Architectural Voyeurism | Margaret Shattuck

ARCHITECTURE THESIS

2021

MARGARET SHATTUCK

Architectural Voyeurism

Architectural Voyeurism

Submitted in partial fulfillment of the requirements for the Bachelor of Architecture Degree, Auburn University Margaret Shattuck Architecture Thesis Research Architecture Thesis Studio Associate Professor Margaret Fletcher ARCH 5991 / ARCH 5020

Architectural Voyeurism Margaret Shattuck College of Architecture, Design, and Construction, Auburn University

Table of Contents Research

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1.0 Introduction

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1.1 Voyeurism defining voyeurism

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1.2 Voyeurism—not all bad ways voyeurism can improve our mental wellness

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1.3 Public Space defining the public realm the public interior

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1.4 Transparency history of transparency in architecture

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1.5 Conclusion

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Case Studies

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2.1 The Oculus Santiago Calatrava | New York City, NY | 2016

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2.2 Mell Classroom Building William Blackstock Architects | Auburn, AL | 2017

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2.3 Frederiksbjerg School Henning Larsen Architects | Aarhus, Denmark | 2016

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2.4 Carpenter Center for the Visual Arts Le Corbusier | Cambridge Massachusetts | 1963

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Representation Studies

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Columbus Public Library

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Thesis Project

Research

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1.0 CHAPTER

Introduction What is the value of observing others in public space?

Voyeurism is defined as “the practice of obtaining sexual gratification by looking at sexual objects or acts, especially secretively,” according to the Merriam-Webster dictionary.

Architectural voyeurism is not quite as sexy. It is simply obtaining satisfaction by observing others, without necessarily being seen. People-watching is an interesting way that we learn more about ourselves, our existence, and our place in the world. Observing how everyone else lives; handles life’s challenges, opportunities, and beauty; and partakes in life experiences can be therapeutic. It can help us better deal with our mental or physical state. Watching other people experience different emotions can help us treat our own.

Observing others allows one to escape their own world and problems and focus on something else.

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Although the people observed are strangers, one can learn a lot about them just by the way they enter and move through a space. Not knowing the person also gives the imagination a chance to create a story or a narrative about them based on what has been observed. Viewing things other people are doing allows our mind to relax and forget about our daily stressors, thus making it a therapeutic experience. Viewing others can also spark feelings of inspiration, sympathy, or even provide comedic relief.

These feelings are very similar to the feelings that come with reading a book or watching a movie.

Getting immersed into a character’s life allows one to forget about their own world and enter into someone else’s. Today, several social media platforms revolve around this idea. Watching and

following the lives of others on social media also gives one the opportunity to find commonalities between themselves and a complete stranger.

This can bring a sense of belonging, self-identity, and reasons to not feel lonely. Observing through social media is similar to architectural voyeurism in that you are able to see and observe without necessarily being seen.

Most physical people-watching occurs in the public realm where people come for different reasons allowing people of different backgrounds to cross paths. In a building, the circulation is often the most public realm where people observe others and are observed themselves. Moving through the space and passing other people gives the opportunity for passive or active interactions between strangers to take place. These interactions between people

also give the opportunity to find commonalities between themselves and a complete stranger.

This idea of architectural voyeurism will be studied by designing different ways to observe space. This includes observing from within the same space, from a physically or visually adjacent space, or from a space physically divided from another space.

A dichotomy between ideas could be explored such as movement versus stillness, public versus private, exposure versus protection, shared space versus observed space, and overlooking versus participating. While in this space, the user will have the opportunity to participate in both roles: observer and person being observed.

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1.1 CHAPTER

Voyeurism In America today, popular definitions of voyeurism are as broad as psychological definitions are narrow. Some definitions of voyeurism focus on the unusual or unaccepted standards of the word in terms of social or sexual behavior while others do not. Voyeurism is taken from the French word “voyeur” meaning “one who looks.”

In a more general, non-sexual manner, it refers to someone who regularly obser ves others without their knowledge. This could otherwise be known as “people-watching.”

The term is also used much more loosely

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VOYEURISM

in a non-sexual and pop-cultural context. In 2000, when reality television shows became popular in the United States, the terms voyeur television, voyeur TV, and other variations were used to describe the shows. Therefore, there is a definitional divide between abnormal, pathological voyeurism and popular culture’s understanding of a more normal, acceptable, and non-deviant way of looking for purposes of enter tainment. 1 In some cases, voyeurism may be considered a type of paraphilia—an inappropriate sexual desire or sexual disorder. When viewed in this perspective from the fields of psychiatr y and psychology, voyeurism takes on a negative connotation. It is defined “as the act of becoming sexually aroused by watching some form of nudity or sexual activity of unsuspecting, nonconsenting individuals, either adults or children, male or female.” 2 Another source claims that “the paraphilic focus of voyeurism involves the act of obser ving unsuspecting individuals, usually strangers,

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who are naked in the process of disrobing, or engaging in sexual activity and occurs for the purposes of achieving sexual excitement.” 3 There is not much literature that concentrates exclusively on voyeurism as a sexual disorder or on its treatment. Therefore, the extent to which voyeurism exists in the general population is unknown. 4 In the context of this paper, the non-sexual definition of voyeurism will be used, similar to the definition of people-watching. Peoplewatching, or crowd watching, is “the action or practice of spending time idly obser ving people in a public place.” 5 It is a mode of behavior or way of thought specific to an individual. Many use the idiosyncrasies of those that they obser ve to guess their stor y.

They note the way someone talks or interacts with others, their body language, facial expressions, clothing, and activities. Sometimes eavesdropping may also be involved. Some people consider people-watching a hobby.

Others do not even realize they are doing it.

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1-1 previous spread Image courtesy of Love Happens Magazine.

The ar t of people-watching involves obser ving others with an open mind and turning your focus to someone else.

The movie The Truman Show directed by Peter Weir in 1998 shone an interesting light on our voyeuristic tendencies. The movie illustrated how we live in an increasingly voyeuristic society in which we like to watch other people’s private lives and revealing moments, but usually care little for actually interacting with them. In the movie, Jim Carrey plays Truman Burbank, a man whose entire life is caught by 5,000 hidden cameras without his knowledge and broadcast live to 1.7 billion voyeuristic viewers as a television show. His entire life, from bir th to finding out as an adult that ever ything has been happening in a gigantic studio soundstage, has been captured for the world to see. Ever y private moment has become public. He is the only “true man” in the show. Ever y other person he interacts with, including his wife and best friends, are merely actors playing roles in his scripted

life. The writer of the movie, Andrew Niccol, used to think the idea was “far-fetched” and “tongue-in-cheek.” However, he eventually realized he was not far off about today’s fascination with peering and gazing into places from which we are typically forbidden and seeing and hearing the innermost details of others’ lives. The voyeurism in The Truman Show and other films inspired by it is a fictitious, over-the-top version of the voyeurism that draws us on a daily basis to watch images of others’ lives unfold on television and the internet. 6 The summer of 2000 introduced the American network television debut of another voyeuristic performance, Big Brother. The show featured ten strangers living together in a house constructed specifically for them and loaded with hidden cameras. Voyeuristic viewers were able to watch the people living together at any time on the internet. Other examples of mediated, nonfiction voyeuristic fares can be found ever ywhere on TV and the

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VOYEURISM

internet nowadays. Clay Calver t, author of “Voyeur Nation: Media, Privacy, and Peering in Modern Culture” defines mediated voyeurism as “the consumption of revealing images of and information about others’ apparently real and unguarded lives, often yet not always for purposes of enter tainment but frequently at the expense of privacy and discourse, through the means of the mass media and Internet.” 7 Our culture has “evolved” into a culture that values watching electronic images of other people’s private and revealing moments.

People enjoy being able to dip in and out of people’s lives without ever getting involved.

There is something about seeing real people overcoming situations that makes us feel for them and cheer them on. Perhaps our society has become more voyeuristic in hopes of learning about ourselves, our society, or our own place in society. Perhaps it is helping our society become more empathetic towards

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others. We are curious to learn what truth and reality are by watching others experience life. Or maybe we take delight in the suffering of others so that we do not feel as bad about our own.

Although there are several ways of defining voyeurism, each definition is quite provocative.

Ever yone has voyeuristic tendencies, whether they are willing to admit to them or not. It is par t of human nature to be curious and want to learn from others’ experiences. Technology has given us an easier way to do this. We are now able to watch people experience tr ying situations without ever having to be involved or go through the tr ying situations ourselves.

By watching, we can learn how to or how not to a handle a similar situation. We are constantly watching and obser ving others, whether it is on a bench in a public park or scrolling through any social media app.

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1-2 Poster for The Truman Show that speaks to the voyeuristic nature of the film, image courtesy of Original Film Art.

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1.2 CHAPTER

Voyeurism— not all bad Observing others is an interesting way to learn about ourselves, our existence, and our place in the world. Watching the different ways people partake in life can actually be therapeutic, meaning it could improve our mental wellness.

People watch television, read books, or scroll through social media as a form of entertainment to escape, even if just temporarily, from their problems in the real world. Clay Calvert describes shows like The Jerry Springer Show as “tell-all voyeurism” meaning individuals voluntarily reveal

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VOYEURISM—not all bad

often prurient or titillating facts about their private lives. He suggests that people enjoy watching these types of shows for this very reason— “to escape from our own problems and revel in other’s predicaments.”8 Watching others, whether in person or through a screen, allows one to focus on someone else’s problems and forget their own.

Tuning into someone else’s life could also help put the problems we are facing into perspective.

Hearing what someone else is going through can change one’s perspective on their own. For example, things could always be worse. The voyeuristic part of observing someone else means you do not ever have to interact with the person which could relieve social pressure. You are able to tune in or out at your own convenience. Focusing on what is going on around you by observing others forces you to become mindful of your surroundings. Psychologists and therapists use this as a grounding technique to help people return to a calm state of mind during distress, which improves mental wellness.

The coronavirus pandemic has forced people to stay inside their homes causing an increase in loneliness. Although loneliness is a common experience, it is difficult to define clinically. It is not classified as a mental health disorder but

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goes hand-in-hand with many conditions that are.

Loneliness is often used synonymously with the term social isolation, but the concepts of each are different. A recent Time Magazine article about COVID-19 making America’s loneliness epidemic worse noted that, “social isolation is an objective indicator of how much contact somebody has with other people, whereas loneliness is the subjective feeling of isolation.”9 Being alone does not necessarily mean one is lonely just like being around people does not mean one is not lonely.

Because the pandemic has forced us to socially isolate, people are using technology to keep in touch even more. As classes have moved online for schools, people have realized the importance of being in the physical presence of others. Being around others can help combat social isolation and feelings of loneliness. Being in the physical presence of others allows more opportunities for observation which could potentially turn into social interactions. Being physically present with others also provides opportunities to discover commonalities with strangers which can bring a sense of belonging, self-identity, and gives one less reason to feel lonely.

Observing others in person can also spark feelings of inspiration. Seeing someone doing the same

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1-3 previous spread Image courtesy of Write it Sideways.

activity can inspire one to keep going. For example, a major part of studio design culture involves being physically present with others working on the same thing. Seeing and observing others work through similar struggles can help you feel inspired and motivated during a rather stressful time. Even if nobody is interacting with one another, just being able to see others in person working is extremely helpful. Trying to move studio culture to an online format because of the pandemic has not been successful for this very reason. There is a value to being physically present with others. Another example of this would be going to the library and seeing others doing their work. Being able to look around and see others also studying on a Sunday afternoon can help deal with the stress and anxiety of studying and provide motivation to keep going, ultimately helping with mental wellness.

One of the main ways we learn as humans is by watching and observing others. The term observational learning is described as the process of learning through watching others, retaining the information, and then later replicating the behaviors that were observed. Observational learning can also be referred to as shaping, modeling, or vicarious reinforcement. This can happen at any point in our lives, but it is most

common during childhood. Children learn from their caregivers and their peers around them. This also plays an important role in the socialization process. We learned how to behave and respond to others based on how we saw our caretakers and peers interact with others.10 However, this process does not end once we become adults.

Watching other people experience the different emotions that life causes can help us figure out how to deal with our own emotions. As children, we learned our core beliefs, habit behaviors, and coping mechanisms from our caretakers.

Sometimes, we did not learn the healthiest ways of coping. Observing others as adults that are not in our family can help us learn new, healthy ways of coping which can help with our overall mental wellness.

If the coronavirus pandemic has taught us anything, it’s how important it is to be in the presence of others. Being around others physically provides many more opportunities for observing others which can have several benefits to our mental health. Watching the people around us can give us an opportunity to escape our own reality, find commonalities with a complete stranger, help combat feelings of loneliness, bring feelings of hope and inspiration, help us learn how to interact with others, and help us learn more about ourselves.

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1.3 CHAPTER

Public Space The Public Realm The public realm is where the idea of peoplewatching originated. The public realm is a specific social setting and usually includes urban public spaces such as city streets, parks, and plazas. The public realm is the host for planned encounters with acquaintances as well as unplanned encounters with strangers. The public realm is different from public spaces in that it includes social settings that minimize the segregation of people based on their values, opinions, gender, race, ethnicity, stage in life, and other forms of diversity.11 There is usually a larger number of unfamiliar people in the public realm which

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PUBLIC SPACE

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1-4 previous spread Image courtesy of Jellybeancity.

1-5 The public realm allows for people of different backgrounds to gather for different reasons as shown in the Darling Harbour by HASSELL.

provides a diversity in interests, behaviors, and beliefs. This is the exact opposite of the private realm where social settings are much more intimate and where people have social ties and share many to most things in common.12 The public realm also differs from the parochial realm where spaces are considered public, but people are still surrounded by others with whom they share much in common, such as in a neighborhood, small town, or workplace.13 The public realm is an important component of the broader public sphere for providing exposure to, and interaction among people with diverse backgrounds, opinions, and values. Exposure to these differing opinions and issues within the public sphere depends on a range of external inputs available from mass media and everyday interactions within the private, parochial, and public realms.

in the parochial realm is also important for some when forming opinions and offers more diversity than the private realm, these spaces are still more likely than the public realm to be the main source of activities with people that share common interests, lifestyles, backgrounds, behaviors, and beliefs.15

However, the structure of people’s social networks has changed significantly during the last three decades. The interpersonal aspect of the public sphere has become increasingly private. There has been a trend toward privatism which supports relationships with tightly knit personal networks, but significantly reduces interactions with more diverse social ties. Close, familiar ties are usually the first place people go for social comparison and validation when forming their own opinions.

Because of the attitudinal similarity, reinforcement, and conversion between the strong, tightly bound, familiar ties, this is also likely the last place people go when forming their opinions.14 Although activity

Designing architectural spaces with more physical and visible accessibility could allow for exposure to these differing ideas. Perhaps designing space that provides the possibility to people-watch and observe others (visually and by eavesdropping) could allow for more exposure to these differing beliefs. Allowing exposure to different people could help decrease social judgement and show that we are more similar than we think. Perhaps normalizing or encouraging voyeurism through architecture could provide the exposure to strangers that our society is lacking.

Urban public spaces provide a less mediated medium for exposure to diverse social issues despite undergoing pressures toward privatization because of commercialization, business improvement districts, and surveillance.16 The public realm generally has few barriers to entry and provides exposure to different ethnic, social, behavioral, and ideological backgrounds. Because of physical visibility and accessibility, this exposure to different people allows for access to messages that are very different than those found in the personal networks of the private realm.

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PUBLIC SPACE

The Public Interior Meeting places in the city are not limited to streets and town squares today. Many buildings have conditions that allow them to be considered public spaces, including shopping malls, transportation hubs, libraries, and religious facilities. Shopping malls are one of the defining features of suburban America. They provide an alternative sense of community but lack a true public center. However, some public interiors are considered private because they belong to a specific group of users.

in England, France, Italy, Germany, and America.

It came about because of the specific needs of society at the time—a public space, protected from traffic and the weather, which helped with the marketing of luxury goods being rapidly produced by the industry. The development of the arcade eventually led to the development of the atrium. Whereas the arcade is exclusively for commercial purposes, the atrium has many functional applications as a public interior.

The word public can have several different meanings. In the context of public interiors, public refers to accessibility and ownership.

Accessibility refers to spaces that are open to all, though accessibility can be limited in time for practical reasons. Accessibility could be understood as permeability, meaning being able to enter the space without hesitation and effort.

Public accessibility also has to do with ownership.

Ownership can be broken down into two categories: formal and mental ownership. Private and public entities can own a public interior, but the mental ownership must lie with the user for it to be perceived as public space.17 This is also known as POPS—privately owned public space.

The first known atrium was in the Reform Club

by Sir Charles Barry in London.19 When designing the court, he decided to roof it with a vaulted structure of metal then infilled it with glass. The court was now an interior room protected from the weather but enjoying the same light as an outdoor court. The atrium was two stories high, surrounded by galleries, and used as a saloon for the club. The atrium then became a popular spatial type in many different buildings including hotels, offices, museums, apartments, and libraries.

The atrium in a single-tenant office building has a semipublic or private role. In Frank Lloyd Wright’s 1904 Larkin Building in Buffalo, the floor of the atrium was used as a workspace overlooked by the five levels of offices. This brought a sense of cohesiveness to the entire workforce. The Brown Palace Hotel designed by Frank Edbrooke in 1892 became the first hotel designed with an atrium at its center. The atrium became the living room not just for the hotel, but for the state of Colorado. The rich and powerful, along with everyone in between, came there to stay and be seen. The hotel became a cultural institution for all of Colorado.

With the development of all glass and iron buildings in the 1800s came two new spatial types of public interiors—the arcade and the atrium.

Traditional masonry was used for the vertical enclosures and supports while the iron and glass were primarily used in the public spaces. The arcade is a glass covered passageway that connects two busy streets and is lined on both sides with shops.18 It developed in the 19th century

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1-6 The Galleria Vittorio by Emanuele II in Milan, Italy built in 1867 is one of the best known arcades.

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PUBLIC SPACE

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1-7 (left) View of the atrium in the Larkin Building designed by Frank Lloyd Wright in Buffalo, New York.

1-8 (above) View of the atrium in the Ford Foundation Headquarters designed by KRJDA located in New York, New York.

The Ford Foundation Headquarters in New York City by Roshe and Dinkeloo heralded the epoch of the “new atrium” in 1968. Their creations expanded the horizons of atrium design and initiated a new era of possibilities and opportunities.20 The atrium in the Ford Foundation Headquarters serves as a transition space between the city outside and the private inside. It is designed as an indoor park to be used year-round by city residents, the general public, and the occupants of the office building.21 The atrium gives the office a communal focal space.

Every space in the building has a direct contact with the garden atrium. The floor-to-ceiling glass walls surrounding the atrium allow all personnel, including the president, to see each other across

the space. It fosters a sense of oneness, belonging, and common purpose among the foundation employees.22 This public interior is a place to have lunch, to rest and chat, and to relieve the stresses of work while watching coworkers do the same.

Public interiors can vary in size and host a wide variety of activities. One of the main objectives of these spaces is to allow for public performance.

Public performance refers to the display of people with the interior seen as a stage set.23 This is the same idea of observing others and being observed yourself. The public interior belongs more to the social space defined by its public use.

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1.4 CHAPTER

Transparency Transparency has an interesting history with architectural voyeurism. At one point, transparency was considered a remarkable sign of modernity and progress, not just technically, but ethically as well. The development of consumer capitalism in the 1950s and 1960s changed the meaning of transparency in architecture. The meaning and association underwent even more changes in the 1990s within architecture and wider social developments.24 Transparency was initially associated with truth and honesty, but nowadays it is associated more with voyeurism.

During the modernist movement around the

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time of World War I, many architects explored the possibilities and potentialities of transparency.

Walter Gropius became known as “the standardbearer for a sachlichkeit architecture that captured the technological zeitgeist.”25 Much of his work included tendencies that had commenced with industrialization that had taken place a century earlier. Transparency was a perfect example of the achievement of new architecture and expressed its meaning. It seemed to defy gravity which had held back so many possibilities the new age had to offer. In the past, walls had transparency, but not translucency. For example, churches had colored glass that allowed light in, but no views.

Transparency became a symbol of scientific age that demanded clarity and precision along with

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openness and honesty.26 Gropius claimed that transparency allowed for a plethora of fresh air, daylight and sunshine which met material and psychological requirements. The modernists also claimed that transparency revealed the truth or honest way of living which rejected the Victorian clutter and ornamentation that referred to specific eras and social status. Marcel Breuer, another modernist architect, claimed that transparency would allow one to gaze at the healthiness of mind and body. Modernists were also interested in transparency providing an opportunity for the gaze, predominantly from outside to inside.

After World War II, the architectural meaning of transparency was affected by postwar social

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1-9 previous spread Image courtesy of Tune into Your Vibe.

1-10 Office building of the Werkbund exhibition designed

by Walter Gropius.

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1-11 An example of the reflective curtain wall that provides views out but not views in, image courtesy of Archdaily.

changes. The age of consumer capitalism, private affluence, and mass media glamour did not align with the commitment to “logically transparent” architecture.27 The picture window in houses became very popular. The transparency revealed a glamorous and desirable lifestyle from the outside and a stunning vista from the inside. Having people look into the picture window was just as important as looking out. Privacy was not an issue. Transparency was used as a way for people to display and have others look at the objects in their house that denoted status. People in the suburbs were more than happy to “provide a good eyeful.”28 Changes to transparency in the 1950s were also taking place in the cities. The curtain wall became an architectural breakthrough that was “transforming the urban environment of America, replacing masonry and mass with glittering glass and diagrammatic transparency.”29 In the 1970s, the curtain wall started being used with a reflective glass surface. This was popular to use on office buildings and hotels and made them look “upmarket and conscious, inscrutable and mysterious, and highlighted the barrier between what one imagined was the privilege and privacy of those within, and exclusion of the rest.”30 This caused transparency to lose much of its appeal.

It was no longer revealing honesty and truth or providing a dramatic aesthetic experience.

Today, companies are shifting away from the curtain-walled office block and are now more

likely to look for a remodeled building with visual drama brought by transparent mixing bays or stairwells. In the past, some factories and production plants used transparency to show off their products and allow views into the engaging activity of manufacture. Now, creative industries are using transparency to reveal their office workers for “visual effect and sheer spectacle.”31 Voyeurism is welcome here. People working are happy to be observed, especially if the building feels prestigious and well designed. Individuals are not only on display at work, but in leisure situations as well. Traditionally, bars were guarded and private and had little to no views to the inside from the outside. In fact, some laws prohibited a clear line of sight into an establishment that served alcohol. Today, bars often have a transparent frontage to allow “the actors within to fully perform.”32 Transparency is now established as part of the culture of contemporary society, perhaps because of the distinction between private and public becoming more blurred over the past few years.

However, there are limits to transparency. If used poorly, it could become unwelcome and intrusive.

The wariness and suspicion of transparency is counterbalanced with the power and appeal it brings to our society. When used appropriately, it can visually connect people and the activities happening on either side of the glass.

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1.5 CHAPTER

Conclusion Designing for voyeurism to happen throughout the public space of a building could provide many benefits to the mental wellness of its users.

Watching others could help people escape their own realities, help with feelings of loneliness, inspire others, and provide learning opportunities.

The public realm, whether interior or exterior, provides the perfect setting for observing strangers. This could also help connect our society and communities by allowing people to find commonalities with people different than them. The use of transparency provides more opportunities for voyeurism by visually connecting different spaces.

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This idea of architectural voyeurism will be studied by designing for different ways of observing space. This includes observing from within the same space, from a physically or visually adjacent space, or from a space physically divided from another space. A dichotomy between ideas could be explored including movement versus stillness, public versus private, exposure versus protection, shared space versus observed space, and overlooking versus participating in terms of activity. While in this space, the user will have the opportunity to participate in both roles: observer and person being observed.

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Case Studies

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2.1

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The Oculus

Santiago Calatrava | 2016 New York City, NY

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THE OCULUS

2-6 Plan drawing showing the building’s relationship to the site.

2-7 Section drawing that shows the relationship between the mezzanine and the main concourse.

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2-8 Interior view showing people standing on the platforms on the stairs observing the space below them.

The Oculus is the World Trade Center Transportation Hub and sits where the twin towers once stood in New York City. It was designed by Santiago Calatrava in 2004 and took about 12 years to complete construction. The hub is a freestanding structure situated on axis along the southern edge of the “Wedge of Light” plaza. It links the procession of green, urban spaces that extend along Park Row from City Hall Park to St. Paul’s churchyard to the gardens of the World Trade Center Memorial and Battery Park along the Hudson River. The structural steel ribs that form the Oculus extend upwards symbolizing outspread wings to form a pair of canopies. There are two entrances, one on the east node and one on the west node. The entrances lead to symmetrical stair landings with cylindrical glass elevators. These stair landings overlook the main concourse with an operable skylight above.

Because of the structure, visitors walking through the concourse are able to look up at a column free, clear span. The form of the building resembles the image of a bird released from a child’s hands. The sculptural form is achieved through the modulated repetition of structural steel ribs. Glass between the ribs allows natural light to flood the facility bringing

a powerful symbol of hope and vitality to the space.

At night, the Oculus glows serving as a lantern on the reconstructed World Trade Center site.33 The main concourse in the Oculus is two levels below grade. The main retail level is above the concourse level with a mezzanine that overlooks the large central space. When one enters the transportation hub from the ground level, they immediately approach a platform that overlooks the mezzanine and concourse. The main concourse connects all of the train lines that run to the World Trade Center. Because of this, there are several people from all over the city commuting through this large space constantly throughout the day. This provides the perfect opportunity for architectural voyeurism to occur. The concourse is an interior public space that provides the stage set to display people. The mezzanine provides the perfect opportunity to stop and observe the people passing through below. There is also an area on the stairs devoted to overlooking the large space.

It provides an opportunity to not only gaze at the beauty of the architecture, but also at the beauty of stranger’s lives crossing paths below.

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Mell Classroom Building

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William Blackstock Architects | 2017 Auburn, AL

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MELL CLASSROOMS

2-14 Plan drawing showing the various places for different activities to happen in the central atrium.

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2-15 Diagram showing the addition’s relationship to the existing library.

The Mell Classroom Building is an addition and new entry to the Ralph Brown Draughon Library on Auburn University’s campus. It was designed

by William Blackstock Architects in 2017 with the intentions of transforming and advancing the academic experience for students and faculty by promoting a series of teaching methods inside and outside the classroom. The core elements of the addition include tiered lecture halls, seminar rooms, active learning classrooms, and team study rooms. Each one integrates the newest technology with hopes to enable collaboration and promote ongoing assessment and evolving pedagogy over the years. There are several areas outside the classroom that provide space for impromptu conversations and facilitate active brainstorming sessions. There are a variety of relaxed areas located throughout to provide open areas for group study or to exchange ideas. The original façade of the Ralph Brown Draughon Library was celebrated as a central focus of the dynamic

atrium experience.34 The atrium puts the main circulation path and their activities on display. Almost every activity that happens within the space can be seen from somewhere around the atrium. Being able to people-watch in this setting can help improve your mental wellness. A common feeling among students at the library is feeling overwhelmed or anxious. Being able to look around the atrium here and see other students working helps inspire students to stay motivated. It also provides an opportunity to escape the stress momentarily and focus on something else. People are constantly walking through the space because the addition also acts as the main entry for the library. Focusing on the people walking through, or the people that stop to chat to a familiar face on the terraced steps, forces you to become mindful of your surroundings. This helps with returning your mind to a calm state and decreases anxiety.

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Frederiksbjerg School

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Henning Larsen Architects | 2016 Aarhus, Denmark

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FREDERIKSBJERG SCHOOL

2-21 Plan drawing showing the different play areas on the ground floor.

2-22Section drawing showing the central atrium.

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2-23 Interior view showing architectural voyeurism happening in various ways in one space.

The Frederiksbjerg School was designed by Henning Larsen Architects and GPP Architects in 2016 in the Frederiksbjerg district of Aarhus, Denmark. It was the first school in Denmark to meet the demands of the Danish school reform of 2013. The school reform focuses on learning through movement and sensation as well as openness and community and creation. This requires a minimum of 45 minutes of movement and activity during school hours. The school is organized around a central atrium where the building’s four clusters join together. The clusters sit around a shared room in the center that encourages different activities and/or quiet studies.

These areas are specifically designed to fit different

age groups and their levels of understanding and motion.35 The architectural voyeurism in this school allows the children to learn by observing their peers.

The younger students are able to watch the older students participate in the various activities happening throughout the school. There are several different areas that encourage movement and play around the central atrium. These areas can be seen from anywhere within the space.

Being able to see the kids participating in the activities also helps to encourage and inspire others to participate.

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2.4

Carpenter Center for the Visual Arts

52

Le Corbusier | 1963 Cambridge, MA

2-24

2-25

2-26

2-27

2-28

CARPENTER CENTER FOR THE VISUAL ARTS

2-29 Section drawing showing the ramp’s relationship to the building.

2-30 Diagram showing the movement of people along the ramp through the building.

54

2.4

2-31 Plan drawings showing the spaces the ramp passes through and provides views into.

The Carpenter Center for the Visual Arts was designed by Le Corbusier in 1963 and is located on Harvard University’s campus. It was designed to be the home of Harvard’s visual arts program and houses large open studio spaces for students to work and showcase their art. It was meant to be the synthesis of the arts where architecture would join with painting, sculpture, photography, and film. The building highlights an architectural promenade that runs through the middle of the building and connects the interior studios, galleries, and screening rooms to the public spaces within the building and around campus. The ramp slowly ascends through the building’s levels and has a degree of reveals that allow the people walking by to peer into the spaces through the gap between the floor plates and the ramp. Corbusier used a curvilinear wall system to define the interior volume’s boundary as a way to bring attention

to the architectural promenade throughout the building. It also acts as a way to seamlessly link the interior spaces through a cyclical spatial organization.36 The architectural voyeurism in this building happens between two spaces that are physically separate from one another rather than from within the same central space. The transparent walls allow the activities happening within the art studios to be put on display for the public to see.

This provides a connection between the artwork being viewed and the artwork being produced.

The students are also able to watch the public passing by viewing their work. The movement of the people moving through provides a visual break for the students from the static nature of people sitting and working within the same room.

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Representation Studies

03

3.0 CHAPTER

Representation Studies

58

3-1

The Institute of Free Speech | James Hull In this section perspective, the views that the people inside the building see when looking out are included. This would be an interesting way to showcase architectural voyeurism by providing the views of what people see when they are observing others. These views could also showcase other activities happening throughout the building.

This section perspective also shows the different

spaces that overlook others. The white entourage allows the colors and materials of the interior to stand out. The faded black and white context also allows the interior materials to stand out. Light and shadow were used in the interior spaces to help show how that space would feel. The faded poche at the bottom makes the white section cut become visually prominent.

59

REPRESENTATION STUDIES

3-2

London Public Library | Kyra This type of drawing would be an interesting way to show people observing others by overlooking another space. The two subjects of the drawing, the observer and person being observed, break the edge of the circle. The circle gives the drawing a more diagrammatic nature rather than a complete rendered persepective. The subjects breaking the edge makes the activity of observing

60

become the main focus. The rendering style is more realistic with this vivid color palette. The way the sunlight is portrayed makes the image appear dreamy. The materials on the inside of the building were also rendered which allows us to be able to see what is happening behind the window.

The people are also given shadows to add to the realistic nature of the drawing.

3.0

3-3

Academy for Global Citizenship | Studio Gang The way this perspective is framed does a nice job of showing the activities in the foreground along with activities happening beyond. This framing strategy would be helpful to use when explaining architectrual voyeurism and showing someone in a space observing the activities happening beyond.

This rendering also uses a really nice color palette.

The colors of the natural elements are very rich

which makes the space come to life. The materials of the architecture are also portrayed but are much lighter. Linework is mainly used to show the materials of the interior. The entourage is used as silhouettes in this rendering. The entourage is a bit too dark in the forground but works well in the background.

61

REPRESENTATION STUDIES

3-4

62

3.0

Intimate Infrastructures | Natasha Reid Design This style of drawing is an interesting way to portray architectrual voyeurism. Having a person in the foreground puts an emphasis on the idea of observing others. This method could be used in other drawing types as well. This drawing is also interesting in that it is a section perspective but has a rendered forground in front of the section cut. The drawing has a clear foreground, middle

ground, and background. The details of the scale figures and plants are more prominent in the forground. The drawing is able to portray a lot of information at a time. It shows the activities happening on the inside along with activities happening in relation to the context. The color palette consists of soft greens mainly coming from vegetation.

63

REPRESENTATION STUDIES

Project Title Unknown | Author Unknown This drawing style would be an interesting way to portray architectural voyeurism taking place in layered space. Removing the walls of the spaces gives the opportunity to show the activities happening in each space. It also shows the visual connections between the different spaces. This drawing is rendered with simple colors and textures. The linework of the exterior walls is

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lightly drawn. This way it does not distract from the primary focus of the drawing but still allows the entire building to be understood as a whole.

This drawing also shows the relationship between the different sized spaces. The stairs are included in the drawing to show the primary circulation path throughout the building.

3.0

3-5

65

Thesis Project

04

4.0 CHAPTER

Columbus Public Library These ideas about architectural voyeurism were studied through the design of a public librar y in Columbus, Georgia. This is a view from the third floor looking at the main librar y space with the cafe below. The librar y space has a multi-level section with doubleheight ceilings to allow for endless views between the floor levels.

68

69

COLUMBUS PUBLIC LIBRARY

Why? As previously stated, designing for voyeurism to happen throughout the public space of a building could provide many benefits to the mental wellness of its users. Watching others could help people escape their own realities, help with feelings of loneliness, inspire others, and provide learning opportunities.

70

4.0

help people escape their own realities provide learning opportunities

inspire others

help with feelings of loneliness

71

COLUMBUS PUBLIC LIBRARY

exterior public realm

Where?

interior public realm

72

The public realm, whether interior or exterior, provides the perfect setting for observing strangers.

This could also help connect our society and communities by allowing people to find commonalities with those different than them.

4.0

within same space

physically or visually adjacent space

How?

physically divided from another space

This idea of architectural voyeurism will be studied by designing for different ways of observing space. This includes observing from within the same space, from a physically or visually adjacent space, and from a space physcially divided from another space.

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COLUMBUS PUBLIC LIBRARY

Diagrams showing different ways of observing others in space with or without being seen.

Design Opportunities A dichotomy between ideas such as movement v. stillness, public v. private, exposure v. protection, shared space v. observed space, and overlooking v. participating were explored. A series of diagramming different ways of observing others in

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space helped to understand the different angles and perspectives to view others with or without being seen. These ideas were then manipulated and combined to think through several plan and section opportunities.

4.0

Diagrams showing different plan and section opportunities.

75

COLUMBUS PUBLIC LIBRARY

Site Documentation The site for the librar y is located in Columbus, Gerogia along the Chattahoochee Riverwalk. The Riverwalk is a 15-mile scenic walkway along the river that goes through the historic downtown area. On the nor th edge of the site are two old mills that are currently being restored. The site has dense trees along the riverfront with nice views of the Chattahoochee River.

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4.0

77

COLUMBUS PUBLIC LIBRARY

Program A public library was chosen to explore the ideas of architectural voyeurism to allow for a space for people of all ages to gather. A public library is also a space that people tend to spend several hours in which provides the perfect opportunity to sit and observe others. The program includes

78

an administration center, digital resources, a café, general book stacks, and auxiliary program. An art center space was also included with an auditorium and art studios to provide a more normative space to observe others.

4.0

Public Library Program ADMINISTRATION CENTER Staff Offices (8) Staff Lounge Conference Rooms Storage

3,000 sf 1,200 sf 500 sf 1,000 sf 300 sf

DIGITIAL RESOURCES Computer Area A/V Room Green Room

2,100 sf 1,500 sf 300 sf 300 sf

CAFÉ 4,800 sf Café Seating Area (indoor) 2,500 sf Kitchen 1,500 sf Serving 300 sf Storage 500 sf Outdoor Seating Area LIBRARY FUNCTIONS Book Circulation/ Processing Room Receiving Room Book Binding/Conservation Book Storage Information Desk

4,300 sf 1,000 sf 800 sf 500 sf

AUXILIARY PROGRAM Lobby Reading Rooms

Classrooms (3) Multipurpose Room Study/Tutoring Rooms Outdoor Spaces

26,000 sf 1,500 sf 9,100 sf 3,000 sf 1,000 sf 11,400 sf

ARTS CENTER Art Studios (3) Dance Studio Rehearsal Room Gallery/Exhibition Space Auditorium

15,000 sf 3,000 sf 1,000 sf 1,000 sf 6,000 sf 4,000 sf

Additional Required Program Restrooms: 20 Male 20 Female Water Closets Mechanical Space Storage Closets throughout Outdoor Needs Open Space at Grade 10,000 sf Program Area (net)

90,700 sf

BOOKS/MEDIA 35,500 sf General stacks/reading area 26,000 sf Periodicals section 2,000 sf Teens section 2,500 sf Childrens Section 3,000 sf Reference Section 2,000 sf

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COLUMBUS PUBLIC LIBRARY

Design Strategies The design process began with a simple form located adjacent to the existing parking area with an elevated exterior space above the Riverwalk.

The elevated exterior space extends out and over the Chattahoochee River. The simple form was then divided into thirds with the auditorium in the center. Stepped seating faces the stage of the auditorium where the art and dance studios can be seen above. The remaining program is arranged in bars around the central space. The more private and enclosed program is to one side, while the more public and open library space is to other side. The service zone with access to the different circulation methods and restrooms is along the urban edge. The study rooms are along the waterfront edge to allow for views of

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the river. There are two ramps, one on the public side and one on the private side, that act as the main circulation path throughout the building. Each ramp has a landing with a larger platform that becomes a moment of stasis on the circulation path. This provides a moment for people to stop and observe or be observed and speaks to the idea of movement v. stillness. There are a few spaces throughout the building that provide moments of exposure v. protection. One of the moments occurs in a series of exposed platforms that are offset from the floorplates with private, protected reading nooks tucked off of each one.

There is also a protected reading space under the stepped seating with an exposed reading space on the mezzanine above.

4.0

site strategy

bars of program

83

COLUMBUS PUBLIC LIBRARY

vertical circulation

ramp circulation

84

4.0

moments of stasis

exposure v. protection

85

COLUMBUS PUBLIC LIBRARY

0’

2

2

2

1

2

1’ 3” 2’ 6”

12

11

3

3

0’

0’

6

8

9

5

10

A

First Floor Plan 1 2 3 4 5 6 7 8 9 10 11 12

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entry gallery reading lounge new releases book stacks circulation desk children’s section cafe kitchen storage auditorium stage

4

7

B

4.0

12’

14

13

15

open to below

2’ 6”

open to below

open to below

open to below

3

12’

open to below

8

5

Second Floor Plan 5 8 3 13 14 15

book stacks cafe seating reading lounge computer room green room multipurpose room

87

COLUMBUS PUBLIC LIBRARY

33’

30’

17

open to below

3

16

30’ 22’

5

Third Floor Plan 3 5 16 17

reading lounge book stacks study rooms classrooms

Section A

4.0

33’

48’

41’

37’

45’

16

48’

open to below

17

3

48’

40’

5

48’

Fourth Floor Plan 3 5 16 17

reading lounge book stacks library functions administration

Section B

COLUMBUS PUBLIC LIBRARY

Above View from parking area looking at main entry and exterior ramp that leads to elevated exterior space.

Right View from lobby looking at exposed reading platforms with views between each floor.

90

4.0

91

Architectural Voyeuristic Devices Throughout the library, there are several devices used to allow for architectrual voyeurism. There are two different paces of vertical exposure to the section; the ramp allows for a slower pace while the transparent elevator allows for a much faster pace. A brick-like screen surrounding the auditorium provides glimpses into and out of this space on the interior. A similar brick-like screen on the facade provides these same glimpses to the exterior. A multi-level section allows for views between the different floor levels from interior to interior and interior to exterior.

Pace of Vertical Exposure to Section

Visual Screening

slow—ramp

interior

fast—transparent elevator

exterior

Multi-Level Section

interior to interior

interior to exterior

COLUMBUS PUBLIC LIBRARY

Above View showing the moments of stasis platforms with people idly observing others moving throughout the building.

Right View showing the exposed reading platforms paired with protected reading nooks.

Series of Spatial Dichotomy The moments of stasis that extend off of the ramps provide the perfect setting for the stasis v. movement spatial dichotomy.

People are able to pause and observe others moving by. The offset exposed platforms provide views in-between the floor plates.

The private reading nooks on the platforms give a space for people to read and not be seen or observed.

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stasis v. movement

exposure v. protection

COLUMBUS PUBLIC LIBRARY

View of reading platforms showing the difference between the exposed reading space versus the private reading nooks.

COLUMBUS PUBLIC LIBRARY

View overlooking the protected reading space under the stepped seating in the auditorium from the exposed reading space on the mezzanine above.

98

4.0

View of the private moments of stasis that come off of the ramps on the private side of the library.These moments of stasis are smaller and more protected than the moments of stasis on the public side.

99

COLUMBUS PUBLIC LIBRARY

View from the reading mezzanine on the 2nd floor overlooking the Riverwalk and elevated exterior platform.

100

4.0

101

View from reading platform overlooking public library space where the sectional variety of the moments of stasis can be seen.

Endnotes

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