Place as expereince by michael de beer

Place as Experience Colourless green ideas sleep furiously Spatial practice is by nature a social act and heeding Klingman’s (2010) advice it should engage experience as integral to practice. There will always be counter cultures but if spatial practise aims to contribute meaningfully to society it should actively engage in the dialogue forming meaning.

Author: Michael Carl Laurie de Beer Student number: 4615204 Email: dbrmic011@gmail.com Date: 17/06/07 Spring Semester 2017 Final Thesis

Tutor: B. Prezelj 1

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Table of Contents Abstract

4

Problem statement

6

Research Question

8

Methodology

9

The Formation of meaning

10

Semiotics and syntax

10

Signification

18

Hyper-Place

25

Anti - Polarity

26

Hyper-reality

30

Place as Experience

36

Place is Experience

42

List of figures

44

Bibliography

45

Literature:

45

Lecture:

46

Film:

46

Website:

46

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Abstract

underpinning spatial theory and

This thesis explores an alternative

the dynamic positioned in the paper,

thematic approach in focusing on

interventions may be impaired and

how users relate to and interact with

susceptible to failure.

practice. Without an understanding of

the built environment. By positioning

The paper claims that experience is

users as innately influenced by their

indispensable from spatial practise, as

process of thought and its production,

experience forges deep and

the thesis critically challenges existing

meaningful connections that orientate

notions that have underpinned spatial

our understanding of the material

practice1. Thus the paper is critical of

world; and that function and form do

the discourse on phenomenology

not enable meaning; as well as that

(sense of place) by arguing that

place is an abstract notion,

ascribed meaning is a complex,

disassociated from locality and akin to

transient and abstract notion.

meaning.

The paper positions the problematic

The paper hypothesizes that users’

approach of disregarding cultural

interaction with the built environment is

value sets, cognitive processes and the

dependent on their frame of

influence of affect both in practice

reference, rather than functional

and theory. Spatial practice is a

attributes of our environments. This

discipline inherently concerned with

hypothesis thus deals with how

society as spatial practice’s work

meaning is created and has

influences the inhabited environment

implications for how places are

that in turn directly impacts people.

formed. The research, expanding on

The public and individual psyche is

the hypothesis, focuses on recent

thus positioned as a normative core

advances in the fields of neuro-

element to spatial practice. These

science and the experience economy

notions are not new to the discipline

as well as the discourse on affect,

however recent advances in

cognition and semiology. The

understanding how meaning is formed

argument situates experience as

motivates for a review of the theories

fundamental to the formation of meaning. In turn experience

1

advocates for place as meaning,

The paper uses the term spatial practice as a

broad term to encompass a wide variety of

which bears on how spatial practice

interventions and actions within the material

as forming places is a vital part of the

environment. This encompasses the practice of

discipline.

architecture, urban design, landscape architecture, city planning as well as the practices outside of these disciplines with regard

The thesis’ objective is to contribute to

to civic organizations, artist installations etc.

the discourse on spatial practice, in 4

understanding how interventions may meaningfully engage users.

Conversely, the thesis advocates that positioning experience as a core element for interventions are critical to their success. In doing so, the intentions informing interventions are essential as they may lead to adverse effects. The paper thus advocates for stimulating experience without predefined outcomes, rather than curating experiences.

In positioning experience as being fundamental to the formation of meaning, the thesis aims to contribute to the discourse on place theory. In developing the position the thesis aims to incentivise the need for more empirical research that could support or challenge the claims made herein.

Key Words Experience; Spatial practice; Cognition and Affect, Meaning, Place and Nonplace

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Problem statement

microcosm. By implication, place is situated as being an essential dynamic

The user-generated approach2 (De

to users and their relation to the world.

Beer, 2014) emphasises the need for

The investigation into meaning thus is

an understanding of users, if spatial

also one of interrogating place as

practitioners are to meaningfully act.

cognitive phenomenon. The inquiry is

The action of users and what bears on

fundamental to spatial practice as it

their interaction and understanding of

questions aspects critical to spatial

their environments is positioned as

theory; such as interaction, use,

being critical for spatial practice. Eco,

perception, orientation, sense of

Hauptman, Lazzarato, Massumi and

aesthetics, structure, form, relation and

Radman position a key problematic -

identity, etc.

how do users form meaning? The

“Colourless green ideas sleep furiously”

question goes beyond functional

(Chomsky, 1957), is a sentence that is

arguments of user interaction and

grammatically correct, however

explores the influence of conscious

semantically means nothing, or

and unconscious thought. The

alternatively could mean anything

discourse considers users’ relationship

dependent on the particular reader.

with the material world as being an

Chomsky utilises the sentence to

introspective act and in so doing

demonstrate and advocate that the

questions what may bear on this

study of syntax (structure) is

relationship. The problematic

independent of semantics (meaning).

positioned thus deals with core notions

The notion originates from the 1940’s

of how users inhabit, relate to, interact

and has been commonly linked to the

and understand their considered

discourse of spatial practice, hypothesizing that the same could be

2

said of the world we inhabit and the

The user-generated approach (De Beer,

2014) advocates that the success of

ascribed meaning that we imbue on it.

interventions in the built environment relies on

Kevin lynch, Norberg Schulz, Umberto

the actions of users, which act out on various

Eco and Roland Barthes are

scales from the local to global. The theory positions users as holding dual significance as

advocates of this concept, positioning

being a catalyst as well as reactionaries with

semiology, the study of symbols, as

regard to the formation of the built environment.

being central to forming meaning.

The study specifically looks at city strategies,

Applied in spatial practice, the theory

development cases and the actions of developers in advocating that users are central

questions whether the city indeed can

to any action taken within the built environment.

be understand as syntactic and

However, it gives little clarity or understanding of

semiotic, functional and symbolic,

how users act and how, as a spatial practitioner,

forms. The work has underpinned

one is able to meaningfully engage them.

theories in phenomenology and 6

situates sense of place as being

In the highly pluralistic cultural context

dependant on these aspects. By

of the 21st century, cultural value sets

implication, positioning an inquiry of

are no longer geographically bound

place as aligned to meaning.

(Hauptmann, 2010). Value systems are continually evolving through

Recent theory on cognition and affect

differential inputs that form a nebulous

has stimulated further debate beyond

of conscious and unconscious

the theory of semiotics and its

association and meaning. Hauptmann

implication on spatial practice.

and Radman (2014), advocate that

Hauptman (2010) and Lazaratto (2010)

values systems are individualised,

both advocate that the formation of

presenting a problematic

meaning is more complex than that

circumstance in understanding how

positioned by semiotics. Corroborating

we relate to the world. It is clear that

the turn away from semiotics,

dissecting these abstract value systems

Klingmann (2010) advocates that in

is a highly specialised task, one that

the context of the development of the

would be fruitless and ineffectual in

experience economy, an “[evolution]

spatial practice. Hauptmann and

from “what it has” and “what it does”

Radman (2014) expand on this by

to “what you feel” and “who you are””

advocating that to define perception

has taken place. This transition is

would be indecisive, drawing on artist

critical, as the emphasis has moved

Barnett Newman’s quote; “aesthetics

from the object and its function to the

is for art [or architecture] what

users’ experience of the object. This

ornithology is for birds” (Hauptmann

transformation is not new but has in

and Radman, 2014). However, read in

recent years remerged as having

conjunction with Klingmann (2010) and

critical value. Design for experience

brand theory, the notions of desire,

has developed as a mechanism

identity, and lifestyle become central

utilised in branding to engage users

in codifying value systems into cultural

and create meaningful connections.

identities and counter cultures.

The theory of signification as well as

Hauptmann (2010,) corroborates this in

cognition, and the influence of affect

advocating that “[experience] may

and cultural value sets, positions

once have sat comfortably in

experience as being key to the

categories of vitalist and aesthetic

formation of meaning. Positioned as a

philosophy, yet today they extend to

highly abstract notion, which is not

the neurosciences and economic and

static in time or meaning, experience is

political theory as well.” (pg. 29)

a challenging subject for spatial

Drawing on Bittner, (Klingmann, 2010)

practice to contend with.

experience affects desire, identity and lifestyle. Experience becomes a means 7

through which meaning is attributed. In

have the power, through experience,

the context of our manufactured

to embody long lasting cultural

landscapes, spatial practice produces

attitudes. Through an understanding of

‘places’3 and products within the

user groups, experience enables the

wider economic systems of

engagement of spatial practice to

production. In the contemporary

become meaningful by expressing

experience economy this is consumed

desires, identities and lifestyles.

and experienced, it appeals to desire,

However the intention informing such

identity and lifestyle. Similarly, brand

actions is drawn into question as it

strategy utilises experience as a tool in

raises ethical issues. Spatial practice

building brand equity by reinforcing

being a public act has remained

and altering these three elements.

sceptical of the targeted approach of branding and its influence in

Experience’s fundamental role in the

developing highly curated, Hyper-

formation of meaning draws into

Real, environments. This raises the issue

question the notion of place. The

of how spatial practice could employ

notions positioned by Bittner

experience through utilising cultural

(Klingmann, 2010) as well as

value sets, without being

Hauptman (2010) and Lazaratto (2010)

discriminatory, positioning intention as

enable the thought that place is

a critical point of debate.

directly linked to meaning. It has less to do with locational and spatial

In the context of de Beer’s (2014) user-

attributes than abstract ideas

generated approach, experience

impacted on by experience.

affords the spatial practitioner the

Klingmann (2010) contends that,

ability not only to create more

spatial practice ought to draw on

successful interventions but also

brandings principles in order to employ

influence and understand wider

experience as part of spatial practices

patterns at a neighbourhood, city,

tool set. The objective is to create

national and international scale. The

memorable long lasting and

inquiry into users understanding, is thus

meaningful impressions. Experience is

positioned here to be of relevance to

thus seen as fundamental to the notion

a broad scope of readers and widely

of place and is increasingly relatable

applicable in practice.

to brand philosophy and the

Research Question

experience economy.

How does the formation of meaning Moving beyond the transient and

occur, and how could this process

momentary, spatial practice may 3

underpin spatial practice to meaningfully engage users?

Place apposed to space holds symbolic

meaning..

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Methodology In developing the position that spatial practice and experience are indispensably united, the paper introduces the linguistic understanding of semiology to underpin core notions in the formation of meaning positioned primarily by Eco (1997). In developing the principles established, signification is introduced to underpin that the formation of meaning is highly complex, transient and abstract.

Drawing primarily on Hauptman, Lazzarato, Massumi and Radman the paper positions experience as being a cognitive process, influenced by affect and cultural value sets. It also highlights the richness of experience as irrepressible and central to meaning.

The second part of the paper addresses the implications of experience as meaning for spatial practice by exploring the notion of place as well as the hyper-real.

Situating place as meaning, the paper draws on the work of Auge and Armegeod, who position notions of polarity and significance as being essential to place theory. Using the case of Disney, the paper cautions against highly curated environments and emphasises that intention is critical to spatial outcomes.

In concluding the paper reviews and positions three key approaches in employing experience to meaningfully engage users.

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The Formation of

legibility, composed of path,

meaning

the key to understanding the city. The

landmark, edge, node and district are

position advocates that structure,

Semiotics and syntax

syntax, is directly linked to meaning.

Kevin Lynch would have the world

Eco (1997) agrees that syntax enables

seen through his eyes, a planner’s

meaning, yet claims that meaning is

eyes. One cannot disregard, the

relatively autonomous and

contribution of The Image of the City

independent of syntactic signifiers.

(Lynch, 1960) to the discourse of

Lynch’s notion of legibility is aptly

spatial practice, yet Lynch’s definition

represented in Eco’s description of

of imageability4 sees structure and

syntax in a staircase. Confronted by

symbolism as one and the same. The

the staircase one reads its structure,

position of signifying, referent and

not the treads but the diagonal plain

symbol are drawn from the linguistic

created by the tread and the riser,

understanding of meaning. In the

implying that one is able to move up.

introduction to The Image of the City,

Thus, the staircase’s function is up, to

Lynch disregards the house of mirrors5

rise. In the same sense, nodes, edges

as a novelty experience stressing that

and landmarks give one an understanding of the city extent,

4

Imageability: identity, structure and meaning as

enabling navigation and orientation,

the three components that are utilized to

which leads to an understanding of

understand the image. (Lynch, 1960) Lynch’s approach positioning the image as the key

function. However, legibility does not

elements, is strongly linked to the linguistic

attribute symbolic meaning, instead it

understanding meaning.

enables a functional understanding of

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Lynch uses the example to highlight that

how to use the presented object6.

elements such as the house of mirrors do not offer meaning or legibility to the city. The paper,

The symbolic and functional

however, contends that such examples are places that do indeed offer legibility for users.

distinctions highlight an interesting

The house of mirrors, often associated with

problematic for spatial practice. The

carnivals, is a maze made of glass and mirrors

physical material world that is

that aims to disorientate the visitor. Glass is used

engaged with, inhabited and created,

to see areas of the maze, which you cannot reach, while mirrors create endless landscapes of reflection. Mirrors are also often warped in

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Eco’s definition draws into question Lynch’s

various ways to distort and further disorientate.

notion of imageability, where Lynch defines

The case of the of house of mirrors would be

identity, structure and meaning using syntactic

what Eco (1990) describes as hyper reality and is

structures. By implication Lynch claims that this

focused on experience and sensation. In doing

defines place, however, due to Eco’s position it

so these spaces become memorable and in turn

does not create places. Places imply a meaning

places that hold strong associations for users.

beyond that of the purely functional, holding cultural values.

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according to the position presented by

has transcended the function, and

Eco, does not attribute symbolic

experience is central to the forming of

meaning. Rather, syntax enables an

the symbol. Conversely, the structure

understanding of how interaction

or function (the syntax) does not

between an object and a person

create symbolic meaning but rather

takes place. Following this notion, we

momentarily becomes a vehicle that

are positioned to ask why and how

denotes a connotation beyond its

symbolism may arise? If, as Noam

function7.

Chomsky (1957) stresses, the study of

The case of the cave positions the

semiotics (meaning) and syntax

notion that an experience is able to

(structure) are independent from each

forge a symbolic meaning. However,

other, how does meaning arise and

the example here stresses a particular

interact with the world in which we

autonomy of the symbolic from

inhabit?

syntactic structure (artefact, object

Expanding on the formation of

and environment) as well as the

meaning, Eco (1997) creates a

unique problematic of an individual’s

hypothetical case where a primitive

interpretation. Eco (1997) highlights

man seeking to remain dry during a

that indeed meaning may hold

storm, encounters a cave. The cave

autonomy but it is through cultural

becomes synonymous with protection.

value sets and shifting symbolic

It becomes a type and by recognising

understanding over time that symbolic

its features the man is able to

correlations between objects and

recognise similar types. The experience

meaning momentary form.

has built up meaning. The man settles,

When one encounters a chair8 its

in another cave, which due to the first

function is clear, to sit. A throne, also a

experience still symbolises protection but now equally represents convenience, comfort and perhaps

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In semiotics, meaning is understood in terms of

even home and family.

language. In this sense the vehicle, the syntactic

The cave, a hole in the face of a cliff,

word throne and the object throne are in this

structure, denotes a symbolic meaning. The

sense both seen as a vehicles and thus come to

to somebody else would not hold the

represent meaning. It is from this understanding,

same symbolic significance, because

that etymology in the linguistics discourse has

there is nothing about the cave’s

positioned the notion of being able to dissect

structure that directly implies comfort,

and understand the route of meaning, of things.

Thus, being able to codify and dissect meaning

home or family. It is the experience

has influenced the work of notable spatial

that has created an abstract

theorist such as Lynch and Norberg-Schulz.

understanding of how to relate to

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Eco (1997) analogy of the chair acts as an

example of the relation between semiotic and

objects and environments. The symbol

syntactic understanding.

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chair, has embedded meaning, as this

the formation of meaning is not

chair represents more than just its

dependant on function and the

function. It implies a position of power.

structure10(syntax).

By contextualising the chair (Barthes,

Lynch employed the known elements

1998) further layers of meaning are

that already attribute meaning in his

formed. If the throne would be left on

approach to reading the city,

its side, no longer on its pedestal, the

advocating that by employing these

symbolic understanding of the chair

elements, the spatial practitioner

has transformed into something else.

would be able to draw on their recognizable meaning when creating

The case is noteworthy for a number of

places. However, his assertion is that

reasons; namely the formation of the

these elements hold universal meaning

sign, the relationship between symbol

and come from a natural

and function; culture and individual; as

understanding of the world. The same

well as the significance of context.

could be said of Shulz’s notion of

The throne by virtue of its type has

phenomenology. The position asserts

specific attributes that the chair does

that meaning is static. However, Eco

not. The chair and the throne are

(1997) highlights that this is not the

dissimilar in form but not function and

case as meaning is continually

one could assert that the features offer

changing. In the same sense that a

meaning9. Here we might position a

word over time, influenced by cultural

chicken and egg scenario - what

application and use, may change its

came first, the king or the throne? In all

meaning. In the same way that chair

likelihood it was the king that came

over time became the throne.

first. In dealing with matters of state

Chomsky’s assertion that syntax and

and country, the king would need a

semiotics are independent of each

chair, which in turn gave rise to the

other corroborates Eco’s position, as

throne, which has come to represent

the formation of a symbol is not

him. Connotations have been built

dependant on structure. This

upon the object overtime to imbue it

autonomy is problematic as the notion

with meaning. In this sense, the

strips the role of symbolic meaning

meaning had been developed prior to

from objects and environments,

the object. The notion positions that

leaving only a functional meaning.

Eco (1997), in unpacking a way for

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Lynch as well as Eco, when codifying cities and

architecture to engage in meaning,

architecture, blur the boundaries between semiotics and syntax. This is an issue that has been disputed in the discourse and notably led

10

to Guattari’s 1970 theory of signification, a step

skyscraper; it took the world a little longer to

away from the linguistic signifier.

realize it. (Mumford, 1930)

12

It took Sullivan several iterations to develop the

separates syntax as primary and

clearer understanding of syntax and

semiotics as secondary - two distinct

semiotics. The term borrowed from the

fields of understanding that are not

psychology discourse, accounts for

hierarchical to one another. In doing

their relative autonomy. Here both

so, Eco is able to create distinctions

semiotics and syntax are able to

between forms of meaning and how

function independently of each other,

one engages with them. The notion

however also form mutually beneficial

follows that of Chomsky’s linguistics.

relationships in specific circumstances.

However, Eco attempts to expand on

The notion implies a degree of

the symbolic nature of the structure

interconnection that suggests that

and form in architecture. The

spatial practice is able to engage,

challenge for Eco is to make a

create, manipulate and embody

distinction between the notion of

meaning14. This relates to the viewers’

symbol and architecture as a

experience and their cultural value

language that can be read - the same

sets. Eco reiterates that over time these

challenge that Lynch faced. Here Eco

meanings change and are

(1997) explores architecture as a

interchangeable, implying that the

vehicle of meaning. Architecture as

symbol is flexible and transient. The

meaning comprises not only of form

mutually beneficial relationship

and function, but also sensation11. It is

between syntax (structure and

this third aspect, sensation, which

function) and semiotic vehicle

positions affect12 as having an

(experience) enables a tangible

influence on the production of

approach for spatial practice.

meaning. By implication, experience is positioned as being critical to the formation of meaning.

Positioning a mutually interdependant13 relationship enables a

11

Eco’s (1997) emphasis on sensation in building

bodies, often in competition with each other,

meaning, alludes to the notion of affect.

12

that are able to unite in specific circumstances

Originating from the work of Deleuze, Guattari,

that would be mutually beneficial.

Bergson and Spinoza, the ‘affective turn’ has

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taken place in the last two decades. It arises

with the notion of mutually inter-dependence.

from the notion that affect precedes cognition.

However, Lynch in his writing struggles to

Affect is defined by intensity, a means of

thoroughly expand on semiotic meaning, as he

prioritization that influences thought, feeling,

did not explore the possibility of its autonomy

sensation and reaction. Massumi (2005)

and question the vehicle of meaning

13

Mutual interdependence is borrowed from

Lynch’s (1960) notion of imageability aligns

(experience = semiotic vehicle). Lynch assumes

the psychology discourse. By definition it

that through legibility one would enable

describes the relationship between autonomous

symbolic meaning.

13

Figure 1: Wain Wright office building by Addler & Sullivan in Saint Louis, USA, 1981 Sullivan’s ethos was encapsulated in the Wain Write building, an office and one of the first skyscrapers to be designed. Underpinned by “form follows function” as an ethos of approach the building celebrated the office as a palace of work.

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“Form follows function” coined by

slightest way) from one person to the

Sullivan in the late 1800’s when

next. The throne as a symbol will thus

industrialisation had been challenging

hold a unique meaning to each

the architect to rapidly develop new

individual. Although this is true, Eco

typologies of buildings, advocated a

highlights that the symbol would to a

need to express what the building is.

society (understood as a group of

The new typologies had to embody

people with a collective

and represent the people within. It had

understanding) hold common

less to do with the modernist

meaning. The man in the cave shares

interpretation of function as a

the newfound knowledge and now a

technical solution than with Eco’s

community of like-minded people is

position of sensation. Here we see two

formed15. In this way, each person

camps of thought, those advocating

possesses a common understanding of

that legibility offers meaning, the

the particular object, the type16, with

syntactic approach, and those

several uncommon personalised

advocating experience as offering

further symbolic interpretations. The

meaning, the semiotic approach.

development of the cave as a symbol

Sullivan, advocating the semiotic

shared between members of a group

approach, advocates that buildings

creates common value sets that are

ought to express what they are. A tall building must not only be tall but

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express its tallness.

Africa. The cave to varied cultural groups holds

An example of this may be found in Southern

different meanings. The Khoi San, a nomadic

“What the people are within, the

tribe, in the dry South-western arid regions,

buildings express without; and

attributes spiritual significance to caves.

inversely, what the buildings are

Northeast, in the much more temperate areas of Southern Africa with its multitude of differing

objectively is a sure index of what they

tribal ethnic groups, a cave holds a plethora of

are subjectively.” – Louis Sullivan

alternative understandings. Some used these

(Mumford,1931. Pg. 157 - 158).

sites as burial grounds, others for common purposes of tribal affairs, some as homes and

Hauptmann and Radman (2014)

others as the centre of great regions wherein

highlight personalised symbolic

they build impenetrable settlements. To each of these groups the cave holds differing meanings.

understanding as the primary limitation

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In the 1860’s western expansion in North

in utilising semiology as a mechanism

America, Henry Hobson Richardson was faced

for spatial practise. From varied

with a new type, the commuter train station.

interpretations that may originate from

Having been employed by the rail company, Richardson had the opportunity to build

abstract, extraneous fields and a

numerous stations across the country. What is

combination of meanings; the

perhaps most notable of the development of

symbolic object will always hold

the type was its evolution overtime. Each station

disparate meanings (even in the

was a new exploration but remained a familiar type within its cultural context.

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codified into cultural understanding.

The discourse surrounding space

Eco’s (1997) position acknowledges

(phenomenology, genius loci, legibility,

the problem presented by the

the erotic dimension17 and aesthetics)

individual’s experience, however

has struggled with the notion of

emphasises the significance of cultural

structure, function and object in

value sets as being fundamental to

relation to symbolic notions of

understanding the formation of

perception, subjectivity and

meaning. This dynamic of cultural

experience (how the mind derives

value sets enables spatial practice as

meaning). The significance of the

a socially conscious discipline to

semantic and syntactic discourse is in

engage in the notion of meaning.

positioning experience as a means of communication that builds memory,

Contextualisation, which Barthes (1988)

recognition, meaning, association and

advocates as being a critical element

identity.

in understanding semiology, highlights that nothing exists in isolation, whether

In concluding, the chapter has

it is an object or a symbol. The throne

explored the linguistic understanding

on its side, no longer on its pedestal

of meaning. Through doing so it has

evokes a layered interpretation - not

introduced four key principles.

only recognising the symbol but also

1. Experience enables the

the particular condition of the symbol

formation of symbols.

within a wider frame of reference.

2. The relationship between

Hypothetically then we could position

symbol and object is mutually

the throne on its side as denoting the

interdependent.

collapse of a monarchy. The

3. Cultural value sets, as opposed

contextualisation of the object has

to personal value sets, offer the

thus become a symbol in itself.

practitioner a means to

However, there is a further layer of

engage in collective meaning.

meaning to this scenario, through the

4. Contextualisation is intrinsically

interpretation of cultural value sets

linked to the formation

enforced by the viewer. Dependant

meaning.

on these value sets the contextualisation of the throne could

These four principles underpin the

come to mean anything from

argumentation to follow. The linguistic

liberation to abject terror. The scenario

approach has in recent years come

highlights that a relationship between contextualising symbols and cultural

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The erotic dimension, positioned by Barthes

(1997), is the means to read the city through

value sets must be taken into account

semiology. Barthes allows one to understand this

when understanding the formation of

trajectory of analysis as expanding on Lynch’s

meaning.

work in forming a semiotic register.

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under scrutiny with the advent of neuroscience and the discoursesurrounding signification. The following chapter expands on this recent turn to underpin that the study of meaning advocated by the linguistics discourse has positioned the vehicle for meaning incorrectly. In this sense, the vehicle is not syntactic as in a word or artefact but more abstract, as an experience.

17

Signification

correspondence, whereby meaning can be said to take place.”

Hauptmann, Radman and Lazzarato

(Hauptmann, 2010, pg. 40)

advocate the move away from Signification exists in a complex nebula

linguistics toward a broader

of instances. Here any sign, stimulated,

understanding of signification. In this

would generate a new sign, drawing

sense, we enter a world of further

on a plethora of input, or as Lazzarato

abstraction and as these theorists have

(2010) termed, being processed by the

illustrated, one of infinite complexity.

‘signifying machine’18. Signs are not

The aim of doing so is to introduce

static but continually evolving and

several key concepts and offer the tip

degenerating. Thus, the categorisation

of the iceberg, so to speak, of the

and notion of decoding that is

development of the discourse

positioned by Eco and Barthes and

surrounding signification.

reproduced in spatial practice by In advocating the move away from

Schulz and Lynch, is impossible. The

linguistics, Lazzarato (2010) motivates

categorisation itself will produce its

for the formation of meaning without

own signs and those signs will produce

the use of language. Meaning is

more signs. Similarly we can observe

developed upon meaning through

that previously used examples of the

which an abstract understanding of

throne and the cave (although

relationships, artefacts and

hypothetically used to illustrate a

environments are formed. This notion

point) are in themselves very difficult

positions syntax as a subordinate

subjects to work with.

outcome used for communication but Lazzarato (2010), highlights in

not for the development of

Guattari’s theory, that ‘reality’, the

signification. Signification belongs to

world we interpret and engage with, is

the realm of psychology and

derived from semiotic signs. This is seen

neuroscience, not linguistics - it is the

as mode of operation and production,

root and precursor to language.

wherein semiotic signs constitute the A-signifying semiotics, as theorised by

production of subjectivity. Subjectivity,

Guattari in 1970, “are the semiotics of

a product, is thus integral to how we

mathematics, stock quotes, money,

interact, perceive, think (past, present)

business and national accounting,

and dream (future). The ‘signifying

computer language, the functions and equations of science; but they are also the semiotics of music, art and so on.

18

They operate outside of human

semiologies, that form “strata of expression,

(linguistic) signification, or systems of

reference, or signification that acquire

Signification Machine: Relates to the symbolic

autonomy.” (Lazzarato, 2010, pg 507)

18

Figure 2: Experience and the signification machine

machine’ is presented as the modus of

Radman (Hauptman, 2010) advocates

the ‘real’; the process produces a

that semiology, as seen from a

personalised reality. Hauptmann (2010)

linguistic perspective, if employed by

expands on this notion in drawing on

spatial practise, leads to mimicry.

Rehberger in contextualising

“‘Materiality’ and its ‘expressivity’ are

subjectivity to the material instance.

irreducible” (Hauptmann, 2010, pg 34).

Material refers to the physical world

They are abstractions that in a world of

and instance to time. The material

constant reflection and projection

instance constitutes time=x where at

hold meanings dissociated from

every x interval a new material

representation. Radman (Hauptmann,

instance is created. At the material

2010) highlights that architecture

instance a new subjective instance

suffers from the tendency to draw

can take place as well. Thus an infinite

“literal correspondence between

array of probable instances of

ideas and forms” (pg. 34), reiterating

subjectivity exists and there is no

Eco’s (1997) position that meaning is

qualitative difference between sign

not static and is constantly changing.

flows and material flows (Lazzarato, 2010). This creates an infinite array of

A comparable case is that of the New

possible interpretations that in turn

Urbanism movement that has been

formulate subjective instances in which

lamented as pastiche. The core values

the ‘real’, our frame of reference and

established in the Congress of New

Guattari’s ‘reality’ exits.

Urbanisms Charter are to build cities 19

that are walkable, sustainable, human

which in turn become part of the

friendly, activate and afford a higher

signifying machine and influence

quality life in the context of continued

subjectivity. It is the highly individual

suburban sprawl. However,

aspect that Hauptman and Radman

aesthetically and typologically, the

(2014) advocate as unmanageable

movement has looked to replicate

and inapplicable to spatial practise.

European models, seaside villages and

The film Inception, offers a

quaint inner city life. The movement is

comparable scenario. In the dream

thus disassociated from its core values

world (constructed reality), it is the

and now symbolises a romantic, ‘non-

subconscious of the viewer that

American’ movement for the middle

populates the dream. In the same way

class. The case is what Klingman would

the subconscious, the production of

decry as a poor brand strategy and

subjectivity through the signifying

reiterates Radman’s (Hauptmann,

machine, is a projected reality within

2010) warning that to reproduce the

the construct of the material instance.

symbolic as mimicry is ineffectual. It will

As such, it underpins our relationship,

not result in its intended effect as it

interaction and engagement with the

already holds and will generate

real world. It forms parallel experiences

meanings that are constantly

that are unique to each individual.

reinforced and generated by the ‘signifying machine. A more successful

It is clear that meaning itself holds

intervention, which aligns itself to the

autonomy if seen as a singularity (at

same core values, is that of The High

time x). But when seen linearly

Line in New York by architects Diller

between xa and xb a progression is

Scofidio in 2009. Rather than mimicking

formed. Instance x1 and x2 follow each

a past ‘ideal’, the project is seen as an

other and thus x1 informs x2. x1 is

innovation, a reinterpretation, and thus

integrated into the signifying machine.

a contemporary intervention.

A natural progression of referents is formed.

Subjectivity, positioned by Lazzarato (2010) is central to meaning and

Experience constitutes a moment19 of

‘reality’. Eco and Barthes reiterate this

subjective instances that forms part of

in their study of semiotics through

the signifying machine. Experience is

linguistics. Yet it is only in the study of

thus a moment that is retained. It holds

signification, independent of linguistics,

meaning, becoming a memory.

that clarity in the formation of

Experiences inform future meaning as

subjectivity is found. Hauptman (2010)

well as being subject to additional

offers dreams as an additional

layers of meaning. Experience is

impression to subjectivity. Dreams are projections of a future or past state,

19

20

A moment constitutes a period of time.

intangible in the sense that meaning

In the 21st century we ought to

relates to the subjective instance, not

understand cultural value sets in the

the real world. In other words,

context of hyper-reality. Since the

experience could be a dream, the

advent of newspapers, cultural value

formation of an opinion, dĂŠjĂ vu, an

sets are no longer aligned

emotion or a sensation. These are

geographically (Hauptman, 2010).

intangible and numerous, presenting a

Today mass media have created

particular problem for spatial practice

cultural value sets aligned to global

to engage with. However, using

networks. The hyper-real approach

cultural value sets as a mechanism of

positions the notion that the world we

targeting, as in branding, spatial

inhabit has been tailored to our

practise would be more effective in

interests, our habits, and our cultural

using experience to engage with users.

groupings. It is what Hauptman (2010) defines as the contemporary power

As an experience is incorporated into

relations, despotifs of Noopolitics

the signifying machine it then is able to

today. Facebook, Google, news feeds

inform future instances. In this sense,

and television filter the information that

experiences inform future subjectivity.

we are exposed to. Through intricate

Over time experiences form cultural

algorithms these systems carefully

value sets through sharing experiences

construct what we interact with. This

and deriving common meanings from

virtual world directly affects our

them. The transferal of meaning

experiences and cultural value sets. In

through experience is evident in the

turn, the virtual affects how we relate

case of the man and the cave. What is

to the world. Mass communication

particularly important about the notion

and targeted filtration constructs

of cultural value sets is the

cultural value sets that are aligned to

reinforcement of common meanings.

desires, lifestyles and identities

In this sense, two people could share a

(Klingman, 2010). Emphasising the

common experience and derive

increasing role of Noopolitics,

entirely different meanings from them.

Hauptman (2010) highlights that these

However, two people that share a

forms of communication are exerting

common experience and derive

power on society, informing cultural

similar meanings, reinforce a mutual

acceptance. The events, places we

understanding that develops a cultural

go to, the people with whom we

values set. Alternatively, two people

engage with are tailored experiences

that hold similar cultural value sets may

of the real world, enforced by the

derive similar meanings from their

virtual. Hyper-reality has thus become

experiences. This is the crux of

the norm - people seek things that are

experience as a tool linked with

aligned to their cultural value sets.

cultural value sets.

21

Figure 3: The Take Me on Show at the Vanabbe Museum in the Netherlands by Acclair

Me on Show. In the study, they

Lone (2013) advocates that this is

measured the brain activity of people

becoming common knowledge,

while walking through an art gallery.

sparking a ‘neuro-revolution’, neuro

Acclair claims that they are able to

being the prefix to a plethora of

measure cognitive and emotional

various fields of study. The transition

perception, what they term an

enables a move from the qualitative to

artefact’s “neuro-value”20. Still in its

the quantitative enabling experience

infancy, Acclair aims to develop an

to be measured and monitored. Film

entirely new industry in understanding

studios and branding have begun

how people interact emotionally and

neuro-marketing, a technique

mentally with the world, and explore

measuring brain activity to assess the

whether these experiences are

retention of experiences and whether

retained. The study is thus focused on

people are more likely to engage in

quantifying experience as a data set

the product in the future. Although still

that is marketable in various industries.

an imperfect science, neuro-marketing

These recent advancements in the

has made a dramatic leap from older studies using test groups. Acclair, a research institute focusing on

20

‘neurocapital services’, aims to

Acclair is positioning two services based on

their findings; namely, advising art dealers as to

develop the field further. In 2009, at

what artworks will be more receptive to

the Vanabbe Museum in the

potential buyers; as well as advising art buyers as

Netherlands, they performed the Take

to what will be the best individual purchase for them.

22

field of neurosciences underscore the

cognitive engagement as it is a non-

significance of cognition and affect.

conscious experience of intensity.

Without an experience of intensity

The neuro-revolution and signification

feeling would not ‘feel’22, which is

draws to the fore the key notion of

significant as it impacts decisions and

memory. Neuro-marketing is aiming to

conscious thought enabling

study and understand how a brand or

prioritization. Affect occurs between

an object is recalled. Equally

bodies and our environment, it is a

Hauptman and Lazzarato (2010) both

social action, informing subjective

highlight the importance of memory as

experience.

central to understanding cognition.

Sweatt (2010) positions memory as a

Affect influences how and what we

subconscious and conscious activity,

experience, underpinning our

which the brain is constantly engaging

understanding of the world and our

in. Hauptman (2010) advocates that

interaction. The affective turn

memory has less to do with reminiscing

highlights that experience is subject to

than with an ‘active knowledge base

a wider dynamic than cognitive

guiding our lives’. Memory is, in on the

processes. Illustrated in Massumi’s

one hand, cognitive – the signification

(2005) cases, unlike neuro- assessing,

machine at work. On the other hand, it

affect is hard to quantify and

is affective21 – engaging in desire,

understand due to its abstract nature.

pleasure and sorrow, and our intuitive

This dual dynamic of affect and

senses. The notion of memory thus

cognition is central to the notion of

brings to the issue of experience a

experience, and the formation of

second dynamic, affect.

meaning. An iterative process is put forward here, where experience, a

Massumi (2005) highlights that affect

moment, is subject to cognition and

should not be confused with emotion

affect, creating a complex reference

but rather affect is the ability to affect

that is in turn recognised as memory.

and be affected. It places the body in

Experience is continuously reinforced

space and advocates that it directly

through memory and intuition (affect).

interacts with its environment without

This process could be defined as the

conscious reflection. Massumi (2005)

‘dynamic trans-mission’ of memory,

advocates that affect is a precursor to 21

which Hauptman (2010) advocates as more affective than cognitive as the

Emotion is a momentary response without a

process is subject to intensity (affect).

contextual backing, while a feeling is informed by past experience (Massumi, 2005). Massumi (2005) cautions that affect is often used as a

22

substitute for feeling and emotion and highlights

pain, a cut in ones body would only be

that affect is more abstract than this and

recognized but not prioritized. Intensity enables

encompasses a wider dynamic of being.

the prioritization of a sensation.

23

An example of affective feeling is that without

intended outcomes. Interventions could manifest in various forms, from

The development of thought,

spatial governance to sensory

cognition and the influence of

interventions, however it is the notion

affective and cultural processes,

of meaning and space that most

positions experience as being central

interests the spatial practitioner.

to generating meaning. By employing experience spatial practice is able to

To understand experience as a spatial

meaningfully act and engage users.

phenomenon, one must explore the concept of place. If experience is

Through utilising cultural value sets,

fundamental to the generation of

defined by desire, lifestyle and identity,

meaning, then is the notion of place

targeted user groups and what they

not unequivocally linked to

may be more receptive to, can be

experience?

identified. The approach enables an informed perspective as to who the audience(s) of any given experience may be and how that experience could engage those users more effectively. Klingman (2010), positions sense, feel, think and act as a more sensorial approach that could engage with affect. However, as in brand theory, creating an experience ought to be underpinned with an intention. In branding this intention is often aligned to brand identity23. In spatial practice

as if you were in a cloud. The design aims to

the intention of experience should be

create sensorial experience where the user is separated from the visual stimulus on which we

carefully considered24 as to align to

all rely. In doing so, confronting the user to act in a different way, relying more on other sensory

23

Brand Identity is how users perceive a brand.

elements such as sound and touch.

This has less to do with actual products that these brands offer than with what the identity of

Utilizing visual, sound and interaction as

the brands are perceived to be. Do these

sensation techniques, the installation creates an

identities speak to or conflict with users identity,

immersive experience. Although the project is an

lifestyle and desires? A good case would be

extreme, many principles are applicable in the

Pepsi and Coke Cola or Nike and Adidas. Each

daily life of people and it serves as an excellent

have very specific brand strategies that are

reference of a project that attempts to engage

aimed at reinforcing a brand identity.

in feel, think, sense and act. To act is positioned

24

Klingman (2010) refers to the Blur building in

openly, the body in space is free to engage in a

Switzerland by Diller + Scofidio as being a project

new ‘reality’, while feel, think and sense appeal

that clearly shows intent. The installation is in the

to the cognitive and affective processes that

middle of a lake in Switzerland, immersed in mist

guide our understanding and experience.

24

Hyper-Place

notion that a place may be a space

The notion of place has occupied the

that a place is an abstract idea, not

minds of spatial theorist for time

dependant on spatial attributes. This

immemorial and the discourse

positions place as meaning, being

surrounding its definitions are as

influenced by affect and cultural

lengthy as the debate of place itself.

value sets.

and have a locality but it also suggests

Whether an architect, planner, policy

Hyper-Place is positioned as extreme

maker or intervention artist, the focus

scenario of place that through

of the work is orientated toward

interrogation offers insight into what

making spaces that people want to

defines a ‘place’. Here two primary

engage with. The emphasis on place

states, non-place and hyper-reality,

for spatial practice is significant, as

offer unique insights into the notion of

making places is at the heart of the

place as being linked to meaning

discipline. Lone’s (2010) focus on

rather than the traditional linkage to a

brandscapes advocates the

locality and its attributes. In positioning

significance of place-making in

this theory, the core notions producing

creating meaningful connections and

experience and forming meaning;

experiences that people are able to

namely affective, cultural and

relate to.

cognitive processes are the primary elements comprising place.

For Lynch, along with other notables in spatial theory, the understanding of

The notion of the subconscious

place, underscored as a study of

population of ‘space’, positioned in

phenomenology, is inseparable from

the example of Inception (pg. 16),

spatial and geographic attributes.

forms parallel ‘realities’. Explored

Dating back several centuries, genius

through the notion of the formation of

loci (the spirit of place) has remained

meaning, these parallel realities are

a primary reference in the discourse on

experienced collectively amongst

place, and cemented the notion of

those with similar cultural value sets.

locality to the notion of meaning.

The meaning these places hold differ

Drawing on the study of signification it

from one group to the next. In justifying

is clear that meaning itself is an

this claim the first Hyper-place to be

abstraction of the interplay between

explored is that of non-place.

cognition and affect. Moving away from the linguistic understanding of referent and signifier, place is separated from the hegemony of space. This does not exclude the 25

Anti - Polarity

and non-place. Neither can exist without the other. Non-place exists in

Armegoed’s (2016) research on light

contrast to that of place. Massumi’s

and the city offers a unique

(2015) intensity as a means to prioritise

exploration of place. Light is a political,

information and situation is applicable

social, economic and spatial element.

when considering this contrast in

Light’s presence and absence is a

place. ‘Intensity’ impacts the

testimonial about space. Light curates

development of meaning as place is

the urban environment. Light directly

arranged based on experience. Non-

affects and forms experience as well

place by this assertion is thus not the

as the experience of absence. In this

lack of meaning but rather the place

way, the city at night takes on new

of lower cognitive priority.

and transformative meaning, while The application of lighting in Paris,

also amplifying existing connotations

which emphasises key elements,

and relationships.

highlights the contrast between place The study focusing on Paris as the city

and non-place by night. Armegeod

of light exhibited in various exhibitions

(2013) asserts that this nocturnal view

and published in Paris la nuit,

of the city offers insights into the

documents the research conducted

Parisian identity. For the tourist in Paris,

over several years by AWP (Armegoed,

the application of light becomes the

2016). In contrast to Berlin and

manifestation of the Lonely Planet26

London25, Paris implemented light

guide. Culler (1988) in exploring the

infrastructure to support the public

world of the tourist positions the

realm. Light became the extension of

problematic of authenticity.

the day and designated where

Authenticity here directly refers to the

occupation and activity may take

notion of significance and intensity as

place.

a contrast of place as experience. The tourist is unable to understand the

Today, the lineage of the investment in

nuances of place inherent in an

the public realm has highlighted what

unfamiliar context. Culler advocates

Armegoed (2016) defines as anti-

that the tourist requires validation. The

polarity. Sørensen (Gebauer, etc. 2015)

tourist does not have the ‘frame of

offers a concise definition; anti-polarity

reference’ to decipher meaning of

positions a polarization between place 25

unfamiliar cultural value sets as the tourist’s cultural value sets are

London and Berlin serve as two examples of

alternative approaches to the early implementation of lighting infrastructure in the city. Berlin aligned lighting infrastructure to

26

movement systems while London focused the

with numerous publications of countries and

investment to support industrialisation.

cities across the world.

26

The Lonely Planet is a guide book for tourists

displaced. Markers verify the

represents public – dark represents

experience as authentic, creating

privacy and refuge.

validation through guidebooks, curios,

Light and dark’s interpretation informs

and in this case light - the Eiffel tower lit

varying types of place and non-place

as a beacon to the world, here is Paris

that often occupy the same space.

and this is French. In contrast, for the

Armegoed (2016), in presenting this

tourist, darkness represents the in-

dual nature cites two cases of counter

between, the insignificant and the

cultures, where darkness denotes

unauthentic.

place to a select few.

However, as Hauptmann (2010) has

The first is an open field overlooking the

advocated, meaning cannot be so

city at night, filled by large groups of

simply categorised due to social

people. The darkness provides a

nuances and power relations.

refuge for these groups with similar

Armegoed’s (2016) research

‘values’ (cultural value sets) to smoke

corroborates this emphasis of

cannabis and enjoy the night hidden

Noopolitics acting out spatially.

from the prying eyes of authorities and

Comparing early 19th century London

the public which disdain such acts.

and Paris lighting, it is clear that different approaches and in turn

The second is a predominantly empty

power relations took form. In London

cemetery, where a well-known gypsy is

factories and supporting infrastructure

buried. However, by night the site

were initially the landmarks of the city

becomes a gathering point. Gypsies

at night. Highlighting Britain’s emphasis

singing and chanting, performing

on economics and industry. While Paris

rituals or social gatherings fill the

by 1924 being lit for 24hrs a day,

cemetery unbeknown to passers-by.

focused on public life. The two

The cases highlight that place is

dissimilar approaches fundamentally

formed by interpretation - meaning.

altered the nature of these cities.

Light creates contrast. This distinction

Place and in turn non-place are for

between light and dark, when

Hauptman (2010) and Armegoed

experienced through cultural value

(2016) where the dynamic power

sets, emphasises the power and

relations and cultural value sets

cultural interpretations that form

interplay, forming a unique

places. For the tourist in a foreign

understanding of the city. In this dual

environment, the understanding of

dynamic varying, interpretations exist.

place is devoid of these nuances. In

Where light represents power - dark

both instances, light reinforces the

represents anarchy, where light

significance of the meaning of a particular place.

27

Figure 4: The Day in the Life of a bench by Max Degtyarev

28

Augé (Gebauer, etc. 2015) asserts that

(Gebauer, etc. 2015) position on

non-place constitutes transitional

place. Here an ordinary bench with a

spaces. For Augé, transitional space

bin beside it becomes the stage set for

emphasises the daily life of people. This

the lives of people. To the kid walking

definition alludes to non-place being

to school, the jogger or dog walker,

aligned to activity and experience

the bench may not hold any

over that of the physical environments.

significance. If it would be removed,

The definition of non-place constitutes

they may not even notice. However,

the daily commute, and other

for the bird feeder, chess players and

activities that we pay little attention to.

homeless man, the bench is a place

The notion reinforces the position that

that may hold significance. The bench

place or non-place is defined by a

holds a meaning, incorporated into

contrast of experience. Augé’s

their lives. It is this abstract notion of

(Gebauer, etc. 2015) definition

activity and experience being aligned

positions place as being an abstract

to significance, which is critical to

temporal phenomenon. In this sense, a

understanding the phenomenon of

place is not a constant occurrence

place.

but is subject to change both in

Lynch’s (1960) legibility aims to work

meaning and time27.

similarly to the way one reads a book.

Degtyarev’s (2013) day in the life of a

It aims to create easily readable areas.

bench poster illustrates Auge’s

The full stop, unless meaningfully employed, denotes transition. Similarly, the landmark performs a function. In

27

spatial terms, the landmark, unless

In Cape Town, the café culture has adopted

this notion in making the most of the changing

meaningfully employed, is by Augé’s

dynamic of a day. By a change in activity, a

definition, a non-place. The

change in place is formed. Honest Chocolate, a café specialising in chocolate products,

comparison may be divisive, however

changes into the GIn Bar at 6pm, a relaxed

it cements the notion that experience

courtyard specialising in gin and hosting offbeat

trumps function when talking about

performances. Similarly, Power and the Glory

space.

changes into Black Ram after 11pm, while Hectic and Hope changes to Evol at 12pm on

In this reality of place and non-place,

Friday night. It is possible that the same spot where an early commuter is catching a coffee

as the juxtaposition of meaning as well

and croissant in a seemingly pleasant calm café

as significance of experience and

before work was the site of loud music and

activity, a key question is how

dancing several hours prior. In this sense, the

successful can spatial practise be in

locality is constantly redefining itself as place, to avoid becoming a non-place for any period of

creating experience. If an insignificant

time. The café culture seeks to actively redefine

sidewalk with nothing that would draw

itself as a place.

the attention of a passer-by could be 29

transformed from non-place to place,

Hyper-reality

through an experience whether collective or individual; then to what

The second example of hyper-place is

extent can a ‘space’, a locality with

hyper-reality; extreme cases were

attributes, become a place by design?

experience is used as a divisive mechanism to engage users. The cases presented illustrate that forming experiences raises ethical questions.

Implementation is a primary concern for spatial practice and the cases of hyper-reality aims to highlight intention as being a core factor to employing expereince.

Klingman (2010) advocates that users take functional features for granted and it is experiences that appeal to identity, lifestyle and desire of users. It is this notion that has underpinned branding, where brand identity is how the brand is perceived and this impacts the brand equity, the commercial value that derives from consumer perception. Anything associated to the brand impacts on the brand identity and its brand equity.

In this sense, a brand is an abstract notion, filled with nuances and influenced by cultural value sets.

Branding utilises experience as well as markers28, to establish and reaffirm its brand identity.

Nowhere has the merger of branding and place making become so intertwined than with Disney. It has fascinated spatial theorists, who have 28

As in the case of the tourist presented by

Culler (1988), markers offer authentication of the experience.

30

engaged in a plethora of studies in

activities and individual activities

unpacking the significance of Disney

Disney enables users to alternate

as a spatial phenomenon. Klingmann

between different experiences

(2010) advocates that it is in Disney’s

depending on mood and energy level

cruise liner where the dynamic of the

(Klingmann, 2010).

brand is most apparent and serves as

Unlike the bench represented by

a petri-dish case, that other Disney

Degtyarev (2013), Disney’s

products align to. The cruise liner sells

orchestrated environment requires the

the notion of ‘fun’ for all ages. With all

third element, it staff. Accounting for a

the amenities of a small city, the cruise

human factor, staff take a proactive

liner becomes a space that caters to a

role in user engagement. Klingmann

multitude of activities. Disney, aware

(2010) highlights how staff are integral

that experience is central to users’

to enabling varying degrees of

perception, creates a highly curated

participation29, while continually and

environment. This manufactured

mindfully monitoring and engaging

experience is approached in three

users. The multi-levelled approach of

deliberate ways; namely the users, the

the Disney environment aims to put the

activity and the staff.

user at the centre of focus. The

Users are defined as family units or in

approach is a form of curatorship30

other words groups of people of

that aims to manage varied

varying ages and interests. This

experiences. Manufacturing

dynamic is critical to how Disney has

experience becomes essential to

designed the cruise experience.

maintaining the desired environment

Although the Disney experience is for

for positive affirmation of brand

families, there is also a need for

identity.

providing activities that are user specific, where people can retreat from the family and engage with other 29

user groups.

“At the one end of the spectrum is passive

participation, where [users] reflexively immerse themselves in their surroundings. At the other end

Catering to user specificity also draws

is active participation, in which [users] personally

in the notion of varying degrees of

affect an event by directly engaging in it.” - Pine

activity and participation. For kids and

and Gimore’s model of experience (Klingmann,

teens, immersive experiences are

2010. Pg.14)

educational and escapist compared

30

The curated experience is not unique to Disney

as Kingman (2010) expands on this in drawing on

to those for adults that are

the case of other cruise liners; airline companies;

orchestrated forms of entertainment

and retail enterprises such as Starbucks, each

encouraging indulgence (Klingmann,

carefully considered as to its user group and the

2010). By accommodating group

type of curated experience needed to reinforce the brand identity.

31

Disney’s experiential approach is

of monitoring the front gardens.

aimed at reinforcing the brand identity

Nothing can be out of place, including

through curated user experience. This

the citizens themselves. The

dynamic leads to collective action

neighbourhood itself represents Disney

and what Klingman (2010) identifies as

and is part of its brand identity. Similar

community identity, where as an

to the cruise liner, the neighbourhood

individual, one is immersed in a

has a community identity, implying a

collective experience. The community

community responsibility and thus

identity is self-reinforcing and

conformity. Anything that does not

establishes collective responsibility,

align to this identity is pushed out,

conformity and a code of conduct.

along with tenants and visitors.

Klingman (2010) highlights that Disney’s

Celebration is not unique and almost

mastering of curated environments has

anyone would be able to think of an

become a precedent for interventions

example of morally sanitized spaces.

across the world. An increasing

Curated spaces take collective

motivation for the management of

responsibility away and replace it with

spaces to form places has impacted a

managed environments. Although

wide variety of spatial interventions

effective, Disney’s model is not

(downtown improvement districts to

sustainable for building resilient cities

gated neighbourhoods and shopping

that are inclusive and diverse. Nor

malls). However, Borrie (1999) highlights

does it create local connections but

that manufactured experience is

rather engenders fabricated normalcy

exclusive rather than inclusive. The

away from the other. These models of

focus on user groups and specificity of

manufactured experience work best in

design becomes alienating to those

isolation where control is sacrosanct.

that do not identify with these spaces

The model is highly inward looking and

and strategies.

rather than aiming to contribute to an urban context and society it

A good example of Borrie’s criticism is

engenders a form of escapism. The

Disney’s gated community,

case of Disney is presented as an

Celebration, Florida. The community

extreme and unsustainable model of

carefully managed by Disney aligns to

place making. Gilded, glistening at the

the same techniques used in the cruise

surface yet corroded beneath.

liner, focusing on users and activity. An appointed board of “proactive

Beyond the middle class escapism,

citizens” administers the

provided by manufactured

neighbourhood. The board oversees

experience in Disney, Eco’s (1990)

anything from making sure the houses

critical reflection on authenticity and

fit into a specific design code to that

sensation, in his travels through the 32

United States of America, positions an

falsehood (Eco, 1990). The experience

alternative case of hyper-reality –

itself is abstract and relatable,

mimetic experience. The mimetic

enabling interpretation. It stimulates

approach is a reproduction or re-

genuine connections and meaningful

enactment in a spatial form to enable

experiences that in turn are powerful

an immersive experience. By the user

referents open to interpretation.

accepting the imitation the user is

Eco (1990) draws on the Getty Villa in

drawn into an alternative reality. The

Los Angeles as an example of the

imitation is thus an authentic

mimetic approach. Situated as part of

experience, consumed as a

the wider Getty institute, the Getty Villa

participatory and immersive

is a museum exhibiting art from 6500

experience. Eco (1990) highlights that

BC to the Roman Era. The building is

to varying degrees, mimetic

almost an exact copy of a Roman villa

experience is employed throughout

surrounded by sculptural gardens. Eco

America; from the extreme cases of

(1990) highlights that the building is not

Disney, wax museums, hotels31 and

only a copy of the Roman villa that

late century re-enactment parks32 to

was in part covered in debris by Mount

the everyday diner or theatre

Vesuvius in 79 AD, but also a copy of a

production.

copy. The original Roman structure is a

In this sense, Eco (1990) highlights that

reproduction of a Greek villa several

the intention behind these imitations

centuries before. The intent is to create

are sensation based. The hyper-real

an experience, which situates the user

extremely fake experience is authentic

in a different time, contextualising the

in that it is not apologetic of its

art that lies within.

As a subtler example of the mimetic

31

E.g. Modonna Inn, a motel has a plethora of

approach, the Getty Villa employs

themed rooms. Each space is uniquely crafted,

spatial sequencing to engage the

from the African savanna to caves and kingly chambers.

user. The museum forms a vessel for

32

Re-enactment parks are small towns based

experience, establishing an alternative

on the 1860s expansion of American mid-west.

reality. The user becomes a participant

Here visitors are immersed as active participants

via inhabiting the structure and

in the experience. The life size town, a reconstruction of a historic time, is a lived space.

gardens, which establishes an

Actors walk amongst the visitors, who carry on

immersive experience. In this sense the

with their daily life as if it were 1860. Every now

project is seemingly timeless, as users

and then a gun battle ensues. With the mix of

continually project their contemporary

visitors and actors, it is hard to discern who is actually partaking in the charade, which is part

understanding of the past onto the

of the immersive experience making visitors feel

structure.

part of the enactment.

33

Although often employed in brand centric environments such as Disney, mimetic experience positions a contrast to manufactured experiences. Disney employs the technique to create immersive experiences that reinforce the brand, however examples such as the Getty Museum are open to interpretation. In doing so, the Museum is inclusive compared to the Disney’s approach.

The contrast between these cases is in the way they employ experience, positioning intent as critical to implementation. The Getty Villa and the mimetic approach advocate for

Imitation

projects that endeavour to be open to various interpretations and in so doing remain contemporary and inclusive.

Klingman (2010) advocates that “most critical practices in architecture are still governed by Calvinist credo of the

Original

“Socially Conscious” who condemn every sensual design as “spectacle” without any understanding what that might mean.” (pg 18). Klingman (2010) motivates that curated environments such as Disney theme parks and gated communities such as Celebration have

Imitation

tainted spatial practices wiliness to engage meaningfully with experience.

The case of manufactured experience is used to motivate for critical debate on experience. At the heart of such debate is that of intention, which the “socially conscious” may be more

Original

willing to deliberate.

Figure 5: Getty Villa Imitation

34

Figure 2 : Getty Villa

Figure 6: Getty Villa: Museum sequence

35

Place as Experience

Place linked to the development of a

Signification as a move away from

locality with attributes, positions

linguistics has positioned experience as

experience as fundamental for spatial

critical to the development of

practice. Its transient nature and

meaning. It advocates that our

varied interpretation forms abstract

understanding of the world is an

connections that are often

abstraction governed by cognition

unmanageable. The notion of

and influenced by affect and cultural

manufactured experience aims to

value sets. This notion positions place

eliminate deviation in meaning.

and non-place as a juxtaposition of

Nevertheless, meaning manifesting, as

meaning. Augé’s (Gebauer, etc. 2015)

a diaspora of interpretation is

definition of place and non-place

inevitable - counter cultures are

highlights that it is experience, which

unavoidable. Regulating experience is

enables an interpretation of

what Hauptman and Radman (2014)

significance. The argument motivates

caution against due to irrepressible

for place as experience.

trajectories of meaning. Disney is not

contrast in meaning rather than a

‘fun’ for everybody, only the user The polarity of place as a contrast of

group that it particularly focuses on.

significance, seen through the lens of

Whether or not space is designed with

cultural value sets, enables an

the intent to form experience, it will

informed perspective of how people

undoubtedly stimulate experiences of

relate to and interact with space. It is

varying degrees of significance.

why Hauptman (2010) advocates for ‘cognitive architecture’, a

Although mimetic experience is not

combination of affect and cognition.

applicable in the everyday, the notion

Yet, the case of Disney highlights that

of interpretation is. Interpretation

manufactured (curated) experiences

embraces the unpredictability of

are inherently exclusionary. The

experience and meaning. Drawing on

unethical approach draws issues of

the argument put forward, an open

intention and accountability to the

approach should be fostered. Still

table as these techniques are

cognisant of user groups and their

becoming increasingly common in

desires, identities and lifestyles - the

developing privatised public space.

position advocates for the stimulation

Using targeting user groups to underpin

of experience rather than the

interventions, does not account for the

manipulation of experience.

variety and diversity of groups that

Stimulating experience in combination

inhabit cities today.

with intent offers a means to effectively engage users. Utilising 36

cultural value sets as an informant to

sets and context, the themes aim to

intent is crucial to the notion of place

offer a means for spatial practice to

making. However, this ought to be

engage with the proposed concept of

inclusive by accounting for varied

place as experience as positioned in

cultural value sets due to the pluralistic

this paper.

nature of contemporary environments.

Reengaging meaning

The objective thus goes beyond employing affect for only instrumental

The act of reengaging meaning is not

reasons and rather for genuinely

unfamiliar to spatial practice. It aims to

engaging varied users groups. By

draw attention to or challenge societal

implication, the problematic is not only

narratives and predefined meaning. In

about the degree of significance

application it may occur locally, as

being stimulated but also about the

related to a specific site (the Holocaust

opportunity for a variety of

museum in Berlin by Libeskind)33 or by

experiences being stimulated.

narrative (the Apartheid Museum in Johannesburg, by Mashabanne Rose

Klingman (2010) advocates that

Architects)34. In this sense, the act of

although the development of meaning may be abstract and

33

The Holocaust Museum in Berlin by Libeskind,

incontrollable, the power of spatial

utilizing formal expression, aims to draw attention

practice is indeed to stimulate

to specific sites of importance. The Project is

experience, forming places that hold

routed to place, highlighting invisible narratives of the past and creating an immersive,

deep and meaningful connections. For

enlightening experience for its patrons. The

Klingman (2010) it is not only

objective is to reveal narratives imbed in the

disingenuous but also irresponsible for

space while tackling the overarching theme of

spatial practice to sidestep

the Holocaust.

34

experiential discourse and its

The Apartheid Museum is a themed space;

making one feel like one has been taken back

consideration as a methodology in

to a time of racial segregation in South Africa.

practice. This is due to the outcome of

Utilizing divisive mechanisms such as separating

not only affecting our client’s but also

patrons by race as they enter and offering them alternative routes through the building, the

the public at large.

experience reinforces the inequality of the apartheid regime. However, the museum does

Three possible forms of intent are

not curate the experience; instead through

drawn from place as experience;

actions such as separation offer varied

namely reengaging meaning,

experiences. Media, installations and artworks

sensation and action, underpinned by

accompany the historical tour offer varied interpretations of the theme. The objective of

an open approach aiming to create

the museum is not enforcing a viewpoint but

diverse opportunities for interpretation.

rather to draw attention to the stark realities of

Although presented forms of intent still

the apartheid regime. The aim is thus to stimulate

require adaptation to cultural value

debate and about the period the implications for the future of the country.

37

reengaging meaning does not aim to

attention on the difference between

curate the experience but rather

old and new.

focuses on the notion of exposure. It

The notion of reengaging meaning in

draws attention to a topic that is

spatial practice is often more an art of

considered significant while offering

drawing attention to societal and

the opportunity to form varied

historic narratives. Interventions are

interpretations.

experiential in their nature. They draw

Heritage projects are a good example

on notions of authenticity and

of the approach, as their intent is to

sensation that Eco (1990) reflects on in

expose historic narratives. The Charter

Travels in Hyperreality. The emphasis is

of Venice (1964) and Nara Document

drawn toward an approach of open

(1994), are concerned with the art of

interpretation for varied user groups.

conservation with the intention of

Reengaging meaning intends for its

reengaging meaning. The documents

users to reflect on their own

aim to formulate an approach to

understanding through experiential

interventions with respect to historic

exposure.

sites. The objective is to conserve rather than alter and in so doing draw

Figure 7: Entrance to the Apartheid Museum

38

Sensation

affect of sight, sound and interaction on its users. In the Bath in Vals by Peter

Sensation deliberately engages

Zumthor, sensation as an experience is

experience through affect. It is the

less evident. Here the bathhouse uses

most inclusive of the experiential

a combination of techniques such as

techniques. Although predominately

progression/ritual, form, sound, light

applied as artistic interventions and

and vista interplay to create a holistic

branding, Klingman (2010) contends

sensation of place, with the aim of

that spatial practitioners ought to

forming a spiritual atmosphere..

embrace it more readily. Everyday examples surround us, such as

Dissimilar to reengaging meaning,

Starbucks and the smell of roasted

sensation affects. It aims to connect to

coffee; or the recent turn in 4D

our primordial self, before cognition

cinemas that exposes its patrons to the

takes place.

movements, smells and weather that is shown on the screen. Projects such as the Blur building in Switzerland by Diller + Scofidio is in the middle of a lake immersed in mist as if you where in a cloud. The installation considers the

Figure 8: Blur Project by Diller Scofidio

39

Action

An example employing action, while advocating for diversity, is the

Action directly links to Augé’s

Inkwenkwezi Secondary School, in

(Gebauer, etc. 2015) definition, where

Cape Town, by Wolff Architects. A

a place exists as a contrast of

variety of spaces are intended to offer

significance in our daily lives. It aims to

varied opportunities to act. A

form meaningful connections and

courtyard performs as a space for

associations by engaging people to

soccer, classes and assemblies. The

act/ or be acted upon. It bears on

surrounding structure incorporates

how people associate to place and

smaller niches for people to interact

non-place through influencing how

and observe from or read a book. The

people orientate themselves in the

example highlights that within the

world. Action is thus an experience,

space (the school) different places

which may be both observed and be

may form as people use the structure

participated in.

in different ways. Providing the

An example of this is Degtyarev’s

opportunity to act in various ways is

bench (2013). A space enabling

the underpinning principle of action.

action to occur where people are

Action enables connections that

able to form meaningful connections,

directly affect us and in time establish

in turn forming places. Klingman (2010)

meaningful connections that form

draws on a possible intervention in Nike

places. However, the notion of action

Town, a Flagship Nike store in New

draws particular emphasis on the

York; suggesting that the store would

possibility of exclusionary practice, if

be more effective if it drew on

employed to align to a singular user

experience in defining it as a place. By

group. Designing for flexibility ought to

incorporating a basketball court inside,

be a key informant to this intent.

the store would connect more readily with its users. The shop would so become a place for a wider community through the incorporation of an element that enables action, whether people are participating or not.

Action must be carefully considered, as it is the most susceptible to exclusion. Fostering diversity and variety with regard to user groups and cultural value sets should underpin the action.

40

Figure 9: Inkwenkwezi Secondary School, in Cape Town, by Wolff Architects

41

Place is Experience

successful approach to design but also suggests that experience is critical to

In concluding, the thesis argues that

understanding city dynamics. The

experience is indispensable from

redefined notion of place advocates

spatial practice. It is part of the process

for a new dynamic of research in

of forming meaning. Experience is

understanding experience as being

deeply rooted in cultural value sets,

fundamental to diverse mappings of a

which are defined by desires, identities

city. In this sense, place as experience

and lifestyles. In turn, it bears on how

hopes to contribute and stimulate new

people interact, relate to and

directions of thinking in the discourse

understand the material world. In this

on spatial practice.

sense, experience is irrepressible and occurs constantly whether by the intentional hand of spatial practice or not.

The position underpins the notion that place and non-place are intrinsically linked to meaning and experience rather than to localities and their attributes. The notion motivates that spatial practitioners, who are primarily concerned with the making of places, need to reconsider experience as fundamental to practice and the spatial discourse. The notion of intention becomes a guiding factor when considering the formation of experience and place. In positioning a means of implementation, the proposed themes of reengaging meaning, sensation and action offer potential intentions that could underpin tangible experiences.

Finally, the notion that place is experience enables a new understanding of how users interact with the built environment. The theory not only engenders a potentially more 42

43

List of figures

Figure 7: Entrance to the Apartheid Museum (Pg.38)

Figure 1: Wain Wright office building by

Mungai, Chritine (2015) Apartheid Museum:

Addler & Sullivan in Saint Louis, USA, 1981.

When buildings speak, and how to remember in

(Pg.14)

Africa. http://mgafrica.com/article/2015-03-27-

Sveiven, Megan (2011) AD Classics: Wainwright

apartheid-museum (accessed 20 May 2017)

Building / Adler & Sullivan. http://www.archdaily.com/127393/ad-classics-

Figure 8: Blur Project by Diller Scofidio

wainwright-building-louis-sullivan (accessed 20

(Pg.39)

May 2017)

DHRUV.KOHLI1992 (2016) Form follows anything. http://www.archdaily.com/127393/ad-classics-

Figure 2: Experience and the signification machine (Pg.19)

wainwright-building-louis-sullivan (accessed 20 May 2017)

Drawn by Author

Figure 9: Inkwenkwezi Secondary School,

Figure 3: The Take Me on Show at the Vanabbe Museum in the Netherlands by Acclair (Pg.22)

in Cape Town, by Wolff Architects (Pg.41) Wolff Architects (N/A) Inkwenkwezi Secondary school.

Acclair (2011) Neurocapital.

http://www.wolffarchitects.co.za/projects/all/ink

http://www.acclair.co.uk (accessed 12 March

wenkwezi/ (accessed 23 May 2017)

2017)

Figure 4: The Day in the Life of a bench by Max Degtyarev (Pg.28) Degtgrey, Max (2013) Archive. http://maxdwork.blogspot.nl/2012/09/a-day-inlife-of-bench.html (accessed: 23/04/17)

Figure 5: Getty Villa Imitation (Pg.34) Unkown (N/A) Getty Villa. http://www.getty.edu/visit/villa/ (accessed 21 May 2017)

Figure 6: Getty Villa (Pg.35) Unkown (N/A) Getty Villa. http://www.getty.edu/visit/villa/ (accessed 21 May 2017)

44

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