A haptic performative space
1
2
Acknowledgement I would like to express my gratitude to all those who helped me along the way for this thesis. I would like to especially thank my thesis mentor, Sawako for the guidance provided, wihtout which this thesis would have been in all likelyhood an impossibility. I would also like to acknowledge the help and resources provided by Codomo and Lee Tat Lin.
3
4
Abstract This thesis discusses the application of the recursive subdivision method as a haptic sensory tool which aims to trigger the haptic perception of the user. The major characteristic of the recursive subdivision algorithm is that it affects various scales and resolution of geometry. The resolution of the geometry created is further discussed as a potential application as an acoustic diffuser in the case of a performance space. The coupling of the potential acoustic properties and the hapticity that the geometry has creates the architectural opportunity of applying the algorithm on a new typology of performance space, a pitch black performance space, where the occular senses are deprived while the haptic perceptors are activated to navigate the space. In the design of the hapticity of the space, an identification of haptic parameters are laid out and used as guides to understand the adequate use of texture as haptic wayfinding tools.
5
6
Content Page Introduction Subdivision Algortihm Haptic Perception Library Wayfinding Case Studies Theatre Acoustics Site Design Bibliography
7
8
Thesis Statement To consider the application of a recursive subdivision algorithm as part of a haptic sensory system and an acoustic diffusion surface. This can be done by introducing a new typology of theatre design which seeks to create a haptic sensory experience by depriving the audiences of their visual senses with a pitch black performance space. At the same time using a fine textured surface as defined by the recursive subdivision algorithm to enhance the haptic sensory experience of the audience as they move within the performance space.
9
10
Introduction Computer Aided Design (CAD) has enabled the architects to design geometries which otherwise would have proved too difficult to materialize. With CAD subsequently came the inevitable shift into parametric design and digital architecture. Since the introduction of CAD, digital architecture has rapidly developed into a separate branch of architecture which attempts to develop complicated geometries with parametric design. In the recent years, parametric design has been widely associated with the works of Zaha Hadid Architects or Frank Gehry, where the smooth curvilinear forms were the most prevalent. We see parametric design enabling the architects to design with the splines, which in and of itself are not a new technology. In fact, splines are derived from calculus, a rather old technology. Mario Carpo stated that the new paradigm of digital architecture has gone beyond the splines. He argues that digital architecture now are seen “as complex and discrete, sometimes unintelligible aggregations of matter.� (Carpo, 2016) It is in this new paradigm of digital architecture which works of Michael Hansmeyer lies in. In Digital Grotesque by Hansmeyer, we see the use of recursive subdivision techniques which were once used to achieve a smooth surface, as we would usually attribute the Catmull-Clark subdivision scheme to, used to create complex high resolution, highly faceted geometries.
This recursive geometry transformation method which uses simple rule-based operations not unlike that of shape grammar allows for the design of highly detailed and complicated forms which even though deterministic, is unpredictable without the aid of the algorithmic processes. The forms achieved through this algorithmic design process though beautiful and intricate, lack a functional application in an architectural sense. For this thesis, I propose for the application of such recursive geometries and rule based designs in terms of haptic perception. Haptic perception is the perception of space via touch. The resolution in which such an algorithm allows for the design of texture which is a major parameter in haptic perception. More often than not, we associate the sense of touch mainly to the visually impaired, however, there lies an oportunity with the application of haptic perception for those of sight. Hence, I propose the application of this algortihm to haptic perception for the general audience, but in doing so, demand a program which strips or minimizes the reliance of the visual receptors to enhance the haptic experience for the audience.
11
12
Subdivision
13
14
Subdivision Algorithm
P2
A subdivision algorithm allows for the refining of mesh geometry. This refinement creates a higher resolution of the resulting mesh. The ability of creating a geometry of high resolution would mean that the algorithm is able to affect texturing of the surface geometry too. Considering that haptic perception and acoustic scattering are both highly dependent on finer resolution surfaces, this particular algorithm would seem suitable for the application.
In the design of their work, “Digital Grotesque�, Michael Hansmeyer applied a modified version o f the Catmull-Clark Subdivision technique which involves the application of weights on the subdivision level.
F1 E3 E1 V1
1: For every face, get a face point
P1
F3 F2
The Catmull-Clark Subdivision technique is a technique developed in the field of computer graphics in the 1970s. It is used to create smooth surfaces by the subdivision of mesh surfaces. It works as follows:
E2
F1=(P1+P2+P3+P4)/4 2: For every edge, get an edge point The edge point is an average of the two
endpoints of the edge and the 2 new neighbouring facepoints.
E1=(P1+P4+F1+F2)/4 3: For every original vertex, get a new vertex
ITERATION = 0
ITERATION = 1
V1=((F1+F2+F3)/3 + (E1+E2+E3)/3 *2 + (i-3)*P1)/i Where i is the nth iteration of subdivision
ITERATION = 2
ITERATION = 3
15
As can be seen from the Catmull-Clark subdivision algorithm, it subdivides the input mesh and smoothens it at the same time. Here, Hansmeyer proposes the extended Catmull-Clark subdivision method which uses the similar logic, but with added weights.
P4
1: For every face, get a face point F1= (P1+P2+P3+P4)/4 + nf*wf where nf is the normal of the face, while wf is the added weight 2: For every edge, get an edge point E1= ((P1+P4)(1-w1) + (F1+F2)(1+w1))/4 + ne*we where ne is the average of the normal vectors of the adjacent faces to the edge we and w1 are the added weights 3: For every original vertex, get a new vertex V1= ((F1+F2+F3)/3 *(1+w2) + (E1+E2+E3)/3*2 *(1-w2 /2) + (i-3)*P1)/i + np*wp np is the normal vector of the original ver-tex while wp and w2 are the added weights.
16
F1 E3 E1 V1
P1
F3 F2
E2
The extended method explained above was the basic extension which Hansmeyer proposed. In fact, to further diversify the final geometry, weights could vary base on the iteration of the process. Furthermore, the weights could vary base on their environmental values, for example based on the region the points are located in, the weights could vary. The complexity and resolution that such an algorithm provides has an opportunity to be applied in designing of texture and geometry of surfaces. The ability to design fine texture and geometry would therefore allow the algorithm to be applicable in the field of haptic perception. Beyond just being a beautiful artifact, the artifact that is produced is of a high enough resolution that it could appeal to the sense of touch and more than that, the haptic perceptions. In addition to the appeal towards the haptic perceptions, the geometry produced could potentially have interesting acoustic effects, acting as diffusive acoustic surfaces.
Showing mesh with differentiated weights based on environmental values. (Michael Hansmeyer, 2010, p4)
17
18
Haptics
19
haptic perception is the combination of the tactile sense and the kinaesthetic movement
20
Haptics We understand the senses as being classified in the five main categories of sight, hearing, taste, smell and touch. James J Gibson categorized the senses in terms of systems. The auditory system, the visual system, the tastesmell system ,the basic-orienting system and the haptic system (Gibson, 1962). The haptic system relates to the idea of the tactile experience in a spatial sense. In haptics, shape and texture play a key and pivotal role in perception. The sense of touch serves as the main interface with the architecture rather than sight. Haptic perception involves the connection between movement and touch. Juhani Pallasmaa states that “the very essence of the lived experience is moulded by hapticity” (Pallasmaa, 2005). However, architecture today is verily dominated by the visual, paying little heed to the tactile. More often than not, we see architecture that is created to please the sense of sight. Pallasmaa further claims that “architecture has adopted the psychological strategy of advertising and instant persuasion” (Pallasmaa, 2005). Indeed, now we see architecture designed for the sake of the “money shot”, the main rendered image, rather than the experience of the space. This approach towards architecture stems from a society which relies heavily on the visual, and not haptics. The problem with architecture being mainly visually driven and not “bearing in mind their user-friendliness, multi-sensoriality and functionality”, is that it “results in places that lack physical or mental accessibility”. (Herssens, Heylighen, 2007) Haptic perception is the perception of space through the sense of touch coupled with movements. As opposed to simply tactile perception
which refers to the static sense of touch. Simply static touch alone does not allow one to have a sense of the three-dimensional form of an object. It is with the combination of touch and kinesthetics that allows one to map out the overall form of the object. Haptic perception is a key sensory system for a person to understand and recognize an object. Klatzky demonstrated in his experiments that “people are highly adept at recognizing real three-dimensional common objects by touch”(Klatzky, Lederman, 2011). It is therefore important to recognize that the haptic perception system is not inferior to the visual sensory system. Considering that architecture is the design of three dimensional space, it would only make sense that the consideration of haptics be included in architectural design. The consideration of hapticity in architecture would lead to a multisensory experience of the user of the space. As Pallasmaa puts it, “every touching experience of arhcitecture is multi-sensory”. However modern man is a creature of sight, the “hegemony of vision has been reinforced in our time by a multitude of technological inventions”. For architecture to engage the multi-sensory, the onus is not entirely on the architect, but also on the user. If the hegemonic eye prevents the multi-sensory experience, no matter how well considered is the design in terms of hapticity, the experience would still be visual. Hence I would suggest that the deprivation of the sense of sight for the user would engage their haptic perception, creating the opportunity for the architect to design purely for the sake of hapticity. Therefore the idea of a pitch black perfomance space is an ideal for triggering the haptic sensory system of the individual.
21
passive touch
active touch
dynamic touch
22
Elements of Haptic perception There are three types of touch classified by Herssens. First, there is “dynamic touch”, which is where a person touches the environment through a medium, such as a guiding stick. Next, there is “active touch” , which is where a person feels the environement directly through movement, through a combination of kinesthetics and tactile receptors, Finally, there is “passive touch”, which is when a person touches the environment statically, essentially tactile perception(Herssens, Heylighen, 2012). Understanding the way a person interacts with the environment via touch is key to understanding the elements for haptic perception, and what affects it. Furthermore, any consideration of haptic perception must involve the consideration of what is the intended part of the body that is touching the surface. Textures can be used to connect or disconnect our haptic perception of spaces. In fact, it is “the most important information to identify objects through touch”(Herssens, Heylighen,2008). This emphasises on the importance of texture in terms of haptic perception. In an ocularcentric design, texture tends to be the forgotten element, as its smaller resolution more often than not does not translate visually in the big picture. On the other hand, for haptic perception, texture is one of the fundamental interfaces with the human sense of touch, and it serves to build up a haptic map of the space.
Herssens proposed 3 main planes of consideration for the design of haptics(Herssens, Heylighen, 2012): Movement plane A surface that prioritizes movement, serving active touch. The movement plane is a haptic surface which serves to orient and ensure user safety, as well as considers the efficient movement of the user across it. Guiding plane A surface that serves active and dynamic touch alike. The guiding plane which is a plane meant for guiding people along a pathway. For example, the wall along a path can serve as a guiding plane with tactile cues available to indicate the direction of motion. Rest plane A surface for people to relax on. The rest plane is one which mainly involves passive touch. It is a surface designed with the focus being on the atmosphere rather than the movement along it. A bench can serve as a rest plane. A wall could also be a rest plane, serving as an interface for people to lean against. It is important to note though that these planes are not mutually exclusive. Consider a wall along a path. It could primarily serve as a guiding plane, suggesting the direction of motion, yet at the same time it could be a rest plane for people to lean on. These are critical design decisions that have to be made on considering what texturing element is required or what surface goemetry is ideal for the respective planes.
23
movement plane
guiding plane
supports movement
directs movement
material characteristics
24
rest plane considers the “atmosphere�
spatial characteristics
Haptic design parameters consist of 2 types of characteristics, the material characteristics and the spatial characteristics. The material characteristics are, the temperature of the surface, light, air permeability, texture and plasticity. The temperature relates to the coefficient of conductivity of the material, which thereby creates a variation in temperature of the surface. Texture defines the way the surface is felt. Spatial characteristics are concerned with the direction of the surface, the form of the surface, and the configuration of the surface composition. The direction of the surface can be in relation to the user, or the plane of movement, while the configuration of the surface composition is concerned with the topology of the surface, the way it is connected, what its adjacencies. Such connections are able to inform users of their location and their orientation. The design of a haptic sensory performance space can be properly informed by these characteristics identified above. Furthermore, the identification of the various planes would allow for an ease of decision of surface geometry or texture to be populated. I could identify the wall leading to the performance space as a guiding plane which would serve to guide the audience members into the hall, while the floor could act as a movement plane. Upon entering the auditorium, the space becomes much more open and wide. An open space would mean a lack of walls for the guiding plane to be on, and would mean that the floors would be a guiding plane as well as a movement plane.
25
26
Haptic Parameters In developing textures with the subdivision algorithm, I have managed to identify 4 main haptic parameters as consideration for whether they can function as haptic paths, edges, nodes, districts, or landmarks. 1: Roughness The most obvious way we describe texture is by how rough it feels. Hence the first and most obvious parameter should be roughness without a doubt. The roughness of a surface is essentially as the way we feel the texture, how much surface area of the actual texture is in contact with the individual. Roughness of a texture serves as an understanding of coherence of the surface. when roughness changes, it is perceivable, and hence is able to serve as a haptic district, where each district is defined by its roughness. In terms of scale, roughness is considered the one affected by the finer resolution of the surface, and even by the material used. 2: Definition
lack of sharp undesirable inhibitors on a surface. In this sense, discomfort can be used as a tool to maufacture haptic edges, which serves as a boundary between places. A haptic edge likewise would be able to separate spaces as its discomfort would serve as a warning measure to prevent further transgression of the boundary. 4: Kinetic Directionality The haptic sense as mentioned earlier comprises of both the tactile sense and the kinesthaetic movement. Hence it would be safe to assume that kinetic direcitonality would serve as a key parameter of hapticity. Kinetic directionality concerns itself with the flow of a surface, be it a rough a smooth surface. A consistent flow along a guiding plane can be seen as a system with high kinetic directionality, and can be used as haptic pathways. The above 4 parameters identified are in no way exhaustive, but are the key haptic parameters which can be used to engage in haptic wayfinding.
The definition of a texture is dependant on a slightly larger scale than the roughness. In the definition, a shape of what is being touched can be mapped out mentally in a gestalt sense. This means that even if there were to be a rough surface, it could still be well defined if the generic geometrical shaped is able to be felt and understood by a sum of the parts of the texture. Well defined surfaces can serve as good haptic nodes which are able to serve as identifiers of entrances or intersections. 3: Comfort Undoubtedly comfort is a significant factor of human livestyle. Even for haptics, comfort is a major factor of consideration. Comfort of the tactile sense of the surface can be understood as the
27
28
Library
29
30
Parameters: iteration w1 w2 we wf wp
=4 = -3 = -2.7 = -1.5 =3 =3
Parameters: iteration w1 w2 we wf wp
= 4 = -3 = -2.7 = -1.5 = 3 =3
Parameters: iteration w1 w2 we wf wp
= 4 = -3 = -2.7 = -1.5 = 3 =3
Parameters: iteration w1 w2 we wf wp
= 4 =0 = -5 = -5 = -5 = -5
Parameters: iteration w1 w2 we wf wp
= 4 = -2.5 = -3 = -2 =5 = -10
Parameters: iteration w1 w2 we wf wp
=4 = -3 = -2 =4 =5 = -10
Parameters: w1 w2 we wf wp
iterations = 3
iterations = 4
= -2 = -5 = -1 =0 =5
iterations = 5
Parameters: w1 = -2.3 w2 = -2 we = -5 wf wp
iterations = 2
iterations = 3
iterations = 4
= 0 =1
31
32
33
34
35
36
37
38
Spatial Perception
39
How do the blind perceive space? Since I am proposing for a performance space in total darkness for triggering the haptic experience of the audience, I would need to consider the question of how do the blind perceive space. Afterall “who can better clarify for us what the non-visual perceptible multi-sensory qualities and shortcomings of a city space or of a building are than a blind person?” (Zeisel, 2001) To understand how we can enhance the haptic experience of the audiences in the space, looking at how the blind perceive space and their actions within the space would be helpful. Von Senden had made the case that the blind do not perceive space. He “thought that all real knowledge of space, including the concept of space itself, is gained through vision alone” (Jones,1964). However, the fact that blind people are capable of spatial awareness has been proven in a series of tests. Passini conducted a wayfinding test with congenitally blind people and subsequently proved that they are capable of spatial representation (Passini, 1988). Considering that humans are equipped with three main spatial senses, vision, touch and hearing, a blind person without the sense of vision would inevitably rely upon his sense of touch and hearing to perceive space. The sense of touch is a close proximity sense, while the sense of hearing affords a wider range of perception. A well trained blind person could identify the location and size of objects with echolocation (Jones, 1975). However in this context, the audience is the sighted, hence to consider spatial perception with hearing is almost impossible, as they would not have been trained to identify the location of things. Hence we would look at whether the tactile sensors do indeed help a blind person per-
40
ceive space. When we look at the tactile approach towards spatial perception, the literature available would tend to dismiss touch as inferior to vision. The reasons for such thoughts stem from the believe that touch has “low spatial acuity” meaning that the sense of touch is not sharp enough to discern the geometry of an object. However in terms of spatial perception, the acuity “is not low enough to prohibit” understanding of “spatial relationships”(Morash, 2012). Another reason for dismissing touch is that touch is “sequential”, meaning that touch requires a successive movement to provide a proper spatial understanding of objects. Morash disregards the claim, as “sequential movement of the hand or eye over an object doees not necessarily result in a fragmented representation”. In fact, studies have shown that the spatial perception gained from the tactile sense can be mapped rapidly onto the visual sense. Held found that blind people who had their sight restored although were unable to map a “haptically sensed sample after sight restoration” (Held, 2011) immediately, were able to do so after a few days, which suggests that blind people do have an “operational haptic spatial representation that was quickly mapped onto the visual sense”(Morash, 2012). The blind create a cognitive map, a spatial map of the space that they have been in, to perceive space. Passini’s research has shown that a congenitally blind person could in fact learn a new complex route and be capable of “mapping the route and understanding the experienced space sufficiently to have an overall prepresentation of the layout”(Passini, 1988). This research proves the blind is able to develop a spatial perception of an architectural space. Morash concludes that “blind and sighted individuals can have functionally equivalent perceptions and representations of space from the haptic sense”. This further solidifies the point that haptic perception does in
fact allow for spatial perceptions. Furthermore, it also invites the idea that the sighted are in fact also capable of spatial representation using haptic perception when deprived of their sight. Further understanding of how the blind is able to perceive space, especially space on an archtiectural scale is made by Ungar. The idea of “far” space perception using the tactile sense hinges on the use of locomotion, the movement of the body.
of the blind may suggest that the sighted when in a space of total darkness may be able to create a spatial map of the space based on their experience. This would suggest that the spatial experience within the space would be unique for every individual, creating a fairly interesting haptic perception.
The coding of spatial relations is used to perceive space. This coding of an object’s location can be done “either by reference to one’s own body and/or movements, or relative to some external framework” (Ungar, 2000). In the case for the blind, there is a higher tendency to the the spatial coding via referencing their own body, an egocentric way of spatial coding. In the architectural scale, Millar states that the blind would also code spatial relations egocentrically, referencing their body’s location (Millar, 1994). This is in contrast to the formation of a “map-like, externally-based representations” which the sighted are more likely to do. In conclusion, with this understanding of the way the blind perceive space, by creating a spatial code of sorts by using their body as frame of reference, I am able to approximate this method of perception to the sighted when in a totally dark space. However, a fair bit of warning should be made, that the way the blind perceive space is varied, and the method which Millar suggests is but one of the various ways the blind could perceive space. Knowing this, it would still be fair to assume that the sighted would be relying on their haptic perception when confronted immediately with a pitch black space. In addition, the ability to perceive the space would not be lacking even though their most relied upon sense, vision, is deprived. In fact, the ability to engage in cognitive mapping
41
42
Wayfinding
43
change of texture a haptic landmark
specific narrow area serving as a haptic path
44
Wayfinding Design Principles Wayfinding “concerns the spatial organization of a setting, the circulation system and architectural as well as graphic communications.” (R.Passini,1996) The circulation systems is the wayfinding problem for which a person needs to solve, while the arhcitectural communications serves as a guide for the person. In the navigation of foreign environment is a wayfinding problem itself. Furthermore, with the proposal of a pitch black space, the haptic navigation system to aid the movement within the space is of utmost importance. This space of total darkness is a foreign and extremely unconventional environement for the sighted individual, hence an understanding of wayfinding would allow for a more accessible design and a more feasible experience for the audience. Kevin Lynch proposed the idea of Landmark, Districts, Nodes, Edges, and Paths as key elements for a person to understand their surroundings(Lynch, 1960). These help in creating mental maps for wayfinding purposes. In understanding these elements one would be able to wayfind within an environment by building a mental map of the environment in question. A landmark is a particular location which helps to orient a person. Districts are the areas defined by common characteristics. They are the areas where the person finds himself as a part of the environment. Nodes are the points where a person makes his/ her decision in terms of navigation. Edges are barriers which separates a district from the other. Paths are the routes on which a person travels along. In terms of haptic perception, there is an equivalent of such elements. “A difference in a floor
texture on a city square can be a haptic landmark”(Herssens, Heylighen, 2012). Hence the change of surface shape and texture would be able to create either a haptic version of landmarks, districts, nodes, edges or paths even. The architectural consideration of wayfinding would be first, the spatial layout. Passimi noted that the first issue in designing for wayfinding is “how to design a setting so that people can understand its spatial characteristics.” Such spatial characteristics can be understood from two types of spatial representations. The first type are spatial representations taken from a vantage point, while the other type of spatial representation is the representation of a space which “cannot be seen from a vantage point alone”. Passini states that the latter is “cognitive mapping”, and it is this cognitive mapping that is more relevant on an architectural scale, as a modern building can hardly be represented by 1 single vantage point. Cognitive mapping can firstly be done via the five basic elements which Lynch noted. In addition, the presence of a single organizing principle in the architecture is an important design feature. Passini has identified two non-exclusive principles of the organizing principle. The first type is that which is based on a geometric system which is used to derive spatial relations. Next, is a principle based on geometric forms. Another important consideration in wayfinding design is the communication of information. Whether it is the use of signage as a form of graphical communication, or using architectural elements to indicate certain elements such as entrances, pathways. Sometimes it is not necessary to rely solely on signage, but in fact a clear articulation of the architectural elements is sufficient to communicate the identity of the space. The use of architectural elements to communicate the identity of the space ties in to the idea
45
Existing tactile cues for the blind
Directional indicator
46
Warning indicator
of haptics where the texture or change in texture creates a haptic landmark which identifies the space. The above analysis of wayfinding is for the general people of sight. Now we have to consider in the context for a pitch black space where the wayfinding situation is more similar to that of the blind. One finding Passini made through his research was that the blind required a “more articulate architectural expression including textures and sounds”(Passini, 1996). Passini conducted a detailed research on the congenitally blind and how they do wayfinding. He found out that in terms of wayfinding for the blind, “tactile surface treatment can have a multitude of applications”, hence validating the point that the tactile surface could in fact serve as haptic versions of Lynch’s five elements of a city. The spatial problem of wayfinding comprises of decision making, decision executing and information processing. The process of decision making is one which leads to the formation of plans to reach the destination. While the process of decision executing is one which engages the plan and transforms it into a movement or a course of action. The information processing is where cognitive mapping comes into play, allowing the formulation of the decision making and decision executing. When it comes to wayfinding, the blind demonstrated a greater quantity and variety of decision making as compared to the sighted. The blind identified the haptic landmarks such as doorways or the presence of a fire barrier for them to reference their subsequent decisions and course of action to.
“finding architectural elements”, and using the stairs. These were tasks that the blind required more decisions in making, hence it would be indicative of the additional information that needs to be provided for them in this case. Passini stated that “large open, undifferentiated spaces” were problems to the blind person, and in these cases, directional guidance such as textured floors are required to ensure that the blind would be able to properly navigate within such open spaces. This is something important to consider especially when considering the movement within a performance hall, that it could potentially be an open space depending on the design. In addition, Passini went on to investigate the cognitive mapping abilities of the blind participants, and found out that “the blind person understands the geometric characteristics of a setting to an extent that is comparable to that of a sighted person”. Furthermore, in a test of spatially reconstructing a given route, the blind and the sighted performed equally, suggesting that the blind had minimal difference in terms of their cognitive mapping ability in terms of wayfinding. This is useful in that it suggests methods of designing a successful wayfinding system for the blind, which could translate as a useful haptic wayfinding system for the audience in the pitch black performance space.
Some tasks in wayfinding were considerably more difficult for the blind and hence particular consideration has to be made. These were tasks involving keeping their orientation consistant,
47
48
Case Studies
49
Case Study: Hazelwood School Alan Dunlop Architects
The Hazelwood School in Glasgow is a school for the visually impaired. It features a main ciculation path, which is not straight, but in fact, curved. This suggests that the circulation for the visually impaired need not be a straight path. The school has multiple tactile cues and devices to ensure that the students are able to safely navigate through the area.
50
51
52
The main tactile device used in this design is the tactile wall, as can be seen in the image on the left. The tactile wall is located along the main circulation path, and it serves as a cue for the students to navigate along the path. On the wall, are protrusions which indicate the directionality of the path. Furthermore, each board is unique, which helps the students to orientate along the corridor. In addition to the tactile wall, there is a drainage cover running on the floor on the other side of the circulation path. It serves as a tactile cue for the students when not relying on the tactile wall. This helps the flow of human traffic as it allows for two directional flow along the corridor.
53
CLASSROOM
SENSORY WALL
ADMIN
POOL+GYM
landmark path node
54
The layout of the school is simple, even though it is in a curve design. On the right of the entrance is located the administrative offices and the pool and gyms, while on the left of the entrance is where the tactile wall begins, and the corridor leads to the various classrooms. The simple layout is preserved, and we can see that the sensory wall serves as a haptic edge, landmark, path for the wayfinding of the visually impaired. In addition, in open areas, there are tactile cues on the floor to suggest the identity of the space, for example, the cafeteria space in the image on the right is identified by the metallic strips on the floor.
55
Case Study: Center for the Blind and Visual- ly Impaired Taller de Arquitectura-Mauricio Rocha
The Center for the Blind and the Visually Impaired serves as a space to “enhance spatial perception, activating the five senses as experience and source of information�. Tactile cues for identification and wayfinding are present in the architecture of the building. Furthermore, the layout of the complex is simple and easy for the visually impaired to navigate in.
56
57
58
The tactile cues in the complex are used as means of identification of the building which the individual is adjacent to. The texture in the concrete were purposely adjusted to differing directions to act as a cue to identify the building for the visually impaired. In addition, tactile cues on the floor help the visually impaired understand that they have reached a node, allowing them to make the decision of turning or not to turn. The tactile cues on the floor also serve as a path for the visually impaired, as can be seen in image on the left, that the differentiated mateirals on the ground serve more as a path and also an edge to prevent the user to walk into the waterfeature.
59
2
6
1 8
5
4
CENTRAL PLAZA 1
1. WORKSHOPS 2. CLASSROOMS 3. CAFETERIA
10
7
3
11
4. LIBRARY 5. HALL 6. GYMNASIUM 7. AUDITORIUM 8. SWIMMING POOL 9. DRESSING ROOM 10. MACHINE ROOM 11. SERVICES
2
6
1 8
5
4
CENTRAL PLAZA 1
1. WORKSHOPS 2. CLASSROOMS 3. CAFETERIA
10
7
31
1
4. LIBRARY 5. HALL 6. GYMNASIUM 7. AUDITORIUM 8. SWIMMING POOL 9. DRESSING ROOM 10. MACHINE ROOM 11. SERVICES
60
The layout in the complex is simple, similar to that of Hazelwood school. The programs are arranged in terms of a differing privacy level, wiuth the classrooms being in the most inner and most private space, while the workshops and library are in the less private space, followed by the cafeteria and the service offices. On the left of the entrance is the sports facilities and the auditorium and the main hall. The circulation is slightly more complex than that of the hazelnut school. There are more nodes in the circulation, where the visually impaired has to make the decision of going left or right. It may complicate the wayfinding for the visually impaired. However, its simple orthogonal form still allows for a navigatable space for the visually impaired.
61
62
Theatre
63
64
Theatre In the application of the subdivision algorithm for haptics perception, a program with low or zero light requirements is required to be able to deprive the general audience of their reliance on their sense of sight. If I were to simply consider the audience as those who are blind, it would be lacking its impact as this demographic is already using haptic perception to perceive the world. Hence I wish to consider the audience as those with sight, bringing them into the world of the blind, and yet creating a more interesting haptic perception with the resolution provided by the subdivision algorithm. To trigger the haptic perception of those with sight, it would be beneficial to strip them of their visual senses. Theatres naturally have a requirement for low lighting conditions, furthermore, in modern stage plays, there exists plays or show that are entirely in the dark. This provides an opportunity to trigger the haptic perception of those of sight. Furthermore, it creates an opportunity for the blind to be the serving instead of the served.
65
66
What sort of performance takes place in a pitch black space?
tors close enough to touch” (Cook, 2013). If classical performances could have a contemporary spin on it and be performed in the dark, it suggests that there is indeed a possibility for having a new typology of theatres which cater to performances in the dark.
Before proceeding on with taking a technical look at theatres, I must first consider, is there in fact a use for theatres in the dark?
A more closer to home context would be Concert in the Dark which was organized by Raise Singaproe which is meant to raise awareness for the blind in Singapore. The concert was a runof-the-mill pop concert except for the fact that it was held in total darkness. Performers were local pop artist and the visually impaired as well.
Comedic performances such as stand up comedy have been done in the dark before. Comedy in the Dark at the Soho Theatre was performed in total darkness. It was reviewed as a “quiet success” (Meltzer, 2012). Comedian Chris McCausland explains that the reason he thinks why the darkness works well, is because “light makes people more self-conscious about laughing. So the darker the room gets, the better it is”. Furthermore, more dramatical performances have been done in the dark too. In 2012, Ron Sossi directed a production called “Theatre in the dark” and it is literally about a theatre being totally in the dark. “There are a couple, maybe three places each night where there’s just a flicker of light”(Raden, 2012) The show was meant to “appeal to the other four senses”.
This suggests that there can be a functionality for a theatre catered specifically for total darkness. The experience of total darkness for the sighted is not a idea. In fact, Dialogue in the Dark creates this experience for the sighted to see what life is like as a blind person. For me, I concern the proposal not so much as raising awareness for the blind, as creating a space for haptic perception for the sighted.
Other performances such includes Fiction by Glen Neath and David Rosenberg which utilizes technology and binaural sound to create an audio performance in the total darkness. This performance uses headphones and binaural recordings to activate the perception of space using sound while depriving the audiences of their sense of sight. Even classical production such as Macbeth have been portrayed in the dark. Macbeth: In Pitch Black is a contemporary take of Macbeth by the London Contemporary Theatre. “While some seating is in the usual theatre style, having others on stage creates an extra dimension with voices coming from behind you in the darkness and ac-
67
Recital room
Concert hall
Dance theatre
6 configurations of a Drama theatre
68
Theatre Typologies There are a few typologies in theatre design. There is the opera house, which usually houses an opera or a ballet company, the concert hall which is a venue for orchestra works, the recital rooms which are used for music events of a smaller scale, the dance theatres, the drama theatres which have various configurations and the musical theatres. The drama theatres tend to be the more flexible typology of theatre design, and thus would seem more apt for the implementation of a pitch black space for the use of haptic perception, especially since in modern day theatre, there do exist dramas, plays, comedy standups conducted in pitch black to create a more multisensory experience for the theatre goer. Despite the various typologies of theatres, there are 3 main fundamental components of a theatre, the auditorium or stage, the front of house and the back of house or back stage(Strong, 2010). The front of house is the space which the members of the public interact with, it is typically the most public part of the theatre. It usually is required to accomodate a large human traffic flow, and needs to be “clearly laid out and legible�. The auditorium is the main element of the theatre where the performance takes place. The auditorium is what defines the theatre’s typology, and there most be a consideration of the relationship between the audience seating and the performance space. The backstage is where the supporting programs for the theatre is, it houses the activities which are not usually revealed to the public. It is optimal to have the back of house element connected with the front of house and the auditorium.
69
70
wardrope
scene dock
dressing rooms band rooms green rooms toilets/showers
stage
orchestra pit
rehearsal room studio
audience seating
admin
control room
catering kitchen
toilet
function rooms
typical organizational layout of a theatre
71
entrance auditorium
lobby
foyer
block diagram of the typical connection btween the foyer and the auditorium
entrance of the auditorium of EMPAC
Interims Audimax seat signage
72
Wayfinding in theatre Entraces are a key element for theatre architecture. It is the connective edge between the district of the foyer to the auditorium. A good entrance design allows the audience to find the correct door easily. Controlled access is required for the auditorium entrances as tickets need to be checked. Often, lobbies would be required to be placed between the foyer and the auditorium to reduce sound transference and light spill into the auditorium. Signages are used to aid wayfinding in the theatre to convey information. The location of the auditorium, especially if there are more than 1 auditorium, the door identity, the seating row and the seat number need to be properly identified and conveyed to the audience. In the case of the use of haptic perception, various geometries and texture could correspond to the identity and information required to be conveyed to the audience. Often times, a legible architecture would require minimal usage of signages. In the case of the theatre I am proposing for, I envision the slow transition of the lighting condition from light in the foyer to total darkness in the auditorium, where the lobby space serves a s a buffer zone between the lit up space of the foyer, and the pitch black space of the auditorium, where the darkness envelops the audience upon passing the entrance of the auditorium. This is to develop the haptic experience to be triggered when moving into the performance space.
73
Sightlines consideration in a theatre design
basic acoustics consideration in a theatre
basic acoustics consideration in a theatre 2
74
Theatre auditorium design In auditorium design, there are multiple design considerations that must be made. The sight lines of the audience to the stage, the acoustic quality that is projected to the audience, the seating arrangements of the audience in relation to the stage. The idea of “theatrical intimacy” is crucial, where the audience experiences the theatrics as though being part of the event. It is about the “enclosure and envelopment”, where the seating arrangement of the audience creates a sense of closeness to the performers. The seats requires a minimum back-toback dimension of 760mm, while the minimum width is 500mm. The clearance between rows requires a minimum of 500mm.
Perhaps than the acoustic paneling could be integrated with the haptic experience, where the geometry of the walls which are meant for the haptic experience could serve as acoustic diffusors.
The sightlines in an auditorium is key and ensuring that all the audience have an unobstructed view of the stage is important. However, considering that I am proposing a pitch black space, there is no need to consider the sightlines for my theatre context. The acoustics in the auditorium affects the entire theatre experience for the audience. The ideal acoustic is for the reflected sound to arrive in an ordered way to the audience, and reducing delayed reflections or echos. The larger the room volume, the longer the reverberation time. For different types of performances, the reverberation and travel distance of sound changes The ideal condition in a theatre auditorium for the acoustics would be to have the sound energy retained, and yet a perfectly diffused sound bouncing off the walls to ensure that the sound experienced is reverberation and not echo. Echo is distinguished from reverberation as sound which is heard after an interval of a minimum of 0.1 seconds.
75
Case Study: The Young Vic Haworth Tompkins The Young Vic is a theatre in London. It falls into the typology of a drama theatre, where it plays hosts to numerous stage plays. There is 1 main auditorium and 2 studios for performances. The main auditorium has a seating capacity of 420, but is able to accomodate up to 550 people. It has two configurations, one being in the layout of a “in-the-round” format where the audience is seated all around the stage, while the other being a “thrust” format, where the audiences seat around the stage except for one side. There is no specific segregation of the backstage circulation and the public circulation. The two studio spaces are flexible spaces which allows for reconfigurable arrangement of the seats. The scale of this particular theatre is ideal in the implementation of a pitch black performance space, especially since such performance spaces would generally serve a more contemporary performance which would be able to fully utilize the dark performance space.
76
77
performance space front of house back of house others
78
circulation route
79
Case Study: Concert Hall Blaibach Peter Haimerl.architektur Concert Hall Blaibach is a concert hall with a seating capacity of 200. Its a relatively smaller concert hall. The entrance of the theatre is a flight of stairs leading from the road level down to the foyer. It is a relatively simple concert hall with lesser programs such as the rehearsal studio or the administration offices. The foyer is designed with the the various front of house functional spaces such as the toilet, the bar, the cloak room integrated to it. The transition from the foyer space to the performance space is signified by the narrowing of the space which helps facilitate the ticket checking process. The interior of the performance hall is designed with the acoustics of the hall in mind. It is in a more conventional typology of a recital hall, and in an “end stage� format, where there is no encirclement of the audience around the stage.
80
81
5
3
1
4 6
7
2
1 2 3 4 5 6 7
foyer auditorium cloakroom entrance bar green room technical room
performance space front of house back of house
front of house circulation back of house circulation
82
There is a distinct separation of the front of house circulation and the back of house circulation. The acoustic treatment of the interior of the hall is integrated witht the architecture of the hall and not a separate panel system. I would question whether the higher frequency range of the performances would get scattered or simply reflected, as the scale of the acoustic treatment seems to be more towards the scale of a mid to low range frequency.
sound path
83
Case Study: Elbphilharmonie Hamburg Herzog & de Meuron The Elbphilharmonie concert hall project by Herzog & de Meuron is a large scale concert hall which is capable of seating 2100 audiences. It uses algorithmically shaped panels to achieve a desired acoustics quality. The panels are meant to diffuse sound at varying frequency, as can be seen by the application of a range of scale of texture on the panels itself. The scale of the geometry shows that the surface geometry here was done in the consideration diffusing sounds of varying frequency. However, for sounds of lower frequency, the diffusor should in fact be of a larger scale. The scale of a diffusor which is meant for lower frequency would typically be about 3metres, considering the lower range of sound produced in a concert. This would typically be designed on an archtiectural scale rather than on panel geometry.
84
85
86
As can be seen in the close up image here of the panels of the Elbphilharmonie, there are in fact more minute patterning on the wave-like surface, which is aimed at diffusing the sound of higher frequency.
87
88
Acoustics
89
Definition of the sound scattering coefficient (Cox, Dalenback, 2006).
absorption
90
scattering
Acoustics
ful for further architectural acoustic simulations.
The recursive subdivision algorithm creates for a highly differentiated and complex geometry of high resolution. This surface in fact could potentially be used as an acoustic diffuser in the application of the performance space, serving dual purposes of both hapticity and acoustics. Hence an understanding of the basics of acoustics should be required in evaluating the produced geometry in terms of acoustics.
The scattering coefficient is not a consistent coefficient for all frequency of sound. It in fact varies with differing frequency. Knowing that sound has a wide varying frequency range, the scattering coefficient would also not be a consistent number, in fact it is often given in “one-third octave or octave frequency bands”. An octave frequency band is when the upper frequency is twich the lower band frequency. The scattering coefficient is also dependent on the angle which the sound is incident to the surface.
It is important to note that in the field of architectural acoustics, especially for the theatre, the design of the panels and the scattering and diffusion coefficients of these panels are not evaluated. Hence before I engage in the idea of architectural acoustics, to evaluate the surface geometry, I would have to look at the scattering and diffusion coefficient. Scattering and Diffusion “A scattering coefficient is a measure of the amount of sound scattered away from the specular reflection direction. A diffusion coefficient measures the quality (in terms of spatial uniformity) of reflections produced by a surface” (Cox et al, 2006). The use of the scattering coefficient is in fact used in architectural acoustics simulation. These simulation typically use a raytracing method which is only an approximate model, as sound by its nature is a wave. These simulation models require the input of the scaterring coefficients to calculate the amount of sound energy that “is specularly reflected and the proportion that is scattered”. The scattering coefficient is defined as “the ratio of the non-specularly refleccted sound energy to the totally reflected energy”. This scattering coefficient is useful in determining the specularity a reflected sound, and thus is use-
The scattering generally be
coefficient s, determined
can as:
Where αspec is the specular absorption coefficient, and α is the the absorption coefficient. The specular absorption coefficient is a coefficient which takes into acount the sound energy which is not scattered along the specular reflection direction. While the absorption coefficient “is the ratio of absorbed sound intensity in an actual material to the incident sound intensity”. Whats more important, is how do we evaluate the scattering coefficient. The methods that are used to measure the scattering coefficient is ususally with a physical test, in a reverberation chamber. The physical measurements involve the measurements of the absorption coefficients and are used to derive the scattering coefficients. However, Scattering coefficients “should not be used to evaluate the worth of surfaces when designing or specifying diffusers”(Cox, Dalenback, 2006). This is due to the fact that the scattering coefficients do not measure the quality of the dispersion. Instead, diffusion coefficient which is a measure of the quality of dispersion should be used.
91
3D polar response measured from a diffusor(Cox et al, 2006).
92
Diffusion coefficient is a measure of the quality of the diffused sound. It would be more relevant in my case for evaluating the surface as a diffusor. It measures the “uniformity of the sound scattered from the test surface”. The energy that is reflected can be either measured or predicted and interpreted as a “free field polar response”. The value of the diffusion coefficient is seen as a value which “gauges the uniformity of the polar response”. The more uniform the spread of the scattered energy, the closer the value gets to 1. Similar to the scattering coefficient, the diffusion coefficient is dependent on the frequency of the sound which is reflected off it.
proximation for high frequency range. A low frequency range of sound would treat a textured surface as a refletive surface instead of a diffusive one. Hence to actually diffus a larger range of spectrum, the application of the geometry should in fact translate across varying scales. The main aim of evaluating the diffusion/ scattering coefficient or the abosrption coefficient in my case would be to understand the ability of the geometry to serve as an acoustic tool to effectively diffuse sound.
The polar response can be measured or predicted using the Boundary Element Methods (BEM). The fact that the evaluation of the diffusion coefficient can be done using a prediction method such as BEM, makes it a more feasible evaluation method as compared to using the scattering coefficient which required physical measurement. The issue with the diffusion coefficient is that there is no direct link with most of the existing room acoustic models. The room acoustics models uses the scattering coefficients rather than the diffusion coefficient. This is due to the fact that the room acoustic models tend to rely on Lambert’s law which does not assume uniformity in the distribution of the sound energy. I believe that further understanding of software availbility and hardware testing availibility is required in my case to choose whether to work on the scattering coefficient or the diffusion coefficient. In an ideal scenario, I find that with the geometry and resolution generated by the subdivision algorithm, the diffusion coefficient would be a better choice to evaluate with. Perhaps an approximation using the raytracing method could be sufficient to demonstrate the scattering effect, however it is only a good ap-
93
Reflections from the walls of a room of a single impulse(Errede, 2017).
Chart showing reverberation time for different performances (Strong, 2010).
94
Theatre acoustics In the context of theatre acoustics, sound waves are often approximated to be rays in the analysis. This approximation is appropriate as the scale is large enough to approximate acoustic sound waves as rays.
For different types of performances in different spaces, there are different ideal reverberation time. This is due to the requirement of the intelligibility of the particular performance.
In theatre design, the tools for affecting the acoustics of the room are mainly “reflection and diffuse reflection”(Cox, D’Antonio, 2009) diffuse reflection is basically based on the scattering coefficient mentioned above. Absorption is not as preferred in theatres, as absorption removes the sound energy from the space, while sound is a premium in the theatre. The main acoustic consideration in theatre acoustics is the reverberation. A reverberation. Reverberation time is the time for sound to decay by 60decibels (Errede,2017). Reverberation distincts itself from echo as reverberation is when the time difference between the reflected sound and the direct sound perceived is less then 0.1 seconds. This is due to the fact that a sound “endures in memory for only 0.1 seconds”. The reverberation time is also affected by the volume of the space. In a perfectly diffused room, the reverberation time is approximated by Sabine as:
Where V while A
is is
the volume of the area of
However, of course the room is not
the hall, aborption.
in most rooms, perfectly diffused.
Diffusor panels are used in theatre design to reduce the specular sound and hence reducing the echo which is undesirable.
95
base room scenario
96
Acoustic
simulation
The acoustic simulation software that was used in this case was the Pachyderm software developed by Arthur van der Harten. It is an opensource software which is a plugin into rhino. Unfortunately, it is not capable to simulate scattering, as it uses the raytrace and image source method of acoustics simulation. However, due to the convenient nature of the workflow it provides, I have decided to use the software as my main mode of acoustics simulation. Simulation
of
basic
room
decay. EDT is has been proven more reliable for listeners than the T30 times especially for sound which is rythmically produced which is the case in terms of music performances. Another downfall towards the T30 values, is that it is reliant on volumetric space rather than geometric variations within the space.
geometry
Here I simulate the basiic room geometry, while creating simple variations to understand the workings oif the room acoustics in relation to the geometrical changes. The source and receiver points are fixed, while the material data used is that of acoustic gypsum fibre boards. To understand the results, one must be reminded that acoustics work in various frequncies, and in this case, the octaves are the frequencies simulated in terms of the Early Decay Time, which is a more human centric approach towards understanding of reverberation time. EDT is the approimation of the reverberation time by extrapolating the first 10ms of the sound pressure level sound source location inconsequential receivers receiver that is considered
97
ceiling iteration 1 EDT of test case
EDT of base room
98
99
ceiling iteration 2 EDT of test case
EDT of base room
100
101
ceiling iteration 3 EDT of test case
EDT of base room
102
103
ceiling iteration 4 EDT of test case
EDT of base room
104
105
ceiling iteration 5 EDT of test case
EDT of base room
106
107
variation of ceiling iteration 2 EDT of test case
EDT of base room
108
109
ground iterations
EDT of test case EDT of base room
110
111
wall iterations
EDT of test case EDT of base room
112
113
114
115
116
Acoustic analysis From the geometrical iterations of the room, it is claer that ceiling iteration 2 creates the most significant impact on the Early Decay time of the room. Furthermore, the various other iterations on the wall and the grounds showed that there is a potential to create a so-called dominant frequency where the particular point in the room has a higher EDT for a certain frequency, thereby amplifying the effects of the particular frequency that is perceived by the listener. Wall variations in particular seem to create the most variations in the EDT of the lower frequency ranges.
117
118
Site + Program
119
0
120
100
500 buildings site pedestrian motorway
Program: The program I am proposing for is a mid-sized theatre which seats approximately 500 people. It would be a pitch black performance space featuring contemporary works which serve to ignite the haptic perception of its audiences.
Esplanade Waterfront Theatre The choice of site for the proposed program is the at the area beside the Esplanade where the new waterfront theatre that was recently announced going to be situated. The main reason for this is because of the recent press release of the Esplanade Co, announching a new waterfront theatre which would be of a medium size capacity of 550. The site is conveniently located by the Esplanade concert hall, within the performing arts district. It is ideal for such a theatre which serves more towards the contemporary performance. Furthermore there is a requirement for a mid-sized theatre as established by the press release. The rethinking of a new typology of a theatre which seeks to trigger the haptic response of the audience.
121
122
Site Analysis The waterfront site by the esplanade is flanked by an undesirable site, which is the noise and mess of the grandstand of the floating platform. At the same time, towards the west of the site, is the Esplanade and the various cafes on the site. Primary route of access would be from this direction and the frontage towards the bay area is a desirable feature which should be considered.
123
124
Design
125
126
In-the-round Theatre Typology
127
128
Iterations of the ground/seating space
129
130
Comparing EDT with base room model where parameters are set to 0 using a raytrace mapping method rather than a hybrid raytrace/ image source method. Subdivision algorithm is used to analyse the EDT results for various geometries generated. The subdivision is localised at only one sector of the ceiling for ceiling iterations, and one sector of the wall for wall iterations. This is so that an agglomeration can be made to design the variation in the EDT of different sectors of the theatre space. base comparison model
131
125Hz
w1
w2
w3
w4
w5
132
w6
250Hz
500Hz
1000Hz 2000Hz
125Hz
250Hz
500Hz
1000Hz 2000Hz
w7
increase in EDT decrease in EDT no change 133
125Hz
c1
c2
c3
c4
c5
134
c6
250Hz
500Hz
1000Hz 2000Hz
125Hz
250Hz
500Hz
1000Hz 2000Hz
c7
c8
c9
c10
c11
increase in EDT decrease in EDT no change 135
w2 c11
125Hz dominant w4 c1
w5 c10
even 125Hz & 4000Hz dominant
250Hz dominant
4000Hz dominant
w2 c6
w7 c8
2000Hz dominant
w6 c2
136
137
EDT Comparison of final massing with base model
138
increase in EDT decrease in EDT no change
EDT Comparison of final massing with base model From the acoustical analysis of the Early Decay Time of the final theatre massing, it is evident that although there are variations in the EDT values for the performance space, the result did not go as expected at certain areas, while at other sectors, it followed expectations and achieved certain frequency dominance.
139
140
141
142
143
iteration = 0
144
iteration = 1
iteration = 2
iteration = 3
145
146
147
148
149
150
151
152
153
154
155
156
Lvl 1 Section of the performance space
157
158
Lvl 2 Section of the performance space
159
160
161
162
163
164
165
166
Conclusion The application of a subdivision algorithm may be able to create an interesting haptic experince by affecting the texture and acoustics quality of a space. However, there are certain issues that have yet to be addressed, primarily the structural issues, and the actual buildability of the design. As an architectural exercise it served to stretch the limits of the architect’s domain by touching on acoustics and hapticity at the same time.
167
168
Bibliography Carpo, M. (2016). Excessive Resolution: From Digital Streamlining to Computational Complexity. Architectural Design, 78-83. Hansmeyer, M. (2010). Design by Subdivision. Bridges 2010: Mathematics, Music, Art, Architecture, Culture. Pallasmaa, J. (2005). The eyes of the skin: architecture and the senses. Chichester: Wiley. Herssens, Jasmien, and Ann Heylighen. “Haptic architecture becomes architectural hap”.Annual Congress of the Nordic Ergonomic Society (NES). Lÿsekil, Sweden: NES, 2007. Herssens, J., & Heylighen, A. (2008). Haptics and Vision in Architecture. In Sensory urbanism proceedings 2008 January 8th & 9th, 2008, University of Strathclyde, Glasgow (pp. 102-112). Edinburgh: The Flâneur Press. Herssens, J., & Heylighen, A. (2012). Haptic design research: A blind sense of space. In The place of research, the research of place: conference proceedings (pp. 374-382). Washington, D.C.: Architectural Research Centers Consortium. Klatzky, R. L., & Lederman, S. J. (2011). Haptic object perception: spatial dimensionality and relation to vision. Philosophical Transactions of the Royal Society B: Biological Sciences, 366(1581), 3097–3105. http://doi. org/10.1098/rstb.2011.0153 Zeisel, J. 2001. Universal Design to support the brain and its development, 8.2 , In F. W. Preiser, and E. Ostroff , ed. Universal Design Handbook. Mc Graw Hill Professional, New York, 8.1-8.14. Morash, V., Pensky, A. E., Alfaro, A. U., & Mckerracher, A. (2012). A Review of Haptic Spatial Abilities in the Blind. Spatial Cognition & Computation, 12(2-3), 83-95. doi:10.1080/1 3875868.2011.599901 Held, R., Ostrovsky, Y., de Gelder, B., Gand-
hi, T., Ganesh, S., Mathur, U., & Sinha, P. (2011). The newly sighted fail to match seen with felt. Nature Neuroscience, 14, 551–554. Gibson, J.J. 1962. Observations on active touch. Psychological Review, 69, 477-491. Room Sound Absorption - Sound Absorption Coefficient. (n.d.). Retrieved April 24, 2017, from http://www.engineeringtoolbox.com/accoustic-sound-absorption-d_68.html Cox, T. J., & D’Antonio, P. (2009). Acoustic absorbers and diffusers: theory, design and application. Boca Raton: CRC Press, Taylor & Francis, CRC Press is an imprint of the Taylor & Francis Group, and informa business. Cox, T., D’Antonio, P., & Vorlaender, M. (2006). A tutorial on scattering and diffusion coefficients for room acoustic surfaces. Acta Acustica united with Acustica, 92(1), 1-15. Retrieved April 24, 2017. Meltzer, T. (2012, October 07). Comedians are turning the lights out ... Retrieved April 25, 2017, from https://www.theguardian.com/ stage/shortcuts/2012/oct/07/comedy-in-thedark Raden, B. (2016, May 24). Theatre in the Dark Is Exactly That. Dark. Blackness. No Lights. Got It? Retrieved April 25, 2017, from http://www.laweekly.com/arts/theatre-in-thedark-is-exactly-that-dark-blackness-no-lightsgot-it-2371817 Editors, A. (2016, December 08). Architectural Details: Herzog & de Meuron. Retrieved April 25, 2017, from https://architizer.com/ blog/architectural-details-herzog-de-meuron-elbphilharmonie/ Strong, J. (2010). Theatre buildings: a design guide. Abingdon, Oxon: Routledge. The Esplanade Co Ltd. (2017, April 10). The Next Stage for Esplanade – Theatres on the Bay [Press release]. Retrieved April 24, 2017, from https://www.esplanade.com/corporate-information/press-room#all 169
170