[sensory] SYSTEMS

It is noticed that perception/experience is not unisensory, but multisensory. That is, what we hear and smell, and what we think about the experience, is often influenced by what we see, and vice versa (Calvert et al., 2004; Stein, 2012).

The senses interact with, and influence each other all the time, while we often remain unaware of these cross-sensory interactions and influences.

Therefore the aim of this study is to undestand and make efforts to implement multisensory design on the basis of human psychology to architectural design.

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[Visual System]

Imagery of the Space: What are you looking at?

[Auditory System]

Sound of the Space: Are you listening?

[Haptic

System]

Feel of the Space: Do you touch the space?

[Olfactory

System]

[visual system] IMAGERY OF THE SPACE

What are you looking at? The inherent characteristic ability of a building or built environment to evoke a positive or negative response in a person is the Visual Impact that it causes. Due to the multiplicity of objects placed in a design, there are multiple impacts that can be noticed. The person’s mind makes use of the response to unconsciously to make decisions that control their emotional response to the situation.

This is of paramount importance as the eyes are the primary paraphernalia used in analysing a situation. The navigation, orientation and sense of comfort one feels in a particular space is largely based on the information that the visuals provide to the person.

The manner in which one perceives a space is crucial to their willingness to continue to exist, operate, and feel comfortable in the same system.

For example, a room may be quite spacious, but a dark line drawn around a couple of squares in a colour such as red (usually associated with warnings) may give the viewer a sense of confinement to that particular part of the room.

This would evoke a feeling of being placed in a smaller room. This could evoke feelings of disdain and discomfort leading to the person abandoning the space.

“In all my works, light is an important controlling factor. I create enclosed spaces mainly by means of thick concrete walls. The primary reason is to create a place for the individual, a zone for oneself within society. When the external factors of a city’s environment require the wall to be without openings, the interior must be especially full and satisfying.”

–Tadao Ando

(Top) Church of the Light in Japan, by Tadao Ando. The Church embraces Ando’s philosophical framework between nature and architecture through the way in which light can define and create new spatial perceptions. Ando’s decision to place the cross on the east façade allows for light to pour into the space throughout the early morning and into the day, which has a dematerializing effect on the interior concrete walls transforming the dark volume into an illuminated box.

(Right) Saint-Pierre at Firminy by Le Corbusier. The small stellar windows on the east façade generate dots of light on the floor which later mysteriously turn into waves of light. These waves gently rise and fall with the course of the sun. They create an astonishing pattern over all three walls facing the altar. Polycarbonate cylinders with concentric grooves holding the glue cause these impressive wave effects.

[auditory system] SOUND OF THE SPACE

Are you listening? Rasmussen mentions in his book Experiencing Architecture (1964), that architecture can be heard. The manner in which an individual allocates the purpose for which a space is to be utilised has a causal relationship with the acoustics of the place.

Auditory sense manipulation is already seen to be employed in places of assembly (concert halls, auditoriua, opera centers) for specific purposes. Such manipulation may be induced based on the design as well as the materials that go into the creation of the space.

The lesser the reverberation of sound in the space, the more temperate and intimate the individuals within such space feel. Therefore, spaces padded with carpets and curtains may be give the individual a feeling of silence.

On the other hand, increased amounts of reverberation may give a feeling of publicity to the space. Another such example is the linking of sound experienced in larger spaces to that of a divine presence. Thus, designs of churches and cathedrals involve higher levels of reverberation.

“The modern architect is designing for the deaf.”

- R. Murray Schafer

(Right) SoundYard, Ireland, by Eunan Deeney, Mat- and

Wilson. This five-metretall musical pavilion is located near a shipyard and works as a performance area. Walking, running or playing below the structure triggers motion sensors that cause the mechanisms in the canopy to turn slowly, striking the hollow tubes around them. The instrument was designed so that the music it creates gets louder as more people interact with it. The resulting soundscape was designed to be reminiscent of the constant, rhythmic noises of striking, hammering and riveting of the erstwhile shipyard.

[haptic system] FEEL OF THE SPACE

Do you touch the space? In The Eyes of the Skin, Juhani Pallasmaa argues for an elevated appreciation of the sense of touch. The sense of touch is one of the core ways in which an individual processes the reality of their situation.

It gives them a sense of “knowing”. The need to grasp and feel an object lay at the root of the cognitive ability of all human beings. It regulates the way in which an individual engages with their environment.

The opportunity to interact with a space makes the space a lot more impressionable on the mind than normal. A number of novel ideas with regard to electronics and haptics seem to be in the works with haptic sensors to activate lights and control electronics.

However, due to the immense need for improvements in technology to provide a real feel to the individual, studies on how they affect the psyche of the user is still limited.

(Top) Holocaust Memorial, at Berlin, Germany, by Peter Eisenman. The site is covered with 2,711 concrete slabs or “stelae”, arranged in a grid pattern on a sloping field. The exposed concrete and sprayed foam layer over it invite people to touch and feel the space, run through it, or jump over it. The memorial is on a slight slope and its wave-like form is varied in different places. The uneven concrete floor gives visitors a moment of giddiness or even uncertainty. The sheer size of the installation and its lack of a central point of remembrance call into question the conventional concept of a memorial. This creates a place of remembrance, but not with the usual means.

(Right) Hazelwood School, Glasgow, Scotland, by Alan Dunlop. This school caters to children with visual as well as hearing impairment. The central circulation space houses a large cork-clad storage wall with a “trail rail,” which provides tactile cues for the children to clearly and safely navigate the building. Each bay of sensory trail wall is individually shaped which helps children orient the length of the circulation space. Coupled with the ‘street’ design of the corridors in the school, this layout has proven an effective device for independent navigation for all kinds of students. Signage throughout the school is redundant: in Braille, in pictures and in Moon (a system made up of lines and curves including some ordinary letters in simplified form). .The subtle colors, contrast, and adaptable lighting elements maximize use of children’s residual vision.

What do the chemical senses in the space evoke?

[olfactory system] SCENT OF THE SPACE

Various fragrances, aromas and odours can create either a positive or negative effect in the individual based on their lived experiences, preferences and memories.

There are a number of smells constantly present for the brain to process. More such number, higher the cause for discomfort. The brain generally filters such smells and only takes note of such feedback that is either pungent, unknown or likely to induce delight does the brain register them.

In a 2006 book by Italian architects Anna Barbara and Anthony Perliss, Hervé Ellena of Ellena Mehl Architects observes olfaction to fall within ‘the dark side of architecture’.

This is because of the focus on the utilitarian aspect of architecture leading to odour as something to be combatted out with the use of ventilation.

However, for ages it has been seen that various odours have been specifically used to incentivise behaviour in some form or manner.

Leading retailers often use pleasant air fresheners to retain customers for longer periods of time within the store and thereby encourage more shopping. Restaurants often use the aromas of their delicacies to lure customers to try their servings.

By virtue of the material used and the form of the built environment, the olfactory system may also help in effective design that contributes to the overall wellbeing of the individual.

“The Art of Scent 1889-2012”, Museum of Art and Design, New York City, USA, by Diller, Scofidio + Renfro Architects. The Art of Scent, commissioned by the Museum of Art and Design in New York, is among the first museum exhibitions in the world to focus on the olfactory arts. “The Art of Scent”, which traces the development and history of perfumery, focuses on twelve pivotal scents. In addition to allowing visitors to experience the twelve works of olfactory art, an interactive salon illustrates the importance of design in creating these works. In order to address the sense of smell, rarely introduced in the museum environment, the design eliminates all reference to the visual materials typically associated with perfume, most notably packaging and advertisements. Visitors enter a seemingly empty white gallery punctuated by a series of twelve sculpted wall alcoves. They are invited to lean into the wall, triggering the release of a scented stream of air; in addition to scent, the organic wall surface pulses with sound and ghostly text projections.

Colour Psychology

Effect Of Colour In Architecture

Colour in architecture strongly influences one’s senses, state of mind and the way of understanding a building. Regardless of the aesthetic value that they can provide, whether in shades of facades or interior walls, colour will have an influence on the human state of mind.

Effect on Architecture

Colours and their perceptions are responsible for a series of conscious and unconscious stimuli in the psychic-spatial relationship. The application of colors on the surfaces also influences the user’s experience in the space.

Depending on how they are used, colours can darken, illuminate or even create shapes in a space.

Just as colour promotes a set of emotions or visual effects in art, in architecture these serve to highlight volumes, construction details or visually emphasize certain aspects of the space.

In children-centric projects, such as schools, bright colours are used in order to motivate the psyche of the children.

In hospital or healthcare projects such as hospitals, clinics, etc., the use of cold colours is usually a good complement for the recovery of patients.

In urban or community projects, neutral colours are used to renovate spaces and restore character and identity to them.

Colour Temperature

For visual comfort , there must be a balance between the colour temperature and lighting .

When a single colour dominates in a space, our brain “manufactures” the complementary color to achieve a spectrum that is closest to white light .

Due to this, it is better to avoid using vast expaanses of a single colour. In case a large area uses a single colour, it is recommended to to place complementary colours next to it to reduce the levels of eye and mental fatigue.

Colours In Architecture

PURPLE

Energize Users

Spaces that require exhibition of power

Places of worship

GREEN

Places of reflection

Care units, therapy centers for a sense of peace

Meditative spaces

RED

For structures such as beams, columns, stairs, etc.

Important emergency facilities

For commercial spaces

ORANGE

Associated with enthusiasm and action

Used as accent colour

GREY

Exposed concrete colour, ruggedness

Peace, tenacity and tranquility

Neutrality in spaces

BLUE

Places of meditation

To maintain a cool temperature

Places of dialogue

Focus attention

YELLOW

In basements and dark places that require highlight

Used as accent colour

Evokes cheerful mood

PINK

Colour of sweetness, delicacy, friendship

Cultural associations with “feminine” quality

BROWN

Provide warmth to spaces

Comfortable spaces (associated with the use of wood)

Balance and neutralize spaces

WHITE

Comfort, relaxation, peace, reflects heat, space feels larger

BLACK

Mystery, elegance, modern, traps heat, space feels smaller

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BENEFITS OF MULTISENSORY DESIGN & INTEGRATION OF ENVIRONMENTAL AND PSYCHOLOGICAL CUES IN ARCHITECTURAL DESIGN

Kroner, Stark-Martin, and Willemain (1992) demonstrated the benefits of designing for multiple senses in a technical report. They examined the effects of an office makeover when a company moved to a new office building. The employees in the new office were given individual control of the temperature, lighting, air quality, and acoustic conditions where they were working. Productivity increased by approximately 15% in the new building. When the individual control of the ambient multisensory environment was disabled in the new building, performance fell by around 2%.

Mattila and Wirtz (2001) conducted one of the first sensory marketing studies about the influence of combined ambient/atmospheric cues on people’s perception, feelings, and behaviour. They manipulated the olfactory environment (no scent, a low-arousal scent (lavender), or a high-arousal scent (grapefruit)) while simultaneously manipulating the presence of music (no music, low-arousal music, or high-arousal music). When the scent and music were congruent, the customers rated the store environment positively, exhibited higher levels of approach and impulse-buying behaviour, and expressed more satisfaction. However, there is always the potential danger of sensory overload if the combined multisensory input becomes too stimulating (Malhotra, 1984; Simmel, 1995).

Winzen, Albers, & Marggraf-Micheel (2014), in one representative study, reported that illuminating a simulated aircraft cabin in warm yellow vs. cool blue-coloured lighting exerted a significant influence over people’s self-reported thermal comfort. The participants rated the environment as feeling significantly warmer under the warm as compared to the cool lighting colour.

Sayin et al. (2015) investigated the impact of presenting ambient soundscapes in an underground car park in Paris in a representative field study. They assessed the effects of introducing western European birdsong or classical instrumental music to the three normally silent stairwells used by members of the general public when exiting the car park. A total of 77 drivers were asked about their feelings on their way out. Birdsong was found to work best in terms of enhancing the perceived safety of the situation - around 6%. This was despite the fact that all of those who were quizzed realized that the sounds that they had heard were coming from loudspeakers.

The World Health Organization has included mental and social well-being in addition to physical health and the absence of disease in its definition of “public health”.

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EFFECTS OF NEGLECTING PSYCHOLOGY AND SENSORY SYSTEMS IN DESIGN OF SPACES & ENVIRONMENTS

Urban design and town planning is primary to safeguard public health using inclusive strategies to ensure each individual’s basic needs are met. The architecture of buildings that comprise the built environment in the city is crucial to uphold one’s mental health and wellbeing. Studies have shown that battered houses and neighborhoods, and abandoned and dilapidated buildings make people feel unsafe, evoking fear and anxiety.

In their book Cognitive Architecture: Designing for How We Respond to the Built Environment, Sussman and Hollander (2015) look at the negative psychological impact cities have on humans. They state that humans are generally healthier when their built environment contains a variety of typologies of buildings such as shops, eateries, unique spaces, and buildings rather than generic, and repetitive chain stores.

Neuroscientist Colin Ellard conducted a field research to understand emotional responses of humans to their surrounding built environment. He led a group of participants down two city streets. The first was a large, generic supermarket building; and the other included a plethora of unique and lively restaurants whose buildings were made up of open doors and windows. He found that the former environment resulted in the lowest excitement level of the study, while the latter produced a high level of excitement. These results led Eller to conclude:

“The holy grail in urban design is to produce some kind of novelty or change every few seconds, otherwise, we become cognitively disengaged.”

Merrifield and Danckert have conducted studies which suggest that even small amounts of boredom can induce stress in humans, in turn affecting their productivity, efficiency and comfort levels.

Sick Building Syndrome

The sick building syndrome (SBS) is used to describe a situation in which the occupants of a building experience acute healthor comfort-related effects (headache; eye, nose, or throat irritation; dry cough; dry or itchy skin; dizziness and nausea; difficulty in concentrating; fatigue; and sensitivity to odours) that seem to be linked directly to the time spent in the building. No specific illness or cause can be identified.

Most of the complainants report relief soon after leaving the building.

When Architecture Failed The People

Pruitt-Igoe Housing Complexes St. Louis, Missouri

by Minoru Yamasaki

The construction of housing projects like Pruitt-Igoe was a direct response to the evolution of urban populations taking place in the years after World War II. The rapid growth of American cities before 1920 had slowed dramatically. In 1950, St. Louis was commissioned 5800 units of affordable housing. The housing complex was a collection of 33 modular 11-story apartment towers, occupying 57 acres of land, providing accommodation for up to 10,000 residents in 2,870 apartment units. It was composed of residential high-rises towering over manicured plazas heavily inspired by Le Corbusier’s Ville Radieuse concept.

The buildings resembled Corbusier’s Unité d’Habitation projects: long, narrow slab structures with window galleries of 85 feet in length. The combination of the two was intended to replicate community life on the sidewalks in a high-rise setting, where children and adults alike could gather in sheltered safety.

The complexes quickly became notorious for crime, squalour and social dysfunction. The galleries and staircases meant to provide safe community spaces instead became the dominion of gangs. Critics argued that the wide open spaces between the blocks of high-rises discouraged a sense of community, particularly as crime rates started to rise. From 1972, over the next few years, the 33 towers were demolished by means of dynamite implosions leaving behind a vast urban wasteland in the fabric of St. Louis which, to this day, has yet to be filled.

The fall of Pruitt-Igoe came to be seen as symbolic: it was touted as the failure of Modernist architecture itself. “The lack of behavioural insight behind the modernist housing projects of that era, with their sense of isolation from the wider community and ill-conceived public spaces,” (Michael Bond) could be seen as reasons for its failure.

Thus it can be said that the active or passive application of architectural psychology to design would enhance the quality of space as well as the quality of experience in a built environment.

Co-authours of The Architecture of Hospitals (2006)

Both pioneers of healing through design in healthcare facilities