Moment Between Moments

moment between moments Kelly A. Peoples | Design Thinking Spring 2012 Gia Daskalakis, Instructor | Lauren Field, TA

Title

Subtitle

“It was something completely new, capable of creating a whole world, a magical, rich world, and in an instant you forgot all the loathsomeness around you and felt so rich, so at ease, so free, so fine.�

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Previous Page: Excerpt from Perfume, by Patrick Süskind // “An Alchemist in His Study” -- Painting by Egbert van Heemskerk

1 // Preface Introduction

2 // Question Framing a Concept

3 // Framework Point of Departure

4 // Sequence Explorations and Layerings

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14

24

44

5 // Program Breakdown of Services

6 // Approach Site Strategy

7 // Appendix Additional Information

Credits and References

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100

130

136

Acknowledgements

This book is the outcome of the Spring

2012 Design Thinking Seminar at the Sam Fox School of Design and Visual Arts in Washington University in St. Louis.

Gia Daskalakis, Instructor Lauren Field, Teaching Assistant

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1 // Preface

“The experienced, remembered, and imagined

are qualitatively equal experiences in our consciousness; we may be equally moved by something evoked by the imagined as by anything actually encountered.�

Juhani Pallasmaa, Encounters

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Intentions The Big Picture

Inhale. Pause. Exhale.

It is possible to establish a milieu within a pause – a hiccup in a city’s respiratory pattern.

This effect is achieved by transformations at two, distinct scales: the intimate, sensory experience of the individual and the plural, cumulative perception of the urban realm.

The goal of this project is to design the intersection between these metamorphoses: the moment between moments.

Images depict an ongoing metamorphosis within abandoned St. Louis parcels: the reclamation of nature.

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14

Gesture

Considering the Overlap

the individual singular experience

the overlap opportunity

the individual

the overlap

singular experience

opportunity, potential

the city collective understanding

the city

collective understanding

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2 // Question

Change and Desire.

The Trade

An Early Field of Study

For thousands of years, man has sought to transmute common substances of little value to substances of great value through the practice of alchemy.

Though known for attempts to change base metals into gold, many alchemists were concerned with the development of something much more profound: transformation of self.

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exoteric change outer, everyday consciousness; physical

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esoteric change inner, contemplative, meditative

Search for Meaning

Motivations for Transmutation

“The alchemist was ignorant of the real laws and constitution of matter, so he tried to clarify it with magical, mythical and religious meanings. These meanings were products of his own psyche, and therefore appeared less mysterious to him than the material world itself.�

Carl Jung

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broader context schism, dilapidation

d e s ir ed

co out

site

m

e

potential, energy

chan

22

si g n de

ge

A Parallel

Broader Application

Essentially, spiritual transmutations can be managed more easily when change is projected upon physical experiments. The alchemist is too immature to transform himself on his own terms, so he relies upon a device.

He must change something else in order to alter himself.

A similar logic can be applied to a site in need of metamorphoses: (1)

Determine desired effect.

(2)

Design a framework which activates potential.

(3)

Change will emerge.

As a means to subvert existing conditions, design can be used to catalyze embedded potential within underutilized areas of St. Louis.

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What type of device can trigger alchemic metamorphoses as related to both exoteric and esoteric experience?

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3 // Framework Metamorphoses neccesitates strategy.

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scaffold any raised framework

(n.) (n.) a temporary structure for holding workers and materials during the erection, repair, or decoration of an [existing] building. (n.) a raised platform or stage for exhibiting spectacles, seating, etc. (v.) to support by means of a scaffold 29

Application

Defining Characteristics

access Scaffolds enable one to reach items or vantage points that are otherwise unattainable.

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impact This framework relies upon anchor points, but these connections need not be incredibly large. Most of the structure is elevated above the base plane, limiting the possibility of damage to that which lies below.

Scaffolds possess implicit advantages. module Scaffolds are comprised of a base framework, or unit, that is aggregated across a field.

Additionally, each scaffold is devised of individual pieces which have been modularized.

adaptability Lightweight, interlocking components are easy to calibrate quickly across a diverse range of scales and configurations.

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They often accompany

spectacle.

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Conversely,

their users may become the spectacle.

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A simple intervention is all it takes to radically alter understanding of optimism.

The act of alteration can subvert.

Perhaps existing conventions are no longer adequate.

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Counteract

Skewing Perception

Notably, the juxtaposition between framework and object can generate new, unanticipated connotations.

For example, consider an abandoned homestead and the White House .

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Applications in Science Means of Cultivation

Scientists make use of scaffolds for engineering tissues like the heart: “The idea is that living heart cells or stem cells seeded onto such a scaffold would develop into a patch of cardiac tissue that could be used to treat congenital heart defects, or aid the recovery of tissue damaged by a heart attack. The biodegradable scaffold would be gradually absorbed into the body, leaving behind new tissue.”

“... the scaffold itself has an intrinsic ability to guide the orientation of cultured heart cells.”

Excerpts from “Mending broken hearts with tissue engineering,” written for MIT News by E. Thomson.

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existing state

program as scaffold

future state

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Program can act as a layering device within a broader generative sequence, providing strength for continued development in an area that is otherwise lacking.

cultivate

scaffold

screen

intercadence

sequence regenerate

arc h i t e c t u r e | s i t e | p r o g r a m 42

site | program

Strategy

Thematic Couplings

r esp it e

i mmerse

Relying upon the notion of a scaffold as the major driver, the synthesis of three themes will form a premise.

Each group possesses strong implications with regard to time, metamorphosis and sequence.

incubate nurture

p r og ra m

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Motivations

Programmatic Goals

engage

interact

intercadence

sense

play

sequence stim ul a te imme rse

regenerate

catalyst

r espite

scaffold

incubate

cultivate

screen

nurture

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4 // Sequence

The task of architecture, similarly, is to maintain the qualitative articulation of existential space.

Instead of participating in the process of further accelerating our experience of the world, architecture has to slow down, and fiercely defend that experience.

Juhani Pallasmaa, Encounters

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Time and Worth

Scenarios in which a Product Must Age

There exist numerous methods in which value can be cultivated over a period of time. Many practices, especially those related to food, undergo particularly long intervals during which ingredients age, ferment, and acquiesce their desireable qualities.

What is the common element which binds these various products together?

All of these products have been harvested.

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Time and Appearance

Material Appearance Enriched by Age

Likewise, materials exhibit change over time and exposure to the elements. The appearance of certain metals and woods are considered desirable as a direct result of this process: their patina reveals a stoic sense of character.

Rather than resisting change, these materials proudly bear the transformation of time.

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Gasworks Park Seattle, Washington

The Seattle Gas Light Company operated a gasification plant on this site from 1905-1956. Purchased by the city of Seattle, the area was remediated and eventually unveiled as a park.

The design, by Seattle landscape architect Richard Haag, calls for the preservation of much of the original plant. These remnants serve as a living monument to the park’s origins.

The juxtaposition of recreation upon volatile grounds makes for a dynamic subversion of site values and understanding.

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Gasworks Park has evolved

considerably.

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Yet, its legacy lingers.

Opposite Page: Gasworks Park, 1966. This Page: Gasworks Park, 2009.

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An analemmatic sundial, in which parkgoers their own shadows, marks the summit of the park’s hill.

With its dramatic 56

Seattle’s annual Summer Solstice Parade and Festival feature Gasworks Park prominently in their itineraries.

The landscape is commonly used for family portraits, engagement photography sessions, and even the occasional wedding.

Gaswork Park plays host to thousands for Independence Day Celebrations and Fireworks, including this 2010 occasion.

backdrops of industry + cityscape, Gasworks Park is just as much about spectacle as it is about recreation.

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Not Garden/Not Again Philadelphia, Pennsylvania

There are over 60,000 parcels of vacant land in Philadelphia, making it a ripe experimental ground for this project which aims to make “visible those materials that typically remain unseen.�

Led by designers from the PEG office of landscape + architecture, a University of Pennsylvania landscape architecture studio designed and implemented customized geotextiles upon vacant parcels throughout the city. The geotextiles were laid on site and seeded as a low-cost effort to shift perceptions about vacant land use.

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existing Two adjacent sites were chosen for the trial installations: the first only utilized geotextile fabrics.

The latter incorporated a more complex pattern and additional groundcover strategies.

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geotextiles Created with parametric technology, the geotextile patterns were lasercut from weed-control fabric by students.

The takeaway? It doesn’t take much to alter the perception of undervalued spaces. application There are several benefits to the geotextile designs: they require very little investment, effort, expertise, and long-term maintenance.

details Thousands of vacant parcels have been cleared and planted as part of Philadelphia’s Neighborhood Transformation Initiative. This approach achieves the same goal in a more imaginative manner.

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Above: Diagram depicting the possibilites of a broader effort: how might design transform a neighborhood?

Opposite: The combination of simple pattern-studies ultimately led to the final geotextile design.

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5 // Program

“For people could close their eyes to greatness, to horrors, to beauty, and their ears to melodies or deceiving words. But they could not escape scent... And scent entered into their very core, went directly to their hearts, and decided for good and all between affection and contempt, disgust and lust, love and hate.”

Patrick Süskind, Perfume

sequence 68

sensory

threshold

immerse

Immersion

Engaging the User

Design provides a means to sequence the regeneration of experience much like scaffolds possess the ability to transform objects.

The right program will accommodate these meaningful moments.

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Typology

Identifying Use Groups

create research

client

play

compose

relax

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Early Origins

Perfume’s Ancient Legacy

Ancient Egyptians’ enjoyment of perfume is well-documented: in addition to numerous hieroglyphics depicting the application of oils, archaelogists have uncovered early tools and containers to facilitate the process. Queen Hatshepsut, an ardent perfume user, solicited expeditions to retrieve incense trees for her olfactorythemed botanical garden.

Aristotle believed smells were incredibly influential, uniquely possessing the ability to not only affect one’s mood but also the ability to alter inanimate objects. Consider this: smell is the lone sense which is interpreted directly by the brain itself, whereas all other scents must first pass through a series of receptors.

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Processes

Tiers of Operation

collection Ingredients are harvested on-site, from animals, or are generated synthetically.*

*Animals are rarely used in the modern perfumery age.

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extraction Essential Oils, the most important ingredients in perfume are created as a byproduct of one of a number of extraction methods.

blending The oils are measured carefully and then mixed with alcohol, creating perfume that is much diluted from the original oils and now suitable for a customer.

There are four steps to creating perfume. aging Some perfumes and/or oils must be stored for a period of time prior to mixing.

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Extraction: Natural

Primary Methods For Obtaining Odorants

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enfleurage

expression

maceration

Flowers are spread upon glass plates which are covered in fat. The greased plates are stacked in tiers as the flowers release scent. Process results in pomade.

This is the oldest, simplest way to extract odors. Fruit rinds are washed and squeezed.

Essential oils are separated by spinning this mixture at high speeds.

This process is similar to enfleurage, but the fats used in the process are heated.

The grease is then dissolved, resulting in essential oils.

solvent extraction Materials are submerged with dissolving solvents within large tanks.

Process yields concrete, a mixture of waxes, resins, and essential oils.

steam distillation Steam passes through plant material, causing essential oils to turn into gas. The gas is cooled and liquified.

Common products include rose and lavendar water.

Odorants: Synthetic Rise in Chemical Engineering

The rapid development of synthetic fragrances has profoundly altered the perfume industry. It remains a controversial topic.

Synethetic odorants have significantly reduced the use of animals in harvest extraction processes. As they require less time and resources to produce, synthetics have also made perfume more affordable and accessible.

However, fragrance industry regulation pales in comparison to that of food and drug industries: many hazardous chemicals are distributed to consumers without ever being noted on ingredient lists. This is the downside to the chemical fragrance industry: there is little transparency.

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Sakae Aromatic

Flavor and Scent Research Lab

Sakae Company, the predecessor to Sakae Aromatic was established in August, 1945. It was right after the end of the war. People were still hungry back then, and of course flavor would not make them full. So, why did Eiichi Nakayama, our founder, choose this business?

He thought, “In Europe, you can smell the culture. Fragrant aromas surely can make people happy.”

He decided to contribute to build the culture of fragrance to make everyone’s life happier.

Excerpts regarding the company’s origins are from its website, <www.sakaearomatic.co.jp/en/history>.

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The company motto has

never changed:

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“We want to make everyone happy with our products.”

Opposite Page: Sakae Aromatic Staff. This Page: Image of the h

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Creating the Ephemeral

A Look Inside the Modern Day Olfactory Industry

How exactly does one design for a trade as ineffable as an aroma?

In 2008, a 5170 square foot factory/laboratory was unveiled by aoydesign in the Saitama prefecture, Japan.

Each flavor/aroma researcher requires ample desk space with storage.

Additional rooms are available for specific testing methods. Note the large window and daylighting.

Operable clerestory windows have been incorporated into the facade at the groundlevel factory.

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Wrapped in screens, some circulation spaces are open to the exterior.

Despite a somewhat uniform appearance, the layering is very delicate.

Storage space is abundant and features prominently within the interior.

The interior floor plan is clean, minimalist, letting the focus rest upon the research materials themselves.

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Graphics placed on exterior doors note the flavors that are being produced within.

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The series of scent/flavor themed rooms is a playful gesture which imbues meaning and a sense of transparency to a process that is often shrouded in secrecy. The manner in which these rooms articulate the facade is also notable.

An employee examines one of the distinct, flavorthemed rooms.

The graphics relate to a broader company identity: a crucial element for an industry which is so carefully tied to the image which it cultivates.

One of the design goals was to make the project as mysterious as possible, while avoiding the image of a factory.

During hours of operation, the factory floor resembles a brewery with its wide array of solvent and distillation tanks. The overall chemical process is similar enough to warrant a comparison.

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An Artform

The Master Perfumer Today C:

Do you think perfume is as much an art as painting and sculpture?

F: I’d say design or photography. I think great perfumery generates emotion similarly to certain abstract arts. I don’t think it’s as empowering as great music. Great perfumery touches a sensuous chord but not always a spiritual one. With the “St Matthew Passion”

by Bach you are lifted. When I smell Portrait of a Lady or Shalimar, it takes me to a world of beauty...

C:

...What about Dans Tes Bras?

F:

One of my best fragrances!

You smell pure abstraction, warm skin, intimacy... But no perfume is perfect, to paraphrase Billy Wilder.

Perfection is boring.

Images and interview between elite perfumer Frédéric Malle and critic Chandler Burr are from Nowness, the editorial website of LVMH Moët Hennessy Louis Vuitton 87

Master perfumers know exactly what they want to say with their fragrance. The appeal will be to the heart, to the world of sensations, to dreams and memories.

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Le Labo Perfumery Made-To-Order

Le Labo was founded in 2006 by Fabrice Penot and Edouard Roschi with the intent to provide an antithesis to the modern luxury perfume market.

Each of the brand’s perfumes are “lovingly” mixed on-site for the customer in lieu of the more common practice of having perfumes synthesized in a distant factory.

The result is that each scent is unique, respective to the client’s interests and the dexterity of the perfumer.

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Le Labo Perfumery Made-To-Order

Ingredients are agreed upon. This is similar to composing a recipe.

Aromatic compounds are measured and added to the mixture.

Oils and alcohol are stirred together by hand.

The composition becomes balanced.

Le Labo is remarkable for the transparency and customization it presents to customers regarding the perfume process. This has granted it a strong niche in an otherwise competitive market.

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The bottle is capped.

The cap is punctured in a press, rendering perfume sprayable and nearly complete.

Custom label is printed, indicating ingredients, date, client.

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outer mind conscious, critical

s ug

g

es

ti o n

inner mind subconscious

chan

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rfum e e p

ge

Use As Therapy Slowing Down Experience

The inner and outer mind are in constant communication -- what we perceive in our outer mind can inform our perception within our inner mind, even if that which is perceived is a falsehood.

Perfume is often used as part of a relaxation thearapy techinique, as it neutralizes the functions of the conscious mind. Itâ&#x20AC;&#x2122;s all about the power of belief, the ability to direct oneâ&#x20AC;&#x2122;s focus upon the facilitator.

Fragrance contributes enormously to overall experience and has the unique ability to stir memories.

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Checkpoints

Actions and Architectural Connotations

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(exhale)

(engage)

(incubate)

respite nuance

interact collaborate dialogue

test cultivate promote

in w a rd

outward

fortify

(time) place material ephemeral

c on n e c t 97

re s e a r ch

regenerate

harvest

refine

extract

garden

laboratory

nurture warehouse

collect produce protect collaborate

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Programmatic Sequence From Garden to Fragrance

personalize

calibrate

The program takes into consideration a distinct set of sequences, both public and private. retail

aromatherapy cultivate

consult

These processes stem from pragmatic needs, such as the steps to harvest and process raw materials, as well as emotional needs, including the desire to immerse oneself within a distinctly sensoral experience.

consult

develop

escape

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(unprogrammed)

10%

1 ouse reh wa

1

warehouse

13

garden % sup po rt

arom 6% ath era py

tbd

2%

20,500

laboratory

t re

la b

consu lt

5%

100

% y 26orator

aromatherapy

% 18 ail

square feet

Program

Built Space

Garden Support Equipment Storage Large Greenhouse

1,000 sf 1,750 sf

Warehouse

Laboratory

Storage -General 2000 sf Refrigerated 400 sf Shipping Receiving 150 sf

Kitchen Breakout Room (2) Studio Workspace Library Storage Extraction Blending (3) Aging Room

2,550 sf

Consult

Retail

Aromatherapy

Conference Room 350 sf Multipurpose (for workshops) 700 sf

Entry & Lobby 350 sf Retail 1200 sf Office (3) 375 sf Administrative 200 sf Cafe -Kitchen/Pantry/Cooler 500 sf Indoor Seating 900 sf Outdoor Seating 250 sf

Single Room (4) Large Room Dressing Room (2) Office Waiting Prep and Storage* Tea Room (2) Spice/Herb Greenhouse

1,050 sf

3,775 sf

300 sf 350 sf 1,300 sf 200 sf 150 sf 1,800 sf 750 sf 400 sf

5,250 sf 600 sf 400 sf 100 sf 150 sf 150 sf 300 sf 500 sf 1000 sf

3,200 sf 101

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6 // Approach

“This scent was inconceivably indescribable, could

not be categorized in any way ... and yet there it was as plaitn and splendid as day... He walked up the rue de Seine. No one was on the street. The houses stood empty and still... The street smelled of its usual smells... But above it hovered a ribbon, delicate and clear, leading Grenouille on.”

Patrick Süskind, Perfume

What type of site is ideal?

It is crucial that the site is not perfect, as this would negate a need for transformation. At the same time, the subject must be healthy enough to support ongoing metamorphoses.

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Criteria

Site Selection

The Ideal Site...

1.

2.

3.

4.

5.

Exhibits a discontinuity in city rhythm, Has an abundance of surface area,* reflects no prior industrial use, Oscillates between two distinct regions, Possesses proximity to clientele.

*This is desireable along the street in particular so as to program the resultant edge condition.

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delmar

Delmar Boulevard is one of St. Louis’s prominent arteries, stretching across a significant portion of the city and lending a distinct identity to “The Loop” district.

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total miles

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Historically, Delmar Boulevard represents the dividing line between the African American and White populations within the city of St. Louis.

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th

most segregated city in US *

Delmar Boulevard

Street traffic moves much faster than the posted speed limit. Despite close proximity to the Central West End, there are few pedestrians here. Vehicular noise is loud.

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mph

The stretch between Lake and Academy Avenues is marked by few remaining, mostly vacant buildings in what was clearly once a mixed-use neighborhood.

The area has seen marked flight, with many buildings now vacant or underutilized, despite heavy density in the past. Just a block south, many original structures still remain.

90,000

79%

square feet

area population loss 1950-2010

*Source: The Manhattan Institute 107

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Very little of this remains today.

Looking West from Southeast Corner of Delmar and Kingshighway Boulevards. 29 March 1934

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Itâ&#x20AC;&#x2122;s hard to believe this is the same street.

Looking North to Delmar from the residential alley, 01 April 2012

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L ak e A v en ue

A c a d e my A venue

C la r e nd on A ve nue

E n ri gh t A v enue

Wash ington P lace

intended for permanent use

Existing Conditions The Site today

The site, marked in red, exists along a stretch of Delmar which is marked by few structures and many abandoned parcels. The overall street rhythm is considerably lost: the long, uninterrupted stretches of vacant land grant the sensation of a block that has been lost to time.

Enr i gh t Av enue

intended for use as garden

Wash ington P lac e

Kingshighway Blvd

Delmar Boulevard

While the north side of Delmar also suffers from a lack of existing structures, the street rhythm remains better articulated here.

Consider the lack of loss that has happened just one block south, on Washington Place: the polarization of north and south St. Louis has left its marks quite strongly here.

L ak e A v en ue

Wash ington P lace A c a d e my A venue

C la r e nd on A ve nue

E n ri gh t A v enue

A Century Ago

The Decay of a Block

E nr ig ht A Just a century prior, this block was extremely dense: the overall population density in 1909 was 17,470 residents per square mile.

Enr i gh t Av enue

Today, this same block has a density of just 3,465 residents per square mile.

Wash ington P lac e

Kingshighway Blvd

Delmar Boulevard

La L akk e A v en u e

1 Cl C laare r e nd on A ve nue

2

10 3 4

9 Ac A c a d e my A venue

En ri g h t Av enue

Wash ington P lace

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Existing Amenities

Noting Local Merchants and Services

1.

Enr i gh t Av enue

5

2.

3.

4.

5.

6.

7.

8.

9.

6

Wash ington P lac e

7

Kingshighway Blvd

Delmar Boulevard

Nail Studio Southwestern Bell Telelphone Center Tyler Redeeming Christian Church Vespa St. Louis Hosea Gales Atkins Funeral Home Mobil Gas Station Kentucky Fried Chicken (KFC) Gunther Electronics Third Degree Glass Factory

As one moves eastward on Delmar, the types of establishments become increasingly placeless. They depend little on site and have assumed parcels of land which were once integrated into the urban fabric.

L ak e A v en uuee

Wash ington P lace A c a d e my A venue

C la r e nd on A ve nue

En E n ri gghh t Av A v enue

considerable There exists a

Enr i gh t Av enue

disparity between the areas north and south of Delmar.

Wash ington P lac e

Kingshighway Blvd

Delmar Boulevard

Those to the south are affluent, with substantially higher incomes and property values.

Neighborhoods to the north are marked by lower property values, levels of education and income, less amenities, and little stability.

The landscape program will be

extensive.

Gardens will engage residents to the north and south alike.

Opposite Page: View of permanent site from Delmar, looking west. This Page: Same parcel, from the alley.

Resilience

The Allure of the Garden

There is something distinctly alluring about the site with regard to the emergence of nature: an ongoing metamorphosis is clearly in progress.

This is especially pronounced from the approach of the service alley.

The poetic aspect of this pastoral environment can be harnessed within the perfumery gardens.

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Implications

Touchstone for Change?

Delmarâ&#x20AC;&#x2122;s redevelopment will continue to move eastward. Once it connects to the Central West End, citygoers will again see this neighborhood as a destination within a broader network.

Looking eastward from theWalgreenâ&#x20AC;&#x2122;s at Northeast corner of Delmar and Union Boulevards, 24 October 1932

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7 // Appendix

â&#x20AC;&#x153;Even if we were to list all the constituents on a bottle, it would help the consumer little, for here we are dealing with the world of emotions and sensations, with aesthetics. Everything that is presented to the user -- the shape and colouring of the packaging, the design and form of the bottle and the precious contents -- are symbols.

Part of our role... is to decode these symbols and make them comprehensible.â&#x20AC;?

Steve Van Toller and George Dodd, Perfumery

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1

2

3

4

5

6

7

8

Chapter Breaks Calibrating Geometry

Guilloché is a decorative technique which involves the repetition of a simple geometric pattern. The complexity of a guilloché design is based upon the amount of repetitions, or steps, that occur.

Likewise, each chapter begins with the same guilloché illustration: it is the number of steps which grows as the book progresses. The overall effect is intended to be similar to that of maturation, akin to the germination of an idea.

There are many ways to create Guilloché patterns, including the traditional spirograph or by parametric programs such as Grasshopper. I used a generator: <www.subblue.com/projects/guilloche>.

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Cover Image

The Beauty of Scent

The cover is based upon an image in Steve Van Toller and George Dodd’s engaging book, Perfumery: “The BEAM map shows the cortical activity of a subject presented with a smell later identified as pleasant. Shortly after the odour was placed below the subject’s nostrils, the right hemisphere of the subject showed increased electrical activity.”

Essentially, the cover depicts the brain, awash in the sensation of a new and pleasing fragrance.

The cover image itself is vectorized: it was created with the Adobe Illustrator plug-in, Scriptographer: <www. scriptographer.org/>.

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8 // Reference

The following represents data which has not yet been acknowledged.

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Works Cited Formal Resources

Aftel, Mandy. Essence and Alchemy: A Natural History of Perfume. Salt Lake City: Gibbs Smith, 2004. de Botton, Alain. The Architecture of Happiness. New York: Vintage, 2008.

Heschong, Lisa. Thermal Delight in Architecture. Cambridge: MIT Press, 1979. â&#x20AC;&#x153;The Flavorists: Tweaking Tastes and Creating Cravings.â&#x20AC;? Sixty Minutes.

Interview by Morley Safer. 27 Nov 2011. TV. <http://www.cbsnews. com/8301-18560_162-57330816/the-flavorists-tweaking-tastes-and-creatingcravings/>.

Pallasmaa, Juhani, and Peter MacKeith, ed. Encounters: Architectural Essays.

Rakennustieto Oy, 2005.

Perec, Georges. Species of Spaces and Other Pieces. revised ed. London: Penguin Classics, 2008.

Richards, Simon. Le Corbusier and the Concept of Self. New Haven: Yale University Press, 2003.

Suskind, Patrick. Perfume: The Story of a Murderer. New York: Vintage International, 2001.

Thompson, C. J. S. The Mystery and Lure of Perfume. London: J. Lane, 1969.

Turin, Luca. The Secret of Scent. New York: Harper Perennial, 2007.

Van Toller, Steve, and George H. Dodd. Perfumery: The Psychology and Biology of Fragrance. London: Chapman and Hall, 1988.

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10-11 Site Photos by Author 16-17 Detail from “The Alchemist” by Pieter Bruegel 34 Photograph of tissue scaffolds is from the UCSD Jacobs School of Engineering: <http://www.jacobsschool.ucsd.edu/news/news_releases/release.sfe?id=1075> 48-49 Corten steel photographs are from the COR-TEN Steel Flickr Group: <http://www.flickr.com/groups/309747@N24/> 52 1966 Gasworks aerial is from the Seattle Municipal Archives 58-63 All images of Not Garden by PEG Office of Landscape + Architecture <http://www.peg-ola.com/> 70-73 Photographs of Indian Perfumery are provided by ‘White Lotus:’ <http://whitelotus.smugmug.com/> 71 Egyptian hieroglyphics originally from The Mystery and Lure of Perfume 74 Illustrations are provided by Flickr user ‘El Bibliomata:’ <http://www.flickr.com/photos/fdctsevilla/> 76-83 Photographs of Sakae Aromatic obtained from the company website: <http://www.sakaearomatic.co.jp/en/> as well as Architizer: <http://www.architizer.com/en_us/projects/view/sakae-aromatic/28674/> 86-87 Photograph of Central Park in March 2012 by Author 88-91 Photographs of Le Labo Perfumery are by Author and from company website: <www.lelabofragrances.com> 142

Additional References Image and Data Credits

92-93 Diagram stems from Perfumery: The Psychology and Biology of Fragrance, pg. 150.

104 Racial distribution overlay is based upon a mapping by Eric Fischer: <http://www.flickr.com/photos/walkingsf/5559879267/sizes/o/in/photostream/> 104-105 Satellite images of St. Louis are from Bing: <www.bing.com/maps> Additional data provided by the following: <www.socialexplorer.com> <www.census.gov> 106-107 1934 Photograph of Delmar Boulevard is from the Missouri History Museuem: <http://collections.mohistory.org/photo/PHO:40679> 108-109 Photograph by Author 110-117 Street and building information are from GIS databases maintained by the Washington University in St.Louis GIS Coordinatorâ&#x20AC;&#x2122;s office: <billwinston@wustl.edu> 112-113 Site information from 1909 obtained from Sanborn Insurance maps within the University of Missouri archives: <http://digital.library.umsystem.edu/> 114-127 Photographs by Author 128 1932 Photograph of Delmar Boulevard is from the Missouri History Museuem: <http://collections.mohistory.org/photo/PHO:40613> Note All other photographs obtained with Creative Commons License: <http://search.creativecommons.org> 143