Prospectus by Stephen DeMayo

INSTILL|ATION an architectural study on the virtual and perceived

STEPHEN DEMAYO

MASTERS OF ARCHITECTURE

WENTWORTH INSTITUTE OF TECHNOLOGY

I would like to acknowledge my Thesis Prep professors Ann Pitt and Dan Hisel for their guidance and thought-provoking critique during the discovery of Instill|ation. I would also like to thank my grandparents for my vast experiences made possible by their love of travel and generosity.

INSTILL|ATION an abstract Instill|ation is an architectural study on how the virtual surface and percieved space can instill and absorb the subject within the built environment, by altering the perception of a normative experience. Through understanding the physical fabric of the built environment, we can question the resolution of our awareness within space. In order to mask the solidarity of the built environment we must reinterpret its boundaries through interrogating the connections between surface and space. Developing implementations of the perceived, the virtual and of new socio-spatial perspectives, design can act as a catalyst to rid itself of the numbness in the daily ritual of spatial relationships within the built environment. The resulting intervention instills spatial perceptions through an interactive and reactive relationship amongst subjects, fashioning a dynamic spatial interaction between spectators, both on the interior and exterior. Architecture that connects and opens up to us is never instructive or dominate but responsive and instilling.

CONTENTS

PART I |RESEARCH THESIS QUESTION

DEFINITIONS 10 PREFACE 13 RESEARCH ESSAY |

AN ARCHITECTURAL STUDY ON THE VIRTUAL AND PERCEIVED HYPOTHESIS 23

PART II|METHODOLOGY SPATIAL INTERPRETATION

SPATIAL PROJECTION

NOTRE DAME DU TRAVAIL

DESIGN PROBE|

REACTIVE INTERACTIVE

PART III | CONCLUSION CONCLUSIONS 60 TIME LINE OF INSTILL|ATION

EVALUATION CRITERIA

PART IV|BIBLIOGRAPHY BIBLIOGRAPHY 66

PART V|APPENDICES MODEL PHOTOS

MIND MAP

PART I | RESEARCH How can a design intervention instill awareness and spatial perceptions that act as a catalyst to rid architecture of the numbing daily ritual found between the interior and exterior of the built environment?

DEFINITIONS

INSTILL | verb \in’stil\

gradually but firmly establish (an idea or attitude, esp. a desirable one) in a person’s mind.

REACTIVE | adjective \re’aktiv\ showing a response to a stimulus

acting in response to a situation rather than creating or controlling it.

INTERACTIVE | adjective \inter’aktiv\

(of two people or things) influencing or having an effect on each other. allowing a two-way flow of information between a computer and a computer-user; responding to a user’s input.

SPACE | noun \spas\

a continuous area or expanse that is free, available, or unoccupied. the dimensions of height, depth, and width within which all things exist and move.

VIRTUAL | adjective \verCHooel\

almost or nearly as described, but not completely or according to strict definition. not physically existing as such but made by software to appear to do so. relating to the points at which rays would meet if produced backward.

PERCIEVE | verb \perâ&#x20AC;&#x2122;sev\

become aware or conscious of (something); come to realize or understand. become aware of (something) by the use of one of the senses, esp. that of sight. interpret or look on (someone or something) in a particular way; regard as.

NORMATIVE | adjective \normetiv\

establishing, relating to, or deriving from a standard or norm, esp. of behavior.

SOCIO-SPATIAL PERSPECTIVE|

urbanism research that addresses how built infrastructure and society interact consider interactions of society with urban space

PREFACE

The recent search for the awareness and the comprehension of human spatiality pose the question on how technological advances can influence and effect our constant interaction between surface and space. Perhaps more than ever before, we are becoming consciously aware of ourselves as intrinsically spatial beings, continuously engaged in the collective activity of producing spaces. This process of producing spatiality begins with the body, with the construction and performance of the self, the human subject, as a distinctively spatial entity involved in our complex relation with our surroundings. However, the built environment has numbed spatial interaction. Through implementing the virtual and the perceived, a new architecture can be spatially instilling, interactive and responsive, an architecture that connects and opens up to us.

RESEARCH ESSAY AN ARCHITECTURAL STUDY ON THE VIRTUAL AND PERCEIVED Defining Instill|ation

must be separated from it.

Instill|ation provides a methodology that enhances the interconnectedness of surface and space. The act of instill(ing) is defined as a gradual but firm establishment of an idea or attitude into a persons mind. Joined with the modern design method of installation, the action or process of installing someone or something, creates a dynamic construction between the physical and metaphysical. In order to enhance the interaction between surface and space, a series of frames were established to explore their relationships. These explorations are categorized and defined as spatial interpretations and spatial projections. The virtual and perceived uncover the role projection mapping, forced perspective and responsive architecture play in discovering Instillation.

“Therefore, we imagine a space around the object, and also around ourselves, because, at some stage in our mental development, we realize that we, too, are objects. Space is the medium of our relationships with the world and everything in it, but, for all of that, we do not experience it in a palpable, physical sense. We must think space into existence.” 1

Understanding Metaphysical and Physical Space In order to challenge the traditional definition of space, we must understand the relationship between space and object. Architectural theorist Lebbeus Woods’ essay “The Question of Space” states that in order to see an object, we

Given that space is the implication of one objects relation to another, we the spectator of that relationship create our own idea of space. The conceptual creation of space establishes mental boundaries that heighten our level of awareness. These boundaries define our relationship between surfaces. Woods draws examples from Albert Einstein’s Theory of Relativity; he defines particular space as arising from the simple act of establishing coordinates within general space. “For example, simply drawing a box with conceptually thin line, that is, nonphysical-lines are enough to bring a distinct and separate space into being”2. The representation of space in this case is conceptual; the lines become

1 Woods, Lebbeus. “The Question of Space.” LEBBEUS WOODS, Nov. 2009. Web. 25 Oct. 2013 2 Ibid

delineations of boundaries. If applied to cartography, the lines drawn between the coordinate points are only mentally physical constructs. Nevertheless, we regard them as real. As a result, the conjunction and continuity of a line can create space. Woods argues that when it comes to space, the mental is as potent as the physical. Establishing the perception of mental space uncovers its role in the ephemeral qualities of an experience. These qualities enhance the method that Instill|ation aims to implement. Tossing aside the idea of the real and logical, French phenomenological philosopher, Maurice Merleau-Ponty offers a perspective free of contextual settings but rather interchangeable dimensions, homogenous and isotropic.3 Offering a form of reflection and contemplation provides a window where the viewer recognizes the spatial connections in which they exist. Realizing they live only through the medium of a subject, it traces out and sustains them; and passing from dissociated to contiguous space.

Spatial Projection, Surface Augmentation In order to translate the perceived physicality of space to the projected surface, it was necessary to create a series of mages that explore the potential of spatial augmentation. The ability to project on irregular shapes and industrial landscapes, such as buildings, can turn objects into a dynamic interaction of threedimensional mapped space. As a result, this architecture works specifically with our physical and spatial ways of knowing. It is uniquely positioned to understand the role of our virtual in our interaction and comprehension of constructed and personal boundaries. Lebbeus Woods uses film and projection as the media of choice. Despite the presentation of space, we as viewers fully accept the spatial presence, “we speak as if we have ‘been there’. This ‘being there’, in scenography of the movie, is a reality we experience in only our minds.”4 So as a result in this narrative of space, we do not believe we are part of it. On the contrary Sylvia Lavin, in Kissing Architecture, asserts that there is a direct connection

3 Merleau-Ponty, Maurice. Phenomenology of Perception. London: Routledge, 2002. Print. 4 Woods

between the act of the first kiss to the observation and discourse of the relationship of space. As she says, “The attraction between architecture and the image (both built and virtual) might easily be and often is mistaken as simply a new form of spectacle. But of all the things that are generally difficult to do while kissing, seeing is among the most difficult. The contribution made by the attraction between subjects is not simply about how it changes the appearance of a building or image but how it alters its mode of reception.” 5 This mode of reception allows projection to instill perspective and alter the perceived surface. Lavin continues to strengthen her original claim through a discussion of the recent installation, Pour Your Body Out by Pipilotti Rist at the Museum of Modern Art, in hopes to show the transformation and intervention it has on the canvas provided by architect Taniguchi. This installation breaks the solidarity of the Museum of Modern Art by describing the “coming together of two similar surfaces, surfaces that soften, flex and deform when in

contact.”6 This method of projection aims to return architecture to the interior as a lens of experimentation. Instill|ation examines the interior as a new canvas. The canvas aims to break down the solidary of traditional methods of building, and reinterpret the interaction of surface and space. This is achieved by moving from floor to ceiling, as well as over and under things. The choreographed surface performs a composition that pushes architecture out beyond its own envelope. Spatial projection provides two methods of perception. The first method constructs the idea of space. A second, discusses the image and the implication of digital space. The constructed space provides a standard to explore the realm of the virtual. The implied space of the 12 x 12 x 12 cube allows both methods to be explored with a constant variable. The first image constructs the idea of space through the role of electronics and micro controllers, developing a responsive system. The three layers contain a grid of points that portray a field of sensors, a layer of flexible skin and its resulting deformation. The second construction provides

5 Lavin, Sylvia. Kissing Architecture. Princeton, NJ: Princeton UP, 2011. Print 6 Lavin 38

images which blanket a series of forced perspectives that allow for overlapping space. The adjacent walls and ceiling extend the perceived space physical and are altered by spatial augmentation of projection mapping. Site Discovery The relationships among built form identifies the tension between exterior and interior spaces. This interaction calls for a semi-autonomous state where the interior and exterior of a building are now separate. The interior is not a result of the exterior but, requires a design intent of its own. This relationship between inside and out allows a building to separate from the built environment; resulting in new spatial independency. During the late 19th and early 20th Paris underwent an Industrial Revolution. During this time Paris regarded itself as the world capital for technology and innovation. Industrialization was moving ahead at full speed. The city experienced a massive influx of workers to fill the new factories. The cities southern periphery felt the impact of this immigration quite drastically. As a result the planning of a

new church was put immediately into effect. The goal was to accommodate the growing work force and their families In 1902, architect Jules Godefroy, developed plans to construct Notre Dame du Travail. To honor the tradesman who constructed the Eiffel Tower and the 1889 World Exhibition, metal columns were salvaged from the demolition of the Palais de Li’industrie in 1897 and were incorporated into the design.7 The traditional method of a Romanesque church generates expected circulation and building typology. This is accomplished with an archaic stone façade grounded in poche. However, Notre dame du Travail steers away from this tradition. The remarkable structure boasts a visible skeletal iron frame that allows the interior to separate from the exterior. This contrast creates a unique series of interior volumes that rely on the dynamic play between its skeletal surface and constructed space.

7 “Churches of Paris.” Churches of Paris. Web. 02 Dec. 2013.

As a result the spatial independency is the catalyst between the interior and the exterior built environment. Through the skeletal construction and lack of poche the open plan offers atmospheric and sensible experiences8 that provide the spectators with a new form of interaction. Understanding the Virtual In order to place physical space into the virtual world and the virtual world into physical space, Antoine Picon breaks down the unsettling role that many believe computers and the digital age play on the discipline of architecture. Picon states “The computer indubitably can be related to an extension of the mind, but it also alters our perception of objects by extending the realm of our sensations”9 . Picon strengthens the connection between the human body and it’s relationship with the virtual world through Toyo Ito’s famous statement that architecture should design for subjects with two bodies, a virtual and a real.

8 Lavin 88 9 Picon, A. “Architecture and the Virtual: Towards a New Materiality” 10 Picon 51 11 Picon 110

“We of the modern age are provided with two types of bodies, the real body which is linked with the real world by means of fluids running inside, and the virtual body linked with the world by the flow of electrons. Actually, these two bodies are not separated, but rather they are part of what constitutes today’s physical presence”10 These two bodies provide us with the opportunity to generate a multisensory experience. Picon continues to identify the computer (dealing as a direct relation to the virtual) as an extension of the mind. Through this redefinition of perceptual entities, Picon looks to the automobile as a hybrid of machine and human. He states that an experience such as riding in a car “alters our very notion of space, changing the existential status of our body”11 . The significant change is not the car itself, but the subtle changes altered in our physical perception of the world by superseding the content and boundaries of materiality. As a result, our true perception of space will in turn be affected by the mechanical changes in the digital age. Through the synthesis of the virtual and physical bodies we are able to encompass the full human experience, defined by Ito. Architects

previously manipulated static forms. The shift in technology and the virtual can now compose surface and volumetric deformations creating a new physical experience. The virtual reality offers an interactive technology that influences our comprehension of surface and space; not only through the space we occupy, but also how we perceive ourselves. This provides Instill|ation with an environment that embraces the technological advancement of projection mapping, sensors, and kinetic systems. This integration recognizes and responds to our social participation. The intersecting dialogue of the virtual and physical explores the relationship between building and subject. Whether it be, environment to building, building to structure, or structure to surface. Respectfully, it will also be experienced by means of surface to subject, and subject to subject. Multisensory Approach Through creating an experience of spatial expression it provides a multisensory virtual and physical representation, the reception of this experience presents the opportunity to

provide multiple points of perceived space. Synesthesia is characterized as a phenomenon that is defined by the appearance of sensory impression during the stimulation of another sense.12 These cross-sensorial connections heighten the resulting stimuli. Through this phenomenon it generates a multisensory experience. Evoking emotion causes external stimuli to generate a series of bodily reactions among multiple points of perceived space. Finnish architect Juhani Pallasmaa’s theories on the perception of space call for architecture to not only activate our cognitive sensory system but also encourage the body to “project” itself onto the city13, while the city also projects itself onto us. Along with Pallasmaa, Olafur Eliason describes the perception within the city as a constant co-production, when someone walks down a street he/she co-produces the spatiality of the street and is simultaneously coproduced by it.14 Apart from the direct perception from the body to the city to the understanding of space, Eliason creates what he refers to as the engagement sequence, this sequence provides a framework for moving the

12 Haverkamp, Michael. Synesthetic Design: Handbook for a Multi-sensory Approach. Basel: Birkhauser, 2011. print 13 Pallasmaa, Juhani. The Eyes of the Skin: Architecture and the Senses. Hoboken: John Wiley & Sons 14 Eliasson, Olafur. Your Engagement Has Consequences: On the Relativity of Your Reality. Baden: Lars Müller, 2006. Print.

immediate to memorial perceptions. A nonlinear line of experiences that generates individualized perception: Experience to Memories to Expectations to Perceptions.15 It is no longer about the individual experience or a single perception of a specific identity or space, concludes Eliason, but rather the conditions that formulate the assortment of multiple experiences. “We should avoid what we might call a Disneyfication of experience in order to leave room for individual evaluation, feelings and thoughts”16. Since Instill|ation aims to create a series of layered experiences, it is important to avoid ‘disneyfication’. These experiences are a direct result of a subject’s individual perception through the interaction between the virtual and physical. Reinterpreting Poche Yet, there is a level of transparency between the visible layers and the invisible layers. These transparences provide a socio-spatial intervention between the objective and subjective

modes of cognition. Eve Blau defines transparency as the conception of architecture in terms of contradictions between perception and knowledge and material and virtual presence.17 The virtual age permits spatial interpenetration. Thus, layers of superimposed images result in alternative realties.18 These new realities reinterpret the understanding of poche. The skeletal construction of Notre Dame du Travail provides a frame to implement this reinterpretation. This allows for spatial reconfiguration. Hence, the reconfiguration provides Instill|ation the ability to reveal and conceal space through interactive exploration. This exploration requires inhabitable space where: “ a marked space emerges via a constitutive distinction from an unmarked space and how something becomes invisible when something else becomes visible.”19

15 Olafur 2 16 Olafur 3 17 Blau, Eve. Transparency and the Irreconcilable Contradictions of Modernity. Print 18 Ibid 50 19 Diller,Elizabeth, and Ricardo Scofidio. Blur: The Making of Nothing. New York, NY: Harry N. Adams, 2002. Print

Conclusion The existing relationship between surface and space falls short in creating an interactive dialogue between inhabitants. Identifying the role the human body plays in understanding the metaphysical and physical creation of space offers a canvas for interaction. This interaction provides a perception of mental and physical space that uncovers its ephemeral qualities. Technological advancements provide a new lens that reinterprets the virtual and perceived. These advances include spatial projection and surface augmentation as well as, a responsive and kinetic system that effect the translation of the physical, and as a result offer a conscious alteration in our perception of our adherent spatiality. The direct connection between the act of the first kiss and its observation between surface and space aided in the discovery of Notre Dame du Travail, a structural feat in itself. The resulting disconnection of exterior and interior not only enhance the dialogue between surface and space but also offers the openness needed to intervene.

This production of spatiality begins with the body, performs between the surface and responds to its subjects, as a distinctive spatial entity involved in our complex relation with our surroundings reinterpreting poche.

HYPOTHESIS Architecture has remained numb to the increasing need for spatial interaction. The recent shift for spatial awareness and comprehension, pose an opportunity for technology and responsive systems to intervene. If Instill|ation can provide a new architecture that encompasses the virtual and the perceived then the relationship between surface and space can co-produce; which begins with the body, performs between the surface and responds to its inhabitants, as well as redesigns our relationship with built form and as a result, redefines the role of poche.

PART II | METHODOLOGY In order to enhance the interaction between surface and space a series of frames were established to explore their relationships. These explorations are categorized and defined as spatial interpretations and spatial projections. The virtual and the perceived uncover the role projection mapping, forced perspective, and responsive architecture play in discovering the interconnectedness of what surrounds us. These series of created images and models are a collection of perceived interactive systems within science, art and architecture that constantly evoke relationships.

SPATIAL INTERPRETATIONS

The interpretation of composed space provides surfaces that kiss and shape experience. Dell Upton provides discourse on the unnecessary search for pure form, condition or intention, when every structure contains several different imaginations by viewers that are never consistent. There is constant communication between surface and space, these series of drawings aim to establish multiple interpretations of defined spatial qualities. The end result creates a semi-autonomous state where interior and exterior of constructed space is not a result of the exterior but requires intent of its own. 26

The exploration of three-dimensional protein strands provided a parallel to the interaction of bodies in space. This biological method is a direct correlation to Toyo Itoâ&#x20AC;&#x2122;s theory on bodily interaction. The strands explore three types of spatial interaction, direct (figure 1), the bystander (figure 2), and the integrated (figure 3). The direct interaction illustrates two subjects along a parallel circulation path, the moment of connection happens when they reach adjacency. The bystander explores the observed; the resulting spaces are created by the inverse of the direct. Lastly, the integrated interaction redesigns the path of circulation to undoubtedly cross paths of both subjects. These series of illustrations pose the question on how Instill|ation can enhance interaction and reactivity among its inhabitants. This interaction can as a result, be altered by the role of the virtual and perceived. 28

Figure 1. Direct

Figure 2. Bystander

Figure 3. Integrated

The adjacent diagrams explore both existing and future direction of spatial reinterpretation. The connections between its users, activities and interior location draw from interactive technologies produced through the virtual. At present, spaces are created in rather a linear manner, interaction between point A and point B using conventional methods of only a two-way communication. The same connection exists from A-C, B-C and A-X.

However, if the frame evolves with a new socio-spatial perspective through the use of interactive technologies, A, B, C, and X can interact within each other through a common nucleus. (Figure 5). In Figure 6 and 7, both illustrations portray the concept diagram of the conventional and interactive methods of communication. In the first scenario spaces are organized within an enclosed numbing structure. Interactions between parties are limited to the paths within the confined area. In Figure 7, spatial and social relationships between extroverted and introverted spaces are explored and integrated within a responsive environment.

Figure 4. Existing Spatial Sequence

B Figure 5. Future Spatial Sequence

Figure 6. Conventional Interaction

Figure 7. Interactive Interaction

Spatial interpretation can be explored through mechanical systems that directly affect the perception of space. Figure 8 provides a mechanically responsive technique that operates on a series of tracks and operable arms. These arms stretch the limitations of the fabric, and as a result, create different arrangements of expressed space. This system offers an architecture that connects and opens up to us.

Figure 8. Mechanical Interpretation

In figure 9, spatial proximity controls the interaction between subject and surface, and subject-to-subject. The first diagram shows each participant at a distance. Their spatial proximity cannot provide a direct interaction to the divider. As the series progresses however, their proximity between the divider and each other draws a certain level of curiosity. The transparences hint at the adjacent spaces and its occupants. The moment of contact is at the pinnacle of spatial proximity shown in the proceeding illustration. This level of interaction alters their understanding of relative space. Through the design of this responsive system, architecture can embrace spatial perception and interaction that can redefine the solidarity of the built environment. As a result, rid current architecture of its numbing spatial communication. 34

SPATIAL PROJECTIONS

A series of projected images uncover the potential of spatial augmentation that increases the role of the virtual in expanding the traditional methods of reality in the everyday built environment. The ability to project on irregular shapes and industrial landscapes, such as buildings can turn objects into a dynamic interaction of threedimensional mapped space. As a result this architecture works specifically with our physical and spatial ways of knowing, is uniquely positioned to understand the role of the virtual in our interaction and comprehension of constructed and personal boundaries.

The shown model was an attempt to merge forced perspective and projection. The process involved laser engraving a series of forced perspectives on acrylic to provide the translucent quality of a virtual image. To add another layer of depth images of the built environment both interior and exterior where transferred through the process of emulsion. The end result studied how the virtual age permits spatial interpenetration. Thus, layers of superimposed images result in a attempt at a new spatial reality.

The constructed space provides a standard to explore the realm of the virtual. The implied space of the 12â&#x20AC;&#x2122; x 12â&#x20AC;&#x2122; x 12â&#x20AC;&#x2122; cube allows both methods to be explored with a constant variable. The image above explores how the role electronics and micro controllers could be implemented in designing a layered interactive system. The three layers contain a grid system of points that portray a field of sensors, a layer of flexible

skin and the resulting deformation of the skin. The image to the right provides projected images overlaid on a series of forced perspectives that allow for overlapping images to alter the perception of space. The adjacent walls and ceiling extend the perceived space past the realm of the physical and controlled by the spatial augmentation of projection mapping.

SITE ANALYSIS NOTRE DAME DU TRAVAIL During the late 19th and early 20th centuries, Paris regarded itself as the world capital for technology and innovation. Industrialization was moving ahead at full speed, and the city experienced a massive influx of workers to fill the new factories. The 14th arrondissement, near the cityâ&#x20AC;&#x2122;s southern periphery, felt the impact of this new immigration quite acutely, and soon planning began for a new church to accommodate these new workers and their families. This church, built in 1902, is remarkable for its use of a visible iron frame. It gives the church an industrial atmosphere, which is no coincidence: the church was built for the construction workers who helped build the Eiffel Tower and other structures for the 1889 World Exhibition. The metal columns were even taken from the Palais de lâ&#x20AC;&#x2122;Industrie, an exhibition hall that was demolished in 1897.

1 Notre Dame Du Travial 2 Tour Eiffel 3 Le Palais de L’Elysee 4 Obelisque 5 Musee du Quai 6 Musee de L’Orangerie 7 Pompedu 8 l’Observatoire 9 Champ de Mars

SITE ANALYSIS NOTRE DAME DU TRAVAIL The normative experience of a Romanesque church generates expected circulation and building typologies. A strong stone faรงade and building construction grounded in tradition. Notre Dame Du Travail breaks this tradition, from an exterior facade that holds historic value in contrast with the modern day iron space frame construction. Form values function, the Churches interior holds strong to that design concept. Instilling the perception of space through an intervention that rids the normative experience of the Romanesque church while highlighting the advancement in technology both today and of the 19th century.

SITE ANALYSIS NOTRE DAME DU TRAVAIL The traditional means of architectural representation call for plan and section drawings. The following drawings explore the first digital representation of Notre Dame Du Travail. The drawings clearly identify the traditional Romanesque arrangement sequence including, the naive, apse, aisles, and transepts. However, due to the Industrial Revolution and structural simplicity eliminates poche. The regularity of the structural bays offers an open floor plan that can provide a backbone to the arrangement of Instill|ation.

SITE ANALYSIS NOTRE DAME DU TRAVAIL The series of axons shown provide a clear diagrammatic relationship between interior and exterior, or rather a lack there of. The disassociation between the interior and exterior allows for the interior to boast design intent of its own. As a result, this independence provides spatial independency. The skeletal construction offers a unique experience that offers spatial autonomy.

DESIGN PROBE REACTIVE INTERACTIVE This design probe explores the interior construction of Notre Dame du Travail through a series of narrations that describe spatial sequences and interpretations through the eyes of an extrovert and introvert. The responsive and kinetic environment pushes the comprehension of surface. The collage to the right explores a series of initial frames including, spatial projection and a responsive system. The resulting interaction of the two provides a new arrangement sequence creates a unique series of interior volumes. As a result, the volumes require a dynamic play between surface and its spatial production.

NARRATIVE A PLACE FOR CONTEMPLATION The following narratives place diverse persona within an environment that encourages exploration. The resulting pragmatic interaction aims to instill and absorb a diverse understanding of perceived and interactive spaces. Through studying the extrovert and introvert the interaction among spatial relationships react differently.

EXTROVERT| noun \ekstre,vert\

an outgoing person; a person concerned primarily with the physical and social environment rather than with the self.

INTROVERT| noun \intre,vert\

a person predominantly concerned with their own throughts and feelings rather than with external things

A PLACE FOR CONTEMPLATION EXTROVERT

The brisk morning dew covers the uneven cobblestone, the sun glistens over the drops of water falling on each blade of grass. The silhouette of the man crosses against the surfaces of the limestone and falls against the slick granite facades on his way down the Rue Alain. Waving hello to the bystanders. The row of Romanesque facades numb his morning commute. The repetitive, rigid, cold materiality of the street wall towers overhead. His mind consumed in his own thoughts. The marble steps no longer rigid but worn down by the foot traffic, the transition to the iron door of passage. Inside filled those seeking contemplation. Seeking a place of self, a place of reactivity, a place of self and communal interaction. The light cascades down the soft fabric stretching from bay to bay. With every footstep the man is consumed into the soft interaction between self and the built form. Contracting with each step the passage narrows, the light is dim now.

Mirrored on parallel space is a chamber filled with bodies, the flowing of electrons bouncing in infinite space causes a reactive interaction between the layers of constructed space. The perceived space in between altered by the collision of each electron with the continuous sound waves projected by unidentifiable sources. This container expands and overgrows into the passageways structured by the repetitive columns of the remains of the Eiffel Tower. The light source filters through the stained glass, the colors projected along the blank canvas of the intervention, through the perceived, the constructed and the virtual realm of space. The man presses through, his comfort level tested by the interaction generates with the swift and slow reacting curtain.

A PLACE FOR CONTEMPLATION INTROVERT

The sun falls over the tips of the spires that line the edge of what seems as a never-ending street. The constant demand from overgrowing crowds keeps his thoughts full and focus divided. The dire need to break away from the draining social situations that the public realms place on daily experiences. There is a need for an escape, a search for meditation. The cold granite lines the path down Rue Alain, the daily routine leading him to the same rigid iron church in search of sanity in exploring his own thoughts and feelings. The heavy weight of everyday life wears down the limestone steps that lead up to the iron doors. The normative routine numbs the mind; the blank canvas walks in search for clarity. The narrow entryway contracts and isolates the man from what is normally lined with pews and chairs.The noise of others fill the adjacent masked spaces, the wall extrudes closer now, in search of poche.

Sacred niches hiding in the carved surface of the traditional mass of historic buildings built by the master builders are lost in translation. The man has no choice but to press forward down the new aisle. A slim sliver of light escapes the womb of interaction, a soft and swift motion of the parallel wall leads the man into a small pocket of poche, the hidden niche. The light grows across the space, he finds himself in the center of this intimate space, a place for contemplation. For a second his mind is clear, blank, numbed. He is moved to reflect, he moves to the light cascading down the soft wall of this hidden niche. It responds, it moves with him, the space now gradually becoming smaller. It grows with him, a complete extension of his self, his space, controlled by his actions, his motion.

PART III | CONCLUSION

Design Methodology Conclusion Spatial interpretation and spatial projection provided a methodology that established both metaphysical and physical creations of space. In order to identify the existing problems of spatial relationships within built form, illustrations where provided to explain current engagement sequences. This sequence enhanced the need for a design intervention that was instilling and responsive through the growing interwoven realms of the virtual and perceived. Working in digital modeling and illustration allowed the process methodology to reveal a new dimension of space that pushed the limitations of traditional modes of representation and building tectonics. The virtual realm provided the tools to construct the first digital documentation of drawings and models of Notre Dame du Travail an intrinsic part of Instill|ation. The goal of the design probe was to explore the interior construction of Notre Dame du Travail through a series of narrations that describe spatial sequences and interpretations through the eyes of an extrovert and introvert. The responsive and kinetic environment pushes the comprehension of surface.

Instill|ation has begun to explore the realm of possibilities that is cultivated by bringing the virtual, the perceived, and spatial relationships into an architectural reality.

Design Discoveries

Reflections

Instill|ation applies interactive and responsive interventions coupled by aspects of the virtual and perceived within existing structures that rid of existing numbing spatial relationships. This research has expanded and contracted to ultimately address the idea of space in relation to projection mapping, forced perspective, kinetic and the cross-pollination of computer science and architecture.

I am excited to unfold the potential of Instill|ation as a new typology of architecture. I have experienced the present architectural numbness. Most have failed in comprehending human spatiality and their constant interaction between surface and space. I can foresee the benefits more now then ever before, of becoming consciously aware of ourselves, as spatial beings, and continuously engaging in the coproduction of space. Through the use of integrated technologies and new means of production, existing architecture has the ability to adapt and respond to the ever-growing need for a new spatial engagement.

OBJECTIVES & EVALUATION CRITERIA

Develop a unique and appropriate research and design methodology that alters the traditional numbing list ‘final requirements’. Contribute a meaningful proposal to an existing discourse grounded in responsive architecture and spatial engagement. Develop a comprehensive-level project that pushes the envelope of surface augmentation Create a consistency in a design aesthetic that is informed by a historic push in technology, from the scale of site to the detail of the typography.

JANUARY

NOVEMBER SITE ANALYSIS

DESIGN PROBE

PROSPECTUS FINALIZED

WINTER BREAK

SPRING SEMESTER

DECEMBER DESIGN METHODOLOGY RESEARCH ARDUINO DEVELOPMENT

VIRTUAL MAPPING AND INTERACTIVE WALL PROTOTYPING

MARCH SITE CONSTRAINED DESIGN PROCESS

EXPLORATORY DESIGN PROCESS

FINALIZE DESIGN

IMPLEMENTATION OF DESIGN AND PROTOTYPING

FEBRUARY

APRIL PRESENTATION OF DESIGN PROCESS AND PROTOTYPING

INSTILL FINAL PRESENTATION

PART IV | BIBLIOGRAPHY

Diller, Elizabeth, and Ricardo Scofidio. Blur: The Making of Nothing. New York, NY: Harry N. Abrams, 2002. Print. The Making of Nothing describes the process from schematic to construction of Diller+Scofidio’s installation Blur. The provided graphics and drawings bring physicality to the multisensory experience. However, I find the questions and theories behind the design of most importance. They aim to understand the relationship between art, the subject, and the world. The boundary between the implication and instability of the subject and performance are interlaced between the human and technology. While the Blur “building” could be found as precedents across the emerging age of instillation architecture, this specific construct is most successful in aiding to understand the relation of observed spaces to perceived spaces. “How to observe the world and how the world observes itself, how a marked space emerges via a constitutive distinction from an unmarked space and how something becomes invisible when something else becomes visible.”

Blau, Eve. Transparency and the Irreconcilable Contradictions of Modernity. Print. Eve Blau focuses on conceptual theories and explanations of socio-spatial transformations through the lens of translucency and it’s effect on perception and materiality. Blau’s article continues to reference specific works and designers such as Rowe and Slutzky as well as Detlef Mertins idea and theories on the psychology of perception and aesthetic perception. This article offers a more philosophical and historic root that strengthens the argument of interactive and reactive design technologies. Blau continues to strengthen the importance in comparing and contrasting both mechanical and passive ways of modern construction.

Haverkamp, Michael. Synesthetic Design: Handbook for a Multi-sensory Approach. Basel: Birkhäuser, 2011. Print. Synesthetic Design provides framework in psychology, physiology, motor functions, and neurology through the innovations of materials. This book acts as a foundation for creativity through the fundamentals of a multisensory experience. The significance and strength of this “handbook” provides the rudiments of perception through the influence of social factors, demands, individual knowledge and emotional attitudes. Haverkamp defines perception as “perceiving and imaging an object in a conscious state is the basis of human cognitive activity as a multisensory process”. Along with initially defining perception Haverkamp draws the relation between emotions and its grounds in the interaction of the perception of external stimuli with the perception of body reactions. The relevance of Synesthetic Design is truly aiding in my understanding about how one perceives space apart from the physical.

Lavin, Sylvia. Kissing Architecture. Princeton, NJ: Princeton UP, 2011. Print. Sylvia Lavin asserts that there is a direct connection between the act of kissing to the observation and discourse of the relationship between architecture, art and multi-media instillations. Lavin strengthens her claim through the recent instillation, Pour Your Body Out by Pipilotti Rist at the Museum of Modern Art, in hope to show the transformation and intervention it has on the canvas provided by architect Taniguchi. Sylvia’s purpose is to point out that kissing opens architecture to a means of expression in the touching of two surfaces in order to highlight ether material or epistemological differences. This source has lead to be very relevant and forced me into taking something tangible and developing the idea of a reactive and interactive design into a psychological research of perception of the physicality and socio-spatial transformation.

Woods, Lebbeus. “THE QUESTION OF SPACE.” LEBBEUS WOODS, Nov. 2009. Web. 25 Oct. 2013. Lebbeus Woods’ essay questions the construction of both the physical and mental comprehension of space. The most important point Woods’ makes is acknowledge that space is essentially a mental construct. We imagine space to be there, even if we experience it as a void, an absence we cannot perceive. However despite his metaphysical ideas of space, Woods’ uses an object-based idea behind physical space, a stagnate process, rather than a constant flux of interaction. This source provided a backbone of conversation to solve a current problem in the understanding of spatial relationships, who is the performer of space, and what is the product.

Pallasmaa, Juhani. The Eyes of the Skin: Architecture and the Senses. Hoboken: John Wiley & Sons Juhani Pallasmaa provides a multisensory exploration of our spatial cognition. The main point that I extracted out from The Eyes of the Skin was the built environments ability to activate our sensory system through encouraging the body to project itself onto the city, while the city also projects itself onto us. Pallasmaa provided claim to strengthen the role projection mapping has on the production of spatial experience. Through the advancement of technology the manipulation and production of images provide an endless rainfall to the manipulation of spatial perception.

Eliasson, Olafur. Your Engagement Has Consequences: On the Relativity of Your Reality. Baden: Lars Müller, 2006. Print. With a focus on human experience, installation artist, Olafur Eliasson, provides insight to ideas of context, motion and awareness in relation to that experience. He discuses the concept of “Your Engagement Sequence”, a claim that in order to understand something, the person must relate back to her own personal engagement sequence to bring relativity to and individualize the topic. “MIT SENSEable City Lab.” MIT SENSEable City Lab.Web. 29 Sept. 2013. This specifically design lab at MIT publishes series of articles and essays that are responsive to the development and research of technologies role in the built environment. Co-taught and written by Antoine Picon his research on a living architecture and its relation between buildings and subjects developing an interactive dialogue. As well as SENSEable Cities paper on Social Sensor data and visualizing spatial-temporal dynamics in the urban environment. This specific lab offers a backbone and significant research that would greatly strength and aid to the development of my thesis. Picon, A. “Architecture and the Virtual: Towards a New Materiality.” Praxis 6(6). Antoine Picon’s article strengthens the need to pay close attention to the physical experience and materiality. I have received precedents and articles to continue my research and focus on how new representations alter individual experience through the perception of space and materiality.

PART V | APPENDICES

FUNCTION STRUCTURE THERMAL VENTILATION SUN SHADING

AESTHETICS MATERIALITY COLOR TRANSPARENT SITE RESPONSE

electroluminescent + electro-active polymers

innate material properties

passive

mechanical Blur Building: Diller Scofidio Renfro + Rain Room: rAndom International + Cloud: sSD

METHOD

FACADE + BUILDING

REACTIVE showing a response to a stimulus.

SOCIO-SPATIAL TRANSFORMATION

MULTISENSORY

( i e

Martha Decker

ALIVE 2013 SYMPOSIUM

INSTILLATION

INTERACTIVE

(of two people or things) influencing an effect on each other.

PERCEPTION “Your Engagement has Consequences” + Antoine Picon