The relationship between psychology and architecture has become more relevant recently, in the last two or three decades. It is estimated that we spend on average 80 to 90% of our time indoors, including activities at home, at work, in schools and other indoor environments.

The study that addresses this question is psychological architecture or psychology of architecture (since there seems to be no consensus on a single term yet), and it starts from the thesis that the design of our spaces can directly and profoundly influence our mental and emotional well-being.

In this article we will explore how to use architecture as a tool to improve well-being and mental health, focusing on psychological architecture, its characteristic elements, how to apply it, some real examples and some variants or sub-branches, and then describe how to apply it in our own private home. The vast majority of these “recipes” are perfectly complementary to virtually any style and relatively easy to implement, even without building work in an existing house.

Psychological architecture

Psychological architecture or architectural psychology is an interdisciplinary study that examines how the built environment affects human behavior and mental health. This relatively recent approach considers elements of our environment such as light, color, space and acoustics, applying research in psychology, sociology and neuroscience to design spaces that promote, among other things, well-being and productivity.

This science is based on the principle that the human being is an “open system,” an interdependent complex that ranges from large-scale systems, such as the nervous, digestive and immune systems, to the internal metabolism of a cell. All exhibit a property called homeostasis, which is the innate ability of every cell in every complex organism to maintain a stable and constant condition, all by employing interrelated internal regulatory mechanisms.

The brain is an important regulator of all these systems (including the psychological system we call “the self”). From this point of view, “the self” could be considered a homeostatic mechanism that evolved to help us maintain equilibrium in our complex social relationships. Like all living complex adaptive systems, humans must cope with external ecosystems in order to survive. Many neuropsychologists believe that managing the interface between the internal experience of our body and the perception of the external environment is the main purpose of our brain.

For example, this article explains how in the 1990’s, Sentient Architecture faced a challenge in residential architecture: although clients offered their own criteria for designs, those same criteria often led to their dissatisfaction. By accepting these instructions without delving deeper, the architect was producing preliminary designs that did not meet the clients’ true needs, resulting in higher time and production costs, at best. Clients were disappointed and somehow unconsciously expected designers to “read their minds.” It turns out that the key to solving this problem lay in understanding that clients were not just looking for a building, but for an emotional experience, which required exploring the psychological and environmental associations that already existed in their minds.

Psychological architecture is based on a deep understanding of how spaces influence our emotions and behaviors. We can create environments that foster well-being and human connection by considering principles such as perception, memory, and sensory experience. These principles invite us to think about how every element of a space can affect our state of mind, creating places that we not only inhabit, but also inspire us and make us “feel at home.”

The fundamental principles of psychological architecture (theoretical):

– Perception: based on how individuals interpret their environment, the way spaces are designed can influence the perception of safety, comfort and functionality.

– Space and place: based on the relationship between physical space and people’s emotional experience, a design that considers the connection between space and sense of belonging can enhance well-being.

– Identity: architecture can reflect cultural identity. Spaces that resonate with people’s identity can foster a sense of community.

– Human behavior: designs that facilitate social interaction and mobility can enhance the lived experience.

– Emotion: as we have seen above, spaces can evoke specific emotions. The choice of colors, textures and shapes can influence the mood and overall experience of the inhabitants.

– Functionality: architecture should be practical and meet the needs of those who use it. Functional design improves efficiency and user satisfaction.

– Sustainability: by considering environmental impact and sustainability we can create spaces that are adaptable and durable.

In practice, the design that respects the above principles usually focuses mainly on the following elements:

– Natural Light: perhaps the most important element. Exposure to natural light has even been linked to improved mood and reduced depression. Although a balance must be struck, as overexposure to sunlight can also have counterproductive effects; for example, the problem in winter of large windows facing directly south and the stress that this can produce.

– Artificial light: in environments where natural light is scarce, such as in Northern European countries during the winter months, proper lighting can help combat fatigue and seasonal depression. Good lighting in the home promotes a cozy and relaxing atmosphere (see: Scandinavian-style lighting), encouraging moments of rest and connection with loved ones. By choosing the right artificial light, we can improve our quality of life, optimize our sleep and create spaces that inspire and motivate us every day.

– Shapes: soft lines and organic shapes (sometimes even eliminating corners) can evoke feelings of calm and well-being, while angular and rigid structures can generate a sense of tension or discomfort. The height of ceilings and the proportion of spaces are also factors that affect psychological perception.

– Open spaces: encouraging social interaction can help reduce the feeling of isolation. Similarly, an interior design with open and diaphanous spaces has also been found to have a positive effect on individual well-being.

– Colors and Textures: warm colors can create a cozy atmosphere, just as cool colors can create a more relaxing environment. The use of colors can also help define areas within a building, guiding people and creating a sense of order.

– Acoustics: Good acoustics, where sounds are absorbed, can create a more relaxing and comfortable environment, which can reduce stress and encourage concentration; whereas a place where sounds are reverberated or distorted can be distracting and uncomfortable. In addition, acoustics can influence privacy and intimacy; in offices or public spaces, proper acoustic design can help people feel safer and more comfortable talking, which encourages communication and collaboration.

It must be said that in many occasions these perceptions are subconscious; so, even if it is not something evident to us, external elements can induce sensations in us that we are not directly aware of.

One example of a building that was designed based on many of the principles of psychological architecture (and, among others, does not contain a single corner) is Maggie’s Centre, a café and social building in Leeds, England, conceived to be a place where patients and families of the attached hospital can recover good feelings.

Maggie’s Centre, Leeds, designed by Heatherwick Studio.

The Psychology of Color and Architecture

Color is a powerful element in architectural design that can influence people’s emotions and behaviors. Color psychology is used to create environments that promote well-being.

Emotional Architecture

With a special emphasis on colors, it is worth mentioning that there is a sub-branch or variant: emotional architecture, originated in Mexico by architect and engineer Luis Barragán. The differences with psychological architecture are subtle; since emotional architecture focuses on how built spaces can evoke feelings and experiences in people and seeks to create environments that foster positive emotions (such as happiness, calm or inspiration), mainly through elements such as light, color and the arrangement of space, while psychological architecture focuses its study on a more holistic plane, how the environment affects the behavior and perception of people, also considering aspects such as functionality, ergonomics and acoustics, among others.

Warm and Cool Colors

Depending on their temperature, colors can have an influence in one way or another:

– Warm colors: shades such as red, orange and yellow can evoke feelings of energy and warmth, but can also be overly stimulating if used in large quantities.

– Cool colors: shades such as blue and green tend to be more relaxing and can help reduce anxiety, making them ideal for workspace environments, but excessive use can also lead to lethargy or demotivation. Too much blue can evoke sadness or melancholy, while too much green can be overwhelming.

Creating Specific Environments

The choice of colors is not only based on aesthetics, but also on functionality and the emotional impact they can have on occupants. Here are some examples of how colors can be used to create specific environments:

– Learning spaces: In schools, the use of bright, cheerful colors in common areas can foster a dynamic and stimulating learning environment. Classrooms can benefit from a color palette that inspires curiosity and creativity, i.e., warm colors.

– Work environments: in offices, neutral and soft colors can be used to encourage concentration and productivity. However, more vibrant color accents can be incorporated in break areas to stimulate creativity and collaboration.

The importance of acoustics

Acoustics is an often underestimated aspect of architecture, but it has a significant impact on the occupant experience. Proper acoustic design can improve concentration, communication and overall well-being.

Acoustic design strategies

– Absorbent materials: Using sound-absorbing materials, such as acoustic panels and carpeting, can help reduce noise in public and private spaces. This is especially important in environments such as schools and hospitals, where noise can be a source of stress.

– Absence of corners: in a building can have a positive impact on acoustics by reducing the formation of unwanted echoes and sound reflections. Corners tend to concentrate and amplify sound, which can generate distortions and annoying noises. By designing spaces with curved shapes or continuous surfaces, a more even dispersion of sound is encouraged, which improves acoustic quality. In addition, these shapes can help minimize areas where sound accumulates, creating a more pleasant and comfortable environment. In short, a corner-free design can contribute to a better acoustic experience in a space.

– Space design: the layout of spaces can also influence acoustics. Creating quiet areas away from noisy areas can provide a haven for concentration and relaxation.

– Quiet zones: incorporating quiet zones in work and educational environments can give people a space to unwind and recharge, which is essential for mental well-being.

Intersection between sustainable architecture and psychological architecture.

Interestingly, sustainable architecture not only has an effect on energy efficiency and reduced environmental impact, but also has a positive effect on the psychology of the occupants. These are the two most notable characteristics it can have in terms of its influence on the people who live in it:

Connecting with Nature

Incorporating natural elements into architectural design, such as large windows with outdoor views or vertical gardens, can improve mood and reduce stress. Green spaces, especially in urban settings, not only improve aesthetics, but also provide a place for recreation and relaxation. In addition, the use of sustainable materials in construction (which are usually natural as a rule) can create a healthier and more welcoming environment.

Energy Efficiency

Aside from the fact that economic savings on utilities can alleviate financial stress, design that considers thermal efficiency in balance with the natural climate can create a healthier and more comfortable environment. Well-lit and ventilated spaces that use natural resources effectively can improve the quality of life for their occupants, as natural sunlight and outdoor air (unless we live in the center of a city) are preferable to their artificial counterparts. Therefore, it can be said that energy efficiency in architecture not only reduces environmental impact, but can also influence mental health.

And this brings us to a related concept which, in turn, can be considered a variant or sub-branch of psychological architecture:

Biophilia

Biophilia refers to the innate connection that humans have with nature and can be considered as a key principle in psychological architecture or, in its more purist expression, perhaps even as an alternative branch.

In the context of architecture, biophilia translates into the design of spaces that integrate natural elements, thus promoting the physical and mental well-being of their occupants. This approach is based on the idea that proximity to nature can reduce stress, improve concentration and enhance creativity.

The incorporation of biophilia into architecture can manifest itself in a variety of ways. For example, the use of natural materials, such as wood and stone, not only adds warmth and texture to spaces, but also creates a more welcoming and healthy environment. In addition, designing buildings that maximize natural light and views to the outdoors allows occupants to feel more connected to their surroundings, which can have a positive effect on their mood. Vertical gardens, green roofs and outdoor spaces are other ways to integrate nature into architecture; they not only beautify the environment, but also contribute to sustainability by improving air quality and reducing urban temperatures. Creating spaces that encourage interaction with nature, such as patios and terraces, can encourage socialization and community well-being.

Studies have shown that biophilic environments can have a significant impact on mental and physical health. Exposure to nature has been associated with reduced anxiety, improved mindfulness and an increase in overall life satisfaction. In an increasingly urbanized world, biophilia in architecture presents itself as a valuable solution for creating spaces that nurture both people and the environment; especially in urban spaces it is starting to become a trend.

An example of this is the Fuji Kindergarden, built in Japan by Tezuka Architects, an oval-shaped kindergarten with a perimeter of 183 m, with a capacity for 500 children. It is conceived as a village in a single building. The interior is a softly partitioned integrated space with furniture. Three preserved 25 m high zelkova trees protrude through the roof.

Fuji Kindergarden, Tokyo, by Tezuka Architects. Photographer : Katsuhisa Kida

How to apply psychological architecture in the home

These principles can also be applied in the private home. To create an environment that is not only aesthetically pleasing and, in turn, promotes well-being and functionality. Knowing how to choose which general elements and features to apply in your own home is a combination of knowing yourself (or, in the case of the architect, knowing your clients’ preferences and lifestyle) and knowing what can be applied in a predefined space or home location.

Some strategies for integrating psychological architecture into the design of a home:

– Space Layout: An open design that connects areas such as the kitchen, dining room and living room can encourage communication and family togetherness. More intimate spaces, such as reading nooks or sitting areas, can offer refuge and tranquility. In this case, it is important to know people’s lifestyles, how they will move around and use the spaces, which can determine the range of preferences.

– Natural and artificial lighting: Natural light has a profound impact on our mood and well-being. Incorporating large windows, skylights or sliding doors that connect the indoors to the outdoors can maximize the entry of natural light. Daylight also regulates circadian rhythms, which can help improve sleep and energy. Similarly, well-applied artificial light can compensate for a lack of natural light, such as winters in Northern Europe or being in an urban space. For this, you can consult the solutions offered by the Nordic or Japanese style of lighting, or the fusion of the two, which seems to be a recent phenomenon that is on the upswing.

– Colors and materials: it is essential to select a palette of colors and materials that resonates with the personality and preferences of those who will inhabit the space. Warm colors, such as terracotta or yellow tones, can evoke feelings of warmth and comfort, while cool tones, such as blue or green, can convey calm and serenity. Likewise, the use of natural materials, such as wood and stone, can create a cozy atmosphere.

– Connection to nature: As we have seen, biophilia is a key principle in psychological architecture. By incorporating natural elements into the home, such as indoor plants or a focus on outdoor views, the emotional and physical well-being of the occupants can be improved. Plants not only purify the air, but also bring a sense of life and freshness to the space. Outdoor spaces, such as terraces or patios, can also be created to enjoy nature and encourage outdoor activities.

– Acoustics and silence: to create a serene environment, it is important to consider the use of sound-absorbing materials such as carpets, heavy curtains or, in more extreme cases, acoustic panels. If designing a building from scratch, you can also consider the absence of corners, even in some parts of the house. The home can also be laid out to minimize outside noise, by moving rooms away from noisy streets, and even create quiet zones, where moments of peace and reflection can be enjoyed.

– Ergonomics and furniture: furniture should be comfortable and functional. Ergonomics plays an important role in preventing injuries and promoting wellness; for example, chairs and tables at the right height can improve posture, while well-designed storage spaces can reduce clutter, feelings of chaos and underlying stress.

– Personalization and/or personal expression: Personalizing the space through artwork, photographs and meaningful objects can create a sense of belonging and emotional connection. In addition, allowing each family member to have a space that reflects their individuality can foster an atmosphere of respect and harmony.

– Technology and connectivity: the integration of technology in the home is a recent phenomenon and can also influence psychological well-being if applied for this purpose. Domotic homes” are an example of how many functions that were not even possible before can be automated and even made possible. To name a few examples, we have intelligent lighting systems, programmable thermostats and sound control devices that can help create an environment for more well-being. For example, the ability to adjust lighting based on time of day or mood can have a positive impact on energy and productivity. That said, we think it is equally important to balance technology with moments of disconnection, creating spaces where tranquility can be enjoyed without digital distractions; for example, network inhibitors could be used.

Applying psychological architecture in the private home involves considering how every element of design can influence the emotional and physical well-being of its occupants. From the layout of space and natural lighting to the choice of colors, materials and furnishings, each design decision can contribute to creating an environment that is not only functional and aesthetically pleasing, but also promotes mental health and overall well-being.

In fact, the vast majority of these principles can be applied regardless of architectural or interior design style preferences, unless very particular architectural styles are in direct contradiction (which is also the great exception). Many of these measures can be considered complementary, that is, it is not a choice between one style or another but to improve as much as possible within an existing framework, even in homes with very little room for variation, such as apartments or townhouses.

Here are two examples of homes that were conceived from scratch, taking into account most, if not all, of the principles of psychological architecture:

© Kelosa | Selected Properties. Villa by Blakstad for sale. You can visit the property here.

In this case, we see in the interior of this villa, designed by the popular local architect Rolf Blakstad, a clear example of priority for natural light, a strong presence of nature through the large windows, large open spaces and high ceilings, thick and insulated walls (for better acoustics), a prominence of natural materials and sustainable architecture (taking advantage of bioclimatic). In fact, the latter is an attribute drawn from the traditional architecture of Ibiza, on which the Blakstad style has been based since its origins, although modernized and adapted to modern needs and trends. Regarding the color, it is basically white (sensation of amplitude and space), which contrasts with the most used natural materials, wood and stone.

© Kelosa | Selected Properties. Villa Can Forestal en venta. Contacto para más información.

The following villa, designed by architect Bruno Erpicum, shows a very similar case, in terms of the aforementioned attributes, but thanks to being more minimalist cut, it expands even more the entrance of light, its impressive views and the amplitude of the interior spaces. The ceilings are still high, but the management of acoustics is solved with attenuating materials, there is a smooth transition between the interiors and the large terraces, it uses its location to take advantage of the bioclimatic of the place and the seasonal orientation of the sun.

Both villas are for sale through our agency and if you are interested, please do not hesitate to contact us here.

References – Sources:

A|sh.de:”Psychiatrie Trifft Architektur“(2022)

Wikipedia.org:”Artikelpsychologie“(2013)

Wirtschafts-Psychologie-Aktuell.de:”Die Macht der Räume auf unser Befinden und Erleben“(2022)

Sonderdruck aus Enzyklopädie der Psychologie:”Architektur und Psychologie“(2010)

Vernacular architecture has evolved over many years to address the inherent problems of housing. Through a process of trial and error, populations have found over the centuries ways to deal with the extremes of climate. However, the influence of Western culture is omnipresent and the tendency to an internationalized construction style has resulted in a reduction of traditional solutions.

Logically, modern inhabitants demand higher standards of comfort in their homes. Such standards can be achieved through the use of machinery like air conditioning systems, which have considerable initial costs and an even greater energy demand in the long-term. However, with the careful use of traditional techniques it is possible to create thermal control improvements, since there are clear advantages to drastically reduce energy needs and a greater use of architectural style can create a more pleasant living space.

 

Fallingwater, by American architect Frank Lloyd Wright (1934) /Photo: Carol M. Highsmith (public domain)

This does not mean that designers should imitate the paths of the past. Modern materials, technology and innovative construction techniques should be used in the search for efficiency and profitability. Despite this, ignoring our architectural heritage and overlooking the accumulated wisdom of the past involves neglecting the inevitable challenge for greater energy efficiency need in the s. XIX.

The wisdom of popular construction provides us with the protection of unfavorable climatic conditions and achieve a comfortable microclimate are the primary objectives of this architecture, as well as design buildings that are in harmony with the harsh climates of its various regions.

In traditional architecture, the internal thermal regulation mechanism is incorporated in the building itself. It takes into account the topography, construction, morphology, even the layout and use of internal spaces participate in the function of the mechanism of thermal regulation.

However, internal conditions abstained considerably from the current comfort requirements. Rapid and spectacular advances in the technology of heating and air-conditioning installations for refrigeration, as well as other technical innovations and international design influences, have displaced the architecture of traditional values and principles.

Mechanization and internationalization led to the rejection of traditional methods and the lack of knowledge of the physics of construction deprived the structure of the building from its basic skills and left it at the mercy of the climate. Modern buildings have become climatically inept, with air conditioners replacing natural cooling, assuming a high energy consumption, as well as a cost reduction for construction companies and a huge profit for the energy industry.

Submission of architecture to the machine also leaves some problems of basic comfort conditions in the interior unresolved; such as cost problems, maintenance of mechanical facilities or energy over consumption. In Great Britain, for instance, buildings have shown to absorb a huge percentage of total energy consumption that reaches up to 50% of total on average.

Fossil fuel scarcity, as well as the growing degradation of the environment, have awakened the interest of the use of more ecological materials, processes and energy sources and has made it necessary for our modern buildings to provide shelter with the least possible expenditure of energy.

Casas Bioclimáticas ITER – Sur de Tenerife

This gave rise to a new approach to bioclimatic architecture, which considers the building as a whole from the beginning stage as a place of energy exchange between the interior and exterior, the natural and climatic environment. Consider the building as a living organism; a dynamic structure that uses the beneficial climatic parameters (solar radiation for winter, sea breezes for summer, etc.) while avoiding the most adverse climatic effects. In this approach, the mechanical systems are integrally interconnected with the architecture and must be taken into account as fundamental elements of the building.

This new approach seeks to evaluate the energy demands for heating and cooling in buildings, first of all analyzing the free energy systems that are available. The preliminary analysis of bioclimatic terrain graphics for architectural design allows to outline strategies for an appropriate building location in any season of the year, which could considerably reduce the energy cost and minimize the need for mechanical means, while considering high standards of modern comfort criterias.

It is clear that the task of the modern architect is considerably more complicated than that of the ancient builders. The demands of modern life introduced new factors and considerations into the design of buildings beyond the relatively “basics” of the traditional lifestyle. As technology advances and life becomes more demanding, the judicious and optimal organization of complex variables that involve technical, social, utilitarian and cultural aspects, still converge in the creation of cosiness and convenience for the inhabitant. The priorities of the architect in the design process is therefore altered; machines become more important in the production of comfort standards. In addition, as the feeling of ‘comfort’ is a subjective perception, it varies from person to person from one culture to another and over time. Therefore, it is unfair and wrong to judge thermal comfort levels in traditional buildings for the same pattern we use for modern ones.

However, the tools, materials and techniques available to the modern architect are more than the indigenous builder could ever have dreamed of. In addition, the architect has the advantage of the accumulated knowledge of his predecessors. Through the union between the traditional viable approach to construction and the complex design criteria of contemporary practice, recommendations can be derived for maximum energy efficiency in the building.

In addition to these two main elements of traditional architecture that mitigate extreme weather conditions, the organization of spaces and their orientation, other architectural solutions that reflect traditional wisdom and are used in modern passive solar architecture are identified. These components are the varied designs of windows and their shading devices, such as blinds, screens, pergolas and overhangs.

Of these, the courtyard, the overhangs or side walls and the manually operated shutters were tested in a series of parametric optimization studies and it was discovered that the more complex houses with a U-shaped patio, save more energy than the simple forms. This was attributed to the additional factors involved in the thermal performance, with the introduction of carefully chosen parameters in the optimization studies that act as regulators in the house, such as the enclosing insulation and the orientation with more surfaces exposed to the south. It has become obvious that an effective pattern requires thermal studies for each building with its own geometry, configuration and particularities of an integrating design approach.

For the shading, it was concluded that the optimized design of overhangs and lateral walls, without shutters or blinds, could provide sufficient summer sun control to maintain thermal comfort inside. The application of blinds is often limited by a series of environmental, architectural, economic and behavioral design considerations. The solar control function could then be carried out as a secondary function and the blinds could be installed mainly, if necessary, for privacy or security. However, the conclusions of studies reinforced the belief that the intention of the inhabitants of the Mediterranean in regards to shading of the blinds was for the maintenance of interior comfort.

The passive responses of traditional architecture to local environmental conditions and influences represent a treasure trove of knowledge and information patterns for modern sustainable and bioclimatic architecture. Therefore, successful climate design should not ignore the accumulated experience and wisdom of our ancestors, but should develop after a deep understanding of the scientific knowledge, rather than an emotional assessment of traditional architecture. The architectural expression must respect regionalism and be based on a multidisciplinary design approach.

Mass knowledge and technology from modern industrial development should not be ignored either. Therefore, architecture must be a synthesis of both, the aspects that are in harmony with traditional values and at the same time adequate for contemporary societies, their cultural identity and human scale, based on appropriate technology.

References:

Serghides, Despina K. (2010). The Wisdom of Mediterranean Traditional Architecture Versus Contemporary Architecture – The Energy Challenge. The Open Construction and Building Technology Journal, 2010, 4, 29-38.

 

 

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The traditional rural house of Ibiza, also known as Ibizan finca, has been an object of study and fascination by many important people of several fields over time. What these first visitors found was an architecture that had hardly changed over the centuries, dated back to ancient origins. This was mainly because Ibiza, during most of its history, was a culturally and economically isolated society that had to use local resources and knowledge, the only ones available. The method of construction of this house came from a popular wisdom that was transmitted from generation to generation, pursuing subsistence and practicality. It was this practicality, together with simplicity, the functionality of each element and its integration into the landscape, which inspired about this unique archaic architecture and attracted the first visitors to this ‘remote island’ in the 1930s.

Among the architects who were drawn by the Ibizan farm house are Germán Rodríguez Arias or Josep Lluis Sert, from the GATCPAC group, or Erwin Broner, from the Bauhaus school. It also attracted well-known characters from other fields such as the Dadaist Raoul Hausmann, artist and photographer, who made a lot of photographs of these constructions, or the philosopher Walter Benjamin, writer and literary critic, who delved into his aesthetic theory attracted by the austerity and beauty of the Ibizan finca. Some of them spreaded this archaic architecture style in international exhibitions and, although the Spanish Civil War (1936-39) and the arrival of fascism interrupt the process, years later more scholars and artists continuously revisited and settled in Ibiza, motivated by this same fascination.

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© Kelosa | Ibiza Selected Properties

The Ibizan country house is defined by a building type of thick walls, composed of quadrangular modules and horizontal ceilings supported by wooden beams. It is a simple and sober architecture, which begins adding independent cubic modules that are articulated about a transverse rectangular space at the entrance, the main hall or porxo; each module has its own function and animal corrals are always separated from the main body. The whole set shows a fully functional home, often entirely absent of decorative elements, growing in relation to the needs of expanding the family or labour of the lands. It is also a continuously growing home, that at all stages keeps the appearance of a finished building.

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Left to right: 1) Can Toni Martina, in St. Carles de Peralta. 2) Can Vicent Prats, in St. Antoni de Portmany. 3+4) General trend of enlargement

No Ibizan finca is ever the same as the other, what is common among houses prior to the industrial era, but all fincas have certain features in common that define them as an own architecture style. These general features of the original finca are:

Materials. Built by the farmer, it is essentially made of materials found in the same place: dry stone, juniper beams for the roof, sand, clay and marine plants.

Implantation. The house is ideally located on a high point of the side of a hill with rocks as natural foundation, taking advantage of landscape features and slope without overflowing on ground favorable to the cultivation.

Orientation. The entrance is almost always facing south, leaving behind the mountain, protected from the north winds and thus continuously receiving sunlight.

Absence of ornaments. It is shown as a primarily austere, practical and functional home, surrounded by fields and fully adapted to the needs of the time in which it was built. Subsequently, decorative elements would arrive such as arches and balustrades of carved wooden forms, but these were relatively discrete and concentrated on the main facade.

Prominence of the facades. The treatment of the facades reveals a clear hierarchy between the main facade, bleached, and the other facades, simply plastered or exposed stone walls. Similarly, the few decorative elements that can be found in the original finca are concentrated on the main facade.

The walls are wide, almost one meter, and consist of dry stone and mortar. Most walls are whitewashed in both homes and churches, although sometimes presented showing bare stone. The walls that enclose the building may have a form of steep walls (inclination and thicker at the bottom part) to strengthen the structure and the defensive function.

The windows are small and formerly had no glass, narrower on the outside than on the inside, thus emulating a fortress. Continuous attacks and plunders of vandals and pirates over centuries forced the homes to have this double function. Another purpose of the small windows was to protect the inside from the sun in summer, contributing to housing

The roofs are flat and originally made up of three layers: juniper wood, ash and marine plants and a layer of clay, which acted as insulation and impermeable. On rooftops different fruits of the field were sunned and serve to collect rainwater that is channeled through a cistern.

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© Kelosa | Ibiza Selected Properties

The Ibizan finca is an consecution of adjoined and stacked cubic modules, shown as a construction of simple lines, flatness, enclosure, proportionality and human measures. Traditional Ibizan architecture finds its expression in the family house that is found in the rural environment of the island and, developing a specific typology, adapts both the terrain and the needs of its inhabitants.

The original distribution of these houses is a door that leads the main room (the porxo), public space of the house, the place of important meetings and transition between the outside and the private areas. The porxo is the acess to all the other rooms, generally the kitchen and two areas that originally served as both bedroom and storage. The kitchen, equal to or larger than the porxo, in ancient times also served to shield from the cold, around a bonfire on the floor, and as an occasional bedroom during winters. The front of the house was closed by a low wall, which inside multitude of herbs and a small orchard were kept protected from livestock. Separated from the main house were the pens that housed the animals. Surrounding to these were the fields, arranged in terraces of stone wall when they had to take advantage of the abundant slopes that the island has. Around some fincas there were also other architectural elements, such as a cart garage, oil mills, stables, lime kilns, the threshing floor or a coal deposit.

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Ibizan Finca Distribution / Closed courtyard

In the original interiors of the Ibizan finca, of which today only memories and some photographs remain, is the same strict functionality and austerity as marked by the outside of the building. Most of the rooms do not have a defined function, such as the large porxo or the kitchen, that have multiple uses. The scarce furniture and the absence of decorative elements in every room of the house expresses a singular simplicity, a purely utilitarian sense that makes the architectural elements acquire a greater role. The main source of incoming light is in the porxo, but it doesn’t usually have more openings than the entrance door and, because of the small windows, this main room shows the same kind of gloom as found in temples.

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© Kelosa | Ibiza Selected Properties

Especially the interiors, but also most of the outside of the Ibizan finca show a clear relationship with the Arab houses in rural areas, unlike the houses of Mallorca and Menorca, which rather resemble Catalan or Castilian country houses. Homes in Tunisia and Algeria are very similar to the Ibizan finca, as both show the same economy of means, adaptation to the environment, horizontality and composition of modules. In fact, his construction method is also found from the Himalayas through Yemen and the Middle East, to the south of the Atlas, and fits into a long tradition dating back to the Neolithic era. Several studies suggest that it develops in Phoenicia and Babylon, and later extends to the southern coast of the Mediterranean basin.

© Kelosa | Ibiza Selected Properties

Islands in the island.

Since ancient times, the people of Ibiza break with the two types of typical settlements of any other Mediterranean enclave: communities that prioritized defensive conditions by focusing on peninsulas or hills, and those that prevailed trade positioning its populations near the sea. Instead, cottages in Ibiza had a settlement scattered throughout the territory of the island and its distribution depended on the agricultural qualities (arable, fertile soil), being the distances between them irrelevant. This circumstances turned them into a kind of islands in the island.

The consequence of this unusual isolation was that these houses had to be self-sufficient from the outset and, at the same time, include elements that offered defense and shelter, such as thick walls or the praedial towers. Even the churches, which were conceived as fortresses and shelters inviting houses to group around it, failed to materialize real villages until recent times and this occured only partially, as evidenced by the dispersion of rural households that until nowadays are rarely grouped together.

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© Kelosa | Ibiza Selected Properties

The dispersion of the habitat in Ibiza has been a constant since the Punic (Phoenician-Carthaginian) colonization. Throughout most of its history, the most profitable was to place the houses on the land they cultivated because arable soils were excessively separated. Even the Catalan conquest (1235) did not mean any change of habitat or cultivation method as they had for centuries with the Arab occupation.

Factors such as the isolation of the peasant houses, the low yields of their farms or the frequent pirate attacks led them not to rely on products and manufactured goods other than the basic, found nearby, pushing them to a near autarky situation. Therefore, homes and tools were made with the materials at hand, which explains the absence of building materials such as bricks or tiles. This dependency of the environment and the autarky of the peasant production unit are circumstances that explain the archaism of the Ibizan architecture.

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© Kelosa | Ibiza Selected Properties

From these unfavorable circumstances and the farmers’ economic situation, close to subsistence for most of its history, adaptations took place in these constructions that surprise nowadays, considering it a model of sustainable and bioclimatic architecture. In this way, a climate of hot summers, little rain and wet winters and a mountainous landscape of scarce available land for cultivation, bring up the following adaptations to the buildings:

1. Environmental use and sustainability

Using the terrain rocks as natural foundation, the estate is built using materials found on the spot, without manufacturing processes rather than the mixture of mortar or lime kilns. In addition, the finca is ideally located on the slope of a hill, leaving behind the mountain, on a high surface with a slight inclination; which serves to prevent humidity and torrential rain, while being protected from the northern winds. The flat roofs are also used to collect rainwater that is channeled through a cistern for later consumption.

2. Bioclimatic

The thick walls and small windows insulate the outside temperature to keep the interior cool during the summer and warm in the winter, adapting the house to the climate of each cycle. The absence of glazing in the original fincas ensured the necessary ventilation for a perspiration of walls and roofs. The south-facing facades capture most of the sunlight in winter and more shade in the summer, while avoiding the winter winds from the north and allowing the entry of fresh winds in summer. Even the white of the walls had a role, by reflecting sunlight and prevent overheating of the building in summer.

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© Kelosa | Ibiza Selected Properties

As could not be otherwise, the most interested in studying the Ibizan rural house were the avant-garde architects. In the 1930s it was a time of searching for new answers outside of classicism, towards new forms: rationalism, the Bauhaus and its heirs, Broner, Le Corbusier, the Group of Catalan Architects and Technicians for the Progress of Contemporary Architecture (GATCPAC), among others, found in Ibiza an architecture strongly shaped by climate, materials available and practically devoid of the influences of artistic or architectural styles from any given time, and the result of a direct contact between human being and the environment in which it developed its activity. In fact, the cubic simplicity of this ancient house was somehow a confirmation for those avant-gardist that the idea by them promoted was somehow on the right track, as it came countersigned by centuries of anonymous tradition developed on a small island, cradle of cultures.

The architects of the 30s described and embraced many elements of the traditional house, but did not have much interest in expanding their study into deeper topics like the historical origins of this architecture. A more extensive investigation would not appear until two or three decades later, and in particular two names are worth mentioning, that practically devoted their lives to studying this archaic architecture: the Canadian Rolph Blakstad, which is responsible for the first historical-typological study of the Ibizan houses, developing an important thesis about its origins, and later founded a new architectural style, modern but heavily influenced by the original finca; and the Belgian architect Philippe Rotthier, that apart from his extensive research on these buildings, carried out numerous rehabilitations of fincas and designed new buildings, rigorously faithful to the original old farms.

(CC) Ibiza_Balàfia 004, by Nicolas G. Mertens. Creative Commons License: CC BY-SA 4.0 (Changes made. Link to original)

Comparative studies such as Blakstads and Rotthiers, published in books and articles, saw the ancient Phoenicians territories and their areas of influence in the Middle East, Mesopotamia and Egypt, the cultures that imported the construction method to Ibiza, dating its origin in the Neolithic. They also considered the Ibizan finca as the most faithful legacy of the ancient Punic houses and palaces that exists in the present day.

Through a comparison of plans and drawings of these publications shows the surprising number of constructive coincidences between the ancient architectures of Phoenicia, Mesopotamia and Egypt and the simple rural house of Ibiza. This theory is the most convincing to the majority, but it also encounters detractors within the research community. In fact, this is a topic that deserves an article by itself.

© Kelosa | Ibiza Selected Properties

Today the new fincas are built using other materials and have considerable differences in form and composition with regard to the original fincas. To adapt them to modern requirements, the new built fincas are differentiated by an expansion of virtually all spaces and rooms, creating an increase of incoming light and higher ceilings, some rooms merge into others and there is usualy a higher frequency of decorative elements, such as sloping walls, pergolas or pavilions, among others. These are the most common additions arising from new trends and possibilities offered by technological advances; however, in its essence, these houses bear a strong resemblance to the old fincas, as the basic geometry of its forms, the predominant white or the thick walls. The fundamental similarities that the Ibizan finca shares with minimalism also explain the tendency to combine these two styles.

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© Kelosa | Ibiza Selected Properties

The scarcity of forms and decorative elements shown by the ancient fincas is a phenomenon that was conditioned by the precariousness and the necessary practicality, revealing that these homes were not meant to be seen, but to be lived. Its interesting how it is precisely this aspect that makes this style so popular nowadays, but mainly by the visual property of the design and less for the practicality for which it was conceived, although in many cases it remains practical.

However, until very recently the Ibizan rural house seemed to be detached from the process of transformation of history and was considered an archetype of popular architecture. Possibly it constitutes the last example of an age-old wisdom and an archaic form of life. Traditional Ibizan constructions were built without plans or specialization, but integrated into the same peer culture, it preserves the memory, the technique and the identity of a community.

 

 

 

 

 

 

 

Sources:

Rotthier, P. and Gobert, P. (2003). Treinta años en Ibiza, 1973-2003. [Sant Josep]: TEHP.

White, C. and Blakstad, S. (2012). Ibiza blakstad houses. Barcelona, Spain: Loft.

Ferrer Abarzuza, A. (1974). La casa campesina de Ibiza. Madrid: Narria. [consultado 10 de abril 2016]

Vilssa.com (2013). La casa ibicenca. Un ejemplo de arquitectura sostenible. [consultado 18 de abril 2016]

Mestre, B. y Torres, E. (1971). Guía de Arquitectura de Ibiza y Formentera, islas Pitiusas. Cuadernos de Arquitectura y Urbanismo. [consultado 20 de abril 2016]

González, M. (2015). El interior de la casa payesa. [online] Diariodeibiza.es. [consultado 5 mayo 2016]

Illesbalears.es (2009). Ibiza: edificios singulares. Institut Balear de Turisme. [consultado 5 mayo 2016]

Sharq, B. (2012). Las Casas Payesas, un camino a seguir. BK Rentacar. [consultado 10 de mayo 2016]

Kam, M. (2014). Edificación. Tipos de paredes y muros. Slideshare.net. [consultado 10 de mayo 2016]

Naya, C. (2016). Innistre. 1st ed. [ebook] Barcelona, pp.4-15. [consultado 12 mayo 2016]

 

 

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When we talk about of Spanish architecture, we often think of gilded stuccos, intricate arches, colorful tiles or open courtyards with ornamental balustrades. However, Ibiza is a world unto itself. The hallmark of the new Ibizan style is elegant, white and minimalist. And, as we will see next, these aspects aren’t only the product of a new trend, but rather for centuries formed part of Ibiza’s rural architecture.

During the 30s intellectuals from various fields visited Ibiza, getting some of them to spend long periods on the island. Among them were architects belonging to the GATEPAC group, like Josep Lluís Sert and German Rodriguez Arias, aswell as fellow German architect Erwin Broner. All of them were fascinated by traditional Ibizan architecture. Above all they found Ibiza’s traditional finca as an austere, practical and fully functional home, representing perfectly the basics of concept and identity of modern architecture. Although long before the minimalist discipline and the Bauhaus school, these architects were surprised at how the Ibizan finca mostly met the guidelines that marked this new trend. The ibizan rural house fascinated by its simplicity, the functionality of each element, its integration into the landscape, all built in a rational way that captivated these modern architects of the time.

[caption id="attachment_1236" align="alignleft" width="271"] Josep Lluís Sert (left)[/caption]

As architect Josep Lluís Sert explains, according to a transcript of his speeches in the symposium held at the Museum of Contemporary Art of Ibiza in 1973, when it comes to Ibiza’s traditional rural architecture:

“This simple, white, rational architecture had a dimension and a human scale. The houses were obeying human needs and not responding to architectural orders of other times and cultures. We saw that this special and popular architecture had some constants. We could not tell what century this or that house was build, as this became irrelevant, because hardly anything changed in this type of architecture over the centuries. It was a perpetuation of forms endorsed by use. “

And it is especially in the perpetuation of forms endorsed by use and in the obedience to human needs, where we find the main link between the Ibizan rural architecture and architectural minimalism. Also, its possible to see that the traditional Ibizan finca meets most of the properties that define minimalist architecture:     

–Simplicity
-Basic rectilinear geometry
–Façade importance
–Literal use of material
–Austerity. Absence of ornaments
–Structural and functional purism
–Reduction and synthesis
-Consolidation
-Abstraction
-Economy of means

And, if the remaining three characteristics (Dematerialization, Order, Industrial production and standardization) are not being met or only partially, it is more due to technological advances and resources not available at that time, than due to a logical or natural development by this architectural discipline to comply with them.

The modern concept of the Ibizan fincas build by the architects of Blakstad Design Consultants, founded by Rolph Blakstad, could in fact represent what could be the natural evolution of the Ibizan rural architecture into a modern version of itself. To adapt to modern trends and requirements, these homes have been appropriated with minimalist elements to solve some of the major problems of the old fincas, but with a strong influence of traditional Ibizan finca design. The availability of modern materials, techniques and machinery allows, among others, to raise ceilings, structures that increase exterior light, roomy and diaphanous interior spaces and to expand sizes of rooms and entrances.

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© Kelosa | Ibiza Selected Properties

Modern villas in Ibiza usually have diaphanous floors and large windows, maximizing the views of the islands mediterranean landscapes. Among the Ibizan modern houses purely minimalist styles can be found, but also influences of other architectural disciplines such as Blakstad style or designs that combine both modern and traditional disciplines, with one or another more prominent.

A good example of a recent trend is the country estate Can Basso, as the result of a respectful renovation of an old finca over 300 years old. The architect did not remove any element of the original structure of the country house, but has changed some interiors, to be suited for latest trend designs in space and furniture, and added a few minimalist design elements like pool, windows, walls and garden. The result is an elegant combination of both disciplines, with a clear greater role of the original Ibizan finca style.

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Finca Can Basso -© Greg Jouslin/F. Dimmers

Another example is Can Durban, designed by Belgian architect Bruno Erpicum. Erpicum projects are known for a purist minimalism: large, white, bright villas and in search of infinite lines. In this case his work shows us a reinterpretation of the traditional house of Ibiza, with a strong role of minimalism. The result is, for example, frameless windows to benefit from wide views of the landscape, or prolonged and roomy interior spaces, providing what once was a traditional finca with a fundamentally minimalist architecture.

                           Pictures: Can Durban /© AABE – Atelier d’Architecture Bruno Erpicum & Partners

Minimalist architecture, at its core, reduces the structure to its basic elements, simplifying the design of spaces and providing serenity and tranquility, which are, in a sense synonymous with Ibizan style. The minimalist elements typically include pure materials from basic manufacturing, that harmonize effortlessly with natural light, form and space. With its roots in Japanese traditions and the Zen philosophy, minimalism is based on the transmission of calm through the essence, using the aesthetic principles of open spaces and the absence of unnecessary clutter that can be caused by architectural ornaments or decorative elements.

© AABE – Atelier d’Architecture Bruno Erpicum & Partners

At its best, the concept is realized when, on entering the house, from the first instant views are there from the living hall, across the pool deck and beyond to the landscape. In the same way, when we get the impression that the the room extends to the outdoor terrace, because architectural elements merge the two spaces, that is minimalism in its best form. One can say that minimalist architectural represents these sensations as an integral element and perfectly embodies the serene and relaxed feeling that Ibiza stands for.

We have seen that there is an undeniable connection between the two architectures. Therefore, it makes all the sense in the world here to invest in simple and austere standards, as it is found in the roots of Ibizan architecture.

 

 

 

 

 

 

Referencias/ Fuentes:

FERRER ABARZUZA, A. (1974). «La casa campesina de Ibiza». Madrid: Narria.

FERNÁNDEZ, R. (1998). «El laboratorio americano». Madrid: Editorial Biblioteca Nueva

CUERDA, Mª Concepción. La vivienda mínima en España: primer paso del debate sobre la vivienda social. Scripta Nova [en línea]. 1 de agosto de 2003, Vol. VII, núm. 146(023) [fecha de consulta: 30 de agosto 2015] 

SERT, Josep Lluís (1973) «intervenciones de Josep Lluis Sert en la charla coloquio celebrada en el Museo de Arte Contemporáneo de Ibiza». Disponible en: Grup d’Opinió d’Arquitectes.

 

It is possible that the pictures and the content reaches us through different channels and is sometimes difficult to know the author or the original source of the content. Whenever possible we added the author. If you are the author of any content (image, video, photography, text, etc.) and do not appear properly credited, please contact us and we will name you as an author. If you show up in a picture and think it impugns the honor or privacy of someone we can tell us and it will be withdrawn.

Kelosa Blog editors are not responsible for the opinions or comments made by others, these being the sole responsibility of their authors. Although your comment immediately appears in Kelosa Blog we reserve the right to delete (in case of using swear words, insults or disrespect of any kind) and editing (to make it more readable) or undermines the integrity of the site.