Museum of emotions - Sensory and affective experience in the Built Environment by Archana

Museum of Emotions â&#x20AC;&#x201C; Sensory and affective experience in the Built Environment Master of Arts in Interior Architecture and Design INT9005M KANNAN Lincoln School of Design UNIVERSITY OF LINCOLN

Acknowledgement I would like to thank my parents for being my constant support and for always believing in me. A special thanks to my tutors Raymund Konigk and Lorna Cameron for being extremely patient and understanding and for guiding me through the course.I would also like to thank my friends for being my second family here in this beautiful city.

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Museum of Emotions â&#x20AC;&#x201C; Sensory and affective experience in the Built Environment KANNAN, Archana (18708766) Submitted in fulfillment of a part of the requirements for the degree Master of Arts in Interior Architecture and Design Lincoln School of Design UNIVERSITY OF LINCOLN Supervisor: Module:

Dr. Raymund Konigk Preparatory Work INT9005M September 2020

KONIGK, Raymund, October 2018

ABSTRACT Museum of Emotions â&#x20AC;&#x201C; Sensory and affective experience in the Built Environment Name: Archana Kannan Supervisors: Dr. Raymund Konigk, Lorna Cameron, Dr. Anna Catalani School: Lincoln School of Design Degree: MA Interior Architecture and Design

The role of a museum in a society is very crucial. They play a key role in addressing various social issues and helps in addressing various social issues and helps in understanding the different aspects of our culture and the community as a whole irrespective of the type of curation it houses. Museums also have the power to create unity on both a social and political level in addition to a local one. Amidst the traditional museums with a display of artifacts in accordance to the type of museum, there is a rise in the advent of experiential and experimental museums. It covers various possibilities and opportunities and is also an incredible way to showcase untapped potential. Lincoln is a medieval city with a rich cultural history. Place attachment is very important especially in small towns as such. With this point in mind, The Ritz was chosen and analysed as the site. Due to its varied history through the years, Ritz is regularly visited by the local people of Lincoln despite the constant change of use in the building. But the larger part of the building itself has been left unused and is in a sad state of deterioration. The main aim of this project is to design and alter the building to house spaces that are respectful to the history of the building and its emotional value but at the same time, bring something new to the community and to the life of the building itself by making full use of its potential. The research draws theories from two of the interior discourses: Ontology and Inhabitation of the body. The research focuses on techniques to enhance the experience of the visitors to the museum. It also studies the psychological response of the users in a built environment . Theories from environmental psychology is employed to support the design of the museum. Bearing the research proposal and the site analysis in mind, a proposal for change of use in the building to a museum of emotions was arrived at. The concept chosen to support the design was 'Phases of life' and 'Process of entropy'. A spatial alteration was then formulated accordingly. The project deals with various strategies and techniques to incorporate the research proposal into the design. It also emphasize on the importance of a place and its emotional connection to the users and the psychological impact a built environment can have on the users.

Keywords: Environmental psychology, Spatial experience, Human emotions in built environment.

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TABLE OF CONTENTS

CHAPTER 1 Introduction 1.1 BACKGROUND AND MOTIVATION

1.2 RESEARCH PROBLEM

1.3 RESEARCH AIM

1.4 RESEARCH OBJECTIVES

1.5 DELIMITATIONS

1.6 METHODOLOGY

1.2 PROJECT SITE

1.2 IMPORTANCE OF THE STUDY

1.2 DEFINITION OF TERMS

CHAPTER 2 Research proposal 2.1 INTRODUCTION

2.2 PHENOMENOLOGY AND SENSORY ENGAGEMENT

2.3 SPATIAL EXPERIENCE

2.4 HUMAN SENSES IN A BUILT ENVIRONMENT

2.5 EMOTIONS IN A SPACE

2.6 SPATIAL STIMULI

2.7 NARRATIVE IN SPATIAL DESIGN

2.8 WAYFINDING

2.9 CONCLUSION

CHAPTER 3 Context study

3.1 INTRODUCTION

3.1.1 Understanding alteration 3.1.2 The process of alteration 3.1.3 Analysis and proposal

3.2 THE SITE

3.2.1 Introduction 3.2.2 Choice of site

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9 9 9 9

10 10

3.3 HISTORICAL DEVELOPMENT & CULTURAL SIGNIFICANCE 3.3.1 History of the site 3.3.2 Statement of significance 3.3.2.1 Evidential value 3.3.2.1 Historical value 3.3.2.1 Aesthetic value 3.3.2.1 Communal value

11 11 11 11 11 11 11

3.4 LOCATION ANALYSIS

3.5 TYPOLOGICAL ANALYSIS

3.6 CURRENT CONDITION

3.7 FIVE ASPECTS OF SCOTT

3.8 CONCLUSION

CHAPTER 4 Precedent studies 4.1 INTRODUCTION

4.2 JEWISH MUSEUM

26 26 26 26

4.3 CHICHU ART MUSEUM

28 28 28 29

4.4 NEUES MUSEUM

30 30 28 29

4.5 CHAPEL OF ST.IGNATIUS

32 32 32 33

4.6 THERME VALS

34 34 34 35

4.7 CASA BARRAGAN

36 36 36 36

4.8 BRION VEGA CEMETERY 4.8.1 Introduction 4.8.2 Analysis 4.8.3 Conclusion

37 37 37 38

4.9 CONCLUSION

4.2.1 Introduction 4.2.2 Analysis 4.2.3 Conclusion

4.3.1 Introduction 4.3.2 Analysis 4.3.3 Conclusion

4.4.1 Introduction 4.4.2 Analysis 4.4.3 Conclusion

4.5.1 Introduction 4.5.2 Analysis 4.5.3 Conclusion

4.6.1 Introduction 4.6.2 Analysis 4.6.3 Conclusion

4.7.1 Introduction 4.7.2 Analysis 4.7.3 Conclusion

CHAPTER 5 Design concept and spatial alteration 5.1 INTRODUCTION

5.2 PROPOSED TYPOLOGY

5.3 SCOPE OF ALTERATION

5.4 DESIGN CONCEPT AND PROPOSAL

CHAPTER 6 Conclusion 6.1 OVERVIEW OF THE PROJECT

6.2 THEORITICAL CONTRIBUTIONS

6.3 PRACTICAL CONTRIBUTIONS

6.4 LIMITATIONS

6.5 RECOMMENDATIONS

LIST OF REFERENCES

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LIST OF FIGURES

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Figure 1.1: Human emotions in a place (Kahn, 2003)

Figure 2.1: Jewish Museum, Berlin (Libeskind, 2014)

Figure 2.2: Chichu art museum, Naoshima (Flickr, 2019)

Figure 2.3: The five senses and perception (dev gigih labs, 2019)

Figure 2.4: Wayfinding elements in Therme Vals (enscape, 2019)

Figure 3.1: The Ritz, Lincoln (thelincolnite, 2012)

Figure 3.2: The Ritz in 1950s (cinematreasures, 2015)

Figure 3.3: The Ritz in 1995 (Ian, 2012)

Figure 3.4: Timeline of The Ritz

Figure 3.5: Abandoned technical room in the first floor of the Ritz (Lincolnshirelive, 2012)

Figure 3.6: Unused first floor with traces from the past (Lincolnshirelive, 2012)

Figure 3.7: Ritz cinema in the past (Otblincs, 2011)

Figure 3.8: Location of The Ritz, Lincoln

Figure 3.9: Plot structure in the area

Figure 3.10: Building density in the area

Figure 3.11: Skyline of surrounding buildings

Figure 3.12: Space to void diagram

Figure 3.13: Building analysis

Figure 3.14: English bond masonry in The Ritz

Figure 3.15: Exterior of The Ritz (Visitlincoln, 2012)

Figure 3.16: Footing

Figure 3.17: Plan

Figure 3.18: Section

Figure 3.19: Elevation

Figure 3.20: Profile

Figure 4.1: The Jewish museum (Archdaily, 2010).

Figure 4.2: Connection between Kollegienhaus and the Jewish museum

Figure 4.3: 3 Axis of the Jewish museum

Figure 4.4: The Holocaust tower (Jmberlin, 2009)

Figure 4.5: Stairway of continuity (Jmberlin, 2009)

Figure 4.6: Garden of exile (Jmberlin, 2009)

Figure 4.7: Sixth interior void in the museum (Jmberlin, 2009)

Figure 4.8: Interior voids of the Jewish museum

Figure 4.9: Circulation in first floor

Figure 4.10: Circulation in second floor

Figure 4.11: Material palette - Zinc cladding, Concrete

Figure 4.12: Lighting through the facade slit

Figure 4.13: Journey of emotions

Figure 4.14: Chichu art Museum (Jodidio, 2019)

Figure 4.15: Courtyards in the museum (Flickr, 2016)

Figure 4.16: Void spaces in the museum

Figure 4.17: Circulation in all the floors of the museum

Figure 4.18: Spatial experience

Figure 4.19: Material palette - Concrete, Glass, Steel, Wood

Figure 4.20: Lighting through skylights

Figure 4.21: Spatial experience

Figure 4.22: Old and damaged Neues museum (Zentralarchiv, 2017)

Figure 4.23: Neues museum (Archdaily, 2018)

Figure 4.24: Reconstructed portions of the museum

Figure 4.25: Proposal for the museum showing spatial planning (Chipperfield, 2011)

Figure 4.26: Spatial Hierarchy

Figure 4.27: Circulation through the museum

Figure 4.28: Vertical circulation

Figure 4.29: Materials in stairhall wall

Figure 4.30: Stairhall in the old museum (Mccallum, 2017)

Figure 4.31: Material palette - Brickwork, Bronze, Oak, White concrete

Figure 4.32: Lighting through skylights

Figure 4.33: Chapel of St.Ignatius (Holl, 2007)

Figure 4.34: Initial conceptual sketch of chapel of St.Ignatius (Holl, 2007)

Figure 4.35: Evolution of form (Holl, 2007)

Figure 4.36: Spatial planning of the chapel

Figure 4.37: Lighting through roof volumes in the chapel

Figure 4.38: Lighting in Chapel of St.Ignatius

Figure 4.39: Material palette - Concrete, steel

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Figure 4.40: Lighting in Chapel of St.Ignatius

Figure 4.41: Use of light and colors in the chapel (Holl, 2007)

Figure 4.42: Therme Vals (Archdaily, 2016)

Figure 4.43: Mass and Void in Therme Vals

Figure 4.44: Mass and Void in the facade

Figure 4.45: Olfactory sense in Therme Vals

Figure 4.46: Aural sense in Therme Vals (Londe, 2012)

Figure 4.47: Tactile sense in Therme vals

Figure 4.48: Circulation in Therme vals

Figure 4.49: Material palette - Stone slabs, Leather, bronze, red mahogany

Figure 4.50: Roof slabs with light slits

Figure 4.51: Lighting in Therme Vals (Flickr, 2016)

Figure 4.52: Casa Barragan (Barragan, 2010)

Figure 4.53: Isometric view of Casa Barragan (Barragan, 2010)

Figure 4.54: Color palette in Casa Barragan

Figure 4.55: Play of light and shadow (Dowling, 2015)

Figure 4.56: Patio of pots in Casa Barragan (Dowling, 2015)

Figure 4.57: Spatial Experience in Casa Barragan

Figure 4.58: Brion vega cemetery (Divisare, 2007)

Figure 4.59: Brion vega cemetery (Divisare, 2007)

Figure 4.60: Spatial experience

Figure 4.61: Chapel in the cemetery (Flickr, 2007)

Figure 4.62: Family tombs (Maziriri, 2004)

Figure 4.63: Circulation in the cemetery

Figure 4.64: Repeating shapes in the cemetery

Figure 4.65: Material palette - Concrete, Wood, Brass, Marble

Figure 5.1: Alteration in Ceiling

Figure 5.2: Alteration in levels

Figure 5.3: Alteration in Roofing

Figure 5.4: Alteration in openings

Figure 5.5: Alteration for visual control

Figure 5.6: Alteration for acoustical control

Figure 5.7: Demolition of walls

Figure 5.8: Rapid evidence assessment

Figure 5.9: Core concept of the museum

Figure 5.10: Mapping of emotions for the zones

Figure 5.11: Main exhibit in the museum

Figure 5.12: Experience and attributes of the zones

Figure 5.13: Experience and attributes of the zones

Figure 5.14: Experience and attributes of the zones

Figure 5.15: Experience and attributes of the zones

Figure 5.16: Experience and attributes of the zones

Figure 5.17: Experience and attributes of the zones

Figure 5.18: Experience and attributes of the zones

Figure 5.19: Experience and attributes of the zones

Figure 5.20: Experience and attributes of the zones

Figure 5.21: Experience and attributes of the zones

Figure 5.22: Experience and attributes of the zones

Figure 5.23: Main exhibit zoning

Figure 5.24: Experiential museum block

Figure 5.25: Central core

Figure 5.26: Material Palette - Concrete, Glass, Brick, Copper, Water, Brass, Distressed wood, Colored plaster

Figure 5.27: Sequence of journey

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LIST OF TABLES

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Table 3.2.1: First dimension - Duration.

Table 3.2.2: Second dimension - Trigger.

Table 3.2.3: Third dimension - Breadth.

Table 3.2.4: Fourth dimension - Significance.

Table 3.2.5: Fifth dimension - Interaction.

Table 3.2.6: Sixth dimension - Intensity.

CHAPTER 1 INTRODUCTION

Figure 1.1: Human emotions in a place (Kahn, 2003)

1.1 BACKGROUND AND MOTIVATION

Our quality of life depends very much on the physical setting and atmosphere in which we thrive. With the advent of Modernism, buildings have majorly started to be designed with aesthetics and functionality in mind. Criticism of architecture being emotionally detached and cold has started to emerge over the last couple of decades. It is important for this gap between the building and the users to be bridged by understanding human behaviour in a built environment.This knowledge can then be utilised in designing of the buildings thus creating more wholesome spaces (Horayangkura, 2012, Lang, 1987). An increase in research in the field of environmental psychology and behavioural studies is being witnessed over the past few years and is now rising to be an important domain in the world of Architecture and Interior design (Eberhard, 2009). This research will be conducted by studying theories of human behaviour and how a place affects human emotions and the findings will then be implemented in the design to create a harmonious place.

1.2 RESEARCH PROBLEM

How to engage all the human senses in an interior space in order to create a more immersive experience so that the users can have a more cognitive and emotional response to the space.

1.3 RESEARCH AIM

To generate a design process for sensory spaces considering psychological, cognitive and emotional impact of a space and incorporating that into the built environment.

KANNAN, Archana, September 2020

1.4 RESEARCH OBJECTIVES

•To study more on the techniques that can be applied to engage the human senses in an interior space. •To explore the various emotions experienced in different spatial qualities. •To investigate the spatial influence and our psychological response to it. •To investigate more on different aspects of sensation, perception and cognition. •To explore basic human needs and how it is affected by the built environment. •To develop a better understanding on immersive experiences encountered in an interior space •To understand how sensory design can also be applied to elevate the functional qualities of a space.

1.5 DELIMITATIONS

•The Research is delimited in the following ways: •The Site selection is limited to areas that are physically accessible. However, there are no geographical limitations on selection of precedent studies. •The research will focus mainly on the interior discourse of Ontology and Inhabitation and the body. •The research will focus on engaging human senses in a built environment and graze on related fields like Environmental Psychology and Phenomenology. •The research is limited to the field of Interior design with reference to Architecture and human psychology. •The proposal will focus on the design of the museum itself and not an exhibition space or installations.

1.6 METHODOLOGY

The project will begin with a qualitative research and analysis of key topics related to the research problem at hand. Suitable case studies will be chosen to support and analyse the research problem and to understand the application of these theories. It will then proceed to include subtopics branching from these key topics and to the site itself. This research will then be used to arrive at design decisions pertaining to the site thus generating the concept for the design.

1.7 PROJECT SITE

The site to be chosen as essential to the project as the research itself. According to the research problem and the analysis, a suitable site will be chosen and a context study will be generated for the said site. Key criterions will first be listed out and the chosen site will be located in a place readily accessible to conduct the context study and to analyse the site.

1.8 IMPORTANCE OF THE STUDY

• The research will focus on ways to fix the detachment between the physical place and the users. • Majority of an individual’s lifetime is spent in built environments and hence a better understanding of human mental wellbeing is essential in designing a building • It will draw theories from a fast emerging field in the scope of Architecture ad interior design and will help in making design decisions. • It will help in understanding human emotions and their response to a built environment which is very vital as one of the important duty of a designer is to make sure that the users are provided with a peaceful and harmonious physical setting.

1.9 DEFINITION OF TERMS

• Environmental psychology -The scientific study of the transactions and interrelationships between people and their physical surroundings (Psychology, 2020). • Spatial experience - A spatial experience is defined as an experience relating to space that involves people in a certain activity within a context (PhilPapers, 2013) • Place - Place is a where dimension formed by people’s relationship with physical settings, individual and group activities, and meanings (Najafi & Shariff, 2011) • Sensation - The ability to feel something physically, especially by touching, or a physical feeling that results from this ability (Cambridge dictionary, 2020) • Perception - The quality of being aware of things through the physical senses, especially sight (Cambridge dictionary, 2020) • Cognition - the use of conscious mental processes (Cambridge dictionary, 2020)

CHAPTER 2 RESEARCH PROPOSAL

2.1 INTRODUCTION

In todayâ&#x20AC;&#x2122;s design world, there is a gap to be bridged between the body and the sensory experience (Pallasmaa, 2005). Even while recalling a space, people tend to use descriptions about what they were feeling or sensing when they were in the space. Therefore, the appreciation of a place can be achieved not just by the visual sense, but by the engagement of our senses, feelings and emotions experienced in a space (Malnar and Vodvarka, 2004). To achieve this, a basic, if not a thorough understanding of the human perception of a space with their senses and their linkage to emotions is vital. This research aims to understand these relationships and to develop a design process that helps in designing of a place which humans can experience in a more wholesome way.

2.2 PHENOMENOLOGY AND SENSORY ENGAGEMENT

Phenomenology is the study of interpreting human spatial perception and the memory experienced through our senses in a space (Ponty, 1965). It can also be defined as the process of connecting human emotion to the physical attributes of an object (Hesselgren, 1975). Phenomenology is a complex and critical study that relies heavily on other interpretive traditions such as Existentialism and Hermeneutics (Stewart and Mickunas, 1990). There are many styles of phenomenology as there are phenomenologists which makes it difficult to pinpoint on a certain path as the accurate description of phenomenology (Seamon, 1944). Phenomenology can be a tricky subject since it deals with a self referential quality and falls into the danger of subjectivity and this might be problematic when designing a public place where the users are very diverse. Instead of thinking of humans as a universal entity and focusing more on the physical measurements and proportioning of the human body, we need to start embracing the diversity among humans and start taking the phenomenological aspects into consideration (Caan, 2011). "Environment influences human beings, and this implies that the purpose of Architecture transcends the definition given by early functionalism" (Norberg-Schulz, 1979). Defining the experiences and qualities as an essential parameter can help provide more meaningful design solutions (Caan, 2011). Thus it is important to understand the difference between Observation and Perception. Observation is based on the physical aspects of an object and Perception is the emotional interpretation of that observation. The artistic quality of an art or any design piece lies not on the physical attributes of the art itself. It rather lies on the image or the emotion it conveys to the viewer (Pallasmaa, 1996).

KANNAN, Archana, September 2020

Figure 2.1: Jewish Museum, Berlin (Libeskind, 2014)

Sensual engagement of each individual creates different experiences and thus the emotions are connected to sensory experiences (Heidegger, 1975). Employing sensory design in order to create experiential built environment is one of the main crux of Phenomenology. The manipulation of space, form, material, light and shadow to create a memorable experience through the human senses is important (Zumthor, 1998).

2.3 SPATIAL EXPERIENCE

Humans are an amalgamation of rational and irrational thoughts and emotions and so the way they perceive a place is very complicated (Vischer, 2005). Emotions have a bigger impact on our functions in both a conscious and unconscious level. They dominate our decision making process, affect memories, form relationships and create meaning (Adams and Van Gorp, 2012). Delving into the term 'Experience' in terms of a built environment leads to the concept of sensation, perception and cognition which brings us to the discipline of Environmental Psychology. Environmental psychology is an interdisciplinary field that studies about the interaction between man and his environment (Vasilski, 2016). The information we receive from our senses provide the raw materials for our brain to organize sensation. The sensation is then interpreted by our brain as Perception. Cognition is the processing of perception and forms the basis in which we think, form memories and experience a space (Kopec, 2006). This molds both the subject and the object together thus making the users actively a part of the space and contributing in assigning a bigger meaning to the space.

There are various theories on perception. But the major theory on perception in the field of Environmental Psychology is the Gestalt theories. It revolves around the principle that a space should be perceived using information from all the senses rather than concentrating in a particular stimuli. This grouping of stimuli leads to experiencing a space as an organized whole (Kopec, 2006). When an individual enters a space, he perceives an impression about the dominant soul of the space as a whole without actually focusing on each element separately (Pallasmaa, 2005). The experience of a space physically is very crucial to develop an understanding of the said space. (Cornelis, 1987). Our body and our senses first detects the space before it can be processed by our mind. The experiences and the objects we encounter through our senses are associated with the feelings that we experienced in that space (Adams and Van Gorp, 2012). This creates a deeper emotional connection for the users with the said space.

Figure 2.3: The five senses and perception (dev gigih labs, 2019)

Figure 2.2: Chichu art museum, Naoshima (Flickr, 2019)

Sensory inputs like smells, textures, colors etc., can be an important factor in determining the way an individual experience a space (Augustin, 2009). One sure way for a built environment to reach an individual's emotional core is by triggering their dominant sense which can be different for every person (Augustin, 2009). The way each people perceive a space is different and thus creates different emotions and experiences (Heidegger, 1975). So it is always best to design a space with all of our senses under consideration. Designing a built environment with all of this in consideration can steer people towards "Inspiration and tranquility, companionship and privacy, delight and comfort, freedom and strength" (Augustin, 2009).

2.4 HUMAN SENSES IN A BUILT ENVIRONMENT

Human body is the centre of the experiential world (Ponty, 1965). The reason why a walk through the nature is so refreshing mentally is because it engages all of our senses in contradiction to the controlled indoor environment we usually spend our time in. People usually remember a space or a situation with descriptions of smell or sound or feel of the space. These sensory qualities stays as memory of the space we experienced in our mind. They allow us to connect physiologically with the present and metaphysically with moments in the past (Proust, 1934). Our everyday experience of space is through the five senses: vision, hearing, smell, touch and taste.

Our olfactory stimuli is processed in the same part of the brain as our emotions (Augustin, 2009). Our olfactory sense is more memorable than eyes and can help paint a better and deeper understanding of a space. This sense is more dominant in silence and in darkness. (Pallasmaa, 2005). This relation between emotions and the smells in turn directly affects our moods. Therefore scentscaping is a great way to create a planned psychological effect in a space. The scents do not necessarily have to be strong enough for the humans to consciously sense it. It can even continue to affect human emotions after our mind is adapted to them (Augustin, 2009). Tactility is the sense of proximity and closeness. While the visual space separates objects from each other, the tactile space separates the objects from the observer itself (Zumthor, 1998). It is the only sense that is spread across our entire body and not just concentrated in one organ. Touch can be broken up into subcategories: these include thermal, kinesthetic, and tactile perception (Stein, 2013). When designing a space of tactile quality, we should consider the texture, location of objects, proximity, materiality and scale (Stein, 2013). Sound is more multi-dimensional (Zumthor, 1998). While the vision isolates the space from the user, the sounds draws the users in closer to the space since they have a geographical and spatial quality (Pallasmaa, 2005). Sound is intertwined with our breathing and heartbeat (Ackerman, 1990). Our heart rate synchronizes to the sound that surrounds us and thus our mood can be influenced using the kind of rhythm or beat the sound has. The visual sense is usually the most dominant and we perceive conscious information through this. It can be controlled by various factors such as light, shadow, color, scale, rhythm, material, texture, proportion, pattern, symbolism (Pallasmaa, 2005; Augustin, 2009). The visual perception of taste can be predominantly linked to color (Pallasmaa, 2005)

Visual perception alone cannot develop complete spatial awareness, clarity and engagement. A place can be appreciated not just be the visual sense, but also by the way it sounds, feels and smells (Vodvarka and Malnar, 2004). Although we receive information from various senses, the wholesome experience it paints is through the amalgamation of all these senses and not just through one dominant sense (Pallasmaa, 2005). Restlessness, excessive emotional reaction, lapse of concentration and irritation can be garnered by understimulation of these senses whereas overstimulation of these senses can cause fluctuations in heart rate, breathing pace, blood pressure and stress (Stein, 2013). Therefore a balance should be found in the way a space employs the engagement of these senses according to the type of usage of the said space. The most general use of the space should be the deciding factor for employing these sensory design strategies.

There are four types of emotions in regard to spatial experience: pleasant-arousing (excitement, elation and happiness), pleasant-unarousing (relaxed, peaceful, contented, serene, calm), unpleasant-arousing (stressed, frightened, annoyed, angry), unpleasant-unarousing (sad, gloomy, bored, depressed) (Dazkir & Read, 2011).

2.6 SPATIAL STIMULI

Numerous research have been conducted on understanding how humans perceive spaces and how different elements in a space affect our emotions. Keeping this in mind, a number of spatial elements that affects the emotions of the user experiencing the place has been compiled considering 6 dimensions of space that affect the experience in a space. They are as follows: duration, trigger, breadth, significance, intensity, and interactivity (Shedroff, 2009).

2 .5 EMOTIONS IN A SPACE

The term 'emotion' is often applied to a varied spectrum of a person's mental state like moods, emotional traits, sentiments and emotion itself (Desmet, 2002). Moods are acute mental states that are limited in time and are non-intentional. They are influenced by the surroundings and are usually not directional to something in particular but to the world as a whole. Emotional traits are characteristic of every individual and are long term qualities of a person. Sentiments are usually a person-subject relationship and are a lifetime mental quality. Emotions are intentional and usually involve a relationship between the subject experiencing it an event or a person or a surrounding. They are short lived (Frijda, 1994). Spatial atmosphere has the power to not only bring back memories but also to instigate these direct emotions. In the current debate, psychologists has put forward that emotions are a multifaceted phenomenon comprised of different components i.e, behavioural reaction, expressive reaction, psychological reaction and subjective feelings. Behavioural reaction is the action the subject elicit when experiencing an emotion. It occurs in the form of approach, inaction, avoidance and attack (Arnold, M.B , 1960). Expressive reaction occurs in the form of postural, vocal and facial expressing of an emotion. Physiological reaction is the physical reaction when experiencing an emotion like elevated heart rate, dilated pupil etc., Subjective feeling is being consciously aware of one's emotions when undergoing an experience (Lazarus, R.S., Kanner, A.D. & Folkman, S., 1980).

Emotions can also be divided into three categories: basic emotions, culturally specific emotions and higher cognitive emotions (Evans, 2001). Basic emotions include joy, distress, anger, fear, surprise and disgust (Ekman, 2009). Higher cognitive emotions include love, guilt, shame, embarrassment, pride, envy and jealousy (Evans, 2001). Higher cognitive emotions are less instinctive than basic emotions and their reaction to events or situations is less instantaneous.

KANNAN, Archana, September 2020

DURATION

SIGNIFICANCE

Initiation

Initial encounter with a space such as stepping into a building for the first time

Identity

Place identity in response to the identity of people using it. Beliefs, values, cultures etc

Immersion

Interacting with the space like walking around the building

Archetype

Iconic universal patterns with symbolic values

Conclusion

The final phase of experiencing the space

Function

Purpose and performance of a spatial experience

Continuation

Revisiting a space over a period of time

Meaning

Subjective to people. Deals with connotation

Table 2.1: First Dimension - Duration

Table 2.4: Fourth Dimension - Significance

TRIGGER Sense

Human senses that helps in perceiving the space. Sight, touch, smell, sound and taste.

Concept

Intellectual mechanisms of perceiving a space. Memories, mental maps, mental models.

Emotion

Complex stimulus - response mechanism which has already been discussed in detail

Promotion

Direct communication of information about the space, intended purpose or the experience

INTERACTION Passive

Experiences with static structure

Active

Experiences with dynamic structure

Interactive

Experiences created when people are in mutual engagement with context and activity of a space

Table 2.5: Fifth Dimension - Interaction

INTENSITY

Table 2.2: Second Dimension - Trigger

BREADTH Service

Identifying social tendencies and responding to them through spatial design

Channel

The environment acting as a channel to deliver the spatial experience

Safety

Safety and security inside the building in terms of psychological wellbeing

Accessibility

The quality of being available when needed

Table 2.3: Third Dimension - Breadth

2.7 NARRATIVE IN SPATIAL DESIGN

Narrative is a form of representation with sequence, space and time constraints. A narrative involves a narrator and a reader in the same way as a built environment involves a place and a user. Understanding of this interaction is crucial to make a place more meaningful and to narrate a story through spatial design.

Reflex

Unconscious response to stimuli

Habit

Behaviour developed over a period of time spent in a space

Engagement

Conscious attention is occupied by the experience in a space

Persuasion

Prompts to convince people to get involved with the experience

Coercion

External cues which mediates the userâ&#x20AC;&#x2122;s actions

Table 2.3: Third Dimension - Breadth

Storytelling involves gathering a series of images and putting them together in a comprehensible order (Molinari and Bigotti, 2014). The same can be said for spatial design. Organizing a sequential narrative structure with the experience of the user taken into consideration is essential. The concept of a time space dimension with open possibilities of interpretation creates a structure of narrative pattern triggering thoughts, emotions, memories and helps the user perceive a space in a more meaningful way (Molinari and Bigotti, 2014). For the purpose of this narrative, the built environment should be designed in such a way that the history of the site, existing conditions of the place, potential for future adaptation should be considered (Scott, 2018). Juxtaposing the existing and the new design in a space creates a comparitive analysis in the mind of the user (Wallace, 2020). This comparison builds a dialog about the place and creates a stronger memory of the place. This can be created with a varied range of methods like materials, transparency, sequence etc (Kvasnicka, 2016). This leads way for the user to interpret meaning in the built environment and to achieve this, the building must follow a combination of fuction and metaphor, time dimension, a sequence or an orchestrated matrix and some universal archetypes (Coates, 2012). There are three distinctive types of narrative: Binary narrative, biotopic narrative and sequence narrative. Binary narrative is the most straightforward kind of narrative and involves a space designed with a parallel identity. This identity is derived from trans-function and usually gives out a subliminal message (Croates, 2012). Biotopic narrative is commonly used in urban fields and includes a variety of functions and storylines that contribute to each other and co-exist in the same place (Croates, 2012). Sequence narrative involves an articulated sequential layout that guides the users from one space to another (Kvasnicka, 2016). This is achieved through a predetermined route with a chronological order. This is the type of narrative ideal for the proposed museum as the user gets to experience a journey within the built environment. Tangible and intangible elements of wayfinding will be used to guide the users through the building.

2.8 WAYFINDING

Wayfinding in the simplest terms is how humans make their way from origin to a destination. According to Passini, wayfinding is the hierarchial series of decisions people make to navigate through a place (Passini, 1992). Successful wayfinding is achieved when the users can orient themselves in a setting, knowing the destination, the best route to take, recognising the destination upon arrival and knowing the way back (Carpman and Grant, 2002). Wayfinding can also be described as a decision making process as it relies on people's perception of an environment, memories of past experiences and emotional appraisal of navigational options (Passini, 1992). There is a wide range of design guidelines and recommendations to consider when dealing with wayfinding in a built environment and some of them are as follows:

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Figure 2.4: Wayfinding elements in Therme Vals (enscape, 2019)

•Wayfinding should be designed majorly with first time users in mind as repeat users have their memory of the place to help (Lynch, 1960). •Future expansion or alterations should be considered while designing wayfinding plans. •A clear starting point and possibility of choice must be provided (Lynch, 1960). •Distinctive landmarks, changes in scale or color, materials, water features and landscaping to assist users to create mental maps of a space (Lynch, 1960). •Visual dominance to pathways with views, space/void configuration. •Reduce confusing options and congestion in circulation (Vanderklipp, 2006). •Lighting to facilitate decisions at nodes. •Spaces or regions with unique visual characters.

2.9 CONCLUSION

From the research problem and the literature review, the best way to instil my research objective in a built environment is through a museum design. An experience from a museum should be more than soaking up knowledge from the artefacts exhibited by the curators. The museum experience should be a multilayered journey that is filled with sensory memories. The outcome might be a reflection of the human emotions. The main aim of the design is to create a museum space where the subject and the object are the same and the artefact in display is the observer himself. The site chosen for the design is Ritz Wetherspoon located in the High street in Lincoln. Sensitivity to the history of the site and accordingly deciding the curation of the proposed museum is very crucial. The design that is proposed should be dealt in such a way that the experience in the museum should feel like a journey through the human emotions. The research helps in understanding the employment of human senses to better achieve that.

CHAPTER 3 CONTEXT STDUY

3.1 INTRODUCTION

3.1.1 UNDERSTANDING ALTERATION According to Fred Scott, a building has three fates: demolition, preservation, alteration and a viable option for designers in the interior treatise is to follow the path of alteration. Alteration is the mediation between preservation and demolition (Scott, 2008). An interventionist takes up the approach of ‘function follows form’ (Burra charter, 2013). This involves careful analysis of the building in terms of context, time and the physical aspects of the building. While doing the analysis of the building, one must consider the spatial and temporal context of the place before proposing the alteration (Historic England, 2008). Historic England has also included the different values to be considered when dealing with a conservation project like evidential value, historic value, aesthetic value and communal value. Practical factors like future needs, restrictions and condition of the building should also be considered (Burra charter, 2013) 3.1.2 THE PROCESS OF ALTERATION The alteration process should include four stages: stripping back, making good, enabling works and new work (Scott, 2008). These stages helps in forming the design strategies of the proposal. Scott also talks about the five aspects of a building that limits its alteration process. But in a wider context, an interventionist must understand the paradox of time and aim for the act of ‘remembrance’ rather than aim for ‘completeness’ (Scott, 2008). The fact that the building has been worked on in the past and will be altered in the future and that an intervention is a dialogue across time is a key understing that an interventionist must always remember. 3.1.3 ANALYSIS AND PROPOSAL Bearing these points in mind, a context study will be done for my site. Historical and cultural significance, building typology analysis and various other topics mentioned in the above references will be taken as a guide for the said context study. Relevant precedents will then be chosen based on factors like theory, approach, use-type and a critical analysis will be done. Based on these iformation, an alteration proposal will be generated for my site.

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3.2 THE SITE

3.2.1 INTRODUCTION A context study is very important in understanding the site. The analysis will include the choice of site, the historical and cultural significance of the building and the location and building analysis. Techniques and analysis from sources like Fred Scott’s ‘On altering architecture’, D.K.Ching’s ‘Form, space and order’ and ‘Interior design illustrated’, the Burra charter and Historical England will be considered for reference.

The Ritz was then renamed to Odeon after being taken over by the Rank organzation in 1954. In 1981, the building was shut downand remained closed for 3 years. In 1984, it was taken over by Barry stead, an independent exhibitor who wanted to renovate the cinema (Otblincs, 2011). On 15th february 1985, the building was reopened as the Ritz cinema. In two months, it was briefly closed for minor alterations (Walker, 2001). In 1994, the Ritz cinema was again closed for major alterations.

3.2.2 CHOICE OF SITE Based on the research proposal, the site chosen for my project is The Ritz located in the high street of Lincoln.

Figure 3.2: The Ritz in 1950s (cinematreasures, 2015)

In 1995, the cinema opened as the Ritz film centre with the single auditorium now divided into three screening halls. The Ritz film centre was highly criticized for this conversion stating that the new mini scrren ruined the original rich cinematix experience of the Ritz. Many alterations were then made like the addition of neon lighting on the exterior in hopes of attracting people but in vain. The film centre was finally closed on 1996 as it could not compete with the modern newly constructed Odeon complex (Visitlincoln, 2013).

Figure 3.1: The Ritz, Lincoln (thelincolnite, 2012)

The site has met the following criterias for my project: - Location of the site is easily accessible to the users as the proposal is a public building. - A built environment which is underutilized and has scope for a good use. - Cultural significance pertaining to the city and people of Lincoln - The building is included on the local List of buildings of architectural significance and is defined as a landmark corner building within Conservation area number 6. - The scale of the building is well suited for my project and the theories I want to explore as mentioned in my research proposal. - Intangible content: Public’s connection to the building. With these points taken into consideration, the context analysis will conducted on the site.

3.3 HISTORICAL DEVELOPMENT AND CULTURAL SIGNIFICANCE

2.3.1 HISTORY OF THE SITE The Ritz cinema was originally opened to the public on 22nd February, 1937 (Lincolnite, 2013). Ritz was one of the most prominent cultural and entertainment hub for the people in lincoln.Built originally for the central pictures limited and designed by the city council architect Leslie Norton, Ritz housed a seating for about 1600 people (Walker, 2001). During the world war II, the neon signs on the building facade were removed to avoid attracting bombs. In spite of this precaution, Ritz suffered from minor damage in 1941 from the German bombing (Cinematreasures, 2015). The Ritz cinema continued to flourish as it housed a variety of new technologies of that time like cinemascope and the western electronic mirrorphonic sound system (Walker, 2001).

Figure 3.3: The Ritz in 1995 (Ian, 2012)

Figure 3.4: Timeline of The Ritz

In 1998, the building opened as a pub under the J.D.Wetherspoon chain and it was named Ritz after the cinema hall. The Ritz wetherspoon uses only the foyer and stalls area of the old cinema. The cricle and the screen halls are left unused. Eventhough efforts were made by the public and volunteers to reopen the cinema hall in the early 2010s, the project did not take off due to lack of scope. The ground floor of the building is open and running till date as The Ritz Wetherspoon pub

3.3.2 STATEMENT OF SIGNIFICANCE A place may be valued or perceived through various tangible and intangible ways. Distinctive features in the built form, history of the site, role of a building in the community or simply the way a person feels when they are in that built environment are few such examples. Understanding these values are very important as they are closely related to my research proposal. The Heritage England helps in identifying this significance by formulating a structure to guide us in understanding these various values. 3.3.2.1 Evidential value Evidence of human activity in the past can be traced to an extent in the Ritz. Evidential value in terms of the past can be identified majorly in the first floor of the building as it is not currently used and is inadvertently a capsule for past activity. Abandoned chairs and plasters peeling off the wall in the grand hall still manages to capture the essence of the past and leaves traces of human occupancy behind. The ground floor of the building is also adapted to accomodate the current use of the building. The pub also has a display of the posters of movie that were screened in the past with autographs from the stars. These provide traces of evidential value in terms of material record and alterations to accomodate the shift in human activity in the place over time.

Figure 3.5: Abandoned technical room in the first floor of the Ritz (Lincolnshirelive, 2012)

Figure 3.6: Unused first floor with traces from the past (Lincolnshirelive, 2012)

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3.3.2.2 Historical value The building has an art deco style which had a strong influence on architecture in the 1930s. Elements in the building lives to show proof for this. The building has also been impacted by the world war II bombing and housed lots of community services during the war times. According to Historic England, evolution of the built environment to catch up with technical innovations can be listed under the historical value of a site. The gradual development of The Ritz in terms of interior spatial planning with regards to the technological and spatial requirements can be noted here. The addition of walls to divide the once bigger auditorium to create smaller screen halls is an example for this value according to the Historic England. 3.3.2.3 Aesthetic value The aesthetic value of The Ritz can be majorly seen through elements of art deco style repeated throughout the building. Eventhough parts of the building has been adapted to accomodate the pub, traces of design value from the previous use of the building can be identified. The exterior of the building is largely retained with a constant change in the display of the name throughout its life span. The position of the site in a corner plot also adds to the aesthetic value of the building by making it easily visually accessible from various points of the street. The emotional quality of the place is also evident through retaining memories of the past like the display of autographed movie posters that were screened in the Ritz cinema in the past. 3.3.2.4 Communal value The Ritz cinema was one of the most major recreational and artistic hub of its time period and it was highly crowded with families and friends and movie lovers constantly. The building is thus very emotionally meaningful to the locals of Lincoln who has lived to see the glory of the Ritz cinema. It reminds them of their childhood and their memories of visiting the cinema. Eventhough the use type of the building has been changed to a pub, people still have a deep emotional connection to the building and they still feel the need to visit the place. This is prominently evident as the pub has a larger crowd of people in their mid forties and older.

Figure 3.7: Ritz cinema in the past (Otblincs, 2011)

3.4 LOCATION ANALYSIS

The Ritz is located on the High street next St. Marks shopping centre. The site lies on a low lying flat area. The area is divided into rectangular urban blocks on the opposite side of the site as a result of the number of pedestrian paths and roads running across to the street. On the contrary the plots on the same side of the street as the site is has large coverage due to the scale of the commercial buildings on that side.

Figure 3.9: Plot structure in the area

There is a lack of clear building rhythm because of the different forms, materials, use and architectural styles of the building located in this area

Figure 3.10: Building density in the area

Figure 3.8: Location of The Ritz, Lincoln

Ritz is one of the landmark buildings of the street as the building is located on a corner plot and emphasises a higher status. Thus the plot is enclosed on the North and East by roads. The building is flanked on the other two directions by other buildings of lower height. This gives visual importance to Ritz in the vicinity. The roofline of the street is also in a discontinuous pattern as the height of the buildings vary throughout the area.

Figure 3.11: Skyline of surrounding buildings

Since the area has mostly commercial use, there are different shop fronts on the street. There is a limited vegetation and open space since it is a historically developed commercial area in the city. Large, bold shop fascias can be seen throughout the street

Figure 3.12: Space to void diagram

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3.5 TYPOLOGICAL ANALYSIS

To understand a buildingclearly, the archetypes and patterns in the building must be recognized and analyzed. These archetypes may have been a result of evolution, use-type or aesthetical reasons. But they are the elements that makes the building wholesome. Some of these elements may be obvious, intangible or obsucre to our senses (Ching, 1943) But the relationship amongst these archetypes makes the building a united whole.

The Ritz is a two storeyed building and is constructed with brick masonry . The brickwork has two lighter header course separated by three darker stretcher courses. Other materials used in the building were mainly wood for the fenestrations and the flooring is carpeted.

Figure 3.14: English bond masonry in The Ritz

The upper storey has a series of large diamond brickwork chevrons. The roofline has a step like structure rising to the north. These shallow steps are accentuated by white coping.

Figure 3.15: Exterior of The Ritz (Visitlincoln, 2012)

Major design features on the facade are the curved corner, fenestrations, overhead planes, the shop fascia and the neon lighting.

3.6 CURRENT CONDITION

Figure 3.13: Building analysis

The ground floor os in good condition as it is currently being used as the pub. The first floor is unused and is in different phases of mild ruination. The first floor was cleared of asbestos deposits in 2012 as it was left unused for over 20 years. Parts of the first floor is being used as temporary storage.

Figure 3.16: Footing

Figure 3.17: Plan

Figure 3.18: Section

Figure 3.19: Elevation

3.7 FIVE ASPECTS OF SCOTT

According to Fred Scott, a building has 5 aspects which sets a limitation for the level of alteration beyond which the building loses its original identity and essence and the harmony between the old and new will be lost.

3.8 CONCLUSION

Figure 3.20: Profile

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The context study helped in understanding the historical and cultural significance of the building and the spatial and design qualities of the building. An appropriate alteration proposal will be generated with the aid of the result of this context study.

CHAPTER 4 PRECEDENT STUDIES

4.1 INTRODUCTION

The precedent studies were done with the intent of analyzing and inferring design decisions related to the proposal and research topic. Criterias like use type, theories used, alteration techniques were considered while choosing the precedent studies. After analysis of the precedent studies, inferences that would be helpful for the proposal are listed down.

4.2 JEWISH MUSEUM

4.2.1 INTRODUCTION The Jewish museum is located in Berlin and is designed by Daniel Libeskind. It was opened to the public in 1999 (Archdaily, 2010). The design of the building is largely based on the narrative of the holocaust history. The reason for choosing this precedent study is to understand Libeskindâ&#x20AC;&#x2122;s approach to instigating spatial experience in a built environment. The Jewish museum is also described to invoke a deep emotion when exploring the spaces within. The building also takes up the approach of storytelling through the journey in the building rather than curation or exhibition. These aspects relate well to my proposal.

Figure 4.1: The Jewish museum (Archdaily, 2010).

4.2.2 ANALYSIS The museum is designed in such a way that the journey through the space acts as a tool for storytelling. There is no entrance to the Libeskind building through the form of the building itself. The entry is in turn located at the Kollegienhaus, the baroque building located adjacent to the museum. There is no visual connection between the two building. The connection is rather located three storeys under the ground. The Kollegienhaus houses general amenities like restaurant, auditorium, information desk and a space for events.

Figure 4.3: 3 Axis of the Jewish museum

Figure 4.4: The Holocaust tower (Jmberlin, 2009)

The first axis leads to the holocaust tower located behind a black door. This tower is designed to depict the hardships of the German Jews. The holocaust tower is 79 foot tall and is left empty and unheated to bring coldness to the space. The door is intentionally designed to create a loud noise that echoes through the otherwise silent tower. The sharp beam of light from the skylight is only source of light and the tower itself narrows down to a dead end. The second axis leads to the garden of exile and emigration. This space indicates the part of history where the Jews fled from Germany. The glass door to the garden is designed to be very heavy thus representing the strength required to push through to escape. The garden is comprised of 49 free standing pillars in a 7x7 grid. The pillars are tilted at an angle in two directions to make the users feel unbalanced in the space. There is no obvious exit to the outer world except for the regress ramp which is visually not accessible from most of the garden. The design thus directs the users to go back into the cold, uncomfortable interiors of the museum which is an allegory to the Jews who fled from Germany looking for a false sense of freedom from their past. The visual connectivity and the physical disconnect from the outer world is also a symbolism for this situation. The third axis leads to the stair of continuity and to the second level of the museum. In result, the ceiling of the stairway is very high in comparison to the width of the stairway resulting in a play of scale and light.

Figure 4.2: Connection between Kollegienhaus and the Jewish museum

The entrance to the museum is through a staircase punctured in the interior of Kollegienhaus. The staircase leads to the three axes of the extension located three stories underground. There is a stark contrast in materials and lighting thus highlighting the entry into the dark Jewish history. Three multiples axes indicates the different paths that the Jewish had to take in a search for survival.

Figure 4.6: Garden of exile (Jmberlin, 2009) Figure 4.5: Stairway of continuity (Jmberlin, 2009)

Libeskind has also integrated six interior voids into the museum. These voids are lit by skylights and five of these voids can only be visually accessed. The sixth and the only physically accessible void has an installation by Menashe Kadishman and the void is filled with thousands of clay faces scattered on the floor. The circulation is designed in such a way that the users are made to walk on the faces which results in sound echoing through the high ceiling of the otherwise silent void. The six voids run on a straight line cutting through the distorted plan of the building. This represents the absence of Jews and the impact the holocaust left on Germany.

The facade is made of zinc panel cladding on concrete walls. Exposed concrete is used in all the voids and the holocaust tower which gives a bare cold feeling to the space. The material palette of the building is kept to a minimum with repetetive use of concrete to give an ambience of grief.

Figure 4.11: Material palette Zinc cladding, Concrete

Figure 4.7: Sixth interior void in the museum (Jmberlin, 2009) Figure 4.12: Lighting through the facade slit

Figure 4.8: Interior voids of the Jewish museum

Figure 4.9: Circulation in first floor

Figure 4.10: Circulation in second floor

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Lighting is majorly used in the Jewish museum to set the mood of the space. The openings in the museum were designed based on the locations of the iconic Jewish history in the city of Berlin and then connecting all of them. The resulting diagram was then imposed on the building facade by making strip windows that is present throughout the facade. This serves as a source of natural lighting to the interior spaces. The building is also naturally lit through skylights. 4.2.3 CONCLUSION • Circulation through the building is designed in such a way that the users are involuntarily made to walk through the story the building is trying to convey. • Spaces with exposed concrete, inhumane scale and sharp angles make the experience of the user unsettling and memorable. • The design also conveys the Jewish history in a poetic and symbolic way through spatial planning, materiality, lighting, scale and many other factors.

Figure 4.13: Journey of emotions

4.3 CHICHU ART MUSEUM

This transition between mass and void enables the users to travel between open green spaces and underground galleries.The material usage in relation to the open voids compliment the earthy scents. The aural sense is triggered in the mass by sounds of the users echoing off the concrete. The tactile sense is also touched through the materiality of the place.

4.3.1 INTRODUCTION The Chichu art museum is located in Naoshima,in Japan. The museum is built underground to preserve the atmosphere of the actual site. The museum was completed in 2004 (Jodidio, 2019). The reason for choosing this precedent study is to understand spatial experience in terms of lighting.

Figure 4.16: Void spaces in the museum

Figure 4.14: Chichu art Museum (Jodidio, 2019)

4.3.2 ANALYSIS The museum houses five galleries incorporating artworks from three artists. Entry to the subsurface is through a ramp that slopes down to a passage. There is a noticeable difference as one enters the museum as the space is semi dark and sets the mood of the museum. The passage then leads to a sunken square courtyard with grass on the ground. The next space which is a triangular court is reached through another passage which is open to the sky. This triangular court connects the exhibition galleries and acts as the heart of the museum. The triangular court is enclosed by a 98 feet high concrete walls with circulation ramps (Jodidio, 2019). The floor of the court is filled with jagged pieces of limestone (Architonic, 2019).

Figure 4.17: Circulation in all the floors of the museum

Figure 4.15: Courtyards in the museum (Flickr, 2016)

The chichu art museum is designed in such a way that there is a constant play of light and shadow. This helps in reducing the sharpness of vision and enables experiencing the space in a more sensual way and creates a sense of intrigue and invoke curiosity on what is to come next. The museum has a series of passages and destination points which creates a sequence of mass and void.

Figure 4.18: Spatial experience

A multisensory quality is achieved in the museum by employing materials in relationship to Earth's elements. A muted ambience is achieved in the interior through the use of white plaster walls, concrete floor in integration with the dispersed daylight from openings.

Figure 4.19: Material palette - Concrete, Glass, Steel, Wood

The Claude Monet gallery has a ceiling and light falling in through the edges produce a soft muted effect on the walls. The Walter De Maria gallery is illuminated through a skylight along the east - west direction thus flooding the space with light that keeps changing throughout the day creating a dramatic effect.

Figure 4.21: Spatial experience

4.3.3 CONCLUSION •Different kinds of daylighting and their experiential for the users in the space. •Materials uage in relation to Earthy elements helps trigger emotions. •Use of light and materials to invoke a subtle sensory experience is evident from this precedent study.

Figure 4.20: Lighting through skylights

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4.4 NEUES MUSEUM

4.4.1 INTRODUCTION The Neues museum, Berlin is designed by David Chipperfield. The original Neues museum was heavily damaged by the world war II bombing (Archdaily,2011). The main principle of this project was to rebuild the museum with respect to the historical structure and complimenting the original design without imitating it. It was opened to the public in 2009 (Mccallum, 2017). The reason for choosing this precedent study was to analyse and understand how the alteration process works in a museum.

Chipperfield's main approach to the project was to 'retain the spirit of the ruin' he found (Pannekoek, 2013). This is achieved by approaching each room with techniques of its own depending on the condition and the context of the said room rather than taking up a wholesome general approach to all the spaces. This helps in retaining the essence of the original building. As a result, the museum has a rich material palette with different age and layers of history is visually noticeable. Instead of stripping back to the original state, Chipperfield chose to make the building live longer and have more history.

Figure 4.25: Proposal for the museum showing spatial planning (Chipperfield, 2011)

Figure 4.22: Old and damaged Neues museum (Zentralarchiv, 2017)

The Neues museum has four floors housing artefacts from different historical eras. The museum has two wings, the north and the south. Each of these wings are fixated around two courtyards, the Greek and Egyptian courtyards which runs throughout the three floors of the building (Gross, 2016). The heart of the museum is the stairhall which houses the iconic staircase of Neues museum. The staircase in itself looks like a sculptural piece and the hall is left empty which makes the staircase have a bigger impact on the place.

Figure 4.23: Neues museum (Archdaily, 2018)

Figure 4.26: Spatial Hierarchy

Figure 4.24: Reconstructed portions of the museum

Figure 4.27: Circulation through the museum

Figure 4.28: Vertical circulation

The designers wanted to use a material that could be easily set apart from the original material but not loud enough to overpower the original architecture (Mccallum, 2017). So they decided upon white concrete which was either sand blasted or polished to give a subtle touch to the restoration. Selected bricks were also chosen to show a noticeable difference between the old and the new (Cardno, 2015).

Figure 4.31: Material palette - Brickwork, Bronze, Oak, White concrete

Sticking to the original design, lighting is done majorly through daylight coming in from diffused glazed courtyards and large windows.

Figure 4.29: Materials in stairhall wall

The iconic staircase in the stairhall is made of precast marble concrete with stone aggregate (lablog, 2018). The hall is retained spatially and volumetrically but with different materials and the ornamentation is removed.

Figure 4.32: Lighting through skylights

4.4.3 CONCLUSION •Even though the museum was spatially retained, the change in materials has altered the spatial experience in the museum. •The scars of the building, The bullet holes, charred columns invoke a sensation that makes us aware of the story of the building as a place. •This project helps in understanding of the importance of materials in an interior space and how it influences the way the users perceive and experience a space. •It also helps in understanding certain alteration techniques which is helpful for the proposal.

Figure 4.30: Stairhall in the old museum (Mccallum, 2017)

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4.5 CHAPEL OF ST.IGNATIUS

4.5.1 INTRODUCTION The chapel of St. Ignatius designed by Steven Holl is located in the Seattle University. It was built in the year 1997 (Holl 2007). The research for my project includes theories by Steven Holl and the reason for choosing this precedent study is to understand how these ideologies are applied by Holl in his design.

Figure 4.36: Spatial planning of the chapel

The roof volumes are the main source of lighting in the chapel. The light coming into the building is controlled through the use of colored lenses, baffles and orientation of the openings (Holl, 2007)

Figure 4.33: Chapel of St.Ignatius (Holl, 2007)

The concept of the chapel is 'Seven bottles of light in a stone box' which is a metaphor to St.Ignatius' 'vision of spiritual life as comprising many interior light and darkness (Seattleuniversity, 2012).

Figure 4.37: Lighting through roof volumes in the chapel

Figure 4.34: Initial conceptual sketch of chapel of St.Ignatius (Holl, 2007)

This formed the basis for the design of the form. This concept is taken to design through the use of various roof volumes that let light penetrate in different ways to the interiors of the chapel in a distinct way. The plan of the chapel is rectangular and there is a reflecting pond to the south of the chapel. Figure 4.35: Evolution of form (Holl, 2007)

Figure 4.38: Lighting in Chapel of St.Ignatius

The structure is enveloped by 21 concrete panels that are interlocked with one another. The roof volumes are made of pre-bent steel tubes

Figure 4.39: Material palette - Concrete, steel

Figure 4.40: Lighting in Chapel of St.Ignatius

Figure 4.41: Use of light and colors in the chapel (Holl, 2007)

The colored light is made to fill the spaces through the use of a lens of complementary colors (Tian, 2010). This way the users experience a chromatic dispersed effect from the light rather than a harsh direct light. This system of lighting in introduced into the building in combination with darkness and shadow creating a memorable lightscape. Lighting in this chapel is also different throughout the day and year making the experience in the chapel unique at each point of time. 4.5.3 CONCLUSION â&#x20AC;˘Use of colors to invoke an emotional presence in the building. â&#x20AC;˘Unique lighting design makes the experience in the chapel more calming and ambient.

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4.6 THERME VALS

4.6.1 INTRODUCTION Therme Vals located in Switzerland is designed by Peter Zumthor. The building rests on the hillside at the base of the swiss alps (Archdaily, 2016). It is an iconic building and covers topics like phenomenology, experiential architecture, multisensory design and has been used by many theorists as an example. The reason for choosing this precedent study is to analyse and understand what sets out the building to be so unique as these are topics related to my research and proposal.

The building is designed in such a way that the spaces are oriented around the two large pools, one in the outdoors and one inside the building. The entry to the building is through a subtle passage and the subterranean nature of the entrance makes the users feel like they have entered a part of the ground itself and they feel sheltered. A faint trickle sound could be heard as one proceeds further down the passage triggering the aural sense (Londe, 2012). The passage is lined with changing rooms and showers on one side and leads to the main entry hall. This hall has small square fountainheads with water trickling down into the gap between the wall and the floor which is the source of the sound. The hall has views to the main indoor pool and a view to the valley outside. Each of the smaller rooms target particular senses of the users giving a wholesome sensory experience. The sounds of water and bare skin touching the stone resonates throughout the building in different patterns. The flower pool is filled with petals from aromatic flowers which triggers the olfactory sense. There is a fountain with drinking water with mysterious lighting around the fountain creating an atmosphere even for the sense of taste.

Figure 4.42: Therme Vals (Archdaily, 2016)

The building has a rectangular form and has 15 units arranged in a grid (Wordpress, 2010).

Figure 4.45: Olfactory sense in Therme Vals Figure 4.43: Mass and Void in Therme Vals

The building has only one facade as the other sides are in a sunken level and there are no access points from the facade itself. The stone slabs give out a feeling of a monolithic structure. This makes the users feel like they are in a strong environment and feel sheltered. The facade has a system of mass and void and there is a visually identifiable balance between them.

Figure 4.44: Mass and Void in the facade

Figure 4.46: Aural sense in Therme Vals (Londe, 2012)

Figure 4.47: Tactile sense in Therme vals

There is no fixed circulation pattern to the building and the users are open to their own interpretation of the building. This creates a feeling of intrigue to explore as the building is filled with nooks and crannies of different baths and rooms and instills an aura of mystery.

Figure 4.48: Circulation in Therme vals

Figure 4.50: Roof slabs with light slits

Concentrated lights are provided at certain spaces where Zumthor feels the needs for the materials to create a tactile impact on the users. Lighting is also used to indicate the thermal atmosphere and water temperature in a particular room.

Figure 4.51: Lighting in Therme Vals (Flickr, 2016)

4.6.3 CONCLUSION •Therme Vals is a seminal project which has many subtle yet valuable design intricacies showing importance to the smallest details. •Ways to explore the sensorial experience in a space through various techniques. •Lighting design to create a sense of mystery and a feeling of calmness and comfort.

Figure 4.49: Material palette - Stone slabs, Leather, bronze, red mahogany

The roof of the building is treated as separate forms of different suspension than as one whole slab. This allows light to pass through an 8 cm slit on the roof between the slabs creating interesting light and shadow highlights in the building (Archdaily, 2016).

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4.7 CASA BARRAGAN

4.7.1 INTRODUCTION Casa Barragan located in Mexico is designed by Luis Barragan who is widely recognized for his eye for major interior features like light, shadow, color and texture. This precedent study was cosen to understand these features and its impact on the human experience. Casa Barragan was built to be used as Barragan’s house and studio in the year 1948 (Archdaily, 2011).

There is a sequential transition between complementary colored walls and high and low ceilings which provide mental cues for transition spaces and rooms to spend more time at. This makes the journey through the house dramatic and visually and emotionally memorable. High windows are located at the walls in the front facade to let light in and at the same time maintain privacy whereas the walls facing the garden has full length bright windows making the spaces feel airy and more bright.

Figure 4.54: Color palette in Casa Barragan Figure 4.52: Casa Barragan (Barragan, 2010)

The exterior of the building does not reveal much about the mood of the interior. The entrance of the house leads to a small hallway with yellow walls. This hallway leads to a bigger hallway with pink walls that has the door to Barragan's office and the staircase. The first floor houses the library which has a double ceiling height and an integrated music room. The first floor also has the kitchen, breakfast room and the dining room with views to the garden and has plenty of daylight. The second floor has the master bedroom, the christ room, a guest bedroom, a private office and the music room which is connected to the library in the ground floor. The outdoor area in the first floor has the patio of pots, a pool and the garden. The terrace on the third floor has the utility rooms which are dressed in an abstract composition of colored planes.

Figure 4.55: Play of light and shadow (Dowling, 2015)

Figure 4.56: Patio of pots in Casa Barragan (Dowling, 2015)

Figure 4.57: Spatial Experience in Casa Barragan

Figure 4.53: Isometric view of Casa Barragan (Barragan, 2010)

4.7.3 CONCLUSION •Use of a combination of vivid and subtle colors to create an emotional space •Elements that leave a lasting, memorable experienc •Use of planes, shapes and minimalistic design that has a characteristic persona to the house •Design of an intimate space with spatial experience techniques

4.8 BRION VEGA CEMETERY

4.8.1 INTRODUCTION Brion cemetery located near Treviso, Italy was designed by Carlo Scarpa. It was built in the year 1970 as a cemetery for the Brion family and later Carlo Scarpa was also buried in the same cemetery after his death (Krishna, 2018). The reason for choosing this precedent study was to understand how built environment can affect people’s emotions through various elements and it deals with depiction of life which is one of the main influence for my proposal. The proposal is also described to have a ‘Narrative architecture’ (Prosdocimo, 2019). Figure 4.59: Brion vega cemetery (Divisare, 2007)

The meditation pavilion has a low canopy making the users bend to enter the space indicating entry into a sacred space. The space encourages the visitors to reflect and meditate and is thus set in the middle of a pond.

Figure 4.60: Spatial experience

Figure 4.58: Brion vega cemetery (Divisare, 2007)

To enter the Brion cemetery, one has to cross the village public cemetery through a pathway. The transition between the exterior and the propylaeum of the Brion cemetery is through two entwined circles and this frames the first feel of the cemetery. The vestibule is dark and in contrast to the exterior openness and adds a calmness to the space giving an experience of entering a sanctum through a portal. The site is L-shaped and has 2 main wings. One wing houses the Brion tombs, the meditation pavilion and the pond while the other wing houses the family tombs, the chapel and Carlo Scarpa’s tomb itself. Thresholds are found throughout the cemetary between the spaces in the form of levels and stairs depicting the spatial hierarchy. Brion Vega had requested to be buried in the place where he was born and raised (Maziriri, 2004). Taking this as an inspiration, Scarpa designed the tomb on a sunken ground under the actual ground level as a metaphor to being close and surrounded by his emotional roots. The tombs of the couple also lean towards each other indicating their undying love and connection. The tombs are partially covered by a solid arch on top. The tombs are also located on a circular patch of clearing beneath the arch. There is no access to the tombs itself even if the vistors are allowed to access the sunken level through a series of small steps. This creates a feeling of reverence to the tombs and induces a sense of sacredness. The Brion tombs are centered to the site and has a visual connect to both the wings emphasizing on their importance.

KANNAN, Archana, September 2020

The tomb of the family also has a low roofing indicating a similar sacredness in the meditation pavilion. There is a play of light and shadow in this space which makes the users feel tranquil. There is a soft, subtle transition from the open exterior to the sacred interior and this is achieved by the use of two sequential and gradual entryways. The importance of the chapel is emphasized by tilting the chapel at an angle to the rest of the cemetery. The chapel does not have any religious faith but rather leans towards the reverence of life and death. The chapel has windows that almost run from floor to ceiling and light bouncing from the water pool reflects to the interior of the chapel. The chapel also has a clean reflection on the pool outside and this depicts memories of the dead and the continuation of their legacy after death.

Figure 4.61: Chapel in the cemetery (Flickr, 2007)

Figure 4.62: Family tombs (Maziriri, 2004)

4.8.3 CONCLUSION •The design is filled with symbolism and creates a sense of mystery •Use of natural and architectural elements to add emotional details and meaning to the space •The space is filled with opportunity for open and personal interpretation by the users

4.9 CONCLUSION

From the inference of each of the precedent studies and the result of the context study, an alteration proposal will be generated in the next chapter.

Figure 4.63: Circulation in the cemetery

Each space has a varied geometry but harmony is maintained throughout the cemetery by the use of repetitive shapes which has a deeper meaning in connection to life and death.

Figure 4.64: Repeating shapes in the cemetery

Figure 4.65: Material palette - Concrete, Wood, Brass, Marble

CHAPTER 5 DESIGN CONCEPT AND SPATIAL ALTERATION

5.1 INTRODUCTION

As discussed in chapter 2, Scott explains the different ways a building can be brought back to life by intervention. There should be a clear understanding of the building to take up this path (Scott, 2008). To attain this dialogue with the host building, the site was stripped down analytically and the different heritage values were discovered. The building was also analysed in iterms of its temporal and spatial context. This helped in coming up with strategic decisions in terms of the design proposal. In this chapter, the initial decisions for the process of alteration will be explained for the site.

The hall will now have a double ceiling height and there will be an addition of levels in the museum to create a spatial journey within the building.

5.2 PROPOSED TYPOLOGY

The building has history of being used as a cinema, theatre, events hall and a pub. Eventhough parts of the building is currently being used as the pub, people of LIncoln are still trying to revitalize the building to its glory as they have a deep emotional connection to the place. The building needs to be adapted to a suitable use and the function of the building needs to be changed and it should respect the heritage values of the site (Burra charter, 2013; Historic England, 2008)). With these points in mind, I propose a change of use in the building to a museum of emotions which will also pay tribute to the history of the site. The building was used as a cinema and so it has seen a variety of human emotions of the people who have visited the building and their experience in the building in the past. This is also an aspect touched by my research paper and it pays respect to the significance of the site.

Figure 5.2: Alteration in levels

The roof of the building which is now in accordance to a theatre space will be removed and in its place, a new roof will be added to better suit the needs of a museum

5.3 SCOPE OF ALTERATION

The alteration process began with the ‘stripping back’ of the site and it gave out design strategies to proceed to the next step of the process which is ‘making good’ (Scott, 2008). The mode of production chosen for the alteration is intervention. This has to be implemented with careful consideration of a harmony between the old and the new to retain the essence of the site. In order to introduced a change of use in the building, the degree of alteration chosen is spatial alteration. Originally, the building had a big hall with double ceiling height and the rest of the spaces were organized around the hall. It was later intervened and the hall was split into two floors. My proposal starts with taking down the additional slab and restoring the original hall to its original scale.

Figure 5.1: Alteration in Ceiling

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Figure 5.3: Alteration in Roofing

Openings in the building will be modified for a better control of lighting in the building. The style of the building will also be slightly altered to suit the ambience required for a museum.

Figure 5.4: Alteration in openings

The facade of the building has a highly transparent quality and this will be altered on the basis of the needs of the space.

Figure 5.5: Alteration for visual control

Because of the buildingâ&#x20AC;&#x2122;s close proximity to a busy road, acoustical insulation will be added to certain interior spaces to better control the aural ambience required for the interior of the museum.

Figure 5.6: Alteration for acoustical control

Figure 5.7: Demolition of walls

Figure 5.8: Rapid evidence assessment IMAGE REFERENCES A1: A2: A3: A4: A5: A6: A7: AK-029 A8:

B1:AK-027 B2: B3: B4: B5: B6: AK-004 B7: B8:

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C1: C2: C3: C4: AK-001 C5:AK-016 C6: C7: C8:

D1: AK-045 D2: D3: AK-030 D4: D5: AK-037 D6: D7: AK-038 D8:

E1: E2: AK-035 E3: E4: AK-026 E5: E6: AK-032 E7: E8:

IMAGE BOARD: RAPID EVIDENCE ASSESSMENT

F1: F2: F3: F4: F5: F6: F7: F8:

G1: G2: G3: AK-011 G4: G5: G6: AK-039 G7: G8:

H1: H2: AK-036 H3: AK-009 H4: H5: AK-046 H6: H7: H8:

I1: I2: I3: I4: AK-033 I5: I6: I7: I8:

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J1: J2: J3: J4: J5: J6: AK-031 J7: AK-055 J8;

K1: K2: K3: K4: K5: AK-053 K6: K7: AK-052 K8:

L1: L2: L3: L4: L5: L6: L7: L8:

5.4 DESIGN CONCEPT AND PROPOSAL

A narrative was created for the museum from which a sequence of spaces were determined with the experience of the user in mind. this narrative was then translated into spatial elements. The core concept of the museum was taken to be the phases of life and process of entropy. The spaces were then divided into different zones based on the concept and various spatial attributes were alloted to each of these said zones. These zones were then analysed to create a map of emotions. The tables from the research proposal were then used to assign the physical attributes of the zones.

Pre-birth

Adulthood

Midlife

Birth

Adolesence Late adulthood

Infancy Childhood

Death

Exit

Figure 5.9: Core concept of the museum

BIRTH - INFANCY - CHILDHOOD

ADOLESCENCE - EARLY ADULTHOOD

Imitation Education Dependency Basic life skills Playfullness

Independence Self discovery Adventurousness Risk taking Decision making

ADULTHOOD - MID LIFE

Dedication Contemplation Responsibilities Family Introspective

Figure 5.10: Mapping of emotions for the zones

Entry

LIFE MEANING FULL CIRCLE LIMBO ENTROPY

LATE ADULTHOOD - DEATH

Wisdom Calmness Peace Grief Death

Figure 5.11: Main exhibit in the museum

Figure 5.12: Experience and attributes of the zones

Figure 5.13: Experience and attributes of the zones

Figure 5.14: Experience and attributes of the zones

Figure 5.15: Experience and attributes of the zones

Figure 5.16: Experience and attributes of the zones

KANNAN, Archana, September 2020

Figure 5.17: Experience and attributes of the zones

Figure 5.18: Experience and attributes of the zones

Figure 5.19: Experience and attributes of the zones

Figure 5.20: Experience and attributes of the zones

Figure 5.21: Experience and attributes of the zones

Figure 5.22: Experience and attributes of the zones

The experiential museum which is the major feature is located within the site as an isolated block with the rest of the amenities in the vicinity

Figure 5.23: Main exhibit zoning

A sequential journey from point A to point B with transition spaces designed accordingly makes the museum as a labyrinth

Figure 5.25: Central core

The main material for the proposed design will be concrete due to the cold look it eminates. Other materials with qualities of patina and distress will also be used in order to make the building appear to have an ageing quality.

Figure 5.24: Experiential museum block

Figure 5.26: Material Palette - Concrete, Glass, Brick, Copper, Water, Brass, Distressed wood, Colored plaster

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Figure 5.27: Sequence of journey

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Unloadin deck

Loading deck up

Main stor

X 1.05

Service corridor X 1.05 m

Early adulthood

Adulthood

Childhood

Late adulthood X - 0.3 m

Adulthood

Adolesence Display

Mid life

Proposed ground floor plan Scale 1:100

KANNAN, Archana INT9004M

Storage

Display area

up up

up Cloak room

Lobby

X0m

Info desk / Ticket counter Administrative area X0m

n rage

X 1.05 m

Prebirth zone

Infancy Display

Birth

Museum store/ retail X0m

Central core X - 0.5 m

Sensory deprivation zone

Death

up X 1.05 m

H NORT

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Proposed First floor plan Scale 1:100

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Display area

up dn

Cafe X 3.5 m

Multi purpse hall X 3.5 m

Museum store/ retail X0m

Janitor's closet

H NORT

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Section A Scale 1:75 KANNAN, Archana INT9004M

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ELEVATION

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The profile of the original elevation is retained to maintain the familiarity of the building according to Scott. The elevation was designed with the style of Art Nova in mind as the original building has recurring patterns and design attributes of the art Nova style. The materials used on the elevation are also carefully chosen inorder to form a harmonious presence with each other. Major materials used on the facade are Corten steel, Perforated copper and glass. The entrance and the exit door ways are designed with brushed metal and bronze claddings. The circular form in the door represents the circle of life and a sense of balance to rhyme with the museum itself.

Corten steel sheet

Bronze

Glass

Perforated copper sheet

Concrete

Brushed metal

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The ground floor houses the lobby, main entry to the museum and the museum retail.The retail space has a double ceiling height with display units along the wall and in the centre. Patterns of arch can be seen repeated on this area continuuing from the facade to the displays and wall claddings. A minimal white and gold tile pattern is used for the flooring following the art deco style. Major lighting for the retail is from a hanging light fixture from the high ceiling with additional fixtures for the shelves and displays.The lobby area also houses a double ceiling height corner window which is retained from the original form of the building. This nook doubles up as a display of the museum as it is prominently visible from the main road. The first floor houses the multipurpose hall and a cafe. Natural light from the perforated copper falls on the retail and cafe area of the museum thus creating a play of light and shadow.

KANNAN, Archana, September 2020

CHAPTER 6 CONCLUSION

6.1 OVERVIEW OF THE PROJECT

The main aim of this thesis is to explore how a built environment can affect the users in that space. The research focused on different theories related to the subject of phenomenology, spatial experience, human emotions in a space and spatial stimuli. It alsoexplored theories under the interior discourses of Inhabitation and the body and ontology and how it can applied while designing a built environment. A list of spatial attributes were then generated based on this research which was applied majorly to the design of the museum space. The context study helped in understanding the building and contributed to the design of the museum complex as a whole. The context study also contributed to the furnitures used in the building and the placement of different areas in the complex.

6.2 THEORITICAL CONTRIBUTIONS

- The research helped in understanding the importance of the different values a building can hold to the users and to the community as a whole and how that inturn can affect the way a place is perceived by the users. - The research also brought to light the major physical attributes that are responsible to create a sense of place in a built environment. - The theories helped in understanding the role of human senses that does not just limit to the basic senses but broadens out to the perception, sensation and cognition that goes into the processing of the information obtained from the senses. - The study helped in understanding the various alteration strategies and possibilities that can be employed to alter a building but at the same time, retain the essence of the building. - The research also helped in understanding change of use of a building and the considerations that needs to be taken to arrive at that decision. - The study helped in understanding the different techniques of wayfinding that can be used in a public building.

6.3 PRACTICAL CONTRIBUTIONS

- The importance of a research that involves various relevant theories before diving into the design of the building itself. - Techniques like image collectiona nd coding used for the rapid evidence assessment was really helpful in deciding upon the direction in which the design needs to be driven in. - Alteration strategies that helps in making decsions when intervening in an existing building and altering the use, design and feel of the building. - Choice of materials, furnitures and the overall ambience of the interior space to create a suitable environment while changing the use of a building and prolonging the life of a building.

6.4 LIMITATIONS

There were a few limitations to the project in terms of the site and research. The site was not entirely accessible on the first floor and hence a proper understanding of certain portions of the site could not be achieved. However this was compensated by collecting and analysing old pictures of the building since the 50s and how the different spaces have evolved over the years with the change of use of the building. A questionnaire survey of the users would have also contributed to the context study and in understanding the site better since the building holds a lot of communal value to the local people of Lincoln.

6.5 RECOMMENDATIONS

- The need to understand the empathy and comfort that can be provided by a built environment has to be studied more as the insides of a building are where we spend the majority of our lifetime in. - Alteration of an existing building should be respectful of the history and the communal value of a building. Hence strategies to achieve this has to be studied further and in better detail.

KANNAN, Archana, September 2020

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