2018 Dissertation/ Yien Ling by en ling

Different Experiences In-Between the Wall Haptic, Miniature and Auditory Imagination

Yien Ling

Newcastle University, 2018

School of Architecture, Planning & Landscape Architecture BA Honours

Yien Ling 160012303

A dissertation submitted in partial fulfillment of the Architecture BA Honours

Different Experiences In-Between the Wall Haptic, Miniature and Auditory Imagination

Yien Ling

Acknowledgement

Sincere gratitude to my tutor, Mrs. Katie Loyd Thomas for the continuous encouragement and support of my dissertation, for her motivation and guidance.

Introduction

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Chapter 1 HARMONY: POCHÉ, HAPTIC AND CHILDHOOD IN JENNIFER BLOOMER’S WRITING 1.1 The Writing and The Poché of Ancient Castle on Loch Ness

1.2 Haptic Architecture and The Materiality 1.3 Memory of Childhood 34/

Chapter 2 DISORIENTATION: THE POCHÉ OF ST PAUL’S CATHEDRAL AND “THE BORROWERS” 2.1 The Poché of St Paul’s Cathedral 2.2 Disorientation : Through a Piece of Writing of The Gentle Author

2.3 Miniatures in Childhood

CONTENTS

64/

Chapter 3 HORROR: AUDITORY IMAGINATION AND THE WALL IN FILMS 3.1 Auditory Imagination 3.2 The Voice from Stone 3.3 Behind the Wall

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Conclusion

91/

List of Figures

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Bibliography

INTRODUCTION

Figure 1: Hyperespace

Figure 2, Hyperspace inside view

yperspace1, an installation designed by the Chapuisat brothers, which was displayed in the Kusthalle Sankt Gallen in Swit-

zerland in 2005. (Figure1,2) Entering a hole in a wall, the viewer will slide for several metres before being immersed in a labyrinthic space made of cardboard but perceived from the inside as a cave. Once inside, the only way for the visitors to leave is to crawl and squirm through the complex pathway until he emerges from the other side. The installation provides opportunities to explore the space in-between the wall, which lead people to think about more possible experiences while walls are accessible.

1 Hyperspace, http://socks-studio.com/2014/03/01/enter-the-space-inside-a-wall-two-installations-by-the-chapuisat-brothers/

Figure 3 Castle Tower inside view, Showing the dim light and the close view

To understand the diversity of the experiences in-between the wall more, I will explore a variety of cases to provide firsthand information for my study. For example, the space in-between old castle wall, it is a unique experience that visitors will focus on details of the surrounding. Following the steep stairs climbing up to the top. Within the narrow space, texture and roughness of the stone, the echo of foot steps sounds of visitors, dusts that floating in the dim light, or the smell of time ( Metal rust? Moss between the gap of stone bricks?), which occupied the senses of visitors, as if a series of journey of perception.(Figure. 3) As for the function of the wall, it could provide security and sometimes carry the weight of a roof to form a shelter. lt can also define an interior and an exterior space and guide the direction inside a building or might materialize a border. In addition to other cases, a blur domain within the thickness in the inhabitable wall is an enlarged enclosure that hosts a space in itself.

Considering that the space in-between the wall is not easy to access, the research will look into resources that present in films, comic, literatures and installations.Moreover, to clearly discuss the cases of the space in-between wall, chapters will be arranged according to experiences, which is harmony, disorientation and horror.

Chapter 1, Starting from Jennifer Bloomer’s The Matter Of Matter: The Longing Of Gravity,1 the nostalgia related to the ruin was revealed, which was affected by the haptic experience and resonated with childhood memory. Chapter 2, In next chapter, the poché in the dome of the St. Paul Cathedral, is a place that I’ve visited before and was impressed by its desolate feeling with the sense of disorientation, the echo sound mixed by walking steps on metal spiral stairs and the chatter of visitors. To understand the emotion in the dome precisely, a writing by The Gentle Author will be conducted to ananlyze factors of disorientation.

1 The sex of architecture, ed.a by Diana Agrest and Patricia Conway and Leslie Weisman (the University of Michigan, 1996 ), p.161 -p.166

Chapter 3, Exploration of the sense of fearlessness in-between the wall are not situations that usually happen in normal life. Thus, the researches on media works are conducted. Through two films, that is, “The voice from stone “(2017)1 and “Behind the wall” (2015)2, a focus on sound came from the wall arouse the imagination in the residents mind and cause a series of following stories in three of the dwellings of film.

The dissertation aims to describe these spaces more completely, sometimes introducing poetic or evocative forms of writing. Due to the need of other thoughts from different viewer, direct information or record from others will be important to explore. To borrow a series of literature work will also be required, in order to discuss more metaphor in different aspects that is beyond expression. In addition to the limitation of academic level and constrains on researching methods, the study is based on a review of relevant academic literature including fiction.

1 The voice from stone, dir. by Eric D. Howell (Zanuck Independent Code 39, 2017). 2Behind the wall, dir. by Bat-Sheva Guez (Bat-Sheva Guez & Gina Boucherd, 2015).

Chapter 1 HARMONY: POCHÉ, HAPTIC AND CHILDHOOD IN JENNIFER BLOOMER’S WRITING

1.1 THE WRITING AND THE POCHÃ&#x2030; of Ancient Castle on Loch Ness

y intention in the in-between space of the wall started from a piece of writing by the architect and writer, Jennifer Bloomer. The writing, “The Matter of Matter: A Longing for Gravity”1, is included in the book of “ The Sex of Architecture”, which is about the nostalgia in modern architecture, some little built-in in the house of Bloomer, the poché of an ancient castle and Pella Rollscreen, etc. In this chapter it will focus on the part of the writing of poché in an ancient castle, that Bloomer does not illustrate her text — She just uses language to evoke the feelings of being in the wall.

The sex of architecture, p.161-166

Below, is the part of of an ancient castle,

writing

about

the poché

“Lying in the broad, enveloping poché of an ancient castle on Loch Ness, my face catching the gentle breeze off the water through the machicolation, I am cradled in a sac of pure pleasure. The summer breeze, the setting sun, the warmth of the stone, the weight of it, the possibility of the monster- oh, I think I see it! No, now it’s gone. I am swallowed by this wall, warm, safe, comfortable, but also pricked by longing. It has something to do with the immediacy of the material and its attributeswarmth, weight, odor, color, texture- and the distance of history of which it is a pregnant trace. Other bodies, sharp projectiles, boiling liquids, abject substances, scrambling limbs, the sound of metal on metal, metal on stone, metal on flesh. The howling of dogs. The longing of human to animals. Here, in this utterly foreign place, I feel at home. This wall of home and shelter, gravid object swollen with these facts, can be represented with two simple straight, parallel lines.” —Bloomer1

The sex of architecture, p.163

In this writing, except for the visual, the integration of many senses are referred to, such as touch, positional awareness, balance, sound and the memory of previous experiences, which are all combined into one holistic wholeness that delivered a complete information of the place. Through the composition of precise words, “summer breeze, warmth of stone, the weight of stone and texture”, readers could accurately imagine the tactile of the poché, that is heavy, rough and warm.(the warmth might come from the sun). Moreover, it referred that “I am cradled in a sac” and “I’m swallowed by this wall”, could assume that the position and balance of the writer inside the poché is a steady and safe condition as if being cuddled. Regarding the sound, the howling of dogs, which is a familiar sound that will deepen the sense of intimacy of the writer and most of the readers to a new place. Lastly, it is about the memory, relating to the memory of childhood and the imagination of the past. For the childhood memory, “the possibility of monster- oh, I think I see it! Now, now it’s gone.”, it reminds readers of the story of the monster of Loch Ness in childhood and, “I feel at home. This wall of home and shelter”, is the sense of safety that could trace back to childhood that we used to hide in a place tiny and warm. In addition to the imagination of the past, “Other bodies, sharp projectiles, boiling liquids, abject substances, scrambling limb, metal on metal, metal on stone, metal on flesh……”, the imagination of the writer simultaneously associated the place with the scene of the historic event in visual illusion and sound, which is beyond reality and time. In the following, it will investigate attributions of the feeling of home in haptic architecture, the materiality of surroundings and childhood memories.

1.2 HAPTIC ARCHITECTURE AND THE MATERIALITY

“….Here, in this utterly foreign place, I feel at home….”

ome, in the writing is composed by senses, which is a warm feeling of being swallowed by a place. Feld has written that “Place is sensed and senses are placed.”1, which shows possibilities that a place could be rebuilt by senses, including home. Additionally, following the text, visual inquiry seems unnecessary, the descriptions of writing relied more on other senses. As to haptic architecture, it is about an architecture based on the sense of touch rather than on visual aspects,2 which offers nearness and affection instead of distance and control.3 In Ancient Egyptian architecture, bodily experience is always highly individualized and intimate, which is about near vision and tactile between body and architecture instead of a far perspective view.4 From an experiment, people with congenital blindness requires more and better acoustics and haptic information, and prefer to have low ceilings and small rooms.5 Thus, it could assume that it is easier for human to accept sensory information in a narrow space that is a focus on the proximity of body and architecture. To further discuss factors that affects the haptic experience, it could focus on the materiality of the environment.

1 Empire of the Senses: The Sensual Culture Reader, ed. by David Howes, (Oxford: Berg, 2005), p.179 2 Rituals and Walls: The Architecture of Sacred Space, ed. by Pier Vittorio Aureli & Maria Shéhérazada Giudici (Architectural Association, 2015) 3 Juhani Pallasmaa, Toward an Architecture of Humility (1998), < http://www.geocities.ws/mitchellmosesstudio/pallasmaa01.pdf> [Accessed, 01/01/2017] 4 Rituals and Walls, p. 138 5 Herssens J. & Havlena A, Haptic Architecture becomes architectural hap, (1992)

Looking material

into the text, the is referred,

importance

â&#x20AC;&#x153;I am swallowed by this wall, warm, safe, comfortable, but also pricked by longing. It has something to do with the immediacy of the material and its attributeswarmth, weight, odor, color, texture- and the distance of history of which it is a pregnant trace.â&#x20AC;?

The main point of this writing is about the longing of warm, safe and comfortable feelings in the poché of ancient castle, which is partly contributed by materials. Lying in the poché of ancient castle, gravity is measured by the bottom of the body that is touching the ground, through the skin could feel it is warm, heavy and a bit rough. The sensual and practical engagement with familiar space depends upon materialities, not simply the cultural understandings that emerge out of broader discursive and representational epistemology.1 To derive information from the materiality of environment, could through the sense of touch.2 Pohe and Locke referred that, the temperature, movement and shape transformation of the surface are main outputs for the sense of touch.3 Moreover, according to the combination of actuators, surface folding and user behavior, a large variety of haptic experiences can be evoked through the the interaction with the surface.4 Except for the information that materials could deliever through touching, “the distance of history of which it is a pregnant trace”, a further discussion of material imagination should also be explored.

1 2 3 4

Tim Edensor, Sensing the Ruin, Volume 2 issue 2 (2007) p.217-32 (p. 225) Thorsten A. Kern. Engineering haptic devices. (Springer: Verlag,Berlin, 2009.) Ingrid Maria Pohl & Lian Loke, Engaging the sense of touch in interactive architecture (2012) Pohl & Loke, p.4

Figure 4 Stone of Castle Wall,

Regarding the stone in the poché of Loch Ness, as a natural material, it enables the vision of experiencer to penetrate the surface of it and then become convinced of the truthfulness of matter. Matter evokes subconscious images and emotions, but modernity sufficiently has been concerned with form.1 A sensory essence is a lack of the points in the modernist surface, which is a conceptual and abstracted boundary of volume.2 The weight of the stone creates a sense of reliability, that is a physical matter with the characteristic of stability. For instance, comparing to glass, glass contains the feature of frangibility that seems inappropriate to rely on, which is a material made through the process of compression and the concern of breaking it into fragments is hard to be ignored. That is, in haptic experience, the texture, shape and temperature of surface and the essence of materiality are points that the perception and thought of human interact with, which is the point of creating a sense of home feeling warm, safe and comfortable. In addition to the concept of time in material, it enhances the material imagination , which forms images which go beyond reality. The value of time of the castle of Loch Ness introduced the past into present. Ancient buildings lead people back to the seemingly slow flowing time and silence of the past, blurring the division between perception and thought. A mental need of rooting in the continuity of time and in the manmade world, is the aim of architecture to facilitate such an experience. Pallasmaa referred that natural materials express the age and history, including the story of origins and the history of human use.3 Other materials, such as metal do also show time through the patina of wear, which increases the enriching experience of time to the materials of construction.

1 Gaston Bachelard, Water and Dreams: An Essay on the Imagination of Matter, (Pegasus Foundation, 1983), p.3-5 2 Kolarevic & Klinger, Manufacturing Material Effects: Rethinking Design and Making in Architecture, (Routledge, 2008), pp7-10 3 Juhani Pallasmaa, The Eyes of the Skin: Architecture and the Senses, (John Wiley and Sons, 2005) , p. 31

1.3 MEMORY OF CHILDHOOD

s for the feeling of home in Bloomerâ&#x20AC;&#x2122;s writing, it referred to nostalgia.1 Nostalgia, the dictionary defines nostalgia as "homesickness" or a "longing for something far away or long ago.â&#x20AC;?.2 A longing for a past is always also a longing for another place, possibilities to escape from the present time. Several possibilities could evoke personal and historical nostalgia, such as objects, events or a place, which tends to relate to sights, smells, sounds or other haptic elements.3 According to the discussion in previous sections, it regards the childhood imagination (1.1), haptic, narrow spaces and materiality (1.2). In the following, it will examine the relationship of narrow spaces in childhood and the feeling of home in the pochĂŠ of Loch Ness.

1 The sex of architecture, p.162 2 Angus Stevenson, Oxford Dictionary, (Oxford University Press: 2010) 3 Susan L. Holak & William J. Havlena, Nostalgia: an exploratory study of themes and emotions in the nostalgic experience (1992)

The feeling of home in the poché is an emotion that is related to the memory of childhood, which is a period of time that is easy for a child to crawl into a warm and tiny place. Such a warm and tiny place, according to several researches, the attic, the deep closet space, underneath the table, the tucked-away corners in the basement or storage shelters, or the space behind the full and heavy curtains are places that children usually choose.1,2 Relevant places as attic, closet, corners, etc, usually attracts people to explore more and define it as their own secret place, that everything inside becomes more and more curious, moreover, a place belongs to people their own. The secret place is, then, a home where one finds oneself at home, a place where one is with oneself.3 It is a space that span between the daydream and realistic, the viewer could peep at the both side of it, which is two experiences come together: that of being the outsider at a distance, and that of having understood a reality. Consciousness of being at peace in one’s corner produces a sense of immobility, and this, in turn, radiates immobility. An imaginary room rises up around our bodies, which thinks that they are well hidden when we take refuge in a corner. Already, the shadows are walls, a piece of furniture constitutes, a barrier, hangings are a roof. As mentioned before in the section 1.2 Haptic Architecture and The Materiality, a narrow space forced people to concentrate on their own haptic experience, which is a cohesion of consciousness on individual’s own world. Consciousness of being at peace in one’s corner produces a sense of security, which creates an imaginary room rises up around our bodies, and think that the room is well hidden when we take refuge in a corner. That is, the shadows are walls, a piece of furniture constitutes, a barrier, hangings is a roof.

1 Gaston Bachelard, The poetics of space, (Presses Universitaires de France, 1957), p. 3-89 2 Marinus Jan Langeveld, The Secret Place in the Life of the Child, Phenomenology + Pedagogy Volume 1 Number 2 1983, p.181-91 3 Langeveld, p. 183

In the theory of memory and mood, entering into association with coincident events, a memory unit was served as an emotion.1 More investigations about the memories between human body and narrow spaces could trace back to the experience of the womb, moreover, is about the touching and holding by mother in childhood.2 A mother maximizes the function of the maintaining by touching and holding her child, the introjection of the sufficient feeling of skin of child may be served as a background object to rebuild its skin-ego, re-strengthen its protective cover, tolerate pain— mother and child recreate the blended boundary of the womb, but the purpose of their embrace is to re-build a linear, containing boundary.3 It seems that the enjoyment of children of tight corners and special spaces begins with the early age. However, a small space without an easy escape can be claustrophobic, one with an easy exit gives human enough security to let go of oppressed feelings. security of being held closely to you. “A nine-monthold loves to sit in a box; at 12 months, he’ll love to crawl through a tube; at two, he’ll enjoy sitting under the table,” says child psychologist Dorothy Einon.4 Therefore, it could say that the habitation of secret places such as attic, corner, closet, etc, could possibly bring a sense of home, which is a longing of belonging for each individual. With regard to the poché of Loch Ness it is about, “I am swallowed by this wall, warm, safe, comfortable, but also pricked by longing.”

1 Gordon H. Bowery, Mood and Memory, Stanford University (1981), American Psychologist, Vol. 36, No. 2, 129-148 2 James Krasner, Home Bodies Tactile Experience in Domestic Space (Ohio State University Press, 2010), p.3 3 Krasner, p.3 4 http://www.juniormagazine.co.uk/baby-and-toddler/why-children-love-secret-hiding-places/2473.html

Figure 5 View to the Wall Passage,

The beginning of interest in Bloomer’s text is about a poché which had stimulated Bloomer in various senses, which even trigger different memories in the aspect of history and childhood. The aim is to explore the reason that a foreign place brings a feeling of home in the visitor’s mind,especially through the haptic experience. More exploration in haptic architecture through the space in-between wall could be found in a project by AA school student, “Haptic Space: Old Cairo's Citadel and the Architecture of the Coptic Church” (Figure 5), it includes a rhythm of different experiences, and play a strategic role in rethinking the entirety of a place.1

Rituals and Walls, p. 145

Figure 6,Â Looking from the floor to the Dome Source, The Gentle Author

Chapter 2 DISORIENTATION: THE POCHÉ OF ST PAUL’S CATHEDRAL AND “THE BORROWERS”

2.1 THE POCHÉ OF ST PAUL’S CATHEDRAL

y intent of this chapter is to look into the poché of St. Paul’s Cathedral’s dome that is a place totally different from any other place of the cathedral or city itself, with an uncanny and unpredictable atmosphere drifting around. The definition of the term poché in this chapter is to emphasize the form of the space is pocket-like, which is characterized by both a concave and a convex surface. The poché is with an unpredictable mysterious meaning that is an enclosure as a glove or a pocket that cannot be objectified. To simply describe the poché, it is a ‘bag’ or a ‘pocket’. An interstitial space within a larger construct.1

1 Sudipto Ghosh, Poche Parisienne: The Interior Urbanity of Nineteenth Century Paris, University of Cincinnati, Oriental Occidental: Geography, Identity, Space (2001),p.24-27

Figure 7, View from the top of the St. Paul dome to London City,

Sitting in the western part of London, St Paul’s Cathedral is one of the most famous places that attracts people from worldwide to visit about its history, architecture and faith value. So I’m guessing that most people who is reading this writing already knew something about St. Paul’s Cathedral. The initial impression of the St. Paul’s Cathedral from most travel books or websites would be its great momentum from its exterior appearance to indoor view. Moreover, visitors will come to overlook the view of London from the top of the cathedral, seeing how the old and new buildings integrate together which create the current London (Figure. 7). Comments on travel websites like, “Timeless masterpiece!”, “Stunning place for worship and found a spiritual journey going there.”, or “History, art and architecture, in one incredible building.”, 1show points that most visitors experienced and expect to experience. However, a hidden space in-between the dome wall, which was mysteriously enclosed like the insides of a glove or a pocket was the place that I repeatedly reminisced.

1 Tripadvisor, https://www.tripadvisor.co.uk/Attraction_Review-g186338-d188159-Reviews-St_Paul_s_Cathedral-London_England.html

Figure 8, Section of St. Paul’s Cathedral Dome, (The poché is defined by red mark)

When I first entered into the poché of St. Paul’s Cathedral, several fragments of memories awaken in a vague form, the experience was beyond description. After visiting, few words that I took to explain to others were disorientation, uncanny, unpredictable and mystery, whereas its position and its purpose of existence were of a blurred view. What was clear was that people were together, shuttling back and forth between structures and metal spiral stairs. It was after reading a piece of writing from a blogger- The Gentle Author, who has lived and devoted research in the writing of Spitalfield1’s life since 2009, about his experience in the poché of the St. Paul. The writing covers the main scenes of the poché, which is about the activities of visitors inside, the distinct scene of inner dome structure and the metal spiral stairs. Those blurred thoughts became clear after reading the Gentle Author’s text and then connected with more imagination memory in childhood that make me scream out, “That’s what it’s like to inhabit in in-between walls!”. It reminded me of “the borrowers”(1997 & 2011)2, which is a famous that got into films. In the films, the borrowers with tiny figures inhabited inside the walls of the human being’s house and at the end viewers would find that the borrowers were spread all over the in-between walls in the city.

The following section will discuss the unique views of the poché of St. Paul’s Cathedral that arouse disorientation and reminiscent visitors of childhood memories. To clearly explain my main thoughts, the writing by the Gentle Author and other cases will be introduced to complement the lack of language use.

1 2

Spitalfield, Beside Brick Lane, in the east of London. The borrowers, dir. by Peter Hewitt (Polygram Filmed Entertainment, 1997). The borrowers, dir. by Tom Harper (Moonlighting Films, 2011).

2.2 DISORIENTATION: Through A Piece of Writing by The Gentle Author

he most frequently employed definitions of disorientation ‘the condition of having lost one’s bearings’; ‘a confused mental state... that the appreciation of one’s spatial position, personal identity, or the experience of time, is disturbed’.1

We have now stepped into the poché of St. Paul’s Cathedral, with a glance of the inner view of the poché and allowing a sense of disorientation rise. In the following section, some parts of writing from the Gentle Author will be conducted to interpret it claearer.

(THE MAIN SENTENCES IN THE WRITING OF THE GENTLE AUTHOR THAT IS FOR DISCUSSION IN EVERY PART OF PARAGRAPH, WILL BE HIGHLIGHTED WITH “ B O L D ”)

1 105

Timothy Saunders, Metaphor and Disorientation, Culture, Theory andCritique,(2016) 57:1, 92-

Figure 9, Poché of St Paul’s Cathedral

Here’s a piece of writing by The Gentle Author,

“From here you climb into the interior of the domed roof – laced with iron staircases, spiraling and twisting around the central brick cone, like a giant pie funnel, that supports the lantern at the very top. Every wall tilts or curves or arches in a different direction and there is no longer any sense of height, you could equally be underground. Let me confide, on this recent visit, to my surprise and for the first time, this was where I experienced disorientation. I found myself in a space without a horizontal floor and barely any vertical services, hundreds of feet in the air, sandwiched between the roof dome with the sky above and the interior dome beneath… ”1(Figure. 9)

1 http://spitalfieldslife.com/2011/04/24/in-the-roof-of-st-pauls-cathedral/

still remember that in the space of the poché, curve and straight lines waving together in one view as a threedimensional labyrinth. This includes the spiral stairs, which lead visitors ascending to the top of the dome roof with the inherent rhythm of foot-fall that becomes a main theme of sound in the poché. Blurry moving form of crowds as the Gentle Author referred in the text, they were in the air, sandwiched between the dome roof structure. There was a sudden I had a hallucination that I was inside a busy factory that lines of machine form and building structures were interwoven together and things were transported up and down (Figure 10.). Things were chaotic but with a kind of order inside. However, for a first-time visit, it was uneasy to clarify rules from these distorted scenes. Such an ambiguous thought to a place is similar to moments of disorientation amongst the everyday reality of the city, which is some spaces between buildings bring a subliminal influence that creates a vague and discomposed feeling among passerby who do not even remember viewing it.1 In the following, it aims to examine the reasons of the disorientation of spaces that visitors experience, which will focus on the confusion of height in a place, the uncommon form and scale of the structure and the movement of visitors.

Figure 10, Motion in Factory, Edited by Author 1

Larry Ford, The Spaces between Buildings, (Johns Hopkins University Press, 2000), p.3

“…Every wall tilts or curves or arches in a different direction…” “The concave wall of the outer dome and curving away to the left is the convex wall of the painted inner dome that sits inside it, just like an enormous boiled egg beneath a cosy. It is a strange configuration which means the lower dome does not have the bear the weight of the dome roof, and which creates extraordinary incidental spaces that never cease to fascinate me whenever Through the description above, it roughly shows the space of poché was built with nonlinear structures being used to support the dome. The concave and convex walls are uncanny configurations that usually could only be seen in old masonry construction, though from the outside, regular ashlar masonry would be seen, the internal structure is, in fact, much more irregular and complex.1 Different from modern structure, the structural elements of old masonry construction are twoor threedimensional, but not linear, as in frame or truss theories, or thin as in the usual shell theory, which explains the factors of the uncanny form of the St. Paul’s poché. As to the uncommon big scale of structure. The function of the structure is merely for building support, which is not considered for the scale of human use. And it is the reason that the scale of the structures inside the dome is far from normal experience, which brought visitors a feeling of mystery and unpredictability. As the environment becomes larger than usual, visitors experience disorientation, fear, a sense of impending danger, and even paranoia and disgust toward things, animals, and people.2 Thus, it could say the uncommon form and scale lead visitors to an experience of unusualness, that deepen the visitors’ feeling of disorientation. 1 Santiago Huerta, Galileo was Wrong: The Geometrical Design of Masonry Arches, (2006) Nexus Network Journal VOL. 8, NO. 2, p.25-52, (p.48) 2 Sebastian Dieguez, Micromégas: Altered Body–Environment Scaling in Literary Fiction (2016)

“…Every wall tilts or curves or arches in a different direction and there is no longer any sense of height, you could equally be underground…”

In the poché of St. Paul’s Cathedral, visitors lost the sense of height, confusing with the actual height of themselves from the ground and the only knowledge is that it could access to the top of the dome. To maintain spatial orientation, humans tend to stay on the ground. For instance, the three-dimensional environment of flight is unfamiliar to the human body, which creates sensory conflicts and illusions that makes spatial orientation and awareness difficult and sometimes impossible to achieve.1 The height in the cognition of visitors inside the poché is uncertain and it creates a sense of chaos in mind, which means a sense of disorientation. The only realization of our position was heading towards the top of the dome, but on the other hand, still being confused with the place that we actually were. Thus, in my opinion, the confusion of height for human in a place is one of the reason of disorientation.

Kent K. Gillingham & Fred H. Previc, Spatial Orientation in Flight, 1993

Figure 11, Stairs in the Poché of St Paul’s Cathedral,

In this section, the focus on the impact of the disorientation will move from the view of physical space to the proprioceptive of visitors, especially during the process of climbing up the spiral stairs (Figure. 3). The attachment of the proprioceptive to the visual in the movement of orientation is a synesthetic combination, and through synesthetic fusion with the tactile, it means that determinate, positioned sight is a potential touch.1 Walking up the spiral stairway of the poché of St. Paul’s Cathedral is to hold the whole space of poché in a circle around oneself as a group of haptic movements and sensations. When a human acts in a quick motion or an object rapidly passes by, it can create stimulation to the vestibular of the human to feel losing balance.2 As human rotating, fluid inside semicircular canals will drive sensory hair to follow the rotation blending, which leads human to a condition of feeling vertigo. Therefore, it could assume that the spiral movement of ourselves in poché is also the reason of disorientation. To conclude, three main factors affected the result of feeling disoriented in the poché of St. Paul’s Cathedral. It is about the unlinear structure view, moreover, the lost of height and the spiral movement of visitors themselves that brings visitors to a state of disorientation,

1 Brian Massumi, Parables for the Virtual: Movement, Affect, Sensation, (Duke University Press Books, 2002) 2 B. Todd Troost, Dizziness and Vertigo in Vertebrobasilar Disease. Part II. Central causes and vertebrobasilar disease. the American Heart Association Vol 11, No 4, July- August, p.413-15, (p 414)

2.3 MINIATURES IN CHILDHOOD

n this section, it will look into the difference of scale between visitors and the space of poché, which brings opportunities of imagining a in-between wall world as “The Borrowers” (Figure 12& 13. Showing the similarities of different spaces inbetween the wall)

Figure 12, Configuration in the Poché

Figure 13, Sewage Scene in The borrowers

(Discussion will still begins with the writing of the Gentle Author. )

Figure.14 Stairs in the Poché of St Paul’s Cathedral

Figure 15, The Borrowers’

Figure 16, Man climbing in the Vent Pipe in the movie of White

Figure 17, The Borrowers running inside the wall that reveals some part of wall structure

Through some literatures, movies and other works, the exploration of spaces in-between the wall has been discussed several times. For instance, Junji Ito’s comic (Figure 18& 19), “A Room with Four Layers Walls”1, saying that a room has been built with a wall with four interlayers and between each layer do have spaces for people to climb through. Moreover, in an episode of “White Chapel”2 (Figure 16& 20), a man lived into the house wall in order to plan to murder the housekeeper. Lastly, it is about “The Borrowers”, which is a famous children’s book that leads children to a miniature world inside walls, and it captures the curiosities of children to explore spaces in-between the wall. “….a warren of staircases and narrow passages that enable people to run like rats within the walls….” The movement of the crowd within the poché of St. Paul’s Cathedral was described as running rats inside the space of the walls, which is a scene similar to “ The Borrowers”. The Borrowers are tiny humans living in the space in-between wall, however, it is a space difficult for normal humans to explore. Then, in the poché, humans finally experienced the world in the in-between wall. Similarities between the poché and “The Borrowers” is not only about the scale and the location of the space, that common points could also be seen in the configuration of space. For instance, the curve wall and the wall with a circular void (Figure.12& 13). Moreover, the spiral stairs inside the poché providing people to go up and down (Figure. 14) could be regarded as stairs that the borrowers used to move between spaces that is not designed in their scale (Fig. 15). It seems like the the vision of “the borrowers” turns into reality in the poché of St. Paul’s Cathedral.

1 Junji Ito, A Japanese horror manga artist. “A Room with Four Layers Walls” is a short piece of work saying a young brother built a small room for his brother but did it in lots of layers of walls and playing tricks inside 2 A series of episodes saying tha detectives in London’s Whitechapel district dealt with murders which replicated historical crimes.

After found the trace of young brother, they started a chase.

The brother cannily designed a nail wall, smelly pool, and other interactive equipment

57 The second door to access to other interlayers should be somewhere.

Figure 18 & 19 A Room with Four Layers WallsÂ

Figure 20, Detectives and the murderer chasing inside the wall in the movie of the White Chapel

Next, will discuss through the way children could be directed by imagination. One of the favorite illusions of people’s imagination is that believing it can shrink or enlarge the beings at will, to the stature of giants or bugs without further alteration.1 Moreover, it is a natural imagination appears at all ages to enter into miniature world, that through imagining the tiny things could simply psychologically back to childhood.2 Through imagination, the imaginary body of us was miniaturized. What’s more, after attend to the miniature world, the outside world stops and is lost to use.3 By means of the miniaturing process, a sense of estrangement and a slightly unpredictable world has been created. Therefore, referring to the disorientation experience in the poché of St. Paul’s Cathedral, it could assume that an awareness of miniaturing bodies of ourselves deepen the sense of uncanny due to the dream-like world.

1 Sebastian Dieguez, Micromégas: Altered Body–Environment Scaling in Literary Fiction. (2016) 2 Gaston Bachelard, The poetics of space, (Presses Universitaires de France, 1957), p.149 3 Susan Stewart, On Longing: Narratives of the Miniature, the Gigantic, the Souvenir, the Collection, (Duke University Press Books, 1992)

Some further researches related to different views between adult writers and children have brought some concern points to diversities between children and adults. Such as, in Pace’s research, in the writing of children’s book, for the child, the miniature world is seen as a site where fantasies and anxieties are performed, but for the adult writer, the writing is a “miniature world” for the performance of “child, and to access it needs a process of reconstructing and representing the child’s body.1 It seems that adult is located outside the frame of reference particular to the miniature world, with the difference of identity from children that the process of entering into the miniature world is more further. However, in the poché of St. Paul’s Cathedral, adults no longer need to peer into an enclosed space to experience a miniature world, which is adults and children are both already inside of it, that both of them are “the borrowers”.

1 Patricia Pace, The body‐in‐writing: Miniatures in Mary Norton’s borrowers , Text and Performance Quarterly, (1991) 11:4, 279-290 <https://doi.org/10.1080/10462939109366019 >

Figure 22 Haus Ur, Space in-between wall revealing the structure of the wall

Figure 21 Haus Ur, A stair heading to somewhere

Figure 23Â Haus Ur, Climbing out from the wall under sink

To conclude, visitors in the poche of St. Paulâ&#x20AC;&#x2122; Cathedral went through a journey as "The Borrowers". In the poche, the function, the scale and the configuration of the space is unusual and is a dream-like experience, which is totally different from daily life. More other similar cases in reality could look into "Tote Haus Ur"1. It is an installation be built within a house itself, that visitors could climb into the space in-between wall. (Fig, 21-23)

More exploration in the Tote Haus Ur could view through https://www.youtube.com/watch?v=GRpHhuxBZVk

Chapter 3

HORROR: Auditory Imagination and the wall in films

3.1 AUDITORY IMAGINATION You hear, and you imagine

n this chapter, it will discuss that, through sound, the wall is not only a space being used to distinguish spaces but also a connection between different spaces. The importance of auditory imagination for space cognition in human’s daily life usually being ignored in the architecture design. Through Katherine Schonfield’s book, “Walls Have Feelings”1, it shows the analysis of the movie “Rosemary’s Baby” (Polanski, 1968)2, which is about the relationship between the residents and the sound from the wall. Through this case, a coverage of the film for a space study could be a new viewpoint to examine the relationship between people and the space. Therefore, “The voice from stone” and “Behind the wall”, are two horror films selected to investigate. Sounds, which is the centre of the storyline in both films, the language of spaces through the auditory imagination could be seen. In the following, the importance of auditory imagination in everyday life and the analysis of “The voice from stone” and “ Behind the wall” will be introduced.

1 2

Katherine Shonfield, Walls Have Feelings: Architecture, Film and City, (Routledge, 2000),p.55-74 Rosemary’s baby, dir. by Roman Polanski (William Castle Productions, 1968).

3.2 THE VOICE FROM STONE

n this section, the study will examine the relationships and meanings between residents and different sounds in the film, “The Voice From Stone”. In the following, the composition of different voices will be introduced separately, which is about the sound of the stone-built space, the power of silence and the mother’s voice. Verena is a young nurse hired to help a mute young boy in an isolated castle in 1950s Tuscany. Verena tried to persuade Jakob that “the dead do not speak” and he must stop listening at the castle walls and hope to hear his mother’s voice whispering in the stones. But as her relationship with Jakob’s formidable father Klaus gradually shifts from cautious attitude to growing passion, Verena delves into the background of the Jakob’s mother. And the deeper Verena goes the more Verena begins to believe she also hears murmurs from beyond the grave.1

The Voice from Stone, https://en.wikipedia.org/wiki/Voice_from_the_Stone

Every building or space has its characteristic sound of intimacy or monumentality, invitation or rejection, hospitality or hostility.1 It is a film with a setting in a looming castle rising from the greenery, half-covered in reddish vines with a family tomb close by, and surrounded by dense forest through which one must walk to reach the lake created by the old quarry that was the basis of family’s fortune. In the film, within the old stone-built castle and the family tomb, to deepen the impression of the fearful sense, the interaction of space and sound, sound and stone has played an important role. To acknowledge the presence of Jakob to the audience, who is unwilling to speak and keep silent, the sounds of movement of Jakob is highlighted through the following of the long echo sound. The overlapped sound has emphasized the existence of the origin of the sound. It seems that the echo could work things in a similar effect, however, from Pallasmaa’s research, every space has its echo depending on the pattern, scale and the prevailing architectural styles and materials.2 In the film, the old castle lobby and the family tomb is where echo sounds mainly happened, nevertheless echos show different influences between these two places. With same materials however different scales, the echo creates a more claustrophobic sense of enclosure in the space of the tomb, which is different from the lobby that the spaciousness is deepen through the echo. When exposed to echoes in cave, would have feel the sounds or even voices of spirits from a world beyond the wall…..,3 which lead the cave of the tomb into a more mysterious way.

1 Pallasmaa, p.49-50 2 Pallasmaa, p.51 3 Blesser, B. & L.-R. Salter, Spaces speak, are you listening? -Experiencing aural architecture.( Massachusetts: MIT Press, 2007), p.2-3

“There is such power in his silence”, it is a description for the silence of Jakob by his father. The unwillingness of Jakob to speak does not hide himself from the audience’s eye, on the contrary, the existence of the little boy has become more powerful than others. Silence runs both ways: it functions as a restraint of power while also provides meanings to speak without saying a word— to remain silent, to take the curse of silence, to refuse to speak, all perform within a repertoire of resistance and criminality.1 Silence is not the same as a peaceful condition. Moreover, the implication of destructive, aggressive, belligerent tone is the point. To sooth the anger, to prevent from disintegration, to find a reliance, the voice from stone is the support of the mind of Jakob.

Labelle, p.72

Figure 24, Jakob puts his ear on the stone to listen to the voice of his dead mother.

There is a scene about Jakob that repeatedly happens. He keeps on pressing his ear on the walls of the house (Figure 24), where it seems he can hear his dead mother’s voice speaking to him from the stones taken from the nearby family-owned but long closed quarry, one of Jakob’s favorite spots. Following his mother’s dying injunction, the boy habitually puts his ear to the stone walls of the castle, where he hears her speaking to him. And the boy apparently fears that the messages will cease if he speaks. The soothing voice of mother, in a particular cultural context, is the first model of auditory pleasure. In the film, a folktale about burying cat within the wall could protect the place from devils,1 which is an implication that the body of Jakob’s mother that being buried in the wall of tomb could play the same role as the cat. Thus, through Tritschler’s research, the role of hearing sense and the centering effect that it has on ones personal connection to the world.2 It could be said that through hearing, Jakob has connected to the world of his mother. The imaginary fusion of the child with the mother is supported by the recognition of common features characterizing the different voices and, more particularly, of their potential for harmony.3 The silence of Jakob is not a meaning of peace in his mind, on the contrary, it is an unbalanced state of affection. With the action of pushing Jakob himself’s ear to the walls, the voice of mother could soothe the restless and fidgety of Jakob, that is a moment in the film shows a truly peaceful silence.

1 Related tales could look through, http://news.bbc.co.uk/1/hi/england/devon/8011361.stm, In the UK, there’s similar customs burying cats in the wall to protect houses from devils. 2 Sarah Lucy Tritschle, The Voice of Architecture Experiencing Architecture through the Sense of Hearing (2017), Yale French Studies, No. 60, Cinema/Sound (1980), pp. 33-50, p.44 3 Mary Ann Doane, The Voice in the Cinema: The Articulation of Body and Space Author(s), Yale French Studies, No. 60, Cinema/Sound (1980), pp. 33-50

3.3 BEHIND THE WALL

n this section, it will investigate the impact of the sound through the wall on residents in a sixteen minutes short film, relating to auditory imagination, spatial ambiguity and discussion of noise. In the following, an introduction and the composition of sounds in the film will be roughly introduced, and then will discuss the main points of auditory, wall and residents in the film. The main intention of this film is that, throughout the arrangement of domestic noises, the story evolves. The background of the film happens in a dilapidated apartment in modern Brookyn, the main actress, Katrin, has fled her old life to move into this old building. At night, Katrin laid on her bed listening to the sounds of the building. The floorboards creak, the radiator groans, and behind that is another, far stranger soundâ&#x20AC;ŚThe rhythms caused by the old radiator pipes appear to alter the emotions of the three characters in the film, which is the relationship of Katrin and an old couple living in her next door.1

1 https://adventurepants.tv/portfolio/behind-the-wall-east-hampton-press/

Comparing to “the voice from stone”, it is a far shorter film, in which a series of information from sounds was arranged to come denser and quicker. Through sounds, the building condition, the surrounding of apartment, the emotion of Katrin and the story background of the film, are all revealed. Below is a note reoceded by myself about the composition of sounds inside the film. Attempting to record the impact and the meaning of sound through words, which is a brief analysis of sounds of the film. It will follow the timeline and my first reaction to sounds. / Heavy stepping sounds/ Some heavy breathing (seems hard to walk)/ Creaky floors Some creaky door opening sounds/Metal crackling/ not very strong, more like windbell Mobile vibrating/ Traffic noise/ vehicle sound/ dog barking (the sound of city?) Pumping sound/ Radiator sound/Metal banging on metal, (guess is metal water pipe)/ Some crackling (making food?)/ music (for dancing?)/ someone laughed (but seems behind something) (Joyful moment seems coming to the main scene) laughter/ Dance step sound?, woman and man. A sudden silence with Katrin’s breathing sound/ Cry of bird (very crispy, like morning bird) (Katrin woke up?) Traffic sound/ ambulance sound/ far dog barking (the sound of city?) A series of domestic sound/ The echo from metal pipe/ Sigh of Katrin with a bit surprise Knocking door/ Someone open door/ A man say hello and talking about problem of apartment ‘…New tenant from 1A. If you need anything fixed, already fixed. You are ok? You need something fix?….” (Guess it is landlord’s door, Katrin is the new tenant)

Door closed, conversation stops Sounds change and change (Scene changes?) Like kettle boiling sound came higher and to … A sudden nothing! Then a Katrin’s intake of breath. (Something incredible ended again.) Sounds of mailbox being opened, some sounds like outside the apartment (sort of background sound that belongs to city noise) Door knocking- directly interact with the neighborsthey gather- through the conversation of neighbor explaining the situation of Katrin, she can’t dance anymore “Injury about your foot, do you want to play chess, maybe Sunday” (A kind invitation, A longer relationship might start) Sound of eating crispy chips (I guess is chips) (Eating quite slow, might be an easy time) (story turns to a peaceful rhythm?) Domestic sounds start again (A trigger of panic starts again?) Katrin’s breath (seems a bit panic) Atmosphere changes into….? End /

Below is a brief summurization that reveals the implication of the sounds in the film. The noises of creaking and humming and gurgling around the whole room walls have created a strong sense of belonging inside a circulatory system, which connect the sense of community between the room and the whole building. Creaky doors and floors, service sounds (pipe, radiator, …), neighbor’s sound easily came through wall has implicated it is an old apartment with bad sound-proofing. Urban sounds show the setting of the apartment. With door knocking sound, then a communication with landlord starts, which means a beginning of a relationship and the conversation reveals the story background. Lastly, it is about steps, creaky floors, door opened sound, other’s door opened, which shows the movement of residents inside the building. That is, the condition of the story and environment is could be delievered through sounds.

In the film, the border of a space is not limited only by wall. The boundaries of the space is stroked by the location of sound.1 Moreover, if a listener cannot readily see the source of the sound, the listener will try to imagine it and seek confirmation of the sources of sounds.2 In addition to the research of Brandon Labelle, in aural architecture, the creation of spatial experiences includes where a physical space does not actually exist, so-called virtual, phantom and illusory spaces.3 That is, through auditory imagination, possibilities of reaching other places could be fulfilled. Regarding the sounds that happened behind the wall in the film, the sounds of neighborhood and service does put influence on Katrin. The space of Katrin is not only being limited inside the 1A room by walls, but has been extended. Following sounds that transmit through walls, the consciousness and the mind of Katrin has been located into the space that sounds occur. However, Katrin is not clear about the actual situation of sounds. Thus, when the service and neighborhood sounds rise up in the night, it leads Katrin to leave her bed and wandering around the room in order to find out the origin of sounds. Such a similar interaction between sounds and residents could be seen in “The Rosemary’s baby”, which also shows that the identity of the walls is no longer simply a border and that the influence of the sounds from neighborhood on the residents also bring the connection between the residents and neighborhood tighter.4 To conclude, the identity of the walls as a border has become ambiguous when sounds transmit through the walls and be heard by the residents. For both the residents in “Behind the wall” and “The Rosemary’s Baby”, the space has been extended to the other parts of the apartment, the residents begin to imagine the activities of other spaces, the consciousness of the space is 1 Pallasmaa, p. 51. 2 Christine McCombe, Imagining Space through Sound, (2001) 3 Blesser, B. & L.-R. Salter, p.6 4 Shonfield, p.68 “Shhh.. The walls have ears.”,In Polanski’s work, explring borders, edges and their incursion often could be seen.

In the night, uncanny service sound and sounds from the neighborhood are the first understanding of the apartment for Katrin: Pumping sound/ Radiator sound/Metal banging on metal (guess is metal water pipe)/ Some crackling (making food?)/ music (for dancing?)/ someone laughed (but seems behind something). Pallasmaa referred that sight is the sense of the solitary observer, whereas hearing creates a sense of connection and solidarity.1 The connection of Katrin with other parts of the apartment is built through hearing. Auditory imagination deepen the richness of the spatial experience, and that it also introduces some part of oneâ&#x20AC;&#x2122;s space into the others. Therefore, without direct contact, residents in different rooms could still have a level of connection. However, between residents, the definition of interaction through sound could be either positive and negative. That is, the practical needs of quiet sleep and the social needs of feeling involved are points that some researchers aim to balance in a residential area.2 Noises are usually seen as a negative effect on human health, and the common solution for the noise problem is try to keep the sound down.3 To lower the volume of noise such as vehicle noise in urban area, it could be done through the change of paving material for the road.4 However, to keep the sound down should not be necessarily means to keep silence, which is not always a practical solution for modern community and might bring a feeling of being isolated. In the film, the sound of neighborhoodâ&#x20AC;&#x2122;s laughter, steps of dancing, music and other domestic sound is the initial attention of Katrin for neighborhood. In some way, it eases the uncomfortable mood of Katrine due to the tension at night that is caused by service works sounds. Moreover, it builds the connection between Katrine and the neighborhood, which is a beginning of a positive new life after the trauma that Katrine had experienced. 1 Pallasmaa, p.50 2 Richard Sennett, The Uses of Disorder: Personal Identity and City Life(New York: Vintage Books, 1971), p. 72 3 Labelle, p.82-83 4 Maarten Walraven, History and its acoustic context: silence, resonance, echo and where to find them in the archive, Journal of Sonic Studies, volume 4, no. 1 (May 2013)Â

This chapter reveals that the identity of the wall is no longer a boundary, sounds come from the wall extend the imagination of residents and stroke a new border to the location of the sounds. Moreover, sounds remind residents of the condition of the space, for instance, echo implicates the scale and materiality of a space. During the research process, other points which could be researched further will be mentioned here. “Shh.. walls have ears”, it is a line in “The Rosemary’s Baby”, that the residents need to aware of the volume of the speaking voice, the uncertainty of the situation behind the wall lead the home into an unsafe atmosphere. “The man in the wall”1 shows the privacy in modern residences is not defined by walls, but through the use of convert listening device.

1 One night. One apartment. One missing person. Rami takes his dog on a walk and does not return. He disappeared. His wife, Shir, is clueless as to his whereabouts. Different people come in and out of the apartment during that night - each for their own reasons. Could one of them hold the key to the mystery?

CONCLUSION

To conclude, the space in-between wall could be explored through haptic, Miniature and auditory imagination, which will le different experiences to visitors. In chapter 1, a feeling of home was contributed through haptic, the memory of childhood and the history of the place in a foreign poché. Further discussions, it reveals the significant role of the materiality and form in an environment that could increase the level of intimacy of people to a place. In the poché, the limit of the distance of perception is controlled by the narrow form and human will concentrate on the proximity of body instead of the perspective view of the world. Such an experience shown in the secret places and the womb in childhood and it leads visitors to find harmony in a poché of foreign castle. In chapter 2, it discusses the disorientation of visitors in a subsidiary space within the space in-between wall in cathedral dome. The analysis of the poché is about the abnormal configuration and the less consideration of human scale in design, and these unconventional experiences attribute visitors to the difficulty of recognizing the whole condition of the space in the first visit. Then the discussion moved from the influence of physical form of the space to the visitors themselves, which is about the loss of height, the proprioceptive and imagination. The imagination is partly related to the memory of the miniature world in childhood, or other way of saying is that it is naturally for anyone to imagine about shrinking or enlarging of people’s own body, and in the poché, the imagination came true that visitors entered into an imagined-like world— the miniature world, that the experience blurs the feeling in reality. In chapter 3, the relationship between walls, sounds and residents is explored through two horror films. Through sounds, residents could easily connect with the location of the sounds. Meanwhile, residents will simultaneously imagine the source of sound and gain information through it.

Figure 25, Plans of Apartment Houses, Paris, 1870

For instance, the echo of the sound of church bells transmitted through the streets of a town lead people to notice their citizenship.1 In domestic environment, the penetration of sound between residents could bring a social connection. However, sometimes it woiuld be served as annoying noises. Further discussion in the future is that the penetration of sound reminds residents of the loss of privacy. Therefore, it is important to search for a balance between the sense of privacy and community. Through the discussion, it reveals that memories from the past plays an important role in awakening an experience, which is a clue that could be done in modern architecture design to enhance the feeling. As referred in the discussion, haptic, miniature and auditory imagination are points that are been thought of in modern architecture design courses yet could be considered more. For instance, seeing a miniature world, people would imagine themselves inside the miniature world simultaneously. Thus, what can we do with the imagination that people simultaneously have? Same question is given to the possiblity of manipulation of on auditory imagination. Other exploration in the future could take Poché Parisienne as reference, which is a consideration through the space in-between wall, or the “blackening” part of apartments in a city (Fig. 25). The “blackening” part of apartments is identified as Poché, which is a distinction between public and private, exterior and interior, moral and immoral, etc. The Poché of apartment is not only structure from space but movement areas from main rooms, courtyards from covered spaces, buildings from the street, and so on. Furthermore, the Poché is a separate space suspending within the fabric of the city and the boundary of apartment. In this case, through the operation of the Poché of apartment, it could readjust the relationship between city and residences.2 Additionally, main arguments in discussion, including haptic, miniature and auditory imagination, could be tried to introduced into rethinking the Poché of apartment. 1 2

Pallasmaa p.51 Sudipto Ghosh p.26

List of Figures Figure 1 Hyperspace, Source, The Chapuisat Brothers

Figure 15, The Borrowers’ s stairs, Source, The Borrowers (2011)

Figure 2 Hyperspace inside view, Source, http://platformsix.blogspot.co.uk/2011/10/ chapuisat-brothers.html

Figure 16, Man climbing in the Vent Pipe, Source, White Chapel

Figure 3 Castle Tower inside view Source, Author’s own pictures

Figure 17, The Borrowers running inside the wall that reveals some part of wall structure, Source, The Borrowers (2011)

Figure 4 Stone of Castle Wall, Source, Author’s own picture Figure 5 View to the Wall Passage, Source, Rituals and Walls: The Architecture of Sacred Space, ed. by Pier Vittorio Aureli & Maria Shéhérazada Giudici (Architectural Association, 2015)

Figure 18 A Room with Four Layers Walls, Source, Asakusa library version horror museum Figure 19, A Room with Four Layers Walls , Source, Asakusa library version horror museum

Figure 6, Looking from the floor to the dome, Source, The Gentle Author

Figure 20, Detectives and the murderer chasing inside the wall, Source, The White Chapel (Screenshot)

Figure 7, View from the top of the St. Paul dome to London City, edited by Author, Original Source: The Gentle Author

Figure 21, Haus Ur, A stair heading to somewhere, Source, https://www.youtube.com/watch?v=GRpHhuxBZVk (Screenshot)

Figure 8,Section of St. Paul’s Cathedral Dome, Source, Character of Renaissance Architecture

Figure 22, Haus Ur, Space in-between wall revealing the structure of the wall, Source:https://www.youtube.com/watch?v=ZHL_ dt518_0 (Screenshot)

Figure 9, Poché of St Paul’s Cathedral, Source,https://www.youtube.com/watch?v=J1fozYVHBJE (Screenshot) Figure 10, Motion in Factory, Edited by Author Figure 11, Stairs in the Poché of St Paul’s Cathedral, Source,https://www.youtube.com/watch?v=J1fozYVHBJE (Screenshot) Figure 12, Configuration in the Poché, Source, The Gentle Author, http://spitalfieldslife. com/2011/04/24/in-the-roof-of-st-pauls-cathedral/ Figure 13, Sewage Scene in The borrowers (2011), Source, The borrowers (2011) (Screenshot) Figure 14, Stairs in the Poché of St Paul’s Cathedral, Source,https://www.youtube.com/watch?v=J1fozYVHBJE (Screenshot)

Figure 23, Haus Ur, Climbing out from the wall under sink, Source, https://www.youtube.com/watch?v=ZHL_ dt518_0 (Screenshot) Figure 24, Jackob puts his ear on the stone to listen to the voice of his dead mother., Source, The voice from stone (2017) Figure 25, Plans of Apartment Houses, Paris, 1870 Source, Sudipto Ghosh, Poche Parisienne: The Interior Urbanity of Nineteenth Century Paris, University of Cincinnati (2001)

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