Masters of Architecture Thesis

THERMAL BATH, DOWNTOWN LA a study of sensorial stimuli in architecture

SPECIAL THANKS TO: Kip Dickson [ Graduate Coordinator ]

Sarah Lorenzen [ Thesis Adviser ]

Alex Pang [ Thesis Adviser ]

Axel Schmitzberge [ Research Adviser ]

MASTERS OF ARCHITECTURE THESIS

A Study of Sensory Stimuli in Architecture California State Polytechnic University, Pomona Megan Miller 2012-2013

PRECIS PHOTOS TAKEN AT SEATTLE PUBLIC LIBRARY DURING SUMMER CASE STUDY RESEARCH

“If we can achieve spaces that create balance between the spirit, soul, and mind then we have achieved successful spaces that mirror what it is to be human.”

-KYLE CLARK

Architecture is often regarded as a series of still retinal images, but the greatest designs address the sequence of our movements, activities, and experiences, engaging both our mind and body. Additionally, Architects and Urban Planners of the present day have effectively engineered physical activity out of the built environment, creating visual, sedentary environments that promote obesity and diminish mental well-being. The introduction of new technologies, machines, and synthetic materials has created unhealthy environments that seek to appease the majority rather than stimulating the

individual. The present unhealthy state of America has made it essential to build an environment that encourages wellness. Can architects promote a healthy lifestyle through the intentional development of sensory stimuli? Each of our bodily senses has an effect on our wellness, so architecture should consider all five senses, as well as the movement of our bodies through the artificial environment. Through editing, reduction, and articulation, architecture can seek to avoid sensory overload and sensory deprivation.

PRECIS PHOTOS TAKEN AT REDWOOD NATIONAL PARK DURING SUMMER CASE STUDY RESEARCH

“Think about how to make an artificial environment seem as natural as possible.”

-SCOTT M GUSTAFON

The senses are all interrelated, and devices used to promote wellness for one sense can also benefit the others. Research suggests that drawing parallels to nature can promote wellness and well-being. What does nature have that the built environment doesn’t? Every element in nature has its own unique texture, often informed by fractal geometry. Nature also has variation in light, color, sound, and smell. Natural materials have more texture and scent than artificial materials as long as they are not covered with synthetic coatings.

A forest is seen as a particularly soothing space in nature. A forest is neither transparent nor opaque, bright nor dark, loud nor quiet. It caters to our peripheral vision, rather than having focal elements. Similarly, a cave is also an invigorating element in nature. We are excited by how we can move through a cave, interact with its niches, and discover the mysteries it has to offer.

Architecture can implement all of these things, providing exciting spaces for our bodies to interact with.

PRECIS PHOTOS TAKEN AT VALS THERMAL BATH DURING SUMMER CASE STUDY RESEARCH

“People can touch things physically, or they can also touch things with their eyes.”

-SCOTT M GUSTAFON

Texture occurs at all different scales. The urban grid, the organization of spaces in plan, or the materials on a wall can all create a texture. Texture can be used to direct sound, generate desired visual and thermal effects from light, provoke a tactile response, or inform movement by guiding motion or providing a measure for distance. Texture can be informed by fractals, which are patterns based on repetition in nature. The patterns can create a sense of visual motion, or they can imply stillness. Texture is made more interesting when it is interacted with or moved through. People, light, and sound can all move

through a texture. Texture can respond to the human body, while also extending it. Yoga promotes wellness through a combination of stimulation and relaxation that pushes the body to new limits. Architecture should do the same.

By focusing on texture, light, views within and outside the building, circulation, color, materials, temperature, and movement of sound, light, and the human body, I hope to demonstrate the ability of architecture to promote wellness.

Elements like rhythm, patterns, transition, and composition can all be used to generate a meaningful experience within a building.

INTRO

[1]

SIGHT

[3]

TOUCH

[ 13 ]

HEARING

[ 19 ]

SMELL

[ 21 ]

MOVEMENT

[ 25 ]

INTERDEPENDENCE

[ 33 ]

METHODOLOGY

[ 35 ]

CONTEXT

[ 37 ]

URBAN STRATEGY

[ 43 ]

SENSORY STRATEGY

[ 45 ]

PROGRAM

[ 47 ]

PLANS

[ 49 ]

PERSPECTIVES

[ 51 ]

SECTIONS

[ 59 ]

MODEL

[ 61 ]

CODES

[ 63 ]

INTRO

1

“I generally feel that the optimum environment is that of balance and black and white can play a role in this. It is difficult to comprehend the balance of gray without experiencing the extremes of black and white.�

-KYLE CLARK

"Architecture is the art of reconciliation between ourselves and the world, and this mediation takes place through the senses (Juhani Pallasmaa)." Wellness addresses stimulation of the individual rather than standardization and mass appeal, therefore requiring a decidedly different set of design priorities than merely providing a comfortable environment (Keeling 5). Wellness design must invigorate building occupants (1), articulating the experience of "being" by addressing every bodily sense simultaneously (11). In architecture today, considerations of style and aesthetics have overshadowed those of meaningful form (Fitch vii), but the central function of architecture should be to lighten the stresses of everyday life (3). Human beings inhabit and dwell in the built environment, so rather than looking at spaces as outside of ourselves (Hauptmann 95), we must become a part of our environment through poetic sensory experiences that nourish the needs of our souls.

Functional architecture nourishes our physical needs, but through light, color, texture, and the manipulation of space, we can give our built environment life and spirit (Franck 74). "A condition of neither too great nor too little sensory stimulation permits the fullest exercise of the critical faculties upon that situation or any aspect of it...a changing sensory environment seems essential for human beings (Fitch 13)."

Sensation shapes our response to spaces, and this flow of data to the senses is processed and interpreted with our perception (Malnar 21). The senses include touch, taste, smell, hearing, vision, and movement. Sensory input is interpreted by the body via receptor cells, and for each sense, these cells are stimulated in a different way. Vision is stimulated by light, smell and taste by chemicals, hearing by sound waves, and touch by pressure and temperature.

It is through sensation that we can both appreciate and be harmed by our environment (Kopec 41). Science is beginning to address these issues, and researchers are learning that sensory data can actually affect our immune system. Sensory stimulants like light, sound, and temperature trigger the brain's emotional centers, and these emotional centers release nerve chemicals and hormones that affect our ability to fight disease (Sternberg 21).

Architecture can effectively address sensory design in two key areas. The relationship of positive sensory stimuli to nature is significant to wellness, and so is the sensory experience of moving through a space. The built environment is not experienced as a series of still retinal images, but rather as an experience of motion, activity, and living. Karen Franck, professor at the New Jersey school of architecture, wisely said, “If going up and down stairs is for the body that moves, the material the steps are made of, the way they meet or do not meet our feet, are for the body that feels through its senses (75).” Nature is significant as a sensory element for wellness because, in our contemporary lifestyle, we spend 90% of our time sealed up in meaningless environments with artificial air and synthetic materials, interacting with more technology and machines than real people. Our senses are no longer stimulated when we abandon links to the natural world. Barbra Crisp asserts that as human beings “we long for meaning in our lives and in the places that we inhabit. We have an inherent craving to connect with nature, allowing us to temporarily shed the chaotic thoughts and ways to contemporary culture (7).”

The environment is the “context in which development takes place, including physical properties of stimuli (Neurolaw.com).” This thesis addresses the built environment, which can be defined as, “The human-made surroundings that provide the setting for human activity...the built environment is a material, spatial, and cultural product of human labor that combines physical elements and energy in forms for living, working, and playing (Wikipedia).” The built environment will be analyzed through the human senses, investigating how sensory stimulants can promote wellness. Wellness is not just a lack of disease, but rather a state of physical and mental fitness and balance. It is a “subjectively experienced condition, affected by norms and expectations (Dilani 2).” According to the World Health Organization, wellness encompasses well-being, which is, “a dynamic state of physical, mental, and social wellness...a lifestyle which recognizes the importance of nutrition, physical fitness, stress reduction, and self responsibility.”

SIGHT

3

“Think about how the light changes over the course of the day and during different seasons. Changes in light and color over the course of the day can create very different atmospheres.”

-SCOTT M GUSTAFON

Vision can be focused or subliminal, foveal or peripheral, and can be associated with the detail or the mass (Malnar 245). Our mental and physical states of wellness are significantly impacted by the light, colors, and natural elements we can see. If wayfinding, prospect, and refuge are lacking in an environment, then the inhabitant’s mental well-being is negatively affected.

On the other hand, visual motivation to use stairs, ramps, and long circulation paths can have a large impact on our physical wellness. Of all the senses, the eye is said to be the most “superficial,” but it is still arguably the most valuable sense when perceiving an environment (Malnar 152).

As a species, humans grew up in nature, which was filled with variations of the color green. Color is a critical aspect of vision, and because of our origins vision heavily favors the wavelengths of green (Sternberg 39). Green, associated with growth, nurturing, and healing, is halfway between the warm and cool colors. Colors in the middle of the spectrum are naturally soothing, but as you move farther to the extremes of wavelength, whether short or long, colors become more stimulating. Colors like red and yellow are exciting and highly stimulating. Researchers are not sure if these responses are learned or genetic (40). In addition, color effects perceived distance. Red objects appear closer than they actually are, green objects appear slightly further away, and blue objects appear much further away than they actually are (Blake 85).

Studying only color wavelength can be misleading though because factors such as light and surface texture affect the way colors are perceived. Textures can reflect light, absorb light, filter light, or diffuse light (87). Variations of reflectivity and transparency begin to suggest an enormous range of color possibilities, and perception of color can be altered by changing light levels or juxtaposing transparency and opacity (Gomez 58).

Colors have a direct effect on the body. Researchers believe that colors, as vibrating wavelengths, react with the body, acting on the body’s cells. We can absorb energy from the frequency of wavelength vibration through our eyes and skin. The effects of different colors can be exploited to improve our physical and emotional well-being (Black 90).

Red raises blood pressure, orange encourages verbal communication of emotions, yellow can have a mood enhancing ability, blue can lower blood pressure and relieve headaches, and indigo and violet reduce stress and promote inner calm (Marberry 16). It is beneficial to use balanced proportions of the entire spectrum of color (9). When all the colors of the visible light spectrum are present, they create an electromagnetic energy that produces healing effects similar to those of natural daylight. A full spectrum of color can actually supplement natural light in a space (17). Every finish and material in a space contributes to the color palette. Bright yellow is associated with feelings of optimism, but the dull yellow of brass, wood, and typical light fixtures deflects sunlight preventing its maximum intensity and creating a heaviness of yellow in the palette (21). When light, texture, and color are all taken into consideration, a full color spectrum can have a significant impact on wellness.

Therme Wien, a thermal bath in Vienna Austria, promotes healing through color with a full spectrum color scheme.

We see colors, objects, spaces, and buildings because of the light that touches them. One could argue that without light, there is no object (Franck 94). It is essential to consider quantity, quality, and type of light in a space because these factors can have a significant impact on our health and wellness (Parikh 35). There is a large body of research on the effects of natural light on the human body. Scandinavian countries have a high rate of suicide and depression, and many argue that this is due to a lack of natural light during long winters. This form of depression has been coined seasonal affective disorder (SAD) and is brought on by prolonged exposure to artificial light or darkness (Sternberg 46). Many factors that significantly influence wellness such as breathing, sleeping, appetite, body temperature, mental acuity, mood, and the immune system are governed by the endocrine system, which is strongly affected by natural and artificial light. Researchers claim that natural light is necessary for healthy functioning of the brain (Parikh 35).

Sunlight is also responsible for producing Vitamin D in our skin and for aiding in the absorption of calcium (Hunter 176).

SIGHT VARIOUS CASE STUDIES ON COLOR AND LIGHT; PROJECTS BY ZUMTHOR, HOLL, AND LEGORRETA

5 http://sharedesign.com/inspirationblog/peter-zumthors-thermal-baths-vals/

http://architectureinsights.com.au/events/aaa-black-series-presents-ricardo-legorreta/

Despite our need for natural light, homogenous lighting “invites no feelings toward anything in particular and creates no seduction of objects, environments, or people (Frank 96).� Constant high levels of illumination that leave no space for mental or physical privacy or withdrawal are used as a torture method (Pallasmaa 49). The combination of both light and shadow can be used to stimulate mood and effectively create atmosphere. The sources of light and the manipulation of shadow can inform people how to behave, how loudly to speak, how gently to move, and how intimate they should be. For

Photo by Helene Binet

http://uiaproyectosuno.blogspot.com/2011/08/luz_9548.html

example, in a theater the dimming of lights tells us to be quite and pay attention (Franck 96). When listening to music, dreaming, embracing loved ones, or other overwhelming emotional experiences, we tend to close our eyes, allowing shadow and darkness to invite tactile experiences. Depth, distance, and sharpness of vision are ambiguous in shadow. When shadow is used to create ambiguity, the unfocused vision can be used to evoke a meditative, relaxed state (Pallasmaa 46). Shadow modulates natural light, and the built environment modulates shadow (Franck 95).

SIGHT TEXTURE STUDY

7

“Materials are the key to any project. The wrong material can take a dynamic space and kill it. A great material can take a mundane form or idea and give it life. Color is probably the easiest (and cost effective way) to alter the way a space feels beyond pure volumetric.�

-CLAY AURELL

It has become common knowledge that, due to a number of reasons, windows have an effect on healing and wellness. Windows promote wellness through the colors and light they provide, but other sensory factors such as sounds and odors may have an impact as well (Sternberg 21). Well-known architects such as Aalto and Neutra have been explicit about the health benefits derived from natural views (5). It has been suggested that architecture and urbanism inhibit wellness because they lack the sensory engagement of a natural setting. Peripheral vision integrates us with a space, while focused vision pushes us through and out of it, making us spectators rather than participants. Natural settings do a much better just engaging our peripheral vision than urban settings. Peripheral vision is just as valuable as focused vision, and my even have a higher precedence in our perceptual and mental system (Pallasmaa 13).

Kaplan has developed the Attention Restorative Theory, which says that, after an intense period of direct attention, a person will become mentally exhausted if they do not have an outlet for restoration. People who use their direct attention without restoration become impatient, irritated, and unwell. Nature is unparalleled in helping people to forget about their everyday lives (Dilani 60). According to Focht, “Green settings have the capacity to alleviate mental fatigue and help restore a person’s capacity to pay attention (2).” Professor Biederman at UCLA has found that when people view nature, the nerve cells in the opiate-rich pathway activate and their brain gives them a morphine high. In addition, as color, depth, and movement are added to the scene, more nerve cells become active (Sternberg 33).

Water is a particularly compelling natural visual element. Gomez refers to water as a “phenomenal lens with powers of reflection, spatial reversal, refraction, and the transformation of rays of light (80).” With its mesmerizing qualities, water is an effective visual stimulus because the eye is automatically drawn to the flickering or moving light, color, or texture created by water. The

brilliance and sparkle of water provides visual stimuli that are remarkably different from other materials; the eye is “presented with a luminescent image it cannot hold. Instead, it must simply absorb all the rhythms of movement and the tiny shifts and changes (Water 4).”

Our visual desire for nature can be accommodated through biophilic aesthetic design. Biophilic design is an organic or naturalistic approach to design with forms and shapes that reflect people’s attraction to nature. It involves water, sunlight, plants, natural materials, organic forms, and complex patterns derived from nature (Dannenberg 234). Beauty has been defined as “visual input that gives pleasure to the mind,” and because aesthetic values indicate a preference for elements that reflect nature, this means that biophilic images offer a positive sensory experience, which promotes wellbeing. “In other words, nature itself may offer potent aesthetic stimuli (Grinde 2334).”

Branching patterns of growth occur repeatedly at small scales in nature in trees, leaves, waves, snowflakes, seashells, and flowers. These branching patterns, called fractals, have been proven to be pleasing to the eye and may influence our aesthetic preference for natural views (Sternberg 34).

Ary Goldberger proposed that fractals are intrinsically enjoyable to the eye because our mind responds to repetitive, complex patterns (35). Roger Ulrich said, “It is not the rectangle which is the problem, but its life-sapping characteristics. Where materials, textures, colors, light, living things and human activity can reinvest such forms and spaces with life, the materially practical and culturally normal characteristics of rectangles can be used to advantage. None the less, in general, one feels on much safer ground with non-rectangular or shape-moderated spaces.” The natural environment has soft edges, not right angles. One might feel boxed and constrained in a rectilinear space, and without right angles spaces become more comfortable to the human eye (Schaller 50).

SIGHT STUDIES OF THE VARIOUS TEXTURE AND COLOR OPTIONS FOR THE WALLS OF MY FINAL DESIGN

9

Suzanne Scott, Faculty Associate at the University of Wisconsin Madison, found “built spaces with nature, moderate degrees of complexity, and a sense of refuge, coupled with high prospect were more preferred than spaces lacking these characteristics.� The relationship between a spaces size, organization, and partitioning was found to be significant, and Scott suggested that zoning space allowed users to prospect and survey their surroundings while also feeling like they had refuge and concealment. Vast empty spaces are viewed particularly negatively (Heerwagen 4). Too much space is said to create a lack of intimacy and inability to focus on details, and people tend to avoid

staying in these spaces for long periods of time (Scientifically 3). In contrast, places that are too small and cramped make us overly detail oriented and lethargic (4). Wellbeing is strongly influenced by whether or not people feel comfortable and at ease in a space, which relates to feelings of security and identity (Cattell 551). We want environments that stimulate our senses and evoke curiosity, but at the same time, these environments must also afford us a degree of certainty, catering to our basic human needs of safety, food, and shelter (Butterworth iii). When visual access is denied, or when refuge is lacking and people feel on view to others, wellness is negatively impacted.

SIGHT A PERSPECTIVE STUDYING THE VIEWS WITHIN THE ATRIUM SPACE BEFORE FINALIZING THE DESIGN

11

Visual cues can help to motivate people to move through a space.

For example, pathways are perceived to be longer when they contain many barriers and intersections. The more “cluttered� a route is, the larger the cognitive distance. Pathways with positive sensory stimuli and less clutter appear shorter. Architects can encourage movement through spaces by designing prominent and attractive circulatory elements. For example, prominently located and aesthetically appealing staircases will entice people to use the stairs rather than searching for the elevator. Stair use burns calories, directly influencing cardiovascular health. It has even been demonstrated to

raise individuals’ good cholesterol levels (Active 16). If a stair environment is more stimulating than the elevator and appeals to the senses, it will promote wellbeing while also encouraging fitness. The fitness provided by stair climbing will then further enhance wellbeing and wellness. The sensory appeal of a stair can be enhanced with many of the strategies already discussed such as highlighting interesting views, and prospects onto nature, as well as other sensory criteria such as engaging sounds and natural ventilation (76).

Recreational walking in general can be increased simply by providing a visually appealing environment along the path of travel (84).

TOUCH

Photo by Paul Warchol

13

“You should pay particular attention to what people touch with their hands and feet, such as door handles. You should also consider physical comfort. People can touch things physically, or they can also touch things with their eyes.”

-SCOTT M GUSTAFON

Touch can be tactile or visual, visceral or cognitive, and inherent or associative. When the eye sees a material or surface, the hand is invited to touch it. The skin can read texture, weight, density, temperature, and time, connecting the body with the history of the surface (Pallasmaa 56).

The thermal delight from touching a surface has the potential to be just as rich as that of seeing light or color and is perhaps more influential to our overall sense of well-being (Hancock 9). Additionally, stair climbing, the most effective means of physical activity within a building, has the potential to be an invigorating tactile experience. The treads could have a material texture gradient, a change in degree of hardness, or the materials could be selected for their thermal qualities. The railings could be rough or smooth, hard or soft, warm or cold, and slick or frictional. We could feel a vibration transfer between the tread and the railing, or we could experience some sort of tactile change from the bottom of the stair to the top. This change could deal with temperature, air velocity, or humidity (Malnar 57). Although often overlooked, the tactile sensory potential is endless.

“Our skin traces temperature spaces with unerring precision; the cool and invigorating shadow under a tree, or the caressing sphere of warmth in a spot of sun, turn into experiences of space and place (Pallasmaa 58).” By directing natural light, retaining natural light, and reflecting natural light, architecture has the ability to modify the environment, creating favorable microclimates and increasing the range of thermal zones. Architecture influences the temperatures our skin detects, allowing people to select a microclimate suited to their needs (Heschong 8). When we touch natural elements, detecting their temperature, we feel a part of the cycle of nature. We are no longer an onlooker, and we become a part of the space. Experiences such as standing on a rock that has been warmed by the sun or leaning against a cold metal wall on a hot day can significantly add to a places healing potential (Pallasmaa 58). Thermal qualities such as warmth, coolness, airiness, and radiance influence how we feel about a space and what we choose to do there (Heschong i).

We have an incredible ability to detect extraordinarily subtle changes in temperature (15), but as long as the temperature differential is not too significant, our bodies will adapt to the change in temperature relatively quickly. We will initially notice the change, but the stimulus will no longer be noticeable after a short period of time (19). After the invention of mechanical controls, many people attempted to determine what the optimum thermal environment might be (15), assuming that thermal stress is undesirable.

Researchers have found that people enjoy a range of temperatures, especially when they have the opposite close at hand. People love saunas because there is often an ice-cold setting close by, and people love the hot beach because the cold ocean is only a few feet away (Heschong 21). The extreme is made more significant when it is contrasted with its opposite. Heschong argues, “We need not even directly experience both extremes in order to savor their contrast. Simply being reminded of the cold winter storm outside can make us enjoy the warmth of the fireside more intensely (22).”

Perceived temperature is also linked with our mental health. Warmth is associated with trust and friendliness, and cold is linked to social exclusion and skepticism. Researchers have found that if a person is holding a warm cup of coffee, they will be more likely to trust others (Keeling 4). We are also unlikely to associate our thermal well-being with anything in particular, unless there is a direct sensory awareness of what is providing the warmth or cold.

“Radiant hot water pipes embedded in a ceiling may do an admirable job of keeping us warm and comfortable, but there is no way to sense directly that the ceiling has a thermal function (Heschong 36).” Thermal properties are best experienced through conduction due to the immediacy of the effect and the undeniable reality of where the effect originates (38). Unfortunately, conductive environments are rare. Thermal effects are more likely to be established through evaporation, convection, or radiant exchange (39). Ambient air temperature, moisture content, and rate of air movement all have an impact on perceived temperate (Fitch 39). We are less likely to acknowledge thermal effects when we do not experience them through our sense of touch.

TOUCH VARIOUS CASE STUDIES ON TEXTURE; PROJECTS BY SNOHETTA, YOSHIOKA, AND KENGO KUMA

15 Photo by diephotodesigner

Photo by Tokujin Yoshioka

The visual qualities of a material imply tactile qualities, and the body is invited to test these qualities through the sense of touch. When these materials are from nature, the sensory experience is more intense because the skin can detect the true essence of the material and feel the effects of time on the surface. Materials of the present day are commonly synthetic, and similar to eating only artificially flavored foods, the effect on the senses is dull and insincere. Synthetic materials such as plastic vinyl covers, anodized metals, and synthetically colored tiles lack the quality and meaning of natural materials

Photo by Daici Ano

(Gomez 91). Machine-made materials are not intended to age, and so they tend to present themselves to the eye and hand without the spirit of time.

Pallasmaa, a sensory designer, argues that the process of aging is mentally significant to our well-being (32). Plastic is known to be smooth, wood warm and texturally varied, concrete damp, and steel cold and hard. We can also use these learned qualities to provide stimulating sensory surprises. What if what we think is steel turns out to be soft and warm when we touch it (Malnar 159)?

TOUCH A PERSPECTIVE STUDYING THE BATHING SPACES BEFORE FINALIZING THE DESIGN

17

Water is the natural material most commonly experienced through conduction. The temperature of water is distinctly perceptible because we exchange heat with it remarkably quickly. This is reinforced by the wide range of descriptions for water temperature from tepid to lukewarm to hot to scalding (Heschong 39). The notion that thermal experiences with water can promote wellness is confirmed by the popularity of hot springs, thermal baths, and hot tubs. Soaking in warm water relaxes the muscles, soothes the body, and

relieves stress. Stress is often thought to be a mental phenomenon, but it has Some waters contain dissolved solids and others are “pure” or low mineral a physical element too because the muscles typically tighten up, provoking spasms (Zorn 2). By definition, thermal baths are fed by water warmer than 68 degrees Fahrenheit that comes from a naturally or artificially tapped spring.

Some waters contain dissolved solids and others are “pure” or low mineral (Hauser 73).

HEARING “Sight isolates, whereas sound incorporates; vision is directional, whereas sound is omnidirectional. The sense of sight implies exteriority, but sound creates an experience of interiority. I regard an object, but sound approaches me; the eye reaches, but the ear receives (Pallasmaa 49).” Sound can be locational or ambient, clear or general, and hi-fi or lo-fi (Malnar 245). A multitude of sounds can coexist in the same space at the same time, so the ear is designed to filter and perceive only a small portion of the total spectrum of sound. Sounds have a wavelength frequency, a dimension of pressure, a reverberation period, a dimension of time, and a dimension of direction (Fitch 147). A solitary sound that stands out from the rest is referred to as a gesture, while the remaining general aggregate of sounds is merely a texture (Schafer 159). Like bats and dolphins, humans have the native ability to sense a space based on sound. The sound of footsteps indicates the location of stairs, walls, low ceilings, and open doors (Blesser 1). At around 20 hertz, hearing meets touch as the lower frequencies of audible sound turn into tactile vibrations.

Hearing is a way of touching at a distance (Schafer 11). Humans attempt to perceive patterns in all things, including sound. Patterns in sound can be referred to as rhythms, and humans favor rhythms that are related to their body. For this reason, the tempi that lie closest to the human heartbeat have an obvious appeal (Schafer 227).

Sound is a highly individual experience. Volume, predictability, and controllability all affect our distinct attitude towards a soundscape. When sound is undesired and becomes noise, it has physiological, psychological, and social consequences to our health. Noise in our physical environment is a large contributor to stress, irritation, and stress related diseases (Dilani 62). Because sound vibration affects other parts of the body, intense noise can cause headaches, reduced vision, and impaired cardiovascular and respiratory functions. Noises do not need to be loud to cause stress. Even footsteps or the dripping of a faucet can negatively affect our well-being (Schafer 184). The natural sounds provided by a window may be just as beneficial to our wellness as the views and light provided. Monotonous

19

“In terms of sound, think about how the shape of the building and the height or shape of the ceiling effect the sound.”

-SCOTT M GUSTAFON

repeated sounds in nature such as the rain or the ocean are often perceived as soothing and relaxing (Sternberg 62). In order for sounds to be pleasing and comforting, they should be at a volume similar to that which is found in nature (Heerwagen 3). It is also important that they resemble the auditory phenomena that occur in nature. Nature has a give and take between sounds and landscape that is non-existent in the industrial soundscape of the modern world. Animals in nature are careful to choreograph their sounds in such a way that no sounds mask one another. Birds and chirping frogs make noise at different times of day since their voices occupy a similar highpitched range. When the first bird is heard, the chirping frogs become silent, and when the last bird trails off the chirping frogs begin again. Bullfrogs have much deeper voices, so they continuously croak day and night. Just like in an orchestra performance, when each species wakes up it sings vibrantly for a few moments, then falls back as another species wakes up until all the instruments have introduced themselves. Nature sounds change with the seasons and over the course of the day. Even monotonous nature sounds have an element of variety because no two raindrops or waves are exactly the same (Schafer 230).

Materiality has an enormous impact on sound. “The live reflection of echo and re-echo within a stone cathedral increases our awareness of the vastness, geometry, and material of its space. Imagine the same space with carpet and acoustically softened. A spatial and experiential dimension of the architecture is lost (Gomez 87).” If we shift our attention from the sights of a space to the sounds, vibrations, materials, and textures, we can significantly improve the sensory experience. Space affects sound by modifying its perceived structure through reflection, absorption, refraction, and defraction (Schafer 217). Even the temperature of a material has an effect on the speed of the sound (Fitch 153). At Zumthor’s thermal bath in Vals, there is a small room with a leather upholstered cuboid and a wooden grate floor called the Sounding Stone.

Sounds are produced by oscillating stones, and the vibrations of the sounds can be perceived by the entire body like a deep-tissue massage. Different

materials allow for different vibrations, influencing how the sound is felt by the body (Hauser 94). “Unlike the eye, with its complex modulating devices of contractile iris, movable eyelid, and eyebrow, the ear has no comparable protection against environmental stress. This is probably an evolutionary reflection of the fact that all sound in the natural sonic environment falls well within the ear’s limits of accommodation (Fitch 150).” Most urban areas today are subject to the constant drone of blaring horns, radios, car alarms, screeching breaks, revving engines, and police sirens (149). These sounds are noises; sounds that we have learned to ignore. Urban planners and Architects have attempted to resist noise pollution with abatement (Schafer 4), but if the issue is not addressed in a more effective manner, universal deafness may be the ultimate consequence (3). Noise is officially recognized as an environmental pollutant because over time noise can lead to hypertension, the most common chronic disease in America. When you are subject to noise above a certain level, your heart pounds and your body shifts to fight or flight mode, interpreting the noise as a warning signal. Adrenaline is released into the bloodstream, causing a rise in blood pressure and an increase in breathing. Your muscles tense up, and even after the sound ceases you are unable to relax because your body is geared up for action (Hunter 207). Noise outranks crime as the number one cause of neighborhood dissatisfaction (204).

Silence is essential for emotional and physical health (Blake 113). Because silence has become so rare, it is an exciting auditory experience that can be used to create a positive atmosphere (Schler 8). When we experience silence, we realize how much tension noise was causing us by the tremendous relief that the silence brings. Silence is neither object, activity, nor process (Day 3). There is real silence and theoretical silence, and both can aid healing.

Theoretical silence is not complete silence, but it is quiet enough that the movement of other people can be perceived (Ionides 69).

SMELL

http://veritasradio.blogspot.com/2012_11_01_archive.html

21

“For me odor is a harmonic structure like music or color; it is a science. It is said to impact the pituitary gland and thus directly connected to the human psyche.�

-KYLE CLARK

Smell and taste can be immediate or ambient, involuntary or episodic, and olfactory or associative (Malnar 245). Taste and smell have been combined into one section because they can be regarded as alternative ways to experience the same phenomena (42). The nasal and oral cavities are like a duplex home, divided by the roof of the mouth. Due to their proximity, taste and speech are actually the result of both cavities working together. Smell has a significant impact on flavor perception (Barbara 23). “Every human being breathes approximately 30,000 times per day. 30,000 stimuli per day and yet almost no architect contemplates these as an intrinsic creating aspect of architecture (Rabe 3).” The body’s perception of odors is dependent on individual judgment of taste, quality, and memory, as well as duration and concentration of the odor. Some smells, which are foul at high concentrations, are remarkably pleasant at low concentrations (Barbara 23). In order to yield a sensory reaction, an odorant must have a degree of water solubility, the ability to dissolve in fat, and a sufficiently high vapor pressure. Moisture and temperature are crucial to the performance of odors (Rabe 4). The olfactory quality of a space is determined by the scents of the materials and furnishings, the activities occurring within the space, the humidity of the air, and the persistence and saturation of the odors. Many of these elements are extremely difficult to account for (Barbara 14).

Researchers claim that scents have the ability to stimulate or relax us, influencing our moods (Fitflex 1). Unlike the sense of sight, smell does not provide detailed information. Instead, it provides “emotional colouring,” making it an ideal candidate for relaxation (Dodd 154). When we are exposed to a scent from a location that we find relaxing such as the ocean or the countryside, we feel relaxed (159). Researchers at the Monell Center have even found that humans can perceive the moods of others through their sense of smell (Sternberg 83). Odorants may have a relationship with physical activity as well. Pleasant scents such as butter popcorn or strawberry were shown to help aerobic exercisers burn more calories. This could be due to their mood enhancing quality or the odors may work directly on the brain to increase workout efficiency (Fitflex 1).

The olfactory qualities of natural materials are preferred over those of synthetic materials because natural scents are much more complex, and it is not yet possible to create exact copies of natural scents. Timber, commonly used in architecture, is known for its pleasant “wooden” scent (Rabe 26). “The idea that a material has its own odor and that this quality can become an architectural element has long seduced many architects (Barbara 117).”

Odors can be categorized using the olfactory pyramid, which is divided into a top, middle, and base. Wooden scents, along with musky and amber odors, fall as the base of the pyramid. Scents at the base of the pyramid are the most persistent but the last to be noticed. The scents at the top of the pyramid, such as citrus, fruity, and spiced scents are the first to be noticed and the first to disappear. The floral scents, in the middle of the pyramid, are second to be noticed (21). We only acknowledge a sensory stimulus for so long before the smell diminishes. Our sensors become saturated, and we move on to new information. In general, we notice changes in the environment more than consistency. For this reason, a gourmet meal has a wide variety of tastes so the taste buds can be renewed and experience each new flavor afresh (Heschong 19).

Adhering to the organization of the olfactory pyramid, the KI building in Tokyo has a scented HVAC system, which changes between three different scents every 2 hours. This helps to break up the day and encourage the natural cycles of the body. To avoid the sensors becoming saturated, each fragrance is modulated over a ten-minute cycle. A citrus aroma from the top of the pyramid is used in the morning and after lunch to stimulate and reintroduce employees, followed by a floral aroma from the middle of the pyramid for concentration. At the end of the day and just before lunch, a wooden scent induces relaxation and puts employees in the mood for lunch or home (Keeling 3). Many people in America would consider this system to be manipulative and unacceptable, even though architects and interior designers are constantly working to increase productivity. America today has a growing collection of fragrance-free zones, as well as a seemingly growing intolerance of odors (Fitch 100).

SMELL PHOTOS TAKEN IN VARIOUS CITIES DURING SUMMER CASE STUDY RESEARCH

23

Using scents for the treatment and prevention of illness is called aromatherapy. Scents do not contribute to any specific state or behavior, but they can affect mood, which will indirectly affect a state or behavior. Odors can also become powerful stimuli through association (Rabe 10). Scents like lime, lemon, orange, jasmine, verbena, ylang-ylang, sandalwood, and peppermint increase energy and alertness (Malnar 137). Citrus fragrances are said to make people happier and healthier by improving the mood of depressed people and reducing stress-induced immunosuppression (White 8). Scents like chamomile

geranium, rose, sweet marjoram, bargamot, petitgrain, violet leaf, neroli, cypress, and valerian have been demonstrated to reduce stress; grapefruit seed extract, geranium oil, lavender, tea tree, and patchouli oil all seem effective in treating illness (Sternberg 87). In a study where patients in a hospital were exposed to odorants in their rooms, all patients showed improvements in mood even if they were not aware that their rooms where being purposefully scented (White 8).

MOVEMENT

25

“The circulation should allow people to see what is going on in other parts of the building to keep the users interested.”

-SCOTT M GUSTAFON

Kinesthetic perception is the information we derive from the movement of muscles, and includes focusing the eye muscles, muscles in the fingers as we touch something, and leg muscles as we walk or climb stairs. Muscle response is informative because it tells us the composition of materials, how far away objects are, and the distance we have traveled (146). Movement allows more oxygen and nutrients to be distributed to cells in the body and the brain, helping to reduce stress and promote well-being. During movement, the body activates and balances the neurotransmitters serotonin and norepinephrine, helping to alleviate depression. Endorphins, neurotransmitters that facilitate feelings of well-being and relaxation, are also produced. In addition, movement to the extent of being deemed “physical activity” or “bodily activity that enhances or maintains physic fitness and overall health or wellness” could increase levels of accomplishment and self-confidence, increasing mental well-being. Exercise is a positive coping mechanism that can be substituted for negative coping mechanisms such as binge eating and consuming alcohol (Kopec 315).

The design of building circulation provides an excellent opportunity to promote regular, unplanned instances of physical activity. For many, climbing stairs and walking down hallways is the only way to participate in any form of activity the entire day. The task of designing appropriate circulation systems is heavily dependent on the architect (Active 68). Poor design decisions in the past several decades have created a built environment which inhibits walking, biking, and stair climbing, (Green 1) designing activity out of Americans’ lives (Parikh 18). Exercise spread throughout the day in the form of walking and stair climbing is just as beneficial as going to an expensive gym (Dannenberg xvii). Stair design seems very limited, but it actually has enormous potential.

Stairs can be one continuous run, or they can change direction, they can be rectangular or spiral, and the tread-to-rise ratio can be modified to increase or decrease the exertion and speed of the person climbing. Landings tell the climber when to stop and rest or when to change direction (Malnar 57).

Unfortunately, in most modern buildings, the elevators are far more convenient and the stairs are “hidden away like dirty secrets (Arendt 1).” Using stairs is

not seen as normal, and elevators are often designed to be the focal point when you enter a building. Sometimes entering the stairwell even sets off a fire alarm (2). Everything a person does burns calories. Thinking, breathing, even basic body processes like having a heartbeat all burn calories. Your ‘basal metabolic rate’ refers to the calories burned through basic body processes.

Intense activities like cycling, running, swimming, and climbing hills burn the most calories. Stair climbing burns a substantial amount of calories because it requires additional energy and muscle work to climb an incline (Williamson 1).

Researchers estimate that over 20 percent of muscular energy is spent walking. Unfortunately, the human body is careful to conserve its energy, moving in a way that burns fewer calories rather than more. In a sense, humans are fundamentally lazy. An understanding of the factors that increase energy expenditure is necessary to design a built environment that helps people lose weight. The maximum rate most people can walk for long periods without a rise in serum lactic acid level is about 3 miles an hour or 5 kilocalories per minute. The rate of energy expenditure increases significantly when walking pace is increased. In terms of total energy expenditure, the human gait functions optimally at the rate of energy expenditure that enables the person to travel a given distance with the least total effort. This does not always entail the slowest walking rate. The rhythm of walking is remarkably regular and even, so any condition that disturbs this natural movement such as high heels or a tight dress results in increased energy expenditure. 3-inch heels can increase energy expenditure by as much as 15 percent (Templer 31). Therefore, if circulation were designed to increase walking pace or break the regularity of walking, it would actually help people burn more calories.

Circulation must also be designed in a way that prevents people from taking unnecessary shortcuts (Fitch 185).

Walking pace effects total energy expenditure from walking, and, similarly, stair climbing pace effects total energy expenditure from stair climbing. In a study by Parmenter and Benedict, rate of ascent was shown to significantly affect energy expenditure.

MOVEMENT VARIOUS CASE STUDIES ON CIRCULATION; PROJECTS BY SOU FUJIMOTO, AART, AND PERKINS & WILL

27 Photo by Iwan Baan

Image by AART Architects

Certain combinations of riser, tread, and speed may be better suited to human gait and, therefore, demand less energy. Deviating from the regular human gait could potentially lead to an increase in stair accidents and falls (32).

Descent was found to be the most hazardous, so the requirements for safe movement should favor descent safety (35). When people were studied while walking on a flat path or ramps, they tended to walk at a pace, which enabled them to use the least total effort. On the other hand, when they were studied while walking up stairs, energy cost per meter rise was not at a minimum.

http://www.ucalgary.ca/news/utoday/november16-2012/green

Stair climbing is comparable to heavy physical labor in terms of energy expenditure. The rate of energy expenditure is generally greater for higher risers and wider treads, but stairs with wide treads and low risers or narrow treads and high risers seemed to require the same energy expenditure. People tended to walk up steeper stairs at a faster rate though, which did add to overall energy expenditure. Steep ramps had significant energy expenditure, but would not be used in a building in the United States due to ADA (34).

MOVEMENT MOVEMENT STUDY IN PLAN

29

“Motion is certainly an interesting contrast to what we perceive as static structures, they seem to give them a life of their own.”

-KYLE CLARK

“Stepping stones set in the grass of a garden are images and imprints of footsteps (Pallasmaa 63).” The stepping-stones choreograph a rhythm for the movement of our body through the garden. Similarly, hopscotch grids, cracks in a sidewalk, and other patterns meter our movement, allowing the human mind to organize and quantify a space based on kinesthetic perception (Norwood 50). Incremental distance markers allow people to judge the distance they have walked or climbed, serving as directors of motion and motivators for activity (Active 85). We are more stimulated by progress if we have the ability to measure it.

“As we open a door, the body weight meets the weight of the door; the legs measure the steps as we ascend a stairway, the hand strokes the handrail, and the entire body moves diagonally and dramatically through space (Pallasmaa 63).” Our kinesthetic perception allows us to perceive and understand the door and the stair. In order to experience a space with all our senses, we must be able to move through it. We must be able to touch, smell, and discover where sensory stimuli diminish or change. The built environment implies action, and we understand our surroundings in terms of how we might use or interact with them (Franck 55). Our bodily reaction as we interact with our surroundings is an inseparable aspect of the experience of a space. The built environment is encountered, approached, confronted, then moved through, and as we move through it, the built environment directs and organizes the motions that take place (Pallasmaa 63). When an architect erects a wall, they intervene in the behavior of the people inhabiting the space.

Winston Churchill once said, “We shape our buildings, and afterwards our buildings shape us (Fitch 186).” For this reason, we typically structure a space based on the activities which occur in it rather than by its visual elements.

Architecture can frame, articulate, structure, and give significance to the movements of the body. It can choose to facilitate or prohibit movement.

Consequently, basic architectural experiences are verbs rather than nouns (Pallasmaa 63).

The body was designed to move, and when it does not muscles wither

and movement becomes arduous and tiring. “Continuous and vigorous movement, once a part of everyday life, must now be consciously undertaken as ‘exercise’ in our sedentary modern world (Franck 55).” Studies repeatedly demonstrate that regular physical activity can prevent illness, relieve depression and stress, and enhance overall wellness. Our bodies must frequently change position. The body is meant to recline, perch, stand, sit, lie down, or even squat, but it is not meant to hold the same position for an entire 8 hour day (55). The built environment can direct our movements, encouraging us to move in a particular way or adopt a certain position.

Activity within a space should be the design emphasis rather than being reduced to mere function. The built environment has the incredible ability to meet, support, and extend the body (68). We must allow the body to “rise and fall, feel lost in tight spaces and open in broader places, and released when it is outside and comforted when it is inside...it is not only the movement and rise or fall within a space, but the moment of pause that the body recognizes a change and allows the mind to ponder (Bennett 6).”

In a staircase, short steps without landings instruct the body to move straight up without pausing or turning. Introducing a landing to the staircase adds a new note to the score of the steps. “Through a very carefully synchronized series of movements of arms and legs, torso, feet and hands we ascend or descend a stair. The enclosing balustrades of the flight control the stair user’s movement through space and the dimension of the risers and treads strictly governs the cadence of gait (Franck 57).” Narrow stairs emphasize privacy and ask to be moved up quickly, while wide stairs express publicness, ceremonial significance, and ask to be moved up at a slower pace. Shallow stairs encourage a calm and comfortable pace of climbing, while steep stairs express struggle, strength, and survival (Seamon 19). Stairs engage our senses and motions to a remarkable degree. The entire perceptual system acts together as the sense of hearing informs us about others approaching, the sense of touch informs us about the tread and handrail surfaces, the sense of smell informs us about proximity to others, and kinesthetic perception keeps our body in equilibrium.

MOVEMENT VARIOUS IDEAS ABOUT DIFFERENT CIRCULATION STRATEGIES

RELAX COMPRESS

STIMULATE EXPAND

mud room fire + ice labrynth

stairs treatments reverb bath

sauna massage

lobby - changing - showers - yoga

silent bath

hot tiles resting - library

TRANSITiON

TRANSITiON

TRANSITiON

31

stairs

cafe - tactile - children

CONTINUATION OF THE SITE

ATRIUM CIRCULATION

WRAPPED AROUND THE BUILDING

BUILDING HINGED ON CIRCULATION

The sense of sight provides us with the most information, providing for mapping and directing (Malnar 148). The stair, by nature, is a sequential experience (Templer 25). Stairs with wide treads and short risers imply a leisurely gait, permitting us to linger and experience the sensory aspects of the stair and its setting, taking notice of the details and decorative qualities (23).

The diagonal nature of the stair strengthens its implication for movement (28).

According to Schaller, “Any movement of the body in any direction will exercise on it, a degree of acceleration. This acceleration will be negative if the body attempts to climb up the surface and it will be positive if the same body

CIRCULATION CORE

CIRCULATION SLICE

attempts to go down the slope. A negative acceleration imposed on the body creates a fatigue on the body whereas a positive one triggers exhilaration (47).�

Other circulatory elements that inform movement are doors, gates, corridors, and ramps. Doors and gates indicate passage and act as significant transitional elements. The door can mark a transition from public to private, exterior to interior, or known to unknown (Malnar 153). Passages, on the other hand, are too often viewed as non-rooms. When viewed as non-rooms they are merely wasted space, but they have the potential to be meaningful sensory elements (Templer 26).

INTERDEPENDENCE EARLY DIAGRAM OF MY CONCEPT FOR SENSORY INTEGRATION

33

“Creating a sense of stimulation and then relaxation can provide a heightened appreciation for both. There are times when elevated stimulation (running, surfing, sex) create a euphoria that allow a deepened sense of relaxation or in some cases a reward.”

-CLAY AURELL

STAIR LANDING

STAIR LANDING

SAUNA CEILING HEIGHT DOOR HEIGHT STANDING EYE LEVEL SEATED EYE LEVEL COUNTER, WATER LEVEL, BENCH SEATED EYE LEVEL

SENSORY ZONE, WOOD LENGTH, STRUCTURE

EXERCISE ROWS

SENSORY ZONE, WOOD LENGTH

MIN. 2 LANE STAIR/ CORRIDOR

BODY ELLIPSE

“I found that of the senses, the eye is the most superficial, the ear is the most arrogant, smell the most voluptuous, taste the most superstitious and fickle, touch the most profound and the most philosophical (Malnar 152).”

Walking through a forest is an invigorating and healing experience because of the constant interaction of different sensory modalities. The juxtaposition of different sensory experiences strengthens and articulates a person’s experiences in an environment. Qualities such as scale, material, and light are measured with the eye, nose, ear, skin, tongue, skeleton, and muscle all at the same time. The realms of sensory experience conversate and blend into one

SAUNA BENCH WIDTH, CIRCULATION ZONE

SAUNA BENCH GROUND LEVEL

another (Pallasmaa 41). Delight lies between “chaos and boredom” because humans prefer an information level that is neither too high nor too low (Malnar 234). Design for one sense can have an unexpected effect on another. It is necessary to think of more than one sense at a time (Keeling 2). If two or more sensory experiences are from a similar conceptual group such as strawberry flavor and the color red, they are said to be congruent. Incongruent sensory experiences can be utilized to create experiences that are captivating, stimulating, or novel. Congruent sensory experiences, on the other hand, are re-assuring and can be processed quickly (Keeling 4).

METHODOLOGY OVERLAY OF THE CUTS ON EACH FLOOR

35

“Identify key themes for your project so you don’t get overwhelmed with every possibility. Identify a limited material palette early on that can be used in different ways to encourage uniformity while still getting the desired effects in your spaces. Make rules for how the pieces can be composed.”

-SCOTT M GUSTAFON

I began my design process by analyzing the sensory criteria on the site.

I mapped out the light on the site over the course of the year, as well as scents and noise pollution. With this information in mind, I determined the best location for the building on the site, as well as the best location for “stimulating” spaces and “relaxing” spaces. This helped me to define an overall circulation strategy for the building and site.

Next, I came up with a program for the building. In order to come up with an appropriate program, I made a list of qualities of spaces for stimulation and spaces for relaxation. I then grouped these qualities into rooms and analyzed each room, determining the appropriate light levels, types of views, temperature, tactile qualities, scents, speed of movement, and sounds for each one.

After defining a circulation strategy and a program, I mapped out locations for the different program elements. I organized them into the most logical, efficient plan composition possible, then began to make adjustments to accentuate different sensory criteria. Simultaneously, I also chose a dimensioning and proportioning system based on the dimensions of the human body. This system regulated the modularity of the plan, and began to determine what would happen in elevation as well.

The base of the building served as the link to the context, providing various necessary services for the area such as bicycle rental and a community garden. The circulation and space arrangement was very different on the first floor from the rest, but I felt this was necessary to make a connection between the building and the site.

Once the floor plans were relatively resolved, I began to work with section and elevation. I mapped out light and sound levels within the building, creating gradients from light to dark and loud to quite. I also determined key areas for expansive views out to the site, and surfaces that needed to have particular tactile qualities. I also cut vertical voids through the building to allow for variation in light throughout the entire day and interesting visual stimuli. I cut the voids at angles so each level had a slightly different experience.

Once the interior was relatively resolved, I began to look at the treatment of the exterior skin. Because movement was an important component of my project, I created a double layer facade then twisted the outside layer, so the facade would be constantly changing as the user walked through the building.

I also put the primary circulation through the building within the facade, so the inhabitants were actually acting as part of the filter from outside to inside.

CRITERIA FOR MY BUILDING TEXTURE:

I then began to define an appropriate “texture” for the building. This texture helped to manipulate light, sound, speed of motion, etc. I analyzed successful textures in existing buildings, determining which approaches were the most successful in making a space relaxing or stimulating. I also looked at how one texture could be modified to achieve different experiences in each space. I chose wood and concrete as my two primary materials in the building, and looked at how these materials could form textures and interact with one another.

In order to root my building to the site, I then focused on an urban strategy.

-Defines a rate of movement through the spaces -Allows for appropriate views for each space -Regulates light levels in the spaces -Allows for accurate judgment of distance travelled -Is based on the human dimensions -Allows for desired sound effects in the space -Provokes a tactile response -Can provide a sense of motion or a sense of stillness -Is informed by nature

CONTEXT

37

“Consider the future development of the site. You can make some assumptions about the types and heights of the buildings that will be put on it in the future.”

-SCOTT M GUSTAFON

My building will be situated at 5th and Hewitt Street in downtown Los Angeles across the street from Urth Cafe. The site is located in the Arts District, so it is in an area with an emerging community that is likely to latch on to the idea of a “new� type of wellness center. It is also near Asian communities that already recognize the importance of wellness, and have bath facilities of their own. This will allow for a cross-pollination of sorts. In addition, downtown Los Angeles and the surrounding areas are in the highest quartile for obesity rates.

It is a growing area that is still in the process of forming its new image. The site

offers a great view of downtown, and because it is across the street from Urth Cafe, it is already a hot destination. The site is also near public transit, strengthening the idea of movement and exercise. The site is in an urban area instead of a beautiful natural environment. This forces the building to be more introverted. The site has a lot of noise and air pollution, and there is virtually no green space in walking distance. There are also parts of the site that do not get direct sunlight for parts of the day due to tall residential buildings nearby. This all provides interesting challenges for the building to overcome.

CONTEXT

5th Street

treet

Hewitt S

treet

Colyton S

39

The site is zoned as a redevelopment area, so only 2 parking spaces are required for every 1,000 square feet. It is also an area where the zoning is changing and new construction is prevalent. There are no existing Wellness Centers in the area. The site is 40,157 square feet and costs $40,700,000.

site is 40,157 square feet and costs $5,019,625. It is zoned M3-1. It is in the Alameda East Redevelopment study area, and has an FAR of up to 3:1. It is right by the department of water and power, and requires 20 feet of space between any adjacent buildings. It is also in an “ Enterprise Zone.�

CONTEXT

41

“Movement can happen in many ways and should never be overlooked. .”

-CLAY AURELL

The images above are photographs of a site model showing the final building massing as it fits within the urban context. The placement of the building and garden on the site is based on shadows and noise. The tall

building to the left of the garden contains loft units. The intention is for the community garden to attract tenants in the lofts to the building site, encouraging them to consider going inside.

URBAN STRATEGY

+ base to anchor building to site

twist building so the facade “moves” as people move through the building

+ cuts in facade for views

43

“Exercise tends to be a very solitary thing, but I think it would be more successful if you could try to make the exercise more community oriented. What types of activities could be conducive to community engagement?”

-SCOTT M GUSTAFON

+ cuts in roof for light

+ wood slats that regulate light, creating a gradient of light

15 IN

M AL W

M

K

10

IN

5

W A

LK

M

IN

W AL

K

WALK RADIUS ARTS DISTRICT MY SITE GREEN SPACE PUBLIC TRANSIT

The diagram on the left shows how the form of the building was derived through sensory criteria and urban analysis. The process results in a twisted box with cuts for light and view sitting on a plinth that’s rooted to the site.

The diagram above shows the site analysis, including walking radius, public transit locations, existing green space, and adjacency to freeways. It became clear that lack of green space and noise would be problems on the site.

SENSORY STRATEGY

SIGHT: the wood slats on the facade twist from open to closed, creating a gradient of sunlight in the building

SOUND: the interior walls transition from smooth to porous, resulting in reverberation in the lower floors and sound absorption in the upper floors

MOVEMENT: people circulate around the exterior of the building within a “filter.”

45

“I would look at developing a concept for each sense and a language. Create some rules and then let those rules guide you through the process.”

-CLAY AURELL

SCENT: every level of the olfactory pyramid is represented through scented woods, water, and plants

TOUCH: the building is divided into a hot relaxing side and a cool stimulating side

level one: temperature map

level two: temperature map

The diagram on the left shows one strategy that was addressed in the building for each sense, including sight, sound, movement, scent, and touch. The architecture integrated these different ideas about each sense using elements such as texture, facade, and material.

level three: temperature map

level four: temperature map

The diagram above maps out the temperatures on each floor level. Brighter orange signifies hotter temperatures, and darker blue signifies colder temperatures. In general, the more stimulating spaces were cooler and the more relaxing spaces were warmer.

PROGRAM

LIGHT THERAPY

LABRYNTH BATH

MUSCLE THERAPY

MOVEMENT THERAPY

DA ARK K ----------------------------------------------------------------------------------------------------------------------> > LIG GHT T INT TERIIOR SPA ACE E

CHILDREN'S ZONE

CLASSROOM EMONSTRATION ROOM LOBBY

BIKE RENTAL

TACTILE ARTERY

SOUND STAIR

SCENT STAIR

LIBRARY

HOT YOGA ROOM

GROUP FITNESS ROOM

MUD ROOM

FIRE + ICE BATH

WAITING AREAS

HOT TILE ROOM

ENERGY CAFÉ

CHANGING ROOMS

SHOWERS

REVERBERATION BATH

AROMASSAGE

SOUND MASSAGE

WOOD SAUNA

RESTING ROOM

BIKE STORAGE

SILENT BATH

47

“Think about outdoor spaces to encourage people to spend more time at your building. These spaces could include a food garden, outdoor mediation, or an outdoor classroom” -SCOTT M GUSTAFON

LABR L RYNT TH BATH BA H

CHILD C LDRE EN'S ZON Z NE

GROU G OUP FITNE F ESS

HOT Y H YOG GA

SOUN S ND STAIR S R

ENER E RGY CAF FÉ

LOBB L BY

TACT T TILE A ARTE TERY Y

REVE R ERBE ERAT TION N BAT TH

SCEN S NT STAIR ST R

BIKE REN B NTAL L

REST R TING G ROO OM

SILEN S NT BATH BA H

LIBRA L ARY

OM MUD M D ROO

MUSC M SCLE THE ERAP PY

MOV M VEME ENT T THER RAPY PY

CLAS C SSRO OOM M

DEMO D ONS STRA ATION N RO OO

WAIT W TING ARE EAS

SHOW S WER RS

AROM A MAS SSAG GE

SOUN S ND MASS M SAGE E

WOO W OD SA AUNA NA

FIRE + ICE F E BA ATH

HOT T H TILE E ROO OM

CHAN C NGIN NG ROOM R MS

BIKE STO B ORAG GE

LIGHT L HT TH HERA APY

SOLID ‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐> POROUS EXTERIOR SKIN

SPACE NAME

P PRIMA ARY S SPACE ES URB BAN S SPACE ES

SPACE ENCLOSURE

[ touch ]

[ rate ]

[ cost ]

[[enclosure]]

70⁰ F

wood

1 mph

$2,382,400

75⁰ F

concrete, wood

3 mph

$2,533,600

400 lb

75⁰ F

wood

0 mph 0 mph

$864 800 $864,800

100 lb

75⁰ F

wood

0 mph

$1,027,200

50

510,000 lb

85⁰ F

concrete, wood

1 mph

$2,011,200

-

-

68⁰ F

concrete wood concrete, wood

2 mph 2 mph

$3 131 200 $3,131,200

‐

-

-

68⁰ F

wood

3 mph

-

SOAKING ROOM

3406

68

800,000 lb

80⁰ F

concrete

2 mph

$2,724,800

FIRE + ICE BATH

540

11

180,000 180 000 lb

/100⁰ F 50⁰ /100⁰ F

concrete t

2 2 mph h

$432 000 $432,000

REVERBERATION BATH

463

9

160,000 lb

85⁰ F

concrete

1 mph

$370,400

open open partially enclosed partially enclosed partially enclosed open partially enclosed open enclosed enclosed enclosed enclosed l d enclosed

[ lightest to darkest ]

SUP PPORT T

$ [ sf ]

[ people ]

EATING ROOM

2978

SWIMMING ROOM

3167

READING ROOM RESTING ROOM BATHING ROOM LOBBY SCENT STAIR

[ weight* ]

[ temp ]

199

500 lb

63

780,000 lb

1081

22

1284

26

2514 3914

[ views ]

[ sounds ]

[ scents ]

AROMASSAGE

371

4

400 lb

75⁰ F

concrete, wood

0 mph

$296,800

SOUND MASSAGE

373

4

400 lb

75⁰ F

concrete

0 0 mph h

$298 400 $298,400

WOOD SAUNA

385

26

5,000 lb

175⁰ F

wood

0 mph

$308,000

COMMUNITY GARDEN

exterior

‐

‐

exterior

concrete, wood

2 mph

-

ART WALL

exterior

‐

‐

exterior

concrete

1 mph

-

DAY CARE

1547

31

400 lb

68⁰ F

concrete

2 mph

$1,237,600

BIKE RENTAL

425

4

‐

68⁰ F

concrete

0 mph

$340,000

‐

‐

‐

68⁰ F

concrete, wood

3 mph

-

TACTILE ARTERY

‐

‐

‐

70⁰ F

wood

3 mph

-

EXERCISE ROOM

2607

52

4,000 lb

70⁰ F

concrete

3 mph

$2,085,600

SOUND STAIR CAFÉ

1079

5

1,000 lb

68⁰ F

concrete, wood

1 mph

$863,200

CHANGING ROOMS

2201

40

12,000 lb

68⁰ F

concrete

1 mph

$1,760,800

SHOWERS

1000

20

‐

varies

concrete

0 mph

$800,000

BIKE STORAGE

400

1

2,000 lb

68⁰ F

concrete

0 mph

$320,000

STAFF BREAK ROOM

1246

25

3,000 lb

68⁰ F

concrete

0 mph

$996,800

FOOD PREP ROOM

462

5

‐

varies

wood

1 mph

$369,600

RESTROOMS

2000

‐

‐

68⁰ F

concrete, wood

‐

$1,600,000

GENERAL STORAGE

639

2

‐

68⁰ F

concrete

‐

$511,200

ELECTRICAL ROOMS

‐

‐

‐

varies

concrete

‐

-

WATER TREATMENT

4138

14

1,500,000 lb

varies

concrete

‐

$3,310,400

LAUNDRY ROOM

639

6

‐

varies

concrete

1 mph p

$511,200 ,

The chart on the left was an early matrix in the programming process to test out the relationship between light and porosity in the spaces. This matrix helped to determine the final program, which is shown above.

PRIMARY SURFACE

PROSPECT/ REFUGE

walls

prospect

floor

prospect

walls

refuge

floor

prospect

floor

prospect

walls

prospect

steps

prospect

floor

prospect

fl floor

refuge f

walls

prospect

ceiling/ floor

refuge

ceiling// floor ili // fl

refuge f

ceiling

refuge

open open enclosed enclosed partially enclosed partially enclosed open partially enclosed enclosed enclosed enclosed

earth

prospect

walls

prospect

walls

prospect

enclosed enclosed enclosed enclosed enclosed enclosed enclosed

walls

refuge

walls

prospect

steps

prospect

walls

prospect

walls

prospect

walls

refuge

walls

refuge

walls

refuge

walls

prospect

walls

refuge

walls

refuge

walls

refuge

walls

refuge

walls

refuge

walls

refuge g

The chart above shows the final program, along with the light levels and sensory criteria in each space. The total gross, gross square footage was 60,000, and the total estimated cost was $48,500,000.

PLANS

FIRST LEVEL

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“What room shapes and sizes facilitate the experience that you want the people to have?”

-SCOTT M GUSTAFON

SECOND LEVEL

THIRD LEVEL

FOURTH LEVEL

10’

The floor plans for my final design are shown above. The back bar contains smaller, conditioned spaces and support spaces, and the front portion contains larger, more open, unconditioned spaces. Visitors circulate around the perimeter of the building within the facade. The pools are cut by a central

50’

80’

atrium space that allows swimmers to see up or down to other parts of the building. The double layer facade acts as a filter to the outside, and as people circulate within it, they act as part of the filter. Additional cuts in the floor plates allow light to come into the building from above.

PERSPECTIVES

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“Movement can be achieved by architectural forms. Forms that draw you in (physically and emotionally and visually) should not be ignored. If you refers to full range of bodily motion, then look for ways for people to stand, sit, lay down. Experience the ceiling or the floor. All of these begin to shape the experience…which is one purpose of architecture and design - create an experience for another person.”

-CLAY AURELL

The perspective on the left shows one of the large open spaces on the second level. The lower levels are predominantly concrete, with subtle colors.

This space is relatively dark, but still allows for an expansive view of downtown Los Angeles. A partial wall helps to block out unwanted light, and a continuous cut in the ceiling brings light in from above.

The perspective above shows the transition from concrete to wood on the third floor. The visitor is standing at the top of the steps, looking into the atrium space below. The wall texture transitions from very smooth to porous and rough, and the light levels transition from dark to light. The pools overlap, so movement is visible in the entire building.

PERSPECTIVES

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“I would say the most ineffective strategies are those involving the human ego.

Architecture that is an expression of the designer’s will, creative process, or desire to be known result in structures that are devoid of a real meaningful human connection to the natural world and therefore humans. They are essentially dead buildings.”

-KYLE CLARK

The perspective on the left shows the transition from concrete to wood at the third floor as viewed from below. The atrium in the center is open to the sky, and lets in light from above. The transition from smooth to textured and porous is also visible. Glass railing are used at the edge of the pool, so movement is on display even when viewed from below.

The perspective above is inside the sauna, one of the small wood spaces at the back of the building. Subtle slits allow light into a relatively dark space.

Changes in the light throughout the day allow for a measure of time as well as a variety of experiences. Light wells also bring in a glow of light from above.

PERSPECTIVES

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“The design architect believed that all four walls of a building should be different, similar to how the front of your head is very different from the side of your head.

They should still maintain a relationship between one another though.”

-SCOTT M GUSTAFON

The perspective on the left is within the double layer facade on the ramp leading up to the fourth floor. As the light shines through the louvers, the visitors block some of the light from making it through the second layer. The wood louvers twist, altering the amount of light that is able to make it into the space. Overall the space is very bright and well lit.

The perspective above is in the Reverberation Room, one of the small concrete rooms at the back of the building. Overall the space is very dark, lit only by a light well with a small opening. The concrete walls are very smooth, allowing sound to bounce back and force in the tall narrow space.

PERSPECTIVES

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“The emergence of something unknown and unexpected come out of the rigor. Look for the connection between senses and try not to be literal.

Explore what they mean, how YOU (and others) experience them.“ -CLAY AURELL

The perspective on the left shows one of the larger wood spaces on the fourth floor. The walls are porous and textured to help absorb the sound so the space remains quiet. Light from the ceiling casts interesting shadows on the wall and floor, and the floor lifts up to form bench seating, allowing for a larger range of body positions.

The perspective above shows the ice bath, another small concrete space at the back of the building. Light sneaks in through narrow slit windows, but overall the space is relatively dark. In the middle of the day a light well glows with light from up above. The water is ice cold, allowing for a contrast to the hot water in the next room over.

SECTIONS Wood on steps and ramps is sandalwood, cedar, or eucalyptus so friction from people’s feet creates scents

1 3

2

Wood slats on the interior layer of the facade create a visual texture with subtle slit openings

A double layer facade facilitates light filtration that is effected by moving people

Wall surfaces at the top levels are porous with absorptive foam to absorb sound

4

5

6

8 Wall surfaces at the lower levels are smooth concrete to allow for sound reverb

7

59 5’

15’

Wood slats twist to filter light, effecting light levels within the building

30’

“Also consider how bass in music effects our bodies. Could muffled sound or bass cause the air or water to move in a certain way?”

-SCOTT M GUSTAFON

Cuts in the facade allow for views to the outside

Concrete walls are shaped to allow for a greater range of motion

Cuts in the roof allow light to change within the spaces throughout the day and allow views of the sky above The spaces in the upper left corner of the building are extroverted with views out Spaces in the top right portion of the building are quiet and introverted

People circulate through a double layer facade with occasional views to the interior of the building

The pools overlook a central atrium so people can see movement and activity within the building

Rooms are defined by either concrete or wood, with some transitional spaces in the middle

The water temperature varies in each room, allowing for a diverse thermal experience Low walls block light, regulating the light in each space

The spaces towards the bottom of the building are louder with reverberation

The wall section on the left demonstrates the construction system of the building, while also illustrating the integration of the sensory components.

The shade and shadow in the key wall emphasis the concept for the facade, which regulates the light levels in the spaces.

The section perspective above demonstrates the quality of space in the building, while also illustrating the integration of the sensory components. The sensory gradients within the building are emphasized with shade and shadow, texture, and materiality in the image.

MODEL

61

“If someone is going to be laying down, the ceiling becomes a very important part of the building.”

-SCOTT M GUSTAFON

The photo on the left is of the final model before the second layer of the facade was attached. The ramp circulation is visible, as well as the interior layer of the facade. The model is white to emphasize the light qualities in the spaces.

The photo above shows the final model with the facade and roof attached. The massing was kept fairly simple on the exterior, but the subtle twist allows for a very diverse range of experiences on the inside.

CODES

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My building was classified as A-3 occupancy, but because of the atrium it also has to comply with the special atrium space requirements. The lower portion of the building is type 2 concrete construction and the upper portion is type 4 heavy timber construction. The building is allowed up to 4 stories with sprinklers, and each story can be up to 13,500 square feet. With a sprinkler, the maximum building height above grade plane is 85 feet. The primary structural members of upper portion must be constructed out of heavy timber, and interior bearing walls are required to be 1 hour rated. Any openings are

allowed as long as a 20 foot space is left around the entire building. The strucure is allowed to be exposed in the building. Many of the rooms only require one exit, but any room with 50 or more occupants requires two exits.

Egress doors are reqired to be 3’ x 6’8” minimum and ceiling heights must be 7’6” minimum. The common path of travel is limited to 75 feet, and exit access travel distance is limited to 250 feet with a sprinkler. For the atrium, the exit access for the first floor is limited to 200 feet. The stairs are required to be 48 inches wide between handrails, and landings must be at least 44 inches long.

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