ACKNOWLEDGEMENTS Rigorous understanding of culture and social behaviour regarding the visually impaired was crucial in the development and accuracy of this thesis. I Respect and offer my gratitude to all who participated and provided crucial information and consultation which ultimately contributed to the completion of this Design thesis; Ms Gillian Buzzard (Royal New Zealand Foundation of the Blind), Alice Applebaum (Executive Director at Anchor Centre for Blind Children), Karen Yung (visually impaired interviews, University of Auckland), Eric Crotty (Davis Partnership Architects), Jasmien Herssens (MSc in Architecture, PhD candidate- Haptic design research), Peter-Willem Vermeersch (PhD research- Less vision, more sense), Dipesh Patel (acoustical engineering consulting), Harriet Richards (thesis supervisor), And last of all my friends and family.
3
CONTENTS UNSEEN BEAUTY EVEOKING THE SENSES THROUGH AESTHETIC PERCEPTION 7 ABSTRACT
28 CHAPTER II: BEAUTY
37 PROGRAMME
9 INTRODUCTION
29 HISTORICAL INFLUENCE
42 SITE ANALYSIS
14 CHAPTER I: THE VISUALLY IMPAIRED
30 BEAUTY vs. AESTHETICS
50 SKETCH DESIGN
17 SEEING WHAT THE BLIND SEE
33 PHILOSOPHICAL APPROACH
52 SKETCH PRESENTATION
23 CASE STUDIES
35 SCIENTIFIC APPROACH
56 PARTI
4
61 CHAPTER III: MULTI-SENSORY DESIGN
109 CHAPTER IV: FINAL DESIGN
153 CONCLUSION
62 OVERVIEW (FRAGILE DESIGN)
110 SITE OVERVIEW
158 BIBLIOGRAPHY
69 SIGHT
123 STAGE I: EDUCATIONAL CENTERE
164 AUDIOCD
(VISUAL)
78 SOUND (ACOUSTICS)
131 STAGE II: SENSORY GARDEN
93 TOUCH (HAPTICS)
139 STAGE III: SENSORY GALLERY
101 SCENT (OLFACTION)
5
6
ABSTRACT
EVOKING THE SENSES THROUGH AESTHETIC PERCEPTION The reduction in available natural resources, peak oil, global warming and Impending economic pressure as human population density rises. These are some concerns that have become apparent over the last decade inspiring initiatives and precedents by architects to improve functionality and efficiency in their architectural design. This wave of ‘sustainable design’ is revolutionary providing cost effective buildings enforcing a primary focus on function and efficiency. Within these conditions, the concept of ‘Beauty’ if apparent is usually visual or neglected and thought of as a secondary concern. 1
“Beauty is in the eye of the beholder” This highly subjective term varies for different people. The common preconception is that aesthetic design is a visual phenomenon. Architects are often regarded as ‘Visual people’, fascinated by the visual realm in terms of expression and communication. With all the visual stimulation available in architecture, we often unknowingly experience sensory deprivation. Why do we limit architectural beauty to the visual realm? How would a blind person contemplate 2 beauty? “Beauty in things exists merely in the mind which contemplates them.” the search for a definitive answer to this age old question is Currently being researched and was recently defined as ‘Neuroaesthetics’, which attempts to combine aesthetics with neurological research by investigating the experience of beauty in artistic and creative activities to determine what triggers certain emotional responses in the brain. This forms a scientific approach to Aesthetics endeavouring to understand if beauty is universal and if we can be taught what is and isn’t beautiful. This design thesis aims to explore historical, philosophical and scientific principles of beauty in architecture surpassing the visual realm in hopes of reawakening and enhancing all the senses to include an aesthetically diverse architectural experience. To achieve this outcome exploration in Multi sensorial design consisting of aural, light, olfactory (smell), taste and tactile architecture will be investigated in hopes of creating a tantalizing structure of sensory intensification that can be marvelled by all. [Figure 1] impaired perception
1 2
Margaret Wolfe Hungerford, (1878). David Hume, (1742).
7
8
INTRODUCTION
INITIAL DISCUSSION & CLIENT SELECTION If one proposed a question to an architect about the distinction between architecture and a “normal building”, the architect would competently answer; “Architecture is more than just a building, it surpasses sheer functional requirements and becomes an object of beauty”.3 Aesthetics in modern architecture is gradually becoming a commodity to the wealthy and private. In the current economy, the priorities of architects have shifted toward a capitalistic society with the main intentions of efficiency and function.
The
intensification of
technological developments in recent years such as CAD has instigated a rise in visually contemplated and expressed architecture. After investigating contemporary architecture globally and locally, it is clear “Architecture of the formal aesthetics”4has been pursued, glorifying the hegemony of the image and further neglecting the remaining senses resulting in the gradual loss of sensuous architecture.
5
[Figure 2] Allegory of the Five Senses
3
Seung-Yol (Sonny) Lee, In search of the expressive anomaly, (March-Prof) University of Auckland, 2009. 4 Kamiel Vankreij, “Sensory intensification in Architecture” (Technical University Delft, 2008), 11. 5 Pallasmaa, the Eyes of the Skin, 21.
9
It is clear the architect’s mentality has shifted away from the true
The external function of the skin works in unison with the internal
meaning of ‘beauty in design’ and replaced with an ocular centric
structure of the skull to create an expressive beauty of the individual. 9
aesthetic concern, If any form of multi sensorial aesthetics are The aim of this thesis is to investigate the possibility of a paradigm shift
apparent it is most likely a By-product and not part of the initial design
to the previous notion of architecture as an ‘object of true beauty’
process. This is a common example of the architect compromising
escaping the current trend of sensory deprivation in design. Beauty is
social responsibility to ensure efficient cost and time expenditure with
not only limited to the visual realm which is generally the main
strong emphasis on the notion “Form follows efficiency.”6
concern in western urbanised architecture.
Experiencing daily life
This is a derivative of the notoriously misinterpreted statement from
without or having minimal use of the visual sense is a reality for new
7
Zealanders that are visually impaired. The common limitations when
Many architects have used this notion to justify designing primarily
dealing with current architecture for the blind is the lack of pleasurable
functional architecture. Sullivan’s intended meaning was that the
aesthetic moments and experiences. The notion of beauty is relatively
buildings form should follow the function of the buildings underlying
unexplored resulting in multi sensorial integration that is more
the architect Louis Sullivan who in 1896 said, “Form follows function.”
8
structure and purpose, in a poetic way . An Analogy of this meaning
functional than pleasurable. To try reversing this situation it seems
would be the way a person’s skin follows and is shaped by the
beneficial to focus on the visually impaired as the primary clients for
structure of the skull.
this investigation, as they depend on training themselves to maximize their remaining senses to their highest potential.
6
Ibid. 21 Louis Sullivan, 1896. 8 H. W. Janson, "History of Art", 2nd Edition, Prentice-Hall, Englewood Cliffs, 1977.
9
William J. Martinhttp://www.wjmarchitect.com/econofunctionalaesthetic.htm, 2011.
7
10
One of the magical things about our senses is that they do not fully
The ultimate question is: how can architecture ‘evoke aesthetic
function in isolation. “Each sense contributes a portion of sensory
stimulation in design surpassing visual limitations?’ To achieve this all
information which is ultimately understood as a whole, through
realms of the senses must be understood and utilised in harmony. The
cooperation.”10
five senses Vision, Sound, Haptics, Kinaesthesia and Smell can be supplemented with Biomimetic systems that are already successful,
In obtaining Harmonious multi sensorial perception one requires the
naturally combining function and beauty. From this method
amalgamation of all senses working in unison to achieve balance
sustainable efficient design can be obtained without compromising or
through subtle design implementation. Care must be taken not to
considering aesthetics as a secondary issue producing a design that
overwhelm the user with one sense that may hinder the appreciation
displays ‘natural Beauty.’
of another. This thesis endeavours to evoke an aesthetic architectural experience implemented through multisensory design concerned with the Balance between function and beauty. The design objective is to create an educational/recreational sanctuary where blind children and adults can learn necessary life skills, whilst being exposed to a myriad of experiences and opportunities allowing social interaction with peers in a safe and relaxed environment. The structure and surroundings will be designed to engage and enrich the notion of beauty, education and harmony.
10
Lisa Heschong, Thermal Delight in Architecture (USA, MIT Press, 1979), 24.
11
METHODOLOGY
CHAPTER I
This thesis is divided into four main chapters: Understanding the client,
The first chapter commences with a Rigorous understanding of how
Aesthetic perception, Multi-sensorial implementation and the Final
the blind “see” and perceive daily obstacles. A series of tests examining
design. These chapters are examined in succession to offer relevant
the different severities of the most common visual disabilities are
and precise research parameters. The first two chapters are mostly
examined alongside review of interviews with 13 blind patrons to gain
theoretical establishing precedents and theologies, whilst the last two
an understanding on their perception in relation to architecture and
are primarily practical design based chapters exploring and
beauty. Architecture designed for the blind in New Zealand is scarce;
implementing the collective information.
there are not many examples of architecture designed for the visually
BRIEF CHAPTER OVERVIEW
UNDERSTANDING THE VISUALLY IMPAIRED
impaired. Consequently, there are no precedents of significance in The start of each chapter provides an introduction containing a
Auckland to conduct onsite explorations. For guidance, several world-
proficient understanding of the topic and specific terminology,
renowned architectural designs developed for the blind are studied.
followed by the central discussion providing historical, philosophical, scientific, cultural and social theory when necessary. A series of case
HAZELWOOD SCHOOL FOR THE SENSORY IMPAIRED
studies are examined before implementing the collective research into
Designed by Gordon Murray + Alan Dunlop Architects is a free flowing design that respects existing landscape and works with nature to provide a sustainable highly functional ‘snake like’ structure that meanders through the site with a strong emphasis on Haptic and Kinaesthetic experiences.
sketch design and concept modelling. Concluding each chapter is a clear explanation of key points and factors that have been utilised in
ANCHOR CENTRE FOR THE BLIND
conjunction with theory combined to form a synthesis.
This is an early development school for visually impaired children. The building’s design serves as an educational tool emphasising materiality and light intensification. Consultation with Davis Architects ltd and staff from school provides concise information on the strengths and weaknesses of their design and any aspects that could be improve this thesis design.
Brief chapter overview:
12
CHAPTER II
PROGRAMME
BEAUTY AND AESTHETIC PERCEPTION
AMMENDMENTS FOLLOWING NEW RESEARCH
After a comprehensive understanding of the perceptive abilities of the
Amendments to the initial design objective are made incorporating the
visually impaired, the heart of the thesis “aesthetic perception in
new collective information researched regarding the visually impaired
architecture” is examined. A Theoretical deconstruction on the
and their perception on beauty.
definition of “Beauty” provides the basis in which several different
CHAPTER III
perspectives on the topic are discussed.
MULTI-SENSORIAL DESIGN
A historical investigation understanding how social and cultural factors influence our perception of aesthetics in architecture is carried out
This chapter consists of an extensive architectural exploration through
investigating various global strategies that have been successful such
each of the human senses, Visual, Aural, Haptic, and Olfactory. From
as Zen gardens in traditional oriental architecture, which emphasises
this information, preliminary design and sensorial contributions to the
less ocular centric priorities in comparison to western design.
final design will be determined.
Due to the myriad of philosophies associated with this immensely
CHAPTER IV
ambiguous discipline, an acute understanding of architect/academic
FINAL DESIGN PRESENTATION
Juhani Pallasmaa’s philosophies, detailing both theorised and practical aesthetic design will be examined. The importance of memory,
Due to the visual limitations of a thesis document, the final design will
education and learning are strongly examined in this section.
be a visual interpretation of the final multi-sensorial design. Although it Lastly, a scientific approach to the notion of beauty known as
will be challenging to express intangible ideas through a visual
Neuroaesthetics will be contrasted with the philosophical information.
medium, a highly detailed and annotated presentation will be prepared to help visualise and interpret the design.
13
1
2
3
4
5
CHAPTER 6
7
THE VISUALLY IMPAIRED 8
9
10
11
3 4 5 6 7 8 9 1
10
2
11
1
CLIENT
Understanding the Client
Blind perspective
Historically Architects have had a visual aesthetic fascination dating
Karen A. Franck explains that “our western society lives on the surface,
back to classical philosophies of the ancient Greeks. In western
caring only about appearances, the outside has become the public
ideology, vision had been attributed to positive qualities of truth and
facade, what we show or what we can show is impersonal.” Because
12
16
For a brief period, an emphasis on the pursuit of divine
of these ocular centric building designs, we have unknowingly fallen
acoustic environments was celebrated and was thought to accentuate
into a state of kinaesthetic deprivation providing rare opportunities to
knowledge.
13
experience a moment that incorporates and stimulates the five senses
the presence of the Holy Spirit , which was generally portrayed within th
gothic cathedral architecture. The 14-17
in our daily architectural interactions.
centaury celebrated the
renaissance, which glorified the five senses favouring the eye;
What if one were unable to contemplate the visual realm? How would
predominantly thought of as the noblest of the five senses.
they experience Beauty in this ocular centric era? For 11500
17
new
Over two centuries this visual fascination prevailed leaving the other
Zealanders the luxury of full visual sensation impaired. This visually
senses to deteriorate within design application until they were no
impaired community rely on their remaining senses to navigate and
longer apparent. Modernisation and industrialisation revolutionised
interact with architecture.
the way people envisioned architecture.
These principles are
The general intention of architecture designed for the blind is usually
dominant in architecture today producing strong functional visual
functional and highly simplistic; the notion of beauty and aesthetic
design that forbids the occupants to relate to the building in a personal
perception is significantly underutilised. Don’t the blind also deserve
14
manner, whilst radiating an aura that proclaims, “Observe but do not feel”
and require architecture that satisfies their aesthetic needs? A greater
15
appreciation for the kinaesthetic and multisensory attributes of the building should be emphasised to benefit all users not necessarily just the blind.
12
Juhani Pallasmaa, The eyes of the skin (Great Britain: Wiley-Academy, 2005), 16. 13 Malnar and Vodvarka, sensory Design, 144. 14 Malnar and Vodvarka, sensory Design, 31. 15 Karen A. Franck
16 17
15
Ibid, 16. http://www.rnzfb.org.nz.
CLIENT
Since the 1970s most visually impaired children were integrated into
Kenzie and Allan Jones
18
mainstream schools, this was an initiative to eliminate the sense of
23
both experienced mainstream schooling
before the ministry of education enforced the integration scheme in
19
segregation, giving the children a chance to feel “normal”. As a result
the 1970’s. The integration into the community was an advantage but
the distribution of specialised teaching and recourses were inadequate
also a challenge , Jones admits “the fear of being seen as weak makes
and it became a challenge to teach children to read and write in
us reluctant to admit certain tasks are difficult ”, Their greatest desire
Braille
20
was to be a ‘normal kid’; this urged Allan to participate in sporting activities as the social atmosphere created a confidence to try new
Braille literacy is a crucial skill for the blind and is vital to becoming
things. Bryan
self-sufficient and independent. Braille is understood as the language
24
is sceptical for the newer generation of visually
impaired children that are deprived of the opportunity to learn life
of the blind and without this initial knowledge, higher levels of
skills and the psychological advantage of peer support. He explains
education and understanding are unattainable. Braille illiteracy is not
that a visually impaired child is the equivalent to that of “A foreign
limited to children; people who lose their sight after accidents and
child growing up in a completely different culture.”
25
illness later in their life are also affected. As a result, approximately 60 percent of the visually impaired New Zealand population of working
Clearly, the educational sector for the visually impaired requires
21
age are unemployed due to Braille illiteracy. The lack of resource and
supplementary learning facilities, providing tuition in a comfortable
distribution of Braille education is currently a major concern for the
social environment enriching peer support. A building with a teaching
Royal New Zealand Foundation of the Blind, who are promoting Braille
narrative
to the community in hopes of remedying this situation.
22
incorporated in the design could offer a smooth learning
transition for the visually impaired divided into progressive stages of
There is a range of opinions regarding weather the child would benefit
complexity and variety.
in a mainstream or specialised school atmosphere. Don Mc
18
Karen Hau Wing Yung, The Unseen Space: Architecture for the Blind, Auckland University, 2009 ,Thomas Bryan(Interviews), 152,153 19 Bryan Magee. 20 Braille: A system of writing for the blind that uses characters made up of raised dots. 21 RNZFB. Outlook magazine. 22 RNZFB. General Information website.
23
Yung, The Unseen Space, Allan Jones and Don Mc Kenzie. 160,163. Martin Milligan. Bryan Magee, On Blindness –Letter between Bryan Magee and Martin Milligan, Oxford University Press, 1995, .56 24
25
16
Milligan and Magee, On Blindness, 56.
CLIENT
Congenitally vs. Adventitiously
Distinction
Seeing What the Blind See
Blind Perception
Congenitally blind refers to those who have been born with a genetic
In New Zealand being legally blind technically means a person’s vision
optical problem and are consequently blind since birth, whilst it is true
is lower than 3/60 with their best eye and the horizontal fields only
blind people experience greatly through tactile senses, there are
perceiving 20 degrees of vision. This means if a normal person can see
differences in perception regarding the adventitiously blind, who
an object from 60 metres away, the ‘legally blind’ person can only see
obtained their impairment later in their life and the congenitally blind
the same object from a distance of 3 metres.
who were born without any vision. Aesthetic experiences to each The common misconception about blind people is they have no visual
different group will have different reactions, as the adventitiously blind
sensitivity at all. Each person’s impairment severity is different; high
person will refer to past visual memories contemplating colours,
percentages actually have some degree of vision, although they are
structures and visual experiences from previous occasions.
still classified as legally blind. Light intensities, colours, shapes and silhouettes commonly recognised depending on the classification of the impairment, demonstrated in the following section. The table of images displays the five most common forms of visual impairment. The obstructions were created in Photoshop to replicate each of the five impairment categories; they are derived from investigations carried out by the “Royal New Zealand Foundation of 26
the blind”
26
17
http://www.rnzfb.org.nz/learn/blindness/eye-conditions
CLIENT
SEEING WHAT THE BLIND SEE SIX COMMON INTENSITIES OF VISUAL IMPAIREMENTS
Figure 3: ORIGINAL IMAGE (Dove Myer Robinson Park)
Figure 4: AGE-RELATED MACULAR DEGENERATION
Figure 5: MYOPIA
A person with full sight (20/20 vision) sees a scene like this. The image is Dove Myer Robinson Park (Parnell Rose Garden).
Age-related macular degeneration (AMD) is a disease that blurs the sharp, central vision you need for "straight-ahead" activities such as reading, sewing, and driving. AMD affects the macula, the part of the eye that allows you to see fine detail.
Myopia is also known as nearsightedness or shortsightedness. Those with myopia see nearby objects clearly but distant objects appear blurred. This is the opposite of the defect hypermetropia, also known as "farsightedness" or "longsightedness".
18
CLIENT
Figure 6: CATARACT
Figure 7: DIABETIC RETINOPATHY
Figure 8: GLAUCOMA
A cataract is a clouding of the lens in the eye that affects vision. Most cataracts are related to aging. Cataracts are very common in older people and by age 80, more than half of all adults either have a cataract or have had cataract surgery.
Diabetic retinopathy is the most common diabetic eye disease and a leading cause of blindness in adults. It is caused by changes in the blood vessels of the retina.
This is often called tunnel vision, which allows a person to see with the centre of their eye but not the outside. This eye disease cause’s normal fluid pressure inside the eyes to slowly rise, leading to vision loss and in some cases complete blindness.
19
CLIENT
Navigational
Techniques
Devices for the blind
Acoustic perception: the Blind often use tactile or aural landmarks to locate and familiarise designated areas. The conventional tools other than their natural senses are:
(Figure 9) The use of a cane, which provides an extended limb that, can reach ahead providing warning to the user upon obstacles, crowd’s footpaths and steps in geography.
(Figure 10) The next useful tool would be a guide dog, several thousand hours of training since the dog was a pup prepares the k-9 to be obedient and intelligent in leading the owner through safe passage.
(Figure 11) The reading and writing method for the visually impaired known as Braille which comprises of embossed or raised dots on a piece of paper typed by a Braille machine consisting of a configuration of six dots are the basis for the language. Books and Braille labels can also be used to write musical notes.
Braille is an efficient universal language used in almost every country with a general learning time of only four months.
20
CLIENT
Design initiatives
Blind Perception
Current Design innovations (Figure 12)Materials such as brick and concrete with subtle textural derivations are usually the most common form of public access information available for the visually impaired.
The long rectangular panels symbolize “GO”
Whilst the spotted panels represent “ STOP”
The colours, sounds and textures each of the different materials emits all play a cumulative role in understanding the environment.
(Figure 13) Pedestrian crossings can be fitted with rotating tactile bars underneath the console that alerts the blind when it safe to cross.
21
CLIENT
The Blind
Interview analysis
To gain a better understanding about the blind community and their
It is a misconception to say a blind person in a new atmosphere can
perception on architecture, an analysis of interview transcripts
only conceive what he can touch and hear, “The moment I enter a
conducted by Karen Yung detailing the abilities and visual disabilities,
room I have some rough idea of how large it is, and what shape it is,
varying in degree of twelve RNZFB (Royal New Zealand foundation of
and whether it is full, or rather empty, of furniture.”
27
the blind) members have been examined, all of the interviewed were consistent in placing the senses in a hierarchical order of necessity. For
This competent nature is quickly reversed when questioned about the
those with adequate visual sensation light perception was the most
external envelope of the building, since the external faces of buildings
important as it determined volume, distance and placement of objects
are often too large and usually focused on in visual terms it is generally
and spaces , acoustic perception was the second most important sense
too complex to contemplate; most of the interviewed did not pay
allowing communication, distance and correlations between specific
much attention to the external shell of the building.
noises which could indicate traffic, time and location by identifying certain landmarks, the morning chirps of birds indicating the time etc.
“As I stand next to a two story building it doesn’t feel different to one
The smallest of sounds in which sighted people take for granted are
that is eight storeys high. Standing next to my three-story house, I am
usually the fundamental guidance system for the visually impaired.
also unaware of the height. The only way I can perceive the top of the building is if I’m having a conversation with someone up there whilst
A large portion of the interviewed participants, whether they
were
I’m on the ground, I can think to myself that the height of this building
congenitally blind with no visual perception or gradually visually
is four times myself, but it is only a conceptual knowledge that I cannot
impaired stated they were able to determine the height, size, level and
really experience”
28
temperament of occupancy in an internal space whether it be familiar or new, with precise and confident ability. 27
Milligan, On Blindness –Letter between Bryan Magee and Martin Milligan, 56. 28
22
Yung, The unseen space, Mary Schnackenberg, 170.
CLIENT
CASE
STUDIES
ARCHITECTURE FOR THE BLIND
23
CLIENT
PRECEDENT STUDY I ANCHOR CENTRE FOR THE BLIND ‘Anchor centre for Blind children’ is designed by Davis partnership architects, located in Denver, Colorado. The entire building performs as an educational tool embracing a multi sensorial experience for blind children who occupy it. This highly acclaimed building recently won the mayors design award for innovation in 2011 and has been featured in many architecture publications. The linear design offers simplistic access and navigation throughout the building. conversations with Alice Applebaum executive director at the school reveals that; “Small cues like the concrete being scored
Figure (14) Anchor centre for blind children exterior perspective
Figure (16) Anchor centre for blind children exterior perspective
more closely as children enter the building, are more helpful than over doing textures, sounds and smells. One thing that has been very helpful was having acoustics be “directional” vs. “echoing” – which we did by having one wall in each classroom angle in about 6 degrees.” 29
this provides noise reduction and manipulates directional sound
cues. Multiple instances of coloured glass are incorporated distinguish certain areas whilst providing navigational landmarks, this is shown in figure 14, different colours of glass are used at each section of the
Figure (15) Anchor centre for blind children exterior perspective
building enforcing the colour pod system.
29
Alice Applebaum, Executive director for anchor school for blind children, email. 24
CLIENT
FLOOR PLAN INTERIOR ROOM ALLOCATIONS
Figure 17 Anchor centre for blind children 25
CLIENT
PRECEDENT STUDY II HAZELWOOD SCHOOL
Hazelwood School designed by Gordon Murray+ Alan Dunlop Architects is an internationally recognised educational facility catering pupils 3-18 years of age. Like Anchor centre; this facility is specially designed for the blind but also includes pupils with hearing and cognitive disorders. Research from RNIB Scotland (Royal National Institute of Blind People) based on the light sensitivity for visually impaired children found that “a good proportion of blind children can differentiate natural and 30
artificial light” The use of clerestory glazing to the south section of the design ensures the building gains constant natural light.
Figure (18) HAZELWOOD SCHOOL EXTERIOR ARIEL VIEW
Tactile, aural and visual stimuli are expressed with Sensorial gardens , light intensified corridors and aural cues, which are reminiscent of the previous design. The main difference is the predominant circulation plan. A ‘snake like’ curve forming the spinal portion of the design provides access to the entire building, this curve also allows the existing natural amenities to be utilised in the design, Allowing the building to taper around obstructions creating
intimate partitioned
sections. Figure (19) HAZELWOOD SCHOOL EXTERIOR PERSPECTIVE 30
http://www.dev.ihcdstore.org/?q=print/128 26
CLIENT
FLOOR PLAN BUILDING SHAPE
The central circulation section has a Sensory wall, serving as a Tactile device allowing the occupants to locate classrooms and practice their orientation skills. The trend in architecture designed for the visually impaired seems to be the main hallway. They provide the basis for Strong simplistic circulation, which clearly offers the best functional design outcomes. Both of the buildings examined are single story timber constructions. Glued laminated timber (GLULAM) is utilized based on its tactile skeletal finish, providing the user with a constant navigational tool. The timber also exhumes a warm natural feeling identifying largely with the
Figure (20) HAZELWOOD SCHOOL FLOOR PLAN
natural outdoor landscape and offers large open spaces due to the strength of the GLULAM frames allowing for less structural obstructions, consequently providing a functional and aesthetic characteristic of the building. Equipped with a greater understanding into the perception of the visually impaired, justified with design precedents , an in-depth deconstruction of the central theme “beauty in architecture� can commence in order to obtain a design programme that meets the Figure (21) CLASS ROOM
functional, social and aesthetic needs of the blind.
Figure (22) HALLWAY
27
CLIENT
22
23
24
25
26
27
28
29
CHAPTER BEAUTY
30
21 22 23 24 25 26 27 28 29 30
28
BEAUTY
Beauty
The Historical search for a definitive beauty
What is a beautiful building? The understanding of this notion seems like an unanswerable question that can be interpreted by a myriad of different disciplines. How can one particular style or choice proclaim being more attractive than another? “The creation of beauty was once the central task for architects and has since diminished into a confused 31 private imperative.” The notion of beauty in architecture presents a standard of comparison based on the views of the perceiver. This appreciation of Beauty and its perception are constantly changing with ‘time’, ascertaining different views depending on the evolution of a culture and its history. Plato believed ‘form’ played a crucial role in the virtue of beauty while Some of the earliest western theorists such as the Greek philosopher Pythagoras, enforced a mathematical connection with beauty. This was demonstrated by the ‘golden ratio’ represented as PHI (Φ) which provided a logical calculative approach as the basis in which it was derived. This resulted in design that was symmetrical and proportional, referred to as ‘divine proportion’.
Figure 23: PHI (ø), named after the Greek sculptor Phidias, who frequently portrayed proportion in his sculptures.
Beauty and aesthetic perception has historically based on philosophical and theoretical assumptions relying on a speculative mentality. Technological advancements in the neurological medical sector have made it possible to examine brain waves in relation to certain stimuli in hopes of providing conclusive research on the biology of beauty and how it is perceived by the brain; in 2002 this scientific approach was defined as ‘Neuroaesthetics’.
Figure 24: Parthenon implementing the Golden ratio: ‘the sum of the quantities to the larger quantity is equal to the ratio of the larger quantity to the smaller one.”
31
Alain De Botton, The architecture of happiness, London, penguin group 2006, p28. 29
BEAUTY
Defining Beauty
Deconstruction
Beauty is defined as “The quality or aggregate of qualities in a person
CAD based design was gradually integrated into architectural practice
or thing that gives pleasure to the senses or pleasurably exalts the
in the 1990s currently the digital approach is firmly established and
mind or spirit.”
32
35
has become a crucial tool in architectural practices and schools.
Poets and philosophers have often perceived beauty in an ocular
This digital culture has embraced industrial and economic factors
centric subjective nature influencing the way in which one perceives
necessary in architecture and through seductive and powerful imagery
beauty in architecture. “Beauty is in the eye of the beholder”
33
it has captivated the eye of the public, who tend to analyze and judge Architecture based on visual presentations through internet based
The visual sense seems to take priority in our perception, almost suppressing the multi sensorial aspects of a building. A contributing factor to this mentality is the rise of the computational culture within 34
exposure. This visually based perception of a building often results in the rest of the senses being unappreciated and unconsidered when judging and experiencing in this manner.
modern architecture. Technological advancements such as computer aided drawing (CAD) and digital rendering software has led to rapid prototyping and three-dimensional representations of the final product through a two dimensional medium.
‘Don’t judge a book by its cover’ Modern architecture tends to contradict this notion, facilitating primarily to the hegemony of the image. Yael Reisner describes this notion of thinking as the ‘blind eye’ as we currently adore empty vessels that lack depth and meaning.
“This results in the
misinterpretation of the meaning of beauty as being devoid of intellectual depth.”
32
http://www.merriam-webster.com/dictionary/beauty,2011. Margaret Wolfe Hungerford, (1878). 34 Yael Reisner with Yael Reisner, Architecture and Beauty, Wiley; 1 edition (June 1, 2010), 207. 33
35 36
30
Ibid, 207. Ibid, 15.
BEAUTY
36
Ideally, the best way to appreciate and experience the complete
Perception in this context in relation to beauty can be expressed
aesthetics of a design is on-site exploration of the final built structure.
through three main categories;
Although philosophers proclaim that beauty is something that brings pleasure to the mind and Soul, scientists and socialists often declare that beauty is based on an amalgamation of unique properties such as contemplation, symmetry, biology, personal connectivity and cultural standards.
37
A statement by Thomas Aquinas referring to the aesthetic theoretical contemplation of Aristotle said, “Beautiful things are those that pleasure when seen.”
38
This bold statement can be construed in an
The relative; allowing one to perceive an object or experience based on the situational context in which it is viewed, meaning the location/ atmosphere and time in which a building is viewed provides an important factor on how we perceive it.
39
The subjective; which is dependent on the mental state of the perceiver and deals largely with ‘aesthetic taste’ which varies in each individual.
inter-subjective context to the way one perceives beauty and
And lastly the objective; which is concerned with a combination of
aesthetics. Perception relies solely on the individual’s previous
harmony, order and unity to create beauty.
40
experience.
37 38
http://beautytips.ygoy.com/general-tips/aesthetics.php http://beautytips.ygoy.com/general-tips/aesthetics.php 31
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http://beautytips.ygoy.com/general-tips/aesthetics.php
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http://beautytips.ygoy.com/general-tips/aesthetics.php
BEAUTY
Aesthetics Relationship between Aesthetics & Beauty “Aesthetikos”, the word in which aesthetics is derived from, is defined
Whilst both beauty and aesthetics offer pleasure and joy, Beauty also
as “the branch of philosophy which deals with questions of beauty and
tends to include the sublime and the superficial, while aesthetics is
artistic taste.’
41
largely concerned with the theory of beauty and the philosophy of art emphasising the value of intent, experience and attitude.
Traditionally there are different views on what constitutes aesthetic values. In 1764 The German philosopher Immanuel Kant stressed that
The pursuit of Beauty and multi sensorial aesthetic stimulation within
there are two major factors in what constituted Aesthetics when
architecture for the blind demographic is relatively unexplored; due to
largely focused on the creative and symbolic aspects of art and
the visual bias attributed to beauty within buildings in our current
42
Aesthetics is thought to have either an objective or
society. A greater philosophical understanding of beauty in its
subjective approach. The first approach stresses that beauty is already
fundamental routes of tradition, culture and experience is required.
inherent in the object and judgements about it have objective
Discussions from Juhani Pallasmaa stressing these concerns are to be
authenticity while a subjective approach is determined by the attitude
examined.
architecture .
of the observer known as ‘aesthetic taste’.
41
http://oxforddictionaries.com/definition/aesthetics, 2011. Kant, Immanuel. Observations on the Feeling of the Beautiful and Sublime. Trans. John T. Goldthwait. University of California Press, 1961, 2003. 32 42
BEAUTY
Philosophical Discussion
Juhani Pallasmaa
The significance of architectural beauty Juhani Pallasmaa is a Finnish architect and academic renowned for his
The architectural image is an Idea Pallasmaa strongly emphasises,
philosophies of beauty in relation to culture and sociology. He believes
ultimately uniting the:
with firm conviction that the notion of beauty is “fundamentally rooted in human experience”
43
“Stating that when a culture loses its
sense of desire for beauty it is a decaying culture”
44
this notion is
similar to the kinaesthetic depravation we are currently experiencing in modern ‘functional and efficient’ architecture.’ From these readings, one could say beauty is measured or perceived judging on one’s personal experience and culture. Could beauty be expressed in the form of education and learning for the blind by offering a diverse range of opportunities within the architectural
'Manipulative image’ which is reminiscent of digital ocular centric designs which currently aim to catch our immediate attention with visual Seduction, lacking collaboration between the ‘eyes, hands ,body 45
and mind.’
“‘Primal image’ derived from our collective memory
and the
46
liberation” , respecting the historical and biological collection of knowledge; which is a sub category of the” ‘Poetic image’ derived from new horizons in human experience.”
47
design that would not likely be offered in their current lifestyle? In
Concluding that ‘if communication of the ‘primal image’ and ‘poetic
addition, subsequently building the foundation for subjective ‘taste’
image’ are succesful, an authentic history that echos meaning and
perception and contemplation for each person in future architectural
memory is produced .’
encounters, providing the benchmark in which to compare?
45
Ibid, 80. Ibid, 77. 47 Ibid, 77. 48 Ibid , 77.
43
46
Fleur Watson with Yael Reisner, Architecture and Beauty, Wiley; 1 edition (June 1, 2010), 77. 44 Ibid, 78. 33
BEAUTY
48
From this Pallasmaa views architecture with a existencial framework
‘One part of architecture wants to advance along with scientific
stating architecture resides in how one understands his own life,
thought and technological development, while the other desires to
advocating that
Focus on the eternal enigma of human existence’
"Art and architecture should be anchored on our biological past and
Pallasmaa’s philosophy appropriately explains that personal memory
based on the fact that we are biological beings and our collective
combined with a collective memory provides a meaningful awareness
genetic pool controls human behaviour, metabolic processes and
and sensitivity to appreciate beauty and aesthetics in architecture.
52
feelings of desire, fear and safety. Therefore when pallasmaa talks about historical tradition he means they have all evolved from our biological past and a collective memory that extends back millions of years. ”
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“He views Education as the adhesive that combines the sensorial, emotional and physical environments together”
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And believes that
the importance of tradition and culture in beauty is fundimentaly dependent on the unification of all the senses.
“The purpose of evolution is beauty”
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“As humans we participlate through a creative endevour through out He believes the issue of aesthetics in modern architecture is in distress,
our whole embodied being concluding that each of our senses ‘think’
explaining how the evolution of architecture and aesthetic taste is
processing various situational information unconsiouly, serving as a
currently a visually dominated computerised phenomenon valuing
component to the greater collective ”
54
mathematical input and rules of procedure rather than the human mental process calling it the ‘ digital age’.
51
49
52
ibid Joseph Brodsky 51 Fleur Watson with Yael Reisner, Architecture and Beauty, Wiley; 1 edition (June 1, 2010), 78.
Fleur Watson with Yael Reisner, Architecture and Beauty, Wiley; 1 edition (June 1, 2010), 78. 53 Fleur Watson, Architecture and beauty, Italy, 2010, 77. 54 Ibid, 80.
50
34
BEAUTY
Scientific approach
Neuroaesthetics
Neuroaesthetics utilises new medical technology created within the last Decade allowing researchers in London to investigate the brains ability to perceive and understand beauty on a scientific level by
The researcher’s initial discoveries and the increasing formalization of the field promise to open the way for the first time to an understanding of beauty based on something other than speculation.
56
monitoring neural activity. Studies on aesthetics and beauty in relation to built form and personal experience have been carried out and
“When the human nervous system experiences beauty, certain parts of
examined in hopes of contributing a decisive knowledge basis on our
the brain consistently light up. It seems that, to some extent, humans
perception of beauty, rather than the current speculative theory.
can be taught what beauty means. Again, culture and experience may have a significant role. Yet, there are thought to be certain qualities
“An object’s beauty may not be universal, but the neural basis for appreciating beauty probably is.”
55
Neuroscientists believe that the
brains ability to perceive location, dimensions and space can be utilized to inspire projects, inform the design process, and help formulate ways of organizing space. This concept is intriguing in designing for people who are impaired and those who are simply deprived of the sense.
that are constantly found regardless of culture or experience. These qualities, according to Beauty and the Brain article are grids, zigzags, spirals and curves. Such findings indicate that on some level, beauty may be universal.”
57
Although this information is intriguing, there is
very little official documentation or well-referenced experiments to produce concrete evidence due to the relatively short time it has been studied.
55
Costandi, Motheb. Beauty and the Brain. SEED Magazine, 2008
56 57
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Costandi, Motheb. Beauty and the Brain. SEED Magazine, 2008 http://www.lewism.org
BEAUTY
Conclusions: A design which combines and contributes toward both the collective memory (primal image) and the notion of human experince (poetic image) through the medium of education is the desired target This design approach does not aim to objectively embody the notion of beauty, instead allow for the users to gain vast knowledge of culture, history and life skills through multi-sensorial design created by a narative through out the building, adding to the students repertoire of sensorial experiences for future interactions. Exposure to a wider range of experiences and opportunites should add to the personal experience (poetic image)of the student and through the educational aspect of the design teaching and learning, the student can gain knowledge of the collective experience ( primal image) thus aiming to achieve a successful communication between the philosophical precidents Pallasmaa descrives equating in an “authentic 58
history that echos with meaning and memory” ,which can be percieved as an aspect of understanding and determining subjective ‘beauty’.
58
Ibid, 77. 36
BEAUTY
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PROGRAMME 36 37 38
DESIGN OBJECTIVE 39 40
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PROGRAMME
PROGRAMME
FUNCTION Chapter I
Summation
Vitruvius who was an ancient Roman architect insisted that a design must balance three fundamental Principles to be considered worthy of
“Function helps to limit choices and to distinguish architects from those who build sculpture on an architectural scale”
59
the functional
purpose of this design has been identified within the first chapter of
‘good architecture’.
this thesis: understanding the visually impaired community and their current architectural needs. A summation of the most important contributing factors in chapter one in relation to the design objective is
Function
listed: 1.
2.
Good Design 3.
Educational facilities for the visually impaired are insufficient within the Auckland region and emit a highly institutionalised atmosphere. Segregated facilities are highly impractical and less beneficial socially for the user. The facility must be suited to all age groups to provide Supplementary education in a relaxed environment
4. A site in which the design can draw and enrich from is required Beauty
along with easy access and high amenity value.
Structure
59
Deborah K. Dietsch, Spotting good architecture, Architecture for Dummies, 2002, 25.
38
PROGRAMME
STRUCTURE Chapter III
BEAUTY Chapter II
‘The design must create beauty from structural necessity; this is what A highly functional building lacking beauty is merely utilitarian and does not meet the realm of architecture.
60
differentiates architecture from engineering’
61
The previous two chapters have focused on the functional needs of the The initial design objective was to create a single facility that would engage the user to perceive beauty surpassing the visual realm. The philosophical ideals based on Pallasmaa’s views of the beautiful image combined with the relationship between architecture and art identified in chapter two, have led to the incorporation of a group of
client and the philosophical understanding on the perception of beauty in architecture. The third chapter will focus on multi-sensorial design implementation to express the ideas of the two chapters. Sketch design and multiple case studies should enrich the design with respect to each individual sense inevitably contributing to the final design.
structures that work in unison to complement each other providing balance “A BUILDING COMPLEX”. A summation of the prevailing ideals examined in chapter two is listed: 1.
2.
3.
The Poetic and primal image indulge the notion that our perception of beauty relies on our cultural collective memory and our personal experiences. Our perception of beautiful architecture should consist of a collaboration of all the senses working in unison without limiting beauty to a visual phenomenon. Beauty in architecture is always limited to the taste of the user and the time in which it is viewed.
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61
Deborah K. Dietsch, Spotting good architecture, Architecture for Dummies, 2002, 26.
Deborah K. Dietsch, Spotting good architecture, Architecture for Dummies, 2002, 25.
39
PROGRAMME
DESIGN OBJECTIVE amending the current design objective
Stage 1 EDUCATIONAL FACILITY
Initially a single building was the primary focus of this thesis; after the
The first stage will consist of an educational facility for all ages and
multitude of information researched, it has become clear that the
types of visual impairments. This building will serve as a learning tool
pursuit of one beautiful design is frivolous. Without the ability to
to gain essential life skills in an atmosphere of peers, creating social
understand the senses, or the knowledge basis to make comparisons,
stability breaking away from the highly institutionalised typology which
the idea of a beautiful design for the visually impaired cannot be
is usually attributed to buildings for the visually impaired. The facility
appreciated. To rectify this problem the Amended design project will
will provide supplementary education emulating tutoring facilities,
consist of three stages all working in harmony to help achieve good
whilst serving as a relaxation community centre providing:
design. Each stage will gain in complexity referring to the previous
stage as a guide or requisite to help in understanding the following stage.
40
PROGRAMME
A large Braille library containing audio books full kitchen with a dining room An art room and Braille reading / writing room to hone literacy skills A sports gym to build motor skills and confidence A music/sound room to familiarise the users with instruments audio equipment, furnished with a recording studio. And finally a public area with a cafe and store featuring the latest in equipment and technology for the visually impaired.
Stage 2 SENSORY GARDEN
Stage 3 TOUCH/ACOUSTIC ART GALLERIES
The second stage will consist of a sensory garden linking all three
As aesthetic taste changes with time, the incorporation of the final
stages together. Nature plays a fundamental role for the visually
stage will consist of a sensorial art gallery that will exhibit multisensory
impaired in terms of relaxation, navigation and memory. The sense of
art works for everyone to view. The previous two stages should
smell will be highly utilized in this stage. Fragrances from certain
prepare the user to understand and admire the unique works that are
flowers and herbs can trigger and promote a range of positive feelings
displayed within the gallery that will demand and invigorate the users
and even enhance memory, ‘introducing certain scents can leave a
mind. The sensorial garden will serve as the transitional vehicle
long lasting impression on the user and if experienced in a positive
between all the stages creating balance within the site. The gallery will
situation, it may be associated with affectionate memories in the years
consist of two levels the first floor will provide an illuminated open
to come.'
62
plan ambiguous area in which the touch gallery will be supported, whilst the lower floor will be specifically designed to cater for
62
The garden would benefit from a site with existing abundant plant life in order to supplement and offer diverse design options. The proposed garden will contain Native and diverse plant life exposing new smells and tastes. A fresh vegetable garden grown and maintained by the occupants The educational stage one facility will prepare the users to successfully navigate through the garden, mastering their motor skills and readings skills as they interpret and register the corresponding scents with the names of the plants. And finally, alphabetical and numeric trails for interactive learning.
acoustical art works.
A sense of smell, www.babysensory.com
41
PROGRAMME
SITE
ANALYSIS
DOVE MYER ROBINSON PARK
42
SITE
ANALYSIS
Auckland
Figure 25: Auckland region site investigation
This area overlooks the Waitemata harbour.
43
SITE
ANALYSIS
Locality map
N North shore
Figure 26 The enclosed section of the map contains a high concentration of medical facilities for the blind all within close proximity.
1 2
Geographically this is the heart of Auckland, providing high public transport services. The enclosed region is located outside the border line for the Somerville special school zoning, providing the perfect location for the desired design, as it requires educational facilities and is within a close radius of various medical facilities and the RNZFB.
Auckland City 9 Newton 2 4 2
New Lynn
11
2 2
5 2 3 2
Panmure 7 2
School intake zone
6 2
Manukau City 8 2 10
44
SITE
ANALYSIS
12 10
Legend
Existing facilities for the blind within the Auckland metropolitan limit
Medical Facilities 1) 2) 3) 4) 5)
Milford Eye Clinics Auckland Eye Eye Institute Mercy Hospital Ascot Eye Doctors
- Shared Surgery facility among other specialists in the medical centre. - Optical examination machinery specialty building. Performs LASIK laser eye surgery. - Offers operating theatres and day rooms along with support and public inquiries. - Provides surgical facilities and overnight accommodation. - Provides specialist optic operating theatres.
Educational Facilities 6) Oakland special school 7) Sommerville School - provides education for children with hearing, communication, intellectual, physical and visual impairments. B The school offers a special needs teacher training programme. 8) BLENNZ - (Blind and low vision education network of New Zealand) campus mentoring for visually impaired children providing normal classroom providing normal classroom environments. Specialized Support 9) RNZFB 10) Guide dog service facility
- Royal New Zealand Foundation for the Blind.
Specialized Libraries 11) RNZFB Library 12) BLENNZ Library
- (Royal New Zealand Foundation for the Blind) Library - (Blind and low vision education network of New Zealand) Library
45
SITE
ANALYSIS
Site selection
Dove Myer Robinson Park N
(Figure 27) This park is attributed and named after the mayor who served Auckland for 18 years.
Stage 1 Parnell
Auckland
The educational facility Overlooks the rose garden area and utilises the rose garden entrance as the main entrance to the facility the car park is directly opposite also Stage 2 Sensory Garden
(Figure 28) Dove Myer Robinson Park contains a myriad of beneficial amenities that can contribute to the proposed design programme. Consequently the final design should integrate and help enrich the existing amenities. The memorial sections and areas of cultural importance will not be disturbed as the oldest Manuka and largest Pohutukawa trees in Auckland are located on site, this section is highlighted in red.
3
This section lines the already existing nature walk portion of the park and is opposite the already existing rose garden.
1 2
Gladstone Road
Stage 3 Sound/Touch Art Gallery This section lines judge’s bay and provides a unique sloped contour to offer geographic diversity.
Judges Bay Road
Dove Myer Robinson Park Figure 29: Dove Myer Robinson Park
46
SITE
ANALYSIS
This area overlooks the Waitemata harbour.
Site investigation
Amenities and proposed site parameters
2
2 B
1
3 3 (Figure 30) West view of park
(Figure 31 ) east view looking west up slope
Figure 32 east view looking down slope
This areamemorial overlookssection the Waitemata 1 War harbour. This area overlooks the Waitemata harbour.
This area overlooks the Waitemata harbour.
This area overlooks the Waitemata harbour. 4 Parnell Baths Salt pools within close proximity of judges bay providing easy access for swimming tutorials as the bay mimics a beach front in a safe controlled area.
Judges Bay
2 ‘Parnells on the rose garden’
5 St Stephens Chapel
This is a wedding venue establishment.
Located on the eastern side of the site where the noise is minimal. 1
S
3 2
6 Nature trail A nature trail that allows the user to envision an unobstructed wilderness, the trees absorb exterior noise creating a tranquil environment .
3 Parnell Rose gardens This consists of the Nancy Steen rose garden founded in 1982.
(Figure 33) Site map
47 I T E overlooks A N A L Y S Ithe S Waitemata harbour. ThisSarea
Access
Transport
Pedestrian access is abundant along Gladstone road with three main entrances
TRANSPORT (Figure 34) to the left shows Dove Myer Robinson Park access routes to the section of the park that is relevant. (Figure 35) below shows the rail network that passes through Auckland city and new market within close proximity of the park
The bus stops directly outside the main entrance to the Rose garden which continues to lead through the designated site
Access along Judge’s bay Road is fairly secluded and quiet providing a great contrast between Gladstone road which is generally busy.
I Pedestrian access and pathways
II Bus stops
III Train Station and rail route Gladstone Road Judges Bay Road
IV Vehicle access and parking areas
48
SITE
ANALYSIS
Geographic diversity
Environmental Conditions N
(figure 36) Site contour investigation
Light in order to maximise and distribute the sun light coverage a slender form will be utilized spanning within the proposed site boundaires, light intensities play a crucial role in the development and understanding of architecture for the visually impaired as it is usually one of the most effective and well percieved visual attributes due to the variation between light and dark.
Sunlight coverage, soundscape and Geography are three important factors which have been largely considered in site selection and design location. The entrance of the propsed design(west sector) consists of a relatively flat contour exhibiting the rose garden with a slight slope that gradually becomes more defined as one approaches the eastern perimeter lining judges bay with an approximate slope of 12 mteres from the west to east (yellow line). The geographic variations of this site serve two main purposes: 1-as one descends along the slope the complexity of activities and architectural design will also increase in complexity and difficulty.
(figure 37) Sun light dispersion
Judges Bay
Rose Garden
2-It provides a kinaesthetic landmark as the user will know their location eg. when they are walking down hill they are leaving the site.
49
SITE
ANALYSIS
The average Temperature in auckland is 15째C with an average high of 23째C in summer and a average low of 8째C in winter. There are and average of 2093 hours of sun per year with an average of 5.7 hours per day. The below image created in ketchup and photoshop demonstartes the difference in coverage of the seasonal sun rays.
Initial Sketch Design
Sketchbook excerpts demonstrating initial design flow planning based on precedents examined FLOW & FLOOR PLAN DESIGN
CORRIDOR CROSS SECTION
LIGHT ANALYSIS: CROSS SECTION
Flow: The initial sketch design incorporates information obtained in chapter 1:
Colour: Demonstrating a similar pod system
Light: The outer shell of the building follows a
Sound: Volume variation within the hallway to
client and chapter 2: beauty with a brief understanding in the multisensory realm. The grand hallway acts like a ventricle system allowing access to all areas of the design .
that was utilised in case study: Anchor centre for blind children, colour coded rooms.
saw tooth window design to allow summer and winter sunlight in to selected areas of the
create diversity serving as a aural navigational tool.
building.
(Figure 35, 36) Sketch design excerpts
50
SKETCH
DESIGN
Sketch Design
Incorporating a Biomimetic flow diagram based on the ventricles of a leaf
(Figure 38, 39) Sketch design excerpts
STAGE 1
Biomimicry: is the examination of natural processes and systems that are already successful and emulating in hopes of providing educational and technological benefits to mankind.
STAGE 2
Biomimetic form: the examination of vascular structure of a leaf provides the main basis for the designs central corridor system. Access To the whole site is easily and comfortably traversed.
STAGE 3
Geography: the gradual slope of the site is a prominent factor in the building design; the route from stages 1 to 3 will utilize the natural formation, providing geographical navigation to the users.
51
SKETCH
DESIGN
Wind: The prevailing winds approach from the south westerly side of the site. Although a large wall of trees and shrubs are present to deter large gusts, a casual and steady flow of wind reaches the site carrying the scent of selective breeds of flowers. The opportunity to harness this idea and apply specialised herbs and crops finalises the site selection.
Sketch Design Presentation (Figure 40)
The following images are photo reduced from poster format
Conceptual massed model
Location
Perspective West Aerial View
Aerial perspective with sketch design
Dove Myer Robinson Park
view perspective
Parnell
STAGE 3
Auckland
Art Gallery
STAGE 2 Sensory Garden
STAGE 1
N
Educational Facility
Rose Garden
Dove Myer Robinson Park
Perspective East Aerial View view perspective
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Perspective North West Aerial View SKETCH
PRESENTATION
view perspective
Floor Plans
N
1:300 STAGE 1
EDUCATIONAL BUILDING 1. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. 12.
1
3
2
5 4
Cafe Technology store Braille Library Informal lounge Music room/ recording studio Meeting room Office / reception desk Kitchen/ dining room Art room Light room Literacy room Sensory gym/motor room
11
6
7
8
9
10 0
12
11 11
STAGE 1 EDUCATIONAL BUILDING 1:300
14 STAGE 2
15
SENSORY GARDEN 13. 14. 15. 16.
Braille trail /alphanumeric etching Vegetable garden Sensory walk Nature walk
13 STAGE 2
16
INITIAL SENSORY GARDEN DESIGN 1:300
STAGE 3
ART GALLERY 17. 18. 19. 20. 21.
Reception Level 2 Light/ Touch Gallery outdoor sculpture space Level 1 Aural Gallery Sculpture Pavilion
17
18
19
20
STAGE 3 ART GALLERY LEVEL 2 1:300
53
SKETCH
PRESENTATION
21 STAGE 3 ART GALLERY LEVEL 1 (GROUND) 1:300
STAGE 1
Cross sections of the Educational facility
A LIBRARY
HALL
B
KITCHEN
MUSIC ROOM
STAGE 2: 9m WINTER SUN LIGHT SUMMER SUN LIGHT
2.5m
7m
GARDEN
8m
4m
CLASS ROOM
7.5m
STAGE 1: EDUCATIONALBUILDING CROSS SECTION B 1:100
STAGE 1: EDUCATIONALBUILDING CROSS SECTION A 1:100
A
HALL
B
STAGE 1:
STAGE 3:
EDUCATIONALBUILDING SOUTH LONGITUDINAL SECTION 1:400
ART GALLERY SOUTH LONGITUDINAL SECTION
54
SKETCH
PRESENTATION
1:400
STAGE 2: GARDEN
Building 3 Perspectives: Art gallery Conceptual form
STAGE 3: ART GALLERY CONCEPT
STAGE 3:
ART GALLERY CONCEPT SOUTH PERSPECTIVE OF GALLERY
EAST PERSPECTIVE OF GALLERY
Site Longitudinal Elevation EDUCATIONAL BUILDING & ART GALLERY
55
SKETCH
PRESENTATION
PARTI DESIGN EXPLANATION
EYE OF HORUS
SILVER FERN
ARCHITECTURE
STAGE I: EDUCATIONAL CENTER
STAGE II: SENSORY GARDEN
STAGE III: TOUCH/SOUND GALLERY
Amalgamation of the chapters The multiplicity of design and sensory disciplines examined in this thesis proved difficult in producing
a
coherent
‘PARTI’
that
could
inclusively detail all the concepts behind this design. The Parti is commonly reminiscent of current western “strong architecture” that is envisaged from one powerful image through wellarticulated form.
63
The initial Parti Drawing (figure 41) is layered with a concise symbolic pictogram (figure 42) that is also displayed on the front cover. The blind can
NATURE
This ‘Wadjet’ is an Egyptian mathematical Symbol is divided into six segments; each represents a mathematical fraction and one of the six senses necessary to man. 1/2 SMELL
The silver fern symbolises that the design incorporates nature and is native to New Zealand. The chronology of the leaf placement is in the centre, enforcing neutrality and notion of bridging the three stages together.
easily decipher these three symbols, which embody the ideas conveyed throughout this
1/4 SIGHT
entire thesis. 1/8 THOUGHT
The balanced composition and trilogy of symbols reflect the three stages of design and the
1/16 HEARING
unification between nature, the senses and beauty. A brief overview of each symbol is examined.
BEAUTY
MULTISENSORY
1/32 TASTE
1/64 TOUCH
63
Juhani Pallasmaa, “Hapticity and Time: Notes on Fragile Architecture. ‘The Architectural Review, (2000).
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PARTI
The final symbol represents The final stage of the journey. Art gallery is designed to encompass all the technical skills and experiences learnt in the educational centre and the sensory garden.
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Figure 41 Art instillation displaying the human senses
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SENSORY
OVERVIEW
Multi-sensorial Design Intensification of the image This chapter will explore each of the senses in order of hierarchical importance of necessity to the blind. Before the remaining senses can be examined, we must understand why the ocular centric design fascination continues to overwhelm the remaining senses in modern architecture.
Architecture of the formal aesthetics This notion refers to current designs concerned with the visual image. This phenomenon provides the “hegemony of the image�, which has instigated the rise of architecture demonstrating multi-sensorial deprivation. What is the hegemony of the image?
Hegemony of the image Is a phenomenon that is not expressed as an individual entity, but as a combination of roughly
three main causes and effects, which are;
static, detachment and familiarity.
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FIGURE 43: Sculpture of the senses
64
Kamiel Van Kreij, Sensory Intensification in Architecture, Technical university delft, 2008, pg 13. 62
SENSORY
OVERVIEW
STATIC This is the most well known and understandable of the three, which
Explaining intangible senses such as acoustics and Atmosphere in a
provides an image fixed in time and position unable to provide
two-dimensional visual medium is difficult. To fully understand a
additional information, showing the past or future of a certain design.
design properly, one has to experience it many times forming a
Architects have been drawn to this method of representation since the
relationship between the designer’s intentions.
renaissance,
Steven Holl
proclaims that “The
representation of
architecture entails three fields: the foreground, middle ground and distant view combined to provide a complete perceptive experience, that cannot be understood with traditional plan and section representations.”
65
DETACHMENT This Refers to Visual stimuli observed from a distance utilising surface information. Technically, they are detached. The visual representation can often reveal Haptic and functional qualities such a painting, the Mona Lisa for example (figure 44), the initial image provides purpose and meaning, the brush strokes provide technique and the cracks of paint identify the age of the image. The reproduction of the image can lose these necessary layers that combine to complete the piece of art. This notion is fundamental to the visually impaired due to the diversity of visual perception; viewing and understanding a reproduction of the building would prove moot, due to the fact, the image lacks the ability to convey the entirety of multi sensorial aspects in the design. 65
Kamiel Van Kreij, Sensory Intensification in Architecture, Technical university delft, 2008, pg 13. 63
SENSORY
OVERVIEW
Familiarity This refers to the benefits of reproductions of images as they are easily distributed all over the world for visual perception. “Easily grasped images are the signature of today’s culture of consumer architecture. Subtle experiences of perception as well as intellectual intensity are overshadowed by familiarity. A resistance to commercialism and repetition is not only necessary; it is essential to a culture of architecture.”
66
Perhaps this is why ocular centric design is
so desirable. The ease of understanding and the ability to capture a definitive moment of a certain design and share it around the world so
(Figure 45) In this image, an anechoic (non-echoing) chamber is being utilised. For a person to comprehend the situation an actual onsite visit or experience of a previous anechoic chamber must be known. The room is designed to stop reflections of sound and is insulated from external noise, creating an enclosure of complete silence. Through architectural courses and the research for this thesis, personal experience was obtained, but for a person of the public, the limited Notion of silence would be a quiet room, but this would still have some form of noise or ambient sound reflection of a certain degree. The intensity of silence in this room was so powerful that one can hear their own heart beating and even the sound of lungs as we inhale and exhale.
efficiently is an attractive notion. Ironically, some of the research and precedent studies regarding design for the visually impaired in this thesis were investigated in this method due to geographical limitations. Inventively the final design chapter will display and express multi sensorial intent through visual images. Sometimes visual
representations of multi-sensorial designs can be
expressed to a certain degree. A previous knowledge and experience of a similar instance allows one to understand and interpret the situation, forming a “BENCHMARK” to compare and relate to.
66
Kamiel Van Kreij, Sensory Intensification in Architecture, Technical university delft, 2008, pg 14, 15. 64
SENSORY
OVERVIEW
UNDERSTANDING THE PROBLEM Intensification vs. Deprivation
I) Sensory deprivation:
Deprivation of the experience
Focussing on aural, visual and olfactory sensations that are currently underutilised in current life styles and architecture.
The aggrandisement of the visual image in architecture discussed previously implies that the other senses have received less attention.
II) Haptic deprivation:
This is known as sensory deprivation. Hapticity: Exploring the tactile architectural experience between
Sensory deprivation
physical contact and diverse materiality.
The four main sensorial realms attributed to architecture that are
III) Kinaesthetic deprivation:
recognised in the following chapters are sight, sound, touch and scent. As discussed once the visual realm is deprived , the visually impaired
Kinaesthesia: is sense which detects the movement, weight and position of a person’s muscles, basically one’s self awareness of their
tend to rely on the aural and Haptic aspect of architecture to see.
surroundings. In attempt to evoke, an aesthetic experience for the visually impaired, research into methods of deprivation and intensification of each sense must be understood. The three categories of experience deprivation
This will lead to exploring kinetic architecture and understanding movement and motion to either speed, slow or stop people through design.
that will be considered in the following chapter are:
65
SENSORY
OVERVIEW
Design Technique Fragile Architecture
Exterior Physical Model STAGE 1 EDUCATION CENTRE
Focusing on the light rather than darkness is a key concept in this design. Information discussed in the previous chapters led to the Initial
Exterior shell of stage 1 educational centre. This model was created with an abundance of dynamic window frames to allow maximum sunlight penetration in the testing stage. The successive study of each sense will allow for changes to be made to this shell.
sketch design favouring light manipulation, resulting in a physical model (Figure 46) that was constructed to display a combination of distinctive instances from the exterior to the interior of the building. The outcome was an allocation of spaces that drew from the surrounding site dividing the interior into series of different coloured pods. The yellow educational rooms are located on the southern side to gain daylight whilst protected from direct northern sunlight; the red pod area contains the more practical facilities and is located near the end
N
of the building where most of the noise will be generated. The kitchen
STAGE 1 EDUCATION CENTRE
facilities are directly opposite the vegetable garden area to concentrate distinctive aromas and tastes. The heart of the building
This image shows the interior lighting for the grand hallway with midday sunlight penetration.
would have to be the grand hallway serving as the central ventricle system providing access to the entire site.
66
Interior Physical Model
SENSORY
OVERVIEW
After the construction of multiple conceptual models, it became clear
Pallasmaa perceives that his design starts from the “interior to the
the external representation of the building was difficult to convey as it
exterior”
would constantly change to cater to the needs of the interior.
instance eventually combining the scenes to create a whole. Pallasmaa
67
by envisioning each room as a separate architectural
details this method of design as “Fragile Architecture” Research from previous chapters has mentioned that the exterior envelope of the building is generally not explored as much as the interior for the visually impaired. Each sensorial instance such as aural, tactile and visual require different specifications based on interior
68
, which is
initially weak in the conceptual design process consisting of a myriad of different ideas and styles, eventually manifesting itself through sensorial interactions to produce the final complete design.
69
concerns that inevitably shape the exterior, therefore the construction
The “Fragile” design approach will help express the ideas of each
of the exterior envelope should morph to cater to each discipline and
sensory realm coherently.
emerge as a collective of ideas in final design, Once all aspects have
experimentations relating to localised areas of the design will be now
been researched and understood. This Method of design is enforced in
examined. The first series of investigations will focus on the visual
the works of the World-renowned architect Alvar Aalto; who is
aspect of design “light & colour”.
A series of multisensory studies and
admired for his sensitivity toward multi sensory experiences and unity within his design.
67
Juhani Pallasmaa, “Hapticity and Time: Notes on Fragile Architecture. ‘The Architectural Review, (2000). 68 Ibid. 69 Ibid. 67
SENSORY
OVERVIEW
VISION COLOUR AND LIGHT
(Figure 47)
69
VISION
Visual perception
LIGHT AND COLOUR
History of Lighting Maria Historically daylight has been the primary source of lighting in buildings
L.F.de
Mattiello’s
segment
featured
the
underutilized
collaboration of light with colour in modern architecture. Maria
and was originally supplemented by burning fuels before the
believes we generally perceive and approach the two ideas as separate
th
introduction of electrical lighting in the 20 century.
entities. Physically speaking, light and colour both belong to a single 72
A strong emphasis on good daylight strategies to accentuate volume
radiant spectrum, without light colour cannot exist.
Her research
and emotion has become highly recognised and pursued in
focuses on the psychological stimulation of colour and light to provoke
century. Le Corbusier
certain emotions and retain memories, pondering the definition of
stressed the importance of light in his designs with a strong
comfortable vs. Uncomfortable environments. Incorporation of this
proclamation that “Architecture is the masterly, correct and
non-verbal communicative system has been expressed through four
architecture in the last quarter of the 20
th
magnificent play of volumes brought together in light”,
main coloured pods.
70
concluding,
“The history of architecture is the history of the struggle for light.”
71
The international colour and light in architecture conference was held
The following plans demonstrate the use of colours to accentuate
in Venice (November 2010).The conference was held to establish and
mood and atmosphere, also providing a good indication of room
examine the implementation of modern light and colour strategies in
allocation and visual landmarks.
architectural design from a range of different disciplines: historical, cultural and aesthetic.
70 71
Le Corbusier, 1989. Ibid
72
70
VISION
Maria L.F.de Mattiello, Colour and light architecture, 2004.
Pod Colour System The green pod area contains public amenities consisting of a shop that displays modern technology for the blind (a try before you buy system), and a cafe with light and acoustic sensitive navigational design.
DISTRIBUTION OF COLOURS IN DESIGN The blue pod area contains the semi- public areas where regular students and friends can gather to read books and eat lunch. The library is divided into an adults and children’s section to minimise noise exposure, a similar scheme is used within the kitchen facilities due to height and motor ability.
The yellow pod area contains the educational learning rooms. Literacy and reading skills are developed and enriched in this area.
The red pod area is localised to eastern area of the building, these are the activities that produce the most noise and are highly physical. Some visually impaired interviewees stated they had developed an acute sense of pitch and musical talent. The inclusion of a recording studio with a music room to introduce instruments to new members should prove useful.
The importance of art in relation to beauty was examined in chapter 2. The introduction of a sound/touch gallery serves as a luxury for occupants who have advanced through stage 1 learning basic skills, then conditioning their senses in stage 2 sensory garden to finally be rewarded with a display of world renowned art, which they will be able to appreciate with their new education, heightened senses and ability to comprehend.
N
PASSAGE C-C ART GALLERY
CAFE
MUSIC ROOM
LIBRARY
STORE
RECORDING STUDIO
PASSAGE B-C
INFORMAL LOUNGE
WC
GRAND HALLWAY Lobby
LIGHT ROOM
Reception
WC
MOTOR ROOM
SENSORY GYM
PASSAGE A-C
OFFICE OFFICE
KITCHEN
ART ROOM
LITERACY ROOM
There are 3different routes toward the art gallery. Each of these routes evokes a different multisensory experience.
ROSE GARDEN BRAILLE TRAIL
VEGETABLE GARDEN
SENSORY WALK
SENSORY GARDEN
N EXISTING NATURE WALK
GREEN embodies nature symbolising growth, harmony and freshness whilst establishing strong emotional correspondence with safety. It is the most restful colour for the human eye. The entrance area is laced with green fixtures and stained windows, with easy access to the outdoor garden.
BLUE symbolises purity, freshness and calmness, blue light streams through the grand hallway intercepting the entrance of the kitchen highlighted in blue.
YELLOW is associated with joy, happiness, intellect, and energy. Bright colours increase assertiveness and awareness. The calming intuitive properties of this colour compliment the learning section of the design.
FIGURE 48: COLOUR PLAN
71
VISION
RED is associated with energy, strength, power, determination, passion and desire. This pod colour is designed to enhance human metabolism, increase the respiration rate, and raise blood pressure. The physical portion of the design is tethered to this colour.
N
Sunlight Distribution
Exterior envelope manipulation
A
B A
C
D
1
Varying contrasts displayed through light intensification and emotive colour configuration is generally the pinnacle of visual perception for majority of the visually impaired. The building envelope is altered dynamically to cater for each subsequent sensorial realm. Lighting strategies shape the form of the exterior envelope with a series of saw-tooth clerestory windows.
1
2
2
Floor Plan furnished (figure 49)
Stage 1: EDUCATIONAL CENTRE The coloured lines represent cross section cuts through each respective pod. The dynamic dimensions of the rooms affect light penetration and sound reflection. The cross sections to the right explain how light passes through each pod area.
3
3 A
B
C
D
Floor Plan sunlight (figure 50)
STAGE 1: EDUCATIONAL CENTRE
A) LIBRARY AND GYM Light vs. interaction ART GALLERY
CAFE
STORE LIBRARY
B) LOBBY Light vs. time
GRAND HALLWAY Lobby MOTOR ROOM
C) ART GALLERY Light vs. control
72
VISION
SENSORY GYM
These floor plans show areas that receive the highest concentration of northern sunlight penetration. Each of the labelled portions displays a unique lighting strategy, which is examined in detail throughout the course of this thesis.
2
1
Stage 1 EDUCATIONAL CENTRE
3 Cross-Section (figure 51) GREEN POD The green pod contains public amenities. Summer sunlight is obstructed through a saw tooth style window design, which allows winter sunrays to pass through with ease.
LOBBY CAFE/ STORE PUBLIC AREA
OFFICE
Cross-Section (figure 52) BLUE POD
LOBBY LIBRARY
KITCHEN
The blue pod is comprised of rooms, which require selective summer sunlight. The library will have a light wall displaying an interactive reading medium similar to a stain glass window with movable alphabet modules.
Cross-Section (figure 53) YELLOW POD
LOBBY INFORMAL LOUNGE
LITERACY ROOM
The yellow pod represents the central portion of the design, which caters for the academic and relaxation rooms. Both rooms are nearly equal in volume with sufficient sunlight.
Cross-Section (figure 54) RED POD
5M MUSIC ROOM
LOBBY TO DECK
SENSORY GYM
The cross sections on the left show the progressive reduction and growth of the buildings envelope as a person travels through. Notably this greatly affects the visual and aural atmosphere of the building, discussed in the following chapter. The Orange arrows represent the winter sunrays and the Yellow represent summer rays. The manipulation of sunlight to provoke and enhance the design spatially ,is achieved by adjusting the height and width of each clerestory, saw-tooth roofing area. The blue pod requires direct northern sunlight for the stain glass wall in the children’s area of the library so the roof angle has been calculated to provide only a small percentage of direct sunlight to penetrate. As one veers east toward the red pod gym area the ceiling height is 5m accounting for the highest point in the building. The following image is a collation of each pod cross section to demonstrate the growth and reduction of each quadrant in the design.
The last pod requires no natural sunlight in the music room; instead, the room is retrofitted with artificial lights. The lobby volume is largest at this exit juncture connecting to stage three. The clearstory windows allow a large amount of sunlight to enter sensory gym area.
8M FIGURE 55: COLLATED CROSS SECTIONS
73
VISION
A: Light & Colour vs. Physical interaction Interior Light Manipulation
1A (figure 56)
S T A G E I: EDUCATIONAL CENTER LIBRARY: CHILDRENS CORNER The Plan and cross section on the right show the area that receives northern sunlight and explains the interior facade to manipulate and control the light for a dynamic purpose. The library light wall is constructed for children to walk past on their way to the children’s corner. A large rectangle window offers a changeable day lit reading wall for children to interact with.
CHILDRENS CORNER CHILDRENS CORNER
ADULTS AREA
ADULTS AREA
1A
2A
2A
1A (figure 57)
STAGE I: EDUCATIONAL CENTER SENSORY GYM & MOTOR ROOM The Motor room is a therapeutic and high intensity portion of the gym, the northern facade allows light to pass through the top clerestory creating diffused light and the bottom section is an interactive wall with cubbies and stained glass apparatuses demonstrating art, interaction and geometry.
SENSORY GYM
1A
2A
74
VISION
2A
SUNLIGHT
Sunlight wall (figure 58) Learning with Light Colour serves as a valuable learning tool to distinguish time, mood and even objects. This installation will be the first interactive colour and light apparatus that teaches the subtractive and additive colour system independently and intuitively. As light flows through the exterior panel, a series of changeable stain glass pictures modify the colour of light to each respective value. The students must then place a series of interchangeable coloured filter blocks to match the correct image. Once the correct colour is selected, the light should flow freely. The image on the right is a plan view of the described scenario.
EXTERIOR GLASS
IMAGE FILTER
LIGHT RAYS
COLOUR BLOCK FILTER
DISPLAYED COLOUR IMAGE
A1) LIBRARY LIGHT WALL Conceptual Render
(figure 59)
A2) MOTOR ROOM LIGHT WALL Conceptual Render
Piet Mondrian (Figure60: Piet Mondrian’s Composition with Red, Blue and Yellow)
Beauty of art Colour and contrast are integral to the development of perception for young visually impaired children. The gym is highly influenced by Piet Mondrian’s art works displaying bold and seductive applications of three primary colours and unique geometric configuration. This art style is known as NeoPlasticism, and serves as an introduction for the young children to the world of art.
Thick black horizontal and vertical lines of segregation
Abstract style of simplistic art, utilising three colours red, blue and yellow contrasted with non-colours black white and grey.
Every element has a counterpart expressing balance and harmony.
75
VISION
(figure 61)
B: Light & Colour vs. Time
LIGHT VS. TIME
PHYSICAL MODEL CONSTRUCTION The coloured pods provide a navigational landmark for the occupants as well as evoking certain feelings and emotions. A colour investigation displaying the time of day compared to light penetration is examined in this model, which is constructed from foam board with coloured transparent card featuring Braille and shape perforations. MODEL PLAN Plan figure 62 Constructed physical model showing colour placement
N W
E S
APPLYING THE PHYSICAL MODEL
BLUE Figure 63 Morning sunrays shine from the eastern front, which are distributed through the Blue portion of the glass from the roof, providing a fresh and clean motif to start the day.
The following images show the lobby/entrance in three sequential periods of a day. Different colours and shapes will be projected onto the floor through various methods to offer a simple way of determining the time of day whilst enhancing the particular mood of the occupant.
YELLOW Figure 64 Noon sunrays are distributed through the Yellow northern portion of the design, evoking a strong focussed attitude for students.
Figure 66 The following floor plan indicates the location of the three coloured lobby area.
GREEN Figure 65 The final Afternoon sunrays are projected through the entrance of the building forming a relaxing Green atmosphere to end the day.
76
VISION
MORNING East Sunrise
NOON
AFTERNOON
North Midday Sun Light
West sunset (Figure 71)
(Figure 67)
(Figure 69)
The incorporation of mirrored skylights provides natural directional lighting control.
The yellow rays shine brightly as it approaches lunchtime, right outside the cafe area.
The green mosaic lights lead the way for students as they approach the end of the day, ready to go home. The recessed door provides high contrast.
(Figure70) When noon approaches the direction of the sun will be north bound allowing the north facade of the building to shine Yellow patterns in the lobby.
(Figure 72) When the sun begins to set the rays will shine from the western side projecting the Green perforated design to the floor below.
(Figure 68) When students enter the building in the morning, eastern sunrays will shine on the blue panes of glass and a Blue grid of Braille will be projected down through the use of a mirrored skylight system that is dispersed through a perforated Louvre.
.
77
VISION
SOUND Intensification vs. Deprivation
FIGURE 73: ACOUSTICS
78
SOUND
SOUND Brief history of architectural acoustics The history of architecture utilizing the sound and space nexus dates back to the early works of Vitruvius who stressed the importance acoustical considerations within architecture by combining the harmonic properties of music through a mathematical process. In later years, the renaissance shifted architectural thought away from sound and favoured the visual image; the importance of acoustics was once again sought after in the late nineteenth century, with the rise of the bourgeois space generally designed for the concert hall. This rise in acoustic pursuit gave birth to mathematical formulae that could calculate the reverberation time in certain enclosures, this method of gauging acoustical qualities in a space was developed by (Walter Sabine), known as the Sabine equation. Currently the responsibility of modern acoustic design is determined by an acoustical engineer, who generally approaches the design problem with a numerically quantifiable solution devoid of artistic and cultural meaning. Aural qualities are generally not of significant priority in modern architecture, with the exception of specialised design requiring functional sound manipulation such as a concert hall (figure 74). As mentioned in the anchor school for the visually impaired case study, the design provides a slight 6-degree slope on each classroom wall to control and manipulate sounds. The shape combined with specialised materiality plays an important role in distinguishing the sound produced in a room. The composer/ Educator, Raymond Murray Schafer expressed that a buildings visual intricacies should be Complimented with the ability to intensify and delight our sense of 73 hearing, enforcing the idea of balance in the senses.
73
Joy Monice Malnar and Frank Vodvarka, Sensory Design (Minneapolis: University of Minnesota Press, 2004).
79
SOUND
LIMITATIONS OF AURAL ARCHITECTURE
THE IMPORTANCE OF SOUND IN ARCHITECTURE
The general limitations attributed to current aural design are usually
The power of Sound and its connection with occupants is expressed
the result of construction and practicality. Sadly, acoustics taught in
through dynamic events “a static world never produces sound” . Barry
architecture schools generally focuses on sound reduction, absorption
Blesser explains “sound to be the result of mechanical vibrations from
and isolation.
74
The possibilities to provide sound intensification or
harness certain natural noises serving as aural cues evoking various emotions are often neglected. In New Zealand, the building standard 4121 outlines building code regulations regarding persons of disability. The section, which specialises for the visually impaired mentions that colour contrasts and Haptic features are required for the building to be ‘safe’ for the visually impaired. Acoustic design is not part of the regulation; instead, the design only requires function and safety protocols. The purpose of this thesis is to provide aesthetic multisensorial intensification to delight and educate the remaining senses of the blind potentially maturing and conditioning their senses helping
75
man-made or natural actions perceived through the sense of hearing allowing one to connect with certain activities.”
76
In some respects sound transcends the limitations of the visual realm and can be thought of as “mans best sense for recognising and 77
connecting dynamic events” as we can differentiate the emotional tone in which someone speaks, the sound of footsteps can determine arrivals and departures as well as the speed of a person. Vision is limited to focusing on a particular target, which can easily be obscured, relying on a light source for the situation to be perceived. transports the external world in to our consciousness.”
78
“Sound
79
them to “see” (metaphorically.)
75
74
Barry Blesser and Linda Ruth Salter, Experiencing aural architecture, MIT Press, 2007. 76 Ibid 77 Ibid 78 Ibid. 79 Ibid.
Malnar and Vodvarka, Sensory Design, 144.
80
SOUND
THE PHYSICS OF SOUND
THE MECHANICS OF SOUND
In order to begin designing and incorporating acoustic techniques, the physical principles of sound must be understood. The technical definition of sound can be understood as vibrations of pressure through either a solid, liquid or gas medium that are transmitted from an originating object to a surrounding listener, this causes the 80 eardrum to vibrate which is perceived by the brain as sound. Three main factors determine the outcome of any particular sound from origin to listener:
Sound waves are characterised by the principles of harmonic motion and sound pressure. A two-dimensional representation of sound can be graphically expressed through sine waves through amplitude vs. time. The different sound pressure levels are calculated in decibels (dB) with zero being the initial starting point for human perception. The following images show the shape of sound waves of different intensities through a medium of air.
SOUND PRESSURE AMPLITUDE vs. TIME
I.
II.
III.
SOUND GENERATION: Projected sound is derived from a combination of qualities inherited from the source, for example, the sound a piano makes is determined by the size, shape and materiality of the instrument. SOUND PROPAGATION: The environment in which the sound is broadcasted and the medium in which it travels greatly affects the sound quality for the listener. For example, a man yelling in a small room compared to yelling in a large sports gym will have different results based on the size of the room and its reflective, absorbent and diffusive material qualities.
DEEPER PITCH
LOUDER
SOUND RECEPTION: Lastly, sound relies on the subjective perception of the listener, which can be affected by physical conditions such as age or disabilities and social preferences. I.e. musical taste.
HIGHER PITCH
Angus, J. Howard, D. Acoustics and Psychoacoustics. Focul Press, Third Edition, 2006.
81
SOUND LEVELS
QUIETER
FIGURE 75: SOUND PRESSURE 80
SOUND (dB)
SOUND
FIGURE 76: SOUND LEVELS
CONTROLLING SOUND
IDENTIFYING THE PROBLEMS
The Method of understanding sound in architecture is known as
Four key recurring factors seem to appear throughout this thesis
acoustics; which utilises science and mathematics to interpret sound
research regarding sound and acoustic enclosures. Blesser attempts to
behaviour. As previously discussed there are three stages of sound;
contribute valid suggestions in hopes of finding an answer by stating
generation, propagation and reception. Acoustic design focuses on the
firstly,
propagation of sound in a room and can be controlled by modifying the, size, shape and materiality of the space. The practice of aural architecture requires specialised considerations in
I) The acoustic appreciation of a space demands a dynamic event in conjunction with human interaction. The designer can only determine part of the aural experience; the rest is solely up to the people who 83 occupy it.
acoustic properties of the building to evoke social and emotional experiences catering to the needs of the inhabitants.
81
The notion of
the aural Architect was generally unrecognised and underappreciated “based on observations through history and culture, there is no evidence this function was ever recognised.”
82
Perhaps this is the
reason architecture rarely focuses on acoustic design to engage and evoke aesthetic pleasure.
II) He refers to the notion of sound as an ‘ethereal occurrence’ that instantly disappears and is unable to be recorded, contrasted with the 84 ability to record visual encounters with photographs and sketches. III) The ability for people to recollect the aural memory of a space is generally weak due to the acoustic deprivation and lack in knowledge of acoustic vocabulary that is currently understood in the general public. The lack of regular sound intensification and manipulation in the everyday life style contributes to this notion of deprivation. Iv) Prominent architects are usually awarded prizes and status based on ocular centric designs, with the judging system favouring the visual image over all other senses, which results in the training of a new generation of architect’s content on the visual pursuit contributing to this cycle.
81
Barry Blesser and Linda Ruth Salter, Experiencing aural architecture, MIT Press, 2007. 82 Ibid.
82
83
Ibid. Ibid.
84
SOUND
FINDING A SOLUTION Aural Design Conference In June 2006, the A|M|A (Architecture|Music|Acoustic) SoundaXis’ conference was held in Canada. The conference featured over 100 prominent acoustic engineers, architects, academics and composers in hopes of providing collaboration from diverse and different approaches to ‘sound and space.’ Some of the Keynote speakers were R. Murray Schafer, Juhani Pallasmaa, Barry Blesser and Linda Ruth Salter, which have been 85 extensively crucial to the aural approach in this design thesis. Colin Ripley one of the academics at the conference published a book containing material and academic developments that were examined at the A|M|A Conference, he explains that this was the first opportunity to collaborate as a community of academics on the relationship between sound and space. One crucial problem that arose throughout most of the different acoustic disciplines was the difficulty 86 of working in a field that has no collective journal. “There are architectural journals, musicology journals and cultural journals but to my knowledge no recognised or organised body of literature focusing 87 on sound in relation to space.”
st
Is this relationship important? Ripley explains that in the 21 century nearly every aspect of our existence has a domain of academic study 88 specialised to the originality and uniqueness it provides. Throughout an architectural student/practicing architects career the notion of sound and space usually becomes investigated. Unfortunately, without a consistent and recognised documentation of sound exploration the designer must start from the beginning resulting in each new exploration providing no real progress, never ascending a 89 state of “dilettantish amateurism.” The desired body of literature should provide access to previous aural architectural explorations also communicating different approaches by including sound artists and composers. Ripley considers his publishing to be the first step in providing such a document.
85
Colin Ripley, Marco Polo, Arthur Wrigglesworth, In the place of sound: Architecture| Music | Acoustics, Cambridge scholars publishing 2007, pg 2. 86 Ibid. Pg 2. 87 Ibid pg 2.
83
88 89
SOUND
Ibid pg 3. Ibid pg 3.
DESIGN
SEEING SOUND
ACOUSTIC CONSIDERATION
GENERATING AN AURAL MAP
The practical portion of acoustical experimentation and exploration in
The site was analysed vigourously through out different days and
this thesis will follow a series of case studies and working
seasons of the year and on multiple occasions the visual sense was not
drawings/models utilizing information from the collective literature
utilised allowing for a Sound Map (Figure 77) to be constructed. A 1:500
featured in Colin Ripley’s book. Due to the diverse perceptive featured
scaled map with a superimposed 2m by 2m grid displays three levels of
approaches to acoustics, a localised exploration from two prominent
noise intensity. The shell of the design fits neatly in to a natural
academics Barry Blesser and Linda Ruth Salter will be utilised to form
cloistered formation of trees that seamlesly porvide noise suppression
the basis and understanding for majority of the philosophy.
from the adjacent street.
The most important aural factor in this design is the initial site in which
RED signifies the highest intensity of noise with a highly concentrated cluster of traffic and vehicle usage on Gladstone road also the north
the building resides. Ambient noise and Soundscape is crucial in determining the location of the design, materiality strategies access routes.
east chapel signals church bells on Sundays. GREEN is the most frequent sound level, representing the natural ambiance of the site such as birds singing , trees russtlesing in the wind
Dove Myer Robinson Park was selected as the site for this thesis
and the medium chatter of pedestrians.
because of the intense array of sensorial diversity and the existing
BLUE signifies the neutral and Peacefull areas , there is relatively less
amenitys. The site shows alot of acoustic potential tadding a diverse
noise due to less people exploring this area and the cloistered spaces
display of soundscapes to add in the new design programme.
created by the trees and landscape.
84
SOUND
Sdound map
4. AQUAOTIC SOUNDS
2. CLEAR LAND
5. CHURCH BELLS 1.TRAFFIC NOISE
3. NATURE TRAIL
85
SOUND CLIPS The following identified areas on the sound map are the key natural navigational sounds used to determine the four cardinal directions .The numbers correspond to audio tracks on the CD located at the back of this thesis. These sound clips have been created to enhance and include the reader to understanding the site acoustically with the help of Onsite live recordings and sound composition editing software.
SOUND
SOUND vs. SHAPE
SHAPE vs. REVERBERATION
SOUND CONTROL METHODS
STAGE ONE: CORRIDOR DESIGN
MEASURING VIBRATIONS
CORRIDOR PLAN Figure 78)
The full span of the Grand hallway displayed in orange. The selected area that is examined below is located in the orange rectangle.
How does the shape of the room effect the way it sounds? ‘Reververation time’ is the primary method of expressing the acoustic quality of a room by measuring the length and time of echos produced.
DIRECT SOUND REFLECTED SOUND
The acoustic terminology for a room with no echoes like the anechoic chamber metioned earlier is known as a ‘Dead Room’ whilst a room producing echos is known as a ‘Live Room’. As these sound vibrations discipate over time we experience the ‘decay.’
90
WALLS AND DIMENSIONS The shape and dimensions of a room form the crucial basis in measuring the reverberation time. This can be expressed expressed by “RT60 which calculates the amount of time in seconds that is required by reflections to decay by 60 decibels below the existing sound level” .
91
The revereration time varies depending on the amount of walls and
the size of a room. Generally bigger rooms with more walls equal larger reverberation times because there are more surfaces for the sound waves to bounce off. The shape of the room can effect sound relfections severely, the following images explore this idea. 90
http://www.ehow.com/how-does_5200731_shape-room-affectreverberation-time_.html 91 Ibid.
86
SOUND
SYMETRICAL SPACE
INCLINED SPACE
ACOUSTIC PANEL
Figure 79) Cross Section
Figure 80)
Figure 81)
A key problem with current architecture for the blind in New Zealand is that spaces are generically constructed and later retrofitted with safety features. The typical space consists of a symmetrical room. This returns reflected sound waves to the original location encouraging the blind to walk in the middle of the hallway causing collisions.
This shape allows clerestory sunlight and diffuses early sound waves in a controlled manner eliminating flutter and undesirable sound reflections compared to a symmetrical room. The central generation of sound is heard on both sides a creating awareness of location and obstacles due to the difference in ceiling inclination.
An acoustic panel is located at each pod entrance junction, to provide coloured skylight navigation and to absorb the reflected sound waves helping occupants to appreciate the distinctive materials that are located on the floor and walls.
GALLERY SPACES STAGE THREE: UNIQUE EXHIBITION SHAPES GALLERY SHAPE The Sound galleries are located on the bottom floor of stage three. A series of different shapes form the basic footprint of each exhibition room to allow for unique and customised sound installations requiring unique qualities. The Central lobby area contains sound domes, which redirect sounds under the dome as demonstarted in the image below, creating a private enclosure for conversations, whilst emitting light from the above room.
WHISPERING CHAMBER SOUND PHENOMENON: ELLIPSOID
The Grand Central terminal has been designed in a uniquely shaped ellipsoid which allows a person to whisper into a pillar at one end of the structure and be heard on the opposite side. This effect is known as a whispering chamber. As a person makes noise from one end, the sound emanates through the circular circumference to the opposite side. FIGURE 85: ELLIPSOID SOUND REFLECTIONS
FIGURE 82: DOME SOUND REFLECTIONS
FIGURE 83: DOME SOUND REFLECTIONS
FIGURE 84: ART GALLERY SHAPE ALLOCATIONS
FIGURE 86: GRAND CENTRAL TERMINAL WHISPERING DOME
87
SOUND
SOUND vs. SIZE VOLUME VARIATION, ECHO POD ONE REFLECTED SOUND
Although size, materiality and shape are all uniquely important in controlling the sound of a space, one characteristic is often more dominant than the others. In this circumstance, the size of the grand
INCIDENT SOUND
hallway is contrasted from front to back. The hallway near the kitchen
HIGH ABSORPTION Figure 87)
The walls and ceiling are lined with absorbent plaster to minimize sound reflections enforcing the small area. The sound dissipates after one reflection.
is smaller occupying less volume with faster sound reflections. POD THREE This portion of the hallway has a larger volume creating slight echo’s, that alert the students they are approaching the gymnasium area and
HIGH REFLECTION Figure 88)
the end of stage one. The common consensus determined from the
The walls are dense wooden panels, which are highly reflective creating an echo sound.
interviews was that the visually impaired were uncomfortable in large spaces, due to the fact they had no navigational cues to guide them. They lacked the ability to explore this type of enclosure in a safe environment, in order to practice and become affiliated with the feeling of a large enclosure.
HALLWAY PLAN
This is the reason the hallway gradually increases in size, to offer a safe
Figure 89)
way of experiencing the acoustic effects of being in a large space.
The two indicated areas refer to the cross sections above.
Visual and Haptic cues offer safety assistance if the user becomes disorientated.
88
SOUND
INTERIOR vs. EXTERIOR
SOUND vs. SIZE
SOUND MANIPULATION
CASE STUDIES SINGING
PAN PIPES
TREE
SIZE VARIATION TO CONTROL SOUND
SOUND CONTROL vs. ORIENTATION FIGURE 90:
“SINGING/RINGING TREE” is a sound sculpture which utilises prevailing winds to create a ever-changing harmonic chime in the Burnley Lancashire mountains in England. The sculpture is made from galvanised steel and is configured to mimic the shape of a lonely tree perched on a mountain. The harmonic variance is created by the different angles and lengths of the pipes. Another example of metal alloy pipes being used to create acoustic art works is the Jean Sibelius Monument.
SIBELIUS
Changing the size of the pipe effects the propagation of sound waves within the device; the longer tubes have a longer wavelength, lowering the frequency of the wave producing a lower pitched sound.
SOUND INTERACTION
FIGURE 92: LENGTH DERIVATION
EXTERIOR DECK
The tubes are designed to explore the relationship between interior and exterior sounds. The inherent harmonic capabilities are conveyed though interaction and the opening and closing of vents.
MONUMENT
SOUND CONTROL vs. LENGTH FIGURE 91:
This solid granite monument is built in Finland to commemorate Finland’s finest composer, Jean Sibelius. The sculpture is built from 600 modular steel pipes in the form of organ pipes. The difference in length creates smooth harmonic derivations in sound as one walks around the sculpture. Both of these sculptures demonstrate how size can affect the propagation of sound waves.
LIGHT DISPLAY The pipes mimic a skylight producing small domes of light in the lower interior level of the building. Figure 93 The perspective shows the incorporation of the pipes within the art gallery.
89
SOUND
GALLERY INTERIOR
SOUND vs. MATERIALITY
ABSORPTION, REFLECTION AND DIFFUSION REFLECTION CONCRETE/STONE
The type of materials on a surface has a detrimental effect on the sound of a space . Certain materials can distort sounds produced in a room through dynamic reflective, absorbent and diffusive qualities. FIGURE 94
Diffusive materials in a small room can audibly appear the same as a
Stone/ tiles and concrete are representative of the kitchen and dining area.
ABSORPTION CARPET
large room by reducing standing wave and flutter. Materials such as carpet have a very high absorption rate contrasted with wooden floors,
The high absorption properties of carpet are located in the learning and library portion of the design.
which reflect very well. This is why classrooms in schools use carpet to minimize noise and concert halls use wooden floor to maximize sound. FIGURE 95
The grand hallway consists of moderate acoustically reflective wooden flooring and sound absorbing plaster on the walls.
DIFFUSION
At each pod
WOOD SLATS
entrance a selection of stone, carpet and slated wood have been used
The high intensity and interactive portion of the design containing the gym and music rooms are laced with dynamic diffusive materials.
to accentuate acoustic variations with the occupants. Each material offers a preview of chosen materials encompassed within each pod in hopes of establishing a Haptic and Acoustic relationship.
FIGURE 96
90
SOUND
SOUND vs. MATERIALITY CASE STUDY
PLINTHOS MATERIAL PROPERTIES
PLINTHOS Mab Architects have designed a multisensorial pavilion called Plinthos which displays intuitive sound and light recognition technology for the occupants who explore it.The initial temporary structure consists of over 21,000 clay bricks with perforated holes to allow sound, light and air to travel through. FIGURE 97: PLINTHOS PERSPECTIVE
FIGURE 98: PLINTHOS MATERIAL DETAIL
Bricks have been manufactured and used in architecture dating back to 7500 BC in southeast Anatolia. The incongruous combination of highly advanced technology in a steel framed structure contrasted with traditional brick offers a unique coalition between old and new. The art gallery spaces will utilize various materials, including a brick enclousre similiar to plinthos, the combination of light, touch and aural effects are useful in creating a dynamic narrative.
91
SOUND
FIGURE 99: INTERACTIVE DESIGN
HUMAN AND SCULPTURE INTERACTION
I firstly the occupant interacts with the stem light fitting on the floor.Motion detection cameras are activated analysing and sending information to the computer
II The computer replies with an intertwined output of a sound and light.
III the degree of sound and light emited is based on the interaction time and intesity with the stem. The reaction is then recorded making the occupant a performer and observer at the same time.
HAPTICS
TOUCH & MOVEMENT IN ARCHITECTURE
FIGURE 100
93
TOUCH
TOUCH
Tactile navigation The last study concluded that heavy solid objects made job candidates
The visually impaired rely heavily on their sense of touch to navigate and distinguish enclosures. This is traditionally expressed in architecture through
diverse materiality, weight and even
feel more important with the surroundings exerting an official and serious atmosphere, whilst coarse objects made social interactions tense and complicated.
94
temperature. These experiments are comparing the metaphorical with actual The hegemonic eye is a major factor in this circumstance, although materiality affects all realms of the senses, architects often design and construct buildings that look good, but do not necessarily feel good.
physical sensations, which do not directly relate to architectural design although the underlying theme does contain precedent. We tend to identify heavy solid steel doors with security and quality such as a
Perhaps architects could incorporate the social aspect of Haptic
vault, whilst squeaky wooden doors are thought of as old and homely.
architecture, by consulting intriguing neurological studies that have
Can the materiality, weight, shape and size of the door for a particular
been carried out within the last 10 years.
enclosure influence the way one perceives the interior space?
For example, one study focussing on temperature found that occupants who clutched a warm item were friendlier, generous and 92
socialised more than those who held cold items. Another study found that the shape, density and weight of an item greatly affected people’s perceptions in certain atmospheres.
93
92
Williams, Lawrence E. and John A. Bargh. “Experiencing Physical Warmth Promotes Interpersonal Warmth,” Science. Vol. 322 2008 p. 606-607. 93 Krishna, Aradhna and Maureen Morrin. “Does Touch Affect Taste? The Perceptual Transfer of Product Container Haptic Cues,” Journal of Consumer Research. Vol. 34, 2008, p. 807-818.
94
(Figure 101) ROCA LONDON GALLERY
94
COLD vs. WARM
(Figure 102) WILD REINDEER CENTRE
Ackerman, Joshua M., Christopher C. Nocera, John A. Bargh. “Incidental Haptic Sensations Influence Social Judgments and Decisions,” Science. Vol. 328, 2010, p. 1712-1715. TOUCH
The importance of Hapticity in architecture is a usually an unfamiliar
Kinaesthesia is defined as “The sensation by which bodily position,
notion. We are generally unaware of the meticulous capabilities of our
weight, muscle tension, and movement are perceived”
skin. The reality is, every sense in our body utilises some variation of a
is subconsciously understood and not limited to one organ in
skin as a receptor to understand various situations. To quote Ashley
particular. The reality is kinaesthesia is experienced all the time so its
Montagu “The skin is our oldest and most sensitive organ, and our first
meaning is rarely debated.
medium for communication [....] even the transparent cornea of the
diversity in architecture located in Auckland city
eye is overlain with a layer of modified skin.”
95
98
Kinaesthesia
Throughout the last decade Haptic has diminished,
This strengthens the
comfort devices such as elevators, cars and air conditioning have
notion of the Haptic sense being equal in importance to the rest of the
changed the way in which we occupy and experience spaces. Although
senses.
this thesis is fundamentally focused on the visually impaired, this
Hapticity is defined as something “relating to or based on the sense of 96
touch. “
This broad definition is further explained by
notion affects everyone and is known as kinaesthetic deprivation. James J.
We are currently deprived of kinaesthetic intensification but due to
Gibson who defines Hapticity as a dimensional phenomenon, he
our unfamiliar understanding of kinaesthesia, we are unaware of the
explains that “The Haptic system can yield information about solid
deprivation. The result is urban spaces that provide small instances of
objects in three dimensions, where as touch is limited to the two
variation and excitement, which diminishes the diversity of our spatial
dimensional perception that our skin enables us to identify.”
97
The
third dimension is very important as it enforces the notion that movement is also apparent and necessary in understanding the Hapticity of a space.
The notion of movement and kinetics in
architecture and the body is referred to as Kinaesthesia.
experience providing a caged environment of conformity. “Our urban spaces provide little excitement or visual variation and virtually no opportunity to build a kinaesthetic repertoire of spatial experiences. It would appear that many people are kinaesthetically deprived and even cramped.”
99
95
Ashley Montagu, Touching: The Human Significance Of The Skin, (New York: Harper & Row, 1986) P.3 96 http://www.merriam-webster.com/medical/haptic. 97 James J. Gibson, The Senses Considered As Perceptual Systems (London: Allen And Unwin, 1968) p.102
95
98
http://dictionary.reference.com/browse/kinaesthetic. Edward T. Hall, The Hidden Dimension (New York: Anchor Book Editions, 1969) p.62 99
TOUCH
KINAESTHESIA PHYSICAL STUDY Hall explains that we tend to underestimate our own physical capabilities due to the fact we never have the chance to test and challenge our selves, the notion of creating a narrative that can speed, stop and attract people through architecture underutilised.
100
is currently
After examining interview transcripts from the blind
participants in this thesis, a consensus was formed, the initial difficulty 1
to traverse transitional spaces between rooms was a major factor in
3
2
the reluctantly to travel and explore new places in their youths and initial stages of visual impairment. Majority said they had to rely on family, friends and professionals to 1 help them learn and practice new techniques, almost feeling as if they
were a burden needing constant supervision to learn. This complex aims to educate through custom teaching methods, which are then complimented with intuitive design so as the occupants explore they
5
4
6
learn. The ultimate goal of stage 1 is to become self sufficient and confident by gaining experience, practice and education in a safe environment where each sense is constantly tested and strengthened. Once students feel they are ready to navigate independently they can explore stage 2 sensory garden, which will act as a rite of passage, testing intelligence, physicality and a range of senses, which are crucial and necessary to appreciate and recognise beauty in an everyday lifestyle and ultimately the third stage.
Architecture Quad (figure 103)
Architecture Quad
Architecture Quad
Physical study: Kinaesthesia
Conventional route
Alternate route
The purpose of this experiment is to understand and experience the different capabilities of the body in relation to conventional routes. The technique used to traverse the staircase in the yellow route is called “Parkour� which is simply getting from A-B efficiently and fast.
The blue line represents the conventional route for traversing the stair case at the Auckland university architecture school.
The Yellow line shows an alternative unconventional route utilizing Parkour. Both lines have the same destination with alternate perceptive routes. The kinaesthetic experience is completely different offering new Haptic qualities by grasping the steel rail and concrete base, making upper body strength essential in this method.
100
Edward T. Hall, The Hidden Dimension (New York: Anchor Book Editions, 1969) p.62
96
TOUCH
KINAESTHESIA ALTERNATE ROUTES
SKETCH DIARY (figure 104) ROUTES
The Following images are excerpts from a quick sketch diary of certain instances in the Auckland city region. These are the typical obstacles the visually impaired will be faced with in everyday life. Three dominant types of techniques are used: The Ramp, gradual gradient rise of land that is easy to traverse.
The Staircase is regarded as an intermediate route of difficulty.
The rocky Terrace Trail, although this is highly unusual and UN symmetrical, the ability to traverse harsh terrain can be useful in emergencies.
97
TOUCH
KINETIC FACADE CONVENTIONAL DESIGN Due to the ambiguous nature of tactile and visual art, an open plan consisting of movable wall panels throughout the top floor of the gallery will be utilised. The exterior shell will require a louver system that can provide selective shade in one section of the gallery whilst being fully revealed in the other. An important notion that has been recognised in this thesis is the general inability for the visually impaired to explore and conceive the exterior shell of a building due to the height and size restrictions. In order to encourage the occupants to explore the exterior shell of the building, all of the stages are fully physically accessible from the outside. The first stage is one story high whilst the art gallery contains two stories but follows the slope of the
Conventional method (figure 105)
TRADITIONAL- VERTICAL LOUVRE: Traditional vertical louvers distort light and provide structural shadows in-between each panel, hindering light penetration. The gallery should create a narrative through all aspects of design, so the inclusion of kinetic design is incorporated.
geography to maintain a level of accessibility. An outdoor deck and ramp allows for easy access, as each level is approximately 3 metres high, creating easy accessibility for the visually impaired.
KINETIC ARCHITECTURE Kinetic architecture dates back to the middle ages where drawbridges were used to traverse moats. As technology advanced and the introduction of mechanical and robotic mechanisms developed, new and dynamic systems are implemented in modern architecture to regulate sun light exposure and ventilation known as kinetic facades.
98
TOUCH
Conventional method (figure 106)
KINETIC - KIEFER TECHNIC SHOWROOM The dynamic system consists of automated metal panels that fold up and down, to allow sunlight penetration and ventilation.
MASSING MODEL KINETIC FACADE DESIGN GLASS PANELS WINCH MECHANISM
ROOF
STEEL FRAME FACADE PANEL
LEVEL 1
LEVEL 2
Traditional Method(figure 107)
Cross section (figure 109)
Axonometric (figure 110)
SLIDING LOUVRE PANELS DETAIL:
KINETIC FACADE:
This cross section shows the winch system and cable that repels and retracts the outer facade.
This exploded axonometric drawing shows the components of the facade attached to the art gallery.
New Method (figure 108)
LOUVRE PANELS:
Sliding LOUVRE PANELS:
A massing model was created to determine the best way to control sunlight exposure for the top floor of the art gallery. The traditional method of swivelling louvers proved ineffective as the structural components hindered light penetration leaving periodic shadows as shown. The panels were then incorporated in a vertical motion.
The vertical sliding panels offer superior light penetration with the ability to operate in dynamic configurations. Different methods of robotic hoist mechanisms were investigated; the hydraulic ram and chain system were too large and cluttered the building frame producing heavy weights.
LEVEL 1
LEVEL 2
The final method was a sleek winch component attached to the top of each frame, this provided an unobtrusive small mechanism to raise and lower each panel through an automated computer system. The exterior panels were retrofitted with Braille perforations displaying text such as the artist’s works that was exhibited inside the gallery at that time.
Elevation (figure 111)
KINETIC FACADE: This elevation shows the wide facade panels. The occupants can follow the perforated boards from level one to level two and the computerised system allows the panels to automatically change throughout the day to the desired configuration.
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TOUCH
OLFACTION SCENT ARCHITECTURE
101
SCENT
OLFACTORY PERCEPTION Establishing connections between scent and architecture
The olfactory sense is debatably the most powerful sense to recollect
We all have preconceptions on the relationship between certain scents
memories that one was associated with in the distant past.
and spaces that were developed through education and experience,
Scent receptors begin to develop as early as fifteen weeks from birth exposing us to large display of scents. Scientific research continues to support the endless importance that smell has toward communication, alertness and identification.
Each season can evoke a range of
tantalising aromas distinguishing certain feelings and opinions of
this facility should serve as a benchmark in which the blind can learn to form their own judgements in a safe environment, enforcing and even surpassing the generic “default� scents that come pre- attached to architecture. After all without a vast knowledge basis to make comparisons, one cannot fully appreciate the full extent of the subjective /objective nature to perceive beauty.
architectural encounters. Traditionally scent is often overlooked in the architectural design process. If one, were to experience this built design using only the sense of smell, would they still be able to navigate and distinguish certain transitions between different areas?
What does a building smell like? It can be said that odour molecules evaporate from every living and non-living object in the known environment with the exception of steel, which does not have the ability to evaporate. The combination of selective materials in certain areas could allow the user to form a relationship between the scent
The idea is to familiarise certain scents with designated areas. For instance, the smell of freshly brewed coffee is often associated with a cafe, strong aromatic fragrant incenses are often related to religious and ceremonial occasions affecting our attitude and mood etc.
and remaining sensory qualities of the room. One of the most efficient and interesting ways to design for the scent in architecture is to include Gardens; they form a large and necessary olfactory component within architecture but are predominantly segregated. An exploration of olfactory amenities will be examined in the following section.
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SCENT
GARDEN AMENITIES
CLOSE PROXIMITY EXISTING OLFACTORY GARDEN AMENITIES
B
A
2
1
2
A) Auckland Domain Sensory & winter garden
B) Dove Myer Robinson Park Parnell Rose Garden
Locality map (figure 112) A) THE AUCKLAND DOMAIN The Domain is within easy walking distance from the site and contains a large range of different Amenities and Gardens. B) DOVE MYER ROBINSON PARK The chosen site in relation to the Auckland domain.
Site map (figure 113) 1) PARNELL ROSE GARDEN The rose garden amenity is located onsite opposite the proposed Sensory Garden area. 2) STAGE 2- SENSORY GARDEN Relatively flat land in the ideal location to serve as a transitional and educational garden with public and private access.
Auckland Domain Winter gardens (figure 115) A) WINTER BOTANICAL GARDENS The Winter gardens consist of various glasshouses containing a multitude of different plant species, built to provide a slice of summer in the wintertime. Sensory Garden (figure 116) A) DOMAIN SENSORY GARDENS
The Domain Sensory Garden is designed to exercise your sense of taste, smell and touch. Sadly, the gardens are not maintained correctly, with multiple instances of dead plants due to incorrect selection for this climate. The garden consists of one rectangle structure with a Braille railing.
Site plan (figure 114) 2) STAGE 2- SENSORY GARDEN This area is ideal for a sensory garden because the southern mass of trees provides natural noise control and the garden can be accessed from multiple junctions. The southern roofline of stage 1 is the lowest point in the design providing unhindered sunlight for the garden all year round.
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SCENT
Rose Garden Feature (figure 117) B) PARNELL ROSE GARDENS The Parnell Rose Gardens exhibit a large variety of flowers offering great variance in olfactory experiences. The proposed sensory garden should prepare the user to be understand and appreciate these scents through olfactory and literacy education.
Rose Garden (figure 118) B) PARNELL ROSE GARDENS
There are multiple rest areas with various amenities attached. The existing rose garden includes over 5000 roses providing a valuable supplementary resource to compliment the new design. Each of the existing roses is labelled with a Braille, which will be replicated in the new garden to help the students adapt to the current system.
CASE STUDY: SENSORY GARDEN ANCHOR CENTER FOR BLIND CHILDREN SENSORY GARDEN
Integration vs. Segregation
After careful examination from a large selection of sensorial gardens, the anchor center for blind children’s garden area offered the most indepth deasign features and diversity. Coversations with the architects revealed that designing a sensory garden for the visually impaired requries the ability to “ work with and not for the occupants, factors such as the time of day the facility will be used and how easy it is to maintain all play large roles. The idea of a braille trail and sensory walk are derived from this design although the placement and surroundings will be maticulously calculated to offer the highest benefit.
Although the following garden is meticulously fitted with diverse plant life, it is clear the relationship between the building and the garden is underutilised. The red and yellow sections show the isolation of both designs. The olfactory sense has the powerful ability to create nostalgic memories from our early childhood, this could help occupants learn and associate certain scents with certain activities. This thesis design will endeavour to incorporate ideas from anchor school and enhance this relationship between nature and architecture. FIGURE 120: SENSORY TRAIL PERSPECTIVE
The Garden consists of a selection of different trails and material selections. There are three main areas highlighted by the blue dotted lines. FIGURE 119: ANCHOR CENTER SENSORY GARDEN PLAN
SENSORY GARDEN
BRAILLE TRAIL
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SCENT
SENSORY WALK
LANDSCAPE ELEMENTS INTEGRATION vs. SEGREGATION GARDEN vs BUILDING The sensory garden is an integral part of this complex, providing the transitional bridge between the stages. The layout of plants and routes are tailored for individual and independent learning. This is an area where students can test their skills, socialise with others or just relax and admire the diverse plant life and scenery. The placement and orientation of the garden footprint has been considered utilising all the senses demonstrated by the annotations on the right. The most important feature to realise in creating a sensory garden is designing with and not for the occupants, a low maintenance and easy manoeuvrable plan is the best option. Most of the interviewed stated that the scent of plants and flowers in gardens are often over indulged and impractically scattered. The objective is to subtly enhance or captivate a certain area of the garden with scent, for example using the calming relaxing aroma of lavender in the relaxation portion and cypress to reduce tiredness and create energy in the physical playing areas.
WIND
The prevailing winds approach from the southwest region helping to spread scents and aromas from the respective areas of the garden to the adjacent interior building. For example, the herbs and plants located outside the classrooms are vanilla, which reduces stress, and peppermint, which enhances concentration and alertness.
SCENT The opportunity to stop, speedup and slowdown people as they pass certain areas is an invaluable technique. Scents have a powerful subconscious effect on the mind and often invoke nostalgic feelings. The vegetable garden and herb garden are located outside the kitchen to help develop and teach children to associate those scents with cooking. The Braille trail and sensory walk also have unique herbs and spices to energise and relax occupants.
FIGURE 121: CLIMATIC FEATURES
Autumn SUNLIGHT
SOUND
TREES
There is 100% sunlight coverage from sunrise to sun set in the vegetable and herb garden area.
The southern mass of trees creates a cloistered wall that diminishes traffic and residential noises, the trees help maintain a steady wind flow.
The use of deciduous trees in the west front allows sunlight to pass through in winter and shade in summer. These images represent the visual appearance of the trees through the four seasons.
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SCENT
Summer
Spring
Winter
DEVELOPED
DESIGN
GARDEN CHARACTERISTICS & PLANT ALLOCATION The plants chosen for this sensory garden are selected and configured based on each unique sensory attribute; the colour key on the plan below distinguishes the location of each of the respective colour groups located on the right.
CIRCULATION ROUTES MAIN TRAIL BRAILLE TRAIL HERB/VEGETABLE PATH
PROPOSED PLANT PALETTE The plants chosen for this sensory garden are selected and configured based on each unique sensory attribute; the colour key on the plan below distinguishes the location of each respective sensory group.
TASTE
TOUCH
FIGURES 123: EDIBLE PLANTS
FIGURES 124: TACTILE PLANTS
The Blue areas on the plan represent where edible plants and vegetables are located.
The Red areas represent plants with unique physical appearance and tactile diversity.
One of the main characteristics of the sensory garden is the edible produce. The blue portion of the design is located directly outside the kitchen/dining room area allowing herbal aromas to invoke an appetising mood. This ideal location also allows the students easy access to monitor the vegetables and fruits they have planted, helping them to learn horticulture and independence. There are three segments of edible plants, which are listed below.
Certain plants have developed the ability to protect themselves from extreme climatic temperatures and predators. The result has a great tactile diversity ranging in plants with glossy, furry, hairy, spiky etc finishes. The following are a selection of plants chosen for the sensory garden.
VEGETABLES
FRUIT PUSSY WILLOW TREE Pussy Willow resembles
SENSORY WALK
The small fury bulbs produced on this tree resembles silk.
EUCALYPTUS The seeded bulbs provide a strong tough and oily tactile experience.
NEW ZEALAND FERN
CULINARY HERBS Oregano
Dill
Parsley
Chervil
Basil
Cilantro
The fine toothed serrated structure of this native plant offers an elegant tactile experience
LAMBS EAR Thyme
Sage
Chives
Tarragon
Rosemary
Mint
This hairy plant has a tender tactile feeling, hence the name.
FIGURE 122: PLANT PALETTE MAP
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SCENT
SOUND
SIGHT
SCENT
FIGURES 125: AUDIBLE PLANTS
FIGURES 126: VISUAL PLANTS
FIGURES 127: AROMATIC PLANTS
The Yellow areas represent the plant life with unique acoustic properties. The ability to cultivate natural acoustics relies heavily on plant life selection.
The Green areas represent diverse and visually intricate flowers and plants. Dynamic colours, shapes and textures of flowers and plants are often easily perceived by the visually impaired . careful contrasts can induce and provoke different moods.
The following colour categories represent the three unique types of scents that enhance each respective mood. Each scent is placed in conjunction with a unique design feature.
RELAXATION BRAILLE TRAIL
BAMBOO
RED ROSE
Some plants have inherent acoustic properties; bamboo is used to surround the garden because the tall structure of each stem collides with each other in windy conditions creating a jostling sound warning the occupants to site border.
Roses are often symbolised as objects of beauty. The vibrant red colour contrasted with the delicate soft petals helps to induce a powerful and energetic mood near the sensory trail.
DOUGLAS FIR can lower depression and apathy. PEPPERMINT & LEMON VERBENA can enhance attention and concentration.
SUN FLOWER NIGELLA DAMASCENA The puffy bulb heads on this blue flower rattle when shaken, which is perfect for bordering the trails in the garden.
VANILLA can reduce anxiety and stress.
This large yellow flower is often reminiscent of a warm summer day helping to excite the occupants with a relaxing happy feeling.
JASMINE can relieve sleeplessness.
APPETITE VEGETABLE/HERB GARDEN NUTMEG, VALERIAN & GARLIC can reduce blood pressure and stress. HERBS can induce appetite. VEGETABLES/ FRUIT Images of bright ripe fruit and vegetables can stimulate and induce hunger.
AZUREUM DARK PINK ASTER FLOWER Unlike the previous inherent acoustic plants, this flower attracts insects, which create distinctive sounds. Bees and butterflies provide buzzing and fluttering sounds whilst helping to pollinate the flowers.
The blue furry petals of this flower are used to accentuate boarders.
CLOVERPURIRI TREE PURIRI TREE The native Puriri tree produces berries and in turn provides shelter and food for many avian species. The sound of birds singing tends to create a relaxing atmosphere.
The trifoliate leaves on the clover often represent the holy trinity. FIGURES 128: SCENT GARDEN AXON
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SCENT
ENERGY SENSORY WALK SPICES can ward off a panic attack. CEDAR & CYPRESS can relieve tiredness.
CHAPTER FINAL DESIGN
109
DOVE
MYER
CENTER
FOR THE BLIND
THREE-STAGE COMPLEX DESIGN
INTRODUCTION The Fragile Design method has provided a prudent and thorough analysis of the senses with respect to the aesthetic needs of the visually impaired. The original objective of a solitary structure has justifiably been transformed into a three-stage complex depicting an amalgamation of the three chapters enforcing a strong emphasis on learning and education to help unlock the full sensorial perceptive potential For anyone who visits the site. This chapter begins with a succinct overview of the entire complex, followed by in depth examinations of each distinctive stage. The format is chronologically listed in the following table.
OVERVIEW
STAGE 2
ENTIRE COMPLEX 1. 2. 3. 4. 5.
SITE LOCATION SITE PLAN AERIAL PERSPECTIVE FLOOR PLANS LONGITUDINAL SECTION
STAGE 1
SENSORY GARDEN 1. 2. 3. 4. 5.
STAGE 3
EDUCATIONAL BUILDING 1. 2. 3. 4. 5.
ENTRANCE PERSPECTIVE FLOOR PLAN LOBBY EXPLORATION GRAND HALLWAY EXPLORATION CROSS SECTIONS
ART GALLERY 1. 2. 3. 4. 5. 6.
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SENSORY GARDEN PLAN SENSORY GARDEN PERSPECTIVE INTERMEDIATE ROUTE INTERMEDIATE ROUTE PERSPECTIVE DETAILS
OVERVIEW
EXTERIOR DAYLIGHT PERSPECTIVE FACADE DETAIL AXONOMETRIC DRAWING NIGHT PERSPECTIVE INTERIOR LEVEL 1 DESIGN LEVEL 2 DESIGN
LONGITUDINAL
SECTION
ENTIRE SITE
STAGE ONE
STAGE THREE
EDUCATIONAL CENTER
CAFE
STORE
SENSORY GALLERY
LIBRARY
MUSIC AREA
COURTYARD
STAGE TWO SENSORY GARDEN
118
SENSORY GALLERY
STAGE
ONE
DOVE MYER CENTRE FOR THE BLIND
123 S T A G E O N E
GREEN POD LOBBY EXPLORATION
PUBLIC AMENITIES AND ACCESS This pod contains public amenities and provides the main entrance to the facility. The light vs. time apparatus is located in this central lobby, which provides access to all parts of the complex.
CAFE
The specialty store provides an opportunity for the blind to try new contraptions and purchase any specialty items they may require. This is a valuable amenity as there are no stores, which offer this service in Auckland. Devices such as watches, phones, jewellery tailored for the blind are generally hard to find.
STORE
OFFICE
LOBBY
SPECIALTY STORE
FLOOR PLAN ACCESS ROUTES
RECEPTION
LOBBY
LONGITUDINAL SECTION
124 S T A G E O N E
GREEN POD LOBBY PERSPECTIVE
125 S T A G E O N E
CIRCULATION GRAND HALLWAY
GRAND HALLWAY FLOOR PLAN
The Floor plan shows the basic arrangement of each room. Anatomy from a leaf, displaying intricate ventricles stemming from a central stalk perpetuates this design and circulation. The acoustic examples are listed by the following symbol
The design consists of a grand hallway, which branches classroom pods on each side. Various wayfinding design implementations allow the children to interpret their location. The Three main Techniques; tactility, acoustics and lighting are stimulated when navigating the central pathway. The timber hallway flooring alternates at each entrance, with a selection of various materials to separately distinguish each pod.
1
This alternation in materiality and shape also provides an acoustic landmark; resonating differently as people walk and strafe their canes. These sounds have been simulated in similar enclosures. Refer to the audio CD for the related SoundBits. Notches in the wall and floor provide lit balustrades forming a beacon of passage. Different coloured skylights subtly frame each entrance area signifying the separate pods. The hallway becomes wider near the eastern end but the ceiling height lowers offering a unique acoustic environment, which is accentuated at each entrance with specialised acoustical ceiling panels designed to direct sound propagation to either the left or right of the generated sound.
GRAND HALLWAY LONGITUDINAL SECTION
126 S T A G E O N E
2
3
4
GRAND HALLWAY PERSPECTIVE
127 S T A G E O N E
YELLOW
POD
LIBRARY
GRAND HALLWAY
CROSS SECTION The Yellow pod represents intelligence and concentration. The academic portions of the design are in this category.
The library is divided in two sections the far left contains the children’s area with the interactive light wall and children’s corner. The acoustic panel offers noise control generated by the kids whilst also diffusing light rays for the right side of the room.
The western side of the grad hallway is the most narrow and is the starting point of the journey through stage one.
128 S T A G E O N E
KITCHEN
BLUE
POD
CROSS SECTION
The kitchen area occupies the blue pod with signifies cleanliness and freshness. The kitchen has two sets of cooking areas one made for children, and another for adults at a higher elevation.
Aromas from the vegetable garden flow through the kitchen windows to induce hunger and appetite.
RED POD CROSS SECTION The red pod, offers high intensity activities. This is the largest portion of the building; the clerestory saw tooth structure offers controlled northern sunlight to the entire building.
SENSORY GYM
GRAND HALLWAY
The Gymnasium offers two separate sections. The eastern side of the grand The area pictured above is the motor room hallway is the widest where high intensity workouts and sports are segment. This leads to the played. The second portion is the sensory gym, deck area on route to stage which contains the light wall and navigation three. trail. The large clerestory windows offer optimal sunlight all day long and the timber walls help reflect sound waves. Aromas from the red portion of the sensory garden flow through the gym with help from southwesterly winds. 129 S T A G E O N E
MUSIC/RECORDING STUDIO The music room is separated by thick acoustical sound absorbing panels, offering the students the ability to learn new instruments and finally record their own music when they are experienced.
ROUTE C This is a public route connecting to stage three through an intense rocky inclined trail.
STAGE
TWO
DOVE MYER SENSORY GARDEN
131 S T A G E T W O
STAGE
MATERIALS KEY
TWO
ENTIRE COMPLEX
SENSORY GARDEN PLAN
RELAXATION BRAILLE TRAIL
VANILLA can reduce anxiety and stress. DOUGLAS FIR can lower depression and apathy. PEPPERMINT & LEMON can enhance attention and concentration. JASMINE can relieve sleeplessness.
LOBBY ENTRANCE
PUBLIC ENTRANCE
KITCHEN ENTRANCE
BRAILLE TRAIL A-Z
CLASS ROOM ENTRANCE
HERB GARDEN SENSORY WALK OUTDOOR REST AREA
VEGETABLE GARDEN
Sensory Wall
APPETITE VEGETABLE/HERB GARDEN
NUTMEG, VALERIAN & GARLIC can reduce blood pressure and stress. HERBS can induce appetite
SAND PIT
STATUE CORNER
BRAILLE TRAIL 1-10
SCENTED SEATS
ENERGY SENSORY WALK
SENSORY GYM ENTRANCE
SPICES can ward off a panic attack. VANILLA can reduce anxiety and stress. CEDAR & CYPRESS can relieve tiredness.
132 S T A G E T W O
STAGE
TWO
SENSORY GARDEN PERSPECTIVE
133 S T A G E T W O
SENSORY WALL
SENSORY GARDEN
SCENTED TREES & BRAILLE ANNOTATION
COMPONENT EXPLANATION
1
SENSORY WALL
5
VEGETABLE GARDEN
2
BRAILLE TRAIL
6
PLAYGROUND
3
SCENTED REST AREA
7
STATUE ISLAND
4
HERB GARDEN
8
TACTILE TRAIL
1
2
3
4
5
6
7
The sensory wall displays multiple species of plants, also providing water collection and natural filtration through an organic mulch layer located in the bed of the structure. This provides clean water for the vegetable garden and helps maintain the waterfall near the eastern intermediate area.
8
BRAILLE TRAIL ALPHANUMERIC INSIGNIA
Alphanumeric rubber icons imbedded in concrete slabs border the Sensory garden. These letters correspond to the respective plants located nearby.
134 S T A G E T W O
HERB GARDEN
VEGETABLE GARDEN
SCENTED HERB GARDEN
VEGETABLES GROWN BY THE STUDENTS
The herb garden offers a series of tantalising aromas that are strategically placed to ensure each smell is not hindered. There are three tiers of herbs for different purposes.
The Vegetable garden offers horticulture and confidence skills the students can grow their own fruits and vegetables learning from trial and error. The colour of the vegetable determines which shaped enclosure they are grown in, as follows:
The top tier is closest to the nose and offers scented herbs, easily flowing into the classrooms. The middle tier offers edible herbs and bottom tier offers spices, these are placed at a lower level to warn to help indicate and warn students of the potency.
SCENTED
SCENTED SEATING SCENTED REST STOPS
The scented seats offer a resting spot for the students whilst they traverse the Braille trail. At the end of each seat is a uniquely scented herb with tactile and olfactory applications. The name of the plant corresponds to the letter of the Braille tile in front of the seat.
EDIBLE
SPICES
TACTILE TRAIL SENSORIAL EXERCISING ROUTINE
The Sensorial trail is the last component of the sensory garden. Once students can differentiate and recognise all the materials and read all the labels, they are ready to explore stage three “THE ART GALLERY� their journey to stage three can be experienced in three different ways, this is achieved by providing unique routes which will now be examined.
135 S T A G E T W O
KINAESTHESIA ALTERNATE MODES OF TRAVEL
There are three different routes leading to stage three on the western front. Each route varies in physical difficulty, colour surroundings and acoustic attributes. Refer to the audio CD to compare the audio properties of each route. three thematic renders have been created to display emotion and colour within each route.
ROUTE ONE RELXATION
ROUTE TWO
CONCENTRATION
ROUTE THREE ADVENTURE
FRESHNESS “SUMMER ROUTE”
ASSERTIVENESS “ AUTUMN ROUTE “
FRESHNESS “ AUTUMN ROUTE “
The ramp is a simple inclined pathway and the easiest path to traverse; younger members and amateurs will use this method to travel between stages.
The staircase is an intermediate difficulty route; once the students have practiced in the sensory gym, they are ready for this feat. The stairs are surrounded by a yellow ambience of sunflowers and unique trees, the sound of leaves rustling and falling on the concrete steps and the slight sound of chatter and canes strafing the floors from the building they just left. Traversing this staircase requires more concentration than the previous inclined pathway, kinaesthetically this offers a medium speed of travel.
The rocky trail is the final and most complex route, designed for the highly experienced adventurous visually impaired person and the public. This tests stamina and flexibility creating a slow method of travel.
The green ambience is reminiscent of a jungle and offers a relaxing setting to stroll down the path easily and quickly. The lush greenery and plants attract many insects and birds creating a great acoustic environment, remnants of chimes and laughter from the sensory garden can also be heard
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STAGE
TWO
Red has been associated with power and energy in stage one, which is reminiscent in the large Pohutukawa tree that shadows the water fall feature offering a powerful crashing sound as people walk past.
136
STAGE
TWO
STAGE
THREE
SENSORY ART GALLERY
139
STAGE THREE
STAGE THREE SENSORY ART GALLERY
The Sensory art gallery is the final stage of this design complex. The initial pursuit for non-visual aesthetic perception finally has led to this design. As students have progressed through the stages, they have learnt and practiced a multitude of new skills and experiences that have broadened their sensorial repertoire and ability to make their own judgements forming aesthetic “taste”. The art gallery has three distinctive sections.
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STAGE
I KINETIC FACADE
EXTERIOR FACADE
II LEVEL ONE
TOUCH/ LIGHT GALLERY
III LEVEL TWO
LIGHT/SOUND/ TOUCH GALLERY.
THREE
ART GALLERY EXTERIOR KINETIC COMPONENTS
The following sequence of images explains how the kinetic facade works. The Braille cell is crucial to this design.
MODULE SECTION Kinetic panels
CROSS SECTION
WINCH MECHANISM
PANEL SECTION
MODULE ELEVATION
Kinetic panels
Kinetic panels
The modular panels consist of a steel frame with 6 perforated holes containing spring function LED buttons. When the button is pushed, the encased bulb protrudes and the light is activated. This forms a visual and tactile way of writing and reading messages. The name of artists exhibited and small messages from people can be achieved.
PANEL ELEVATION Kinetic panels
The modular tiles are mounted on a slim steel frame to form a large panel. This provides the external interactive facade, and natural light control for the interior of the building.
CROSS SECTION SYNTHETIC COMB
The winch mechanism offers a dynamic and light weight system of manoeuvring each panel individually. The synthetic comb provides a physical barrier between both levels, when each panel slides down all the buttons become flush turning of each light.
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STAGE THREE
LEVEL ONE EXTERIOR
LEVEL ONE INTERIOR
WINCH BEAM
PANEL FRAME STAIRCASE
LEVEL TWO INTERIOR
KINETIC PANEL
EXTERIOR RAMP
EAST CROSS-SECTION DETAIL Kinetic panels
SOUTH EASTERN EXPLODED AXON
The panels are elevated to meet certain interior lighting and exterior tactile preferences. A small gap between level two and the staircase provides the stationary storage space for the panels.
The following section shows how each component fits together on the exterior of the building. The northern side contains eight panels and the southern side has six , the eastern face does not require panels because of the large Louvre canopy that covers exterior gallery four.
COMPONENT CONFIGURATION
143
STAGE THREE
ART GALLERY EXTERIOR KINETIC FACADE AT NIGHT
INFORMATION
EXTERIOR ANALYSIS The following elevation in grey shows the facade in neutral mode; all the panels are lowered providing full sunlight exposure. The orange panels and render demonstrates the dynamic possibilities of the panels, which have been elevated in small increments to offer the occupants full tactile access. The LED modules are activated attracting the occupants and providing a visual interactive artwork.
SOUTH ELEVATION Kinetic panels
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STAGE THREE
ART GALLERY INTERIOR
W.C
LEVEL ONE: LIGHT/TOUCH GALLERY
LOBBY
GALLERY 1 GALLERY 2
Level one is designed to offer dynamic natural light penetration in order to cater for the unique art works that are exhibited. The entire level is a free plan design with movable facade panels outside to control sunlight and movable panels inside to control room shape and lighting control. SOUTH SECTION
FLOOR PLAN
LEVEL ONE
LEVEL ONE
ENTRANCE LOBBY
GALLERY 1
GALLERY 2
146
STAGE THREE
GALLERY 3
GALLERY 4
GALLERY 3
GALLERY 4
EXTERIOR PANELS There are fourteen panels as indicated on this plan.
INTERIOR This render shows the interior sliding panels used as display boards for artwork. A series of different configurations can be made easily.
INTERIOR PANELS Fully compacted panels in storage creating a large open space.
INTERIOR PANELS Fully expanded panels separating each space
LIGHT VS. DARK This render contrasts open and closed exterior panels with partitioned interior panels. The effect is a dark and light room.
SOUTH EASTERN EXPLODED AXON COMPONENT CONFIGURATION
147
STAGE THREE
ART GALLERY INTERIOR
GALLERY 7 GALLERY 9
LEVEL TWO: SOUND/TOUCH GALLERY STORAGE COMPUTE RROOM
Level Two offers a wide range of dynamic acoustic enclosures to provide for the unique sound sculptures and installations. A series of different textures, materials and shapes for each gallery are listed in the following images.
GALLERY 6 TRANSITION ROOM GALLERY 8
LOBBY
HALL OF ECHOES
SOUTH SECTION
FLOOR PLAN
LEVEL TWO
STORAGE
LEVEL TWO
WHISPERING GALLERY
GENERIC GALLEY
148
ANECHOIC HALLWAY
STAGE THREE
PLINTHOS GALLERY
WINDCHIME LOBBY
GALLERY 5
ENTRANCE LOBBY WIND CHIME LOBBY
TRANSITION ROOM A series of transitional rooms are located between each different enclosure. The rooms are layered with dense carpet and acoustic panels reducing sound reflection and increasing sound absorption. The reason for this is to provide a space of silence and neutrality between each distinctive gallery, to ensure the appreciation each unique enclosure.
HALL OF ECHOES
WIND CHIME LOBBY
The hall of echoes provides the central circulation for the entire lower level of the art gallery. The hall is designed similarly to the grand hallway in stage one with the exception of shape manipulation. A series of light wells are located at the central lobby area which also double as mini sound reflective domes, creating a great space for people to have private conversations that don’t interfere with other occupants. The long and tall size of the hallway, with reflective wall panels produce echoes as people pass through.
149
STAGE THREE
This interior lobby of the lower level shares the interactive wind chime installation of gallery four on level one. This provides a relationship between interior and exterior spaces with light rays and sound waves traversing through the pipes. Refer to the audio CD for a sound bit of this installation.
ANECHOIC GALLERY Perspective
1
The Anechoic gallery is designed to offer a space that exhibits artwork in complete silence, removing all sound reflections through high absorbent materials. The walls are made from knitted fabric forming a wedge shaped structure; there is a layer of air between the absorbing wedge and the structural allowing the panels to be dynamically placed in certain circumstances.
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STAGE THREE
WHISPERING GALLERY Perspective
2 1
The Whispering gallery offers the ability for occupants to talk into one section of the wall and be heard on the opposite side. This is due to the ellipsoid structure of the room bouncing sound waves in a circular motion. When the occupant enters the room the staff member on the opposite side can welcome them , and any questions can be transmitted through this unique method.
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STAGE THREE
PLINTHOS GALLERY Perspective
3 1
The Plinthos gallery offers the ability for sound, air and light to pass through walls. A series of lights and speakers are placed behind the initial structure with customised presentations to offer a new experience each time the occupant visits. The structure is temporary and can be modified to suit the needs of the exhibition.
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STAGE THREE
CONCLUSION EVOKING THE SENSES THROUGH AESTHETIC PERCEPTION
153
CONCLUSION The most interesting aspect of this thesis was also the most frustrating.
This information was combined with a thorough social understanding
The initial decision to create a building that is aesthetically sensual to
of the visually impaired and whilst researching through historical and
the visually impaired demands a strong emphasis in non-visual
current educational facilities for the blind in Auckland, a realisation
characteristics. This idea contradicts the final design presentation,
that basic life skills and experiences were deficient was uncovered.
which utilises ocular centric two-dimensional images to express the
The intended singular aesthetically provocative structure utilising all
intangible senses. This means understanding and perceiving certain
the senses would become frivolous, as the visually impaired had no
multi-sensorial design attributes in this thesis relies solely on the
previous multisensory education and no benchmark to judge and make
readers own personal experience and knowledge basis to either relate
comparisons due to the current architectural sensorial deprivation.
to the design or find it incomprehensible.
Majority of the interviewed were inadequately familiar with sensorial vocabulary to understand such complexity.
The initial design objective commenced with a naive preconception that beautiful design could be embodied objectively in a single structure; this theory initially relied
Creating a building of such magnitude and expecting occupants to
on the decisive scientific
understand it would be like learning to run before you can walk; the
knowledge basis for understanding beauty known as Neuroaesthetics.
foundations for aesthetic perception and culture were limited and
Unfortunately, the scientific approach was inconclusive based on
even nonexistent in some cases. A contributing factor is the way
limited information due to the infancy of the discipline. I hope that in
architecture for the blind in New Zealand consists of retrofitted
the future a more conclusive and well-informed study can examine the
buildings to provide safety and function instead of being designed to
science of aesthetics in relation to architecture, and ultimately explain
explore beauty and culture.
if beauty can be objectively constructed. From this collective information, the design programme was amended The alternative method pursued a rich understanding of historical and
and enforced in the practical portion of the thesis, incorporating the
philosophical ideals regarding beauty and aesthetic architecture,
senses through fragile design.
enforcing Juhani Pallasmaa’s principles on Culture, education, aesthetic taste and the relevance of time when experiencing a design.
154
The design outcome became a tripartite complex, with each of the
The sensory art gallery, combined all the unique features experienced
stages progressively teaching new skills and complimenting each other
in the previous stages to create a dynamic display of exhibition spaces,
with different attributes, in hopes of familiarising multisensory
enforcing the ever-changing array of art providing a timeless and
terminology forming a multi sensorial repertoire to compare future
dynamic representation of beauty.
interactions. The initial premise of this thesis pursued an objective explanation in Stage one, incorporated intuitive design features ranging from
how we perceive aesthetic architecture, ultimately objective beauty
enriching basic literacy and motor skills, to composing music and
could not be understood without scientific research, but the subjective
culinary experiences. The buildings form and shape provided the first
nature can be enriched and conditioned based on culture and
educational tool for the occupants utilising dynamic acoustic and
education.
tactile experiences, helping the occupants to learn and expand their The prevailing theme uncovered in this thesis was the importance of
sensorial knowledge basis, establishing the notion that beauty is
education to understand the beauty within our society and how
fundamentally perceived through comparison.
sensorial deprivation has limited our current culture. The entirety of The second stage provided a transitional vehicle between the complex
the design moves towards a paradigm shift back to the origins of true
with a multisensory garden designed to test and enrich the basic
beauty in design, establishing and utilising a full range of senses to
literacy and navigational techniques acquired in stage one, whilst
reawaken this current generation to appreciate and perceive
integrating nature and architecture in a social atmosphere and
architecture and life through a balance of all the senses .
introducing an invigorating array of aromas serving a ‘rite of passage’. Once the students were comfortable in circumnavigating the garden independently, they were ready to “graduate” having learnt the essential skills to help appreciate and judge the final stage with greater maturity and understanding.
155
As human beings we are constantly learning through interactions and
“We all experienced architecture before we have even heard the
new experiences, we begin making comparisons and judgements
word.[...] The roots of our architectural understanding lie in our
from the start of our childhood, and this is why exposure to a diverse
architectural experience: our room, our house, our street, our village,
range of experiences was so important. We create a repertoire of
our town, our landscape, - we experience them all early on,
social, cultural and aesthetic values in the beginning of our lives that
unconsciously, and we subsequently compare them with the
form the benchmarks in future interactions. Architects should have a
countryside, towns, and houses that we experience later on. The roots
duty to express their designs in all realms of human senses to nurture
of our understanding of architecture lie in our childhood, in our youth;
this crucial learning period helping to reanimate basic human instincts
they lie in our biography.”1
in hopes of breaking the current cycle of sensory deprivation. The ideals in this thesis are clearly reflected with a final quote from Peter Zumthor.
1
Zumthor, Peter; “Thinking Architecture”; Birkhaeuser, 2. expended
edition; pp. 65
156
B I B L I O G RA P H Y BOOKS Barbara, Anna and Anthony Perliss. Invisible Architecture- Experiencing Places through the sense of smell. Italy: Skira Editore S.p.A., 2006.
Malnar, Joy Monice, And Frank Vodvarka. Sensory Design. Minneapolis: University of Minnesota press, 2004.
Blesser, Barry, and Linda-Ruth Salter. Spaces Speak, Are you Listening?: Experiencing Aural Architecture. Massachusetts: The MIT Press, 2007.
Milligan, martin and Magee, Bryan, On Blindness –Letter between Bryan Magee and Martin Milligan.
Brebbia. C. A. Design and Nature 2 comparing Design in Nature with Science and Engineering. The new forest, UK, 2004 .
Pallasmaa, Juhani. Encounter: Architectural essays. Helsinki: Rakennustieto Oy, 2005.
.Brebbia. C. A. Design and Nature 3 comparing Design in Nature with Science and Engineering. The new forest, UK, 2006 .
Pallasmaa, Juhani. The Eyes of the Skin. Great Britain: Wiley-Academy, 2005.
Fleur Watson, Architecture and Beauty, Italy, 2010, 77.
Pallasmaa, Juhani. The Thinking Hand: Existential and Embodied Wisdom in Architecture. United Kingdom: John Wiley and Sons LTd, 2009.
Franck ,Karen A. and Bianca Lepori.R, Architecture of the inside out, Great Britain: Wiley Academy, 2000.
Ruth L. Saw, Aesthetics: An introduction, Anchor Books; First Edition edition (1971)
Fuss, Diana. The sense of an interior: Four Writers and Rooms That Shaped Them. New York: Routledge, 2004.
Tanizaki, Junichiro. In Praise of Shadows London: Vintage Books, 2001.
Gibson, JamesJ. The sense of an interior: Four Writers and the Rooms That Shaped Them. New York: Routledge, 2004. Hescgong, Lisa. Thermal Delight in Architecture USA: MIT Press, 1979.
Zumthor, Peter. Thinking Architecture. Switzerland. :BirkhauserPublishers for architecture. 2006.
Keller, Helen. The World I live In. New York: The New York Reiew Of Books, 2003.
Zumthor, Peter. Atmosphere: Architectural Environment, Surrounding Objects. Basel: Birkhauser, 2006.
Leach, Neil. The Anaesthetics of Architecture. Massachusetts: The MIT Press 1999. 158
THESIS
JOURNAL ARTICLES Anderton, Frances. Architecture for all senses. Architectural review 189,n0. 1136(1991) 27-28
Karen Hau Wing Yung, The Unseen Space: Architecture for the Blind, Auckland University, 2009
Costandi, Motheb. Beauty and the Brain. SEED Magazine, 2008 Seung-Yol Lee, In search of the expressive anomaly, Auckland University, 2010.
Good Reading for the Blind. “Architectural Record 180,n0.4(1992):34. Illinois Regional Library for the Blind and Physically Handicapped.” Architecture and Urbanism 7 ,no. 67(1976); 110-12.
Van Kreij, Kamiel. Sensory intensification in Architecture. Technical university Delft, 2008
Lucas, Bill. “A fest for the Senses: Landscape Design Extra 1994, no.249 (1994):26-28. Pallasmaa, Juhani. Hapticity Vision. Architectural design 75, no. 4, 2005 Pallasmaa, Juhani. “ Hapticity Vision.” Architectural Design 75, no.4 (2005)137-38. Penton, John. Briefing the sensory impairment. The Architects journal 198, no. 16(1993): 40 Warren McLauren, Sto Lotusan- Biomimicry Paint, (2005) Remotely Triggered Audible signs. Access by Design 79 (1999): 19-21
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LIST OF INTERVIEW PARTICIPANTS EXAMINED
ONLINE MEDIA: AUDIO SOUNDTRACK
Interview with Ms Martine abel
SOUND MAP
Interview with Mr Thomas Bryan
1 Traffic noise, (created in Adobe Audition CS6, 2011).
Interview with Mr Gordon Georgel
2 Clear field (created in Adobe Audition CS6, 2011). 3 Nature trail, (created in Adobe Audition CS6, 2011).
Interview with Mr Bennet Ha
4 Aquatic sounds, (created in Adobe Audition CS6, 2011).
Interview with Mr Rick Hoskin
5 Church bells, (created in Adobe Audition CS6, 2011). STAGE ONE ( Accessed on October 7, 2011)
Interview with Mr Allan Jones
1 walking on varnished wood , http://www.sounddogs.com/ varnishedwood.asp
Interview with Mr Don McKenzie
2 walking on tiles, http://www.sounddogs.com/ tilesfootsteps.asp
Interview with Mr Chris Orr
3 walking on carpet, http://www.sounddogs.com/ carpetwalk.asp
Interview with Mr Ross Pahuru
4 walking on hard wood , http://www.sounddogs.com/ densewood.asp
Interview with Ms Mary Schnackenberg
STAGE TWO
Interview with Mr A.B Smith
1 Route one,(created in Adobe Audition CS6, 2011).
Interview with Mr Daniel T’eo
2 Route two, (created in Adobe Audition CS6, 2011). 3 Route three, (created in Adobe Audition CS6, 2011). STAGE THREE 1 Wind Chime, http://youtube.com/watch?v=Q4cVLAbRVDc (Accessed October 7,2011) 2 Anechoic Gallery ,(created in Adobe Audition CS6, 2011). 3 Whispering Gallery http://www.youtube.com/watch?v=SuQicipdvMc (Accessed October 9 ,2011) 4 Plinthos Gallery http://www.mabarchitects.com/plinthos.mp3 161
LIST OF IMAGES
[Figure 34]: [Figure 35]: [Figure 36]:
Image by Kiran Patel, 2011. Image by Kiran Patel, 2011.
http://www.sciencephoto.com/image/107520/530w m/C0043308-Hemi-anechoic_chamber_experiment-SPL.jpg Image
Image by Kiran Patel, 2011. http://www.artilim.com/artist/lairesse-gerard-de/allegoryof-the-five-senses/ [Figure 3]: Image by Kiran Patel, 2011. [Figure 4]: Image by Kiran Patel, 2011. [Figure 5]: Image by Kiran Patel, 2011. [Figure 6]: Image by Kiran Patel, 2011. [Figure 7]: Image by Kiran Patel, 2011. [Figure 8]: Image by Kiran Patel, 2011. [Figure 9]: Image by Kiran Patel, 2011. [Figure 10]: Image by Kiran Patel, 2011. [Figure 11]: http://www.gopbc.org/tech_img/braille.jpg, 2011 [Figure 12]: http://www.tootoo.com/buy-rubber_bricks/ 2011. [Figure 13]: Image by Kiran Patel, 2011. [Figure 1]: [Figure 2]:
Image by Kiran Patel, 2011. Image by Kiran Patel, 2011. Image by Kiran Patel, 2011. Image by Kiran Patel, 2011. Image by Kiran Patel, 2011. Image by Kiran Patel, 2011. http://fineartamerica.com/featured/senses-marcleviton.htmlImage ,2011. [Figure 44]: http://en.wikipedia.org/wiki/File:Mona_Lisa.jpgImage ,2011. [Figure 45]: http://www.idd.tamabi.ac.jp/~mikami/artworks/World_M embrane/ear1.htmlImage, 2011. [Figure 46]: Image by Kiran Patel, 2011. [Figure 47]: Image by Kiran Patel, 2011. [Figure 48]: Image by Kiran Patel, 2011. [Figure 49]: Image by Kiran Patel, 2011. [Figure 50]: Image by Kiran Patel, 2011. [Figure 51]: Image by Kiran Patel, 2011. [Figure 52]: Image by Kiran Patel, 2011. [Figure 53]: Image by Kiran Patel, 2011. [Figure 54]: Image by Kiran Patel, 2011. [Figure 55]: Image by Kiran Patel, 2011. [Figure 56]: Image by Kiran Patel, 2011. [Figure 57]: Image by Kiran Patel, 2011. [Figure 58]: Image by Kiran Patel, 2011. [Figure 59]: Image by Kiran Patel, 2011. [Figure 60]: Image by Kiran Patel, 2011. [Figure 61]: Image by Kiran Patel, 2011. [Figure 62]: Image by Kiran Patel, 2011. [Figure 63]: Image by Kiran Patel, 2011. [Figure 64]: Image by Kiran Patel, 2011. [Figure 65]: Image by Kiran Patel, 2011. [Figure 66]: Image by Kiran Patel, 2011. [Figure 67]: Image by Kiran Patel, 2011. [Figure 68]: Image by Kiran Patel, 2011. [Figure 69]: Image by Kiran Patel, 2011. [Figure 70]: Image by Kiran Patel, 2011. [Figure [Figure [Figure [Figure [Figure [Figure [Figure
[Figure 14]: [Figure 15]:
http://www.denverpost.com/seasontoshare/ci_10907340Il 2011. http://www.denverpost.com/seasontoshare/ci_10907340Il, 2011. [Figure 16]: http://www.denverpost.com/seasontoshare/ci_109073402 , 2011. [Figure 17]: http://www.denverpost.com/seasontoshare/ci_109073403 , 2011. [Figure 18]: http://cbeez.blogspot.co.nz/2010/04/exemple.html, 2011. [Figure 19]: http://cbeez.blogspot.co.nz/2010/05/exemple.html, 2011. [Figure 20]: http://cbeez.blogspot.co.nz/2010/06/exemple.html, 2011. [Figure 21]: http://cbeez.blogspot.co.nz/2010/07/exemple.html, 2011. [Figure 22]: http://cbeez.blogspot.co.nz/2010/09/exemple.html, 2011. [Figure 23]: http://www.sacred-destinations.com/italy/romepantheonImage, 2011. [Figure 24]: http://www.sacred-destinations.com/italy/romepantheonImage, 2011. [Figure 25]: Image by Kiran Patel, 2011. [Figure 26]: Image by Kiran Patel, 2011. [Figure 27]: Image by Kiran Patel, 2011. [Figure 28]: Image by Kiran Patel, 2011. [Figure 29]: Image by Kiran Patel, 2011. [Figure 30]: Image by Kiran Patel, 2011. [Figure 31]: Image by Kiran Patel, 2011. [Figure 32]: Image by Kiran Patel, 2011. [Figure 33]: Image by Kiran Patel, 2011.
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Image by Kiran Patel, 2011. Image by Kiran Patel, 2011. http://www.tunedcity.net/?page_id=353, 2011. http://perfectlypitched.wordpress.com/Image ,2011. Image by Kiran Patel, 2011. Image by Kiran Patel, 2011. Image by Kiran Patel, 2011. Image by Kiran Patel, 2011. Image by Kiran Patel, 2011. Image by Kiran Patel, 2011. Image by Kiran Patel, 2011. Image by Kiran Patel, 2011. Image by Kiran Patel, 2011. Image by Kiran Patel, 2011. http://www.nothingtoseehere.net/2006/12/the_whisperin g_gallery_new_yor.htmlImage 2011. [Figure 86]: http://www.nothingtoseehere.net/2006/13/the_whisperin g_gallery_new_yor.htmlImage, 2011. [Figure 87]: Image by Kiran Patel, 2011. [Figure 88]: Image by Kiran Patel, 2011. [Figure 89]: Image by Kiran Patel, 2011. [Figure 90]: http://nicolemariella.wordpress.com/2010/01/06/thesinging-tree/2011. [Figure 91]: http://www.traveladventures.org/continents/europe/sibeli us-monument03.shtml,2011. [Figure 92]: Image by Kiran Patel, 2011. [Figure 93]: Image by Kiran Patel, 2011. [Figure 94]: Image by Kiran Patel, 2011. [Figure 95]: Image by Kiran Patel, 2011. [Figure 96]: Image by Kiran Patel, 2011. [Figure 97]: http://www.mabarchitects.com/plinthos, 2011. [Figure 98]: http://www.mabarchitects.com/plinthos,2011. [Figure 99]: Image by Kiran Patel, 2011. [Figure 100]: http://thearchitectstake.com/interviews/chris-downeytactile-architecture/, 2011. [Figure 101]: http://openbuildings.com/buildings/roca-london-galleryprofile-42381, 2011. [Figure 102]: http://www.dezeen.com/2011/11/01/norwegian-wildreindeer-centre-pavilion-by-snohetta/, 2011. [Figure 103]: Image by Kiran Patel, 2011. [Figure 104]: Image by Kiran Patel, 2011. [Figure [Figure [Figure [Figure [Figure [Figure [Figure [Figure [Figure [Figure [Figure [Figure [Figure [Figure [Figure
http://ravenindustries.co.nz/louvres/default.htm, 2011. http://www.pleatfarm.com/2010/01/18/dynamic-facadedesign-kiefer-technic-showroom,2011. [Figure 107]: Image by Kiran Patel, 2011. [Figure 108]: Image by Kiran Patel, 2011. [Figure 109]: Image by Kiran Patel, 2011. [Figure 110]: Image by Kiran Patel, 2011. [Figure 111]: Image by Kiran Patel, 2011. [Figure 112]: Image by Kiran Patel, 2011. [Figure 113]: Image by Kiran Patel, 2011. [Figure 114]: Image by Kiran Patel, 2011. [Figure 115]: Image by Kiran Patel, 2011. [Figure 116]: Image by Kiran Patel, 2011. [Figure 117]: Image by Kiran Patel, 2011. [Figure 118]: Image by Kiran Patel, 2011. [Figure 119]: Image by Kiran Patel, 2011. [Figure 120]: http://www.sourcesanddesign.com/archives/0811/0811_p roject_walk-through.htmll, 2011. [Figure 121]: http://www.studiomacbeth.com/images/four-seasonstrees.html, 2011. [Figure 122]: Image by Kiran Patel, 2011 [Figure 123]: http://en.wikipedia.org/wiki/Fruit, 2011. [Figure 124]: http://en.wikipedia.org/wiki/plants,2011. [Figure 125]: http://en.wikipedia.org/wiki/plants/sound, 2011. [Figure 126]: http://en.wikipedia.org/wiki/plants/sight, 2011. [Figure 127]: . Image by Kiran Patel, 2011. [Figure 128]: Image by Kiran Patel, 2011. [Figure 129]: All Chapter four images are created by Kiran Patel, 2011.
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