Contents Contents ....
.... p1
Introduction ....
.... p3
Physical boundaries Living processes ....
.... p3
Hidden scales and massing ....
.... p4
Perception, intelligence and instincts ....
.... p5
Stereopsis ....
.... p6
Psychological boundaries Intelligent agents ....
.... p7
Projecting geometries ....
.... p10
Vision as a sense ....
.... p11
Perception Dimension and deception ....
.... p12
Impossible objects ....
.... p13
Depth Perception ....
.... p15
Occlusion ....
.... p15
Texture ....
.... p15
Scaling motion ....
.... p16
Perspective points ....
.... p16
Reality distortion ....
.... p18
Personal interpretation ....
.... p20
Information conflicts ....
.... p21
Colour perception ....
.... p23
Optical illusions and vision control ....
.... p25
Activation of signals ....
.... p28
Multiple senses ....
.... p28
Validity of intuition ....
.... p31
Boundary Experiment ....
.... p36
Boundary Experiment #1....
.... p37
Boundary Experiment #2....
.... p37
Boundary Experiment #3....
.... p38
Experiment conclusions....
.... p38
Conclusion
.... p40
References ....
.... p41
Introduction Boundaries are mysterious, obscure, beautiful, obvious, misunderstood processes that sculpt civilisation. It's only when we really test the validity of what boundaries consist off, that we start to re-evaluate the built environment we are accustomed to. To do this the term boundary needs to be deconstructed. I aim to explain the underlying techniques that create boundaries, interrogate their purpose and question their imposition. Through analysis of the spatial qualities, perception examination and understanding of their significance I will determine why and how we rely on them to structure the built environment. Boundaries can be physical, psychological or a combination. There is an implicit relation between the user, their perception to both consciously and unconsciously engage with the environment and the informative process that must be decoded. By deconstructing this complex topic with a focus on three main categories; physical boundaries, psychological boundaries and the way in which humans perceive boundaries, I hope to illuminate the shroud of mystery that surrounds how we engage with our surroundings.
Living processes One of the most commonly interfaced boundaries that effects all corners of the world is the Land/Sea divide. It forces a conscious design interaction between the anthropogenic grids and seas that span across the globe. If you take a glimpse at many modern cities from orbit you can instantly distinguish between landmass and the seas. This sequence of amorphous geometries penetrate, encapsulate and engross the world we know today, yet have remained unspoiled since the unpressurised primordial world. With water covering 70% of the earth's surface, the Land/Sea divide has been an active and live system. Its cyclical behaviour provides a constantly sporadic state of demarcation between land and sea. On a macro scale we identify tidal movement and can understand the limits that this ever kinetic system fluctuates between. Magnify the process and we discover its predictable repetition and how the landscape can retain deformities as a direct post reaction to the hydrological action. As a tide retreats small island like formations of water are deposited. When the remains evaporate, it can leave scarred marks upon the landscape. The absence of water in this case delineates between multiple zones and untouched/marked areas. Zooming in once again we see the range of tidal movements that not only generate distinct boundaries but are constructed by sediments, thousands of grains of sand, each an impassable boundary in their own right.
Understanding the differences of one living process at multiple scales allows for a holistic understanding of perception such as when identifying and defining boundaries. Perception and use of scale is a commonly practiced tactic within the architectural world.
Hidden scales and massing Peter Zumthors prides his Thermal Baths in Switzerland upon a similar technique. He has subtracted from the mass by building partially within a hillside and masks the roof with indistinguishable greenery. This provides an interesting juxtaposition between the visual impact and the scale of the architecture.
Figure 1
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"his almost metaphorical treatment of the land and structure serve as a foothold from which the atmospheres emerge and celebrate the interior connections of the intimacy between water, skin, stone, and light." gdwylie whilst researching Thermal Baths Vals Switzerland From high upon the hillside a series of winding paths intertwine progressively down a seemingly familiar vista. Approaching the baths from the valley you are bluntly obstructed by a sheer clad mass spanning the entire hillside. The large irregular penetrations emphasise the reaction to scale and internal human action is seemingly insignificant in a greater scheme. Peter Zumthor impressively demonstrates his understanding of how these techniques are represented in an emotional sequence. This informs specific atmospheric responses and is born from a form of manipulation of beauty. So to analyse this manipulation is to question the validity of a boundary for its purpose. Does a boundary simply separate a sequence of spaces, or is it required to completely eliminate any connection?
Perception, intelligence and instincts The answer lies in our perception, intelligence and unconscious instincts. Our ability to react is based upon a series of information which is processed within a split second. The process can be defined as a rational understanding of information progressing through programmatic systems. The systems are based upon a purpose and aren't open to interpretation. This instant analysis we generate is based upon previous experience and understanding we unconsciously and constantly refer too. “Humans derive similarities to familiarise ourselves with new spaces/geometries to attempt to better our understanding of them" David Marr p49 Vision The human intelligence subdivides complex patterns and geometries until they resemble a set of simple familiar patterns. A complex pattern or series of geometries is subdivided into many groups continuously deconstructed until they each resemble previous understood information.
Iteration 1
Iteration 2
Iteration 3
Figure 3
This intelligence allows us to effectively decode and also react. To understand a boundary is to acknowledge its function. Once we can determine its purpose we qualify its need to exist. This instinctive understanding allows spaces to attach emotions and experiences. A persons home often feels safer as people assign a conformability to the space around them. This is known as 'referencing'.
Figure 4
This premise defines how individuals create memories as we appreciate a space with an experience and forms a chemical connection that as we retrigger, it re-stimulates a particular emotion or feeling. The example shown above is how the feeling of safety can be triggered by being at home. The time allows for an established connection to be completed based upon information retrieval. Although the reasons behind an emotional response can sometimes be unknown, the ability to form connections between seemingly unrelated elements encourages the brain recognition systems to provide a multitude of results which we understand as opinions.
Stereopsis Within this intelligent network to decipher space and comprehend its impacts, humans shape a working knowledge of validating information. By comparing new experiences to previously tested information it can be subjected to a sequence of fail safes. This phenomenon is known as 'Dynamic perception of Stereopsis' where boundaries are formed between separate entities that are subjected to examination to question the resultant information's behaviour. If a light source projects an image of a geometry on a screen, the light source is identified and boundaries are formed to meet the geometry. These boundaries
Figure 5
Figure 6
have no tangible physical manifestation and yet are understood to obey a set of parameters which are recognisable and can be manipulated. This association allows for the resultant shadow cast by the influence of the light source towards the geometry to be scrutinized. The left hand side image represents a true representation of form and the right hand side image represents a false form. Our ability to define these rules and question this imagery confirms our ability to create imaginary boundaries that are every bit as influential as physical boundaries.
The understanding of elements in juxtaposition is possible due to the consideration of spatial arrangement. The manner in which we associate several unique elements with mathematical similarities. Each object is completely unique, yet several rules can be recognized if we objectify them as a group instead of individually. The all possess the same maximum size and share one specific colour. The interspatial grouping is a natural process that humans unconsciously conduct with our more complicated neo-cortex synaptic network. We conduct over 300,000 synaptic reactions each second and this enables us to assess more complex patterns in sophisticated ways.
Figure 7
Intelligent agents The general intelligence of a species can be directly linked to the quantity of Sr/s (synaptic reactions per second). Humans have the highest Sr/s of any mammal however some genetically similar primates have approximately 220,000 Sr/s. This immense ability to share and analysis information allows each of the senses to define and interrogate absorbed data. “The sensors function as intelligent agents in a network“ Gyula Július whilst researching Corpora in Si(gh)te Gyula Július suggests that each of the senses battles for unconscious reactive emotion which programmatically defines an individual's interpretation. This idea perfectly manifests itself with the relation to ' Corpora in Si(gh)te’ below.
Figure 8
The space is undeniably intersected by a physical entity thus providing a clear physical barrier and yet a sound or smell would simply migrate within. This instinctive synaptic response blends a torrent of unique interpretations. Two people could converse whilst being physically segregated by the geometry ensuring passage from one zone to another is entirely restricted. This manipulation extends throughout the concept when identifying the reaction to the space as a whole. The space, an experience, a defined material, the thinness of the geometry, the reflective tendencies of the floor, each consolidate the premise of permeability. Corpora in Si(gh)te then invites light to penetrate its 3D volume whilst latching and adapting spatial qualities to warp the experience in an instinctive manner. This acknowledgement of scale to be a unconscious reaction is a particularly characteristic of all boundaries. If you consider a mesh which you can see through the cells from a semi - permeable membrane. Noise, smells and light can freely pass between and yet it creates an impassable barrier if the scale is right. This returns to the respective scale. The box (Figure 9), if it was 30m tall then a person could simply migrate between the internal and external spaces. If it was 30mm tall then it would be difficult to see through and mentally reassemble the fragmented image behind it.
Figure 9
Projecting geometries The human ability to interact is unlike any other. It defines our evolutionary progression and separates us from other species. We can analyse, project and distort ideas and geometries due to a denser more comprehensive neocortex network.
Figure 10 We are the only mammal capable of projecting geometries and can infill and read both consciously and unconsciously to obtain a more in-depth rapport with a geometry. In this manner we approximate geometrical identities. In doing so we interpret and react to unseen boundaries that distort our vernacular. This unseen boundary form is increasingly more evident within architecture. Such a strategy is powerfully deployed at Yokohama International Port Terminal.
Figure 11 The concept is to prompt a user to question the validity of their own intuition. This impact is realised through a multitude of manipulation techniques that impose certain strategies. Blurring the difference between inside and outside was through the use of continuous materials. The material grain flowed from
outside to inside undisturbed. In this case the lack of discontinuities in the material grain was enough to cement the joining of the spaces. Figure 12 shows the flowing continuity of the material finish from inside to outside. Figure 13 right clearly segregates the space.
Figure 12
Figure 13
Another technique was the use of glazing to bleed between interior spaces allowing for a spatial connection. Transparency is a technique which manipulates the space by physically separating whilst causing minimal impact of the atmosphere. Separated atmospheres
Figure 14
Merged atmospheres
Figure 15
Designers use tools to establish a connection with a space, though desired atmospheres can manifest in a host of forms. Through the selective usage of some of the previously mentioned techniques, it's possible to generate an extremely specialised environment to satisfy the function of the design. Several ways in which humans relate, engage and familiarise themselves with an environment are through connecting with the physical. It's therefore not surprising that the physical agenda is more universally understood and as a result encounters the most delineation from the norm. Why isn't the physiological aspect of engaging with an environment as equally well understood? To deduce this the unconscious side of perception, examination of how we perceive both physical and physiological boundaries needs to be investigated.
Vision as a sense Vision is the sense humans rely on most hence the phrase 'Too see is too believe', therefore lighting control is imperative in the control of spatial sequences. The ability to blur the boundary between two spaces allows the designer a greater degree of control, over the projected information that informs Transparency is a the experience within the space. Controlling this information between two zones in this instant is completed by obscuring the discontinuities between the spaces. Sometimes the nature of the material surface can enough to distinguish between zones. Each materials has its own reflective index. This in turn informs the lighting. Lighting is broken down into three main categories; brightness, colour and intensity. "According to Helson,(1938) An Illuminate may be up to 93% chromatic. 7% of daylight surfaces are represented in uniform spectral reflections" D. Marr whilst researching Helsons theories of perception. In this way he references our ability to disturb and warp natural lighting patterns to our desire. A similar continuous pattern can be disturbed using any of the aforementioned techniques. Figure 16 : Brightness
Figure 17 : Colour
Figure 18 : Intensity
The three images shown above are one continuous pattern which a been manipulating in each of the ways lighting can have an effect on a surface. Each of these show discontinuities that create boundaries.
Dimension and deception The ability to perceive is based on signals received by our senses (previously mentioned in intelligent agents) and with regards to humans, it is an additive experience based process. Image can appear in a series of dimensions and learning to distinguish what is true can be a complex sequence. It can be solved in a fraction of second by instinctive unconscious reaction or it may require significant lengths of time and detailed scrutiny. One form of architecture is to convey information for one too many. This ability to control, manipulate and project necessary information is key. Providing 3D visuals can often offer a greater sense of space, program and aesthetics than more regular architectural 2D drawings. The Necker cube is an optical illusion by Louis Albert Necker. He noticed a trend with visual discrepancies within human and computational interpretation. When a geometry is generated digitally, the computer displays the information in one manner; a 2D representation of a 3D object. The Necker cube shown below has a level of visual ambiguity which has since become a corner stone of geometrical deception. A defined shape that computationally has one fixed position whereas a human can derive multiple forms. "The effect works because the drawing of the cube (an orthographic projection) carefully eliminates all depth cues... our brain must resolve the ambiguity as to which corner of the cube is closer. Different people resolve this ambiguity in different ways and individuals resolve it differently at different times." Scott Flinn researching the Necker effect
Figure 19
A series of experiments further exploring the Necker cubes visual effects have been produced, collectively known as the 'Ambiguous objects'. The Ambiguous objects rely upon a conflict or lack of information. They all can exist and be subconsciously interpreted in multiple ways. The particular example above works by eliminating all depth cues. To analysis a 3D geometry from the line drawing you must make assumptions and add another layer of information to determine if it can be a true real object. I have copied it and added a generic shade to each orientation plane to allow for easier analysis. This will aid some who aren't familiar with understanding, creating or perceiving advanced geometries, however, it still doesn't offer a conclusive answer to its singular existence. Only in the 3rd sequence where I have added a secondary set of information, a light casting a very specific and controlled lighting pattern, can a true singular form be defined. Figure 5 shows the central section to be the XY planar surface with lighting cast upon it and therefore highlights a void above. The added shadow from the lighting in figure 7 shows the central XY plane to be shaded and therefore implies the space above is an overhang. Identification and understanding of these objects is based upon the eyes ability to scrutinise smaller components and/or the object as a whole.
Impossible objects Any image a human see is a combination of 2D images and some images can seem impossible. The image or reality of the geometry isn't impossible but only your three-dimensional interpretation of it, which is constrained by how you interpret a pictorial representation into three-dimensional mental model. "The human visual system picks an interpretation of each part that makes the whole seem consistent" Journal of Science: p329, Vision Penrose triangle :The commonly depicted Penrose triangle technically abides by mobius laws by having only tangible surface. It relies on discrete manipulation between surfaces and blurring perspective focal points to deceive the viewer.
Figure 20
Penrose stairs : A series of stairs that appear to have no beginning or end. Once you move in a singular direction either up or down the stairs you eventually arrive back at your origin point. Whilst in theory this satisfies the rules of mobius objects the specific
Figure 21
usage of 3 planar surfaces contradicts mobius rules. This perceived object relies on minute discrepancies within the angles of the lines that run at approx 35â °. This allows for a small incrementally increasing line that starts and ends with the same total vector displacement. This subtle but powerful alteration allows for the whole image to seem coherent yet allows for vertical lines to make it appear as if the stairs continue endlessly. Penrose style cube :Even with correct vision the subtle manipulation of certain attributes of space, shape and colour we can make seemingly impossible objects which provoke interest and force us to investigate. Each image shown below shows an increased manipulation of a regular framed cube. Utilising this technique in an incredibly specific manner can achieve a very thought provoking and engaging architectural response.
Figure 22
Depth Perception Depth perception is the instinct based visual ability to perceive the world in three dimensions. It is constantly harnessed to judge movement, speed and the distances from objects. A human’s basic intuition of how these techniques function is almost perfected by 6 months old. It is a unique response that occurs irrespectively of other usual positive or negative influences such as; monovision, colour blindness, light depravity. The system relies on over 20 synapse responses, subdivided into four key aspects; occlusion, textures, scaling motion and perspective points.
Occlusion Occlusion is the most immediately obvious system that occurs when surfaces, planes or geometries overlap. If one object blocks another it is generally received as being closer than the blocked object. This allows for an instant ranking of entities to be devised to help establish a depth to the environment and the objects within. 3
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Figure 23
Texture Texture is key to analyzing perspective depths. Human eyes have a maximum and minimum distance they can see based on the focal length of the individuals eye and within that range lies the ability to focus to see detail. In optometry terms, all detail is known as a texture. These textures have scales and sizes which combine to form a 'grain'. The grain is a term used to establish where the texture could repeat from. The example shown below shows a series of trees. The grain or texture is clearly visible and in focus on the tree on the left whereas the tree on right is seemingly so far away that the grain is indistinguishable.
Figure 24
Scaling motion If an object moves closer, the retina in the eye slowly adjusts to compensate for the varying focal distance to the moving target. This constant adjustment over time creates an overall perception of motion. This instant reactive sensory phenomenon is known as 'depth from optical expansion'. Encompassing this technique and combining it with either occlusion or textures can allow for extremely accurate tracking of any motion. Depth from optical expansion together with knowing the relative change in size based on the detail, it becomes possible to comprehend the displacement travelled. As the distance and time can be identified, a speed can also be determined. The ability to deduce a difference between two speeds is essential to understanding our kinetic environment.
Figure 25
Perspective points Perspective is a relative term which is unique to each individual. This unique appearance occurs because each individual has a different experience of any particular view at any one time. An individual might have greater eyesight or hearing than normal and therefore see or hear more to influence the split second experience. It's this personal and individual spatial experience that can become blurry when perceiving an environment. Size comparison
Distance cue
Distance cue
Figure 26
Size comparison
If two geometries converge at any point it allows us to approximate based upon personal experience the relative distance between two parts of an object. With an ever greater technological influence in our Information Age, the ability to create and provide a user controlled 3D visual environment of a piece of architecture is becoming ever more prevalent. This can allow for the personal interpretation of a design to manifest in a culmination of ways before a singular design is defined. "The development of new forms of geometric projection in the construction of perspective corresponds with the invention of novel pictorial art forms of visual representation... specifically within the circles of architectural and artistic experimentation and design." 2007 Bruce MacEvoy Using any one of these techniques isn't enough to correctly perceive a true environment fully. Instead each of these systems must analysis cooperatively to allow us to perceive a complex and fluctuating environment . This allows for a more accurate understand how both the conscious and unconscious interpretative mechanics allow us to share and control information. This informative system can be distorted much like an individual's perspective experience at any given time.
Elevation B
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Figure 27 The seamless interaction between the implied planar surfaces with sophisticated uses of lighting and colour denies reaction to multiple interpreting techniques such as scale, perspective and juxtaposition. Only with another image from another viewpoint can you truly guarantee to decipher the geometry.
Reality distortion There are a number of both natural and anthropogenic phenomenon that unwillingly apply unforeseen distortions upon not only the true environment but sometimes upon the system(s) used to decipher them. Lighting for example can in the simplest of terms, aid texture analysis or reveal more objects so a greater sense of occlusion can be detected. Each of these examples could benefit the user to analyse and react more effectively with its environment. Lighting can however also hinder such perception in the same way by hiding objects to reduce a sense of occlusion. Whether or not other mechanics become involved in perception is entirely situational, but as with many of techniques previously mentioned there are ways to learn and adapt to at least minimise their impact or anticipate these anomies. In order to perceive any object several factors must be accounted for, starting with the receiver, the signal (transmission of information) and the transmitter. The time it takes to receive the corresponding information and interpret it can vary. Generally the greater this length of time, the less accurate the received information can be. Light is the essential key to human perception and therefore mechanics that can cause alterations to light can significantly alter our perception. Light travels at an great speed through air. Air, just like an individual's ability to see, is not a constant. Over the time it takes light to move through the air between any given receiver and transmitter the information can be diluted. Heat in warmer climates slightly alters the density of air and as the light passes through different density mediums it is refracted. The angle of slight is slightly transformed and respectively changes in velocity. This slight refraction can occur millions of times in such a short time frame that a once crisp, clear image could become warped, blurry and distorted. This effect can be noticed most obviously where extreme climates meet. Desert climates with large open spans commonly experience this natural phenomenon. How the light is manipulated over the transmission time will be in a constantly fluctuating state. The ability to understand, detect and analysis this effect has developed a natural mistrust in the received information. It is natural discrepancies like this that have forced the question about the hidden manipulation of our perceived environment and constant need to validate information to satisfy its true form and intent.
Figure 28
Naturally occurring phenomenon across the entire planet provide constant streams of information that are persistently being scrutinised. The way in which this process occurs can almost define cultural identity. A sequence derived from a vernacular that influences generations in a logical evolutionary manner. Identifying these information led trends sculpts cultures and allows civilisations to develop distinct behaviours. Hunting is and has been a vital part of human survival for thousands of years. The distortion of reality can and has played a role in this activity for just as long. In some countries one of the primary sources of food is fish. More traditional approaches to fishing are sometimes needed for example in rivers where access for machinery is unviable. Imagine a person in a small boat in a shallow river with clear water watching a fish's movement. Fish move in seemingly erratic pathways to react to the waters current and flow, along with the sharp acceleration and agility make a fish difficult to catch. Light refracts between each discontinuity of the water too mask and blur the fishes true location. Acknowledging a need to survive, the fish must be caught and yet perceiving the environment is key to this success. Sometimes multiple copies of the same fish can be seen or even an untrue projected movement course makes this even more complex. However, in some Amazonian tribes in South America they are taught to recalculate for these inconsistencies in order to successfully hunt. Recording, processing and readjusting for a deliberate and unknown variable in this process has led to a cultural informative technique.
Considering and acknowledging the importance of the benefits of cultural information systems can be described as an adaptation. Adaptation, development for a greater consideration of our environment can stray into the field of instinct and personal judgement.
Personal interpretation An individual's understanding of an environment is affected by numerous techniques that must be resolved simultaneously. This form allows for each individually to conclude a unique perception. These impacts occurs due to the complex sensory system that grants vision. Vision operates by processing interpreted information that is received by the eyes through screening of the visible light spectrum and transmitting to the brain. The eye must react to help control and manage the information that is to be interpreted by the brain. The eye does this by squinting, widening, pupil dilation, watering etc... The resultant information is processed by the retina which converts it into neuronal signals. This involuntary process happens within fractions of a second. An eye can capture up to 12 separate frames each second. With such an intense constant processing of such vast quantities of information, it's not surprising that sometimes the signals can be misinterpreted. Each person's eyes are unique and therefore their vision is also unique. A common issue with a person's personal perception can be double vision or 'singleness of vision'. Arc of focus Peripheral vision
Out of focus
Vision direction
In focus
Out of focus
Peripheral vision Figure 29
Arc of focus
Information conflicts Singleness of vision is the ability to compare and merge information from each eye into one cognitive true image. Each eye, because of it positioning, captures a different sequence of information. Each eye then transmits the received information and although both can be correct/true representations of their environmental respectively, until they are consolidated a user could struggle to successfully engage with their environment.
Figure 30
Understanding of this effect has been continuously improved for over 40 years now. Enough time to allow for complex advanced research to be conducted. This research has revealed the parameters that allow very specific control and subtle manipulation. Such control has allows technology to be developed into 3D cinematography which draws its appeal by attempting to display the most realistic digital environment possible. 3D environments built around us allow our senses to cooperatively interpret the environment and to offer a greater sense of immersion . It's within this immersive experience that a more holistically intelligent usage of perception techniques is able to be interacted with on a universal scale.
Figure 31
"Immersion, in this context, means to engage with one’s immersion in artificial environments, assisted by technical equipment, for instance a virtual reality helmet or an electronic visor. Through these technologies, humans are finally taken seriously as beings for whom it is natural to immerse themselves – and not only in water, the ‘wet element’, but in elements and environments generally." Improving the level of immersion generally helps the majority of people interpret and define environments. This is applied to a generic population; for example, an individual with no distinguishable anomalies or optical aid requirements. Although the technique can accommodate for the majority, there are those who require aid to correctly analyse and perceive an environment. Colour blindness can have a similarly negative effect as double vision, causing disruption in the ability to correctly perceive. When designing buildings Architects must be tolerant of systems that might not affect the themselves, current user, designer or client and instead make sufficient tolerances to accommodate everyone. Sympathising with all the senses and their systems is critical when designing for such occasions. Internal boundaries found within building need to be deliberately highlighted to aid those with vision issues such as colour blindness. For example, a doors vision panel, architrave, skirting board and floor each need 40 colour points difference to highlight the change in geometry. A colour point spectrum is a grey-scaled colour spectrum that shows how removal of some information can have a severe impact that needs to be addressed. An example colour has been chosen and highlights all the colour spectrum with a 40 colour points tolerance. I have selected a colour from the colour spectrum and highlighted the areas which a colour blind person is able to visualise within 40 points of colour tolerance. I selected a pink/magenta colour and there is very little noticeable difference
Figure 32
between the whole range of yellows and cyans. This is a rule that is enforced strictly within mental health and other hospital/medical facilities. Allowing for a conscious engagement with boundaries that even the designer is unable to perceive, is an improvement towards generating a holistically better built environment. "The term 'colour blindness' is something of a misnomer. Just as most visually impaired people are not completely 'blind', most people who have deficient colour perception are not completely 'colour blind'." Any degree of blindness can have the aforementioned effects but it's understanding how we provide a solution to this that can help define the environment we as designers impose upon the world.
Colour perception There are two distinguishing types of receptive cells that collectively absorb and react with increasing levels of sensitivity to the received light. Rod cells can be activated by low light levels and frequencies unlike their counterpart, cones which are activated during higher light levels. Each cell type is specialised to absorb higher or lower frequency light spectrums. Rods work with the higher light wavelength frequencies and cones work with higher light wavelength frequencies. The brains interpretation and amalgamation of the information received from the retinas depends on the level of conflicting data. Each conflict between the information collected by the rods and cones weakens the validity of the analysed information and therefore causes a lack of visual coherence. The levels of conflict determine a sensitivity to light. With a severe enough information discrepancy, a reduced overall visual functionality results. Various experiments have been conducted to further analyse and improve the overall comprehensive knowledge of colour with respect to light dependency. The Ishihara Colour Blindness experiment has produced particularly successful analysis yielding universally beneficial conclusions. It is conducted through user based analysis of light, shape and colour. Shown in figure 33 are a series of shapes with varying progressive levels of contrasting colours. A specific number has been overlaid and changes the colour of a number of shapes. The only noticeable difference is the colour. This tests colour modification and the user's ability to perceive this by altering the brightness, colour and intensity. An overall grey scaled hue is added which completely masks the number that the user is trying to recognize. By reducing the opacity of the grey scaled hue the number is increasingly revealed. The minor yet potent alteration allow users to focus and mention when they can see the number.
Figure 33 After the optical nerve and neuron receptors interpret information, the user will then attempt to determine the number. If they are successful the level of information required is established. Appropriate action can then be quantified to enable accurate conclusions as to which colours and intensities are needed to be manipulated to aid easier and truer overall perception. This technique relies on several other key factors. To achieve reliable results the user must be completely open and truthful about time of perception in order to judge the correct level of visual discrepancy. The test must be repeated on each colour zone to establish overall restriction across the full colour spectrum. Ishihara Colour Blindness Test 1 : The answer is 8, those with a red/green colour spectrum deficiency will see a 3. This is due to faint geometrical changes between a 3 and an 8 being masked with a colour that a red/green observation deficiency would be unable to detect against the background colours. Ishihara Colour Blindness Test 2 : The answer is 6, this test highlights the probable weaknesses between green and blues colour spectrum. Ishihara Colour Blindness Test 3 : The answer is 3, For those red/green deficient, they will detect a 5.
Figure 34
Optical illusions and vision control Experiments like the Ishihara Colour Blindness test have arose due to the inspection of how perception relies on vision. Exploring these processes has led to manipulation of illusion that can be used to great design extents scientifically, aesthetically and socially. Hermann's grid
Figure 35
Hermann's grid variation 1
Figure 36
Hermann's grid and all iterations rely on an implicit light change based upon the visual perception system. In figure 34, the cones view the intersection of the black horizontal and vertical bands. The rods view the intersections areas between those bands and the other dark regions. Although, the two regions receive the same intensity, colour and quantity of light, the stimulation of their neighbouring regions is different. At the black band crossroads, there is light coming from all four sides, but in the black band that lies between the two intersections it is surrounded by two light sides. This leads to a psychological mechanism called lateral inhibition and causes the brighter surrounding areas to appear. As the retina focuses to adjust to the light conditions the area will cause the bright area to appear darker, and conversely, a dark area will appear lighter. The retina is composed of thousands of smaller eidetic nerves. They function as receptors of light and are spatially arranged in rows so individual receptors can be activated to offer a very precise degree of light
perception. Actuation of individual cells is unique to the light that is being focused. This is why the effect is greater in your peripheral vision, where lateral inhibition is able to have a greater influence over a longer distance. As an individual receptor is triggered it becomes stimulated like a muscle. It has a frequency and an exhaustion limit. Constant exposure to high frequency imagery or sharp contrast lighting can quickly exhaust the receptor. When such exhaustion occurs the retina relies on a dulled sense of the periphery using the closest non exhausting receptor to judge the overall image. This constant determining of which receptors are used to analyse the interpreted light will then allow for the perception of motion to manifest, even on static imagery. I have designed the next illusion based on my research. It will use a culmination of the aforementioned techniques in order to deceive the overall perception and imply a kinetic motion without any actual movement.
Figure 37
If you focus on any central black dot, the sharp contrast between the shapes will begin to exhaust the receptors on the retina used to focus on that exact position. When those precise receptors are exhausted, the nearest adjacent receptors will attempt to analyse it. This change should cause the area that the adjacent peripheral receptors were focusing on, to appear as if it moves. This implicit motion can occur in both clockwise and counter clockwise directions due to the geometrical shapes I have chosen to formulate the boundaries of the contrasting components. This manipulative usage of contrast and colour can be used in other ways to result in similar illusions. The next illusion relies on specific manipulation of the shape rather than the colours.
Figure 38 The reason behind this optical illusion, is based on how the neuron-linguistics cortex identifies four main attributes of any given pattern rather than any manipulation of the neuron receptors themselves.. Identifying any single mathematical property is enough to begin controlling the information. If any of the attributes are distorted then the geometry can be referenced and interpreted. Three of the controlling factors have been mentioned, brightness, colour, intensity. The fourth and most important attribute is the 'Activation of signals' on a individual scale.
Activation of signals In 1623 Daza De Valdes's experiments into the visual connections he defined a system that perfectly reflects the individual influence of understanding of geometries. He tested using a series of participants with different eye sight ranges how each react to the boundaries relation between grains of mustard on a piece of paper. This was a particularly advanced method as it tested colour by altering the contrast of mustard to paper colour and brightness and intensity by controlling lighting factors. This manipulation of each technique produced
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Figure 39 a unanimous result that each vision range defined the relation between mustard particles as a group. When the grain size and colour was altered, but the material or substance was the same there was no interstitial connection between each group. Each participant noted a geometrical boundary based on each of these control factors separately, yet the conclusive results confirmed that irrespective of eye sight, and reaction times, the interpretation of each geometrical result followed one of the three basic principles. The derived results conformed to the overall system and enabled the evaluation of how humans actively interpret signals in the forms of patterns, geometries and boundaries between seemingly unrelated elements.
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2 Iteration 4
Figure 40
Above you will see four iterative patterns. Valdes' asked over 180 participants to look at each pattern one after the other from left to right joining each node with lines. Each pattern was allowed to have one less connection than its progressive iteration number. 97% of the participants connected the last pattern as shown proving even though each node is the same displacement from the first node there has a progressive nature to an ever increasing size and connection order. This ability to apply a scale of progression over a connection between the original and every subsequent node consolidated the theory of ''Activation of signals''. The signal sensitivity was tested using sight but the same effect can be noticed with the other senses too. What happens if we assess multiple senses at once?
Multiple senses Visual noise making is a term given to a collective synaptic response that forces human senses to collide and unintentionally transfer information. An example of this is how a florescent strip light can appear to flicker and some people hear a buzz that mimics the frequency of the flickering. Although the light maybe flickering at a specific frequency its known that there is sometimes no sound the brain could interpret a sound because of a mix up of information between the senses, cross signals, in this case from sight to sound, but this connection of information over time acts to generate boundaries. The multi sense relationship positively reinforces referencing (Previous mentioned technique) which strongly attaches an emotion or experience. Visual noise making has come under scrutiny claiming faulty machinery or irregular brain development may have caused the results. It's in the details of the next technique of dynamics that the theory is further explored. Dynamics, specifically of motion and experience. Motion is an extremely powerful tool used to decipher boundaries between spaces. Experiencing a free flow from one space to another encourages motion which in turn allows memories to be formed quicker. This ability to move, apply kinetic force and travel instils a single series of information to be referenced through multiple senses and therefore generates a greater reaction and understanding to the space. The brain captures over 80,000 images/s and connects a similar rate of smells and sounds to generate an experience. This constant influx of data creates memories which in turn culminate in boundaries based on a representation of a percentile of the true absorbed information. This interactive feedback can also reside within everyday interactive objects. Utrecht University's Educatorium in Holland provides occupiers with a chance to choose, define, scrutinise and embrace this phenomena in an obvious and blunt mannerism. Progressing through this space only further contradicts the regular boundaries such as walls and floors that are seen in everyday life.
Validity of intuition Are walls, floors and ceilings structures that define space? Utrecht's University's Educatorium defies this myth that they cannot be one entity. By defining a curved profile that distinctively merges the floor, wall and ceiling each sense is forced to interact beyond its own perception. Each user is challenged to question what defines a floor or a wall etc... Is a floor no longer a floor when you physically cannot stand upon it? Is it a fact there aren't any walls here?
Figure 41 Redefining the parameters that script everyday life is an almost bizarre assertion but the underlying gesture is one of sophisticated and hidden beauty. Once we understand and reinterpret these hidden boundaries and how they influence environments, we can question the built environment and strive for a greater appreciation of the architecture around us. The built environments sculpted from the implications of civilisation and can be subjected to many forms of architecture and legions of demarcations. These interpretations of boundaries and their impact prompts the question of our acknowledgement and importance we place on them. Why do materials, scale, size, projection, motion, opinion, massing, emotion, connection etc segregate zones? Within this ever more segmented environment can these boundaries be analysed, interpreted and understood? The aforementioned research techniques has enabled me to make calculated assumptions as to whether we as human consciously react to the unseen boundaries within our environments in an appropriate manner. To further cement the validation of my findings I need to simulate such an event in real life. I therefore plan to conduct an experiment to argue if humans react to both physical and psychological boundaries on both a conscious and unconscious level.
Experiment Appendix Introduction Architecture is a key aspect of any civilisation, but is an individual, a group and the general public aware of the significant influence that boundaries can have? Boundaries can physically and psychologically segregate space. They can influence people to manoeuvre in specific ways and can help define logistical and architectural program within the built environment. Boundaries can manifest themselves in personal or universal ways forcing both conscious and unconscious engagement. Affecting factors include 1. 2. 3. 4. 5.
Lighting Colour Movement Dynamics Vistas
6. 7. 8. 9.
Logistics Acoustics Historical Material association
10. Social 11. Size and scale
By educating the public on the impact of both visible and unseen boundaries, we can reduce the ignorance of their imposition and encourage a more comprehensive knowledge pool to enable smarter designs within the build environment. Will furthering our knowledge lead to a better built environment through more intelligent and relevant design? To improve the overall understanding of perception, both the theoretical understanding and simulated real world conditions need to be investigated. Therefore I have decided to conduct an experiment to help provide solid evidence that will support the idea, that a greater theoretical consideration and real world knowledge of boundaries can further the built environment. Overview details of proposal To design a sequence of both physical and psychological testing boundaries that would provide statistical evidence based upon peoples interaction. 1. To create a sequence of boundaries with increasing physical obstruction. These will take the form of tape on the ground (Visual boundary), traffic cones (Physical but intermittent boundary) and a small group of people (Visual, physical, social and organic reactive boundary) 2. Assign a relative and personal psychological aspect to each boundary. 3. Each boundary must be positioned and tested at the same time of day. 4. To evaluate and analyse changes within peoples’ engagement/avoidance depending on the individual boundary. 5. To define and investigate how significant the benefit or detrimental effects each boundary caused within the environment. 6. How those resultant impediments influenced people and their reactions. 7. How altering quantities of simultaneous engagements effect the validity and overall effectiveness of each boundary.
Research paradigm Hypothesis I primarily focused on the psychological side of peoples actions and responses to each boundary because I feel this could have the most significant ramifications regarding their individual interaction. I think the physical side of people interactions will be easier to notice due to physical reaction towards each boundary. I think that one of the key physical factors will be the relative scale of each boundary. I think the largest boundary will establish a dominance and therefore importance and receive more regular interaction. The smaller boundaries could be perceived as insignificant and therefore their validity may be questioned easier. I predict that if the participants are given prior knowledge to the boundaries they would react differently, so to specifically keep the authenticity of the unconscious reactions I will only divulge the boundaries significance after they have interacted with them. Boundary credentials and applications Boundary # 1 – Police coloured tape across the floor. Boundary # 2 – A series of traffic zoning and congestion cones Boundary # 3 – A small group of people in static positions
Boundary # 1 - Tape
Boundary # 2 - Cones
Boundary # 3 - People
Research assumptions 1. People will interact with each boundary without knowing its intent or knowing they are being monitored to maintain more authentic reactions. 2. Educate people as to why they reacted in the manner they did if they don't realise why. 3. People will need to traverse between the spaces that the boundaries are defining.
Trustworthiness To provide trustworthiness, the experiment is required to meet five criteria: Credibility Provide necessary information to present a true picture of the study and ensure the intentions are made clear. To increase the credibility of the study, the conclusion needs to be concise and relate to the overall topic of perception. This can be done be refining the experiment to provide the necessary information, so the reader understands the topic before reading further. Using a simple precise abstract that is brief yet descriptive to show the intentions of the study. (Shenton, 2006) Transferability It is important to ensure that the success of this study can be applied to multiple situations. This can be done by providing simple research, evaluation and analysis techniques. The study could be revised to use national case studies only and therefore can be adapted to suit larger necessary research scales. By understanding the methodology and providing detailed data collection, recruitment of acknowledgment of participants, evaluation and analysis, this study could be repeated within different environment and by different professions within the design industry, e.g. interior architects. Dependability The dependability of the results is based upon two main factors 1. To ensure that if the experiment was to be repeated, no anomalies would occur and the study would confirm similar results. 2. To provide enough detail with regards to each boundary's creation and their logistical impact to ensure the study is unique and relevant to both groups and individuals. Confirmability To ensure the experiment’s findings resemble the impact and opinion of the participants without any influence or agenda by the researcher. To reduce any bias from the researcher, the findings will be solely based upon the actions of the participants and exclude all researcher preferences. Triangulation To help ensure honesty from the participants the option to not interact with any and all boundaries will remain available. This provides people with the ability to avoid any particular boundary ensuring they are not forced into creating a response which could provide a false outcome.
Consent and confidentiality I need participant consent which is given by displaying relevant signage to warn that movement within the experiment is being recorded during multiple times. In order for this too not influence peoples reactions only one of the recorded times will be analysed and therefore attempt to eliminate conscious manipulation on the part of the participants. Confidentiality will be achieved by displaying to each participant the practicality and experiment relevance to maintain and reaction authenticity. No personal details will be collected or displayed within this architectural experiment to maintain the participants anonymity. Data collection The environment will be monitored from multiple angles to deduce an accurate portrait of each participants interaction with each boundary along with a production of methodological notes to account for any unusual or external influenced reaction. Study limitations 1. Age of subjects – all similar ages could influence or produce similar reactions. 2. Relationship of participants – peer pressure to react in a specific manner . 3. Demographic characteristics – a potential “architectural function” bias with individuals. 4. Sample size – a small group of individuals can possibly lead to a narrow range of data. The greater the variety of the group, the better. 5. Researcher bias – encouraging and forcing movement through the environment from starting and finishing positions. They may feel the need to move in a specific way from A to B (most direct, path of least resistance etc...) 6. Location bias – Moving from one position to another might restrict the quantity of people needed to interact with the boundaries. 7. Location bias - The experiment will take place in a private university location allowing for a more educated general populace to be examined. 8. Data analysis – potential for human interpretation instead of computer, to help reinforce hypothesis 9. Video analysis – The personal interpretation of the researcher will occur during analyse of the collected experiment data. 10. Resources – the capital of conducting the experiment may impact the level and sophistication of the construction and application of the boundaries. 11. Time of study – the experiment occurred in the May of 2014 before the university has closed so there was likely to be intense movement
12. Time of study – the experiment occurred in the May of 2014 just before the examination period and therefore people could have been in a more hurried state than normal. 13. Weather during experiment - A worse state of weather could influence people to rush less passively through the environment. 14. Boundary experiment 1 could be less influential if a participant is colour blind. 15. Boundary experiment 1 could be less influential if a participant is otherwise preoccupied. Whilst carrying large items it would be easy to completely miss the tape and therefore not react to it. 16. Boundary experiment 2 could remind an individual of authority and reference their personal previous experience with such a boundary and therefore act differently. 17. Boundary experiment 2 has a predefined intermittent distance between each cone and therefore could be passed between with little physical restriction. 18. Boundary experiment 2 uses a series of 3 cones. Traffic cones are occasionally stolen as they can remind people of traffic situations. 19. Boundary experiment 3 uses two specific people. The participants willingness to engage with them based on their height, gender, ethnicity, action, attire, persona etc.. 20. Boundary experiment 3 uses two people engaged in conversation. Are participant more or less likely to temporarily interrupt the line of sight during the peoples interactions? 21. Boundary experiment 3 uses two people that might exude a foreboding, dominant and aggressive stances which could force people to react differently. If I could repeat this study, I would conduct the experiment several times throughout the year, to allow a reasonable time frame for a larger sample size. The National Health and Medical Research Council (NHMRC) (2000) claims that to maximise the benefits from a piece of research, the findings need to be disseminated as broadly as possible, to allow access by other researchers and the wider community. Therefore the findings from this research study should be disseminated to all the appropriate audiences who will benefit from reading this study. Dissemination strategy It is important for researchers to disseminate their findings to a wide audience, because it will be beneficial to certain people in that field of knowledge, especially if the findings strengthen the current evidence of the same topic.
Using different media to distribute the research 1. Print out copies of the experiment will be available at the experiment location after the results have been concluded. 2. The Design industry will receive internet links and bound journal copies to distribute within lectures to help teach and encourage a more in depth thought process about boundaries and there effects within the built environment. 3. Architecture students will receive email to increase knowledge. 4. The Public will gain increased awareness of boundaries and their implicit effects through internet research documents. Experiment Analysis Boundary experiment #1 - Results The majority of people dismissed this as a physical boundary with some people not even acknowledging its existence. This is most likely due to the minimal physical interaction and 2D aspects of its nature. There was no physical impediment and very little psychological impediment and as a result no repercussion to ignoring of it as a boundary. Using police tape that is usually set up in a very precise manner to create a physical boundary normally allows this media to make people consciously think about their interactions; however, attaching it to the floor seemingly removed that importance to activate the conscious thought process. Boundary experiment #2 - Results Using a series of cones to create the same length boundary in the same position on site proved more effective than the tape. This was due to the 3D physical impediment it offered as an obstacle. The cones are larger in scale but still smaller than people and therefore I think there was a lesser significance established with regards to their authority to restrict motion. There was still no consequence as a result of passing between the cones due to their inanimate nature. The majority of people walked between the cones due to the small increase in displacement.
Boundary experiment #3 - Results This was the most effective boundary of the 3 testing. Almost every participant walked around the static people forming the boundary. The only people that walked in between and therefore interrupted the conversation or unseen boundary between the static people knew them and as a social result could anticipate any repercussion and willingly interact. See below is A
participant deliberately progression around the maximum length of the boundary unwilling to pass between even thought there was sufficient space. Whilst this occurs another 2 participants that know the static individuals pass between the static people.
This boundary was reformed slightly to cause a more blatant obstruction to block an adjacent doorway. This resulted in an extremely specific reaction to the geometry the boundary formed as participants needed to progress through it. The next series of photos show two participants actively incurring a significantly increased displacement in order not to interrupt or pass between any of the static people creating the boundary. This could have been due to the makeup of the boundary, i.e. 4 tall males or the participants reactions to the attire or stance, but irrespectively it can be concluded that they made a conscious decision to alter their projected paths to react to the impediment.
Conclusion The experimental proved extremely beneficial as it revealed conclusive evidence to support that people make conscious decision to interact with implied unseen boundaries in a physical manner. This link of forming a psychological evaluation of information is only possible due to the initial interpretive senses cooperatively acting to allow the user to interpret and react specially to suit the environment. Each boundary will forever remain personal to the individual due to their previous experience, their learning and perception development and their unique perception of the boundaries within any given environment. I feel that the research concluded that the built environment is, too an extent, providing for those with disabilities in certain areas like eyesight etc... but I think if more thorough investigation and generally increasing not only the designers, but the modern day general public's collective knowledge, about how they interact with unseen boundaries would further the quality of the built environment will live in.
Image References Figure 1 and 2 : Thermal Vals (2013) Spatial Massing <http://everlastingmoments6.blogspot.co.uk/2012/09/peter-zumthor-thermal-bath-invals.html> Accessed 22ng Novermber 2013 Figure 8 : Corpora in Si(gh)te (2012) Zoning and spatial understanding <http://corpora.hu/en/press-materials/catalogue/introduction/> Accessed 21st Novermber 2013 Figure 11: Arcspace (2013) Yokohama international port terminal <http://www.arcspace.com/features/foreign-office-architects/yokohama-international-portterminal/> Accessed 28st Novermber 2013 Figure 28 : Reflection (2013) A+ Trend: Reflecting on Reflective Architecture< http://architizer.com/blog/reflecting-on-reflecting-architecture/media/786066/> Accessed 1st June 2014 Figure 41 : Space (2013) Disestablishing the institution: space, power <http://www.presidentsmedals.com/Entry-13310> Accessed 15st December 2013 Front and back cover (2014) : Image from space, http://upload.wikimedia.org/wikipedia/commons/5/51/Night-sky-milky-way-galaxyastrophotography_-_West_Virginia_-_ForestWander.jpg Accessed 5th June 2014 Front and back cover (2014) : Image from space, <http://stephenliddell.files.wordpress.com/2012/12/asia-australia.jpg> Accessed 5th June 2014 All other figures have been created by myself to express such a specific theory or example
Internet sources Architecture as space: boundaries, connections, and the poetry of movement in digital experience (2012) ARCHITECTURE AS SPACE <http://www.sightunseen.com/2012/01/architecture/> Accessed 2nd Novermber 2013 Architecture of science (2011) Distant looking orbiting and non-orbiting structure <http://www.inkbox.org/moniteringthearchitectureofscience/> Accessed 22nd Novermber 2013 Architecture (2008) Transparency and Movement in architecture <http://scholar.lib.vt.edu/theses/available/etd07312008110535/unrestricted/veronicaestremadoyrothesisbook27august2008.pdf> Dezeen (2011) Mobile art pavillion <http://www.dezeen.com/2012/07/02/lichtstroeme-byloop-ph/> Accessed 5th November 2013 FT Magazine (2010) Architecture : Breaking the mould <http://www.ft.com/cms/s/2/41800772-f3fb-11e2-942f-00144feabdc0.html#axzz2js69ekTB> Accessed 12th October 2013 Religious boundaries (2010) Invasion of religious boundaries <http://www.globalsikhstudies.net/pdf/abstract/INVASION%20OF%20RELIGIOUS%20BOUNDAR IES.PDF> Accessed 30th October 2013
Unbalanced boundaries (2010) Unbalanced boundaries, Undefined limits and Uncertain edges <http://www.bartlett.ucl.ac.uk/architecture/programmes/postgraduate/units-andshowcases/march-architecture/unit20/2010-2011> Accessed 28th October 2013
Bruce MacEvoy (2007) Elements of perspective <http://www.handprint.com/HP/WCL/tech10.html> Accessed 1st June 2014 Scott Flinn (2000) The Necker Cube <http://www.cs.ubc.ca/nest/imager/contributions/flinn/Illusions/NC/nc.html> Accessed 20th May 2014 Wikipedia (2014) Depth perception <http://en.wikipedia.org/wiki/Depth_perception> Accessed 23rd May 2014 Wikipedia (2014) Stereopsis <http://en.wikipedia.org/wiki/Stereopsis> Accessed 4th June 2014 Collabcubed (2011) Spatial illiusions <http://collabcubed.com/2011/11/02/peter-koglerspatial-illusion/> Accessed 14th March 2014 Yellowtrace (2011) Sculpting and manipulating with light <http://www.yellowtrace.com.au/sculpting-and-manipulating-space-with-light/> Accessed 10th March 2014 Trendhunter (2011) 3D manipulation on a 2D canvas <http://www.trendhunter.com/trends/ramon-bruinsâ&#x20AC;&#x2122;> Accessed 1st March 2014 Trendhunter (2011) Spiralling staircases <http://www.trendhunter.com/trends/olafur-eliassoninfinite-staircase> Accessed 3rd March 2014 Brain Den (2011) Impossible objects <http://brainden.com/impossible-objects.htm> Accessed 17th Febuary 2014 Julesz, B. (1971). Foundations of cyclopean perception. Chicago: University of Chicago Press(2011) Steropsis and Binocular vision <http://en.wikipedia.org/wiki/Stereopsis> Accessed 6th March 2014
Book references Marr, D. (1982) Vision. 1st edition. San Francisco: W.H.Freeman Company. C.Carterette, E and P.Freidman, M. (1975) Seeing Volume 5 : Handbook of perception. 1st edition. New York: Academic press C.Carterette, E and P.Freidman, M. (1975) Seeing Volume 5 : Handbook of perception. 1st edition. New York: Academic press P. Sloterdijk. (2006) Architecture As an Art of Immersion. 1st edition. Originally published as Sloterdijk I. Howard (2012). Perceiving in Depth. (2012) New York: Oxford University Press