Phenomenology is a stream of philosophy that influences modern architecture and a field of research, experimenting with the construction of materials and space in aesthetic aspects. In phenomenology the environment is determined as "the place". This place is not like a location but includes some specific things such as shape, color, material and texture, and all these come together to form the atmosphere. Phenomenology takes the idea of ​​subjectivity and makes the situation and its unique dialogue with its place its own topic and not the thing itself. The history of phenomenology in architecture begins in 1970, in the last 30 years, from the writings of Martin Heidegger, a German philosopher, who begins to have significant effects in modern architectural theory. Christian Norberg – Schulz was an important person for architecture students of the 1980s. He wrote a book: ''Genius Loci, towards a phenomenology of architecture''. He explains the phenomenological approach to architecture and read largely in architecture schools. Architects such as Peter Zumthor, Herzog Demeuron and Caruso St. John have been placed under the generic banner of phenomenology and much of this approach to design dates back to Christian Norberg - Schulz's book. The philosopher Edmund Hursserl believed that beneath the changing flow of human consciousness and experience, there are some unchanged structures of awareness, which he believed the phenomenological method could identify. He also states that humans should focus on the experience they have in making architecture rather than the lack of perception of architecture. Heidegger followed Hurssel's theory and looked more at experience, and gave the example of a hammer. ''When a craftsman hammers the hammer... in the middle of the paper... the things belong to the home and to one as much as the other they come from the workshop of long experience and incessant practice''. 5The rigorously reduced material palette has the same effect as a silent space, and we gain a greater awareness of the physical presence of the church, a presence onto which we can project meanings. ''In attention to the raw and existential nature of his materials, Lewerentz privileges a subjective and changing experience of the world... Adopting a phenomenological approach, Lewerentz recognizes prayer as an individual meditative activity. San Pietro is a humanist church. Paradoxically, the material intensity of St. Peter's is almost too much to bear. In this the church reflects the character of its architect all too closely... It is as if Lewerentz forced us to continually confront the condition of our existence.’’6