017 regarding Technical Guidelines for
Controlling Spatial Utilization in the Establishment of Buildings in Surabaya, a land area of
5,350 square meters in the Bubutan area has a Building Floor Area Ratio (FAR) of three times
the land area, which is 16,050 square meters. Furthermore, for the Building Coverage Ratio
(BCR), the maximum area is 60 percent of the land area, or 3,210 square meters. There is also
a Minimum Green Coverage Ratio of 10 percent of the land area, equivalent to 535 square
meters. The allowable maximum building height is 25 meters.

15
 REFERENCE

Hill, J. (2006). Immaterial architecture. Routledge.

Judson, D. (2011). Beyond space? : Exploring the temporality of architecture [Master of

Architecture, Carleton University]. https://doi.org/10.22215/etd/2011-09380

Lin, Z., & Tange, K. (2010). Kenzo Tange and the Metabolist movement: Urban utopias of

modern Japan (1.publ). Routledge.

Pallasmaa, J. (1998). The Space of Time. Oz, 20(1). https://doi.org/10.4148/2378-5853.1324

Simon, M. (2023). Sensing Time: Temporality in the Design of Buildings and Open

Spaces. archiDOCT, 19(11 (1)).

Smith, K. H. (2012). Introducing architectural theory: Debating a discipline. Routledge.

Spence, C. (2020). Senses of place: Architectural design for the multisensory mind.

Cognitive Research: Principles and Implications, 5(1), 46. https://doi.org/10.1186/s41235-

020-00243-4

Casakin, H. (2019). Metaphors as Discourse Interaction Devices in Architectural Design.

Buildings, 9(2), 52. https://doi.org/10.3390/buildings9020052

Coates, N. (2012). Narrative architecture. Wiley.

Fez-Barringten, B., & Hart, E. (2012). Architecture: The making of metaphors. Cambridge

Scholars Publishing.

Le Poidevin, R. (2019). The Experience and Perception of Time. In E. N. Zalta (Ed.), The

Stanford Encyclopedia of Philosophy (Summer 2019). Metaphysics Research Lab,

16
 Stanford University. https://plato.stanford.edu/archives/sum2019/entriesime-

experience/

Leatherbarrow, D. (2021). Building time: Architecture, event, and experience (First edition).

Bloomsbury Visual Arts.

Lin, Z., & Tange, K. (2010). Kenzo Tange and the Metabolist movement: Urban utopias of

modern Japan (1.publ). Routledge.

Plowright, P. D. (2014). Revealing Architectural Design (0 ed.). Routledge.

https://doi.org/10.4324/9781315852454

Simon, M. (n.d.). Sensing Time: Temporality in the Design of Buildings and Open Spaces.

17
ATTACHMENT

18