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CONTENTS

................................................4 4 Tailgate Park ................................................8 8 Ateneo de Madrid ..............................................14 14 Art + Produce ..............................................18 18 Mixed-Use ..............................................22 22 Haptic Vision ..............................................26 26

Vertical Marketspace

Adam H. Donner, Assoc. AIA a.donner28@gmail.com 402.369.4059 www.inspirationeverything.com

Sectioned space connections

VERTICAL MARKETPLACE OBJECTIVE: Challenge the notion of the high-rise office typology as an interactive social space to meet diversified work environments. DESCRIPTION: Modern offices are constantly changing, especially offices that deal primarily with the exchange of information and communication. In-office project teams that work for these types of businesses will be continuously forming and reforming and a majority of them will be smaller in nature than they have historically needed to be. Businesses are more specialized and are better able to utilize outsourcing because of enhanced technologies for communications and networking. There is a broad continuum that explains the diversity of working environments within different office businesses. On one end you have people who have to work at a fixed location with rigid working hours, and on the other end you have people who can work wherever they want whenever they want. This is a response to that diversity.

Working at a fixed location, at a fixed time

Working At A Fixed Location, At A Fixed Time

100 percent 100 percent100 percent 100 percent 100 100 percent percent rotation rotation rotation rotation rotation rotation 100 percent100 100 100 percent 100 percent percent percent 100 percent rotation rotationrotation rotation rotation rotation

100% Rotation

100 percent100 percent 100 percent100 100 percent percent 100 percent rotation rotation rotation rotation rotation rotation

Structured Space Structured Space

Working whenever one Working whenever one Working at a fixed location, Working at a fixed location, wants to, wherever one wants to, wherever one at a fixed time at a fixed time wants to wants to

50 percent 50 percent 50 percent 50 percent 50 percent 50 percent rotation rotation rotation rotation rotation rotation

Freeform Horizontal Freeform Horizontal Space Space

50% Rotation

50 percent 50 percent50 percent 50 percent 50 percent 50 percent rotation rotationrotation rotation rotation rotation

Working whenever one wants to, wherever one wants to

50 percent 50 percent50 percent 50 percent 50 percent50 percent rotation rotation rotation rotation rotation rotation

0% Rotation

0 percent rotation

Working Whenever One Wants To, Wherever One Wants To

0 percent 0 percent0 percent 0 percent 0 percent rotation rotation rotation rotation rotation 0 percent 0 percent 0 percent 0 percent 0 percent rotation rotation 10 floors 20floors floors10 floors 30 floors rotation 10 rotation 10 floors rotation 20 floors 30 floors 10 20 floors 10 floors20 floors20 floors 20

10 Floors

20 Floors

30 Floors

30 floors40 40 floors 30 floors floors 30 floors 30 floors

40 Floors

floors 40 floors4050 50 floors floors 40 floors 40 floors

Grasshopper iterations Grasshopper iterations 10 floors 20 floors 10 floors 20 floors 30 floors Grasshopper iterations Grasshopper iterations 10 floors 20 floors 30floors floors Grasshopper iterations Grasshopper 10 floors 20 floors 30 floors 10 iterations floors floors30 floors 40 30 10 floors 20 30 20 floors 40 floors floors 40 floors 0 percent 0 percent 0 percent 0 percent 0 percent 0 percent rotation rotation rotation rotation rotation rotation

50 Floors

60 floors 50 floors50 floors 50 floors 50 floors60 floors

50floors floors 40 40 floors 40 50 floors floors 50 floors

60 Floors

60 floors60 floors 60 floors 60 floors

60 floors floors 50 floors 50 50 floors 60 floors 60 floors

60 floors 60 floors 60 floors

Structured Space

Grasshopper iterations Grasshopper iterations Grasshopper iterations Grasshopper iterations Grasshopper iterations Grasshopper iterations 10 floors

20 floors10 floors 30 floors 40 40 floors 10 floors 10 floors 20 30 floors 40 floors 10 floors 20 20 floors 30 floors 10 floors floors30 floors 20 floors 20 floors 30floors floors 30 floors

50floors floors 40 floors 50 40 40floors floors 50 floors

60 floors floors 5060 floors 60 floors 50 50 floors floors

60 floors 60 floors 60 floors

Grasshopper iterations Grasshopper iterations Grasshopper iterations Grasshopper iterations Grasshopper Grasshopper iterations iterations

Floor 26 Structured Space

Freeform Horizontal Space

Structured Space

0% Rotation

50% Rotation

Floor 7

100% Rotation

50% Rotation

0% Rotation

Ground Floor Lobby/Retail

Struc

Freef Space

Stru

Private

Diverse

Diverse This configuration is preferred as it provides tailgaters and visitors the opportunity to park their vehicles either underneath or directly adjacent to the green berms. The forms encourage pedestrian movement from circulatory roads and designated parking areas to the elevated bermed green space above.

Congregational

15’

30’

100’

1’’ = 30’

Focused Site Plan

1145

New Green Space Old Green Space 1145

1140

New Pavement 10th Street

9th Street

Old Pavement

1160

1155 1150

New Parking 1140 1145

North 8th Street

Old Parking

Information Kiosk Primary Vehicle Access

Proposed Tree Suggestions: White Oak

Chosen Ideal Configuration

Configuration Extruded In A Single Direction

Configuration Fragmented and reversed every other section

Sine curve extruded

Surface laid on standard parking grid with 24â&#x20AC;&#x2122; wide circulation space

Surfaces scaled as they reach the north and south of the site allowing for a diversity of space

9 5

Sine and Cosine curves lofted to create surface that achieves constant ideal configuration

ARCH 311_Project_1

Donner.Stokke.Gage

Adjustments made for existing site circulation constraints

Bermed surfaces applied to site, circles denote berm ends where surface breaks the established geometry to create flat elevation surfaces for access points

TAILGATE PARK

Landscape Development

OBJECTIVE: Develop a existing hardscaped parking lot into a usable, integrated greenscape to make use of existing and potential sorrounding programs. DESCRIPTION: The idea for this tailgate park challenges the normative greenspace/parking lot organization. It utilizes the diversity of its users as well as the potential to maintain the number of parking spaces while increasing the green and program space within the constraints of the site. This is accomplished by a chosen ideal configuration to exploit the desired heterogeneity of its users and program.

ject_1

Donner.Stokke.Gage

Northwest Sectional Elevation ARC 311/LARC 311_Project_1 Donner.Stokke.Gage

ARCH 311/LARCH 311_Project_1

Parking

Donner.Stokke.Gage

Green Space

Football_Baseball Tailgating

Farmerâ&#x20AC;&#x2122;s Market

Drive In Movies

CH 311_Project_1

Donner.Stokke.Gage

Northwest Sectional Elevation

1/16’’ = 1’

ARC 311/LARC 311_Project_1 Donner.Stokke.Gage

RCH 311/LARCH 311_Project_1

5’

15’

30’

Donner.Stokke.Gage

1/16’’ = 1’

5’

Auto Shows

15’

30’

Sledding East Sectional Elevation ARCH 311/LARCH 311_Project_1

Donner.Stokke.Gage

1/16’’ = 1’

5’

15’

30’

n of the art, made through s and values of

ATENEO DE MADRID

Ateneo Cientifico, Literario Y Artistico De Madrid

trance hall by ove through the erventions. The umes of explicit neteen sections. t knowledges.

OBJECTIVE:

ssing its d panel near circulation rating the past, nnovation.

An ideas competition to renovate the entrance hall of the building and make it a contemporary form of welcoming and wayfinding to the many activities associated with what makes the Ateneo an important part of the history and culture of Madrid. DESCRIPTION: The Ateneo of Madrid is a center of culture teeming with ideas, opportunities and great diversity. The new entrance space will serve as a welcoming handshake to its members and the greater city of Madrid as a celebration of the art, literature, science and a homage to its complex and rich history. A balanced, considered response is made through celebrating the historic integrity of the space, and reflecting the ever dynamic and flourishing ambitions, and values of the Ateneo today. A panelized backdrop takes on a life of its own countering the ideal static historical attributes of the entrance hall by empowering and informing the user in new ways, constantly changing with their perceptions as they move through the space. The entrance is transformed and reinvigorated through a constellation of inherently incremental interventions. The panels represent the wealth of knowledge that Ateneo has to offer through its library - containing volumes of explicit knowledge and the power of exchange of tacit knowledge shared within and between the Ateneo’s nineteen sections. The ever changing sequence through the space reflects the cyclical relationship of these tacit and explicit knowledges. The funnel of information becomes the focus for the entrance’s circulation systems, revealing and expressing its programs and guiding the user’s experience. The panel system defines the space in three interconnected panel clusters united in a logical progression to the reception area directing new users by reinforcing the linear circulation path. Through varying opacity and translucency the panel clusters symbolize the importance of celebrating the past, marking the present and looking to the future as a powerful exchange of ideas between tradition and innovation.

1 Circular standoffs connect to the super structure and create a sandwiched effect connecting two panels

2 Glass panels of varying opacity becoming more transparent as you travel through the space including strategic placement of multi media boards allowing for display of information and calendar of events

3 Super structure allowing for minimal intervention to existing wall finish and ease of â&#x20AC;&#x153;reversibilityâ&#x20AC;?

4 Sub-structure connects panels to the superstructure and houses linear LED lighting as backlighting to create a glow behind the glass panels highlighting the texture and depth of the existing wall finish

A panelized backdrop takes on a life of its own countering path. Through varying and The ever changing sequence through space reflects cyclict empowering and informing thethe user inopacity new ways,the constan SUPER ALLOWING SUPER STRUCTURE STRUCTURE ALLOWING space. The Entrance ispresent transformedand and reinvigorated throu marking the looking to ct FOR MINIMAL INTERVENTION TO FOR MINIMAL INTERVENTION TO The funnel of information becomes the focus for the Entrance’s panels represent the wealth of knowledge that Ateneo ha EXISTING WALL FINISH AND EASE EXISTING WALL AND EASE The programs and guiding user’s experience. panelknowledg system d knowledge and the FINISH power of exchange of tacit OF “REVERSIBLITY” OF “REVERSIBLITY” clustersThe united in a logicalsequence progression to the reception area dir ever changing through the space reflects th path. Through varying opacity and translucency the panel clust marking the present and lookingbecomes to the future as a powerful exch The funnel of information the focus for the Entra programs and guiding the user’s experience. The panel sy clusters united in a logical progression to the reception a path. Through varying opacity and translucency the pan SUB-STRUCTURE CONNECTS SUB-STRUCTURE marking the present CONNECTS and looking to the future as a powerf LC PANELS PANELS TO TO THE THE IN SUPERSTRUCTURE SUPERSTRUCTURE AND AND HOUSES HOUSES TH LINEAR LINEAR LED LED FOR FOR BACKLIGHTING BACKLIGHTING 7 LCD screen integrated into TH CREATING the timeline depicting the current CREATING A A GLOW GLOW BEHIND BEHIND THE THE ongoings of the Ateneo GLASS GLASS PANELS PANELS HIGHLIGHTING HIGHLIGHTING THE THE IL 8 Illuminated timeline with TEXTURE AND DEPTH OF THE TEXTURE AND DEPTH OF THEhistoric pictures and text blocks H EXISTING EXISTING WALL WALL FINISH FINISH BL

RECEPTION RECEPTION SPACE SPACE TO TO BE BE PAINTED ACCENT COLOR PAINTED ACCENT COLOR

5 Reception space to be painted an accent color 6 Curtain wall and glass doors lead to the brightly colored and lit reception space aiding in wayfinding space and beckoning visitors

CURTAIN CURTAIN WALL WALL AND AND GLASS GLASS 9 Pendant indirect fixtures for DOORS added ambient lighting DOORS LEAD LEAD TO TO THE THE BRIGHTLY BRIGHTLY COLORED COLORED AND AND LIT LIT RECEPTION SPACE AIDING RECEPTION SPACE AIDING IN IN WAYFINDING AND BECKONING WAYFINDING AND BECKONING VISITORS VISITORS

P A

C C A EF TW

ART/FARM RESIDENCY

Creative Processes Exposed Through Art and Food

program concept Weekly GardenActivity Activity Weekly Garden s m t w t f s The program is to be organized so as to fully integrate both artistic processes and food production processes. In an effort to fully expose these processes, the gardens have been established as the heart of productivity from which all activities related to art and food production take place. Scheduling during the summer would permit a weekend market which would open all studios and gardens to the public and serve as a promenade for which all public visitors experience as they circulate into the main market and gallery spaces.

Daily Garden Daily GardenActivity Activity

Day

Art Activity

Weekly Garden Activity

both artistic fully expose he heart of ood producmit a weeko the public xperience as

Daily Garden Activity

AActivity Integration

This diagram illustrates the productivity of the residents during their three season stay at the residency. During the week, residents would have a generous amount of time to work on their artwork until the start of the weekend when their help would be needed to set up for the weekly market. Day-to-day chores in the garden will be necessary but minimal so as to allow for artists to develop their work. All artistic production occurs around these necessary and simple gardening/ market tasks.

Art Activity

OBJECTIVE:

To develop the objective for an art residency combined with an organic farm, then design the public exposure to the organization through a restaurant and organic market.

Public exposure to both processes is an integral component of the design of this residency. Diagram B represents how both processes relate to one another to intertwine with the ciculation of the public visitors to the residency. Educating the public through exposure is intended to engage the community and promote appreciation for the arts and organic foods. Drawing a relation to the harvest of crops, the end of the stay for the residents represents a moment of celebration in which the residentâ&#x20AC;&#x2122;s art would leave their studios and be put on display in the galleries for public viewing. Just as food is cultivated into a product, so is art.

MISSION STATEMENT:

The intent of this unmatched art residency is to allow for a diversity of talented artists to congregate while outfitting a space that fully exposes and relates the creative processes involved in art with those processes involved with the cultivation of organic foods. As food Public exposure to both processes is an integral component of the design of this residency. Diagram B represents how both processes relate to one another to intertwine with the ciculationhas of the public visitors to thequite residency. Educating the public through is intendedoperation to engage the community and promote appreciation for arts production become a distant andexposure unkown to the majority ofthehumans, and organic foods. Drawing a relation to the harvest of crops, the end of the stay for the residents represents a moment of celebration in which the residentâ&#x20AC;&#x2122;s art would leave studios and be put on display in the galleries for public viewing. Just as food is cultivated into a product, so is art. an their effort to expose this process to the community is a commitment the residency holds with upmost importance. In doing so, this institution aspires to embed in the community appreciation for both artistic production and food production. Ultimately, focus is concentrated on processes over product.

Market/Gallery

DESCRIPTION: First, the relationship between the artist and the daily activities of the farm was defined. This organizing relationship was then diagrammed to coincide with the point of contact between the processes of art and food to the general public. This exposure, occuring at repetitious intervals, was an opportunity to design a welcoming gesture through handrails and paralax that would give increased meaning to what was happening beyond the initial welcome to the site. The public exposure would occur daily at the restaurant and market, requiring these two designs to initiate the first notions of the process to the public. This is done by revealing framed views through paralax to emphasize important aspects of the subsequent artist studios, farm, and galleries.

Parking

Parking Parking

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1. Twin Buildings 1. Twin Buildings 2. Resize for Program ARCH 311/LARCH 311_Project_2

Donner.Stokke.Gage

ARCH 311/LARCH 311_Project_2

3. First Visual Handrail 2. Resize for Program

4. Funnel Effect Handrail From Parking Lot

3. First Visual Handrail

Donner.Stokke.Gage

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1. Twin Buildings

2. Re-size for Program

1. Twin Twin Buildings Buildings 1. 2. Resize Resize for for Program Program 2. ARCH 311/LARCH 311_Project_2 Donner.Stokke.Gage ARCH 311/LARCH 311_Project_2 Donner.Stokke.Gage

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Cycle of Produce Cycle of Public Cycle of Public

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ARCH 311/LARCH 311_Project_2

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Donner.Stokke.Gage

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3. First Visual Handrail

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3. Repeated Gesture Handrail to Bridge & Finalized Dynamics of Social Space

Handrail to Bridge & Finalized Dynamics of Social Space

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4. Funnel Effect Handrail 3. Repeated Gesture 3. First Visual Handrail From Parking Lot Handrail to Bridge & Finalized Dynamics of Social Space 4. Funnel Effect Handrail 2. Resize for Program 3. Repeated 4. Funnel Effect Handrail Gesture 3. First Visual Handrail From Parking Lot From Parking Lot

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4. Funnel Effect Handrail 3. Repeated Gesture 4. Funnel Effect Handrail 3. Repeated Gesture Handrail 3. Repeated Gesture 3. First Visual Handrail 3. First Visual Handrail4. Funnel Effect From Parking Lot Handrail to Bridge & Finalized Dynamics Space 3. First Visual Handrail From Parking Lot to Bridgeof&Social Finalized Dynamics of Social Space From Parking Lot Handrail to Bridge & Finalized Dynamics ofHandrail Social Space

Serving as a transition point between the private and public areas of the residency, the reception/cafe/farmstore is essentially a “trafﬁc cop” where vistitors and artists begin their circulation through the site. The gardens/studios/market/galleries are only open to the public during the weekend market. Every other day of the week, the studios are shut off to the public to allow the artists privacy condusive to a productive working environment. The reception/cafe/market is elevated to allow daily visitors to gander into the residency. However, these views are intended to be limited and obstructed for the sake of the artist’s privacy.

http://www.hendersoncorporation.com/images/siding/mini-grey_weathered_siding_metzler.jpgv

ARCH 311/LARCH 311_Project_2

Donner.Stokke.Gage

MIXED-USE OFFICE COMPLEX

Public Integration

OBJECTIVE: Design A Mixed Use Building Defined By Its Location And Urbanity. Making Use Of A Systemic Design Strategy As A Tool For Development. Typical city block sidewalk-retail to pedestrian links (They are intimate with only one retail facade)

DESCRIPTION: Required program of a 15,000 sq ft. grocery store

Split the typical building block and reverse retail facades in on themselves

Elevated to create urban space beneath, allows for interior site circulation and increased retail facadal square footages

Grocery elevated to level 2.5 and bridged between the split office towers. The office towers are modulated to create a stepped terrace facade Barrier to high volume vehicular traffic

Creating a personal dual retail experience

Retail street side square footage is increased and the urban interior of the site is enclosed.

This design rethinks the efficiency of the pedestrian retail experience and this site as a circulation hub to the surrounding three neighborhoods. The center of the site is liberated from circulation constraints and is turned into an urban social atmosphere to allow an increase of passersby and retail shoppers. Also, a stepped terrace facade is used to integrate a greenscape that is oriented in a modulated way.

Donner, Adam H. ___Fall 2010 ___Studio___

1 2 3 4

a a

Glazing Angle 4 Mullion Profile E Glazing Angle 5

Glazing Angle 3 Mullion Profile D Glazing Angle 4

Glazing Angle 2 Mullion Profile C Glazing Angle 3

Glazing Angle 1 Mullion Profile B Glazing Angle 2

Mullion Profile A Glazing Angle 1

1/16”=1’

Facade System

Mullions Rails

Insulated Glass Units

Modulating Angles

Sections Sections 1/16”=1’ 1/16”=1’

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Modulating Infill Glazing System

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Aluminum Wrapped Truss with Interstitial Glazing

1. Precast Concrete Planter Box 2. Fiberglass Insulation 3. Carpet Squares 4. Green Roof 5. CIP Concrete Column 6. Pilon Cap 7. Pilon 8. Concrete Footing 9. Concrete Foundation Wall 10. W-Beam 11. Deep Rib Floor Deck 12. CIP Concrete Floor 13. Concrete Slab-on-grade 14. Wood Lathe Light Diffuser

Note: Reinforcing Steel Not Shown For Clarity

15. Insulated Glazing Unit 16. Radiant Finned Tube Heating 17. Anchors Embedded Into Concrete 18. Steel Connection Plate 19. Continuous C-Profile 20. Rigid Insulation 21. Growing Medium 22. Water Storage and Drainage 23. Waterproof Membrane 24. Root Barrier 25. Upper Deep Leg Track 26. Backer Rod, Sealant and Shim 27. Rail

Glazing C

Glazing B

Modulating Infill Glazing System Detail A 21 22 23 24

CIP Concrete Cores

17 16

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CIP Concrete Columns

Primary W-Beams

Glazing D

35 34 36 33 Detail B

32 31 30 29 28

Box Truss Bridging Secondary W-Beams

CIP Concrete Cores

13 6 7

37 38

41 40 39

28. Flashing 29. Weep 30. Sill Track 31. Glazing Strip 32. Silicon Wet Seal Over Glazing Strip 33. Sill Flashing 34. Setting Block 35. Gasket 36. Pour Stop 37. Shelf Angle 38. Steel Shims 39. Drainage Mat and Waterproof Layer 40. Rigid insulation 41. Protection Board

HAPTIC VISION OBJECTIVE:

In a visually biased world can one design in such a way as to improve the experiential qualities of a space through the sense of touch? DESCRIPTION:

Haptic Vision is an investigation into the idea that the experience of architecture is lacking because of the bias Western society has placed on vision, that the other senses are stifled by this and that it is a result of us living in an occularcentric society. Architect and theorist Juhani Pallasmaa has said that, “While our experience of the world is formulated by a combination of five senses, much architecture is produced under consideration of only one - sight. The suppression of the other sensory realms has led to an impoverishment of our environment, causing a feeling of detachment and alienation.” In order to combat this “detachment”, and increase the experiential qualities of our environment, architecture should be designed in consideration of the other senses, in particularly that of touch. Touch is the sense that is most closely related to vision’s ability to understand our environment. Human experience can be improved upon if sensual experiences are more duly considered. When the other senses besides the visual are regarded there can be an experience that is created that is more embodied with an increased feeling of attachment to our spaces, buildings, and environments. An in-depth inquiry into how one experiences was done to gain an understanding of how one comes to understand their embodiment with the world. Under the assumed doctrine by Johne Locke of the tabula rosa, or “blank slate,” the senses are the only sources of knowledge about the world. This is directly related to research into sensual psychology, sensory deprivation and sensory overload. These were researched to form a solid base of information towards the consideration of the physiology and psychology of how one senses and perceives the world. From there, an investigation was undertaken to understand physical objects in regards to their inherent haptic nature. This was accomplished by building various three-dimensional artifacts as a physical manifestation of the ideas received from the research. Each artifact had a recipe for design intent that dealt with the sense of touch regarding the hand, and the eyes. This is research for the exploration of relationships using contextual, rather than quantitative data. The design process, the creation and, observations of these artifacts are considered for the qualitative research and evidence. The results were not necessarily generalizable, but were transferable. The artifact research was done to understand the relationships between vision and touch, exploratory touch, sensual information received through touch, and what happens when a physical object considers its own haptic qualities for aesthetic and pragmatic interaction. It is important to note that with these it is the hand that is of value. Because of their scale they are tailored to the intimacy of the hand. What was learned from the artifacts was then taken and applied to the concepts of a wall, a space, and to architecture. This was done for the sake of the body as well as the hand. Because the back will interacts differently than the hand, the feet differently than the elbow. As an architectural investigation into Haptic Vision there was a designed addition to the Southern entrance of the link of Architecture Hall. Three programs were exercised into the design to fully investigate the potentials and limitations in consideration of the haptic dimension in architectural design.

SEEING IS BELIEVING, BUT.........

................FEELING IS THE TRUTH!

Thomas Fuller

Occularcentricism In Pallasmaa’s affirmation he is arguing that the experience of architecture is lacking because of the bias Western society has placed on vision. That the other senses are stifled by this and that it’s a result of us living in an occularcentric society. The term ‘ocularcentrism’ was conceived by Martin Jay in his book Downcast Eyes, “which is an intellectual history of the gaze.” Jay was “recognizing the primacy of the visual image and the privileging of the ocular observation as a path to certainty and knowledge.” This is exemplified by society’s forgetting of the second half of the popular expression “seeing is believing”. The full expression goes, “seeing is believing but, feeling is the truth.” (Paterson, 2007) The historical aggrandizement of the visual sense has arguably developed starting from the abstracted symbolic measuring of geometry, through advancements of visually accommodating technologies to the consumerist culture dominated by the need to express a thing in the fastest, most easily stimulating way possible. Humans at one point in history used the body as a means to measurement. The Egyptian Cubit for example was one mode of measurement that had a direct connection to the body, and a way to visualize geometry in comparison to the body. Measurement was then slowly standardized and abstracted into symbolic visual terms. The idea of geometry somewhat lost its connection to the body to a supposedly distanced, abstracted visualism that obscures the actual body processes of measurement. (Paterson, 2007) Throughout history there have been advancements in technologies that have privileged the eye. From the printing press, to the camera, to the television, these technologies have been mediums of transferring visual imagery to the masses. These avenues of vision have developed an ease and production of imagery that has compounded the commercialism and tourism of today to an image based commodity. Susan Sontag, author of On Photography, said, the camera has become the prime instrument of tourism, and “The omnipresence of photographs has an incalculable affect on our ethical sensibility.” (Pallasmaa, 2005) Pallasmaa, says that, “through are evident compulsion for” a simplification and objectification of mental images, that “Our sensory contact with the world becomes ‘colder’ as visual remoteness gains supremacy over the intimacy of tactility. (Pallasmaa, 2005) Architecture too has fallen into this image based aggregation. It is implicit that we live in a culture where image is a commodity and it only makes sense that image based architecture would fall into the category of this as well. One can argue that architecture is judged mostly for how it looks. This is not a good thing. Guy Dubord, author of, The Society of the Spectacle, argues that, “the perceptible world is replaced by a set of images that are superior to that world, yet at the same time impose themselves as eminently perceptible.” (Vidler, 2008) We experience architecture through its image; the image is what is pushed into the consumer culture, so it only makes sense that there would be a bias towards vision, and a disregard to the other senses. According to Terry Smith, Professor of Contemporary Art History and Theory at the University of Pittsburgh, there has been a build-up of architecture typologies that have fed into this consumerist and touristic society that has, in a way, set the bar for what architecture is “supposed to be” in people’s eyes and the world of architecture. (Vidler, 2008) Pallasmaa argues that standardization and industrialization go along with the embodied detachment of the senses that our bias towards vision has caused. He says that, “As the art of architecture sinks under the current payload of practical demands”… there has been an “increasing anonymity of building in the industrialized world and its detachment from human experience. (Pallasmaa, 2005)Human experience would be improved upon if sensual experiences were more duly considered. When the other senses besides the visual are regarded there can be an experience that is designed that is more embodied, with an increased feeling of attachment to our spaces, buildings, and environments.

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