Creating Immersive Experiences in Interior Spaces: The Design of a Live-Work
Studio
for
a
Resident
Artist.
By: OLABISI OLUBUKOLA BANKOLE 12398034 MA Interior Architecture and Design University of Lincoln, Uk 2015
1
Content
i
Introduction
3-4
Background
5-6
Literature Review Design Framework Research Methodology Conclusion
10-21 22-26 27-30 31
Bibliography
32-36
Appendix
37-38
List of Figures
39
2
It is often discussed that the ultimate goal of
spatial experience
manipulation of
experience
space.
is
the
Everyday,
architecture
we
without
a
second thought, but are we aware of
INTRODUCTION
how the design of different spaces and
atmospheres
physically,
affects
mentally
us and
emotionally? Leatherbarrow atmosphere,
like
a
(2009) mood,
states
impresses
itself
“An on
experience...”(Leatherbarrow, 2009, 64) As architects, how do we create experiences? This
paper
employs
a
series
of
questions
to
explore
the
relationship between immersive designs and how users experience them, especially pertaining to interior spaces. The next section gives an insight into the research considerations in terms of context and thoughts leading to the rationale of this research, exposing the problem and posing questions that come to mind and of course the resulting objectives. Going further, section three provides a preview into both the externally generated aspects and resulting internal reflections of the users, which will form the bases for the design framework. As such the Literature review is in three-folds:
• Introduces us to immersive experiences and environments
3
• Gives a brief account of the convergence or connectivity in philosophical
and
psychological
discourses
using
case
studies
and;
• Identifies underlying spatial qualities of immersive experience. Finally, the investigation is concluded by going over the design framework, considerations and outcomes of the research plan, by using
a
phenomenological
approach
to
arrive
at
qualities
of
immersive design that could be applied in the design project.
4
BACKGROUND
The next section gives more insight into why immersive design has been chosen as the concept and basis for the design with thoughts leading to the resulting aim and objectives.
5
PROBLEM There
is
a
contemporary
discourse
that
architectural
dominates
design
most
(Frank
descriptions
and
Lepori,
of
2007;
GĂŠlinas, 2013; Pallasmaa, 2005) that, architects tend to overlook, neglect, desensitise and undermine the value of spatial experience in their design decisions, and they often distance users/observers from the experiential aspect of architectural space. This
premise
inspires
the
need
for
a
more
complex,
involving
interior analogue that will bridge the gap between man, his body and space. (GĂŠlinas, 2013, 18)
CONTEXT The concept will be applied in the context of a live-work studio setting, within the West wing of the Art, Architecture and Design building located in University of Lincoln, Uk. In a broader context, Lincoln is predominantly famous for its imposing Cathedral, distinct in character and shaped by thousands of years of history up to the present day. Notwithstanding, The AAD
building
is
one
of
the
few
distinct
buildings
that
have
managed to break out of the historical building convention in the locale, see Fig (1.1). Heritage Connect (2015)
6
Fig 1.1: Picture showing the Lincoln school of Architecture building, in relation to Cathedral from Rick Mather Architects, 2003
Shadowing this movement, the focus of the design will be to create a distinct immersive interior within this modernistic building, that positions the artists' body in terms of experiencing and creating;
a
space
that
is
not
just
functional,
but
serves
as
vessel full of immersive awe-inspiring experiences in a creative context. I was particularly intrigued by Norman Jackson’s account of an immersive experience: “Being immersed in an experience aids the development of insights, confidence and capabilities for learning to live and work…we are likely
to
work
effectively
and
be
creative
in
immersive
environments” (Jackson, 2008, chapter D6)
7
On
this
note,
I
wanted
to
find
out
more
about
how
people
experience space and how being immersed might create or facilitate artist/observers’ to be inspired from such experiences.
RELEVANCE Contemporary
literature
sources
contain
immersive experiences. However, the focus
frequent
references
of these
to
studies have
been in relation to technology, not as a must-have but as one of the techniques used
for communication of visual
and
conceptual
narratives. According to GĂŠlinas (2014), there is no doubt that digital
immersive
popularity elements
and
of
design
undeniably
immersive
has so,
design.
and
will
gradually In
continue phase
agreement,
to
out
Franck
gain the and
much
natural Lepori
(2007), foresee a further shift from material to digital immersion than ever before. These issues expose a gap in knowledge, and calls for a change in focus from digital to non-digital aspects of immersive design.
8
The
above
insights
have
led
to
an
enquiry
into
architectural
qualities of immersive spaces that preceded technology and the digital age and pose the following question: In what way may non-digital immersive environment stimulate user experiences in a creative live-work studio?
AIM To
explore
the
relationship
between
non-digital
immersive
environment and the resulting user experiences in a creative livework studio.
OBJECTIVES 1. To
define
aspects
of
immersive
design
and
its
spatial
conditions.
- Through secondary research: by using key texts for insight into creating immersive experiences. 2. To
determine
the
qualities
of
a
non-digital
immersive
environment and the extent of external and internal engagement between users and the resulting spaces.
- Through secondary and primary research: by using observatory experiments to test qualities of immersive architectural design against the users physical/physiological and internal (sensorial, emotional) responses etc. 3. To
understand
digital
the
immersive
benchmark
for
experience
creating and
a
convincing
applying
its
non-
design
possibilities into my design of a Live-Work Studio.
9
This section defines immersive design and the qualities of immersive experience, revealing how immersive spaces are permeated within the sensation and perception of experiences and narratives, the only constant being the human body, and its receptive nature.
LITERATURE REVIEW
10
A BRIEF INTRODUCTION TO IMMERSIVE ENVIRONMENTS There
is
definitive
an
incredible
meaning
of
an
amount
of
ambiguity
‘immersive
surrounding
environment’
based
the
on
it
subjectivity. What
can
be
defined
however,
are
the
terms
‘immerse’
and
‘environment’. The Collins English Dictionary defines ‘immerse’ as “to involve deeply”, and ‘environment’ as “the surroundings in which a person, animal, or plant lives”. (Almond, 2011, 9)
Fig 2.1:
A Sketch of what Immersion feels like: Feel Alive by Yuumei from deviantart.com
Therefore literally, the term ‘immersive environment’ refers to a person being involved deeply in the surroundings in which they live. Immersive design is a multifaceted field that communicates to the users
on
many
experientially,
different
levels,
sensorially,
temporally. When these
intellectually,
perceptually,
emotionally,
responsively
environments are successful, the
and
subject 11
can
find
the
resulting
stimulation
both
intellectually
and
experientially, deeply satisfying. (Lorentz, 2006, 13)
THE PSYCHOLOGY OF IMMERSION Researchers,
philosophers,
and
psychologists
have
proposed
a
number of different discourses to explain the how and why behind immersive experience. Why do we want immersion? How do we respond to
immersive
environments?
Most
assuring
how
can
we
design
immersive environments? Early research on human motivation, have sought the origins of immersion (Dean, 1994,22). According to Boeree (1998), Immersion is firmly based on motivation, and the ranking and nature of our needs See Fig (2.2).
Fig 2.2:
Maslow's Hierarchy of Needs from Young, 2014,50
12
This
fundamental
knowledge
of
what
drives
us
to
have
these
experiences leads to the second stage of the enquiry, to know:
HOW IMMERSIVE DESIGN AFFECTS OUR EXPERIENCES OF SPACE? According to McLeod (2007), behaviour is the result of stimulus and response. That is all behaviour, no matter how complex, can be reduced to a simple stimulus – response association. Similarly, Watson (1930) described the purpose of psychology as: “To predict, given the stimulus, what reaction will take place; or, given the reaction, state what the situation or stimulus is that has caused the reaction” (Watson, 1930, 11) In line with this thinking, Balakrishnan et al. (2007) described immersive
experience
emotional
reaction
as
that
a
spatial
awaken
the
condition
that
observer’s
inner
creates needs
an and
motivation. Therefore if we reduce the above definition into stimulus-response processes we can infer that: i) Mans needs and motivation (internal) is awakened by ii)
Spatial condition (external stimuli) to create
iii) An emotional or sensorial reaction (internal) However, due to the subjective nature of immersive experience, this process of engagement occurs in no particular order. That
being
design,
it
stimulants greater
said, is in
as
architects
valid the
awareness
to
design of
and
suggest of
space,
in
that:
spatial and
the
context
considering
conditions
this
of
spatial sensual
results
engagement
in
a
ultimately 13
motivates
man,
enhance
the
users
personal
potential
and
self-
actualisation and ultimately his creativity. WHAT
THEN
ARE
THE
RESPONSES
STIMULATED
TO
CREATE
IMMERSIVE
EXPERIENCES? In
the
book
Sensory
Design,
Malner
(2004)
stated
that
we
experience three kinds of sensory responses.
• Physical response (involuntary reaction) of the sense organ to stimuli (Physiological)
• Response
conditioned
by
prior
knowledge
of
the
source
(Experiential)
• Response to stimuli as it becomes identified in ones memory with a particular environment (Temporal). (Malner, 2004,23) Similarly, Meyers (2014) opined that emotion constitutes a major influence
for
determining
human
responsiveness
in
immersive
environments and is related to "...physiological arousal, natural behaviours, and conscious experience.” Therefore by fusing the works of Malner (2004) and Meyers (2014) immersive responses can be grouped into three categories, namely:
• Physiological arousal (natural human reaction) • Routine behaviours (conditioned by knowledge of the source) • Conscious experience (identified by memory)
14
PHYSIOLOGICAL AROUSAL Various researchers in the field of sensorial studies (Zumthor, 2006; Pallasmaa, 2005, Holl et al (1994), Malnar and Frank, 2004) have
opined
that
people
perceive
atmosphere
through
emotional
sensibility. People see the light and colours of a space, hear sound reflections, smell and feel the properties of its materials. For instance the sun can only be perceived as light when a wall is introduced into space, the organ of sight (eyes) are stimulated in the
subject
(man),
only
then
can
he
truly
begin
to
perceive
(sense) its physical properties (illumination, shadow, light or shade). (Holl et all, 1994, 45) As a result, users and observers are firstly engaged physically through
their
sensory
organs
before
making
emotionally
connections. Invariably they form their experiential and emotional reflections
of
the
space
stimulation
and
of
course
based
on
their
thereafter
initial
the
physiological
subjective
sentiments
they may attach to immersive spaces. An
example
of
an
immersive
experience
that
is
a
result
of
physiological and emotional stimulation in architecture is Peter Zumthor’s
Therme
Baths
in
Switzerland
(1996).
The
building
is
known for its intimate atmosphere, as well as for its celebration of the act of bathing. (See Fig. 2.3 and 2.4)
15
`Fig 2.3: ONE OF THE INDOOR POOLS, The Therme Vals / Peter Zumthor
Fig 2.4: Outdoor Pool, The Therme Vals / Peter Zumthor
16
What is apparent in the Therme at Vals is the poetic and narrative fascination for the mystic qualities‌ a feeling of warm stones and naked
skin,
architect.
the
ritual
One
can
of
bathing:
sense
the
these
notions
conscious
guided
selection
the and
implementation of these narrative elements in the space and this is
perhaps
what
encourage
a
highly
sensuous
and
restorative
experience. ROUTINE BEHAVIOUR Similarly,
in
behavioural
psychology,
notions
of
immersive
experience are based on assumptions that a person’s environment determines their behaviour. That is, we experience sensations in space and define our neurological or cognitive association with space based on perception of the space, as a result of stimulus. Behaviourial psychologists are therefore primarily concerned with observable (external) behaviour as opposed to internal events like sense, thinking and emotion. (McLeod, 2007) This kind of outlook towards immersion is based on perception of physical space such as material, scale, and orientation through sound, touch, smell, sight and other cognitive faculties (haptic, kinesthetic, expansion and compression). See (Fig.2.5)
17
Fig 2.5: Illustration of the perceptual system from Malnar and Frank, (2004), 23. In
his
book
Experiencing
Architecture,
Steen
Eiler
Rasmussen
explained how unaware one is about how much he/she can hear. In fact,
perception
is
as
a
result
of
the
impression
of
various
senses, although one may not be aware of that. Rasmussen, 1962, 224) An example of a space that reflects characteristics of perceptual stimulation in architecture is the MIT Chapel designed by Eero Saarinen (1956) See Fig (2.6).
18
Fig 2.6:The MIT chapel, located on the MIT campus from Bayramzadeh (2011), 697
The
informal
circular
interior
layout
implies
a
continuous
connection between people and altar. The dark interior is lit both with the skylight above the altar and the light reflection from water in an exterior moat to the walls. This offers a dramatic and peaceful sense to people. The central viewpoint is controlled, such that the metal leaves hanging above the altar area draws much attention. elements
For
and
instance,
materials
in
By
using
interestingly
unfamiliar
the
space,
perception
the
of
space
wasn't purely visual, people start to touch, sniff and listen to discover them. (Bayramzadeh, 2011, 700)
19
Conscious Experience: The
philosophy
experience
is
behind
conscious
composed
of
experience
instants
between
is
that
past,
immersive
present
and
future, which enabling the users to reflect on the qualitative character of such a space. The elements of time come into the equation in the place of memory (past)
and
expectations
(present
and
future).
(D’Alessandro,
2011,3-12;Philips, 2014, 1) Similarly, in the essays collected in Thinking Architecture, Peter Zumthor reflects on his childhood visits to his aunt where taking hold of the front door handle was the prelude to a singular world: 'I remember the sound of gravel under my feet, the soft gleam of the waxed oak staircase, I can hear the heavy front door closing behind me as I walk along the dark corridor..' (Zumpthor, 2006,64) By studying his works, it is quite explicit that he incorporates elements of the familiar from the earlier lives of the users and designs with the aim of calling to mind recognised responses. (Mead, 1998, 2)
20
EVALUATION OF THEORIES A
significant
assessment
of
the
study
is
to
bridge
the
knowledge gap by explore a range of interpretations of the term
'immersive
definition.
experience’ by
There
are
five
coming
primary
up
with
elements
a
central
that
were
consistently present in most of the immersive experiences explored. 1. Involves
a
state
of
internal
stimulation
driven
directly by externally delivered information. 2. It is sensory in nature, often using all the senses or combining two or more of the senses such as sight and
sound,
or
sight
and
touch.
(Biocca
et
al,
1995,136); Heim, 1998, 34) 3.
The
experiences
were
centred
on
narratives
to
stimulate the imagination by immersing the senses in information from illusory space. 4.
Allows the subject to be transmitted through time (past, present and future) and place (mood, space or story) (Heim, 1998)
5. Provides the user with active participation rather than
passive
observation,
through
a
process
of
discovery and revelation. From the above, one can infer that immersive design involves two simultaneous entwined tasks: •
To design spatial conditions that are coherent, not just on the surface but with an interior logic and; 21
• Respond to and drive narrative and memory. Following these principle will allow an audience to be fully immersed in both environment and embedded story.
Design Framework In the context of a live-work studio, the design goal to create
not
just
an
immersive
space,
but
functional living and exhibition spaces for
flexible,
that
user, observer, visitor and students
will
multi cater
all at the same
time. According to Lorentz (2006), in order to achieve immersion in an art based gallery space,
each
component
of
the
space
needs to be considered individually and also as part of a whole,
because
"immersion"
is
according to different levels or from
an
immersive
potentially
experienced
degrees. These can
range
object that has special significance
to the visitor, to an immersive experience associated with an entire space. But importantly, the designer also needs to ensure
that
totality
of
each the
moment
is
interior
experienced architecture,
as
part
more
of
than
the the
individual rooms or objects displays. (Lorentz 2006,5) Similarly, Machon (2009) describes how she uses “syn-aestetics” approach to design an immersive performance by “Placing the site of
response
throughout
the
body
rather
than
in
a
mediation
position between the body and the senses” Herein, the subject experiences from within the medium of experience, seen as one with his bodily senses rather than distinct from them. (Machon, 2009, p.14) 22
Implementation The
first
step
in
the
design
was
to
consider
the
spatial
requirements of a contemporary artists which includes: • Large flat surfaces to spread out his works, materials and accessories; • Easy access to the hanging pieces on the walls and shelves; and as much freedom to move around as possible. Therefore,
in
this
type
of
work,
conventional
desks,
tables,
chairs and standard space division will hinder rather than help, which is why the researcher took a different approach. Other factors warranting consideration are: •
T he visitor orientation in the gallery,
• Low lighting levels, • Scale and volumes of the architecture, • Ambience (visual and sound), • Tactility of materials a n d
surfaces,
• Interactive elements involving user participation and; • Most importantly, the potential for the space not only to attract visitors, but
cater for the living and creative
needs of the artist himself.
23
Design Statement: Taking the concept of syn-aestectic immersion metaphorically and literarily, has change the way the designer looks at space, by playing around with words and relating them directly in the spatial context. Similar to the poetic narrative used by Peter Zumpthor in Therme de Val. Therefore,
instead
of
creating
boundaries
within
the
interior
space (mediating position between the body) the designer placed the boundaries within the space (literarily merging the boundaries and immersing them in one another), allowing the body (users) to experience space as a whole (throughout the body), rather than in parts.
Doing
this
has
created
a
seamless
multi-functional
and
flexible living and working space for the artists in residence, See Fig (2.7)
Fig 2.7: Conceptual Diagram from the Researchers Design Project 24
Gently divided
curving by
only
forms
dominate
different
the
levels
visually
homogenous
horizontally,
rather
space, than
by
partitions, so that the entire area can be used for displaying, viewing, participation and reviewing art - The limited selection of materials: mainly smoked oak and concrete, in a white washed background
makes
this
studio
a
great,
minimalist
setting
for
working with and focusing on the production of art, See Fig (2.8 and 2.9).
Fig 2.8: 3d illustration showing the merge and immerse concept in the space
25
Fig 2.9: A Section of the overall scheme
26
RESEARCH METHODOLOGY
This section looks into consideration that led to the research plan, which is grounded in observatory qualitative research methods.
27
RESEARCH PLAN: The research question seeks to know: In what way, that is how may non-digital immersive design impact users experiences in a creative live-work space? See Fig (3.1).
Fig 3.1: Questions answered by research methods from Rohrer, 2014
On
this
basis,
this
qualitative
research
will
be
based
on
phenomenological methods that will aid to describe the phenomenon of an immersive experience from the users point of view (what people
say)
relationship
in
order between
to
discover immersive
the
true
causal-effect
environment
and
physical/physiological experiences.
28
Data Collection Data will be collected through the following: i) Unstructured
open-ended
and
in-depth
phenomenological
interviews ii) Observatory behavioural experiments Observatory
behavioural
experiments
studies
internal
processes
including perception, attention, language, memory and thinking. Because
architecture
is
primarily
a
visual
medium,
study
participants will be asked to explore the chosen building two times: first with open eyes and then with closed eyes. After each exploration,
they
will
answer
some
questions
about
their
experience. The questions will cover almost all of the space’s features, such as material, sound, heat, smell, dimension, as well as any other personal experiences they had. This experiment will assist in understanding what aspects of the architectural design can be perceived other than visually.
Sampling and Sample Size According Starks, Brown, and Trinidad (2007) Typical sample sizes for phenomenological studies range from 1 to 10 persons. In the case of causal, comparative and experimental methods, Borg and Gall (1979:194—95) suggest a sample size of no fewer than fifteen cases. By means of purposive sampling method, at least 15 participants will
be
recruited
based
on
their
level
of
experience
of
the
immersive design phenomenon. The resulting response will be used
29
to
collate
common
features
of
both
the
lived
and
controlled
experiences.
Analysis: Interpretive methods will be used to analyse the collected data from
the
phenomenological
interviews.
This
method
will
distill
textual data to a set of categories or concepts from which the final product can be drawn. Thus, giving a detailed account of the immersive design phenomenon as it relates to user engagement.
Limitations: The size of the sample pool may be limited by researchers’ time available for data gathering.
30
IN CONCLUSION
From
this
expository
Researcher design
is
is
architecture, set
of
aware not
but
design
enquiry, that
a
values
immersive style
rather
the
an
of
emerging
that
confront
designers with issues of substance in design construct. Therefore, this research has commissioned new aspects to improve the synergy between space and user.
This
framework can be
metaphorically.
For
utilised in a
example,
in
this
number of case
ways, not just
strategies
used
in
immersive performance were applied to enhance the design of a creative living and working experience.
Ideally, testing
one and
outcome
of
further
research
will
documenting
visitor
responses
to
be
a
model
perceived
for
design
experience, so that success or otherwise of the immersive nature of
the
experience
conclusions
on
the
can
be
gauged
effectiveness
to
make
more
of
immersive
wide
ranging
experience
in
interior settings (See appendix for details).
3277 Words
31
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APPENDIX 1. Cognitive psychology can be used for carrying out research on the performance psychology approaches.
and
effectiveness
deals
with
human
It
focuses
on
of
the
immersive
experimental the
way
spaces.
analysis
humans’
of
Cognitive
behavioural
process
information,
looking at how we treat information that comes in to the person (what behaviourists would call stimuli), and how this treatment leads to responses. In other words, they are interested in the variables that mediate between stimulus/input and response/output.
2. The use of participant observation as a research technique assumes that an understanding of the area
being
researched is enhanced by
the observer's expertise and direct involvement in that participant observer's processes
being
disciplines and
access
investigated,
to
primary
data
particularly
and
when
complex inter-relationships are
a
area.
The
knowledge
many
of
different
involved, can
lead
to a more rigorous evaluation of material intended for analysis.
To begin answering this question, a basic understanding of the immersive phenomenon as an epistemological construct helped in drafting
out
the
overall
research
plan,
including
areas
of
future research, see Table 1.1 below.
37
QUALITATIVE RESEARCH PLAN Observatory methods ATTITUDINAL
BEHAVIOURAL
ASPECTS/ APPROACH
Phenomenology
Cognitive Psychology
HISTORY
European Philosophy
behavioural psychology
PHILOSOPHY
The notion that there exists an essential perceived reality with common features
The notion that if we want to know what makes people tick then we need to understand the internal processes of their mind.
GOAL
Describe the meaning of the phenomenon
studying internal processes(unobservable behavour) such as perception, attention, language, memory and thinking
METHODOLOGY
What is lived experience of Immersive design
tests, experiments carried out in a controlled environment to observe human responsiveness to immersive environment.
Sampling
Purposive Sampling: Those who have experienced the phenomenon of interest.
Sample Size
1-10
no fewer than 15 cases
Data Collection Observations
Observe Case Studies , participants in the context where the phenomenon is experienced
Observe subjective behaviour and responses during experiments and interviews and also through subjective questionnaires
Interviewing Strategy ANALYTICAL METHODS Decontextualisation and recontextuallisation process of coding, sorting, identifying themes and relationships and drawing conclusions
Participant describes experience, interviewer probes for detail, clarity IDENTIFY DESCRIPTIONS OF PHENOMENON; CLUSTER INTO DISCRETE CATEGORIES; TAKEN TOGETHER, Then DESCRIBE THE “ESSENCE” OR CORE COMMONALITY AND STRUCTURE OF EXPERIENCE.
Role of Analysts view
Based on these features: performance special effect ambiance and mood multi- sensory engagement user engagement and participation Low or no digital media (McLuhan:) diagrammatic flow and cognition
bracket views
AUDIENCE
Design Practitioners and Architects & others who need to understand the lived experience of the phenomenon of immersive design
Users,, observers of space
PRODUCT
A thematic description of pre-given “essences” and structures of lived experiences
To reveal physical and physiological perceptions and it’s corresponding emotional effect in the users of the live-work space.
Table 1.1: Showing Epistemological Research Plan drafted by Researcher 38
List of Figures and Tables Fig 1.1: Lincoln school of Architecture building, in relation to Cathedral ………………………7 Fig 2.1: Fig 2.2:
A Sketch of what Immersion feels like: Feel Alive by Yuumei
…….………11
Maslow's Hierarchy of Needs from Young ……………………………………………………………………………………..12
Fig 2.3: ONE OF THE INDOOR POOLS, The Therme Vals / Peter Zumthor…….………………………………………16 Fig 2.4: Outdoor Pool, The Therme Vals / Peter Zumthor
…………………………………………………………………… 16
Fig 2.5: Illustration of the perceptual system ……………………………………………………………………………….
18
Fig 2.6:The MIT chapel, located on the MIT campus
19
……………………………………………………………………….
Fig 2.7: Conceptual Diagram from the Researchers Design Project
………………………………….
24
Fig 2.8: 3d illustration showing the merge and immerse concept in the space…………….
25
Fig 2.9: A Section of the overall scheme.
26
………………………………………………………………………………………….
Fig 3.1: Questions answered by research methods ……………………………………………………….…………………. Table 1.1: Showing Epistemological Research Plan drafted by Researcher
28
………………………. 38
39