[Sensational Memory] Moneerah K. AlAjaji
Sensational Memory: Using Sensory Input to Design Meaningful Architectural Memories A Thesis Submitted to the Faculty of the Department of Architecture Wentworth Institute of Technology by
Moneerah Khalid AlAjaji Bachelors of Science in Architecture Wentworth Institute of Technology, 2016 In Partial Fulfillment of the Requirements for the Degree of Master of Architecture April 2017
.......................................................................... Submitted by Moneerah K. AlAjaji Department of Architecture
.......................................................................... Certified by Aaron Weinert Primary Thesis Supervisor
.......................................................................... Accepted by Kelly Hutzell, AIA Director of Graduate Program
Š 2017 [Moneerah K. AlAjaji]. All rights reserved. The author hereby grants to Wentworth Institute of Technology permission to reproduce and to publicly distribute copies of this thesis document in whole or in part using paper, electronic, and any medium now known or hereafter created.
Plagiarism Statement Plagiarism is the submission or inclusion of someone else’s words, drawings, ideas, or data (including that from a website) as one’s own work without giving credit to the source. When sources are used in a paper or drawing, acknowledgement of the original author or source must be made through appropriate references (footnotes, endnotes) or if directly quoted, quotation marks or indentations must be used. Even if another person’s idea, opinion, or theory is paraphrased into your own words, you can be accused of plagiarism. The same holds true for drawings. Only when information is common knowledge may a fact or statistic be used without giving credit (https://www. wit.edu/catalog/2016-2017/academic-honesty). Plagiarism is a serious issue and it is important for all to be able to rely on the integrity of student work. The use of content prepared by another person or agency engaged in the selling of papers or other academic materials constitutes plagiarism. Plagiarism does not only refer to written work but also to computer data, drawings, sketches, design concepts, code, musical scores and visual arts. Plagiarism can be inadvertent, so please become informed about the forms it can take. While we are all using precedents and study the built work to get educated and inspired, it is not acceptable to use entire concepts or appropriate drawings, sketches, 3D models or any other representation thereof and claim them as your own.
I, .........................................................................., am aware of the serious nature of plagiarism and of the fact that it includes design concepts, images, drawings and other representations beyond the written word. I will not intentionally use someone else’s work without acknowledgement and will not represent someone else’s work as my own. Signature.......................................................................... Date..............................................
[Acknowledgments] This book is dedicated to all of those who supported me though my academic career, in particular I would like to thank my parents Maha and Khalid and my siblings Norah, Hessah, and Nasser for their unwavering belief in my ability to succeed and for pushing me to strive for more out of life. I would also like to thank my thesis advisors and my professors, especially Aaron Weinert, Jer Jurma, Michael MacPhail, Robert Trumbour and Charlie Cimino for helping me think in ways that I have never thought before. Also, to my Friends for supporting me despite of my nagging and complaining throughout my academic career. And remember... Just keep swimming...
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[Contents] Introduction | 1.0 Introduction Statement | 1.1 Thesis Statement | 1.2 Abstract | 1.3 Argument + Relevance | 1.4 Key Terms | 1.5 Literature Review | 2.0 Human Senses and Emotions | 2.1 Design Affecting Behavior | 2.2 Materiality | 2.3 Colors and Light in Architecture | 2.4 Building Atmosphere | 2.5 Conclusion | 2.6 Design Research | 3.0 Precedents | 3.1 Discursive Images | 3.2 Methodology | 3.3 Methodology [Cataloging] | 3.4 Methodology [Abstracting] | 3.5 Methodology [Layering] | 3.6 Testing Criteria | 4.0 Probe | 4.1 History of Dogtown | 4.2 Scale of Memory | 4.3 Paper Collage | 4.4 Materials Study | 4.5 Site Selection Criteria | 5.0 Babson Trail | 5.1 Babson Reservoir | 5.2 Babson Boulders | 5.3 Dogtown Square | 5.4 Cellar Hole | 5.5 Design Outcomes and Reflection | 6.0 Dogtown | 6.1 Babson Trail | 6.2 Babson Reservoir | 6.3 Babson Boulders | 6.4 Dogtown Square | 6.5 Cellar Hole | 6.6 Reflection | 6.7 References | 7.0 Bibliography | 7.1 Endnotes | 7.2 Image References | 7.3 4 0.0
[Introduction] 1.0
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[Introduction]
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[Introduction] This thesis will broaden the idea of architecture being only for the visual sense—what can be seen—rather than being a more all-encompassing and inclusive experience for the additional senses of sound, touch and smell. By designing spaces to be perceived through more than just sight, the architect can use materials and forms in relation to context to trigger memories and emotions in the occupants. The design goal is to utilize sensory recall to trigger memory and influence architectural form and materiality. Designers use different materials, textures and patterns to help create light quality and acoustics. Why not use those elements to create a fuller experience for the human senses? This thesis has evolved from being very broad to being focused on specific elements. Architecture should not be the mere representation of something that is only visual, rather it should be a meaningful and broad sensory experience for the users. The assumption is that architectural components have the ability to affect design, but there can be more to these components depending on how they are utilized. Vitality in architecture can be expanded through triggering the human senses, emotions and moods to influence a person’s experience. The transparency, light, color, texture, pattern, materiality, and acoustical nature of the form can have a profound effect on the sensory perception and effectiveness of the design. There will always be an appropriate technique when it comes to the usage of the right materiality so that the architectural design can be aesthetic and holistically pleasing to the human body.
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[Introduction]
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[Thesis Statement] Humans encounter architecture through utilizing almost all of their senses, either consciously or subconsciously. By approaching design with a goal of reaching a heightened atmospheric sensory imprint, perception and memory create a connection between the past, present, and on to the future.
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[Introduction]
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[Abstract] Given the preoccupation with visualization and representation in architecture, designers are preoccupied with what we see and exclude a more robust and inclusive sensory engagement with spaces. The human body encounters architecture primarily through the senses, therefore, the play of the defining elements – transparency, light, color, texture, pattern, acoustics, and reflection can help create a meaningful experience for the user. These elements can effect the perception and effectiveness of the design in architecture. What if architects could use these elements to create a full experience for the human body? Architecture should not be mere representation of something that exists visually, rather it should be a meaningful sensory experience for the users. By designing spaces with all the senses in mind, the architect can use materials and familiar elements to trigger memories and emotions, thereby making architecture more meaningful and significant. For example, the way a voice echoes in a large room, the way light reflects or refracts in a space, and the scent innate in specific materials can be integrated in an intentional and purposeful manner throughout the design process. The assumption is that the sensory components of architecture have the ability to affect the users experience. What is vital in architecture is to activate the human senses, emotions and moods, and allow them to influence the users experience regarding the design. This thesis will attempt to explore the design of spaces by triggering the mind and using the full sensorial ability of the human body allowing the architect to use materials and elements to activate memories and emotions in the observers. This methodology will explore various techniques by cataloging, abstracting and layering, utilizing constructive models, diagrams, photography and experiential sketches.
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[Introduction]
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[Argument + Relevance] Given the emphasis on the visual aspects of architecture, designers are often preoccupied with what we see to the exclusion of a more robust and inclusive sensory experience. Humans experience architecture through more than just sight. Because of this, the play of the defining elements – transparency, light, color, texture, pattern, acoustics, and reflection - combine to create a more meaningful experience for the observer. These elements can affect the perception and effectiveness of the design in architecture. What if architects could use those elements to create a more fulfilling experience for the human senses, or to draw attention to certain aspects of a space while steering away from others? Architecture must consider more than a mere representation of something that exists visually, but rather should encompass all our senses. By designing spaces with all the senses in mind, the architect can select and use materials and familiar elements to trigger memories and emotions in the occupants, thereby making architecture more meaningful and significant through sensory imprinting. Architects can use different materials, textures and patterns to help the light quality and the acoustics. The assumption is that the sensory components of architecture have the ability to affect the users experience. What is vital in architecture is to facilitate the human senses, emotions and moods, allowing them to influence the users experience regarding the design.
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[Introduction]
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[Key Terms] Transparency/tran’sperənsē The state or quality of being easily seen through. Light/līt The natural agent that stimulates sight and makes things visible. Color/’kələr The property possessed by an object of produc¬ing different sensations on the eye as a result of the way the object reflects or emits light. Texture/teksCHər The feel, appearance, or consistency of a sur¬face or a substance. Pattern/’padərn A model or design used as a guide in needlework and other crafts. Sound/sound Vibrations that travel through the air or another medium and can be heard when they reach a person’s or animal’s ear. Reflection/rə’flekSH(ə)n Something that shows the effect, existence, or character of something else. Sense/sens A faculty by which the body perceives an external stimulus; one of the faculties of sight, smell, hearing, taste, and touch. Memory/mem(ə)rē The faculty by which the mind stores and remembers information, something remembered from the past; a recollection.
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[Literature Review ] 2.0
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[Literature Review]
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[Literature Review] Atmosphere, materials and colors are three of the most important aspects in architecture. These elements can be used to our advantage in architectural design. When it comes to the architectural stimuli, it is important that attention be paid to the human senses, because these will give an idea of how atmosphere and materiality would be connected. The human body can be affected by architecture on both the physical and emotional (mental) levels. Each of the human senses can play roles in viewing what is aesthetic in architecture. More specifically, this begs the question of how architectural design influences sensual perception. To answer this question, I will look at different perspectives on human senses and emotions, the effect of design on behavior and space, qualities of materiality, colors and light, and building atmosphere. By examining the views of a range of authors, I shall explain more about this in the following paragraphs. Human Senses and Emotions Human senses and emotions are vital to our interactions, not just with other people, but also with the environment and the world as a whole. Our senses and emotions are valuable in terms of how they affect our preferences in architecture. This is discussed in Questions of Perception: Phenomenology of Architecture. This study suggests that the system of the five senses relates to the image of the cosmic body like the sense of vision to fire and light, hearing to air, smell to vapor, taste to water and touch to earth.1 This is important to recognize because it is one perspective of the subject matter – it gives us ideas regarding the connection of human senses and emotions to the entirety of architecture and structure. Pallasmaa, in The Eyes of the Skin: Architecture and the Senses, also talks about architecture as connected, not just with the human senses, but also “the sense of self, strengthened by art and architecture, permitting us to engage fully in the mental dimensions of dream, imagination and desire.” 2 He continues to explain how buildings and cities can provide the horizon that can understand and confront the human existential condition. What we see in architectural structures and
how we perceive them is determined by our senses within ourselves – in the depiction of the mental images in our dreams and imagination – and these are strengthened by our preferences in art and architecture.3 Meanwhile, it is also proven that architecture can also be multisensory, based on physical experiences. The measurement of the qualities of matter, space and scale are equal to the eye, ear, nose, skin, tongue, skeleton and muscle.4 Meanwhile, in the view of Harry Francis Mallgrave, architecture has the ability to reflect ideas, memories, and emotions, which appeal to our rational understanding our existence .5 In relation to environmental psychology, Jay Appleton believed that our urban parks can give us the feeling to seek out places of prospect and refuge and that landscapes were designed with water, but Mallgrave argues with Appleton’s hypothesis, saying that the upperstory units in high rise buildings that command a larger perspective can make people pay more attention.6 Knowing this, the concept of architecture relating and reflecting our ideas, as Mallgrave has proposed, makes us look for a piece of architecture as something that is relatable and close for us – one that we can consider as either a home or a refuge. The human emotions can also play important roles in how people perceive architectural design. One example was at Andrea Palladio’s Church of San Giorgio Maggiore and the serenity of the approach it over the water. Once inside, the building atmosphere is one of stability and poise, accentuated with natural light streaming in through the windows and reflecting off the white surfaces. Mallgrave compares the multisensory experience of architecture today to the impact of a painting or music, saying that even though there is an unclear way to presently monitor it with the same way with painting and music, it is safe to presume that the circuit can also be ignited by a particularly satisfying architectural experience. The view and use of human emotions is also a crucial point in architectural theory because there has been a rare use of these in the practice.7 Human emotions cannot be ignored 20 2.1
[Literature Review]
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within the architectural experience because the reflection in this requires the use of emotions and judgement, as reflected in the way we feel when we find comfort of a door handle or handrail, how humans see the texture of a floor material and/or how we find the smell of materials. In the example presented in this part, we can see the connection of the atmosphere the building gives to the people entering it. This experience also affects how humans perceive a certain building’s architecture as a whole. This is relevant in architecture because human emotions and preferences can be determining factors of the building design. Holl, Pallasmaa, and Pérez-Gómez cite the fact that the most essential auditory experience created by architecture is tranquility: “Architecture presents the drama of construction silenced into the matter and space; architecture is the art of petrified silence.”8 Architecture experiences represent a person’s focus and attention given to architecture. Holl, Pallasmaa, and Pérez-Gómez also describe architecture as something that can detach us “from the present and allows us to experience the slow, firm flow of time and tradition,”9 as reflected in the existence of buildings and cities and also being able to connect us with the dead and other past lives. In architecture, there is a sense of time in which humans can also gain both experiences and certain emotions that only architecture has the power to give.10 Architecture can take us into places and times that give us a better understanding of the experiences connected with human senses. Much of the world’s history is narrated by the remains of architectures in places and civilizations, which is helpful for us to better understand the relationship between architecture and experiences. Of all the senses, smell is the one that is most deeply entwined with memory. The smell of something can help people recognize a space and distinguish its difference from the other. Odor can also help humans recall memories connected to the space, even when the particular memory has been obviated from the human system. The sense of touch is also important in architecture because it plays a role in gaining knowledge about the texture, weight and
temperature of the material. Holl, Pallasmaa, and Pérez-Gómez define great architecture as something that can offer “shapes and surfaces molded for the pleasurable touch of the eye.”11 At times, seeing the architectural design is not enough for people to fully understand, absorb, and “feel towards” the architecture. There should be a closer interaction with the material to “feel towards” it. Being able to feel the material beneath our skin makes us feel alive and soothed by it, and this can help people to familiarize themselves with the architecture. For example, if we enter a church and we touch the walls or see the floors, what we can first recognize is how the patterns are created, and how smooth the marble floors look like. With the structure of the patterns within the walls, the floors and even the roofs, their beauty can also help establish the distinct feel of a church. With the help of the human senses, people can gain a better understanding and awareness regarding the architectural design of a building, implanting its unique identity and distinction to the human nature and behavior. With the help of the human senses, people can interact with the architecture by feeling comfortable with it, like it is their home or a place that they trust themselves in. Design Affecting Behavior The second aspect I would like to address is the design of a building itself. Nowadays, it is essential for the architectural design and features to be beneficial for the world’s environment, given the need for a low-carbon future. For the last 20 years, the idea and existence of green buildings has been popular because of its incorporation “as an essential piece of the world’s effort to reduce energy use, save water and benefit the environment.”12 Moreover, today’s architectural designs in buildings should utilize green living strategies due to the goal of reducing carbon emissions increasing efficiency in possible water use, and improving residential sustainability. It is important to realize this because recognizing the kinds of design that is done in the environment emphasizes being “greener.” We can also see the connection and changes in the preferences of people as technologies progress and develop more. 22 2.2
[Literature Review]
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Erin Morgan, in her paper Does Design Affect Behavior? A case study of Pomona and Sontag Halls, cites the benefits of the design and architectural features of these two buildings in causing behavioral changes that can result to lower energy and water use. Despite having an infinite range of possibilities for architectural designs in this kind of situation, there are two effects that have been found integrated with this: Efficiency behaviors and curtailment behaviors. These two effects differ from one another mainly because of the decisions made regarding efficiency behaviors include one-time decisions with continuous positive impacts and sustainable behavior. Meanwhile, curtailment behavior is the opposite as it requires efforts to be repeated in order to reduce energy use. These two effects are vital information because these are the ones that will be influenced by the different sustainable design strategies.13 There are other possible ways to categorize architectural design features, including determining whether their principal function is to influence behavior. What this means is the fact that these other design features need to result in existing connections found in using these architectural features and the occupants’ decisions. Knowing the connections found between the two, benefits will come to rise as these can be used more effectively in architecture. Another important consideration is the conscious recognition of the new function for elements consistent in appearance in the world of architecture. Meanwhile, behavioral design changes are made in order to transfer to the occupant the responsibility of sustainable. According to Morgan, the behavioral structure of architectural design has the capability to shape humans but is limited. 14 The limitation includes the non-existence of forcing specific behavior on humans. In architecture behaviors, humans can be triggered to subconsciously be affected and honed when it comes to their feelings toward the architecture design. If the design makes them remember something from the past, then it can affect them greatly with the emotional aspect, making them to lean more towards the design or repel and view the design as undesirable. The assimilation of human behavior with architectural design has long been proven to have the ability to implement positive effects on behavior like increased productivity. There have also been
design techniques that were found out to be effective in the facilitation of mental functioning and minimizing confusion.15 There are also other specific architectural designs which have been found to affect human’s thinking, knowledge and awareness on certain things like expressing concern regarding energy efficiency. Yet, with these kinds of designs, people seem to find lack of motivation to change their behaviors and actions. There are also studies wherein people are affected with the information distributed regarding environmental behavior. As the information presented in the form of mass media, people were found out to be responsive enough to have the willingness to act in accordance to the environmental affairs of the architectural design, but this was also found out to only elevate the response related to environmental behavior.16 Despite this, it is not expected for this kind to bring extreme behavioral changes, but rather, it just focuses more on the intensification of the previous beliefs regarding the subject matter. Morgan also says that information can be used to influence behavior but only when used correctly.17 It is important for us to think and consider architecture design as something that is not just aesthetically pleasing, but is designed with a sense of purpose; like helping to balance the environmental behavior around the area. Materiality Materiality is the concept in architecture that talks about the color, texture and patterns of a building. These are believed to be the determinants of comfort and/or reaction of humans towards the environment and these can help people to easily adapt with the environment. In Peter Zumthor’s Thinking Architecture, he describes the materials he uses as similar to the materials Joseph Beuys uses for his works, and how these materials influence the perception of a space.18 He regards these materials as ones that can reflect how these materials can anchor the ancient, elemental knowledge of the user. Zumthor also says that the exposure of these materials shares their very essence, which are “beyond all culturally conveyed meaning”.19 Zumthor’s usage of materials relates to his belief that the work of architecture can give viewers 24 2.3
[Literature Review]
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a poetic quality and feel towards it, though he also cited the fact that the materials do not have the power to become poetic on their own. The success in Zumthor’s works are sensed on the rules of composition, tangibility and the smell and acoustic qualities of the architectural work. There are also some materials that can determine how the architecture design or work would be regarded in terms of the meaning it aims to share with the audience. As architecture is something that is viewed as aesthetic, it is mostly looked at to soothe people in a more appealing manner. Meanwhile, in Kasmira Gander’s How architecture uses space, light and material to affect your mood, she explains how architecture is powerful when it comes to affecting human emotions.20 In libraries, elements like light, space, geometry and materials can affect our moods towards the architecture. Gander also stresses the importance of buildings fulfilling their intended functions, be it excitement, tranquility, productivity, or any of a dozen others. She triggers the thinking of the readers regarding the beautiful aesthetics of a building by inviting them to evaluate the other elements in the architecture that play more vital functions in the building. Aside from being naturally beautiful, the architectural design should be more functional because this is the true essence of its existence. In the same article, Gander quoted a statement of another architect, Dr. Sergio Altomonte, who says that the physical, physiological and psychological wellbeing related to the importance of architecture are now becoming a topic of significant relevance. The article also gives relevance to the connection of the materiality in buildings with the person’s health, which is now becoming more important nowadays in the world of architecture.21 Another study, in Erin Morgan’s Does Design Affect Behavior? A case study of Pomona and Sontag Halls, it also focused on the behavioral design of Pomona College, connecting to the materiality of the buildings.22 In this part, the author does not just study how the behavior affects the kind of architecture that was cited within the research but he also took the materiality into consideration to understand how the architecture affects the totality of
humans’ senses and perceptions for it. The study discovered that the dorms in Pomona College has the texture and patterns that can give the occupants the feeling of looking green. This is because the dormitories possess natural elements in design like the rock gardens, native trees and cacti found around the buildings. The natural paint colors and simple materials create the same effect by making the dorms fit perfectly into the surrounding environment, as portrayed in the images on the left. The dormitory buildings also have the same color palette and are surrounded by trees as well. By using these colors, the architecture has attained the natural vibe intended for it. The colors give the space an earthly and natural feel, with different shades of brown and green from the rock garden and native trees. With this kind of environment, it is possible for the occupants to develop the attachment over this kind of architectural structure because of the comfort that it brings to anyone, given the fact that the architecture style of the dormitory is in line with the comforts of the nature. Colors and Light in Architecture Another major aspect of architecture’s control of the senses is color and light. In Color, Environment, and Human Response: An Interdisciplinary Understanding of Color and Its Use as a Beneficial Element in the Design of the Architectural Environment, the discussion focuses on the concept of color itself, as reflected in the standpoint of designing the man-made environment.23 Frank Mahnke describes color as “the sensation caused by certain qualities of light that the eye recognizes and the brain intercepts”.24 With this, light and color are inseparable while attention is targeted to the psychological, physiological, visual, aesthetic and technical aspects of the design. Color has the power to provide the mood and behavioral patterns for a human’s brain, and the combination of colors is also relevant to this matter. This is because different colors hold different meanings and some colors can give the benefit of relaxation while other colors can impose more stress and other negative impacts to its audience. Color can have a major impact on architectural design and people’s perceptions. These 26 2.4
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impacts range from the human body’s response to odor and taste, association with sound and temperature, and influencing the human’s perspectives when it comes to the size of space. The importance of light and colors in architecture can be emphasized by the huge impacts on humans’ psychological and physiological well-being.25 Similarly, the use of light has also been included in the study of Erin Morgan. Morgan cited ways and means wherein light has played vital and evident roles in architectural design features.26 In some architectural designs, lighting is important because this can determine the use of artificial lighting in buildings and establishments. Morgan articulated that the placement of windows can also be an important detail to note, like if they are placed on the south side of the buildings, it will then provide more natural daylight in the building. Light can also affect the positive efficiency behavior. In the study, it has been proven the switching to LED lights, from the usage of the regular light bulbs, can result in a positive efficiency behavior.27 Like color, light can also affect by uplifting the moods of a person. With the usage of the appropriate amount of light in the concept of an architectural design, the beauty of the design could be enhanced further while also being convenient for the user or audience. In the same study, the usage of the efficient lights in the architecture of the dormitories in Pomona College can be traced from the efficiency behaviors being affected by the decisions in architecture that were made by the school in order to follow the energy saving act.28 The college’s architectural choices have also been affected the use of architecture in the school’s development. Color, in connection with human behavior, is also considered to be a part of the conscious, subconscious and the unconscious. This is because humans tend to react to color, color combinations, and to the environment as part of a psychological manner but can also result to a physiological reaction.29 The existence of color in human’s life is found to be essential as humans tend to become subjective with colors. The subjectivity towards the colors, in relation with the architectural environment, plays an important role, but in Mahnke’s writing, the perception and experience with color can both be considered as objective and subjective. 30 In the human development, colors are part of the humans’
psychological and biological heritage, as it is a part of the life-giving and life-sustaining processes, which in return makes color an influence of the biological and psychological aspect of humans. Analyzing the architectural experience of a person is not a simple task because it takes a lot of balancing and experimentation towards the combination of colors and light when it comes to the architectural design. When done with the proper implementation of colors, the design will trigger psychological effects, connected with physiological and biological aspects. As much as the presence of light in architectural structures and designs can affect the human emotions and perceptions towards the design, colors, with the presence of texture as well, can provide much impact on the effectiveness of the design as perceived by humans. Building Atmosphere The final piece of the puzzle that is the way we experience architecture is the importance of building the appropriate atmosphere. The author Peter Zumthor, in his writings on atmosphere, has described and identified the “series of themes that play a role in his work in achieving architectonic atmosphere.”31 In his writing, he defined the quality of architecture as something that is existent when “a building manages to move [us].”32 In Zumthor’s perspective, it is understandable that he suggests that quality in architecture can only be achievable when the design can move the emotions and perspectives of a viewer of the design. With this, he connects the existence of the atmosphere in relevance to the quality. Another architecture theorist, Mark Wigley, has argued that atmosphere is something that is ambiguous in the career of architecture, as the concept is something that is “personal, vague, ephemeral, difficult to capture in text or design and impossible to define or analyze.”33 For Wigley, atmosphere in architecture is something that evades analysis, and it cannot be defined, constructed or controlled easily.34 There are multiple kinds of atmospheres 28 2.5
[Literature Review]
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established in architecture, including environmental, cultural, social, professional and interpersonal atmospheres, as stated in another study by Pallasmaa, entitled Space, Place and Atmosphere: Emotion and Peripheral Perception in Architectural Experience.35 In architecture, atmosphere is something that is associated with “an exchange between material or existent properties of the place and the immaterial realm of human perception and imagination”, 36 as defined by the American literary scholar Robert Pogue Harrison. In terms of human perspective, humans tend to first grasp the atmosphere in a literal sense before being able to identify the details or understand the concept fully and intellectually.37 As for Zumthor, the atmosphere in architecture is perceived by the human senses with the help of our emotional sensibility.38 In the arts and architecture, atmosphere regards the specific feel of illumination and color more than the conceptual or narrative content of the art and/or architecture. For architects, atmosphere is something that is conceptualized as “romantic and shallowly entertaining,”39 while the serious Western architectural tradition is something that is based on the view of architecture as a material and geometric object in a focused vision.
inclined to appreciate a church structure as a whole group. The book The Eyes of the Skin: Architecture and the Senses tells that there is a connection between the tactile experience of space, light and material as it is balanced against the intellectual ordering of geometry and structure. The elaboration of the material is determined by the minimal rendering of space and structure.40 What seems to be more vital in architectural structures and designs is the ability of the human senses, emotions and moods to be influential with a person’s view regarding the design. The light, color, texture and patterns within the design and surrounding the design can all affect the perception and effectivity of the design in architecture. The appropriate usage of the right colors, textures and patterns, as how architecture requires it, is necessary so that the whole architectural design can be aesthetic and pleasing to the eyes of the viewers and/or occupants. The proper and beautiful architecture is done with specific and careful planning.
Conclusion In conclusion, architecture components really have the abilities to affect the architectural design, but there can be more than these components. Architecture is also highly regarded as a more complete process of design. The way that architecture affects and connects with the human perception through senses has been discussed with many different studies by the architecture experts presented here. Architecture’s effectiveness depends on the general perceptions of humans regarding one particular architecture piece. Each of the senses has its own role to play when it comes to being affected by architecture. We also must understand that every human is unique and that he or she holds on a view or regard that is most likely different from another person and this is to be expected because of varying tastes in art and architecture, but there can be existing structures which are appealing to a certain group, life for the religious ones, they are more 30 2.6
[Design Research] 3.0
32 3.0
[Precedents]
[Design Research]
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34 3.1
[Precedents]
[Design Research]
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36 3.1
[Precedents]
[Design Research]
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[Precedents]
[Design Research]
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[Design Research]
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[Discursive Images] Breathing in Nature This collage captures the idea of how can nature and vegetation can affect our mental health and well-being.
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[Design Research]
23
[Discursive Images] Water is my Healer This abstract layering of images shows the idea of how the texture and sound of the water can lead to the notion of relaxation.
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[Design Research]
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[Discursive Images] Light is my Sight This double exposure image seeks to represent how the senses, especially sight, is the only sense that needs light to function.
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Cataloging
Abstraction
Layering
Layer Box
[Design Research]
25,26,27,28
[Methodology] Research in architecture involves discussions and investigations in multi-disciplinary fields, including how the human senses respond to the memory and the empathy of the space or an object. My method of testing will include cataloging, abstracting, and layering; Cataloging by creating a matrix of specific elements that will be tested within the research; Abstracting by taking the elements from the previous step and removing them from their surroundings to create a better understanding of the element and how the senses perceive it; Layering by creating drawings and models of the elements’ patterns in relation to memories. These analyses will be framed by a theoretical perspective of memories and materiality which suggests that beliefs or values guide the formation of attitudes of the human senses, and that changes in attitudes form the basis of new behavior and meaningful memories. Peter Zumthor says, “Designing is a matter of concentration. You go deep into what you want to do. It’s about intensive research, really. The concentration is warm and intimate and like the fire inside the earth - intense but not distorted. You can go to a place, really feel it in your heart. It’s actually a beautiful feeling.”
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Light The natural agent that stimulates sight and makes things visible.
Vegetation Plants considered collectively, especially those found in a particular area or habitat.
Water A colorless, transparent, odorless, tasteless liquid that forms the seas, lakes, rivers, and rain and is the basis of the fluids of living organisms.
Materials The matter from which a thing is or can be made.
[Design Research]
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Methodology
[Cataloging] This method was created to help me create vocabulary that can be applied to help understand different criteria such as Light, Materiality, Color, Water, and Vegetation. Humans are visual creatures, and it is no question why different elements plays an important role in influencing the behavior and psyche of humans. In environmental psychology, some of these elements, such as light, are often viewed as a key factor in the cognitive, emotional, and behavioral responses it influences. Henry Francis Mallgrave says, “That it is our default setting to feel our environment and that highly includes the pleasure we feel when we see nature.” and “even brief exposure to natural light and greenery…generally promotes happiness.” Also, several of these elements such as vegetation can create an exciting, moving, impressing, communicating, healing, and generating wellness. Textures and materiality can influence just about every aspect of our being that is dependent on our sense of sight. The effect of color on human health should be viewed as an integrated and strategic approach to address the psychophysiological wellness of an individual holistically.
50 3.4
Texture The feel, appearance, or consistency of a surface or a substance.
Pattern A repeated decorative design.
Color The property possessed by an object of producing different sensations on the eye as a result of the way the object reflects or emits light.
Reflection Something that shows the effect, existence, or character of something else.
[Design Research]
33,34,35,36,37,38,39,40
Transparency The state or quality of being easily seen through.
Structure The arrangement of and relations between the parts or elements of something complex.
Scale The relative size or extent of something. It also can be described as a ratio of size in a map, model, drawing, or plan.
Tectonics The science or art of construction, both in relation to use and artistic design. It refers to the activity that raises this construction to an art form. 52 3.4
[Design Research]
41
Methodology
[Abstracting] This method is to separate the elements from their surroundings, by removing and then highlighting different materials in a more interpretive rendering. The watercolor renderings that I created draw the focus to one element that is present while stripping away extraneous details. I have been trying to create a kit of parts or a catalogue of vocabulary that can be applied to help understand different settings such as Light, Materiality, Color, Water, and Vegetation. These watercolor renderings helped bring the catalogue of vocabulary to life by further exploring those elements in a natural setting
54 3.5
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56 3.5
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58 3.5
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These two sets of drawings talk about two dif- images appear ruffled, creating a beautiful imferent gestures one is about light while the other pression of the surroundings. talks about water and vegetation. The second set captures the idea of light in the The first set shows the emphasis of vegetation Sigrada Familia by Andrea Palladio. Light is ofand water in the UNESCO Garden of Peace by ten perceived as a cognitive map and emotional Isamu Naguchi. The dynamic properties of flow- driver. This is the basis of the strategic placing, ing water play a significant role in architectural layout, and modulation of light sources by desettings. For example, gardens tend to feature signers. Light is capable of exciting, moving, imvery dominant greenery. Placing a flowing foun- pressing, communicating, healing, and generattain could break the visual monotony. Adding ing wellness. According to Louis Kahn, “a room more natural-looking water features, such as is not a room without natural light.” It influences irregularly-shaped lakes and rivers, can high- the harmony and synchrony of the individual with light the surrounding greenery. Placing such a specific environment, be it a home interior, a water structures in gardens also promotes the mall, a music studio, an office, or a museum. existence of certain ecosystems, giving a more The beauty of light as a behavior modulator also natural feel to the whole setting. As a landscape lies in the fact that it can be modified to suit the element, water is a unique material, capable of mood appropriate for a particular setting. Dereflecting rays of light that hit its surface. This signers can adjust light to fit a certain mood or allows the designer to create an illusion wherein music piece. Many architectural scholars believe structures surrounding the body of water, such that this provides a tactile dimension to light, alas greenery or flowers, could be enhanced and lowing the perceiver to “feel” the light as part of replicated through their clear reflections from the the whole environment. water surface. Waves on the surface make the 60 3.5
[Design Research]
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62 3.5
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This next set of drawings explore more of natural ments, textures and materiality contribute to how elements and the manmade elements, such as individuals adapt to their new surroundings. At materiality, color, water, vegetation and light. the same time, it is capable of influencing and creating an environment of uncertainty and Many organizers and designers tend to use a doubt, attracting the individual and inciting his light with a music piece. Many of the aforemen- sense of mystery and complexity. Different hues tioned scholars claim that this provides a tactile and intensities are also capable of producing difdimension to light, allowing the perceiver to “feel� ferent perceptions through the creation of light, the light as part of the whole environment. shadows and depths. Color contributes to the definition of an environment. It contributes to people’s perceptions, and in turn, the way they react to it and their level of attachment to it. In the case of new environ-
Water is a very versatile element that may be modified in infinitely many ways in order to suit the desired ambiance and atmosphere within a certain location or setting.
64 3.5
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Methodology
[Layering] This layering method has consisted of living and communicating physical modeling, consisting of multiple layers and drawings that follow the same format. This has allowed for the method to be quickly tested and understood.
66 3.6
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68 3.6
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These collages show the connection of different layers and pictures from 1970 that preserves the idea of memory and empathy of architecture. Only by using our memories of the site, along with cultural traditions of buildings are we able to create a meaningful space. Textures and materiality are capable of influencing just about every aspect of our being that is dependent on our sense of sight. The effect of color on human health should be viewed as an integrated and strategic approach in order to address the psycho and physiological wellness of an individual.
Light and water are also able to influence individuals negatively if they are used in the wrong settings. They are capable of inducing stress, sadness, sleepiness or drowsiness, restlessness, anxiety, and even aggression. Light is also capable of mixing with other human senses, such as the sense of sound. A lot of organizers and designers use a particular setting of light with a music piece. Many experts, such as Louis Kahn, that this provides a tactile dimension to light, allowing the perceiver to “feel� the light as part of the whole environment.
70 3.6
Create your Perfect Environment This experiment of the layer box has prompted the development of ideas and both diagrammatic and atmospheric illustrations to clearly articulate my thinking. I have asked multiple people to design their perfect environment to help me understand what others enjoy or find interesting. [Design Research]
63,64,65,66
These images demonstrate how the layer box is used. There are multiple layers where individuals can fit them into the slots to arrange their vision of a perfect environment. The multiple layers are shown on the next page. 72 3.6
Layer A: Vegetation
Layer B: Flowers
Layer C: Birds
Layer D: Sunlight
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Layer E: Rain
Layer F: Clouds
Layer G: People
Layer H: Darkness
74 3.6
[Testing Criteria] 4.0
76 4.0
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[Probe] My probe is designed to recreate the experience of designing from memory, where the smallest trigger can bring back enough fragments that the whole memory coalesces from the corners of the viewer’s mind. In this case the blue house stands out from the rest, and as you think about the blue house you start recalling fragments of that scene. This not unlike the smell of apple pie bringing back memories of Thanksgiving at grandma’s. Throughout this many-layered collage, each segment is important within itself but also for its part in the whole. The relationship of the tactile experience to the human body is also important. The senses play an important role in individual’s’ memory, and because the human body encounters architecture through the senses, the play of the defining elements -transparency, light, color, texture, pattern, sound, and reflection- can help create a fuller and more meaningful experience for the user. This thesis will attempt to explore the design of spaces using the senses, allowing the architect to use materials and elements to trigger memories and emotions in the occupants. The result of the probe was really interesting. I was able to observe how people interacted with it to find the right perspective angel to view the whole image. Further exploration by creating images with multiple layers rather one layer. That will include an abstraction of materials, layering them with images and renderings then collaging them to create a meaningful drawing. This method of abstraction will influence the behavior of viewers, who will try to find the “right” perspective from which to view the entire picture. By creating three dimensions out of two, this probe makes people become a part of it by having the scattered image at different depths to pull individuals in and become a part of the memory.
78 4.1
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80 4.1
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[History of Dogtown] Today, much of the population lives less than a mile from the coast. Yet, at one time, there was a small village in the middle of the Cape. Half a century after the town of Gloucester was first settled, people began to live in the Commons Settlement, named for the thousand or so acres of common woodland out of which it grew. At its peak, more than forty families lived in this part of town. Then, around the time of the Revolutionary War, the village began to decline as commercial interests shifted from logging and agriculture to fishing and trading, and people moved to be closer to the harbor. Houses were rented and fell into disrepair. By the early 1800s, the area, which had become known as Dogtown, was a ghost town. After Dogtown was abandoned its mystery and uniqueness grew. Abandoned farms reverted to moorland and scenic vistas of boulders and blueberries. The remnants of the historic settlement - its stone walls, cellar holes, and old roads - far from detracting from Dogtown’s mystique, combined with its monumental geology and diverse vegetation to attract the attention of poets, painters, historians, and naturalists a century later. Dogtown appears as a prominent element in the poetry of Charles Olson and in the haunting paintings of Marsden Hartley, John Sloan and other artists. Charles Mann, Percy MacKaye and others told the stories of the last generation to inhabit the site. In the early 20th century, Cape Ann philanthropist, Roger Babson mapped what remained of the old settlement, and later himself become a part of the history of Dogtown. In response to a city-wide water shortage, the Babson Reservoir was built on land given to the City by Babson and his family in 1930. Dotting this rocky landscape is his enduring legacy - inspirational words and phrases chiseled into boulders by unemployed quarrymen during the Great Depression - the Babson Boulders.41
82 4.2
[Testing Criteria]
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From my thesis project, I designed five installations that connect to each other by materials, the senses and their relationship to the memory. Taking exiting materials and site history to help generate ideas for these installations. These installations are placed within the story that connects to the site. The following watercolor renderings show the condition of every site.
The critics saw overlaps in the ideas that I was presenting for each installation and suggested to define those overlaps to help me move forward. Another point that was brought up while I was designing is the testing criteria and how to start to design things physically that reacts to the human body.
It was also recommended that I spend some The struggle that I was facing is how to con- more time exploring materials and their tactile nect the installations that I’m creating and how information by setting up a pallet of materials. to go about testing the materials for the design.
84 4.2
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86 4.2
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A
B
C
The scales of the memory can go from very vivid to really blurry. This experiment shows three types of memory, A the blurry, B the in between, and C the clear memory. 88 4.3
[Testing Criteria]
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90 4.3
[Testing Criteria]
90
I have been using papiers colles as a method of testing. Papiers Colles (Paper Collage) is a type of collage in which fragments of paper are used for their form, color, pattern and/or meaning- typically newspaper, wallpaper, solid color paper – in conjunction with other media such as oils or charcoals. These fragments can be painted with a texture before being applied to the collage so that they might signify another material or object.� (Collage and Architecture, p.20-21)
Asking questions how does this collage express a question that is important to your inquiry in my thesis? Considering how collage - crosses boundaries (2d, 3d, painting, sculpture, photography, graphic design, informatics, communication) - is tool for analysis as well as design - works at many scales (cites, landscape, architectural, detail) - reveals a process of construction - describes both/and thinking (double meaning, ambiguous, contradictory, hybrid) - shows a different sense of time (suspends time, non-linear, I have been creating collages using paper, pho- fragmented, incomplete, simultaneous). tographs, and found materials from the site.
92 4.4
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94 4.4
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Wood
Stone
Brick
Honeycomb Cardboard
The mind stores materials in the form of patterns. This study was made to help illustrate that idea, by using paint on found materials and printing them on paper. Using these patterns to help demonstrate the idea of how the mind recalls memories of materials. 96 4.5
[Site Selection Criteria] 5.0
98 5.0
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[Babson Trail] 28,000 years ago this site was covered with a mile-high glacier, known as the Laurentide Ice Sheet. The Glacier was a river of ice that flowed very slowly, inches a year and as it moved forward, its carried rocks and debris. Then the Laurentide Ice Sheet melted and receded and 15,000 years ago the face of the glacier was here on Cape Ann and it left behind these piles of boulders known as glacial terminal moraines. The proposed installation uses the glacial boulders and trees to frame specific views to help make people focus on one specific element. This installation emphasizes the idea of how each person in the community builds the community and how the individual elements make the site.
100 5.1
Framing
Path
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Framing on Site
Scale of View
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[Babson Reservoir] Babson Reservoir is named after Roger Babson, who bought considerable acreage in Dogtown and in 1931 donated 1100 acres to the city of Gloucester. Part of that land was used to build this Reservoir. The reservoir lays next to the Dogtown lumberyard, which results in a lot of missing trees. The planned installation deals with mimicking the missing trees in a more interactive, playful way, where light, shadows, texture and the human scale are important factors.
106 5.2
Site Sounds
Points of View
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Specular and Diffuse Reflection
Space
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[Babson Boulders] During the Great Depression, Roger Babson hired unemployed Finnish quarry workers to carve words of inspiration on 23 boulders through-out Dogtown. Roger Babson said of these boulders: “My family says that I am defacing the boulders and disgracing the family with these inscriptions, but the work gives me a lot of satisfaction, fresh air, exercise and sunshine. I am really trying to write a simple book with words carved in stone instead of printed paper.” The suggested installation is to connect two of the boulders “kindness and loyalty” and show the connection between the community passing each other.
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Connecting Path
Touch [Site Selection Criteria]
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Textured Paths
Pattern 114 5.3
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[Dogtown Square] Dogtown is 3000 acres of woods in the interior of our island. Gloucester was first settled beginning in 1623. Dogtown (or The Common Settlement, as it was originally called) was first settled beginning in the 1690’s. The main reason was this area was the common land shared by the settlers for grazing animals and cutting wood. That’s where the Commons Settlement name came from. Settlers would come here on a seasonal basis to fish and trade until 1833. The town square sets on the main road, where the community gathers. The square is approximately in the middle of the 3000 acres where a lot of roads and trails meet. The projected installation is a huge canopy to reemphasize the importance of the town square and highlight the materials around it.
118 5.4
Connection between Community
Community Canopy A
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Path
Community Canopy B
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[Cellar Hole] A typical Dogtown home was one-story, wooden with only a partial cellar, a pitched roof and a doorstep. It measured approximately 15 by 35 feet. Native stone was used in the foundation, which served as a root cellar, colonial America’s refrigerator. Adjacent to the house would be walled gardens to keep out grazing animals. The proposed installation shows the importance of the structure and how it can start to be a playful element with how the light hits it.
124 5.5
Cellar Hole Light Penetration
Reflection
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Pattern
Color Penetration
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128 5.5
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132 6.1
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[Presentation Transcript] MA: Hi, I’m Moneerah. AW: Aaron Weinert JJ: Jer Jurma MA: Moneerah AlAjaji MM: Michael MacPhail MV: Matt Vocatura PH: Phyllis Wentworth
My thesis is sensational memory, and my sub-thesis is using sensory aspects to create meaningful architectural memories. My site is in Gloucester, MA. It’s between Rockport and Gloucester. It’s an abandoned village, it was abandoned in the 1800’s, but when you go there right now there’s hiking trails, it’s like a lot of woods, so people usually go hiking, camping, and there’s a couple of reservoirs where people go swimming in the summer too. A couple years back, like a hundred years or so, the founder of Babson College, Roger Babson, has his own trail on that site, and my design is going there as well. What I’m trying to do is look at the whole idea of memory and architecture because it’s something I’m really interested in, and look at how the memory connects to the senses. So what I’m trying to do with my thesis is multiple installations that go on a site on this Babson Trail. When you look at the site right now, there’s multiple artifacts that tell you where the Dogtown Square was, where the houses were, where the lumber yard was. It’s a 3000 acre site, so I tried to take meaningful locations and tried to design in them where these kind of installations connect to each other. I’m going to talk about each site and then go into each installation. So they’re located here, the orange part is the Babson Trail and the white box is where the actual sites are. The Babson Trail has a lot of engraved boulders, this one is Courage. People go there sightseeing to see these boulders with inspirational words like Courage, Loyalty, Kindness, and stuff, so when you go there, there are always people there hiking and walking around. Continued on next page. 134 6.1
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MA: The first site is the Babson Trail site. There are a lot of boulders that are left over from a glacier, so I started looking at how the glacier rocks kind of frame the view, and how they could create a lot of different views where you could see them, or when you stand at an angle you look at different things, and how these frames connect aspects of the community together. How the community goes together is kind of like how we as people go together, then the materials, like rocks, vegetation, and all of that, also connect the site together; to produce the site as a community. Behind each frame in this installation is an actual thing, like a tree or a boulder, and that’s what it’s doing here. It’s showing just a sliver of what’s happening behind, where you can feel the sense that all of these aspects and materials and artifacts on the site are making the whole site like us making the whole community. It’s an abandoned site so I’m trying to bring those memories back and relive them in another way. Continued on next page.
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138 6.2
Framing on Site
Detail Frame
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Scale of View
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MA: The second site is the lumber yard site, which is Babson Reservoir. The second site was a lumber yard so there’s a lot of missing trees in it. You can see the topography; the landfill is going up so there’s a whole view looking up and down so there’s different kinds of views in that site. I was trying to create a sensation where the body is connected to it. These columns are made from actual aggregate from the site that connect three scales: the scale of the hand where you can twirl that person here, the scale of sitting, and the scale of leaning. There’s a person leaning right there. You can see them here in perspective C. Continued on next page.
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146 6.3
Points of View
Scale
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Space
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MA: The sensational wall site is connecting two of the boulders that I was talking about: Kindness and Loyalty. There’s a huge gap between them, so I was trying to talk about how people pass each other while walking to a place or their house, so there’s this whole aspect of merging an intervention and moving through it and towards it and in it. There’s two aspects where you could go below it and there’s perforations where you could see through it and there’s a lot of playfulness within it to create that aspect of passing through. Continued on next page.
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154 6.4
Touch
Details
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Connecting Paths
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MA: The fourth site is the Dogtown Square where the community always gathered. There’s an actual story behind it, and that’s how I know about all of that. There’s also a lot of artifacts that tell you where the Dogtown Square was and where the cellar holes were, and there’s pictures. This is a boulder that’s engraved “Dogtown Square” so you can tell where everything is. So this is the community square, and what I was trying to do in this canopy is each panel is a reflective panel with perforations through them, so the light goes through them and reflects off the polished granite, which is a found material from the site. I’m just using it in a different way. When the sunlight moves, these patterns change, and it reminds you that each piece is also part of the community that goes back together. The pattern actually came from a boulder and I traced the aggregate of it and then made a panel that talks about each panel as a kind of each person. Continued on next page.
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162 6.5
Intersection of Paths
Panels Pattern
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Town Square Connections
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MA: The last site is the cellar hole from the old houses that people used to live in. Down there on the left corner is an image of what it looks like. This is a foundation of one of the actual houses, and I want to make sure that people focus on the actual foundation, so I kept a hole where people can go through it and view towards the actual hole. I have it on the site model so you can pass it around since it’s easier to view on the site model. Sorry it’s heavy, but this is it. Continued on next page.
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Cellar Hole Structure
Pattern
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Specular and Diffuse Reflection
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[Presentation Transcript] MM: What’s the brown materiality around the cellar hole? MA: Right now it’s kind of like concrete, just to show the whole change of moving towards it so it’s more of like a foot. You know how in offices the carpet changes when you go into an office? It’s like a threshold movement to show you’ve entered. MM: And what is the hanging screens, what are they made of? MA: I’m thinking like a reflective mirror, I have it so you can see. JJ: So like a polished metal mirror? MA: Yeah. It’s kind of reflective so it creates a pattern with the light playing and the light shadows and reflecting, you see it reflects the green of the trees. MM: So putting yourself in the place of the user of this site, the person coming for a walk through the trails, just talk about what your thoughts are in terms or their experience, and specifically in terms of this notion of the senses. MA: In terms of the senses, since they follow an existing trail, people will actually find them. In terms of the senses and the memories, all the materials that are used are found materials on the site, and they’re altered or used in a different way. The materials are repeating, so that’s where the memory comes in. Also the actual memory of the site, like the lumber yard and the town square; that’s how you kind of read the story, or like your great-grandfather was living there so you know something about the story. But even if you don’t know, they’re [Design Outcomes and Reflection]
all connected, so when you go to one—and it doesn’t really matter the way you stumble upon them because there’s no number 1, number 2, number 3—you can just go through them and have that aspect of creating your own memories. It doesn’t have to be memories that are on the site. PW: There is a concept from psychology that I think is capturing what you’re talking about, which is an idea that Young came up with, which is the idea of the collective unconscious and the collective memory, and as you are talking about memory here, I first thought you were talking about personal memory, and I realized as you got going that you were talking more about collective memory, which psychologists today would debate whether or not we can empirically test whether it exists. Young wrote a few books where he explored architectural elements that are repeated across cultures, and he tried to make a cases that that was evidence that this collective unconscious and collective memory exists. MM: And he called them archetypes. MA: I read briefly about it. MM: you know, I think it’s interesting that in many ways it’s a series of installations on an existing site and I find it fascinating that you’ve approached this—we’ll call it problem...or critique, your critique or architecture—you’ve approached it almost in some ways more like an artist than an architect. I find that part fascinating because you’re delving into the less tangible, the less definable, and so how do we do that? A lot of times all we can do is provoke or evoke intuition, emotion, to express maybe, ideas that are very difficult to express in more objective or rational ways. There is a sense
of—and I hate to use the word—but whimsy that moves through the site, but that’s what it feels like, that there would be a great interest to experience, to come to this site and experience these spaces. Much like thinking back like thirty years ago to Parc de la Villette. MA: I actually been there. MM: It’s very similar in that way, right, each one of these, we’ll call them pieces, is about evoking a spatial experience, and that’s what you’re looking for, so it’s a kind of park of sorts, and in another way it’s a kind of testing field for people to explore notions of their senses. I think it’s pretty fascinating. AW: I’ve been trying not to say much today but I just want to jump in because I think it’s interesting this project after the previous one, where these are both about moving through the site, but this one is more about trying to explain the site in a more concrete way. MM: This is like an example, a manifestation of architectural ideas. This is more of an experiment, and that’s what a thesis should be, right? JJ: I think one of the things about this project that’s always intrigued me is when you went and explored Dogtown and you came to an understanding of the topography and the history and the progression through it, and then you went and today you haven’t really talked about the five sites that you chose, but the scale of these sites, and then the scale of your intervention. MA: I actually changed the scale that we were talking about. So each site right now is a hundred feet by a hundred feet.
JJ: And that’s a piece of it, but the other piece that I really like is that experiential piece of this. There’s very often that if you think of a sculpture park, there’s a relationship that the objects have with each other in the majority of these sites, because there’s usually not the type of space to isolate and let the created object only react to the environment. And in this, the way you’ve placed it, what I sort of like is you would come across something like this, and then you would explore it, and then you would leave it, and then you’d be back in the context of the nature. You’ve come across the next one, and you’d explore it and you’d leave it. And at that point, you would know that there was going to be something else. And one of the things I’ve really loved is picking these models up and just sort of imagining, because you’re coming through this screened environment, your views are a short view. They’re not kind of a long understanding of the whole site. You’re collecting it in these moments, and I think you’ve done a really nice job of coming up with things that you would recognize the design as having a consistency without being heavily reliant on symbols or signals that “yes, I’m still in this”. I really think that you’ve come through the whole project with something that is very concrete in the way you wanted to express it. MV: I think I’m surprised at how different each one turned out from each other. And there was a lot of discussion of whether they should be related to each other, is it one material, and I think you really embraced the direction that you went where each one is unique and you really got into each site and brought out the individual piece. MM: What did it look like at midterm? MV: Well it was similar, there was just a lot of 176 6.7
[Presentation Transcript] discussion about whether… MA: It was ideas basically. MV: Yeah, there were choices for each one and the choices hadn’t been made, and I think the choices that you’ve made are really nice to see because you didn’t tie yourself down. MA: It was really difficult to deal with five sites but it was fun at the same time. PW: Another thing that I was realizing was that it seems like you’ve left opening for the space to be used, for these different installations to be used more individually or more socially, like this one that I’m holding. To me, it calls out for more of a group experience, either your family or a group of friends enjoying being in that space together. MA: I’m thinking based off what you said, this is a lumber yard, there were a lot of people working there so I’m trying to evoke that memory. I know it’s a different memory but here it’s more of a singular experience. It talks about that memory as well. So some things are intentional like here it’s more of an act of community.
exploration of the site and of these ideas. I think you took the right path. I think now, doing this, that perhaps you could do another project where it was more conventional in terms of architecture, where it would become a building or a series of program spaces, but I think this part was necessary to maybe solidify ideas or thoughts or feelings you already had about spaces and the experience of the senses. JJ: I also really liked the fact that every stage of this you’ve thought of it very graphically, you’ve thought about how the visual presentation… Since I saw you last week, I’m loving sort of the oversized birds and the bunnies and the way that sort of loops you through because there is…you’ve brought sort of a surrealism into it and you’ve made this very conscious choice that the way the wispy mists are coming through and everything. It’s a very daring choice to make in an architectural thesis and I really like to see it. It is great and I love the fact that it showed up without it being talked about…and at the presentation, a squirrel, fourteen bunnies, a racoon showed up. I think it’s great. MA: There’s two racoons!
PW: And yeah, I could imagine a group of kids coming through and coming up with their own game that they might play in that area, and even though you’re trying to guide us through and help us remember the experience of being these places and what they might have been like back when this village existed, there’s still an opening for people to use the space how they might in the present enjoy it.
AW: Well I think these are great comments. I think they’re reflective of the fact that you did choose a path that on the one hand was very personal and emotional but you didn’t make it so personal that other people can’t imagine themselves in it. That was kind of a tricky thing to do but you pulled that off and it’s great. And it’s been really interesting watching you work as both an architect and an artist.
MM: I think in some ways that gets back to, what was that earlier? You really did approach this as a kind of creative, intuitive, emotional
MA: I have one last comment. I really appreciate everyone here coming, I wouldn’t have been here without all you guys.
[Design Outcomes and Reflection]
[Reflection] A critical evaluation of thesis process and development based on the semester’s inquiry and final critique. This investigation was an attempt to withdraw memory and immigration through sensory engagement amidst Dogtown Commons in Gloucester, Massachusetts. Based on feedback that I received from colleagues, professional architects, and professors. My thesis was successful in creating a procession through the site using a series of five architectural interventions. Each of the interventions was unique and specific to a certain condition of the site. Although each installation is different, they are all connected through the memories, the senses and the materiality. The reviewers appreciated the mix of artistic graphic representation and the way that the design draws you in. Through my studies I now feel confident that memories and the senses play a huge factor in creating architecture that is meaningful and enjoyable.
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[References] 7.0
180 7.0
[References]
[Bibliography] 1 Carlotto, Mark. “The Island Woods of Cape Ann.” The Island Woods of Cape Ann. Accessed January 10, 2017. http://carlotto. us/capeann/index.shtml.
9 Pallasmaa, Juhani, and Peter Zumthor. Building Atmosphere. Rotterdam: Nai010 Pub., 2013.
2 Gander, Kashmira. “How Architecture Uses Space, Light and Material to Affect Your Mood.” The Independent. April 19, 2016. Accessed September 4th, 2016. http://www. independent.co.uk/life-style/design/howarchitecture-uses-space-light-and-materialto-affect-your-mood-american-institutearchitects-a6985986.html.
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3 Harrison, Robert Pogue. Gardens: An Essay on the Human Condition. Chicago: University of Chicago Press, 2008. 4 Havik, Klaske, Hans Treeds, and Gus Tielens. “Building Atmosphere.” Editorial. Oase Journal. Holl, Steven, Juhani Pallasmaa, and Alberto PérezGómez. Questions of Perception: Phenomenology of Architecture. San Francisco, CA: William Stout Publishers, 2006. 5 Mahnke, Frank H. Color, Environment, and Human Response: An Interdisciplinary Understanding of Color and Its Use as a Beneficial Element in the Design of the Architectural Environment. New York: Van Nostrand Reinhold, 1996.
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12 Pallasmaa, Juhani. The Eyes of the Skin: Architecture and the Senses. Chichester: Wiley-Academy, 2005. 13 The Oxford dictionary. Oxford: Oxford University Press, 1992. 14 Wigley, Mark. Konstruktion Von Atmosphären = Constructing Atmospheres. Gütersloh: Bertelsmann-Fachzeitschr.GmbH, 1998. 15 Zumthor, Peter, Maureen OberliTurner, and Catherine Schelbert. Thinking Architecture. Basel: Birkhäuser, 2006. 16 Zumthor, Peter. Atmospheres: Architectural Environments, Surrounding Objects. Basel: Birkhäuser, 2006.
6 Mallgrave, Harry Francis. “Cognition in the Flesh ...the Human in Design,” ed. Tyler Stevermer, Thresholds 42 Human, 2014, 76– 87. 7 Morgan, Erin. “Does Design Affect Behavior? A Case Study of Pomona And Sontag Halls.” PhD diss., Pomona College, 2011-2012. 2012. Accessed September 2, 2016. http://scholarship. claremont.edu/cgi/viewcontent. cgi?article=1049&context=pomona_theses. 8 Pallasmaa, Juhani, and Peter B. MacKeith. Encounters: Architectural Essays. Helsinki, Finland: Rakennustieto Oy, 2005. 182 7.1
[Endnotes] 1 Steven Holl, Juhani Pallasmaa, and Alberto Pérez-Gómez, Questions of Perception: Phenomenology of Architecture. (San Francisco, CA: William Stout Publishers, 2006) 2 Juhani Pallasmaa, The Eyes of the Skin: Architecture and the Senses, (Great Britain, 2012), 13. 3 Pallasmaa, The Eyes of the Skin, 13 4 Holl, Pallasmaa, and Pérez-Gómez, Questions of Perception: Phenomenology of Architecture. 5 Harry Francis Mallgrave. “Cognition in the Flesh ...the Human in Design”, Thresholds 42 (2014): 76–87. 6 Mallgrave, “Cognition in the Flesh ...the Human in Design,” 76–87. 7 Mallgrave, “Cognition in the Flesh ...the Human in Design,” 76–87. 8 Holl, Pallasmaa, and Pérez-Gómez, Questions of Perception: Phenomenology of Architecture, 31. 9 Holl, Pallasmaa, and Pérez-Gómez, Questions of Perception: Phenomenology of Architecture, 31. 10 Holl, Pallasmaa, and Pérez-Gómez, Questions of Perception: Phenomenology of Architecture, 31. 11 Holl, Pallasmaa, and Pérez-Gómez, Questions of Perception: Phenomenology of Architecture, 34. 12 Erin Morgan, “Does Design Affect Behavior? A Case Study of Pomona And Sontag Halls” (PhD diss., Pomona College, 2012). 13 Morgan, “Does Design Affect Behavior?” 14 Morgan, “Does Design Affect Behavior?” 15 Morgan, “Does Design Affect Behavior?” [References]
16 Morgan, “Does Design Affect Behavior?” 17 Morgan, “Does Design Affect Behavior?” 18 Peter Zumthor, Maureen Oberli-Turner, and Catherine Schelbert, Thinking Architecture, (Basel: Birkhäuser, 2006). 19 Zumthor, Oberli-Turner, and Schelbert, Thinking Architecture, 10. 20 Kasmira Gander, “How architecture uses space, light and material to affect your mood”, The Independent, April 19, 2016. Accessed September 4, 2016. http:// www.independent.co.uk/life-style/design/ how-architecture-uses-space-light-and-material-to-affect-your-mood-american-institute-architects-a6985986.html 21 Gander, “How Architecture Uses Space, Light and Material to Affect Your Mood.” 22 Morgan, “Does Design Affect Behvior?” 23 Frank Mahnke, Color, Environment, and Human Response: An Interdisciplinary Understanding of Color and Its Use as a Beneficial Element in the Design of the Architectural Environment (New York: Van Nostrand Reinhold, 1996), 2. 24 Mahnke, Color, Environment, and Human Response, 2. 25 Mahke, Color, Environment, and Human Response, 2. 26 Morgan, “Does Design Affect Behavior?” 27 Morgan, “Does Design Affect Behavior?” 28 Morgan, “Does Design Affect Behavior?”
29 Mahnke, Color, Environment, and Human Response. 30 Mahnke, Color, Environment, and Human Response. 31 Klaske Havik, Hans Treeds, and Gus Tielens, “Building Atmosphere,” Oase Journal, 5. 32 Peter Zumthor, Atmospheres: Architectural Environments, Surrounding Objects, (Basel: Birkhäuser, 2006), 11. 33 Mark Wigley, Konstruktion Von Atmosphären = Constructing Atmospheres, (Gütersloh: Bertelsmann-Fachzeitschr, 1998). 34 Wigley, Constructin Atmospheres. 35 Pallasmaa, “Space, Place and Atmosphere: Emotion and Peripheral Perception in Architectural Experience,” (PhD diss., University of Helsinki, 2014). 36 Robert Pogue Harrison, Gardens: An Essay on the Human Condition, (Chicago: University of Chicago Press, 2008), 130. 37 Pallasmaa, “Space, Place and Atmosphere: Emotion and Peripheral Perception in Architectural Experience,” PAGE NUMBER. 38 Zumthor, Atmospheres: Architectural Environments, Surrounding Objects, PAGE NUMBER 39 Pallasmaa, “Space, Place and Atmosphere: Emotion and Peripheral Perception in Architectural Experience,” 234. 40 Pallasmaa, The Eyes of the Skin. 41 Mark Carlotto, “The Island Woods of Cape Ann,” The Island Woods of Cape Ann, , accessed January 10, 2017, http://carlotto.us/ capeann/index.shtml. 184 7.2
[Image Refrences] 1 By Author, Brion Cemetery, Carlo Scarpa, Altivole, Italy. 2 By Author, Fondazione Querini Stampalia, Carlo Scarpa, Venice, Italy. 3 By Author, Brion Cemetery, Carlo Scarpa, Altivole, Italy. 4 By Author, Brion Cemetery, Carlo Scarpa, Altivole, Italy. 5 By Author, Layering, Reflection. 6 By Author, Layering, Pattern. 7 Da Vinci, Leonardo. “Vitruvian Man.” Digital Image, Leonardodavenci.stanford.edu , 1490, Accessed November, 2016. http:// leonardodavinci.stanford.edu/submissions/ clabaugh/history/leonardo.html 8 Dugan Pogue, Nicki. “Five Senses.” Flickr. com. June 2009, Accessed November, 2016. https://www.flickr.com/photos/ thenickster/3667839998/
Accessed November 2016. http:// scholarship.claremont.edu/cgi/viewcontent. cgi?article=1049&context=pomona_theses 12 Perry, Pat. “Untiteled.” Patperry.com. 2012. Accessed November 2016. http:// patperry.net 13 Perry, Pat. “Out Lived Art.” Patperry. com. 2012. Accessed November 2016. http://patperry.net 14 By Author, Healthcare.
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29 By Author, Cataloging, Berlin, Germany. Cataloging,
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44 By Author, Frame 1, Unesco Garden, Paris France. 45 By Author, Frame 1, Unesco Garden, Paris France.
28 By Author, Frame 3, Layer Box.
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43 By Author, Frame 1, Unesco Garden, Paris France.
Amsterdam,
46 By Author, Frame 1, Sagrada Familia Barcelona, Spain. 47 By Author, Frame 1, Sagrada Familia Barcelona, Spain. 48 By Author, Frame 1, Sagrada Familia Barcelona, Spain.
34 By Author, Cataloging, Venice, Italy.
49 By Author, Frame 1, Sagrada Familia Barcelona, Spain. 50 By Author, Frame 1, Sagrada Familia Barcelona, Spain.
35 By Author, Cataloging, Venice, Italy.
51 By Author, Frame 2, Venice, Italy.
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52 By Author, Frame 2, Altivole, Italy.
37 By Author, Netherlands.
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53 By Author, Frame 2, Venice, Italy. 54 By Author, Frame 2, Prague, Czech Republic. 55 By Author, Frame 2, Barcelona, Spain. 56 By Author, Film Festival, Transparency. 57 By Author, Film Festival, Color. 58 By Author, Film Festival, Pattern. 59 By Author, Film Festival, Texture. 186 7.3
[Image Refrences] 60 By Author, Film Festival, Reflection. 61 By Author, Film Festival, Light. 62 By Author, Film Festival, Texture. 63 By Author, Film Festival, Sound. 64 By Author, Layer Box 65 By Author, Layer Box. 66 By Author, Layer Box. 67 By Author, Layer Box, Layer A: Vegetation. 68 By Author, Layer Box, Layer B: Flowers. 69 By Author, Layer Box, Layer C: Birds. 70 By Author, Layer Box, Layer D: Sunlight. 71 By Author, Layer Box, Layer E: Rain. 72 By Author, Layer Box, Layer F: Clouds. 73 By Author, Layer Box, Layer G: People. 74 By Author, Layer Box, Layer H: Darkness. 75
By Author, Probe, House in the Woods.
76
By Author, Probe, House in the Woods.
77
By Author, Probe, House in the Woods.
78
By Author, Probe, House in the Woods.
79
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80 By Author, Dogtown Road Site Watercolor Rendering. [References]
81 By Author, Babson Trail Site Watercolor Rendering. 82 By Author, Babson Reservoir Site Watercolor Rendering. 83 By Author, Babson Boulders Site Watercolor Rendering. 84 By Author, Dogtown Square Site Watercolor Rendering. 85 By Author, Cellar Hole Site Watercolor Rendering. 86 By Author, Scale of Memory Rendering A. 87
By Author, Scale of Memory Diagram.
88 By Author, Scale of Memory Rendering B. 89 By Author, Scale of Memory Rendering C. 90 By Author, Paper Collage “Connection to the Past” 91 By Author, Paper Collage “Translating the Story to Architecture” 92 By Author, Paper Collage “Blooming Into the Woods” 93 By Author Materials Study “How the Pattern is Stored in the Brain” 94
By Author, Materials Study “Wood”
95
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96
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Cardboard�
118 By Author, Sensational Walls Model A.
98
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99
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119 By Author, Emerging from the Ground Model.
100 By Author, Framing on Site Diagram. 101 By Author, Path Diagram.
120 By Author, Sensational Walls Model B. 121 By Author, Dogtown Square Siteplan.
102 By Author, Scale of View Diagram.
122 By Author, Connection between Community.
103 By Author, Framing Model A.
123 By Author, Intersection of Paths Diagram.
104 By Author, Framing by Overlapping.
124 By Author, Community Canopy A Diagram.
105 By Author, Framing Model B. 106 By Author, Babson Reservoir Siteplan. 107 By Author, Site Sounds Diagram. 108 By Author, Specular and Diffuse Reflection Diagram.
125 By Author, Community Canopy B Diagram. 126 By Author, People of the Community Model. 127 By Author, Canvas Canopy Model.
109 By Author, Points of View.
128 By Author, Cellar Hole Siteplan.
110 By Author, Space.
129 By Author, Cellar Hole Light Penetration Diagram.
111 By Author, Missing Trees Model A. 112 By Author, Missing Trees Model B. 113 By Author, Babson Boulders Siteplan. 114 By Author, Connecting Path Diagram. 115 By Author, Textured Paths Diagram. 116 By Author, Touch Diagram. 117 By Author, Pattern Diagram.
130 By Author, Pattern Diagram. 131 By Author, Reflection Diagram. 132 By Author, Color Penetration Diagram. 133 By Author, Cellar Hole Model A. 134 By Author, Cellar Hole Model B. 135 By Author, Final Presentation. 188 7.3
[Image Refrences] 136 By Author, Dogtown Rendered Siteplan.
157 By Author, Perspective E.
137 By Author, Babson Trail Siteplan.
158 By Author, Touch Diagram.
138 By Author, Perspective A.
159 By Author, Connecting Paths Diagram.
139 By Author, Perspective B.
160 By Author, Details Diagram.
140 By Author, Framing on Site Diagram.
161 By Author, Babson Boulders Model A.
141 By Author, Scale of View Diagram.
162 By Author, Babson Boulders Model B.
142 By Author, Detail Frame Diagram.
163 By Author, Babson Boulders Model C.
143 By Author, Babson Trail Model A.
164 By Author, Dogtown Square Siteplan.
144 By Author, Babson Trail Model B.
165 By Author, Perspective F.
145 By Author, Babson Trail Model C.
166 By Author, Perspective G.
146 By Author, Babson Reservoir Siteplan.
167 By Author, Intersection of Paths Diagram.
147 By Author, Perspective C.
168 By Author,T own Square Connections Diagram.
148 By Author, Perspective D. 149 By Author, Points of View Diagram. 150 By Author, Space Diagram. 151 By Author, Scale Diagram. 152 By Author, Babson Reservoir Model A. 153 By Author, Babson Reservoir Model B. 154 By Author, Babson Reservoir Model C. 155 By Author, Babson Boulders Siteplan. 156 By Author, Perspective D. [References]
169 By Author, Panels Pattern Diagram. 170 By Author, Dogtown Square Model A. 171 By Author, Dogtown Square Model B. 172 By Author, Dogtown Square Model C. 173 By Author, Cellar Hole Siteplan. 174 By Author, Perspective H. 175 By Author, Perspective I. 176 By Author, Cellar Hole Structure Diagram. 177 By Author, Specular and Diffuse Reflection
178 By Author, Pattern. 179 By Author, Cellar Hole Model A. 180 By Author, Cellar Hole Model B. 181 By Author, Cellar Hole Model C.
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