LEARNING SPACE LINKED ARC8068 RESEARCH
Tom Cowman Kayleigh Creighton Carl Reid Jessica Wilkie Gavin Wu
In collaboration with
Cara Lund Matthew (Mags) Margetts
Department of Psychology Dr. Stephanie Wilkie
CNC Cutting Services RASKL Design Studio and Workshop
CONTENTS
10 12 14 26 54 60 64 108 124
Chapter 01
INTRODUCTION
Chapter 02
PROGRAMME
Chapter 03
ENVIRONMENTAL PSYCHOLOGY Chapter 04
ENVIRONMENTAL CONSIDERATIONS Chapter 05
HIGHER EDUCATION SITE STUDY Chapter 06
DYNAMIC MAPPING
Chapter 07
BASELINE MAPPING
Chapter 08
LITERATURE REVIEW
Chapter 09
DESIGN BRIEF
138 162 170 192 206 228 242 264 290
Chapter 10
DESIGN PRECEDENTS
Chapter 11
CONCEPT
Chapter 12
DEVELOPMENT
Chapter 13
PROTOTYPE
Chapter 14
HIGHER EDUCATION MAPPING Chapter 15
PROTOTYPE REVISIONS
Chapter 16
WORKPLACE MAPPING
Chapter 17
CONCLUSION
Chapter 18
BIBLIOGRAPHY
“
We’re a little bit close here guys... (Gavin Wu, 2016)
”
“
Personal Space... It might be thought of as a small protective sphere or a bubble that an organism maintains between itself and others. (Hall, cited in Kopec, 2012) Stop-Distance Study (fig 0.1)
�
“
Currently, only 1 in 4 workers are in optimal workplace environments. The rest are struggling to work effectively, resulting in lost productivity, innovation, and worker engagement. (Gensler, 2013)
Lego Office, Denmark (fig 0.2)
�
“
Everyone hates the slide... You go on once on the first day and then you never go again. (Ost, 2016)
�
“
That mess doesn’t belong to me! Why should I tidy it? (Stage Three Architecture Student, 2016)
”
“
Territoriality should be facilitated in the overall masterplan of the space, in order to reduce aggression and stress, and increase control to promote a sense of order, security and responsibility. (Altman, 1975)
Stage Three Architecture Studio (fig 0.3)
�
01
INTRODUCTION In recent years a number of articles in the architectural press have criticised architectural education for ...
... teaching projects steeped in fantasy which lack the challenge of designing for real world people ... ... (Wainwright, 2013). It has been argued that there are fundamental limitations in architect’s understanding of what influences the actions and behaviour of people. In direct contrast, environmental psychology is a field that focuses on the interplay between individuals and their surroundings, people are at the core of this discipline. In the history of architectural design there was a stage, fleetingly over a few years, in which architects were keen to engage with psychologists, in turn creating the whole field of environmental psychology, starting in the 1970’s (Galan-Diaz, Martens, 2015).
10 Introduction
The importance of human-environment transaction is again now often overlooked in architectural design, spaces are often designed for practical and aesthetic purposes, neglecting the psychological needs of the user. Given the fact that psychologists are known to understand the symbiotic nature of the humanenvironment relationship (Kopec, 2012, p.1), it is not surprising that only 1 in 4 users are satisfied with the conditions of their working environment (Gensler, 2013). The key focus of this research document is to study and test how psychology and architecture disciplines can be brought together to improve the design process and outcomes. This project will work within a unique inter-professional learning environment, in collaboration with architects from EDable Architecture, environmental psychologists from University of Sunderland
HOW CAN AN ENVIRONMENT BE BETTER UNDERSTOOD BEFORE DESIGN INTENT?
HOW CAN AN IMPROVED UNDERSTANDING OF USER NEEDS BE ACCOMPLISHED ?
HOW CAN THE DESIGN OF SPACE BE UTILISED AS A TOOL THAT RESPONDS TO ITS ENVIRONMENT AND USERS, EVOLVING OVER TIME?
IS IT POSSIBLE TO QUANTIFY THIS INFORMATION AND APPLY TO A A WIDER APPLICATION?
HOW DO THE PRACTICALITIES OF REAL TIME AND REAL WORLD FEEDBACK LOOPS IMPACT THE DESIGN?
and architecture students from Newcastle University. This synergy will draw on distinct knowledge from both professions, exploring how the two can influence and drive a new way of thinking and understanding of how space is utilised, and therefore designed. This research document will consider the interplay between individuals and their environment through two case studies, a higher education environment and a recently built office for a Housing Association. Through these case studies this research will aim to answer five key questions of interest as set out above. To achieve this, a set methodology will be followed as described below: LITERATURE REVIEW - gain an understanding of environmental psychology, MAP THE HIGHER EDUCATION SPACE - utilising skills employed by both architects and
environmental psychologists to understand the requirements of the users of the space. MAKE - design and build an installation informed by the literature review and mapping exercises. TEST - install the prototype in the higher education space. MAP - map the interplay between people, the environment and the installation. MOVE - install the prototype in the office environment MAP THE OFFICE ENVIRONMENT - again map the interplay between people, the environment and the installation. CONCLUDE Undertaking a literature review and mapping exercise are key as they enable the testing of an evidence-based design approach. This is supported by both the hands on experiment and build element, giving an appreciation of both hard (physical) and soft (psychological) aspects of design.
Introduction 11
02
PROGRAMME
The programme is designed to enable a continual cyclical process of research, mapping, design, refinement and evaluation. The application of an evidence
based design approach is expected to produce a more thorough outcome, as it allows for the parameters of the project to be continuously tested and adjusted.
PHASE ONE - ENVIRONMENTAL PSYCHOLOGY Research into environmental psychology theories, leading into key environmental considerations.
which explores the juxtaposition between environmental psychology and architecture.
PHASE TWO - BASELINE MAPPING Using dynamic mapping methods to map a chosen site and analyse in reference to environmental psychology findings. PHASE THREE - FURTHER READING Further reading into higher education design, workplace design and flexible architecture. PHASE FOUR - DESIGN Applying evidence from the previous phases to design a physical installation
12 Programme
PHASE FIVE - PROTOTYPING Using a method of prototyping to test and develop the design. PHASE SIX - MAPPING Mapping the site with the installation in situ. PHASE SEVEN - REFINE Refining the prototype based on the evidence gathered from the mapping. PHASE EIGHT - RE-MAPPING Displacing the prototype and re-mapping. PHASE NINE - CONCLUDE
JANUARY
FEBRUARY
MARCH
APRIL
MAY
JUNE
JULY
AUGUST
SEPTEMBER
OCTOBER
NOVEMBER
DECEMBER
JANUARY
Literature Review
Group Meeting
Reflection
Readings/Research
Mapping
Draft Presentation
Design
Presentation to GT+3 Architects
Build
Design Components
Office Mapping
Assembled Installation
Conclusion
Refined Installation
Charrette Week
Programme 13
03
ENVIRONMENTAL PSYCHOLOGY
“
The fundamental truth of environmental psychology is that every human activity occurs within a physical context. The importance of human-environment transactions is often overlooked in architectural design. By understanding the fundamental perspectives and theories of environmental psychology, it will provide an insight into the reasoning behind occupant’s behavioural patterns, ultimately enabling the production of an architecture that truly meets the needs of occupants.
The human-environment relationship is symbiotic in that the environment influences our behaviours and we in turn influence the environment. (Kopec, 2012, p.1)
”
Environmental Psychology is the study of the interactions between individuals and their physical surroundings. In these interactions,
14 Environmental Psychology
The section explores the psychobiology of behaviour – how humans perceive and process the environment. Furthermore it highlights leading figures within the field of environmental psychology, as well as important theories, models and perspectives. The research will allow for a set of environmental considerations to be developed, which will become the driver for the design constraints and opportunities for the proposed installation. individuals alter their environment, and in turn, their environment influences their behaviour and experiences. THE HAWTHORN STUDIES The Hawthorn Studies (1924-1932) were one of the first human-environment research studies to be conducted. Focusing on the workplace the study analysed the effects of
lighting on employee’s performances. It was hypothesised that an increase in light would correlate with an increase in production. Workers were isolated and asked to continue with their duties, and each day the researchers brightened the room. As hypothesised, performance increased with the brighter lighting; however to validate the results, researchers decreased the brightness, assuming that production would then also decrease. This did not happen; instead, production continued to increase as a result of other variables: The effect of the physical environment is buffered by perceptions, beliefs, preferences, experiences and personality. This changes the employee’s perception. The employees who were selected for the study felt ‘special’. The physical environment changed the social dynamics. (Kopec, 2012)
“
The Hawthorn Study, along with other early studies, illustrated that the environment we occupy dramatically influences how we perceive the world around us, and how we see ourselves in relation to the greater social hierarchy.
(Kopec, 2012, p.8)
GOVERNING PERSPECTIVES Environmental psychology is a multiple paradigm field, in that it applies both social and physical science perspectives, and views human-environment behaviours as deriving from a combination of social, biological, and environmental factors. Because of these varied characteristics, researchers may employ not only different methods, but also entirely different kinds of techniques based on different philosophies of science. (Gifford, 2002)
”
Environmental Psychology 15
Psychologists work within five governing perspectives while analysing the aggregate of behaviours in response to the environment. NEUROBIOLOGY The body of science that presupposes that our actions, behaviours, and preferences are a result of genetics and our biological composition. LEARNING/BEHAVIOURAL States that our actions are based on situations where we have learned, (through either positive or negative outcomes), which behaviours we want to repeat and which ones we want to avoid. SOCIOCULTURAL Social conditions, such as status, gender norms, and expectations, operate in conjunction with cultural traits, such as ethnicity, heritage, and tradition, to maintain
16 Environmental Psychology
particular behaviours. Generally people will mimic the behaviours observed from family and peer groups, in order to gain a positive response to their actions. COGNITIVE The process people use to think, decide and learn, by the way in which we process information and how that information effects our emotions and behaviour. Problem solving develops as a result. HUMANISTIC Based on the notion of free will and desire for self-actualisation (the idea that we aspire for more than basic survival). Its premise is that a person’s primary motivation in life is to fulfil his or her potential. (Kopec, 2012)
ERGON BRUNSWIK (1903-1955) Considered by many to be the founder of environmental psychology, and is credited with using this term first in 1943 to describe the field of human-environment relations. Categorised as a functionalist researcher, his work concentrates on the process of perception, with his view stating that, “both the perceiver and environment are important”. (Gifford, 2002, p.27)
Brunswik theorised that the environment contains an abundance of cues and that perceivers must be able to make sense of the most important ones if they are to function effectively. KURT LEWIN Kurt Lewin’s (1890-1947) field theory has been the basis for several key environmental psychology theories including ecology psychology and social ecology. His theory
is that behaviour (B) is a reaction from the person (P) and the environment (E), which becomes the formula B=f(P,E). P and E together compose the life-space, and the outside of this is the foreign hul – aspects of the world that have no bearing on the lifespace of the individual. (Gifford, 2002)
Environmental Psychology is the study of the interactions between individuals and their physical surroundings. The Hawthorn Studies were one of the first humanenvironment research studies to be conducted. Psychologists work within five governing perspectives; neurobiology, learning/behavioural, sociocultural, cognitive and humanistic. Ergon Brunswik is the founder of environmental psychology. Kurt Lewin’s field theory has been the basis for several key environmental psychology theories.
Environmental Psychology 17
PSYCHOBIOLOGY OF BEHAVIOUR
“
Neuroscience provides evidence to explain reactions related to the secretion, absorption, and the interaction of neurochemicals as they relate to environmental variables such as lighting, sound, temperature, colour, and odour. Understanding the effects of these variables enables precise prediction of the behavioural response to certain environments. By comprehending the neurobiological responses to environments, it can be identified where “nature” begins and ends and where “nurture” begins.
Behavioural neuroscientists study the brain in relation to behaviour, its evolution, functions, abnormalities, and repair, as well as its interactions with the immune system, cardiovascular systems, and energy regulation systems. (American Psychology Association)
ARCHITECTURE OF THE BRAIN
”
OCCIPITAL LOBE Primary functions are related to different aspects of vision such as the understanding of shape, colour and motion. TEMPORAL LOBES Their many functions include the storage of visual memories, processing sound, and comprehending language. PARIETAL LOBE This lobe is where spatial locations are processed, where our capacity to maintain attention occurs, and where we are able to perform motor control functions. FRONTAL LOBE This is where planning, memory search, motor control, reasoning and emotions take place. AMYGDALA This is a small cub-cortical structure that is part of the primitive limbic system. The amygdala plays a key role in emotional memories and the stress response (fight or flight). (Kopec, 2012, p.37-38) The ability to detect sensation is contingent upon thresholds. The first is called the absolute threshold, which is the minimum level of stimulation needed to detect a particular stimulus. The second is the difference threshold, which is the least amount of difference between two stimuli that one can detect. Thresholds can differ depending on factors such as individual sensory acuity, prior exposure, and ambient conditions. These thresholds are important in design because a person may experience difficulties discerning between two textures, may not see the difference between two similar colours, or may not hear an intended sound that has been masked by surrounding noise. (Kopec, 2012, p.39-40) Stress is a psychological response to a stimulus or stressor. Our daily stress levels derive from a variety of situations, whether
18 Environmental Psychology
social, physical, biological or chemical, all of which affect our responses. External stressors include variables from the physical environment, such as; light, noise, temperature, crowding, and overstimulation or understimulation. Internal stressors include interpersonal conflict or violence. An acute stressor is sudden, intense, and short–lived; a chronic stressor is on going or recurring and has the most significant and detrimental effects. Bioemotional reactions to stressful environments can result in a wide range of physiological responses, which can result in stress-related illnesses. Behavioural responses to stress can include aggression, withdrawal and compulsion. Stressors such as odours, heat, noise and crowding are often referred to as ambient stressors because they are physically perceptible and limited to a particular environment. (Kopec, 2012, p.44) Neuroscientists study the brain in relation to behaviour. The ability to detect sensation is contingent upon thresholds. Stress is a psychological response to a stimulus.
SENSATION, PERCEPTION AND COGNITION
Environmental perception is the process of distinguishing individual features and creating meaningful patterns from raw sensory information. Sensory stimulation is essential to all life forms, with environments feeding us data for our brain to interpret and organise. It is this interpretation and organisation that enables us to recognise and remember particular environments. Perception is the first phase in our thought process; it involves the interpretation of sensations. Cognition is the way in which we think, learn, form memories, and make decisions. It is the second phase in our thought process, and is the way in which the information is processed, stored, and recalled. A perceptual set is the accumulation of assumptions and beliefs that leads to a predetermined expectation with regard to the perception of certain objects or characteristics within environments. This perceptual set can be so influential that people will sometimes develop perceptual expectancies. This will also develop when environments provide perceptual consistency, where familiar objects retain their size, shape, brightness, and colour despite changes in sensory information. It is vital that when designing, perceptual consistency is maintained in order to achieve and retain the desired behaviours within the space. (Kopec, 2012) Perception involves the interpretation of sensations. Cognition is how sensory information is processed, stored, and recalled. Perceptual consistency must be maintained.
Frontal Lobe Planning Memory search Reasoning Emotions
Parietal Lobe Spatial location Attention span Motor control
Occipital Lobe Vision Shape Colour Motion
Temporal Lobes (Located on each side of the head) Storage of visual memories Sound Language
Amygdala (Limbic system) Stress response fight or flight response
Left
Right
Logical
Creative
Language
Pictures
Analytical
Intuitive
Grammar
Tonality
Punctuation
Illustrations
Sequential
Simultaneous
Detail
Big picture
Letters/ Numbers
Symbols/ Spatial
Decoding
Encoding
Short term (auditory) memory
Long term (visual) memory
Thinks according to rules and patterns
Thinks outside of the square
Fine motor
Gross motor
Sense of time
No sense of time
Planned
Spontaneous
Controls right side of body
Controls left side of body
Environmental Psychology 19
THEORIES, MODELS AND PERSPECTIVES SOCIAL LEARNING THEORY
Social or observational learning theory declares that individuals learn first by observing others and then eventually by reproducing those actions. The theory emphasises the following three perceptions: People are intrinsically motivated to seek reinforcement. Personality represents an interaction of the individual with the environment. To understand behaviour, an individual’s life history and learning experiences must be considered alongside the environment, because their subjective interpretation of the environment determines their behaviour. (Rotter, J.B., Chance, J.E., and Phares, E.J. 1972) INTEGRATION (INTEGRAL THEORY) Isidor Chein’s integral framework describes that the following five major elements work in harmony to facilitate a particular behaviour. If an environment can be determined by Chein’s five elements, then it enables the occupant’s behaviour to be understood. GLOBAL ENVIRONMENT Generalised characteristics of an environment. INSTIGATORS Stimuli which trigger particular behaviours. GLOBAL OBJECTS AND NOXIENTS Situations that cause satisfaction or produce unpleasantness. SUPPORTS AND CONSTRAINTS Environmental aspects that facilitate or restrict individual’s actions. DIRECTORS Features that tell individuals where to go and what to do. (Chein, 1954) CONTROL
Individuals are able to adapt to varying levels of stimulation, however it is more important to consider how much control the individual has (or believes they have) over the environmental stimulation. Personal control within an environment relates to both the freedom of action and the level and type of stimulation to which individuals are subjected. Moreover, individuals’ actual or perceived influence or control over their environment directly affects their feelings about it. Most people have the ability to adapt to various level of stimulation, and attempt to establish personal control using the psychological mechanisms of personal space and territoriality. When this ability is compromised, or even anticipated they usually try to reassert control over the situation or setting, a phenomenon referred to as psychological reactance. However, when individuals believe they cannot control distressing factors within their environments,
20 Environmental Psychology
or they experience repeated failed efforts to establish or regain control, they may create physical or psychological barriers and eventually give up, succumbing to learned helplessness. Learned helplessness results from being put in a situation where there is no possibility of escape from harm or pain. Eventually, the individual succumbs to fatalism and resignation: the individual feels powerless and decides there is no point in trying to improve the situation. (Kopec, 2012) BEHAVIOUR-SETTING Roger Barker devised behaviour setting theory, which he defines as public places or occasions that evoke particular patterns of behaviour. A central principle of the theory is that consistent prescribed patterns of behaviour, called programmes, are found in many places, whereby recurrent activities can be seen being carried out regularly by individuals holding specific roles. (Barker, 1968) These behaviour settings are smallscale social systems, and through operant conditioning (the use of consequences to modify the occurrence and form of behaviour), people learn at an early age the behaviours that are expected within various environments and act accordingly.
Most behaviour settings are public environments that contain physical properties, social components, and environmental settings. If all three are not considered within a design the designer would be engaging in a concept known as architectural determinism – which is a direct and absolute relationship between the designed environment and a particular behaviour. Behaviours can be activated by environmental cues without conscious thought. The behaviour manifested is often unconscious, and the individual is unaware of the potential influence of the stimulus in shaping their behaviour. (Kopec, 2012, p.23) STIMULATION AND AROUSAL THEORIES “Stimulation theories conceptualise the physical environment as a source of sensory information that is crucial to our welfare.” (Wohlwill, 1966) “According to the arousal perspective, the environment itself causes an automatic physiological response such as increased heart rate, blood pressure, respiration, adrenaline secretion, and neural activity within the brain.” (Kopec, 2012, p.22) Arousal has been described as being somewhere along a continuum between sleep and excitement. The level of arousal experienced often directly correlates to the level of stimulation provided by the environment. Two significant ways environmental stimulation can vary are in amount and meaning. Stimulation amount varies in dimensions such as intensity, duration, frequency, and number of sources. Stimulation meaning refers to the individual’s interpretation of the information.
THEORIES, MODELS AND PERSPECTIVES
SOCIAL LEARNING THEORY
INTEGRATION (INTEGRAL THEORY)
Determines that we learn first by observing others and eventually Reproducing their actions
Elements of the environment work in harmony to facilitate a particular behaviour
Encourages an understanding of established societal norms
Offers a holistic approach to design
CONTROL THEORY
BEHAVIOUR-SETTING THEORY
STI AR
Addresses behavioural constraints and a person’s perceived control over their actions and behaviours
Public places or settings evoke particular patterns of behaviour
En so info tha
Design elements lead to perceptions of control
Emphasizes designs importance within a setting contributing to certain behaviours
Flexible architecture allows you to design and control your own environment
Balanced office - the computer/phone considered as a workplace rather than a physical desk
Environmental Psychology 21
De le un
Tec sen m
Each of the five senses can be overstimulated or under-stimulated. An important concept to understand is that of threshold - the point at which too much or little stimulation is available. At the end of the threshold spectrum is the absolute minimal intensity of stimulus individuals can perceive and at the other is the maximum amount of stimulation individuals can cope with effectively. Adaption-level theory maintains that individuals adapt to certain levels of stimulation in certain contexts. Furthermore, the Weber-Fechner Law states that as we habituate a particular stimulus, the level of intensity of a new stimulus must be greater or proportionate to the current stimulus for the new to be perceived as different. (Sommer, 1973) Thus, without change in the environment, environmental numbness will occur, leading individuals to overlook issues such as pollutants or hazards. Optimum arousal is an important factor in successful learning and productivity. Overarousal can lead to cognitive chaos and underarousal can lead to inaction or even apathy. (Kopec, 2012)
The Yerkes-Dodson hypothesis states that performance is better at moderate levels of arousal rather than at low or high levels. The relationship is referred to as an inverted-U shape, and differs slightly depending on whether performance is measured on simple or complex tasks. Design cannot affect arousal directly but it can serve to modify stimulation levels that affect arousal. (Gifford, 2002) ATTENTION RESTORATION THEORY Attention restoration theory, developed by Rachel and Stephen Kaplan, is based on concepts related to voluntary and involuntary attention. This theory maintains that situations requiring mental effort cause individuals to engage in directed attention (voluntary intention or goal-based attention), which requires more exertion over time. Like overworked muscles, directed attention can fail, thus creating intentional deficit, or an inability to concentrate. Recovery requires rest, but excessive intentional fatigue may not be restorable by sleep. (Kopec 2012) (See environmental considerations, p.28)
A periodic episode of effortless attention serves as a powerful and effective means to restore attention capacity. When people need physical, psychological, and energy restoration, they are drawn to nature, and the presence of nature in the environment has a profound effect on reducing levels of stress, thereby helping to restore attentional capacity. The attention restoration theory declares the restorative experiences occur in settings where
22 Environmental Psychology
individuals can function primarily in the involuntary mode, where they can observe stimuli that are involuntary interesting. (Kopec, 2012, p.25-26) PROBABILISTIC LENS MODEL Brunswik’s probabilistic lens model is a theoretical framework that considers the human-environment relationship holistically and can be used to analyse subjective interpretations of an environment’s beauty or usefulness. Brunswik considered the process of perception as being similar to a lens through which stimuli are perceived and become focused. It is Brunswik’s belief that no single cue is either perfectly reliable or perfectly unreliable. (Gifford, 2002) The various perceptual errors occur when environments are encountered that contain components or patters that are unfamiliar. The lens model further suggests that observers infer personality judgments about occupants based on environmental cues. The accuracy of those judgments is based on cue validity – whether the cue provides good information and how the observer weighs the cue. (Kopec, 2012) AFFORDANCES Gibson’s affordance theory suggests that individuals organise environmental features into recognisable patterns. He believes that certain arrangements of cues give the perceiver direct, immediate perceptions of the environment. (Gifford, 2002, p.29) The layout of theses cues provides affordances or instantly recognisable functions. Every setting and object contains affordances, regardless of whether the individual perceives them or not. (See environmental considerations, p.52) COLLATIVE PROPERTIES Berlyne’s view was that environmental scenes have several collative properties – characteristics that cause the perceiver to pay attention, investigate further and compare. (Gifford, 2002) NOVELTY Newness to the perceiver. INCONGRUITY Something that is out of place. COMPLEXITY A large variety of elements in the display. SURPRISINGNESS Unexpected elements. PLEASURE-AROUSAL HYPOTHESIS Mehrabian and Russell view emotion as a mediator between the environment and personality, with behaviour as the outcome. The emotions pleasure and arousal are viewed as being independent from one another. In the hypothesis both environmental variables and personality variables are believed to influence the level of emotion individuals feel. These emotions in turn influence key behaviours such as desire to approach or avoid a setting. (Kopec 2012)
G
THEORIES, MODELS AND PERSPECTIVES
STIMULATION AND AROUSAL THEORIES
ATTENTION RESTORATION THEORY
Environment is a source of sensory information (stimuli) that leads to arousal
Mental fatigue is caused by excessive directed attention and attentional capacity can be restored by engaging in effortless attention
n
Design styles can lead to over or under stimulation
Include views of green spaces for effortless attention within demanding environments
he
Technology enables sensory stimuli to be mapped and visualised
Important consideration in learning spaces such as lecture theatres
of
sk
PROBABILISTIC LENS MODEL
Stimuli from the environment become focused through our perceptions
Emphasizes the perceptual relationship between design and the human observer
AFFORDANCES
The world is composed of substances, surfaces and textures; the arrangement of which provides instantly recognisable functions
Highlights perceptual influences of design styles
Flexible architecture projects such as the Schroder House are designed with all elements providing instantly recognisable functions
Glazed offices offered a view out allowing the mind to connect with the light cycle
Environmental Psychology 23
COLL
W aesth their c
The de me
Hi allow a
PREFERENCE MODEL The Kaplans’ theory suggests that individuals prefer environments that allow them to accomplish fundamental human goals. The preference for certain settings originates in the evolutionary past of our species and in the adaptive value offered by particular settings. They call the functional qualities of environments that help individuals meet important goals cognitive affordances. (Gifford, 2002, p.72) In addition to basic needs, the Kaplans’ hypothesize that individuals have a desire to make sense of the environment, and to be involved. Therefore individuals will prefer environments that offer this promise either immediately or in the future. Their framework is composed of four elements: COHERENCE (Making sense immediately) the ease with which a scene can be cognitively organised. COMPLEXITY (Being involved immediately) the scene’s capacity to keep an individual busy (without being under-stimulated or overstimulated). LEGIBILITY (The promise of making sense in the future) The environment appears to be one that could be explored without getting lost. MYSTERY (The promise of future involvement) the environment suggests that individuals could learn and interact more when entering it.
ELEMENTS OF LEGIBILITY Legibility is the ease with which a setting may be recognised and organised by individuals. Defined by Kevin Lynch in his book, The Image of the City (1960), he suggests five elements of the city that contribute to legibility. PATHS The routes along which people travel. Typically, paths are roads, walkways and public transit routes. EDGES Non-travelled lines such as, cliffs or escarpments, or the shores of rivers, lakes or oceans. DISTRICTS Moderate-sized areas that city residents identify has having a particular character. NODES Well-known points that people travel to and from, often at the junctures of important paths, such as key intersections, transit terminals and popular plazas or squares. LANDMARKS Easily viewed elements, either on a grand scale (the tallest building in town) or on a smaller scale (a statue or unique store-front).
Environmental psychology provides us with an understanding of the methods in which humans process their environments and react to it. The fundamental process of experiencing environmental stimuli and the impact this has on occupant’s behaviour, informs us that when designing, stimuli need to be managed and maintained at a moderate level, in order to create a productive environment.
changes in these dynamics by inserting a flexible installation in the space. Aimed at improving the learning environment for the occupants, the installation will afford fluctuating behaviour-settings, which will offer occupants higher levels of control over their environment. It is important that occupants feel that they can establish personal control through the regulation of personal space and territoriality, in order to minimise stress.
The social dynamics of both the architecture studio and the office workplace evoke specific behaviour patterns, which are reinforced by operant conditioning; this leads to occupants having strong perceptual expectancies about the space. Because the environment contains cues that form these expectancies, they need to be preserved in order for occupants to understand behaviour expectancies and function effectively. The aim of the research project is to map
24 Environmental Psychology
Further to this, because the tasks being undertaken within the space require mental effort, attention restoration affordances need to be incorporated to reduce fatigue, by utilising views out of the studio. As suggested by the Kaplan’s (Kopec 2012), individuals have a strong desire to make sense of the environment, and to be involved with it, therefore the affordances of the installation need to be legible in order for the occupants to perceive and control each behaviour-setting.
es
ble
re he re l g ble
THEORIES, MODELS AND PERSPECTIVES
COLLATIVE PROPERTIES
We respond to aesthetics based on their collative stimulus properties
The joint nature of design elements merge to develop one overall impression
High-tech offices allow for a stimulating and engaging environment
PLEASURE-AROUSAL HYPOTHESIS
PREFERENCE MODEL
ELEMENTS OF LEGIBILITY
Two primary emotional responses are translated to positive feelings, excitement, challenge or control over the setting
People prefer engaging scenes to boring scenes
Paths, edges, districts, nodes and landmarks enhance the environments legibility
Offers a method to evaluate environmental designs
Offers a method for designing engaging environments
Offers a method to enhance an environment’s legibility
High-tech offices allow for a stimulating and engaging environment
Visual geographical mapping
Way-finding within Burolandschaft
Environmental Psychology 25
04
ENVIRONMENTAL CONSIDERATIONS
Following the environmental psychology literature review, further study into space management processes will allow for a set of environmental conditions to be developed.
These will inform the mapping and analysis of the behaviour of the occupants, and then formulate design constraints that can shape a design brief for the installation.
PHYSICAL CONDITIONS (LIGHT AND SOUND) What affect does light and sound have on the wellbeing and performance of occupants in the workplace?
recognised? How can design allow for those behaviours?
PERSONALITY How do different personality traits within an individual affect how they perceive the environment? PERSONAL SPACE What are personal space boundaries? How can it be ensured that occupants get the desired amount? TERRITORIALITY How can territorial
26 Environmental Considerations
behaviours
be
CROWDING What creates the feeling of crowding? How can design ensure that the space is comfortable for occupants? PRIVACY How can privacy be regulated controlled within environments?
and
AFFORDANCES How can design signal to occupants how to operate it?
Lighting Level/ Colour
Views Outside
Sound Internal/ External
Heat/ Ventilation
Glare/ Shadowing on Screens
Colour
Personality
Socialising
Privacy
Personal Space
Primary, Secondary, Public Territory
Personalisation
Density
Wayfinding
Flexibility/ Control
Distraction
Affordance
Comfort Environmental Considerations 27
PHYSICAL CONDITIONS
Both lighting and sound and will have an impact on the well being and performance of occupants when in a work environment. By understanding what impact both natural and artificial lighting has on the health of individuals, it will enable a carefully considered lighting strategy to be incorporated into the design of
the installation, as well as enabling an informed choice on material selection. By understanding what sounds are considered as being noise and how much of a distraction they will be to occupants, it will allow sufficient acoustic insulation to also be incorporated within the design of the installation.
LIGHTING
distribution, perceptions of spaciousness, and overall place satisfaction. Inadequate or improper lighting can result in glare or shadows; light from ambient and indirect lighting is often more suitable for working with paper documents than for working with computers; with glare causing eye-strain and headaches as well as contributing to accidents and stress.� (Kopec, 2012, p.253)
Natural lighting along with artificial supplementation affects well being on many levels; visibility, activity, communication, mood, comfort, health and safety, and aesthetic judgement. When considering the lighting requirements of the space both direct and indirect lighting need to be taken into account. “Directto-indirect lighting ratio affects brightness, shadowing, visual comfort, uniformity of light
28 Environmental Considerations
NATURAL LIGHTING Kaplan’s (1995) attention restoration theory, states that any prolonged mental effort leads to directed attention fatigue. (Refer to environmental psychology chapter, p.22)
Mental fatigue caused by excessive directed attention can be reduced or eliminated via methods based on attention restoration theory. The theory declares that the restorative experience occurs when individuals can function in involuntary mode. For a restorative environment, the setting must contain four components: BEING AWAY Frees the individual from the present mental activity. Natural settings are often preferred destinations for restorative opportunities. FASCINATION Many of the fascinations afforded by natural settings qualify as ‘soft’ fascination: clouds, sunsets, snow patterns, the motion of leaves in the breeze – these readily hold the attention, but in an undramatic fashion. EXTENT The environment must be rich and coherent enough to create a feeling that the individual is in another world.
SOUND
“
Gifford (2002), defines noise as unwanted sound. Desirable sound, on the other hand, is called euphony. Whether a particular sound is noise or euphony depends on the characteristics of the individual, the situation the sound is heard in, the task being carried out by the individual and the properties of the sound itself.
”
One person’s euphony may be another person’s noise.
(Gifford 2002)
Factors such as the source, meaning, controllability and expectation of the sound are equally as important as the volume.
PERFORMANCE Noise-performance relations rely largely on the task being undertaken. Work tasks can be categorised in four broad types: cognitive, vigilance, motor and social. Performance will be affected by noise when work tasks are complex or require individuals to work on multiple tasks simultaneously. However studies show that performance will not be affected by noise if the task is routine, or if the individual is provided with clear visual instructions; and in some cases noise can even improve the performance of simple tasks. (Broadbent, 1979) Generally cognitive tasks are affected by noise more so than motor tasks, but this can
COMPATIBILITY The environment must be compatible with the individual’s purposes and inclinations.
ARTIFICIAL LIGHTING Although natural lighting has greater health benefits than artificial lighting, internal lighting needs to be carefully considered. Commonly fluorescent lighting is used as main source of artificial lighting in both education spaces and work places. Research has shown that the fluorescent light flicker triggers physiological arousal, which can lead to headaches, stress and visual discomfort, particularly when situated in spaces with minimal natural light. Resent studies have shown however that exposure to blue-enriched light can improve alertness, performance, and mood in the workplace, as well as perceived functioning outside work hours and sleep quality. Both direct and indirect lighting need to be taken into consideration within the lighting design. Natural lighting and views out are essential to maintain occupants health. Mental fatigue caused by excessive directed attention can be reduced or eliminated via methods based on attention restoration theory. Blue-enriched white light can improve occupant’s performance. vary depending on the individual and the properties of the sound. Studies show that while white noise or pink noise will not affect cognitively demanding tasks, novel sounds are the most distracting. (Gifford 2002) Studies show that generally males can problem solve more efficiently in noisy conditions, compared to females. Introversion-extraversion also affects noiseperformance relations, with introverts finding noise more distracting than extroverts, due to the fact that extroverts generally prefer more stimulation. (Eysenck, Graydon, 1989) Noise is unwanted sound and euphony is desirable sound. Whether a sound is noise or not, depends on the task, individual characteristics, properties of the sound and the situation. Cognitive tasks are affected by noise more so than motor tasks. White noise and pink noise don’t affect performance.
Environmental Considerations 29
PERSONALITY
Environmental psychology is the study of human-environment transactions, so therefore in order to understand the effect environments have on behaviour, it is
Personality is an individual’s unique pattern of traits. Gifford (2002) reasons that personality is an integral part of environmental psychology because: Knowledge of an individual’s traits helps to understand and predict environmentally relevant behaviour. Individuals have dispositions that are specifically relevant to human-environment transactions. Personal dispositions are central to humanenvironment compatibility. Both individuals and environments need to be understood, to ensure that the setting will meet the needs of the user.
30 Environmental Considerations
important to understand the personality of the occupant, as this will have a bearing on how the occupant perceives the environment.
THE BIG FIVE INVENTORY The big five inventory was developed by Oliver John, who discovered through statistical analyses how different personality traits can be linked together to define certain human qualities. Because every individual is unique the dimensions that are specified are intentionally broad. (John and Strivastava, 1999) EXTRAVERSION (OR SURGENCY) Encompasses specific traits such talkativeness, energy and assertiveness. AGREEABLENESS Traits such as sympathy and kindness.
as
CONSCIENTIOUSNESS Includes being organised, thorough and being able to make plans. NEUROTICISM (EMOTIONAL STABILITY) Is characterised by traits such as tension, moodiness and anxiety. OPENNESS TO NEW EXPERIENCES (INTELLECT OR CULTURE) Includes having wide interests and being imaginative and insightful.
THE MYERS-BRIGGS TYPE INDICATOR The Myers-Briggs Type Indicator comprises of four primary personality contrasts that converge to create sixteen personality profiles. Developed from the research of Carl Jung, the profiles are composed of introvert-extrovert, sensory-intuitive, judgerperceiver and thinker-feeler. (Kopec, 2012) INTROVERT-EXTROVERT Individuals with introverted personalities tend to be quieter, prefer to have attention not focused on them, and prefer spaces with the safety of separation. Individuals with extroverted personalities tend to have higher energy levels, like to be surrounded by others, but are easily distracted. The personality quality of introvert-extrovert is generally considered to refer to an individual being either outgoing or reserved. However when considering Carl Jung’s concept of introvert-extrovert, he declares that the difference between the two is based on the individual’s degree of preference for stimulation from the outside, rather than an individual’s social preferences. SENSORY-INTUITIVE Sensors usually focus on the details rather than the big picture; they are pragmatic and tend to view life as a step-by-step process. Intuitive individuals are more creative in their thought process; they trust their instincts and enjoy learning. Being extroverted has become a necessary in order to be productive in an environment such as the architecture studio and creative office. The proposed installation – although proposes to incorporate behaviour-settings for collaboration – should include a default setting of solitude for individual working. This will then allow occupants the choice of having privacy, which is a more ideal solution for those who are introverted or easily distracted.
THINKER-FEELER Thinkers are more reserved; they draw their conclusions from objective facts, and are usually honest and direct. Feelers often make decisions based on personal values and how they feel at the time; they appear to be warm and friendly and tend to be diplomatic and tactful. JUDGER-PERCEIVER Judger’s are inclined to be more serious, they expect dedication and have high expectations; they tend to value order over creativity. Perceivers are more playful and unconventional, they value the freedom of spontaneity and like to keep their options open.
HIGHER EDUCATION SPACES AND WORKPLACES When considering the architecture studio, Arch Daily’s Guy Horton (2014), states that it is assumed that, “architecture is the quintessential extroverted endeavour, emerging from the noise, chaos, and clutter of ‘creative office’ environments, offices without cubicles, defined by ‘flexible’, ‘collaborative’ spaces.” He then further states that probability of great architecture being created in these settings is low, and it would in fact be created in “sustained moments of silence and uninterrupted concentration.”
Both education spaces and the workplace are increasing becoming spaces designed solely for extroverts. Originally students worked autonomously in rows and employees in cubicles, and in more resent years there has been a huge push to create group-orientated spaces meant for collaboration, interaction and conversation. Vanessa Quirk (2012) states in her article In Defence of the Introvert that “the pendulum has swung too far in an extroverted direction.” Personality is an individual’s unique pattern of traits. The big five inventory defines personality dimensions as being, extraversion, agreeableness, consciousness, neuroticism and openness to new experiences. The Myers-Briggs Type Indicator personality profiles are composed of introvert-extrovert, sensory-intuitive, judger-perceiver and thinker-feeler.
By situating the installation within large open workspaces, it will immediately create spatial divisions within the masterplan, opening up more opportunities for privacy and uninterrupted concentration.
Environmental Considerations 31
PERSONAL SPACE
“
Because the physical space of the site will alter due to the insertion of the installation, one potential side effect is that the space could be reduced meaning that it could have an impact on the personal space requirements of the occupants. By
understanding what personal space means and the differing boundary distances this knowledge will be incorporated into the design of the installation to ensure that occupants are receiving their desired levels of personal space.
Robert Sommer (1969) defines that “personal space refers to an area with invisible boundaries surrounding a persons body into which intruders may not come.”
Personal space is not necessarily spherical in shape, and doesn’t necessarily extend equally in all directions. Similarly, the boundaries change and blur in relation to a wide number of variables. It is difficult to measure, and really only becomes noticeable once we feel our personal space has been invaded. Robert Gifford elaborates further that there are three aspects to personal space: Personal space is a personal, portable territory, in which everybody is surrounded by and takes care to control who is allowed to enter that space. Personal space is a spacing mechanism
Personal space can be thought of in two different ways, alpha personal space is the objective, externally measurable distance and angle between two interacting individuals and beta personal space is the subjective experience of the distancing process. (Gifford 2002)
32 Environmental Considerations
”
that originates from basic animal instincts. Personal space is a communication channel, whereby interpersonal distance informs both participants and observers about the nature of the participant’s relationship.
INTERPERSONAL DISTANCE Hall (1966) has identified eight graduations of interpersonal distances, each composed of near and far phases of four main distances: INTIMATE DISTANCE 0-0.45M The closest distance within this is generally for those in an intimate relationship, and the farther being for situations requiring close proximity but not contact, such as whispering. PERSONAL SPACE 0.45-1.2M The closer distances within this zone is generally for good friends or partners in a social aspect, whereas the far distance is generally comfortable for friends. SOCIAL DISTANCE 1.2-3.6M This is the zone for people who are not really acquainted to interact with each other, with the near distance being used by those being introduced or for informal interactions, whereas the far distance is more for formal interactions. PUBLIC DISTANCE 3.6-7.6M ]The near distance could be used for a speaker and their audience, whereas the far distance can be in relation to the distance of the public from an important figure.
PERSONAL SPACE STUDY THE STOP-DISTANCE METHOD
The stop-distance method is an approach to measuring the alpha personal distance. In this method participants are studied as a live encounter, in a controlled situation. Participants are asked to start from an uncomfortable distance that is too far away from the experimenter, then asked to walk slowly toward the experimenter, stopping to signal a comfortable distance, and then continuing until the distance is too close and uncomfortable. Researchers credit the method as being reliable and realistic, as it tends to yield similar distances, the disadvantage of this method however is that the participants are very aware of the distancing process. Variable such as gender, age, height, level of acquaintance and personality will all have an effect on the study. Architects adhere to spatial distances and sizes as specified by the metric handbook. Interpersonal distances, as defined by Edward Hall (1966) however, are not generally considered when designing. As part of this research project a stop-distance study has been conducted. By doing so
INFLUENCES OF PERSONAL SPACE Personal space is influenced by the physical context of the interaction: Close distances are more uncomfortable when the lighting is dimmer. Smaller distances seem to be preferred in wide or narrow spaces. Individuals fill up corner spaces before the centre. Individuals choose larger distances when indoors than outdoors.
The general conclusion is that individuals prefer larger distances between one another when the overall supply of physical space is low. SOCIAL LEARNING THEORY Personal space differs from person to person and is a result of personal, social and cultural influences. (Gifford, 2002) Social Learning Theory assesses that personal space is a gradually learned behaviour resulting from an individual’s history of reinforcement. AFFILIATIVE-CONFLICT THEORY This theory by Argyle and Dean (1965), suggests that individuals have both a desire to be close to others, alongside a desire to move away, and the goal of interaction therefore is to reach a compromise in the conflict, which results in an equilibrium point.
it enables distances to become relatable on a personal level. The study created six scenarios; female with male friend, female with tall male friend, female with female friend, female with male stranger, male group and female group. The results of the study correspond with other personal space studies, and ultimately they create an understanding of the amount of personal space that individuals need. By combining the knowledge of comfortable interpersonal distances along side standard spatial dimensions it will ensure that the installation will provide it’s occupants with a desired amount of personal space. Alpha is the measurable distance and beta is the experience of the distancing process. The boundaries change and blur in relation to a wide number of variables. There are eight graduations of interpersonal distances, each composed of near and far phases of four main distances; intimate, personal, social and public. Individuals prefer larger distances between one another when the supply of physical space is low.
Environmental Considerations 33
STOP-DISTANCE STUDY SCENARIO 1: FEMALE WITH MALE FRIEND
Plan
Section
Study Scenario Phase 1 (fig 4.1)
Uncomfortable - Too Close - 0.3m Distance
Plan
Section
Study Scenario Phase 2 (fig 4.2)
Comfortable - 1m Distance
Plan
Section
Study Scenario Phase 3 (fig 4.3)
Uncomfortable - Too Far - 2.5m Distance The study shows that the participants are good friends as the comfortable distance of interaction sits within the personal space zone. The participants are uncomfortable when in the intimate zone, which can be identified by the sideways body language used to create a boundary. It is also becomes uncomfortable to interact at a formal distance.
34 Environmental Considerations
SCENARIO 2: FEMALE WITH TALL MALE FRIEND
Plan
Section
Study Scenario Phase 1 (fig 4.4)
Uncomfortable - Too Close - 0.45m Distance
Plan
Section
Study Scenario Phase 2 (fig 4.5)
Comfortable - 1.2m Distance
Plan
Section
Study Scenario Phase 3 (fig 4.6)
Uncomfortable - Too Far - 2m Distance The study shows that height difference changes how participants interact with one another. Participants are again good friends, however the comfortable distance of interaction lies on the boundary between personal and social distance. This is because when at a closer distance it is more difficult to maintain eye contact.
Environmental Considerations 35
SCENARIO 3: FEMALE WITH FEMALE FRIEND
Plan
Section
Study Scenario Phase 1 (fig 4.7)
Uncomfortable - Too Close - 0.45m Distance
Plan
Section
Study Scenario Phase 2 (fig 4.8)
Comfortable - 1m Distance
Plan
Section
Study Scenario Phase 3 (fig 4.9)
Uncomfortable - Too Far - 2m Distance Because the comfortable distance of interaction sits within the personal space zone, it shows that the participants are friends, however the crossed arms would suggest that participants are not as comfortable with one another compared to previous studies.
36 Environmental Considerations
SCENARIO 4: FEMALE WITH MALE STRANGER
Plan
Section
Study Scenario Phase 1 (fig 4.10)
Uncomfortable - Too Close - 0.8m Distance
Plan
Section
Study Scenario Phase 2 (fig 4.11)
Comfortable - 1.6m Distance
Plan
Section
Study Scenario Phase 3 (fig 4.12)
Uncomfortable - Too Far - 3m Distance The interaction of strangers confirms Hall’s theories as the comfortable distance of interaction sits within the social zone. This is highlighted further when considering the participants feel uncomfortable and too close within the personal space zone, and only begin to feel uncomfortable at the outer boundary of the social zone.
Environmental Considerations 37
SCENARIO 5: MALE GROUP
Plan
Section
Study Scenario Phase 1 (fig 4.13)
Uncomfortable - Too Close - 0.6m Distance
Plan
Section
Study Scenario Phase 2 (fig 4.14)
Comfortable - 1.1m Distance
Plan
Section
Study Scenario Phase 3 (fig 4.15)
Uncomfortable - Too Far - 1.4m Distance The group of males feel most comfortable when on the boundary of the personal space and social zone. However it becomes very uncomfortable for them when on the intimate boundary line, which is indicated by the crossed hands of one participant and a second one considering a further step back.
38 Environmental Considerations
SCENARIO 6: FEMALE GROUP
Plan
Section
Study Scenario Phase 1 (fig 4.16)
Uncomfortable - Too Close - 0.3m-0.5m Distance
Plan
Section
Study Scenario Phase 2 (fig 4.17)
Comfortable - 0.7m Distance
Plan
Section
Study Scenario Phase 3 (fig 4.18)
Uncomfortable - Too Far - 1.8m-2.5m Distance The female group feel that the most comfortable distance of interaction sits within the personal space zone, and only becomes uncomfortable when in the intimate zone. They also only become uncomfortable again when on the outer social distance boundary, showing that they are more comfortable with one another compared to the male group, this is also confirmed by the open body language.
Environmental Considerations 39
TERRITORIALITY
Because students and employees spend large quantities of time within their respective workplaces’, it is expected that the environment is important to them. This will exist in varying degrees depending on the individual. Because of this territorial behaviours will manifest within the space. By
understanding the classification of territories, how they are infringed and defended, it will enable territorial behaviours within the space to be spotted and analysed. Further to this it will help to create an understanding the changing social dynamics within the space when the installation is introduced.
Territoriality is a pattern of behaviour and attitudes held by an individual or group that is based on perceived, attempted, or actual control of a definable physical space, object, or idea that may involve habitual occupation, defence, personalisation, and demarcation.
demarcation, which is also emphasised in the concept of ‘personal space’, with both linking to theories in biological science where control of resources for survival are interlinked with interpreting territorial behaviour in animals.
Sommer (1969, p.33) defines ‘territory’ as “a geographical area that is personalised or marked in some way and that is defended from encroachment.” Central to this definition is the idea of defensive
40 Environmental Considerations
In human civilisations, territories serve dual purpose in that it allows for resource ownership as well as to organise behaviours so that acts of violence, aggression, and overt domination are reduced.
The degree of dominance and control an individual or group feels is necessary over a space is closely associated with the amount and quality of a territory. Social rules reinforce territorial boundaries, but as competition for resources increase so too will territorial behaviours by those with established territories, as well as territorial infringement by individuals who struggle to obtain resources. (Kopec, 2012) Humans often mark their territories through personalisation, therefore Bonnes and Secchiaroli (1995, p.89) propose a more profitable analysis of territoriality as “the study of the ways in which places and things become part of both the identity of persons and the social process they more of less directly participate in.” Territoriality can define the personal and social identity of those who manage it.
TERRITORY CLASSIFICATION Irwin Altman (1975) devised a system of classifying territories, which outlines the degree of privacy, affiliation and accessibility allowed by each classification. PRIMARY TERRITORIES These are spaces owned by individuals or primary groups, controlled on a relatively permanent basis by them, and are central to their daily lives. The psychological importance of a primary territory to its occupants is always high. SECONDARY TERRITORIES They possess moderate significance to their occupants. Control of these territories is less essential to the current occupants and is more likely to change, rotate, or be shared with others. PUBLIC TERRITORIES These are areas open to anyone in good standing with community. In contrast to primary territories, which generally are closed to outsiders, public territories are open to all outsiders who are not specifically excluded. Altman describes two other types of territories, although they are not universally considered territories. Objects meet some criteria for territories – we mark, personalise, defend and control our belongings. Ideas are in some way also territories. We defend them through patents and copyrights. A typology by Lyman and Scott overlaps to some extent, with Altman’s but proposes two types of territory that are not directly comparable to the latter. The first of these is interactional territories, which are areas temporarily controlled by a group of interacting individuals, where defence of this territory is known as social boundary defence, meaning that entry into this type of territory without permission perceived as interference. They also regard the physical
body as territory, with the boundary at skin.
INFRINGEMENT There are several ways in which a territory can be infringed, which include: INVASION Where an outsider enters the territory with the intention of taking control. VIOLATION This is temporary where by the intention is not to take ownership but rather cause annoyance. Violation may occur without the infringer personally entering the territory, such as playing music aloud. CONTAMINATION This is the intentional fouling of someone else’s territory.
DEFENCE Defence is divided into two general types: prevention defence and reaction defence.
Preventative defences are used when an infringement is anticipated, and reaction defences are in response to an infringement after it occurs. Personalisation and marking serve notice of our claim and generally defence markers are used, and are executed in a passive and often unconscious manner. Types of these defence markings can include personal belongings such as; coats, mugs, books etc. or more explicit defence markings can include; signs, fences, barriers etc. When defences are ignored in secondary and public territories, individuals are unlikely to follow through with stronger defence measures. In primary territories however individuals will go to greater lengths to defend their territory, some individuals will go as far as contaminating their own territories so that the space will appear undesirable to outsiders, reducing the likelihood of infringement to the territory. Personalisation of a space can have positive side effects for the occupants however, particularly when considering the workplace.
Personal belongings encourage occupants to feel more comfortable and satisfied within the space, because it influences individuals perceived levels of privacy, freedom and control. If employees cannot make the environment their own, they are less likely to feel connected with the company. Personal satisfaction within the work environment is directly related to job satisfaction and thus indirectly related to productivity. (Kopec, 2012, p.243)
Environmental Considerations 41
TERRITORIAL MARKERS
Personalisation - Personal Items (fig 4.19)
Explicit Defence - Locked Computer (fig 4.21)
Personalisation - Work Related Items (fig 4.20)
Contamination - Waste Items (fig 4.22)
Territoriality should be facilitated in the overall masterplan of the space, in order to reduce aggression and stress, and increase control to promote a sense of order, security and responsibility. Both students and employees alike will benefit from territories within their workplaces’ firstly, because the increase in control will provide the occupants with greater environmental satisfaction – leading to greater productivity. And secondly, because they geographically fix individuals – thus providing the occupants with reliable access to others, as well as the formation of fixed friendship groups, producing a more positive social dynamic. When the proposed installation is operating as each of the different functions (contemplation, solitude, collaboration, exhibition) it is important to indicate clearly which function mode is operational because territorial ownership generates expectations about how outsiders will behave. The architecture studio does however contain many ambiguities related to territorial control compared to a professional office setting. This is because in an office
42 Environmental Considerations
the territorial rules are generally made clear to employees by the management. But within the architecture studio, on the one hand the territory is controlled at managerial level, where tutors/supervisors feel that they have the right to enter the territory at will, but are actually committing a territorial violation. But on the other hand, students often feel free to not only utilise temporally unoccupied work spaces, but also to leave behind remnants of their occupation (coffee cups, scrap papers, project work etc.), known as territorial contamination. Therefore this needs to be taken into consideration when mapping the respective spaces and ultimately designing the installation. Territory is a geographical area that is personalised or marked in some way and that is defended from encroachment. Territoriality is classified into three different categories, primary, secondary and public. Territories can be infringed by invasion, violation and contamination. Defence is either preventative or a reaction to infringement. Personalisation and marking serve notice of our claim and help owners to feel more comfortable within the space.
Studio Territory (fig 4.23) Environmental Considerations 43
CROWDING
When social density increases, privacy is lowered, personal space and territory is reduced, resources are spread thinner, and more physical interference is encountered. This then has the potential to create the feeling of crowding, which generally leads to negative behavioural responses.
“
By inserting an installation into a working environment it is expected that the social dynamics of the space will alter, the
To early social scientists, crowding meant the formation of large, temporary groups of emotional individuals. (Gifford, 2002)
”
Theorists in this area have since defined crowds and crowding as different notions, with crowding research focusing on the individual’s experience, and crowd
44 Environmental Considerations
potential consequences of this is that, one, the amount of physical space could be reduced or two, more people will be interacting with or occupying the space. By understanding the meaning of crowding, the influences on creating that feeling, and in turn the responses that are consequently formed by that feeling; it enables informed design decisions to be made in order to produce spaces that are comfortable. research, in contrast, focusing on the formation of crowds, their shape, structure, movement and control.
DENSITY Crowding is a term often used interchangeably with density; the two however are distinctively different. Theorist
“
Daniel Stokols defines density as a measure of individuals per unit area. Although a standard ratio, density differs in two different ways. If a space contains twenty people, we could double the density either by adding another twenty people or by halving the space they occupy. Mathematically both conditions transpire to the same density, psychologically, however both conditions produce different outcomes. (Stokols, 1972)
When the number of individuals in a fixed space is varied, we are investigating social density. When the amount of space available to a fixed number of individuals is varied, we are investigating spatial density. (Stokols, 1972)
CROWDING
”
Crowding is a personally defined, subjective feeling that is an emotional response to the experience of spatial restriction caused by surrounding people. Because crowding is a subjective feeling, many factors can influence individuals to feel crowded and others to feel the opposite even when situated in the same objective setting. Crowding may correspond to high density but the two are not directly linked, and individuals characteristics, physical settings, social and cultural situation needs to be taken into consideration also. Researchers in this field are tasked with identifying the personal and situational variables that lead to individual’s experiences and labelling of crowding. A study by Montano and Adamopoulos describes the main situational, affective, and behavioural aspects of different crowding scenarios: The situation modes include experiences in which the individual’s behaviour is constrained, they are being interfered with physically, the mere presence of others causes discomfort, or expectations have not been met. The affective modes include negative reactions to others, negative reactions to the situation, or positive feelings. Positive emotion is associated with crowding when individuals feel they have successfully coped with it. There are five primary behaviours modes in response to crowding including; assertiveness, activity completion, psychological withdrawal, immediate physical withdrawal and adaptation. Montano and Adamopoulos concluded that there are four key situational modes, three key affective modes, and five key behaviour modes as a response to crowding, by multiplying out the factors their model determines that there are sixty potential responses crowding. (Montano
and Adamopoulos, 1984. p.643-666)
INFLUENCES A major personal characteristic is control. Generally individuals who have a tendency to believe that they exercise a considerable amount of control over their own lives are found to manage the experience of crowding better. Expectation is another key aspect when experiencing crowding. Depending on the density one expects or considers normal in a given situation, individuals may feel crowded if the density is than greater than anticipated. Experience can also influence upon an individuals impression of crowding. Generally personal experience with high density situations or familiarity with a behaviour setting where crowding occurs may enable the individual to adapt and tolerate high density in new settings. This is however, not always the rule and is largely dependent on how the individual views the setting in terms of territoriality.
Experience enables us to cope with high density in secondary territories, however when it is experienced in primary territories occupants are generally unable to overcome the effects and succumb to crowding. The presence and behaviour of others may also intensify the feeling of crowding, particularly if an individual feels that their personal space is being invaded. It is important to understand whether the presence or behaviour of those around the individual interferes with that individuals indented motivations for being in that location. Further to that is whether the individual believes that the interference is being directed at them personally, known as personal thwarting, which produces a more stressful crowded feeling. Scale and spatial layout of a space also impact on an individual’s experience of crowding. Studied showed that when spaces include narrow corridors, low ceilings, curved walls and smalls windows, occupants felt more crowded. This can be a particular problem in circulation and transition spaces where carry-over crowding can occur when individuals feel crowed on the journey, it can lead to them feeling crowed at the destination.
RESPONSES High density settings will affects individuals working performance, complex tasks will become increasingly difficult to complete, but simple tasks will still be able to be completed with ease.
Environmental Considerations 45
Overload theory suggests that individuals will try to cope with crowding by escaping the setting. If they do not then learned helplessness would occur meaning that occupants will eventually accept crowding and eventually give up on the motivation for being in that space. Inescapable high density can lead to heightened blood pressure, illness, and other biochemical changes.
high density more negatively than women, with their social behaviour more hostile and defensive.
This fact can also be backed up by the response received during the investigation into personal space, which showed that the male participants felt more comfortable and less crowded at a further distance from others than the female participants.
Through different socialisation Gifford (2002) suggests that, people of different gender also react differently to high-density situations. Studies show that men respond to As part of the investigation both the social density and spatial density of a higher education space and workplace will be studied. This will be conducted by mapping and analysing what effect the different functions of the installation will have on the social dynamics of these spaces - because of the changing number of users. Further to this any flexible and adaptable features of installation will have effect on the spatial dynamics of the studio also. However this experiment will only be able to control the spatial density within those spaces – that is by the creation of the installation and overall spatial layout; it will not however, have control over the social density – which will be determined by managerial staff and the student’s/employee’s themselves.
Physical Settings (amount and arrangement of space, light, noise, heat)
Social Setting (type of activity, behaviour of others)
Personal Factors (control, expectations, past experience)
Crowds and crowding are separate notions. Density is a measure of individuals per unit area. Crowding is situational and is an emotional response to the experience of spatial restriction caused by surrounding people. Crowding may correspond to high density but the two are not directly linked. Control, expectation, experience, and the behaviour of others influences whether an individual feels crowed or not. Men and women react differently to high density. Crowding causes negative response ranging from withdrawal, loss of motivation, aggression and illness.
Incongruence, Crowded or Undercrowded
Physiological and Psychological Stress
Perception of Spatial Adequacy
Congruence, Uncrowded
“The framework is a temporal-sequential description of the antecedents, processes, and consequences involved in crowding. It begins with the assumption that a variety of influences (personal, social and physical) leads, via perceptual-cognitive and physiological mechanisms, to a stressful state labelled crowding.” (Gifford, 2002, p.195)
46 Environmental Considerations
Mediating Factors (including physical, social, and personal factors)
Behavioural Adaptations (withdrawing) Intrapsychic Adaptations (cognitive and perceptual, filtering input overload)
Lack of Personal Space - Creates Crowding (fig 4.24) Environmental Considerations 47
PRIVACY
Privacy, like personal space and territoriality provides an important dimension to our daily lives. Altman (1975) views privacy as the central concept among the other environmental considerations.
Personal space and territoriality are, in Altman’s model, mechanisms by which a person regulates privacy.
“
Altman (1975) defines privacy as “the selective control over another’s access to our physical body, our groups and our environments.”
Privacy is a process of individuals creating desired boundaries between each other and their environments, in order to manage personal information about themselves and to manage social interaction. (Altman, 1975)
48 Environmental Considerations
”
Crowding is the result of failing to obtain privacy and loneliness the result of having too much privacy. With this in mind it is vital to understand the definition of privacy, how it is categorised and how individuals control, adapt and regulate privacy. Alan Westin in his 1967 book Privacy and Freedom describes privacy as four essential functions: Privacy is clearly related to communication. Both the informational and interpersonal themes of privacy are deeply involved with communication. Privacy is intimately connected to our sense of control, or autonomy. The ability to choose solitude or the company of others endows us with a sense of self-determination; not having that choice makes us feel helpless.
Privacy is important to our sense of identity. Solitude and intimacy, in particular, can be used to evaluate our progress in life, who we really are, what our relationship to others is and what it ought to be. Privacy allows for emotional release. In private we can weep, make faces at ourselves in the mirror, sing loud crazy songs, and talk to ourselves. Generally privacy is thought of as an individual seeking to be alone, but at times individuals seek to be alone with selected others.
Therefore privacy requirements change depending on the social environment and also on the personality of the individual, with some people naturally requiring more privacy than others. This can be a product of cultural and social backgrounds, with some cultures tending to be more private than others. (Bell et al. 2001) Choice is key as extroverted people are stimulated by activity and like to be seen and heard, and being in an environment with lots of interaction. However introvert people are stimulated by solitude and like quiet, private spaces with limited interaction. Providing a choice between these two environments allows the space to cater for all learning/ working personality types. (Bell et al. 2001)
PRIVACY CLASSIFICATION Westin (1967) defines privacy as solitude, intimacy, anonymity and reserve. Subsequent academic literature adds isolation and splits intimacy to intimacy with family and intimacy with friends. SOLITUDE Darhl Pedersen (1982) defines solitude as being alone in the midst of others. Research proves that this state is the most ideal for creativity and productivity. Without solitude individuals tend to attribute their behaviour to the influence of others; whereas when individuals are given a territory that affords solitude behaviours are attributed to their own personality. INTIMACY This refers to group privacy. Intimacy with friends and intimacy with family are two distinct forms of intimacy, because the things you share with family might be different to the things you share with friends.
an individual limits personal information to protect inner thoughts and feelings. ISOLATION Isolation is solitude with no one else nearby. Further research by Darhl Pedersen (1982) suggests another six classifications of privacy; uninterrupted contemplation, rejuvenation, creative expression, the consumption of disapproved substances, recovery, and concealing oneself.
CONTROL, ADAPTATION AND REGULATION Control of personal space is closely related to privacy, as the means for achieving the desired level of privacy is by having suitable personal space, again the radius of this changes dependant on the person and situation however, if personal space is violated or cannot be controlled, then negative consequences will occur as the individual looks to regain privacy. A lack of privacy leads to feeling a lack of control and if this is prolonged it can deprive an individual of autonomy or independence.
Individuals seeking privacy will opt for different territories accordingly. Research suggests that individuals seeking solitude more often chose public territories, but individuals seeking intimacy more often chose primary territories. Another area of privacy includes how we regulate and adapt to varying levels of it. Gifford (2002), states that when individuals have less privacy than desired, they may adapt so that they no longer believe they need as much as before. In the short term, individuals may avoid or seek out others to obtain the amount of social contact desired. In the long term, some evidence suggests that if individuals continue to have less privacy than desired, they adapt by changing their social goals to fit reality.
SPATIAL PRIVACY
When designing a space with privacy considerations the space needs to take into account that individuals have different privacy boundaries and that the space needs to be able to adapt to differing privacy preferences.
ANONYMITY This is the form of privacy desired when an individual desires to be among others but does not want to be personally identified or to interact on a personal basis.
Some architectural features encourage us to be more private and some more open, for example opaque panels are more effective at providing privacy than clear ones (Baum, Reiss, O’Hara, 1974). Alcoves and doorways provide popular semi-private spaces, as extreme privacy can result in isolation.
RESERVE Reserve is defined as the psychological barrier against intrusion. Reserve is when
Open plan offices can cause privacy difficulties, they are designed to stimulate extroverts and therefore introverts often
Environmental Considerations 49
devise inconspicuous ways of giving themselves more privacy, for example putting in headphones in or stacking files and folders around themselves. A lack of audio privacy is concerning especially when wanting to hold a private conversation, known as protected communication, whether over the phone or in person. Individuals feel awkward withdrawing to a private room; therefore they will often
“
The research will be investigating the changing behaviours and social dynamics of the occupants within the workplace by changing the physical space. The installation will form new territories and allow for different levels of privacy within the space, by doing so the occupants will be given choice.
Choice of privacy is a key factor to consider within the design, because currently the space provides no architectural means of privacy. (Gifford, 2002)
”
conduct conversations in doorways, as this provides a suitable level of privacy (Bell et al. 2001). Furthermore speech is the most distracting type of sound, as the brain automatically understands it and finds it very difficult to ‘zone out’. Visual privacy is also an issue when personal or confidential information may be displayed on screen. (Kupritz, 1998)
Privacy is the selective control over another’s access to our physical body, groups and environments. Privacy is related to communication, control, sense of identity and emotional release. Privacy is categorised into five main types; solitude, intimacy, anonymity, reserve and isolation. Solitude is the most preferable level of privacy for creativity and productivity. Individuals can adapt to varying levels of privacy, but it is important for individuals wellbeing to receive the amount of privacy they desire.
Solitude is one of the crucial behavioursettings that the installation should be aiming to facilitate within it’s design; this is because this level of privacy enables individuals to be the most creative and productive.
Social Isolation (achieved privacy more than desired privacy)
Interpersonal Control Mechanisms: Personal Space Territory Verbal behaviour Nonverbal behaviour
Desired Privacy (ideal)
Achieved Privacy (outcome)
Crowding (achieved privacy less than desired privacy)
Altman’s perspective on privacy as the central process among our space related behaviours
50 Environmental Considerations
Optimum (achieved privacy = desired privacy)
Creating Privacy (fig 4.25) Environmental Considerations 51
AFFORDANCES
Environmental perception is the process of distinguishing environmental features and creating meaningful patterns from raw sensory information. Affordance is a method of perceiving and organising that information, it refers to the fundamental properties of an object that determine how it could be used. Buttons are for pushing, knobs are for turning, switches are to be flipped and slots are for inserting things into.
When affordance cues are taken advantage of, the user knows what to do instinctively, without instructions.
James J. Gibson’s affordance theory takes an ecological approach to perception. He suggests that rather than interpreting individual features within an environment, weighing the cues and then constructing a reality, as theorised by Ergon Brunswik; individuals organise features into recognisable patterns based on the arrangements of cues that provide direct and immediate perceptual information. (Gifford, 2002), (refer to environmental
psychology chapter, p.22)
52 Environmental Considerations
Because the proposed installation will need to be flexible in order for it to transform according to the desired behaviour-settings, the design needs to be able to clearly indicate how it is to be operated.
Gibson suggests further that individuals actively explore their environments and perceive objects in a variety of ways.
“
�
As occupants encounter different objects the interaction is termed as affordance. (Gifford, 2002)
To Gibson, affordances are a relationship.
“
They are a part of nature: they do not have to be visible, known, or desirable. Gibson states that, “affordances are properties of things taken with reference to an observer but not properties of the experiences of the observer.” He then states that, “the affordances of an environment are in a sense objective, real, and physical, and yet still affordance is neither an objective property nor a subjective property; it is equally a fact of the environment and a fact of behaviour. An affordance points both ways, to the environment and to the observer” (Gibson 1986).
The affordance of something will not change with the needs of the user, it can be perceived as positive or negative, but ultimately it offers what it does because it is what it is. (Gibson, 1979)
SUBSTANCES, SURFACES AND TEXTURES
”
In Gibson’s theory, the world is composed of substances, surfaces, and textures, the arrangement of which provides cognitive affordances, or instantly detectable functions. Gibson argues that the majority of building occupants do not see neither form nor shape, but rather perceive affordances – ‘what can that space do for us?’ And suggests that architecture should be about the relationship between surfaces and affordances. (Gifford, 2002) For example, Gibson states that, “if a terrestrial surface is nearly horizontal (instead of slanted), nearly flat (instead of convex or concave), and sufficiently extended (relative to the size of the animal) and if its substance is rigid (relative to the weight of the animal), then the surface affords support.” (Gibson, 1979) He then further states that the “four properties listed – horizontal, flat, extended, Although many design elements afford instantly recognisable functions, within this model there is still the space for perceptual mistakes as a consequence of our cognitive biases. Theorists argue that some environmental components are so similar that cognitive processes and sociocultural learning are needed for people to understand the environmental cue. (Kopec, 2012)
To surmise affordance is the relationship between the properties of a space or object in relation to the individual, and this relationship happens regardless to whether the individual has recognised it or not. When considering affordance in relation to design and architecture, we as designers and researchers are more concerned with what the occupants perceive, rather than what is actually true. Therefore the term ‘perceived affordance’ is more appropriate.
and rigid – would be physical properties of a surface if they were measured with the scales and standard units used in physics. As an affordance of support for a species of animal, however, they have to be measured relative to the animal. They are unique for that animal. They are not just abstract physical properties. They have unity relative to the posture and behaviour of the animal being considered. So an affordance cannot be measured as we measure in physics.” (Gibson, 1979)
DESIGN Design should exploit natural relationships and natural constraints between people and the environment, and avoid needing instructions or labels. Norman (1988) suggests that a clear conceptual model needs to be developed in order to capture the operational system of the object to make it understandable for the user. This allows user to develop a mental model of the object, formed by interacting with the system. Furthermore he suggests that natural mappings need to be exploited in that the user needs to be able to determine the relationships between: Intentions and possible actions. Actions and their effects on the system. The actual system and what is perceivable by sight, sound or touch. The perceived system state and the needs, intentions and expectations of the user.
In the terms of this experiment occupants need to feel that they can get involved with the installation, that they are confident in operating it and adapting it; therefore the affordances of the installation need to be legible in order for the occupants to perceive and control each behaviour-setting. As occupants encounter different objects the interaction is termed as affordance. Affordances are not subjective values, they are a part of nature: they do not have to be visible, known, or desirable. In Gibson’s theory, the world is composed of substances, surfaces, and textures, the arrangement of which provides cognitive affordances. Design should exploit natural relationships and natural constraints between people and the environment. It is more important to consider what occupants perceive, rather than what is actually true.
Environmental Considerations 53
05
HIGHER EDUCATION SITE STUDY
54 Higher Education Site Study
As outlined in the introductory section the School of Architecture, Planning & Landscape at Newcastle University will be the main site used to test and evaluate the installation. The school was chosen first because of the practical need for more collaboration and presentation space, and second, because of the dynamics surrounding studio culture, and the way the physical spaces within the school are
occupied by students. In order to choose a specific location within the school, the year groups and the spaces they occupy will be considered. The spaces will then be analysed in terms of their physical attributes, the flexibility of the space and the equipment in place. This information will provide a basis for the upcoming baseline mapping to build upon, to develop an understanding of the space on a psychological level.
Of the cohorts operating within the school the stage three year group were chosen, firstly because as they are in the last year of their degree it is expected that the space will have a higher occupancy than other studios as their workload will be heavier. This therefore means that the studio will be of high importance to them, as they need to be able to perform at peak levels of
efficiency within the space. Secondly they are already fully integrated into school life, meaning that by this point they will have already developed a level of expectancy about not only the space but about the behaviour of other occupants. Therefore the changing social and physical dynamics of the space as the installation is introduced should provide interesting results.
Stage Three Studio (fig 5.1) Higher Education Site Study 55
56 Higher Education Site Study
The space allocated for stage three wraps around the first floor of the building and consists of three studios of varying size. One large studio facing east, one smaller studio adjacent, that sits at the corner of the building and a further one to the front of the building. All of the spaces are linked in a series. The middle corner studio acts as a thoroughfare between the other two and contains the printers, meaning that this space has a lot of footfall. The space as it currently stands contains both studio desks and PC workstations, meaning that multiple activities take place within. However currently the space is not being used to its full potential, as there are a few unused desks and large amounts of unclaimed work related items and personal items taking up valuable space. Previous to this study a studio partitioning systems was installed within each of the stage three studios. They had varying degrees of success resulting in the ‘pod’ in the corner studio being moved to different positions and then removed from the space altogether. In its last position the ‘pod’ contained four desks. The few students who worked on these desks liked the privacy the ‘pod’ provided however the other students still felt the ‘pod’ was not working due to the height of the walls, the unpinnable surface and the lack of flexibly, and it was therefore removed. The space leftover by the ‘pod’ was filled more desks, however as this was done mid way through the academic year the space was already largely territorialised and therefore the desks were rarely worked at. Because of these factors it has been decided to situate the proposed installation in this space, it has the most dynamic spatial qualities out of the three studios, and with the addition of the failed ‘pod’, the occupants of the space will benefit most from a reorganised masterplan and a more intuitive installation. The installation will be initially tested in the stage three studios of Newcastle University’s Architecture, Planning and Landscape department. The corner studio will be specific location due to the high footfall and a variety of desk types and activities. The previous ‘pod’ within this space failed for various reasons: the height closing off the space, the lack of flexibility, the surface of the walls.
FLEXIBILITY The space incites a level of student personalisation. One desk is rotated 90 degrees so it faces the window and creates a niche space, a TV has been wheeled in from elsewhere in the school, and a desk that has not been claimed, sits within the centre of the main access route. This space originally contained a ‘pod’ which was tested in two locations, neither worked due to their lack of flexibility. Higher Education Site Study 57
PC WORKSTATIONS There are eighteen desktop PC workstations. These PCs are used regularly but not all for lengthy periods of time. Some of the PC workstations lack equipment such as chairs, keyboards and mice, or are inaccessible due to tables, other equipment or discarded items blocking their use, this may account for their apparent under-use.
PRINTERS Four standard printers, A4, A3, black and white and colour, are used throughout the school. The printers in this space are specifically for stage three use and print jobs from all stage three studios are sent to these printers, therefore students who do not work in this space often pass through to collect work from here. The area around the printers is cluttered with unwanted prints and paper off cuts. 58 Higher Education Site Study
STUDIO DESKS These desks are used for laptop work, drawing and model making. Although the aim is that the space is used as hot-desking, almost all of the studio desks show signs of student territorialisation. Many contain personal or work related items such as books, models and equipment, as well as a large amount of waste material.
STORAGE SHELVES These shelves are filled with models, every shelf is in use, as well as two studio desks that are also used for the storage of models.
Higher Education Site Study 59
06
DYNAMIC MAPPING
As a result of the extensive research into environmental psychology in the previous chapters, some key topics have been considered that are of interest in connecting behaviour with creating a positive working environment. These suggest providing users with more choice and flexibility in the space’s environment in order to increase wellbeing, productivity and performance. By utilising the skill sets that architects are taught in visualising space and representing data clearly and concisely a synergy is born between the psychologist and the designer.
Dynamic mapping provides a hybridised surveying tool to analyse behaviours within the environment. This happens by layers of information being overlaid to produce a set of conclusions that enable spaces to be understood and modified. For this research, mapping
60 Dynamic Mapping
In order to test the outlined psychology theories a series of mapping methods need to be developed.
Mapping allows the intangible and interconnected quality of users’ behaviours to be visualised. An extensive literature review of mapping techniques (see appendix A, p.4) was undertaken in order to find a number of techniques and methods that could be tailored specific to the research project.
techniques will be implemented to observe occupants behaviours, which can then be learned from and developed as the installation is introduced into the space. This will then provide feedback to further the design of the installation, producing a cycle of feedback leading to development.
MAPPING SPACE SPACE SYNTAX AND DEPTHMAP X
Space Syntax starts with defining movement and occupation as the fundamental functions of a layout. The permeability of all spaces is the priority condition for a functioning layout structure. Firstly developed for the use of understanding patterns of movement and space within the urban and city scale, the ideas and systems transpired to help understand aspects of movement in the architectural scale of an individual building. DepthMap X is software, developed at UCL, which visualises space syntax data though convex and axial analysis. Data is also given for each of the measures allowing comparisons to be drawn between different spaces as well as different buildings. By acquiring this software as using it as part of the baseline mapping, it can be used as a comparison against other mapping techniques. However from testing the software it produced results that increasingly became too complex and it was concluded that the software would not be used as a result. With a more ‘hands on’ approach being favoured to gain live data that could be more easily understood. TIME UTILISATION STUDIES Time Utilisation Studies (TUS) were developed by DEWG as a response to the rise and popularity of the creative office and hot desking workplace design. TUS are used to help businesses develop strategies to integrate hot-desking and desk sharing into their offices. As it suggests in its name TUS measures the utilisation of the space
and is carried out using a combination of approaches. TUS involves two types of data gathering approaches; ‘hands on’ and ‘hands off’. From researching each aspect (see appendix A, p.13) a more ‘hands on’ approach seemed more viable to implement unlike the ‘hands off’ approach which required technologies that could not be gained assess to due to security and privacy issues. BUROLANDSCHAFT Burolandschaft refers to an office system designed in 1960’s. This offers an approach to mapping carried out by The Quickborner Team (see appendix C, p.64) that was ...
This offered an approach to mapping designed to highlight the importance of the worker within the working environment. This allows the hybridisation of this method to produce a methodology for the further development of the research project. COMMUNICATION MAPPING Each individual within an organisation takes part in a two week survey noting all communications and visitors. INDIVIDUAL SPACE PLANNING A systematic examination of the space requirements of each type of work, their needs for equipment, space, privacy and movement. ANALYSIS A chart is drawn which combines the information. PLAN The information is then translated into plan within the given office area.
Dynamic Mapping 61
OBSERVATION METHODS The initial starting point of the research mapping was to find out how environmental psychologists and other fields of research carry out mapping exercises in order to gather information. This provided the research project with a base line for mapping people in space. To get the best idea of how a space is used and to get a more enhanced understanding of social behaviours and not just physical, a mixture of qualitative and quantitative information needs to be gathered. QUANTITATIVE DATA
Quantitative research is the systematic investigation of observable phenomena via statistical, mathematical or computational techniques. Discussion with Dr Stephanie Wilkie, a psychologist at The University of Sunderland, provided information about the key ways to gather hard quantitative data that had been researched, three key methods were pin pointed and developed in relation to the site selected. GATE COUNTS Observing the density of movement flows. STATIC SNAPSHOTS Observes the comparison between static activities and movement allowing areas
62 Dynamic Mapping
of interaction to be spotted. This mapping method gathers information quickly and effectively. PHYSICAL SITE ANALYSIS Physical information, such as desk numbers, room dimensions, storage areas and environmental information such as light, noise and heat produces data which can be used to compare any correlations between users behaviourisms and the environment. QUALITATIVE DATA
Qualitative Research is primarily exploratory research. It is used to gain an understanding of underlying reasons, opinions, and motivations. Qualitative data provides soft information allowing insights into more anecdotal information about how users feel and what they think about the qualities of the environment. These can then be compared alongside quantitative information to find correlations. From the research undertaken (ref page) the following techniques are of use to help investigate behaviour within a space; SURVEYS QUESTIONNAIRES INTERVIEWS TIME LAPSE PHOTOGRAPHY
VISUAL REPRESENTATION AND ANALYSIS The researching of more specific methods of data gathering and movement / behaviour mapping techniques gives the project a base point on how to go about mapping the behaviour in a space, in a way that architects and architectural From the extensive research of mapping throughout history, techniques of representation can be used in order to convey the mapping information for further analysis and allows conclusions to be drawn out from the data gathered. This aims to move the project forward in developing a design brief which can start to inform the design of an installation space, testing theories previously analysed and explained in the environmental psychology condition chapter (see environmental considerations, p.26).
students are not necessarily used to doing when surveying spaces. The images above convey multiple layers of information into simple and understandable diagrams that are quick and easy to read.
Analysed the use of space syntax and Depthmap X, which was discarded after testing due to complex nature of information. A more ‘hands on’ approach will be used in order to carry out the mapping of the site. Burolandschaft provides our project with a building block in creating a mapping methodology due to the similar outcomes it was trying to achieve. Observation techniques are researched. Techniques for graphical representation and analysis are researched through a historical mapping review.
Dynamic Mapping 63
07
BASELINE MAPPING
Following on from the site selection, the baseline mapping chapter further explores the stage three corner studio in more depth using a range of mapping techniques. The techniques employed originate from the initial dynamic mapping literature review, and will enable a more enhanced understanding of social behaviours as well
as the physical properties of the space. The mapping will then be analysed against the psychological factors indicated in the environmental conditions chapter, which will then enable the formulation of the design brief for the installation occupants.
STATIC SNAPSHOT Allows for occupants activities and behaviours within the space to be recorded and analysed.
QUESTIONNAIRE Measures the behaviour, attitudes, preferences and opinions of occupants.
TIME-LAPSE PHOTOGRAPHY Enables occupant’s behaviours, interactions and activities to be recorded across a larger time frame.
64 Baseline Mapping
STUDENT INTERVIEW Direct communication with the occupants allows for their opinion and perspective to be taken into account.
Stage Three Studio, During Term-Time (fig 7.1) Baseline Mapping 65
STATIC SNAPSHOT
66 Baseline Mapping
Using static snapshots as part of the baseline mapping allows for occupants activities within the space to be recorded. The method is useful for comparing static activities (standing, sitting) as well as movement. By mapping these activities in time the patterns of use within the architecture studio can be defined. In general, snapshots might be comparable to a photograph taken from above showing the moment of activities mapped onto the floor plan. By carrying out
the static snapshot at consistent intervals during the day, it provides an objective view of the invariant patterns of activity as well as different and peculiar behaviour throughout the day. Further to this it allows for the number of occupants entering and exiting the space to be measured, resulting in a density figure. This figure determines whether the space is under or over occupied and whether this has an affect on the activities being carried out within the studio.
To collect the static snapshot data, the stage three studio will be observed in ten minute blocks once every two hours, between the hours of 09:00-21:00, over a seven day period. The aim is observe activities such as desk usage, the types of work carried out and whether this is individual
or group work. These snapshots can then be analysed by the psychological factors indicated in the environmental conditions chapter: personality, vision, personal space, conversations, sound, territorial markers and territoriality.
LOCATION:
Newcastle University, School of Architecture, Planning &Landscape Department. Stage Three Corner Studio.
DATE (TIME):
11/04/16 – 17/04/16 10 minutes of observation at random intervals, within a 2 hour time frame, over a 7 day period.
OBJECTIVE:
To investigate and observe how people use the space in different ways.
HYPOTHESIS:
Occupants use the space in a number of different ways, computer work, model making, for meetings and conversations.
CONTROLLED VARIABLES:
The two door thresholds within the space IT equipment
RESPONDING VARIABLES:
The number of occupants that interact within the space
EXTERNAL VARIABLE:
The number of existing occupants within the space at the commencement of each experimental period The occupants working time schedule
MATERIALS / EQUIPMENT: Camera
1 2 3 4 5 6
METHODOLOGY / PROCEDURES:
The time of the experimental period is recorded. The condition images taken. Count the number of existing occupants within the space. Observe the activities of the occupants within the space. The information will be recorded in a plan format using symbols to represent activities. The information across all experimental time periods will be collated and represented.
LIMITATIONS:
The spatial furniture layout The level of tidiness within the space
Baseline Mapping 67
STATIC SNAPSHOT MAPPING STANDARD STUDIO DAY
9
11
10
10
12
A: 11.56 16 A: 9.47 L: 9.47
R: 12.03
18 19
L: 11.56
11
L: 12.01
9
5
L: 11.55 15 L: 11.56
A: 9.43
1
2
3
4
14
A: 11.57 12 L: 12.04
1
A: 11.57 13
11 10
6
WORK
14
PIN UP
8
5
7
4
16
3
GENERAL 10MINS
2
GENERAL
20
17
1
09:40-09:50
Studio not occupied and only used for printing.
17
20
15
13
1 L: 11.59
3
18
L: 11.56
19
L: 11.57
4
A: 12.02
2
3
L: 12.01
1
A: 12.02
2 L: 9.44
11:55-12:05
More occupants are using the architecture studio, with a lot of traffic moving through the space from the adjacent rooms. There are a number of conversations happening in the centre of the space. Occupants using laptops to carry out work tasks. A couple of people arrive only for conversation. One occupant is using headphones in a space that may be desirable to an introvert.
68 Baseline Mapping
1
21
3
WORK
1
WORK
STRESSING OUT 17.48
2
2
5 PACKING UP
7
4 WORK
3
6 A: 15.10 20 L: 15.12
16
A: 15.10 18 L: 15.08
5
15
4 A: 15.08
WORK
5
4
16 15
4
3
4
7
A: 15.12 21
7
3 17
L: 17.42
20
L: 15.12
5
GENERAL
17 WORK
8
9
WORK
7 17
WORK
17
6
18
19
WORK
10
11
12
14
13
6 L: 17.44
15:05-15:15
The mapping shows a discussion happening within the main group in the centre of the space. This points towards the occupants being extroverted characters.
17:40-17:50
The studio is less occupied, general conversation around the circulation space near PC cluster.
(1), (2) and (21) are having a quieter conversation within each other’s personal space zone, highlighting introvert characteristics.
Baseline Mapping 69
1 10
2
3
2
5
WORK
WORK
PICKING UP ITEM
4
10
A: 18.28 L: 18.29
A: 19.07
9 8
1
L: 19.01
4
6
5
7 GENERAL
3
1
5
L: 18.33 A: 18.32
18:23-18:33
The studio is now very quiet, occupied mainly in the highlighted introvert areas, with one individual in the centre of the space, who previously was central to the noise, now listening to music through headphones as a way to focus. This extrovert characteristic shows a need for noise while being considerate to others. Studio occupation is spaced out with visitors from the adjacent studios entering to discuss work.
70 Baseline Mapping
10
9
8
PACK UP
PACK UP
7
L: 19.10 L: 19.08
19:00-19:10
There are more one-on-one conversations taking place within the space. One occupant uses headphones, and another is working with a laptop quietly in the central area.
Generally more activities take place during the late morning and throughout the afternoon. Those using PC’s attempt to prevent distractions and create privacy, more so than those with laptops, also less conversations have been documented in that location, similarly to those sitting in the corners of the space. Generally more activities are carried out using the studio desks rather than PC desks. Many conversations (both general topics and work related) are taking place in the centre of the space, mainly by people passing through from adjacent spaces. During busier times of the day, those sitting in more central locations partake in a lot of conversation. Whereas those choosing to be more segregated (sitting in the corner locations and PC cluster) don’t partake in as many conversations and use headphones to block out the sound. However, this flips when it becomes quieter. It can be deduced that some occupants find the background noise distracting and difficult to concentrate on work in.
DENSITY TIME
ARRIVED
DEPARTED
TOTAL OCCUPANTS
FLOOR SPACE FACTOR (SQM PER INDIVIDUAL)
WITHIN RECOMMENDED FSF(6)
9.40-9.50
5
5
5
23.8
Yes
11.55-12.05
6
12
20
5.95
No
15.05-15.15
5
3
21
5.6
No
17.40-17.50
0
5
7
17
Yes
18.23-18.33
2
2
5
23.8
Yes
19.00-19.10
1
4
10
11.9
Yes
Average
3.1
5.1
11.3
14.7
Yes
The current building regulations recommend that the floor space factor for an office environment is 6.0, meaning each person within the room should have 6m of space to themselves. The architecture studio being studied is 119m² therefore the maximum occupancy of this room is 19 people. Most of the ten minute snapshot intervals fall well within the recommended occupancy levels and in fact the space is under-occupied the majority of the time. However there are two time intervals (11.55-12.05 and 15.05-15.15) where the number of occupants using the space exceeds 19 and the space is therefore over-occupied. However as these time intervals only exceed the maximum occupancy by one and two people respectively this is not a vast over-occupation. The average number of people in the space is 11.3, meaning that on average the space is under-occupied. The space is at its most dense during the late morning and afternoon and at its least dense in the early morning and evening. Density is highest in the late morning and afternoon. Overall the studio is under occupied. The occupants at the PC workstations prefer more privacy. More activities are carried out at the studio desks. More conversations occur in the centre of the space. Headphone are worn to block out background noise.
Baseline Mapping 71
VISION Unobstructed vision allows for a greater feeling of control, as individuals within the space can be observed and their behaviours can be easily determined. There is more opportunity for environmental stimulus, voluntary or otherwise, which can allow for attention restoration (see environmental considerations, p.26) However it also means that there is a lack of privacy for individuals which leads to them feeling crowded, especially if they feel that their personal space is being invaded. The constant subjection of environmental stimulus can also be very distracting for individuals, especially when carrying out tasks that require a lot of concentration. Visual distraction occurs mostly when movement is detected within the individual’s peripheral vision. The mapping shows that the open plan layout of the architecture studio allows for unobstructed vision across the space from the majority of desks. The desk study shows the comparison of an individual’s peripheral vision whilst seated at both a studio desk with a laptop and seated at a PC desk. The raised height of the PC monitor blocks the occupant’s central focus and mid peripheral vision, which helps to prevent visual distractions and create some privacy for them. However the studio desk with a laptop does nothing to prevent an unobstructed view, meaning that it becomes the occupant’s responsibility to screen out unwanted stimuli.
Peripheral Vision while Seated at a Studio Desk with Laptop
72 Baseline Mapping
Peripheral Vision while Seated at a PC Workstation
Baseline Mapping 73
PERSONAL SPACE Maintaining personal space zones is an essential method of regulating privacy. (See environmental considerations, p.32) It is important for all occupants to receive the desired amount of personal space in order to feel comfortable and be productive within the space. As the majority of tasks carried out within the space are undertaken individually, ideally occupants should be receiving solitude (being alone in the midst of others) levels of privacy in order to be the most productive and creative. The mapping shows the intimate zone 0-0.45m (generally for those in an intimate relationship), the personal space zone 0.45-1.2m (generally for those who are friends) and the social zone 1.2-3.6m (generally for those who are not really acquainted) overlaid at each desk location within the space. This shows that for the majority of desk locations within the space occupants have to operate within the social zone of one another, which may not necessarily allow for their desired levels of privacy. Personal space and privacy is further reduced when occupants are seated within the PC workstation area, with occupants having to operate within the personal space zone of one another. The desk study shows the comparison of an individual’s personal space whilst seated at both a studio desk with a laptop and seated at a PC desk. The study highlights that although personal space is reduced when seated at a PC desk, this is only for occupants sitting side-by-side, as the raised screen height provides a barrier for those sitting opposite. Therefore for those who are seated at a studio desk the open space allows for a more social atmosphere.
Personal Space while Seated at a Studio Desk with Laptop
74 Baseline Mapping
Personal Space while Seated at a PC Workstation
Baseline Mapping 75
SOUND AND CONVERSATIONS Conversation creates a good social atmosphere as well as fostering good working relationships, as students feel comfortable talking to one another about their work. Conversation can however be very distracting, especially when carrying out tasks that require a lot of concentration, this is particularly apparent when considering individuals that are introverted and work better in quieter environments. The mapping shows that the main source of conversation takes place within the centre of the space, with two smaller groups outside of this. Students use headphones as method of blocking out external sounds and reducing distractions. However students who sit in the centre of the space wear headphones less than those who sit on the outer edges. This suggests that they are more extroverted in their character as they prefer to work within a more noisy and social atmosphere. Almost all of the students that sit by an external wall wear headphones, this could be because of the construction work outside, or as another method of creating privacy in addition to the spatial and visual privacy that the wall produces. The area containing the PC workstations includes the most headphone wearers; this could again be because students are trying to create privacy in area with reduced personal space.
Primary conversation group
76 Baseline Mapping
Secondary conversation groups
Baseline Mapping 77
TERRITORIAL MARKERS Territorial markers and in particular personalisation markers are a used to ‘claim’ space and mark it as ones own. (See environmental considerations chapter, p.26) Personalisation of a space can have positive side effects for the occupants, particularly when considering the studio environment. Personal belongings encourage occupants to feel more comfortable and satisfied within the space, because it influences individuals perceived levels of privacy, freedom, control and sense of belonging. By analysis of how students use territorial markers within the different desk types it can then be determined which spaces are seen as primary, secondary or public within the studio environment. PC desks contain a lot of work related and temporary personal items such as water bottles, coats, sketchbooks etc. This suggests that students recognise this area as a secondary territory, in that when they use the space they don’t always sit at the same desk each time. In comparison the laptop desks contain high levels of personal items such as stacks of books, food stashes, slippers etc. in addition to work related items. Students at these are also seen appropriating associated windowsills and walls with their items. This all suggests that these spaces are considered to be primary territories of high importance. Many of the other studio desks contain models and general waste material, this could be in response to a lack of storage within the architecture building or because these spaces are considered to be public and no one is willing to take ownership of and manage those spaces.
PC DESK
LAPTOP DESK
Low level of markers
High level of markers
Work related items
Work related items
Paper
Models
Temporary personalisation
Personalisation
Contamination
Window sill appropriation
Work pinned on walls
78 Baseline Mapping
STUDIO DESK
High level of markers
Models
Contamination
Baseline Mapping 79
TERRITORIALITY AND PERSONALITY As previously indicated by the use of territorial markers, the architecture studio environment is important to the students who occupy it. This exists in varying degrees depending on the individual’s character and working habits. From analysing the different desk types and with that the different activities that take place there it can be determined which spaces within the studio are viewed as primary, secondary and public. From this it can be further determined what type personality each desk space within the studio attracts. The mapping suggests that both introvert and extrovert characters view their space within the studio as primary, however this is the only similarity between the two character types. Introverts seat themselves around the edge of the studio and choose desks that face the wall to minimise environmental stimuli. Extroverts however choose seats within the centre of the space, where most of the conversation takes place. Ambiverts on the other hand are located both in the centre of the space, but choose to sit by the wall. Because the studio is a large open space it is generally more suited to extroverts, therefore it is important for the installation to create more walled/corner space so that there is more suitable seating choice for introverts and ambiverts as well as reducing overall environmental distractions.
INTROVERT
AMBIVERT
EXTROVERT
Primary
Secondary
Primary
Wall seat Corner seat
Central location
Central location Views across space
Limited vision across space Work in pairs
Window seat
Window seat Seat alongside main route Work in pairs
Work in groups
Seat alongside main route 80 Baseline Mapping
Baseline Mapping 81
TIME-LAPSE PHOTOGRAPHY
82 Baseline Mapping
To gain a wider understanding of how the stage three architecture studio is used throughout the day time-lapse photography has been incorporated into the baseline mapping. By mapping these activities in time the patterns of use within the architecture studio can be defined. In contrast to the static snapshot mapping this method is allows for occupants activities to be recorded across a larger time period, by
capturing the natural progression of time and condensing it. This therefore allows for more detailed information to be gathered, enabling a deeper understanding of occupant’s behaviours and how they inhabit the space. By using video footage it means that the exact state of the environment can be documented, showing specifically what impact the occupants have over the space.
To collect the behavioural data, the stage three studio was recorded using a video camera between the hours of 09:00-21:00, over a seven day period. The aim is to observe activities such as desk usage, the types of work carried out and whether this is individual or group work. In the selected
images, points of interest are highlighted allowing for them to be evaluated against the other mappings to strengthen the results. Further to this the recordings allow for individual desks to be singled out, allowing their specific usage to be monitored and analysed.
Time-Lapse Photography Detective (fig 7.2) Baseline Mapping 83
TIME-LAPSE MAPPING STANDARD STUDIO DAY
09:00
11:00
The architecture studio is not occupied. The space is very cluttered with lots of models, empty water bottles and general waste material. There are no personal electronic items such as laptops left on the desks. All the lights are on.
13:00
The space is still quiet however there is evidence of people working, laptops are open on desks and some lights have been turned out. One occupant is sat working at desk A.
More evidence of people working but again not many people actually occupying the space, this maybe due to the fact that it is lunchtime. Occupants sat working at desk A and C, with one individual wearing headphones.
DESK APPRAISAL
84 Baseline Mapping
DESK
09:00
11:00
13:00
15:00
17:00
19:00
A
U
OP
OP
OP
OP
U
B
U
O
O
OP
O
O
C
U
U
OP
U
U
U
D
U
U
U
OP
OP
OP
E
U
O
O
OP
OP
O
A
Female student comes in between 9am – 11am and occupies and remains sat at her desk until after 7pm, No headphones.
B
Male student occupies desk (evidence through presence of laptop) from between 9am - 11am until after 7pm however is rarely seen sat at desk. No headphones.
C
Desk is unoccupied for most of the day however one female student is present at desk for 1- 2 hours around 1pm, however is wearing headphones.
D
Desk is occupied by male student who comes in between 1pm – 3pm and remains present as his desk until after 7pm. No headphones and is seen conversing with the occupant of Desk E.
E
Desk is occupied by male student from between 9am – 11am until after 7 however the two occasions where he is seen present at his desk he is not working but either standing or conversing with the occupant of Desk D.
U O OP
Unoccupied Occupied Occupied and Present
15:00
17:00
There are lots of people in the space and lots of desks are occupied (B), (D) and (E). Occupants are also working in the PC cluster situated in the far end of the studio.
The space is still quite well occupied. More occupants are having conversations with one another.
19:00
The space is quieter but there are still many individuals occupying the space. Majority of students are walking around the space rather than sat working at desks. Students are showing no signs of going home. All the lights are on.
Students work in the space more towards the end of the day, students tend to come in between 9am -11am and do not leave until after 7pm. Students occupy a desk but often do no sit working at it all day. All students use the space and their time in different ways, there is no one working style. Clutter and waste material in the space does not move all day. One empty bottle of water remains perched on the table in the foreground all day. The waste bin in the foreground does not fill up all day. Lighting does occasionally change but generally remains switched on for most of the day.
Baseline Mapping 85
QUESTIONNAIRE
86 Baseline Mapping
Using a questionnaire as part of the baseline mapping provides an effective means of measuring the behaviour, attitudes, preferences, opinions and intentions of occupants within the stage three studio. The questionnaire uses both open and closed questions to collect data. This is beneficial as it means both quantitative and qualitative data can be obtained. This data is then presented first by a percentage diagram and then second by an axonometric
drawing which highlights the location of the participants within the space. By presenting the data in this manner it allows cross-referencing with the data collected from the other mappings. This then helps to strengthen the results from the other mappings and can then be further analysed to see if the behaviours indicated in the questionnaire results tie with those assumed in the static snapshot analysis.
The questions help to gauge the occupant’s general usage of the space; the amount of time they spend there, who they work with, what activities they undertake. Questions include those that relate to the physical properties of space. The questions also
ask for the occupant’s thoughts on their experience with the previous pod installed in the space, on a new installation being introduced, and how they would improve the space overall.
DO YOU WORK IN THIS SPACE OFTEN? Yes Occasionally Very rarely Never
DO YOU TEND TO WORK ALONE IN THIS SPACE OR IN A GROUP? Alone Group
HOW LONG ON AVERAGE DO YOU SPEND IN THIS ROOM AT ANY ONE TIME? <1 hour 2-5 hours >5 hours
DO YOU WORK ON A UNIVERSITY COMPUTER OR A PERSONAL LAPTOP? University PC Laptop Both
WHAT SORT OF ACTIVITIES DO YOU TAKE PART IN, IN THIS PARTICULAR STUDIO? Model making Reading Essay writing Computer design work Hand drawing
WHAT IS THE HEATING LIKE IN THIS SPACE? Too warm, uncomfortable Too cold, uncomfortable Its just right, comfortable
WHAT IS THE NATURAL LIGHTING LIKE IN THIS SPACE? It’s too dark It’s too light There is too much glare The light varies too much
WHAT IS THE ARTIFICIAL LIGHTING LIKE IN THIS SPACE? It’s too dark It’s too light There is too much glare The lighting gives me a headache
WHAT ARE THE NOISE LEVELS LIKE IN THIS SPACE? It’s too loud and it affects my ability to work It’s loud, but it does not affect my ability to work The noise level is OK
DO YOU GET DISTRACTED EASILY IN THIS SPACE? Yes No Sometimes
HOW WOULD YOU FEEL ABOUT A FLEXIBLE WORK/MEETING SPACE BEING INSTALLED IN THIS SPACE? It would be a useful addition and I would use It would not be a useful addition and I would not use it It would take up too much valuable space
WHAT ARE YOUR FEELINGS ABOUT THE CURRENT PODS INSTALLED IN THE ARCHITECTURE BUILDING? I like them and I use them regularly I don’t like them but I use them I don’t like them and I never use them I would prefer it if they were not there
IS THERE ANYTHING YOU WOULD CHANGE ABOUT THE DESIGN OF THE STUDIO? WHAT ARE YOUR FEELINGS ABOUT THE STORAGE FACILITIES IN THE STUDIO? There is plenty of storage for models There is not enough storage for models Happy to store models in this space Unhappy to store models in this space Not safe to store models The models take up too much space
Baseline Mapping 87
DO YOU WORK IN THIS SPACE OFTEN?
84% of students questioned, work within the space often.
DO YOU TEND TO WORK ALONE IN THIS SPACE OR IN A GROUP?
The majority of students state that they work alone, however the static snapshot mapping shows a lot of conversations taking place.
HOW LONG ON AVERAGE DO YOU SPEND IN THIS ROOM AT ANY ONE TIME? Those with a defined space spend at least 5+ hours working in the studio.
88 Baseline Mapping
Baseline Mapping 89
DO YOU WORK ON A UNIVERSITY COMPUTER OR A PERSONAL LAPTOP?
Students that stated their territory is in the PC zone only use the PCs, compared to students that stated their territory is a studio desk, who use both laptops and PCs.
WHAT SORT OF ACTIVITIES DO YOU TAKE PART IN, IN THIS PARTICULAR STUDIO?
Cognitive tasks such as reading and writing are not being carried out within the space often, with computer work being the most popular activity.
90 Baseline Mapping
Baseline Mapping 91
WHAT IS THE HEATING LIKE IN THIS SPACE?
The majority of students that state they are too cold, are situated by a window. They have sacrificed temperature comfort in favour of visual comfort.
WHAT IS THE NATURAL LIGHTING LIKE IN THIS SPACE?
Opinions of the natural lighting within the space are varied, but the majority of students feel that is too dark.
WHAT IS THE ARTIFICIAL LIGHTING LIKE IN THIS SPACE?
The vast majority of students have complained of headaches due to the artificial lighting. 92 Baseline Mapping
Baseline Mapping 93
WHAT ARE THE NOISE LEVELS LIKE IN THIS SPACE? The majority of students are happy with the noise level.
DO YOU GET DISTRACTED EASILY IN THIS SPACE?
Although most students note that the noise level within the space doesnâ&#x20AC;&#x2122;t affect their ability to work, the vast majority of them also get easily distracted within the space.
94 Baseline Mapping
Baseline Mapping 95
HOW WOULD YOU FEEL ABOUT A FLEXIBLE WORK/MEETING SPACE BEING INSTALLED IN THIS SPACE? Students feel that the addition of a flexible work/meeting space would take up valuable space.
WHAT ARE YOUR FEELINGS ABOUT THE CURRENT PODS INSTALLED IN THE ARCHITECTURE BUILDING? The vast majority of students donâ&#x20AC;&#x2122;t like or use the current pods within the architecture building, this will influence their thoughts on the prospect of a new flexible work/meeting space.
96 Baseline Mapping
Baseline Mapping 97
IS THERE ANYTHING YOU WOULD CHANGE ABOUT THE DESIGN OF THE STUDIO? Students feel that the studio needs more storage and needs to feel more comfortable.
WHAT ARE YOUR FEELINGS ABOUT THE STORAGE FACILITIES IN THE STUDIO?
Storage for models is a major issue with studio, however this is most likely a school wide issue, as other studios have a similar amount of storage facilities.
98 Baseline Mapping
Baseline Mapping 99
STUDENT INTERVIEW
100 Baseline Mapping
The techniques used to form the baseline mapping provided an understanding of the physical properties of the space and the activities that occupants carry out within it, this has then allowed assumptions to be made regarding the psychological impact of the space upon occupants behaviours and vice versa. By conducting an interview as part of the baseline mapping it provides
an effective means of measuring the behaviour, attitudes, preferences, opinions and intentions of occupants within the stage three studio. The interview provided an effective means of gathering qualitative data that allowed cross-referencing and comparison of occupants responses against the conclusions made from the other mappings.
As follow up to the questionnaire, the interview allows further elaboration on the responses given to gain a more personal and in depth response. The interview will help us to gauge the occupantâ&#x20AC;&#x2122;s general usage of the space and the social interactions that take place within. The interview will be conducted on an informal level to allow for participants to discuss further the themes in which they feel are a priority. Questions will be asked regarding territorial behaviour, personality, social dynamics and
distractions. The outcome of the interview will enable a map of the space based on the student perspective to be drawn up. The mapping can then be comparable with the static snapshot and questionnaire mapping analysis to enable the most important physical and psychological aspects of the studio to be highlighted. These aspects will then enable formulation of a well informed design brief for the proposed installation.
Stage Three Student Interview (fig 7.3) Baseline Mapping 101
STUDENT PERSPECTIVE
TERRITORIALITY The students were asked to mark desk and areas within the space that they felt were primary, secondary and public territory. Primary territory indicates spaces where one individual occupies the space on a regular basis. Primary territory desks tended to be clustered together suggesting groups of friends occupy the same spaces at the same time and have a similar way of working. Secondary territory indicates spaces where individuals will often occupy a space but not all of the time. Secondary desks were more spread out around the space. Public territory indicates space where no-one has claimed this space for their own and the space is used by all occupants.
TERRITORIAL MARKERS From the discussion, the students highlighted that the studio was a very â&#x20AC;&#x2DC;messyâ&#x20AC;&#x2122; environment, and that areas of public territory were the worst, as no one was willing to take responsibility for those spaces. Students suggested that this was because there is limited storage for models.
PERSONALITY The students were asked to evaluate the extroversion of the primary occupants of each desk within the space. The diagram shows that extroverts tend to sit together within the centre of the space; they also positioned themselves close to sources of music. Introverts on the otherhand still sat close together however positioned themselves towards the edges of the room close to walls and other privacy providing features. The students also identified a number of ambivert students who display qualities of both extroversion and introversion, these people seemed to be positioned as a buffer between extroverts and introverts and also sat together in the same groups.
SOCIAL DYNAMICS The students were asked to circle desks where the students were in friendship groups; the smallest groups were amongst the introverts who positioned themselves towards the edge of the studio whereas the largest groups were amongst the extroverts and ambiverts within the centre.
DISTRACTIONS Students discussed that sound was the biggest source of distraction within the space, mainly originating from conversations between other students. Many students, particularly those who were ambivert and introvert wore headphones as a means of blocking out the sound. If any music was played allowed in the space then this originated from the extrovert characters.
102 Baseline Mapping
Baseline Mapping 103
INTROVERT
Territory
Peripheral Vision
Two occupants have been highlighted in this analysis which have been selected to show the perceived introverted characteristics throughout our mapping of the architecture studio. Introverts tend to work better in a more personal, individual space away from the distractions often present in the architecture studio.
COMPUTERS Analysis showed that the introverted characters work mainly on computers, which help to block out visual distractions. Personal Space
Conversations
Headphone Usage
Territorial Markers 104 Baseline Mapping
AREA SELECTION Introverted occupants tend to select the corner seating, showing a desire to minimise potential distractions and reduce their peripheral vision. Although the positioning allows for more individual work, there is a level of comfort taken from being able to quietly discuss with a friend. HEADPHONES The occupants use headphones in order to zone out from the distractions and noise of the rest of the room.
EXTROVERT
Territory
Four occupants have been highlighted in this analysis who have been portraying extrovert characteristics over the week of mapping. Generally, extroverts are quite talkative and sociable, working better in a livelier atmosphere. They have a greater tendency to be outspoken and to be at the centre of a conversation to try and improve work.
Peripheral Vision
LAPTOPS Laptops are used on open desks predominantly which allows more visual contact due to the low screen level, and allows more visual stimulation. CONVERSATIONS There are a lot of conversations around this area, both about work and general topics due to the central location of the space.
Personal Space
SPEAKERS Music is often played aloud here, which stimulates an extroverted personality, yet can often be a distraction to others. HEADPHONES The occupants usually use headphones in this area when the space is quiet and low occupied to create noise to stimulate them.
Conversations
Sources of Sound
Territorial Markers Baseline Mapping 105
FURTHER MAPPING LUX READING Conversation with the environmental psychologists highlighted that lighting levels are an important aspect of the working environment and that incorrect lighting levels can have a detrimental effect on the productivity of occupants. Therefore a study of the lighting levels in the space was carried out over the course of the mapping week. The key findings from the data obtained showed that the lighting levels in the space were appropriate for the industry standard and that levels did not fluctuate greatly across the space. However theses industry standards do not take into account the specific tasks being undertaken in the space for example drawing or modelling and whilst this data is beneficial, the feedback received from users about their personal opinion on the lighting in the space was much more valuable in informing the further design process. Therefore the study has been omitted from the main body of the research. (See appendix B, p.34)
LUX Mapping
DECIBEL READING Conversation with the environmental psychologists also highlighted that sound levels are an important aspect of the working environment and that incorrect sounds levels can cause distraction and therefore decrease productivity. Therefore a study of sound levels in the space was carried out over the course of the mapping week. The key findings from the data obtained showed that the sound levels in the space were appropriate for the industry standard and that the levels did not fluctuate greatly across the space. However theses industry standards do not take into account the specific tasks being undertaken in the space for example drawing or modelling and whilst this data is beneficial, the feedback received from users about their personal opinion on the sound in the space was much more valuable in informing the further design process. Therefore the study has been omitted from the main body of the research. (See appendix B, p.38)
Decibel Mapping
DEPTH MAP X DepthMap X is a computer software that has the capacity to analyse different spacial scenarios and starts to measure the syntactic measure consisting of, connectivity - numbers of immediate neighbours that a space shares, integration - ranking of spaces from most integration to most segregated, control - degree to which a space controls access to other spaces, choice - measure movement flows through space, it is able to graphically represent this in the form of convex and axial maps which can be used to help define movement and occupation within a layout. However this software produces complex results and therefore it was concluded that the software would not be used as a result. (See appendix B, p.42)
Depth Map X Software - Connectivity Mapping
106 Baseline Mapping
LEARNING POINTS Occupants use headphones to block out unwanted noise and create privacy.
Introverts position themselves around the edges of the space to give themselves more privacy, and minimise unwanted distractions.
Extroverts position themselves in the centre of the space to create opportunities for conversation and interaction with others.
Occupants use personalisation as a means of territorialisng the space. Mapping shows that studio desks are more territorialised than those that contain a PC, this could be because there is more personal space available and therefore greater comfort.
Areas that are not territorialised contain unclaimed and discarded items which no occupant is willing to take ownership of.
The most popular working locations in the studio are those close to the window, this is due to the spaces having the optimum lighting conditions due to natural light and the view out creating an opportunity for attention restoration.
Occupants are overstimulated by conversations and noise, with the questionnaire highlighting that it is the greatest cause of distraction.
MAPPING PROCESS
The baseline mapping allows the dynamics of the space to be understood, which can then be applied to the design of the installation. The space can be understood from a planning aspect using static snapshots, which allow for other data to be overlaid. Questionnaires and interviews are important as they allow assumptions to be reinforced.
Baseline Mapping 107
08
LITERATURE REVIEW
Five key research threads form the basis of the literature review. Analysing the history of higher education and workplace design enable parallels to be drawn between the two in order to explore how design can support future learning. The research into flexible, portable and interactive architecture will allow for a better understanding of the fundamental application of flexibility in the design of the proposed installation. The field of environmental psychology, already
outlined earlier in the document, provides an insight into the reasoning behind occupantâ&#x20AC;&#x2122;s behavioural patterns, allowing for a set of environmental considerations to be developed to become the driver for the design of the installation. Understanding dynamic mapping already outlined earlier provides reliable methods of analysing and evaluating the space in order to gauge the success of installation.
HIGHER EDUCATION DESIGN How has learning space design changed over time?
FLEXIBLE ARCHITECTURE How has flexible architecture changed over time?
WORKPLACE DESIGN How has workplace design changed over time?
108 Literature Review
Flexible/ Portable/ Interactive Architecture
Education Design
Workplace Design
Environmental Psychology
Dynamic Mapping
Literature Review 109
(fig 8.1 - 8.13)
110 Literature Review
(fig 8.14 - 8.25)
Literature Review 111
HIGHER EDUCATION DESIGN
This chapter looks at a time-line of higher education design in the UK from the beginnings of oneâ&#x20AC;&#x201C;toâ&#x20AC;&#x201C;one teaching in the 11th century, up until the present day. An extensive literature review was undertaken (see appendix, p.46) and the research will form the broader context surrounding education spaces to provide a base
understanding of the type of setting that the initial study site focuses on. Looking at the history of higher education space design enables informed choices to be made when designing the installation.
MEDIEVAL ORIGINS
the townspeople out and provided quarters for masters and scholars to study the same subjects (Coulson, Roberts and Taylor, 2015).
Universities such as Oxford and Cambridge were initially communities of masters and scholars that had no permanent premises and rented churches and rooms in surrounding houses from which to teach, as the university had no permanent premises it could easily move and set up elsewhere. However once permanent premises were established the universities were organized in colleges. The colleges were laid out in a quadrangle arrangement in order to keep
112 Literature Review
The teaching style in these institutions was on a one to one basis or in small groups, the early spaces were not specifically designed for teaching, showing that at this point there was no consideration or attempt to provide a suitable learning environment.
Example teaching at Oxford and Cambridge(fig ??) Beginnings of further education. Initially primitive teaching spaces and methods. Highly academic teaching. One to one teaching.
CATHEDRALS OF KNOWLEDGE Predecessors to the medieval institutions such as Kings College London and University College London aimed to portray themselves as cathedrals of knowledge, and their architecture reflected these aspirations. The grand and classical buildings were not built for practicality but more to look imposing and prestigious, the teaching spaces themselves were cramped and impractical (Coulson, Roberts and Taylor, 2015). Teaching was no longer one to one but in larger groups and the focus shifted to a more research-led education. First alternative to Oxford and Cambridge. Appealed to more middle classes. Offered a wide variety of courses. Increased teaching sizes.
CREATIVE TEACHING SPACES Alongside the foundation of upstanding academic institutions, there was a need for the foundation of institutions devoted to the arts. The premises of these art schools
were still grand and imposing, however the nature of the discipline meant that in many cases, traditional teaching spaces were not suitable, and specialist rooms for music practice, studios and exhibition space were required. Devoted to the arts. Teaching focussed on practical skills and craft Unique teaching spaces (studios, halls, stages etc.
ENVIRONMENTS LEARNING
TO
FACILITATE
In the 1960â&#x20AC;&#x2122;s the culture of further education changed, going to university was now about immersing yourself in campus life and the teaching reflected this. Teaching was now often carried out in smaller groups through the means of seminars and tutorials. Lecture halls, seminar rooms and offices were now dispersed amongst break-out spaces, canteens and study areas, forcing social interaction between students and lecturers, the idea being that living and learning in the same environment can lead to subconscious absorption of ideas (Coulson, Roberts and Taylor, 2015). At this point technology was becoming more advanced and was able to be incorporated into teaching and learning, however at this stage digital databases, virtual learning environments and portable digital resources were still a way in the future.
Literature Review 113
Promoted the idea of an immersive learning environment within a close student community. Tutorial led teaching. Education for the masses, all classes.
FUTURE LEARNING SPACES The traditional teaching models of recitation, memorisation and all students sitting together facing a teacher and learning the same thing at the same time has long been popular in all types of education including university education. In recent years there has been a shift towards more modern student-led teaching, although most teaching at university is still fairly traditional.
Increasingly spaces are being designed to promote alternative methods of learning. Traditional lecture theatres are still popular however new library and study spaces are unrecognisable from their predecessors. The focus is now on interactive and collaborative learning with a greater choice of environment for example sectioned group working areas and informal individual study areas. These types of spaces are fairly commonplace in university libraries, however further research is ongoing to try and improve these spaces even more. Environmental psychology is looking at
114 Literature Review
how people learn within a space and how the environment they occupy affects their learning. There are many threads to the research including the effect on introverts and extroverts, privacy, territorialisation, crowding and so on. Research in this field is proving that there is no â&#x20AC;&#x2DC;one size fits allâ&#x20AC;&#x2122; type of space, and therefore designing a space that reacts to the individual users requirements would be far more effective when designing future spaces to promote learning. Fewer institutions are founded in the modern day. Spaces now designed to promote alternative method of learning. Focus on interactive and collaborative learning.
PSYCHOLOGY OF HIGHER EDUCATION LEARNING SPACES Environmental psychology studies how people learn within a space and how the environment they occupy affects their learning. Research in this field generally proposes that the personal characteristics of students interact with the physical features of the learning setting to produce learningrelated attitudes and behaviours.
The physical setting may not make or break education on its own – to believe that would be a naïve form of architectural determinism – but it can interact with non-environmental factors either to promote or hinder the learning process. (Gifford, 2002)
Spatial arrangements of learning spaces impact upon learning-related behaviours. Several comparisons of traditional rows versus the more modern cluster-style seating have found that rows produce up to twice as much educationally orientated student activity and one-third as much disruptive activity. However, studies found that cluster and single-large-circle arrangements produced more on-task learning activity than rows, and table arrangements produce more interaction between students. Further ambient conditions need to be considered to achieve an optimal learning environment, which include physical environmental properties such as lighting, noise, colour, and temperature; as well as other psychological conditions such as privacy, territoriality, personal space and crowding/density. Research in this field is proving that there is no ‘one size fits all’ type of space, and therefore designing a space that adapts to
Within both learning spaces and the work place the debate between an open-plan and a traditional classroom/studio/office spatial arrangement is extensive, with many pros and cons for each side. The positives of open-plan learning spaces is that there is greater social interaction between students allowing for more collaborative learning, however the downside of this is that the more open perimeter generates more distraction both visually and audibly for the occupants. This will further depend on the occupant’s personality type and their preferred method of learning.
the individual users requirements would be far more effective when designing future spaces to promote learning. Personal characteristics of students interact with the physical features of the learning setting to produce learning-related attitudes and behaviours. Spatial arrangements of learning spaces impact upon learning-related behaviours. Ambient conditions need to be considered to achieve an optimal learning environment.
Literature Review 115
WORKPLACE DESIGN
“
The office building can be viewed as one of the most influential building types of the era (Meel, 2000). Subject to radical change over the past one hundred years, the development of office typologies can be seen to reflect significant shifts in our understanding of environmental concerns, physical and psychological conditions, and the importance of worker wellbeing and satisfaction levels in maintaining a productive, happy workforce. Technological advancements, societal and economic changes, means many office
design theories have become outdated relatively quickly. In order to develop a successful installation piece to be placed in both a working and higher education environment, this chapter will begin to analyse office design in the last century and discuss how future developments and advancements will shape the nature of the office. (See appendix C, p.60) The outcome of this will improve our understanding of the necessary criteria required for our design output.
MODERN OFFICE OF 1900’S
Early 20th century office work became widespread and routine based, with the development of mass production techniques and the spread of trading creating a need for mass documentation and administration, along with a huge increase in office size. The office conditions were generally very poor, overcrowded,
The ‘administrative revolution’ saw an increase in office workers, rising from 0.7% of the working population in 1851 to 7.2% in 1921. (Meel, 2000:25)
116 Literature Review
”
cramped and uncomfortable, with a severe lack of consideration placed on environmental factors, such as natural lighting and air filtration.
TAYLORISM Taylorism took scientific approach to both the spatial design as well as the work processes which were being undertaken. Taylorism took the notion of Fordism and applied it to the office setting, with a production line introduced and creativity being taken from the workers and placed only in the hands of high level employees. The office environment here was open plan with an orthogonal layout in order to better aid supervision and encourage a constant work ethic, with all communication being heavily discouraged.
BUROLANDSCHAFT Also referred to as the â&#x20AC;&#x2DC;office landscapeâ&#x20AC;&#x2122;, this office design was developed by a process of rigorously mapping verbal, visual and paper connections and within a workplace in order to understand their organisational strategy. The Quickborner Team, first implemented their ideas in the Bertelmann Publishing Company in 1960. The result was an open plan space, which highlighted the
importance of the worker within the office environment and stressed the need for flexibility. Hierarchical barriers were also ignored in favour of more functional lines of integration across the workforce. The steps taken to tailor this typology to each specific company are outlined by Duffy (1969): COMMUNICATION MAPPING Each individual within an organisation takes part in a two week survey noting all communications and visitors. INDIVIDUAL SPACE PLANNING A systematic examination of the space requirements of each type of work their needs for equipment, space, privacy and movement. ANALYSIS A chart is drawn which combines the information. PLAN The information is then translated into plan within the given office area.
HERMAN MILLER ACTION OFFICE Herman Miller recognised a conflict between the need for communication as well as privacy. Furniture, rather than being tedious and monotonous, intended to change the working dynamics of an office, allowing users to engage in and take responsibility of their working environment. The Action Office allowed participation in different tasks as well as creating a personal
Literature Review 117
Cubicle Farm (fig C.9) territory. However, problems arose with difficulties in scaling up, cost and the ability to change the office layout once fitted.
CUBICLE FARM The cubicle farm gained popularity by allowing workers to personalise space and create a sense of privacy at work. Unfortunately, the prowess of this came in its potential for cost effectiveness. Corporations and large companies pushed worker needs to one side in favour of cost, as cubicles compacted the workforce which led to more profit. It became horrendously regimented and monotonous, with a lack of basic needs of natural light and air ventilation due to the nature of the layout.
COMBI-OFFICE The Canons Swedish HQ, built in 1978, was an experimental office which mixed offices and public space, calling the solution a ‘combioffice’. Cellular offices were located around the perimeter, with a central space being left open for communal activities, break out spaces and amenities (Meel, 2000, P.41). The focus was directed towards occupants needs by incorporating natural elements to create a cost-effective, environmentally sustainable typology.
HIGH TECH OFFICE In the 1980’s personal computers impacted the way in which offices were being used, by becoming common equipment. Technology developed at a fast rate during this period, allowing more flexibility and improving work flow. However, parts of office life also became more difficult due to the need and reliance on these new systems and the requirement of electricity, wiring and plugs.
VIRTUAL OFFICE The biggest development of the 1990’s, was internet access, which revolutionised many industries and paved the way for widespread new technologies, which in turn had ground breaking effects on office work (Lovell, ca. 2005). A recession, growing land and rent prices, and increased competition caused companies to explore cost saving techniques giving way to the virtual office, with technology enabling workers to travel and work on the go. Hot-Desking is an important factor in the virtual office as it allowed companies to save space by providing a desk with no fixed user.
CREATIVE OFFICES Associated with long working hours, flexible working patterns, and a casual dress
118 Literature Review
code,the creative office is a typology born of the Dot Com Companies in the late 1990’s. The quirky, casual atmosphere championed by the likes of Google, is intended to foster creativity by inducing the occupant in a creative environment. Although mainly following the floor layout of a typical open plan office, a focus is placed on break out spaces, collaboration points, chance encounters and hot-desking in order to encourage group interactions throughout the day.
“
One of the main criticisms of the dated Open Plan office designs - be they Taylorist or Casual - is the “one-sizefits-all” mentality
”
(Lovell, ca. 2005)
A truly balanced office design is fast becoming the future, as the allowance of the workforce to make efficient use of their preferred effective working environments is key to both productivity and wellbeing within the workplace.
BALANCED WORKPLACE A balanced working environment is designed around the needs of employees, recognising that not everyone has the same preferences and needs in order to be productive. The open plan office layout has been a favoured typology, but often doesn’t work well with many types of companies. Research into workplace design has highlighted the complexities involved in designing an office typology that can meet the demands of a sector with constantly changing and adapting needs. Technological developments, political and social movements, psychology and views on worker well-being have all played significant roles in the changing trends of office design over the last hundred years.
The open-plan office layout is no longer seen as a successful model. A focus on the individual business and culture is important in order for the design to prosper. There are many uncontrollable external factors in office design.
Literature Review 119
FLEXIBLE ARCHITECTURE
120 Literature Review
The research into flexible, portable and interactive architecture will allow for a better understanding of the fundamental application of flexibility in the design of the proposed installation. Consideration of the development of the systems that were created and applied throughout history will inform the importance of certain factors in
making the impermanence sustainable. Therefore, this research into flexible architecture will create more opportunity for flexibile design exploration to be applied into the final installation. (See appendix C, p.80)
Flexible architecture is a trend of design that focuses on problem solving and adaptability to create spaces with high efficient use of materials and resources, with diverse pragmatic functions, responding to the userâ&#x20AC;&#x2122;s specific needs and not necessarily specific location. Kronenburg (2007) defines it as an â&#x20AC;&#x153;architecture that adapts, rather than stagnates; transforms, rather than restricts; mobile, rather than static; interacts with its users, rather than inhibits. It is a design form that is, by its very essence, cross-disciplinary and multi-functional;
consequently it is frequently innovative and expressive of contemporary design issuesâ&#x20AC;?. Although the development of flexible architecture can be traced to 8000 BC, there are a number of prominent people who played major roles in the progressive growth of this innovative architecture, such as, Peter Cook through the revolutionary Archigram, Cedric Price in his strong disposition towards flexibility and impermanence and Buckminster Fuller through his invention and innovative contribution to architecture.
Cedric Price, Fun Palace (fig ??) Cedric Price’s philosophy in flexible architecture is described by Landau (1985) as a philosophy of enabling, where he states that, “Price’s view of architecture has deeply ethical dimensions, at the centre of which is the effect an architecture may have upon its occupants and observers”. Price’s architecture supports and enables human activity within an intelligent environment, which he later elaborates that an intelligent environment must have a capacity to learn, to memorise and to respond.
“
“The approach leads towards an architecture which did not simply react but which learned, remembered, when necessary re-learned, and then responded appropriately.” Landau (1985)
THE DEVELOPMENT OF FLEXIBLE ARCHITECTURE
”
Flexible architecture comprises of portable and interactive architecture, where the development of this innovation can be traced back to the first tent shelter, wheel, boat and modular prefabrication originating from the industrial revolution. Flexibility in architecture is obvious in its capacity to accommodate change over the years as Kronenburg (2007) states, “architecture development and redevelopment should be as efficient as possible. The capacity to accommodate change could be the most important factor in determining economic efficiency and performance in sustainability terms.” Humans are flexible and nomadic beings and the spaces we create reflect this characteristic. We began by living in tents, which evolved to huts and trailers that were further developed by military advancement.
Our ability to harvest the energy of wind created boats, and this has allowed for the advancement of the oil rig industry as well as revolutionising the shipping industry. WW2 created the opportunity for many of Buckminsters Fuller’s inventions, including the mechanical wings that influenced Cedric Price’s Unit House, and the standardization of shipment containers. This has opened up more possibilities in modularity in flexible architecture by Malcom McLean. Connections can be made regarding the cross-disciplinary influences of flexible architecture to the workplace and education space design. The introduction of Archigram in 1964 and Cedric Price’s Potteries Think-belt in 1966 brought about ideas for a portable university by utilising the unused railway tracks as a teaching space. The Burolandschaft movement uses an open plan concept of flexible space especially in buildings that are created according to grids such as the Centraal Beheer in Netherlands by Herman Hertzberger in 1972, which allowed users to personalise the space within each square of the grid. (See appendix C, p.66) The time-line shows the transition of the open plan concept in the workplace being applied into residential space in the modern period, a good example of this can be found in the Nine-Square Grid House in Japan by Shigeru Ban. Furthermore, the evolution of the workplace into the creative office in the 2000’s can be seen in Frank Gehry’s Stata Centre in Massachusetts where the undefined layout induces ideas.
FLEXIBLE DESIGN SYSTEMS By analysing the time-line, it shows the consistency in flexible design systems such as the frame system in prefabrication as a
Literature Review 121
structural enclosure of space, the modular system as a unit of space, and the folding system of spaces within a unit.
The applications of these design systems in the development of flexible architecture demonstrate the change in economy and the status through the industrial revolution and modernisation towards the awareness of sustainability. Humans were historically nomadic in culture moving from one place to another with portable dwellings and through a desire for more stability created less portable buildings, which leads to economic growth that requires expansion that brought about the industrial revolution through prefabrication and modularisation in architecture. As civilization hit the modernisation period, the open plan concept started to gain interest that leads to more flexibility in space. Then came economic inflation where the lack of space created an issue that flexible architecture is being used as a solution to create multiple spaces in one space using folding and sliding systems. This relation is evidential to the significance of time in flexible architecture and the transition of its variation from buildings to smaller scale subjects like interior architectures.
122 Literature Review
Frame system. Modular system. Folding system. Sliding system. As Heroclitus, Greek Philosopher said that “Change is the only constant in life” it is the time that is the variable for change. With time as a shifting measure of the value in architecture, time is a very important consideration for designing a flexible architecture.
“
In allowing for change/ flexibility, it is essential that the variation provided does not impose a discipline which may only be valid at the time of design.
Price, 1962
This is evident to Price’s disposition in impermanence which created a conflict in his friendship with Erno Goldfinger who initially insisted in permanence as he viewed prefabrication “as an expedient means of constructing something permanent” but later “recognising that although the basic framework of a building might be fixed, the programmatic uses and subdivisions required a greater degree of flexibility.” (Mathews, 2007) The value of time in flexible architecture is further supported by Kronenburg.
”
“
So-called ‘permanent’ building hardly exists at all – buildings, like all tools, are made for a specific task that has a time limit on its value – when a better way of performing that task emerges, the vast majority of existing outmoded tools will usually be junked. Kronenburg, 2014
”
in a specific time cycle and also not to be left out the life span of the design and use. Even the move to preserve the Inter-Action Centre was opposed by its architect, Cedric Price, who argued that since it was a shortterm facility, it had far outlived its projected life span and should be demolished. (Mathews, 2007)
Therefore, the aspect of time should be a major consideration factor in designing a flexible architecture by considering its use
“
In conclusion, the research into the development of flexible architecture has highlighted the importance of cross industrial influence; its shared advancement and technologies to increase its efficiency to accommodate change.
It reveals the ability to influence design ideas and movements in other disciplines such as the workplace and educational space and vice versa.
”
The development and usage of the design systems in relation to its application in flexible architecture also created more design configuration and exploration to the later part of this research. Finally, the role of time should be in constant consideration through the research not only in the design application phase but also during the mapping phases.
Flexibility in architecture has the capacity to accommodate change over the years. It is the most important factor in determining economic efficiency and performance in sustainability terms. Good influence among different industries in the progress of flexible architecture. Influence over design movements within disciplines such as the workplace and educational space. Consistency in flexible design system such as frame to modular system to folding system. Time is a very important consideration for designing a flexible architecture.
Literature Review 123
09
DESIGN BRIEF
The aim of the research project is to investigate how we learn from our environments, and in turn how we can create an environment for learning. The flexible design installation will ultimately provide learning space that facilitates behavioursettings for contemplation, solitude, collaboration and exhibition; which will facilitate functions of relaxation, individual working, group working and presentation. Evidence gathered from the literature review and mapping phase of the project suggest that the design needs to encompass key environmental considerations in order for it to work successfully, with these being: personal space, territoriality, crowding, privacy, affordance, stimulation, opportunity for interaction, attention restoration, comfort, acoustics, lighting and physical size. In conjunction with these there is a set of performance requirements and practical constraints that also need to
124 Design Brief
be considered when designing. Perceptual consistency also needs to be maintained within the design and overall masterplan of the space in order to provide the occupants with familiarity and affordance, therefore encouraging the desired behaviours. The fundamental behaviour-settings each require the supporting environmental considerations to be at various levels, in order to deliver optimum learning environments. By designing and constructing a new learning space it will enable an investigation of the changing social dynamics of the architecture studio. By recording the studio before, during and after the insertion of the installation, it allows the analysis of social and behavioural change in relation to the physical environmental change. This will therefore determine if the environmental change has had a positive impact on the learning of the occupants.
PERFORMANCE SPECIFICATION
FUNCTION – BEHAVIOUR SETTING RELAXATION – CONTEMPLATION INDIVIDUAL WORKING – SOLITUDE GROUP WORKING – COLLABORATION PRESENTATION – EXHIBITION Flex between each of the functions Contains up to ten people Considers furniture needs of the user for each function Include an element where occupier’s work can be presented Considers the mechanical and electronic needs of the user Simple to understand in terms of use and assembly Lightweight and portable Self-supporting Constructed from durable materials Easily repaired/ replaceable components Considers the environmental impact of the installation over its life cycle Constructed within a budget of £6000 Built within a realistic time frame according to the programme
Design Brief 125
ENVIRONMENTAL CONSIDERATIONS The required levels of the supporting environmental considerations differ in reference to each of the desired behaviour-settings; contemplation, solitude, collaboration and exhibition. Therefore this component of the brief is presented as a set of scale bars, allowing for a clear understanding of what each of the behaviour-settings require. The visual graphic allows for each of the behaviour-settings to be overlaid and cross-referenced against one another, so that the similarities and differences of each can be understood and incorporated into the design.
PERSONAL SPACE Personal space is a personal, portable territory, in which everybody is surrounded by and takes care to control. Personal space ranges from intimate to public. Intimate 0-0.45m, personal 0.45-1.2m, social 1.2-3.6m and public 3.6-7.6m. When in a sociable working environment, occupants should be able to maintain a comfortable, personal distance from one another. (See environmental conditions, p.32)
TERRITORIALITY A territory is a geographical area that is personalised or marked in some way and is defended from encroachment, they are classified as primary, secondary and public territories in relation to the spaceâ&#x20AC;&#x2122;s importance to the occupier. When the installation is operating as each of the different functions it is important to indicate clearly which function mode is operational because territorial ownership generates expectations about how outsiders will behave. (See environmental conditions, p.40)
CROWDING When social density increases, privacy is lowered, personal space and territory is resources are spread thinner, and more physical interference is encountered. has the potential to create the feeling of crowding, which generally leads to behavioural responses. Control, expectation, experience, and the behaviour influences whether an individual feels crowed or not. (See environmental conditions, p.44)
reduced, This then negative of others
PRIVACY Personal space and territoriality is a way in which in which a person regulates privacy, with crowding being the result of failing to obtain it. The variety of tasks and activities undertaken in the installation will require differing levels of privacy, ranging from complete privacy to open public space. (See environmental conditions, p.48)
AFFORDANCE Individuals organise environmental features into recognisable patterns based on the arrangements of cues that provide immediate perceptual information. This information then tells us how to interact with those features. The flexible dynamic of the installation must afford the occupants with the correct information on how to use it. (See environmental conditions, p.52)
STIMULATION Each of our five senses can be overstimulated or under-stimulated. At one end of the scale is the absolute minimal intensity of stimulus we can perceive and at the other is the maximum amount of stimulation we can cope with effectively. Stress is a psychological response to a stimulus an needs to be minimised, however individuals will be able to cope with varying degrees of stimulation depending on the task they are undertaking.
126 Design Brief
OPPORTUNITY FOR INTERACTION Interaction with others can either aid work or hinder it. Depending on the activity interaction with others is essential, however when undertaking a task that requires the individuals undivided attention, then interaction is distracting.
ATTENTION RESTORATION Activities requiring mental effort cause us to engage in directed attention that requires more exertion over time. A periodic episode of effortless attention, which is involuntary, is necessary to provide restoration. Restoration is required more often when undertaking tasks that require a lot of concentration.
COMFORT Having the correct comfort level when working is essential, being uncomfortable can be distracting and lead to decreased productivity. Different amounts of comfort can be tolerated depending on the activity and the amount of time spent in that location.
INTERNAL ACOUSTICS Depending on the amount of privacy required for the activity the internal acoustic levels will have to alter accordingly; with the installation needing to provide greater acoustic insulation for more private tasks.
ACOUSTIC POLLUTION EXCLUSION The environment will emit acoustic pollution, this will need to be controlled to help minimise distraction. Again different amounts of acoustic pollution can be tolerated depending on the actively and the amount of time spent it that location.
LIGHTING LEVEL Lux levels will need to differ according to the amount of light needed for each task, with more concentrated tasks needing brighter light compared to more relaxed tasks.
LIGHTING COLOUR The lighting colour spectrum ranges from red to blue light. With red/warm lighting providing the ambient setting for relaxed, calmer scenarios and blue lighting providing the ambient setting for more productive, concentrated tasks.
SIZE The maximum occupancy requirement for the installation is ten persons. In terms of sqm the standard space requirement for that number of people is 5100mm x 3100mm. However not all behaviour-settings needs to cater for that number of people. (See appendix D, p.99)
Design Brief 127
RELAXATION - CONTEMPLATION PERSONAL SPACE
Intimate
Personal
Social
Public
The intention is for this space to be used by a single individual therefore any others permitted into the space will be entering the individualâ&#x20AC;&#x2122;s intimate personal space.
TERRITORIALITY
P
Primary
Secondary
Public
The space will operate as a secondary territory. The aim is that the space will have a relative importance to the occupants, but because of the adaptable features of the installation the space will be continually changing to meet occupants needs.
DENSITY
Low Density
High Density
Private
Public
Low
High
Low
High
The occupation will be at a low density, in that a single individual will occupy it.
PRIVACY This behaviour-setting requires high levels of privacy, to reduce distractions, in order to achieve a contemplative state.
AFFORDANCE Because this function will only facilitate a single occupant, the affordance required to operate the installation needs to be high. The occupant must be able to adapt the installation without aid.
STIMULATION In order to achieve a contemplative state stress must be at a minimum and stimulation needs to be low. The level considered to be low will vary from person to person, but generally relaxation cannot be achieved in a stimulated environment.
OPPORTUNITY FOR INTERACTION In this behaviour-setting the opportunity for interaction needs to be minimised as it would be distracting.
128 Design Brief
S
Low
High
O f
ATTENTION RESTORATION
Low
High
When in this behaviour-setting the tasks undertaken would not require a lot of concentration therefore the need for attention restoration is low.
COMFORT
Att
Low
High
In order to achieve relaxation comfort levels need to be high.
INTERNAL ACOUSTICS (DB)
Co
40
60
Because privacy requirements are high, the internal acoustics need to reflect this by containing noise levels within the installation.
ACOUSTIC POLLUTION EXCLUSION
Int (D
Low
High
When in this behaviour-setting the tasks undertaken would not require a lot of concentration, therefore the amount of acoustic pollution needed will vary depending on the individual occupantâ&#x20AC;&#x2122;s preferences.
LIGHTING LEVEL (LUX)
Ac Exc
0
1000
When in this behaviour-setting the tasks undertaken would not require a lot of concentration, therefore lighting levels should be at a low level.
LIGHTING COLOUR
Lig (LU
Red
White
Blue
Warm lighting is needed to create the desired ambience for the relaxed environment of this behaviour-setting.
SIZE
Lig
Small
Large
The intention is for this space to be used by a single individual therefore spatial requirements are minimal.
Siz
Design Brief 129
INDIVIDUAL WORKING - SOLITUDE PERSONAL SPACE
Intimate
Personal
Social
Public
The intention is for this space to be used by a single individual therefore any others permitted into the space will be entering the individual’s intimate personal space.
TERRITORIALITY
P
Primary
Secondary
Public
The space will operate as a secondary territory, but the intention is for this behaviour-setting to act as a ‘default’ setting, because frequency of use is estimated to be high, so the space has potential to be important to occupants.
DENSITY
Low Density
High Density
Private
Public
Low
High
Low
High
The occupation will be at a low density, in that a single individual will occupy it.
PRIVACY This behaviour-setting requires high levels of privacy, to reduce distractions, in order to achieve solitude, allowing for productive and creative thought.
AFFORDANCE Because this function will only facilitate a single occupant, the affordance required to operate the installation needs to be high. The occupant must be able to adapt the installation without aid.
STIMULATION In order to provide a learning environment for productive working stress needs to be at a minimum. Stimulus can be both positive and negative in this behaviour setting depending on the individual.
OPPORTUNITY FOR INTERACTION In this behaviour-setting the opportunity for interaction needs to be minimised as it would be distracting.
130 Design Brief
S
Low
High
O f
ATTENTION RESTORATION
Low
High
When in this behaviour-setting the tasks undertaken would require a lot of concentration therefore the need for attention restoration is high in order to prevent the occupant from over exerting themselves.
COMFORT
Att
Low
High
Because the occupant is likely to spend a considerable amount of time in the installation while operating as this behaviour-setting comfort levels need to be high.
INTERNAL ACOUSTICS (DB)
Co
40
60
Because privacy requirements are high, the internal acoustics need to reflect this by containing noise levels within the installation.
ACOUSTIC POLLUTION EXCLUSION
Int (D
Low
High
Solitude cannot be achieved if the user is distracted by external noise, therefore acoustic pollution needs to be excluded.
LIGHTING LEVEL (LUX)
Ac Exc
0
1000
When in this behaviour-setting the tasks undertaken would require a lot of concentration, therefore lighting levels should be at a high level.
LIGHTING COLOUR
Lig (LU
Red
White
Blue
Blue lighting is needed for the concentrated tasks carried out in this behaviour-setting.
SIZE
Lig
Small
Large
The intention is for this space to be used by a single individual therefore spatial requirements are minimal.
Siz
Design Brief 131
GROUP WORKING - COLLABORATION PERSONAL SPACE
Intimate
Personal
Social
Public
The intention is for this space to be used for group working with individuals generally needing to maintain a social distance from one another.
TERRITORIALITY
P
Primary
Secondary
Public
The space will operate in-between secondary and public territory depending on the frequency of use.
DENSITY
Low Density
High Density
Private
Public
Low
High
Low
High
The occupation will be at a medium to high density depending on the size of groups, however occupants will generally be able to anticipate the density level, which should prevent the feeling of crowding.
PRIVACY Desired privacy levels will vary depending on the task being undertaken by the group. Meetings will require a higher amount of privacy than those carrying out daily work tasks.
AFFORDANCE Design affordance needs to be high to enable occupants to form the desired space, however assembly can be more complex and require multiple occupants input.
STIMULATION Occupants in this behaviour-setting are able to cope with higher levels of stimulation, because being surrounded by other people already provides the individual with high levels of stimulation.
OPPORTUNITY FOR INTERACTION Meetings will require a higher amount of privacy and less opportunity for interaction than those carrying out daily work tasks. 132 Design Brief
S
Low
High
O f
ATTENTION RESTORATION
Low
High
The need for attention restoration will vary depending on the task being undertaken by the group. Generally the stimulus provided by other group members will mean that the need for attention restoration is lower than those working individually.
COMFORT
Att
Low
High
Because the length of use is estimated to be lower in this behaviour-setting â&#x20AC;&#x201C; as majority of work tasks are undertaken individually â&#x20AC;&#x201C; comfort levels can be lower.
INTERNAL ACOUSTICS (DB)
Co
40
60
Because privacy requirements will depend of the type of task being undertaken by the occupants, internal acoustics need to be able to reflect this.
ACOUSTIC POLLUTION EXCLUSION
Int (D
Low
High
Acoustic pollution needs to be excluded to prevent distraction, however the need can vary depending on the task being undertaken by the occupants.
LIGHTING LEVEL (LUX)
Ac Exc
0
1000
When in this behaviour-setting the tasks undertaken would require concentration, therefore lighting levels should be at a high level.
LIGHTING COLOUR
Lig (LU
Red
White
Blue
Blue lighting is needed for the concentrated tasks carried out in this behaviour-setting.
SIZE
Lig
Small
Large
The intention is for this space to be used by small groups therefore spatial requirements need to be able to vary to reflect this.
Siz
Design Brief 133
PRESENTATION - EXHIBITION PERSONAL SPACE
Intimate
Personal
Social
Public
The space will contain a presenter and an audience and therefore personal space will range from social to public.
TERRITORIALITY
P
Primary
Secondary
Public
As this behaviour-setting will only be set up for events it will operate as a public territory.
DENSITY
Low Density
High Density
Private
Public
Low
High
Low
High
The occupation will generally be at a high density depending on the size of the audience, however occupants will generally be able to anticipate the density level, which should prevent the feeling of crowding.
PRIVACY This behaviour-setting will operate at a public level of privacy.
AFFORDANCE Design affordance needs to be high to enable occupants to form the desired space, however only the presenter needs to understand how to operate the installation.
STIMULATION In this behaviour-setting audience members are able to cope with higher levels of stimulation compared to the presenter.
OPPORTUNITY FOR INTERACTION Opportunity for interaction needs to be high for this behaviour-setting to encourage people to join the audience.
134 Design Brief
S
Low
High
O f
ATTENTION RESTORATION
Low
High
When in this behaviour-setting, concentration is higher for some occupants more than others. Generally the amount time spent occupying the space will be relatively low so therefore the amount attention restoration needed is lower.
COMFORT
Att
Low
High
Because the length of use is estimated to be lower in this behaviour-setting comfort levels can be lower.
INTERNAL ACOUSTICS (DB)
Co
40
60
The internal acoustics will need to vary depending on whether other activities will be taking place within the space.
ACOUSTIC POLLUTION EXCLUSION
Int (DB
Low
High
Acoustic pollution exclusion will need to vary depending on whether other activities will be taking place within the space.
LIGHTING LEVEL (LUX)
Ac Exc
0
1000
When in this behaviour-setting the tasks undertaken would require concentration, therefore lighting levels should be at a high level.
LIGHTING COLOUR
Lig (LU
Red
White
Blue
Blue/white lighting is generally needed for the concentrated tasks carried out in this behaviour-setting, however lighting requirements will vary from person to person.
SIZE
Lig
Small
Large
The intention for this behaviour-setting is to hold the maximum ten person occupancy.
Siz
Design Brief 135
ENVIRONMENTAL CONSIDERATIONS PERSONAL SPACE
Intimate
Personal
Social
Public
The installation needs to allow occupants to be able to maintain a comfortable social distance from one another.
TERRITORIALITY
P
Primary
Secondary
Public
Principally the installation will operate as a secondary territory. However when operating as group or presentation space this will become more public territory.
DENSITY
Low Density
High Density
Private
Public
Low
High
Low
High
The density of occupants will vary between the behaviour-settings, ranging from a single individual to up to ten people.
PRIVACY The level of privacy available to occupants will need to vary for each behaviour setting, from the private for an individual occupant to the public for presentations.
AFFORDANCE The installation will have to provide occupants with high levels of affordance. The complexity of assembly however can vary depending on the number of people intending to occupy the space.
STIMULATION The installation needs to have moderate levels of environmental stimulus. Occupants are able to cope with higher levels of stimulation in the presentation and group working scenarios although this is depending on the task being undertaken.
OPPORTUNITY FOR INTERACTION The opportunity for interaction will vary depending on the privacy needs of occupants.
136 Design Brief
S
Low
High
O f
ATTENTION RESTORATION
Low
High
The amount of attention restoration needed will vary depending on the tasks being carry out in each behavioursetting, with the more concentrated tasks requiring more mental breaks.
COMFORT
Att
Low
High
The installation will need to be comfortable. Occupants are able to tolerate lower levels of comfort when in behaviour-setting that have a lower occupation period than others.
INTERNAL ACOUSTICS (DB)
Co
40
60
The internal acoustics will vary depending on the privacy requirements of the occupants, with the more private behaviour-settings needing to provide more acoustic insulation.
ACOUSTIC POLLUTION EXCLUSION
Int (D
Low
High
Acoustic pollution exclusion will vary depending on the privacy requirements of the occupants, with the more private behaviour-settings needing to provide more acoustic insulation.
LIGHTING LEVEL (LUX)
Ac Exc
0
1000
The contemplation behaviour-setting will require lower lighting levels compared to the other settings.
LIGHTING COLOUR
Lig (LU
Red
White
Blue
The contemplation behaviour-setting will require more red lighting compared to the other settings where blue/white light is preferred.
SIZE
Lig
Small
Large
The size of the space will vary between the behaviour-settings, ranging from a small size for a single individual to occupy up to a space of approx. 5100mm x 3100mm for ten people to occupy.
Siz
Design Brief 137
10
DESIGN PRECEDENTS
138 Design Precedents
An important precursor to the design process is to look at a number of different design precedents of what has been done before. This will not only help to provide ideas and spark creativity, but also allows analysis and evaluation of different design elements and systems.
By evaluating what works and what does not work in relation to the brief, therefore helps to make informed decisions moving forward with the design process. The following section picks out a selection of precedents to be considered in the following categories; systems, joints, materials and affordance features.
SYSTEMS Looking at a number of different construction systems in order to choose a viable system to proceed with the design.
JOINTS Researching into the different material joints that are possible and appraising them for use in the design.
MATERIALS Analysing different materials that may be chosen in the installation.
AFFORDANCES Looking at features of the design that will allow users to intuitively interact with the installation.
Design Precedent Wall (fig 10.1) Design Precedents 139
SYSTEMS
A number of different construction systems will be analysed in order to choose a viable system to proceed with the design. This section looks at the pros and cons of each system considered. The pros and cons were devised based on how well the system responds to the brief, along the themes of durability, portability, ease of construction,
maintenance etc. The key systems looked at are frame, modular, folding, slotting and collapsible. The following concept design may incorporate elements of all the construction systems, allowing to consider which systems may be more suited to specific components of the design.
FRAME Systems that comprise of a structural frame as the basis of the design.
to add, remove or change the function of the design.
MODULAR Systems that are formed in sections or pieces that work individually but also work together to produce a whole with a different function. FOLDING Systems that incorporate folding elements
140 Design Precedents
SLOTTING Systems that use slotting joints to assemble various pieces of the design. COLLAPSIBLE Systems that completely collapse or fold away into a small package.
FRAME
(fig 10.2 - 10.4)
PRO
Changeable Panel Structural Rigidity Durable Repetition of parts
CON
Potentially many components Less flexible
Design Precedents 141
MODULAR
PRIVACY
(fig 10.5 - 10.8)
PRO
Can add elements Repetition of modules Flexible configuration
142 Design Precedents
CON
Bulky when stored Many components
FOLDING
CONTROL
(fig 10.9 - 10.11)
PRO
Compact Flexible Interactive
CON
Structurally Weak Limited Potential Less Durable
Design Precedents 143
SLOTTING
CONTROL
AFFORDANCES
(fig 10.12 - 10.15)
PRO
Easy Assembly Simple Joints Elegant Joints Can be added to
144 Design Precedents
CON
Joints need precision Limited potential Security of joints
COLLAPSIBLE
CONTROL
AFFORDANCES
(fig 10.16 - 10.19)
PRO
Compact Flexible
CON
Structurally Weak Less Durable
Design Precedents 145
JOINTS
A number of different material joints will be considered for the construction of the installation. The joints are key to the structural stability and flexibility of the design and therefore need to serve a purpose and function as required and reliably, however the design nature of the project also requires the joints to be aesthetically attractive and incorporate ingenuity and creativity. Each joint system will be evaluated based on the
constraints set out in the brief and factors such as durability, ease of construction as well as functions unique to the joint. The key joint systems that will be studied are not an exhaustive list and other joints may be used in the design however this exercise will consider which type of joints may be more suited to specific elements of the design.
METAL Often manufactured as small pieces that require fixing to the material by means of screwing, gluing or welding.
model by method of layering a powdered material, often some form of plastic polymer.
WOODEN JOINERY Joints are often incorporated into the timber piece itself with no additional parts. 3D PRINTED Produced by a machine from a computer
146 Design Precedents
FABRIC HINGE Joints can be flexible and donâ&#x20AC;&#x2122;t need to hinge from a specific point. 90 DEGREE FINGER POINT HINGE Generally made from timber, this hinge locks panels at a 90 degree angle.
METAL
(fig 10.20 - 10.25)
PRO
Very stable and safe Durable Strong joints
CON
Difficulty to manufacture No Flexibility Expensive
Design Precedents 147
WOODEN JOINERY
(fig 10.26 - 10.32)
PRO
Easily accessible material Large variation of joints Simple, effective connections Inexpensive
148 Design Precedents
CON
Difficulty in correctly producing joints Wear and tear Heaviness and efficiency
3D PRINTED
(fig 10.33 - 10.37)
PRO
Compact Replaceable via workshop Unique style Potential to test different joints
CON
Could be weak joints Very experimental Less Durable
Design Precedents 149
FABRIC HINGE
(fig 10.38 - 10.40)
PRO
Fun and unique Allows flexible configurations Strong Inexpensive
150 Design Precedents
CON
Precision engineering required Difficult to repair/ replace Stability issues
90 DEGREE FINGER POINT HINGE
(fig 10.41 - 10.45)
PRO
Fun and unique Prevents opening greater than 90 Ë&#x161; Strong Provides stability
CON
Precision engineering required Difficult to repair/ replace May not be suited to design application
Design Precedents 151
MATERIALS
152 Design Precedents
A number of different materials will be considered for the finish of the installation. The nature of the brief requires different materials to fulfil different functions. Therefore the pros and cons of each material will be analysed based on how it responds to the brief. Each material will be evaluated based on factors such as cost,
durability, handling, construction, suitability for function and ease of replacement. The materials studied are not an exhaustive list and other joints may be used in the design however this exercise will consider which type of joints may be more suited to specific elements of the design.
BIRCH PLYWOOD
POLYCARBONATE
VALCHROMAT
CLOSED CELL FOAM
FABRIC
PANELLING
CORK
THERMACORK
WIRE MESH
WOODWOOL BOARD
BIRCH PLYWOOD
(fig 10.46)
PRO
SOUND
CON
Easy to handle Durable/ self-supporting Readily available Inexpensive Easily replaceable Provides acoustic insulation Provides privacy
Heavy Opaque Not suitable for pinning on
VALCHROMAT
PRIVACY
(fig 10.47)
PRO
Colourful Easy to handle Durable/ self-supporting Provides privacy
PRIVACY
CON
Heavy Opaque Not suitable for pinning on Difficult to replace Expensive
Design Precedents 153
FABRIC
(fig 10.48)
PINNABLE
ATTENTION RESTORATION
PRO
Unlimited colours/patterns Easy to handle/ pliable Lightweight Translucent Readily available Inexpensive Easily replaceable Suitable for pinning on Provide privacy without blocking light
PRIVACY
(fig 10.49)
PRO
PERSONALISATION
154 Design Precedents
Not self-supporting No strength Easily damaged/stained Will have to be used in conjunction with another material No acoustic insulation
CORK
PINNABLE
ACOUSTIC
CON
Easy to handle/ pliable Durable Inexpensive Provides acoustic insulation Allows personalisation/ territorialisation
CON
Opaque Not self-supporting/ no strength Will have to be used in conjunction with another material
WIRE MESH
(fig 10.50)
PRO
CON
Translucent Pliable/ free forming Strong/ self-supporting Work can be hung from it
Difficult to work with Difficult to replace No acoustic insulation
POLYCARBONATE
ATTENTION RESTORATION (fig 10.51)
ACOUSTIC
PRIVACY
PRO
Translucent Durable/ self-supporting Provides acoustic insulation Provide privacy without blocking light
CON
Heavy Difficult to replace Not suitable for pinning on Expensive
Design Precedents 155
CLOSED CELL FOAM
(fig 10.52)
PRO PINNABLE
CON
Lightweight Opaque Easy to cut Through coloured Suitable for pinning on Provides acoustic installation
ACOUSTIC
Expensive Limited colour options Easily damaged
ACOUSTIC PANELLING
(fig 10.53)
PRO
ACOUSTIC 156 Design Precedents
Provides acoustic insulation Comes in a variety of types, colours, styles etc.
CON
Expensive Difficult to replace Heavy
THERMACORK
(fig 10.54)
PRO ACOUSTIC
Easy to handle/ pliable Durable Inexpensive Provides thermal & acoustic insulation Suitable for pinning on
PINNABLE
CON
Opaque Not self-supporting/ no strength Will have to be used in conjunction with another material
WOODWOOL BOARD
(fig 10.55)
PRO
ACOUSTIC
Natural and environmentally friendly Durable Provides acoustic and thermal insulation Inexpensive
CON
Heavy Rough finish Not suitable for pinning on
Design Precedents 157
AFFORDANCE FEATURES
Affordance is a method of perceiving and organising environmental information referring to the fundamental properties of an object that determine how it can be used. (See environmental consideration, p.52) When affordance cues are taken advantage of, the user knows what to do instinctively, without instructions. Because the proposed installation will be flexible, in that it will transform according to the desired behaviour-settings, the design needs to be able to clearly indicate how it is to be LABELLING Icon Labelling Colour Labelling HANDLES Rope handles Leather handles Plywood handles Handholds
158 Design Precedents
operated. The users need to feel that they can get involved with the installation, that they are confident in operating it; therefore the affordances of the installation need to be legible in order for them to perceive and control each behaviour-setting. Labelling needs to be considered within the design as well as any handles or handholds, and the pros and cons of each material will be analysed based on how it responds to the brief and how clear the environmental cue will be.
ICON LABELLING
WAYFINDING
(fig 10.56, 10.57)
PRO
Inexpensive Easy to do Clear indicators
CON
Can be unclear if not done correctly
COLOUR LABELLING
WAYFINDING
(fig 10.58, 10.59)
PRO
Inexpensive Easy to do Clear indicators
CON
Can be unclear if not done correctly
Design Precedents 159
ROPE HANDLES
(fig 10.60 - 10.62)
PRO
Inexpensive Easy to assemble Durable Easy to replace
CON
Rough Not ergonomic Not suitable for heavy lifting
LEATHER HANDLES
(fig 10.63 - 10.65)
PRO
Inexpensive Easy to assemble Easy to replace
160 Design Precedents
CON
Fragile Not suitable for heavy lifting
PLYWOOD HANDLES
(fig 10.66, 10.67)
PRO
Inexpensive Easy to assemble Durable
CON
Requires additional fixing e.g. glue Bulky
HANDHOLDS
(fig 10.68 - 10.70)
PRO
Inexpensive Easy to assemble Durable
CON
Some forms are not ergonomic Difficult to replace
Design Precedents 161
11
CONCEPT
In order to produce a design that is a product of true collaboration, a series of design workshops were held to produce concept design ideas, with the intention of the final design to be an amalgamation of all the best features from each design. Using the systems and joints precedents as a base point for the concept designs, the idea is that each design will attempt to
create flexible space that can be adapted for relaxation, individual learning, group learning and presentation. Each design will then be evaluated against the brief with specific attention its flexibility, portability, durability, ease of manufacture and most importantly its ability to adapt to all the desired behaviour-settings.
FRAME Using a 3D printed connection, the cube module can be continuously extended.
COLLAPSIBLE Walls can fold down to alter privacy levels.
MODULAR Operates as an individual learning space as default, with additional furniture stored within the walls. HINGED Corner unit which can fold down into a single panel.
162 Concept
EXTENDABLE Walls and furniture extend from single panel. FOLDING Using a fabric joint system the walls can be manipulated into multiple configurations.
Concept Design (fig 11.1) Concept 163
FRAME
MODULAR
HINGED
164 Concept
PRO
Expandable. Can be reconfigured. Elements applicable to other designs. Users can have an input. Transportable.
CON
Lots of components. Can be complicated. Time consuming to assemble. Not as intuitive. Not easily stored. Breakable.
Frame Concept Model (fig 9.2)
The frame concept will be able to produce personal spaces that can be modified to suit the occupants personality and provide territoriality and privacy with the screen panels. However, it is not easily configured and will also be a distraction to other occupants.
DISTRACTION
TERRITORIALITY
PERSONALITY
PRIVACY
PERSONAL SPACE
CONTROL
PRIVACY
TERRITORIALITY
PERSONAL SPACE
AFFORDANCES
PRIVACY
TERRITORIALITY
PERSONAL SPACE
AFFORDANCES
PRO
Usable as default. Extendable. Easily repeatable. Items can be stored within.
CON
Bulky. Hard to transport. Multiple modules needed for group configuration.
Modular Concept Model (fig 9.3)
This modular concept by default has personal space, privacy and territoriality which is not customisable to suit the extroverts. However, it has good application of affordances given its easy usage.
PRO
Compact/ fold-able. Transportable. Repeatable. Simple/ easy to use. No assemblage required.
CON
Heavy. Default not usable. No contemplation/ group space.
Hinged Concept Model (fig 9.4)
The hinged concept can easily applied with good affordances design as it does not involves taking apart or reassembling to create different sizes of internal space when used as modules thus, creating territory and privacy to suit the occupants need.
PERSONALITY Concept 165
COLLAPSIBLE
EXTENDABLE
FOLDING
166 Concept
PRO
Compact/ fold-able. Transportable. Repeatable. Simple/ easy to use. Individual and group space.
CON
PRIVACY
TERRITORIALITY
PERSONAL SPACE
AFFORDANCES
PERSONAL SPACE
AFFORDANCES
PRIVACY
TERRITORIALITY
PERSONALITY
CONTROL
Heavy. Default not usable. Unstable. Potentially lots of components.
Collapsible Concept Model (fig 9.5)
The collapsible concept has the best application for affordances in its design as it does not require any loose components which would require assemblage and understanding of its configurable settings. The collapsible concept will easily allow the components to be pulled out forming usable spaces.
PRO
Compact/ collapsible. Transportable. Individual and group space.
CON
Heavy. Default not usable. Unstable. Breakable Potentially lots of components.
Extendable Concept Model (fig 9.6)
The extendable concept lack of panels that could create territory and privacy. It does provide personal space and group space for the extendable furniture but it does not cater specifically to the introverts given the lack of privacy and territoriality.
PRO
Compact/ collapsible. Transportable. Expandable spatial properties. Lots of pinnable area.
CON
Heavy. Default not usable. Unstable. Breakable
Folding Concept Model (fig 9.7)
Folding concept provides not only more control but the options to create multiple spaces for personal space or even group space catering to the personality of the occupants.
PERSONAL SPACE Concept 167
CONCEPT CONCLUSION CONCEPT / SYSTEM CONCLUSION
Practicality Considerations
Psychological Considerations
Buildability Cost Effectiveness Structure
Flexibility Choice Variability
FOLDABLE HINGED 3D 90°
FRAME EXTENDABLE
3D 90°
3D 90°
MODULAR
3D 90°
3D 90°
3DTaken90° Forward Taken To Development 3D 90°
D 90°
Higher Degree of Perceived Control
By producing a range of concept ideas with a number of different systems allows for a wider set of tools to analyse, compare and combine to create a hybrid system that not only meets the practicalities such as buildability, cost effectiveness and structure but also produces a system that has the means to meet more psychological points that have been researched and mapped in previous sections (ref). The combination of a folding, hinged and framed system, gives the design the ability to create spaces that are more flexible, variable and gives the user more choice in their environment spatially (ref diagram). This has a positive effect on people’s behaviour according to the control theory that has extensively been researched (ref) (quote) especially in regards to privacy levels and territoriality.
3D 90°
Rejected
3D 90°
JOINT / HINGE CONCLUSION
3D 90°
Practicality Considerations
3D 90°
WOOD 3D 90° FABRIC 3D 90° 3D 90° 3D PRINTED
3D 90°
3D 90°
90° JOINT
3D 90°
METAL
Taken Forward Taken To Development Rejected 168 Concept
Psychological Considerations Flexibility Choice Variability
Buildability Cost Effectiveness 3D 90° Structure
3D 90°
3D 90°
Higher Degree of Perceived Control
The joints that are researched need to work with the system and concept that provides flexibility, variability and choice in space creation. However, the limitations of craftsmanship, cost effectiveness and facilities available need to be also taken into consideration in order to choose the most suitable type of joinery. A hybrid of wooden joints and fabric was chosen to develop further due to the skills sets, budget and facilities that are available.
3D 90°
3D 90° MATERIAL CONCLUSION 3D 90° 3D 90°
3D 90°
3D 90° 3D 90° Buildability 3D 90° Cost Effectiveness Structure 3D 90° 3D 90° Practicality Considerations
3D 90°
3D 90°3D 90°
Psychological Considerations Flexibility Choice Variability
PLY WOOD CORK
3D3D 90°90°
VALCHROMAT
3D 90°
3D 90°
ACOUSTIC PANEL
3D 90°
D 90°
WOODWOOL FOAM
Higher degree of Practicality and Psychological Considerations
Precedents and the analyse of materials has been gathered in order to ascertain which materials offer properties to meet the points set in the brief and the environmental considerations that have been explored such as acoustic, privacy and opportunity for interaction (page ref) but also to meet points made in the performance specification and limitations that the project has e.g. workshop facilities, building skills and costs (page ref). This had led to material choices such as ply for its easily assessable structural and workability for the main structure and cork which allows users to pin up on but also has acoustic, relaxing properties and its cost effectiveness and available sheet sizes compared with others. Materials like the closed cell foam and woodwool board, that provide higher levels of acoustic separation, can be obtained and tested through the prototyping phase in order to evaluate if they are suitable for use.
THERMA CORK FABRIC POLYCARBONATE WIRE MESH
Taken Forward Taken To Development Rejected
AFFORDANCES CONCLUSION
CONCLUSION COLLAGE
Affordances are an important consideration that has been researched from the psychology chapter (ref) which offer cues that can be taken advantage of in order to make the design more intuitive and instinctive when users want to transform the design to create variable and flexible spaces that offer more or less privacy for the desired function that is required. The precedents provided offer us ideas of how to start to incorporate affordances into the design however only by physically testing and observing how people react to the affordance cues that are offered to users can be proven to be successful.
Concept 169
12
DEVELOPMENT
The next step is to refine and develop the design. This process involves combining the best aspects of the concepts to create a number of further iterations that will enable more detailed elements of the design. Further to this, it will allow full exploration of the different spatial configurations that
the design can create, referring to the brief to ensure that it fulfils all the required functions. Finally, it will then be possible to evaluate where to position the installation within the stage three studio and produce a masterplan of the site.
DEVELOPMENT MODELS Developing the chosen concept design.
PANEL DESIGN Design developed from the baseline mapping analysis. Also including panel structure and internal screen design.
DUAL ROPE HINGE Designing the fabric hinge mechanism.
170 Development
DUAL ROPE HINGE PROTOTYPE Prototyping the fabric hinge mechanism.
SPATIAL CONFIGURATIONS Referring to the brief to ensure all functions and behaviour-settings are fulfilled.
DUAL ROPE HINGE DEVELOPMENT Developing the hinge from the prototyping.
MASTERPLAN Positioning the installation on the site.
STABILITY DEVELOPMENT Appropriate wheel base design.
VISUALISATION Visualising the installation in-situ.
Material Prototyping (fig 12.1) Development 171
DEVELOPMENT MODELS The concept exploration resulted in consideration of a folding design system, which uses a fabric hinge, allowing maximum spatial configurations. Two development models have then been built to explore the possible spacial configurations further to test whether the design has the potential to facilitate the required behavioursetting outlined within the brief. Alongside this, both models also explore potential furniture incorporation and structure.
T MODEL
This design explores a folding modular system with its default position being a T-shape. The design incorporates furniture within the panel that either folds out or slots together, as well as permeable materials to allow for varied privacy levels and helps attention restoration.
Z MODEL
This design again explores a folding system, but one which develops the idea of using a fabric hinge, with the housing of the system at the top and bottom of the panel. The design of the hinge system consists of two ropes which sit within a groove in the panel, thus enabling a full 360 degrees fold. This design consists of a frame structure with folding furniture.
T- Model (fig 12.2)
Z- Model (fig 12.3)
ATTENTION RESTORATION
ATTENTION RESTORATION
PRIVACY
CONTROL
CONTROL
172 Development
DUAL ROPE HINGE The dual rope hinge is developed from the Z model, it uses two crossing ropes that fix into the centre of the panel by a simple knot. The ropes slot into parallel groves situated on the top and bottom of each panel allowing for a flush panel surface, that enables the panels to fold a complete 360 degrees. CONTROL
ROPE HINGE HOUSING This hinge box holds the end of the rope with a simple knot. Each side has two hinge components totalling four in a panel.
ROPE GROOVE The parallel groove holds the rope in place to prevent the rope from being tangled when folded.
MDF PANEL The MDF panel forms a solid structure that contains the hinge housing. It also allows for furniture to be folded outwards.
A prototype will to be built in order to test the true flexibility of the design. Furthermore, it creates an opportunity to explore features such as material selection, structure and wheel design, with consideration of the prototypeâ&#x20AC;&#x2122;s density and stability.
Development 173
DUAL ROPE HINGE PROTOTYPE
1. The MDF panels are cut and fixed together. (fig 12.4)
2. Hinge housing is attached to the MDF panels with PVA. (fig 12.5)
3. Rope is pushed through hole into hinge housing. (fig 12.6)
4. The rope is held in place with a simple overhand knot. (fig 12.7)
5. The rope is threaded through the groove. (fig 12.8)
6. The rope threaded through to the opposite hinge. (fig 12.9)
7. Ropes are pulled and tied into each hinge housing. (fig 12.10)
8. Caster wheels are attached to the prototype. (fig 12.11)
174 Development
DUAL ROPE HINGE PROTOTYPE
Dual Rope Hinge Prototype (fig 12.12)
Dual Rope Hinge Prototype (fig 12.13)
Dual Rope Hinge Prototype (fig 12.14)
Dual Rope Hinge Prototype (fig 12.15)
This prototype has tested the dual rope hinge and itâ&#x20AC;&#x2122;s folding ability. It shows that it is capable of folding a full 360 degrees and thus enabling the initial folding concept design. The choice of material and the structure of the prototype means that it is heavy thus restricting its portability. This is problematic as the prototype is built to half of its intended size. The caster wheels increase the prototypes portability but reduce its stability due to the lack of horizontal distance in the axis of the wheels. The use of a rope and knot fixing creates a simple hinge mechanism, but due to the lack of elasticity in the rope it becomes slack very easily, and therefore does not completely stay within the groove, thus making the prototype not capable of closing completely.
PRO
Compact/ solid. Transportable. Simple hinge mechanism. Able to incorporate folding or cut out furniture.
CON
Heavy. Rope becomes slack due to its none elasticity. Unstable with wheels due to the lack of horizontal stabilisers.
SCAN QR CODE Link to the Video Demonstration of the Dual Rope Hinge Prototype and the Different Configurations.
Development 175
DUAL ROPE HINGE DEVELOPMENT In order to solve the issue of the dual rope hinge becoming slack and not sitting within the panel groove properly, a tightening mechanism need to be implemented. Firstly by changing the rope to a bungee rope it enables the hinge to become elastic. The bungee rope can then be used in tension, to maintain itâ&#x20AC;&#x2122;s position within the groove when the panel is being configured. Secondly by incorporating a tightening mechanism within the internal hinge housing, it enables the user to tighten the bungee rope if it looses its elasticity after long use under tension. The mechanism works by having a component which the bungee rope can be wrapped around, and then turned, until it reaches its desired amount of tension. The component is then held in place by an indent in the panel, and instead of a knot in the rope, the bungee rope fixes to the hinge housing by a hook and loop connection.
Bungee Rope Loop (fig 12.16)
TIGHTENING COMPONENT The cross can be pulled out and turned to tighten the bungee rope. It can then be released and held in place by slotting into the panel indent.
176 Development
BUNGEE ROPE The bungee rope is held in tension to allow the rope to maintain itâ&#x20AC;&#x2122;s position within the groove and hold two of the panels together.
LOOP AND HOOK To attach the rope to the hinge housing, the end of the rope forms a loop, and this hooks onto a hook fixed inside the housing.
STABILITY DEVELOPMENT The prototype highlighted the need for improved stability within the design. The stability of the installation plays an important role to ensure that it is usable and adheres to correct health and safety precautions. The positioning of the wheels is vital to maintain the balance of the panel. In order to create the suitable width to ensure the installations stability, the formula: width = 1/6 of height is applied to the design, where the width distance is between the axis of the wheels. The wheel base is then designed to not only allow for the new wheel distance but to ensure that the panels can be folded in and out without obstructing one another.
PLYWOOD WHEEL BASE The plywood wheel base is shaped firstly so that the wheels can support the panel and secondly so that the panels can fold a full 360 degrees without interruption.
CASTOR WHEEL Each wheel base has four wheels. The chosen wheel is a 75mm Swivel Castor with a four bolt fixing plate. This supports a maximum load of 50kg.
LOCK The two wheels nearest to both edges have a lock system to fix the installation in particular configuration.
Development 177
18° 60° 100° Far Peripheral
Mid Peripheral
Macular Focus
Far Peripheral
100°
Mid Peripheral
60°
Macular Focus
18°
Central Focus
PANEL DESIGN
ATTENTION RESTORATION
PRIVACY
Elevation
Plan
PERIPHERAL VISION
To allow occupants to stay connected to one another, the panel must incorporate vision gaps into the panel design. The vision mapping (p.132) highlights that by blocking an individual’s centre of focus as well as their mid-peripheral vision then it reduces visual distractions. 178 Development
Iteration 1
Iteration 2
Iteration 3
Iteration 4 Development 179
A5 A4
A3
A3
A5 A4
A3 A3 A3 1800mm
A2 A4 A5 A5 A4 A5 A4 A3 A3 A3 A2 A2 A2
A3
PINNABLE
A3
A2
Paper Size Iteration 1 1220mm Workable Panel Dimensions
A5 A4
Standard Paper Sizes
A3
A3
A2
Paper Size Iteration 2
Paper Size Iteration 3
PIN-UP
By incorporating perforations into the panel design, it reduces the pinnable surface area, however by positioning the vision gaps in the pattern shown it allows for the majority of standard paper sizes combinations to be pinned on the surface of the panel. 180 Development
Paper Size Iteration 4
Open Elevation
Closed Elevation
SLIDING INTERNAL SCREENS
In order to give the user more control over the appearance of the panel, and the spatial qualities its creates within each of the possible configurations, the panel design incorporates sliding internal screens. Firstly, the screens enable the user to control the amount of privacy they have when situated within the installation, closing off all visual distractions. Secondly the internal screens themselves will have insulating properties to reduce acoustic distractions, so that users donâ&#x20AC;&#x2122;t feel obligated to wear headphones to block out external sounds. The bright colour finish will not just be aesthetically pleasing but will also act as a subconscious signal to others within the space that the individual(s) within the installation desired them to be quieter. Furthermore, the acoustic insulation will enable users to hold private conversations without being overheard, thus enabling better collaboration when group learning.
Development 181
PANEL STRUCTURE DEVELOPMENT The MDF panel that forms the structure of the dual rope hinge prototype adds unnecessary weight to the installation. It therefore needs to be reduced, which can be done by replacing the solid MDF sheet with a timber batten structure, that is both lighter and stronger. The timber baton structure also allows for a greater internal space which can then house internal sliding panels. The timber batten structure is designed to strengthen the panels by bracing them on all sides. The structure design is careful to avoid the vision gaps that form the design for the panel surface.
FIRST STRUCTURE Five horizontal and four vertical and 45mm x 45mm timber battens, repeated on both sides of the panel form the structure. DEVELOPED STRUCTURE Two horizontal and three vertical45mm x 21.5mm timber battens, repeated on both sides of the panel form the structure, with additional bracing provided by the side panels.
182 Development
INTERNAL SCREEN DEVELOPMENT Adjustable sliding screens allow users to take further control over the installation, enabling them to adapt the panel to their desired privacy level. Initial sketch ideas include axial rotation panels, louvred panels and sliding panels. After further consideration and design development, the chosen system was the sliding panels, as they are the most appropriate method of applying the vision strategy, as well as supporting the future idea of incorporating hook-on desks.
ATTENTION RESTORATION
For the upcoming prototype a set of materials have been selected to test the internal screen, these include foam board, wood wool, plasterboard and cardboard. The materials will be evaluated against their weight, appearance and ability to fit within the sliding track. PRIVACY
Foam Board (fig 12.17)
Wood Wool (fig 12.18)
Plasterboard (fig 12.19)
Cardboard (fig 12.20)
Development 183
CONFIGURATIONS CLOSED PANEL
CROWDING
184 Development
L CONFIGURATION - INDIVIDUAL LEARNING
T CONFIGURATION - INDIVIDUAL LEARNING
PRIVACY
STRAIGHT CONFIGURATION - EXHIBITION
Development 185
ELONGATED L CONFIGURATION - GROUP LEARNING
CROWDING
186 Development
Z CONFIGURATION - GROUP LEARNING
C CONFIGURATION - INDIVIDUAL LEARNING
PRIVACY
TRIANGLE CONFIGURATION - EXHIBITION
Development 187
MASTERPLAN OPTIONS PRO
Divides the studio into two smaller spaces so that it reduces the number of visual and acoustic distractions. Creates a visual node to the adjoining studios attracting users.
CON
Makes the PC workstation space even more private than it currently is, thus separating those who work there from the rest of the studio. Could potentially disrupt the access through the space. May be difficult to move into every configuration.
Centre Studio - PC Workstation and Studio Desk Divider
PRO
Divides the studio into two smaller spaces so that it reduces the number of visual and acoustic distractions. A lot of students who sit in this area wear headphones as this is their only method to create privacy. Therefore the installation could aid these users the most. Mapping shows that the centre of the studio contains the majority of the activity so therefore the installation could get the most use in this area.
CON
Could potentially disrupt the access through the space.
Centre Studio
PRO
By locating the installation in the corner of the space it creates a more private space, ideal for group learning or tutorials. The mapping shows that the students who desire the most privacy tend to sit by the walls and corners of the studio. The installation will provide more of this limited type of space, so it will help to cater for
CON
May be difficult to move into every configuration. With the corner being a more private area, it isnâ&#x20AC;&#x2122;t in a ideal position to attract others into the space to use it.
Corner of the Studio - Closed Tutorial Space 188 Development
The corner of the studio is the most suitable space to locate the installation in its first instance as it helps to facilitate the ideal privacy settings for individual and group learning. By placing the installation in the corner it is also has the least impact on the rest of the space, so therefore it doesnâ&#x20AC;&#x2122;t disrupt occupants. As occupants adjust to the installationâ&#x20AC;&#x2122;s presence the intention is that they will move it to different locations within the architecture school to suit their needs. Development 189
VISUALISATIONS
Elongated L Configuration
190 Development
Elongated L Configuration
Z Configuration
T Configuration
Development 191
13
PROTOTYPE
192 Prototype
Having finalised a design through a series of visualisations and prototyping, the build process could them begin. This will initially involve transferring the design into a buildable format, which requires further detailed design work. This focuses on materials, structure, joints and the general process of building. From the construction drawings it will them be possible to formulate a build
program, to ensure the installation will delivered on time, and a cost plan to ensure it will be delivered on budget. The completed prototype will then be photographed, followed by initial user testing. The testing will check that the prototype functions as it is intended prior to installation on site, within the stage three architecture studio.
CONSTRUCTION DRAWINGS Detailed construction information.
PROTOTYPE BUILDING PROCESS Production steps.
BUILD PROGRAM Activities, deliverables and duration.
COMPLETED PROTOTYPE Final images of the prototype.
COST PLAN Managing the money and budget.
USER TESTING User testing in preparation for installing on site.
Panel Prototype (fig 13.1) Prototype 193
CONSTRUCTION DRAWINGS
In order to build the first prototype, construction drawings were drawn up to scale. The drawings were divided into 5 units; Unit A for Main Body and Housing, Unit B for Internal Sliding Panels, Unit C for Wheel Base, Unit D for Hinge Housing and Unit E for Internal Hinge Component. Drawings for Unit A (A01, A02 and A05), Unit B (B03 and B04) and Unit C were sent to Raskl for the panels and design to be cut using a CNC router. (See Appendix p.102 for the complete set of construction drawings.)
194 Prototype
UNIT D
UNIT E
UNIT A
UNIT B
UNIT C
Prototype 195
PROJECTED BUILD PROGRAMME UNIT A
UNIT B
UNIT C
UNIT D
UNIT E
UNIT A - MAIN BODY AND HOUSING Ply / cork ordered A01 / A02 / A04 / A05 sent to RASKL to be cut
SEPTEMBER
*
Components assembled A03 components cut in-house A03 components assembled A03 attached to Unit A
DESIGN
UNIT B - INTERNAL SLIDING PANELS
*
Material TBD / rollers + track ordered B03 / B04 sent to RASKL to be cut Components assembled Unit B attached to Unit A B01 components cut in-house B01 components assembled B01 component sanded + finished B01 attached to Unit B UNIT C - WHEEL BASE
*
Wheels + ply ordered C01 sent to RASKL to be cut
*
*
Components assembled Unit C attached to Unit A UNIT D - HINGE HOUSING Components cut in-house
OCTOBER
*
Components assembled Unit D attached to Unit A D01 sent to RASKL to be cut D01 Attached to Unit A UNIT E - INTERNAL HINGE COMPONENTS
*
CHARRETTE WEEK
RE MAP
NOVEMBER 196 Prototype
Components cut in-house Components assembled Unit E attached to Unit D Bungee cord ordered Components assembled Unit F attached to Unit A
Ordering Materials CNC Cutting (RASKL) Cut Attach Assemble Finish Delivery / Pick Up
COST PLAN
50% Used 50% Used
£6000
£6000
Material Fixings Cutting Services Transport
From the initial budget of £6,000 for the design project, the current spend is slightly over 50% of that at £3,035. Here, this has been broken down into three sections; Initial design costs, build costs and re-build costs. These sections have been further broken down to provide input on how much of the budget each element has individually taken up.
Miscellaneous Initial Design Build Re-Build Prototype 197
PROTOTYPE BUILDING PROCESS
1. Unit E is cut. Tightening mechanism is assembled. (fig 13.2)
2. Tightening mechanism is attached to hinge component. (fig 13.3)
3. Mirrored hinge components are fixed and reattached. (fig 13.4)
4. Hinge components are attached to the hinge housing. (fig 13.5)
5. The hinge housing is closed with blocks with grooves. (fig 13.6)
6. Units E and D for the top and bottom of panel completed. (fig 13.7)
7. Timber batons are cut for the internal frame structure. (fig 13.8)
8. The timber frames are then assembled. (fig 13.9)
198 Prototype
9. Unit A main body. Each panel has two timber frames. (fig 13.10)
10. Unit A panel housing is CNC cut by RASKL. (fig 13.11)
11. The timber frame is attached to the housing panel. (fig 13.12)
12. Completed Units E and D are attached to Unit A. (fig 13.13)
13. The hinge component forms the top of the panel. (fig 13.14)
14. The hinge component forms the bottom of the panel. (fig 13.15)
15. Wheel base is drilled and castor wheels are attached. (fig 13.16)
16. Wheel base is reinforced and sanded. (fig 13.17)
Prototype 199
17. Unit B is cut out of plasterboard with a jigsaw. (fig 13.18)
18. The edges are sanded and attached to a C-channel. (fig 13.19)
19. Small wheels are attached to the C-channel. (fig 13.20)
20. C-channel allows handles to be attached to the board. (fig 13.21)
21. Unit A housing cover is then attached to the rest. (fig 13.22)
22. The panel is sealed and attached to the wheel base. (fig 13.23)
23. Cardboard is laser cut to form the second Unit B. (fig 13.24)
24. Cardboard is compressed and fixed to second panel. (fig 13.25)
200 Prototype
25. The wheel bases are attached to all the panels. (fig 13.26)
26. Panels are tested. Wheel base requires adjustment. (fig 13.27)
27. Wheel base is sanded to reduce surface thickness. (fig 13.28)
28. Two panels are attached with steel hinges. (fig 13.29)
29. Bungee rope is threaded onto tightening mechanism. (fig 13.30)
30. The prototype is configured into its closed position. (fig 13.31)
31. The prototype is transported to site. (fig 13.32)
32. The prototype is installed in the stage three studio. (fig 13.33)
Prototype 201
COMPLETED PROTOTYPE
Elongated L Configuration (fig 13.34)
202 Prototype
Closed Panel (fig 13.35)
Layered Configurations (fig 13.36)
SCAN QR CODE Link to the Video Demonstration of the Prototype and the Different Configurations.
Prototype 203
USER TESTING
Elongated L Configuration (fig 13.37)
204 Prototype
C Configuration (fig 13.38)
Z Configuration (fig 13.39)
T Configuration (fig 13.40)
Prototype 205
14
HIGHER EDUCATION MAPPING The next stage of the process was to carry out a post occupancy review with the installation in place in the stage three studio. This would help to understand how the installation is being used, and the successes and the failures of it. The review will be carried out by conducting mapping exercises similar to the baseline mapping, allowing for the comparison of data. Following the baseline mapping there were some mapping methods that did Before the installation could be placed in the studio we presented a short introduction to the students that would be using the studio space. This was to introduce them to the installation, demonstrate to them what it does and how it can be used and answer any of their questions. The presentation
206 Higher Education Mapping
not prove very valuable for the purpose of the research, such as the LUX and decibel readings, these methods were therefore omitted from this secondary mapping. Other techniques proved much more valuable and were developed further to gain maximum benefit. The mapping techniques used in this secondary mapping include static snapshots, time lapse photography and questionnaire feedback.
included background information about the research project, explanation about the different configurations, information about the panel design, a plan to show where the installation would be initially located and information regarding when and how long the installation would be in place.
Prototype Presentation to Stage Three (fig 14.1) Higher Education Mapping 207
STATIC SNAPSHOT
208 Higher Education Mapping
Using static snapshots as part of the baseline mapping allowed analysis and evaluation of how the studio space was used by its occupants throughout the day. This gave a clear understanding of the space and also informed the further design concept and development. Of all the previous mapping techniques this was one of the most useful in terms of providing data that would inform the design process most. The previous snapshots identified areas of high activity, areas of low activity, routes through the space, areas where conversations take
place and areas where personal working takes place. In addition the data obtained from the snapshots was able to confirm and support conclusions drawn from other mapping methods. For example the snapshots show that people round the edges of the space tend to work more solitary and wear headphones, this conclusion was also reached during the student interview. All of this data and was taken into consideration when designing the installation itself, and also the masterplan of the space.
The technique for carrying out this mapping was identical to the previous session. The stage three studio was observed in ten minute blocks once every two hours, between the hours of 09:00-21:00, over a seven day period. The aim is observe activities such as desk usage, the types of work carried out
and whether this is individual or group work. The data again provided a density figure for the space which determined whether the space is under or over occupied and whether this has an effect on the activities being carried out within the studio.
LOCATION:
Newcastle University, School of Architecture, Planning &Landscape Department. Stage Three Corner Studio.
DATE (TIME):
05/12/16 â&#x20AC;&#x201C; 11/12/16 10 minutes of observation at random intervals, within a 2 hour time frame, over a 7 day period
OBJECTIVE:
To investigate and observe how people use the space in different ways with the prototype in place.
HYPOTHESIS:
Occupants use the space and prototype in a number of different ways, for computer work, model making, for meetings and conversations in response to the new layout.
CONTROLLED VARIABLES:
The two door thresholds within the space IT equipment
RESPONDING VARIABLES:
The number of occupants that interact within the space The change in the prototype configuration
EXTERNAL VARIABLE:
The number of existing occupants within the space at the commencement of each experimental period The occupants working time and submission schedule
MATERIALS / EQUIPMENT: Camera
1 2 3 4 5 6
METHODOLOGY / PROCEDURES:
The time of the experimental period is recorded. The condition images taken. Count the number of existing occupants within the space. Observe the activities of the occupants within the space. The information will be recorded in a plan format using symbols to represent activities. The information across all experimental time periods will be collated and represented.
LIMITATIONS:
The spatial furniture layout not permanent The level of tidiness within the space
Higher Education Mapping 209
STATIC SNAPSHOT MAPPING SELECTED MOMENTS
1
2
2
16
8
1
12 7
5
4
3
8
4 20
9
8
3
19
L 11.10 R 11.10
16
A 11.10 L 11.10
20
A 11.10
18
A 11.10
17
A 11.07
8
L 11.10
19
6
5
7
8
5
12 TUTORIAL
5 4
14
15 7
6
8
2
9
10
6
13
14
9
15
A 11.08
A 11.07
L 11.04 R 11.07
A 11.10
A 11.10
A 11.09
A 11.10
05/12/16 - 11:00-11:10
First day of installation, new input within the studio environment. Tutorial being given, using the installation to provide a break between their meeting space and the rest of the room. Great deal of movement through the space, both for printing and passing through studios, noise from this would have been broken up with the panel positioning. Conversations ongoing in the tutorial group centred around the model on show, were diffused by the installation from the rest of the space. No headphone use in the rest of the room so noise was most likely not a problem.
210 Higher Education Mapping
4
8 A 15.42
12
L 15.49
11 A 11.06
L 11.05
19 7 A 11.05
3
10
A 11.10
5 A 11.04
13
07/12/16 - 15:40-15:50
Installation moved to part-enclose a students desk space, cutting off distractions from anywhere other than the group. Minimal conversation across the room, with a number of headphones in use around the desktop computer area. One conversation made through the installation panel whilst interacting with it, showing that there are still available connections in place when in use.
9
1
13
5
6
8
7
GENERAL
5
2
2
11
9
A 16.13
12
A 16.11
10
L 16.12
6
6
A 17.09
14
A 17.02 L 17.08
6
A 17.02 L 17.08
5
5
GENERAL
WORK
11
4
3
8 GENERAL
12
4
10
11
14 7
GENERAL
9
3
1 9
GENERAL
8
1
10
6
13
Installation is not particularly in use during this time, it is giving a small group a slightly more private space on one side, not to much benefit but could suggest that these occupants have introvert characteristics. More of a spread across the room of students, with the majority of work involving personal laptops or desktops. A number of discussions are being made around screens, which suggests that the majority of users prefer discussing work this way rather than printing and pinning up drawings.
6
8
12
13
A 17.06
A 17.06
A: 16.11
L 16.16
08/12/16 - 16:10-16:20
5
L 17.03
12
L 17.02 R 17.03 L 17.03 R 17.06
10
L 17.02 R 17.06
9
L 16.12
12
08/12/16 - 17:00-17:10
The installation is not in use, but occupants have stopped to interact on a small scale, not actually fully moving the panels. There is only one occupant using headphones, which suggests that there are not many issues with noise levels to the occupants. All work being undertaken is using laptops and desktop computers, which is in contrast to the original studio mapping.
A couple of conversations are taking place across the room, which suggests more extrovert characteristics.
Higher Education Mapping 211
15
18
16
1
17
13
12 14
A 17.07 L 17.09
14
A 13.48
4
7
2
A 13.47 L 13.49
8
L 13.49
3
2
9 4
3
8
11
2
8 9 7 10
9
8
8
WORK
7
6
5
2
1
2
6
5
14
8
4
L 17.09 R 17.09
A 17.10
L 17.01
3
09/12/16 - 18:00-18:10
Panel installation is not in use, although it has been folded up in order to take up less space. Occupants 1-8 are working in very close quarters with each other, suggesting a potential friendship group with a number of conversations ongoing between them. There is a small amount of traffic, both for the printer use and some coming in for conversations with occupants.
212 Higher Education Mapping
9
4 L 13.43 R 13.47
9 L 17.09
4
A 13.49
TV
10/12/16 - 13:40-13:50
Panel installation has been moved within the studio, being pushed against the storage facility, seemingly without being used for the intended design purpose. There seems to be a concentration of occupants in 3 parts of the studio, with the majority of the space left unoccupied.
Overall, the panel installation designed for the studio space has seen little use other than an initial tutorial being held on the first day. This indicates that the room occupants either feel they have no need for use at this time, don’t fully understand how it works or don’t see how it could be used properly within the space. Across the full week of re-mapping, the studio seems under-occupied compared to the first stage of mapping the space. This was due to a Dissertation hand in that the Stage 3 Students were required to submit that week, which also corresponds with the main tasks being undertaken by occupants mainly being performed on laptop and desktop computers.
DENSITY TIME
ARRIVED
(05/12 ) 11.00 -11.10 (07/12) 13.40 - 13.50
FLOOR SPACE FACTOR (SQM PER INDIVIDUAL)
WITHIN RECOMMENDED FSF(6)
DEPARTED
TOTAL OCCUPANTS
15
5
20
5.95
No
2
9
9
13.22
Yes
(08/12) 15.40 - 15.50
1
1
9
13.22
Yes
(08/12) 16.10 - 16.20
3
3
12
9.92
Yes
(09/12) 17.00 - 17.10
5
6
14
8.50
Yes
(10/12) 18.00 - 18.10
2
4
18
6.61
Yes
Average
4.67
4.67
13.67
9.57
Yes
As before the current building regulations recommend that floor space factor for an office space is 6.0, meaning each person within the room should have 6m of space to themselves. The architecture studio being studied is 119m² therefore the maximum occupancy of this room is 19 people. All but one of the 10 minute intervals show the room within the recommended occupancy levels. The one time period where the space was over occupied (11.00 – 11.10) is when a group tutorial was taking place in the installation, during this time the space was over occupied by one person, therefore
not a vast over occupation. The total occupants in the space for the rest of the day are fairly constant throughout the day, with an average number of occupants of 13.67, meaning the space is generally under occupied. Comparing with the baseline mapping density (page 71) the space is more consistently used throughout the day and on average the occupancy is higher. However it should be recognised that this is a different cohort of students who use the space in a different way and theses figures may not have been influenced by the installation.
On average the room is under occupied at 13.67 occupants, maximum being 20. Installation has not really been used to break the studio space up in the way it is able to and was intended to do. Great deal of desk space which goes unused, with some occupants preferring to cluster in friendship groups. An unmoved large model would have impacted on the usability of the installation within the intended corner of the studio. Most work is undertaken on a laptop or the desktop computers, not much drawing or model making has taken place.
Higher Education Mapping 213
ENVIRONMENTAL PSYCHOLOGY During this mapping phase, the stage three students were working on their dissertations for an upcoming deadline, therefore the studio was not as populated as it might have been during a normal studio week as many students choose to carry out written work either in the library or at home. This also meant that creative activities such as modelling, drawing and group meetings did not take place and students tended to work alone. For this reason the data obtained by the mapping was fairly limited. For example it was not possible to obtain the personality traits of the students working in the space due to a lack of recurrent users. The analysis presented below takes into account data obtained from the static snapshot mapping and where the data is not available conclusions have been drawn from the knowledge gained from the baseline mapping to speculate certain situations.
TERRITORIAL MARKERS As in the baseline mapping the studio is still a messy environment, the desks that have been territorialised are relatively clean however the areas of public territory are very messy. A group model has been placed in the space and â&#x20AC;&#x2DC;abandonedâ&#x20AC;&#x2122; creating a space owned by no-one and therefore treated as a dumping ground for waste material. No-one territorialised the space around the installation unless the installation was moved into their territory.
PERSONALITY Because an interview was unable to be conducted, It was not possible to obtain the occupants personality traits, therefore the diagrams opposite speculate where different personalities might position themselves, based on the knowledge gained from the baseline mapping. As shown previously introverts position themselves around the edge of the space, and can be seen using the prototype on the 05/12/16 and 07/12/16 to replicate the same level privacy.
SOCIAL DYNAMICS The prototype is shown not to have altered the social dynamics of the space because there has been no division of different groups of occupants. This could be due to the presence of a large group model that is being stored in that location in replace of the normal desks.
DISTRACTIONS In the baseline mapping students discussed that sound was the biggest source of distraction, mainly originating from conversations between peers. Many students, particularly those who were ambivert and introvert wore headphones as a means of blocking out the sound. If any music was played aloud in the space then this originated from the extrovert characters. The installation aims to reduce distraction for the users, in some cases this may have occurred however it was not possible to accurately measure this due to the limited time frame.
ENCLOSURE At various points during the mapping the installation creates an enclosed space, however due to the presence of a large group model it was not possible for students to use this enclosure in the way they might have otherwise been able.
214 Higher Education Mapping
9
13
8
7
GENERAL
5
10
L 16.12
6
6
5
GENERAL
8
L 15.49
A 15.42
11
4
4
8 A 15.42
12
A 16.11
L 15.49
A 16.13
11
05/12/16 - 11:00-11:10
07/12/16 - 15:40-15:50
08/12/16 - 16:10-16:20
08/12/16 - 17:00-17:10
09/12/16 - 18:00-18:10
10/12/16 - 13:40-13:50 Higher Education Mapping 215
TIME-LAPSE PHOTOGRAPHY
216 Higher Education Mapping
The time-lapse photography carried out during the previous mapping session gave a wider understanding of how the studio is used throughout the day. From this it was possible to identify specific students who work in the space and therefore track their movements and activities during the day. In contrast to the static snapshot mapping this method is allows for occupants activities to be recorded across a larger time period, by capturing the natural progression of time
and condensing it. This therefore allows for more detailed information to be gathered, enabling us to gain a deeper understanding of occupantâ&#x20AC;&#x2122;s behaviours and how they inhabit the space. By using video footage it means that the exact state of the environment can be documented, showing specifically what impact the occupants have over the space.
The data for this mapping was collected using the same technique as the previous session , the stage three studio was recorded using a video camera between the hours of 09:00-21:00, over a seven day period. The aim is observe activities such as desk usage, the types of work carried out and whether this is individual or group work. In the selected images, points of interest are highlighted allowing for them to be evaluated against
the other mappings to strengthen the results. In contrast to the previous mapping it was not possible to identify individuals and desk usage and therefore a desk appraisal was not carried out, this was due to the fact that specific students do not return to the same desk throughout the day, the space is constantly inhabited by different people.
Time-Lapse Prototype Photography in Tutorial Detective Setup (fig (fig14.2) 6.2) Higher Education Mapping 217
TIME-LAPSE MAPPING SELECTED MOMENTS
05/12/16 - 09:20 TUTORIAL SETUP Large group tutorial taking place behind the panels. All the students could not fit into the installation in its current layout however rather than moving it they just gathered around outside. Due to the internal panels being open they were able to see through the installation and still feel involved.
06/12/16 - 11:15 T-CONFIGURATION The installation has been moved into the T-configuration. However nobody is interacting with the installation in this position. The T-configuration blocks access to the large model behind it.
07/12/16 - 14:00 C-CONFIGURATION Two students move the installation into the C-configuration. It does not look as if they worked here for any length of time, more that they moved it out of curiosity. They spent a short time pondering the installation, then left.
218 Higher Education Mapping
08/12/16 - 16:00 CLOSED PANEL The installation has been closed up and nobody is interacting with it. There is a group meeting going on in the foreground however due to the need for PC access they did not hold this meeting in the installation.
09/12/16 - 17:40 EXHIBITION The installation has been moved across the room and folded out into the straight configuration. This is to enable a group of students to congregate in the space created by moving the installation. When they leave then do not return the installation to its previous position.
10/12/16 - 18:00 L-CONFIGURATION One panel of the installation has been moved 90 degrees to create the L-configuraton. This does not appear to be for any particular reason however the action has the effect of obstructing the clear route through the studio, forcing people to walk around the installation. This obviously does not annoy the students otherwise someone would have moved it back, unless for some reason they felt they were not allowed or able to do so.
Higher Education Mapping 219
QUESTIONNAIRE
220 Higher Education Mapping
Using a questionnaire as part of the baseline mapping provided an effective means of measuring the behaviour, attitudes, preferences, opinions and intentions of occupants within the stage three studio. This technique was therefore repeated for the post occupancy review. The questions were altered to take into account the
presence of the installation in the space, where previously the questions were geared towards finding out how the students used the space and what they thought of the general environment the new questionnaire focussed more on how the students used the installation and their thoughts about it.
The responses to the questionnaire for the post occupancy review were not as valuable as the baseline mapping due to the fact that there were fewer responses and the responses that were obtained identified that not many students has actually used the installation as a working
space. It was also not possible to map the questionnaire responses against the plan of the studio, as the students in this cohort do not appear to have territorialised the desks in this studio and therefore do not sit at the same desk each time, or even work in this studio regularly.
HAVE YOU USED THE INSTALLATION? Yes No
HOW OFTEN DO YOU USE THE INSTALLATION? Every day A few times a week Once a week Less than once a week
WHAT DO YOU USE THE INSTALLATION FOR? Tutorials Pin-up Space Personal Working Space Relaxing Other (please specify)
WHAT IS YOUR GENERAL FEELING TOWARDS THE INSTALLATION? Positive Neutral Negative
HAS THE INSTALLATION IMPROVED THE STUDIO ENVIRONMENT? Yes No No Change
HAS YOUR PRODUCTIVITY ALTERED AS A RESULT OF THE INSTALLATION BEING IN PLACE? Increased Decreased No Change Why?
HAS THE INSTALLATION AFFECTED YOUR CONCENTRATION IN THE STUDIO? More Concentrated More Distracted No Change Why?
HOW DOES THIS INSTALLATION COMPARE TO THE PREVIOUS ‘POD’ SET-UP? Better Worse No Change Why?
WHAT ARE THE NOISE LEVELS LIKE IN THIS SPACE? It’s too loud and it affects my ability to work It’s loud, but it does not affect my ability to work The noise level is ok
WHAT DO YOU LIKE ABOUT THE INSTALLATION? WHAT DO YOU DISLIKE ABOUT THE INSTALLATION? WHAT IMPROVEMENTS WOULD YOU MAKE TO THE INSTALLATION? WHAT DO YOU THINK ABOUT THE OVERALL DESIGN OF THE STUDIO SPACE?
Higher Education Mapping 221
HAVE YOU USED THE INSTALLATION?
WHAT DO YOU USE THE INSTALLATION FOR?
At 75% of respondents, most of those situated within the room have used and interacted with the moveable panel installation, which should allow for a good response to the questionnaire and feedback.
As the installation is designed to be versatile, allowing for meetings and tutorials to be taken as well as personal use. Only 10% of respondents have used it for a tutorial or pin up. However, this could have been affected by external circumstances impacting on the space and the needs of users at the time.
HOW OFTEN DO YOU USE THE INSTALLATION?
WHAT IS YOUR GENERAL FEELING TOWARDS THE INSTALLATION?
50% of the respondents to the questionnaire have stated that they use the installation less than once a week. The 8% who use the pod every day may lead to territorialisation of the space, which is something the design intended to avoid, but this would only be further explored as a problem if mapping took place for an extended period of time. 222 Higher Education Mapping
Feelings towards the installation seem quite mixed, with slightly over half of the respondents feeling positive towards it in the studio space.
HAS THE INSTALLATION IMPROVED THE STUDIO ENVIRONMENT?
HAS THE INSTALLATION AFFECTED YOUR CONCENTRATION IN THE STUDIO?
As it was only used within the studio space for the duration of one week, it is not so surprising that 58% of respondents believe there has been no improvements caused. However, this could be down to some not fully understanding how to use the installation.
The psychology behind concentration levels and different ways of how personality types work was important in how the design developed. Although 58% of respondents feel there has been no change, it is not surprising that the results are quite mixed.
HAS YOUR PRODUCTIVITY ALTERED AS A RESULT OF THE INSTALLATION BEING IN PLACE?
HOW DOES THE INSTALLATION COMPARE TO THE PREVIOUS POD SET UP?
Although 75% of respondents have noted no change to productivity levels while using the installation, it may be that they have not experienced it during different working requirements.
In comparison to the existing basic pods which were replaced, the installation has only had a positive response of 58%, with 25% noting no change.
Higher Education Mapping 223
WHAT DO YOU LIKE ABOUT THE INSTALLATION? “Easier to move than the current pin up boards’”
“Flexible”
“
“I like the fact that this doesn’t feel as though it is a complete separation from the rest of the studio.”
Cork adds more of a warm atmosphere to our work space.
“Portable”
“Moveable and easy to pin to.”
“Adaptable”
”
“Great that this can be moved and transformed at ease.”
“Warmth”
WHAT DO YOU DISLIKE ABOUT THE INSTALLATION?
“Difficult”
“It’s quite big, making it difficult to move around easily.”
“
It’s quite heavy, difficult to move around and change between the panels.
”
“It’s quite heavy, difficult to move around and change between the panels.” “Only one person can use it at a time, therefore quite space consuming.”
“Heavy”
“The size of each panel is too small and thick, and the holes cut in make it difficult to pin anything up to.”
“Holes” 224 Higher Education Mapping
“Space”
WHAT IMPROVEMENTS WOULD YOU MAKE TO THE INSTALLATION?
“Make it thinner, higher, and try to incorporate some pinnable space.’”
“
“Power”
Make it more practicle and easier to move around the different studio spaces with ease.
“Make it lighter and thinner.’”
“Thinner”
”
“Lighting”
“Lighting and a power source would be great to add, allowing people to use it for longer periods with laptops rather than just drawing and sketching.’”
“Increase Height”
POSITIVE There were a number of positive responses and comments made about the panel installation from the third year students in the questionnaires. Most of these focused around it’s flexibility, versatility and ease of use. The choice of cork as a finishing material has been noted to ‘add warmth to the studio atmosphere’, which is something we were trying to achieve by introducing more of a natural, usable material rather than the usual clinical white finishes to the existing surfaces. NEGATIVE The negative comments from a number of respondents on their dislikes of the panel installation were interesting, giving an insight into things that could be improved during a re-design of the product. Many elements that the designers think worked quite well, such as the manoeuvrability of changing between the layouts was questioned, so there are ways in which user knowledge of the product and how it works need to be improved IMPROVEMENTS Potential improvements to the design have been suggested, which, given more time, could have begun to be designed into the build and implemented. Comments such as making it thinner and lighter, could be resolved by sourcing a metal frame for example rather than bulky layers of wood. Lighting and power are things that have been looked into and discussed, but given the timeframe and the need for manoeuvrability, were not implemented in the final design. A number of respondents felt the installation could be built higher, however, at the moment it fits perfectly and very practically to average door heights in order to allow for ease of use and transport, therefore can’t be increased. OVERALL In conclusion, as visible on the previous page, a number of the likes and dislikes seem to contradict each other, showing a mixture of respondents who felt it was flexible/inflexible, adaptable/difficult to understand. Due to this, the answer may not be to try and re-design based on those responses but actually teach the end user about the way in which the panel installation works further and maybe this is something that could have improved if the testing period was over a longer period of time, as one week isn’t a great length.
Higher Education Mapping 225
ARCHITECTURE STUDIO CONCLUSION MAPPING LIMITATIONS The studio mapping was not entirely successful mainly due to factors out of the research teams control.
A slow build process pushed back the date when the installation could be installed.
A change in cohort from the baseline mapping meant the students used the space differently. The social dynamics of the space were not as developed as in the baseline mapping due to the post occupancy evaluation taking place in the first half of the academic year.
The installation was not able to be put in place for the beginning of the academic year, meaning the students saw it as a change to their existing environment as opposed to an accepted existing object. The mapping period was for only one week and therefore the installation would have felt unfamiliar to the students, there may have been a reluctance or nervousness to use it. Having the installation been in place for a longer period of time, it may have resulted in a more established and therefore more reliable mapping.
STUDENT FEEDBACK Anecdotal evidence received suggests that students are in constant conflict and competition for space and resources, therefore anything that may take up space or change their way of working is not generally well received as students are used to having to defend their territory however the questionnaire feedback showed that overall the students felt positive towards the installation.
When questioned specifically about the environmental psychology aspects of the design such as an increase in productivity and concentration generally the students felt that there was no change to their environment, this showed either that the installation had not been successful in what it set out to do, or that the students had not used the installation in the way it was designed and were therefore not aware of how the installation could improve their environment. It is likely the true reasons for the feedback were a mix of the two.
DESIGN REVISIONS The mapping highlighted specific areas of the design that were currently not working or could be developed more.
The installation was not well used as a personal working space due to the need for existing tables to be available to facilitate this use, therefore in the design revisions a removable table will be incorporated into the installation.
The sliding panels in do not slide smoothly along the rails, they were also unfinished due as that nature of this prototype was to test different materials. For this reason the panels were not used as effectively as they could have been. Therefore in the design revision an upgraded version of the sliding panels will be incorporated into the installation
226 Higher Education Mapping
LEARNING POINTS
The installation attracted quite a lot of attention however it was not well used, which could be due to it unfamiliarity.
The under use of the installation could be because it was seen as a threat to the occupantâ&#x20AC;&#x2122;s territory, particularly because of negative past experiences.
Waste material in the space affected the use of the installation, because it limited the configurations that could be created and stopped occupants from sitting in the corner seats
The students did not feel the installation was very flexible. The existing environment greatly affects how the installation is used. The environment was not suitably set up to allow maximum use and flexibility of the installation.
The existing culture in the studio contributed to a reluctance to use the installation, this is an example of behaviour setting theory (see p.21) where the studio environment already evokes a certain type of behaviour that the installation was unable to alter.
MAPPING PROCESS The students were not educated enough in how they could use the installation. A lecture was given prior to the installation being put in place however for subsequent use a User Guide was created to accompany the installation. This shows that the current iteration of the installation did not sufficiently meet the affordances required (See environmental considerations p.21) The studio mapping identified areas of the design that had either been unsuccessful or required improvement, this information could then be used in further design revisions. Questionnaires and interviews are important as they reinforce assumptions.
Higher Education Mapping 227
15
PROTOTYPE REVISIONS Having mapped the installation in the third year studio the next stage would be to map the installation in an office environment. However before this could be done, time was taken to reflect on the findings of the previous mapping, as well as the conclusions drawn from the initial design process and use this to develop a second iteration of the design. This chapter looks at the revisions made to the design before the installation was mapped in the office environment and the process of carrying out these revisions on the installation itself.
The key design revisions implemented were to upgrade the existing sliding panels and handles, updating the material, mechanism and design. A simple hook-on table was also added to enable the installation to be used as a work space without the need for existing tables to be present in the space. The build program was also revised to reflect the actual sequence of events and inform the future build and mapping program. Then follows an analysis of the initial prototype build with reflections on how issues were overcome in the revised build process.
INTERNAL SCREEN DEVELOPMENT Developing the materiality and fixing.
PROTOTYPE BUILD ANALYSIS Analysing the physical attributes of the prototype and highlighting the changes that will be made.
DESK DESIGN Designing a hook-on desk. REVISED BUILD PROGRAMME Reflecting on the time management.
228 Prototype Revisions
USER GUIDE Summary of the user guide.
Prototype Internal Screens (fig 15.1) Prototype Revisions 229
INTERNAL SCREEN DEVELOPMENT The internal sliding panels of the prototype were designed to provide users with controllable privacy, as well as acoustic insulation. Although privacy was achievable, the acoustic insulation was not. The internal screens also didnâ&#x20AC;&#x2122;t perform on a practical or aesthetic level as they did not slide together properly and the vision gaps were not cut accurately. AFFORDANCES Therefore Valchromat, a coloured engineered wood fibre panel has been selected as a replacement material for the internal sliding panel. All three panels now have wooden handles on both ends, and a magnetic catch which is attached in the middle and at both ends of the frame in order to keep the panels in place after sliding and to allow a better alignment with the vision gaps on the outer layer of the panel.
Valchromat Internal Screen (fig 15.2)
Magnetic Catch (fig 15.4)
Valchromat Internal Screen (fig 15.3) 230 Prototype Revisions
Magnetic Catch (fig 15.5)
DESK DESIGN The mapping of the prototype shows that it is necessary for a desk to be included in the design in order for it to become more portable and flexible to work with each of the behavioursettings. The need for existing tables to be present to allow for each behaviour setting may have limited the prototypes use. The desk is designed with a bracket system that allows it to be hooked into the vision gaps on each of the panels.
Insert hinge into the gap
Hinge is hooked in place
C Configuration with Potential Desk Locations Prototype Revisions 231
REVISED BUILD PROGRAMME SEPTEMBER
UNIT A
UNIT B
UNIT C
UNIT D
UNIT E
UNIT F
UNIT A - MAIN BODY AND HOUSING Ply / cork ordered A01 / A02 / A04 / A05 sent to RASKL to be cut Components assembled A03 components cut in-house A03 components assembled A03 attached to Unit A Unit A continue to be assembled
DESIGN
A05 attached to Unit A Unit A continue to be assembled A04 components cut in-house A04 attached to Unit A Unit A to be assembled
OCTOBER UNIT B - INTERNAL SLIDING PANELS
CHARETTE WEEK
B03 / B04 components discussion Unit B components design developed
INDUCTION WEEK
*
Plasterboard / Foam sheet / Woodwool boards / rollers / track ordered B03 / B04 Plasterboards prototype components cut in-house B03 / B04 Plasterboard prototype components assembled in-house B03 / B04 Plasterboard prototype components attached to Unit A B03 / B04 Card prototype components cut in-house
NOVEMBER
B03 / B04 Card prototype components assembled in-house B03 / B04 Card prototype components attached to Unit A
*
Valchromat sheets ordered
*
B03 / B04 components discussion B01 components design development B01 components cut in-house B01 components assembled B03 / B04 components discussion B01 component sanded and finished B01 attached to Unit B B03 / B04 components discussion
DECEMBER
(1ST PROTOTYPE COMPLETE)
RE MAP
B03 / B04 sent to RASKL to be cut Components assembled Unit B attached to Unit A B01 components cut in-house B01 components assembled B01 component sanded + finished B01 attached to Unit B
(2ND PROTOTYPE COMPLETE)
CHRISTMAS BREAK
JANUARY RE MAP 232 Prototype Revisions
Ordering Materials CNC Cutting (RASKL) Cut Attach Assemble Finish Delivery / Pick Up Design Components Group Meeting
UNIT C - WHEEL BASE Wheels + ply ordered C01 sent to RASKL to be cut Components assembled C01 component discussion C01 components cut in-house C01 components sanded and finished Components assembled Unit C attached to Unit A UNIT D - HINGE HOUSING D01 sent to RASKL to be cut Unit D attached to Unit A D03 / D04 components cut inhouse D03 / D04 attached to Unit A Components cut in-house Components assembled UNIT E - INTERNAL HINGE COMPONENTS Components cut in-house Components assembled Unit E attached to Unit D Bungee cord ordered Components assembled Unit F attached to Unit A UNIT G - TABLE Unit G components design development Components cut in-house Components assembled Unit G attached to Unit A
TIME MANAGEMENT PROBLEMS ENCOUNTERED
CHARRETTE WEEK The original intention for the build programme was to have the design built and ready to install the week following charrette week. However, the programme underestimated the amount of time needed to fully design the project to a stage ready to begin building. The original thought process was that the full team would not be involved in charrette projects, allowing the full week to develop the design begin building the installation. This was not the case, and was reflected in the struggle to meet the programme schedules set. INDUCTION WEEK The following week was intended to use the university workshop to build the prototype panels. This would have allowed the build to be completed before the start of the academic year. However the university workshop was unavailable in this week, this affecting the build programme. COMMUNICATION Much of the project has required communication with external companies, such as sourcing material qualities, pricing, available dimensions and delivery times. Once materials were sourced, the payments for these had to be processed through the University Accounts Department, which brought with it numerous delays and difficulties. For example, important orders for material were left forgotten for a full week, before being chased up. Sometimes orders processed were for the wrong amounts which impacted on the time scale, and due to the University opening hours a couple of orders took a long time to re-deliver. There were also difficulties encountered while trying to arrange for CNC cutting services, with numerous companies being contacted before finding RASKL, a local design business.
Prototype Revisions 233
PROTOTYPE BUILD ANALYSIS UNIT E05-13
UNIT E01-04
1. CORD TIGHTENING DETAIL (fig 15.6) This component turned out to be difficult when translated from drawing to building. Changes to be addressed: Dowel to be extended further. Allowance of 5mm for the cut outs and handles. Detail configuration to have an axis at the centre of the handle. Future design will be simplified.
2. ROPE ALIGNMENT HOLDER (fig 15.7) Although an original prototype was made to test these parts, adjustments can still be made: Channel to be at least 3mm wider than rope. Configuration design should be identical even when mirrored to avoid confusion.
UNIT D
UNIT A01
3. HINGE HOUSING (fig 15.8) The design of the housing seemed overly complicated with too many parts once building began. Changes required are: Less complicated design. Plywood side finishes to match other visible surfaces. Outer front & back layers to be glued after screwed. Boxed off to allow for a clean, straight alignment.
4. CORK LAYER (fig 15.9) The cork finish applied to the panel installation worked well, cuts were smooth and it lined up perfectly with the plywood cut out. One change would be to: Attach the plywood last, to allow for screwing together of the panels, frames and units. Cork applied last would cover these, and limit damage.
UNIT A04
UNIT A01-02
5. SIDE PANEL (fig 15.10) The birch plywood side panels were cut out manually using a jigsaw. Future changes include Increase the thickness and rigidity. Amend necessary drawings in order for future CNC cutting.
6. CORK AND PLYWOOD (fig 15.11) Once the panel piece was cut some of the internal structure of the panel was visible. Changes required are: Bottom row to be removed and side columns to be brought inward in order to cover the fixings from view.
234 Prototype Revisions
UNIT C
UNIT B03-04
7. WHEEL BASE (fig 15.12) A number of changes are necessary for the wheel base: 15mm thick with steel plates for added strength and rigidity. Legs to be chamfered to pass underneath the other units. Screw ends to be minimal in order to avoid affecting the wheel rotations. Timber supports within base for a secure fixing point.
8. INTERNAL PANELS (fig 15.16) From the initial prototype to the rebuild there were problems with the sliding inner panels. To solve this: Stopping mechanism required, by attaching magnetic catches to hold the panels in each place. The strength of these needed to be diluted in order to allow the handle movement to require only a slight force.
UNIT A03
UNIT AB01
9. INTERNAL FRAME (fig 15.13) The internal frame was designed to strengthen the installation and provide more rigidity. However, this increased the weight considerably: Frame elements could be reduced in width to decrease weight and visibility during use.
10. HANDLES (fig 15.17) AFFORDANCES A number of different materials were trialled for the handle design, settling on a leather finish and a birch plywood finish for the initial prototype. Leather handle was weak, difficult to push the sliding panels. Birch Ply handles to be implemented in final phase.
UNIT A04
UNIT A
11. STEEL HINGE (fig 15.15) As only two of the panels are joined using the dual rope hinge, the third panel is connected using two steel hinges. Improvements to be made here are: Birch Plywood surface to be cut so the steel hinge can be sunk, having a flush finish to close neatly.
12. BUILD PROCESS (fig 15.18) During the building process a number of faults were identified and rectified at the time: Fix the last panel with a connection to the side panel, to allow for easy removal for maintenance/change.
Prototype Revisions 235
REVISED PROTOTYPE BUILD PROCESS
1. Previous corrugated cardboard panels are removed. (fig 15.19)
2. Timber handles are attached to the valchromat panels. (fig 15.20)
3. The wheels are screwed onto the top and bottom. (fig 15.21)
4. Valchromat panels and wheel springs are adjusted to fit. (fig 15.22)
5. Panel is measured and cut for the magnetic catch. (fig 15.23)
6. Magnetic catch is attached to the valchromat panels. (fig 15.24)
7. The magnetic catch is tested and adjusted. (fig 15.25)
8. The magnetic catch is fixed onto the panels. (fig 15.26)
236 Prototype Revisions
9. Orange valchromat is adjusted due to material defects. (fig 15.27)
10. Valchromat interiors are fixed to their respective panels. (fig 15.28)
11. Plywood table and hinges are measured and cut. (fig 15.29)
12. Hinges are glued to timber strips. (fig 15.30)
13. Hinges are screwed into place. (fig 15.31)
14. The table is tested with the panels. (fig 15.32)
15. Prototype is transported to site. (fig 15.33)
16. Prototype is installed into the Thirteen Group Office. (fig 15.34) Prototype Revisions 237
COMPLETED PROTOTYPE
Z Configuration (fig 15.35)
238 Prototype Revisions
Elongated L Configuration (fig 15.36)
C Configuration (fig 15.37)
Elongated L Configuration (fig 15.38)
Prototype Revisions 239
USER GUIDE All objects for human interaction require a balance between intuitive design (see Affordance Theory p.23) and instruction for their successful use. The purpose of giving a lecture to the current third years on how to use the installation before placing it in the studio was to give the students the instruction to accompany the intuition. Despite this, feedback still implied that many users were not aware how to use the installation or much of its functionality. Users often commented that they would like the installation to function in a particular way without realising that it already did this. Therefore it was clear that a different approach would be needed to inform the users in the office environment how the installation works. A short user guide was compiled and attached to the installation allowing users to examine at their leisure. It is hoped this will inform the users better than the previous lecture did and lead to more useful feedback. The User Guide gives users information about:
RESEARCH
The aim of the research project
INSTALLATION
Basic information about the installation
RECONFIGURE
A setting out of some of the possible configurations of the installation
LOCK
An explanation of how the locking mechanism works
TIGHTEN
An explanation of how the tightening mechanism works
HOOK
An explanation of how the new hook-on tables work
SLIDE
An explanation of how the sliding panels work to control privacy
PIN
An example showing how work can be pinned to the installation 240 Prototype Revisions
User Guide Pinned to Prototype (fig 15.39) Prototype Revisions 241
16
WORKPLACE MAPPING
242 Workplace Mapping
A post occupancy review was then caried out with the installation in place in the professional office. The office chosen as a test site for the installation was Thirteen Group, a housing association company based in Stockton-on-Tees. The office space is already designed to encourage the opportunities for chance social interactions and new relationships, implementing agile workplaces. Therefore the innovative nature of this environment and their readiness to embrace original and unconventional ideas
makes them a suitable candidate for testing the installation. Mapping in this environment will enable an understanding of how the installation is used in a working environment as opposed to a learning one, testing the installation against a key part of the brief which was to provide a space that works for both working and learning environments and encourages the opposing behaviours in each, in this case encouraging learning in a workplace environment.
The mapping techniques used in this review are as close as possible to the techniques used in the post occupancy review for the learning environment; this is to enable meaningful comparison between
the two. Mapping techniques again include static snapshot analysis, density analysis, psychology overlays, time-lapse photography and a questionnaire.
Prototype Installed into Thirteen Group Office (fig 16.1) Workplace Mapping 243
WORKPLACE: THIRTEEN GROUP B
MAPPING PROGRAMME 03/01/17 (2 persons) 10am Installation Mapping (10 minutes interval every 2 hours) 04/01/17 (1 person) 9am
Mapping (10 minutes interval every 2 hours)
05/01/17 (1 person) 9am
Second Floor
A
Mapping (10 minutes interval every 2 hours)
06/01/17 (2 persons) Mapping 9am (10 minutes interval every 2 hours) 3pm Group Focus Meeting (15-20 minutes with 2-3 people) 4pm Removal Mapping Delivery Focus Meeting
B
LOCATION A FIRST FLOOR BY THE ATRIUM (PROPOSED BY CLIENT) This area is monitored by CCTV which would be a great advantage to know how often it is being used without setting up a time lapse.
First Floor
A
LOCATIONS B VARIOUS LOCATIONS WITHIN THE OFFICE WORKSPACE As these areas incorporate a more thorough interaction within the working environment of the office, the installation could break up these spaces, providing different uses depending on the need at the time. Mapping in the office will provide evidences on how the pod is being used which would allow an understanding of the outcome of these hypothetical applications of environmental psychological considerations in design. This will then be further analysed to come to a conclusion for the resolution of this research project.
B
Ground Floor
244 Workplace Mapping
CHOSEN SITE A Location A was the preferred choice of site made by the client due to it being in a slightly out of the way atrium space next to existing furniture for meeting space and having constant CCTV monitoring. This is not the choice that would have provided the most necessary results, due to being out of the way of much of the staff.
EXISTING FURNITURE MAPPING
C
B
A
Casual Seating
A
B
C
Semi - Informal Meeting Space
Informal Seating Space
Private/ Guest Work Space
Seats 6
Seats 8
Seats 3
Mean Usage = 2
Mean Usage = 1
Mean Usage = 1 Workplace Mapping 245
STATIC SNAPSHOT
246 Workplace Mapping
Using static snapshots as part of the baseline mapping allowed analysis and evaluation of how the studio space was used by its occupants throughout the day. This gave a clear understanding of the space and also informed the further design concept and development. Of all the previous mapping techniques this was one of the most useful in terms of providing data that would inform the design process most. The previous snapshots identified areas of high activity, areas of low activity, routes through the space, areas where conversations take
place and areas where personal working takes place. In addition the data obtained from the snapshots was able to confirm and support conclusions drawn from other mapping methods. For example the snapshots show that people round the edges of the space tend to work more solitary and wear headphones, this conclusion was also reached during the student interview. All of this data and was taken into consideration when designing the installation itself, and also the masterplan of the space.
The technique for carrying out this mapping was identical to the previous session. The stage three studio was observed in ten minute blocks once every two hours, between the hours of 09:00-21:00, over a seven day period. The aim is observe activities such as desk usage, the types of work carried out
and whether this is individual or group work. The data again provided a density figure for the space which determine whether the space is under or over occupied and whether this has an effect on the activities being carried out within the studio.
LOCATION:
First Floor Corridor Space(Thirteen Group Office)
DATE (TIME):
03/01/17 â&#x20AC;&#x201C; 06/01/17 Observations over the period when the space is used and when there is an interaction with the prototype.
OBJECTIVE:
To investigate and observe how people use the space in different ways with the prototype in place.
HYPOTHESIS:
Occupants use the space and prototype in a number of different ways, for individual work space, for meetings and conversations in response to the new prototype in place.
CONTROLLED VARIABLES:
The existing furniture layout in the corridor space
RESPONDING VARIABLES:
The number of occupants that interact within the space The change in the prototype configuration
EXTERNAL VARIABLE:
The number of staffs working in the office The scope of works and work schedules
MATERIALS / EQUIPMENT: Camera
1 2 3 4 5 6
METHODOLOGY / PROCEDURES:
The time of the observation period is recorded. The condition images taken. Count the number of existing occupants within the space. Observe the activities of the occupants within the space. The information will be recorded in a plan format using symbols to represent activities. The information across all observation time periods will be collated and represented.
LIMITATIONS:
The existing spatial furniture offers similar functions to the prototype
Workplace Mapping 247
STATIC SNAPSHOT MAPPING SELECTED MOMENTS
3
01.08 Female WC 27 m²
A 13.30 L 14.15
A 15.00 L 15.05
4
A 11.25 L 11.30
D.01.23
3
01.08 Female WC 27 m²
5
D.01.23
A 13.30 L 14.15
D.01.25
D.01.25
D.01.08
D.01.08 D.01.07 A? L 13.00
A 13.30 L 14.00
1
2
10.45
D.01.07
14.00
13.05
2
4 14.10
14.30
6
9 10 14.35
7
01 .1 5 ir S ta E s ca pe ² 25 m
2
4
A 10.45 L 13.00
A 13.05 L 17.00
14.20
8
E le
1 A 10.30 L 11.25
12 15.50
01 .1 5 ir S ta E s ca pe ² 25 m
0 T en
UP
11 14.50
E le
0 T en
UP
UP UP
03/01
03/01/17
First day of installation within the office environment, received no use from staff. Set up the configuration to allow for individual work spaces, with desks included. Existing meeting and break out spaces within the atrium have been used to hold meetings and private phone calls. As this was the first day of the installation being placed within the atrium and by existing furniture for similar tasks, staff may be wary of usage.
248 Workplace Mapping
04/01
04/01/17
As clearly visible, there has been much more interest paid to the installation by staff beginning to question what it is, why it is situated in their office space and how it is supposed to be used. Sliding panels have been the main focus of interest from staff, moving the handles to see how it changes the visual qualities. Although a large amount of interest has been shown, existing furniture is still the main choice for staff. The majority of staff are meeting in the space in small groups, visibly making a conscious decision to choose a space where they can sit facing each other.
01.08 Female WC 27 m²
01.08 Female WC 27 m²
D.01.23
D.01.23
D.01.25 5
D.01.25
11.50
D.01.08
D.01.08
D.01.07
10.45
4
A? L 10.45
1 7
4
8
A 13.30 A 11.05 L? L 11.40
10.45
14.17
D.01.07
12.45
4
6 14.20
A 11.05 L 11.30
10.55
1
A 13.24 L 15.05 A 14.55 L 15.03
3
2
10.15
3
5
2
01 .1 5 ir S ta E s ca pe ² 25 m
01 .1 5 ir S ta E s ca pe ² 25 m
E le
E le
0 T en
0 T en
UP
UP
05/01
05/01/17
06/01
06/01/17
The installation is set up to create a private, contained space as well as a working space open to both the atrium and the void to the cafe.
The installation has been arranged in the T configuration to offer more privacy from the open atrium space, with desks set up in opposing areas for singular work spaces.
There have been a number of interactions between staff and the installation, mainly through curiosity and an interest in the product, as well as short private phone calls being taken at the desk available.
Three group meetings have taken place in the atrium, with one of these, involving two members of staff, using the installation to have a short conversation.
All sit-down meetings have taken place in the adjacent space for long periods of time. Overall, mapping the installation in the Thirteen Group office environment could have been improved through an allowance by the management to set the installation up in working areas, rather than an atrium space away from the main office floor. Existing office furniture has successfully provided an analysis of the importance of user functionality and has offered an insight into behaviourisms which was not available within the studio mapping exercise. The static snapshot had to be amended to map all interactions throughout the day rather than at 10 minute intervals due to the lack of user density and movement through the area. More occupants began to interact with, question and use the installation once other members of staff were getting involved. Adjacent furniture had a high occupancy. It provides a meeting space with a desk allowing for discussion face to face. This is not possible with any of the prototype’s configurations.
Workplace Mapping 249
ENVIRONMENTAL PSYCHOLOGY
TERRITORIAL MARKERS The office environment is more formal than the studio environment, and therefore the presence of territorial markers in the space is reduced or none existent. This is due to two factors, the first being that often in an office the spaces are not occupied by the same person each time (hot-desking or social spaces) and therefore territorial markers are not appropriate, secondly where spaces are occupied by recurrent users they have often been assigned this desk by management, and therefore the need for territorial markers is reduced as there is no threat to the territory.
PERSONALITY Due to the lack of a formal employee interview, it was not possible to map the personality traits of the users, therefore as in the studio re-mapping the diagrams opposite speculate where people of different personalities might choose to position themselves, these speculations have been made based on the previous reading and findings of environmental psychology theory. It was felt that due to the way in which the installation was discussed and used during the mapping period, a more informal approach to feedback was more beneficial than a formal interview.
SOUND The heat map on the diagrams opposite represents the noise levels in the space. Specific decibel readings for this space were not taken as then decibel readings measure sound levels, and in a small space like this the sound levels do not fluctuate greatly across the space. Noise is a measure of unwanted sound in that particular space relevant to the tasks being undertaken, whereas sound is a measure of volume alone. For example an environment can be deemed too noisy for reading, but optimal for drawing, despite the sound level remaining the same. Therefore the diagrams opposite display where the sources of noise originate, for example from the voids opening to lower floors and the stairwell are sources of noise. The data for this analysis was taken from anecdotal evidence taken during the mapping process.
PERIPHERAL VISION The diagrams opposite show the peripheral vision of the users interacting with the installation in the various configurations. The information for this peripheral vision is based on the previous reading and findings of environmental psychology theory.
250 Workplace Mapping
03/01/17
04/01/17
05/01/17
06/01/17
Workplace Mapping 251
TIME-LAPSE PHOTOGRAPHY
252 Workplace Mapping
The time-lapse photography carried out during the previous mapping session enabled us to gain a wider understanding of how the installation is used. In order to compare how the installation was used in the educational and workplace environments it is necessary to carry out an identical review. However conditions for the office mapping differed from the studio mapping and therefore it was not possible to use the same technique as previously. The previous timelapse images were obtained by reviewing a condensed video recording of the whole
day. Whilst this was useful in picking out interesting elements of the footage it was observed that the images produced were not detailed enough to gain a proper understanding of how the installation was being used. It would also not have been productive to take a still image at regular intervals, as it would have been likely that many of the images would have shown nobody using the installation. Therefore a still image was taken whenever the installation was in use and these images were compiled to form a time-lapse story board.
The aim is observe how users interact with the installation; the activities carried out when using the installation and whether this is individual or group work. In the selected
images, points of interest are highlighted allowing for them to be evaluated against the other mappings to strengthen the results.
Prototype Installed Time-Lapse Prototype intoPhotography Thirteen in Tutorial Group Detective Office Setup (fig (fig16.2) 12.2) 6.2) Workplace Mapping 253
TIME-LAPSE MAPPING SELECTED MOMENTS
T SHAPE WITH HOOK TABLE IN USE Small group meeting taking place, two people are sat at the desk and one is standing
IN TRANSITION The installation is being moved into a new position by two people
ELONGATED L SHAPE Presentation discussion, the users are stood discussing something on the wall.
254 Workplace Mapping
ELONGATED L SHAPE WITH HOOK TABLE IN USE The group are discussing something on the other side of the wall, the hook table is applied on the other side however is not in use.
ELONGATED L SHAPE WITH HOOK TABLE IN USE The group are discussing something around the table, two people are sat at the table and one is standing
DEFAULT CLOSED-UP There is no activity taking place with the installation.
Workplace Mapping 255
QUESTIONNAIRE
Using a questionnaire as part of the baseline mapping and studio post occupancy review provided an effective means of measuring the behaviour, attitudes, preferences, opinions and intentions of occupants within the stage three studio. This technique was therefore repeated for the post occupancy review of the office.
The questions were designed so that a comparison can be made with the questions in the higher education post occupancy review. However some were altered to relate specifically to the office environment. These questions were put together in collaboration with one of the Thirteen Groupâ&#x20AC;&#x2122;s managerial staff. For example questions were asked about
256 Workplace Mapping
The feedback from the studio review highlighted that users did not fully understand the installation, so therefore by producing a user guide to keep with the installation when in the office setting, users can inform themselves about how it is intended to be used. whether the employees felt an installation of this type would affect the office in various ways. The questionnaire included a mixture of quantitative and qualitative questions to allow for both objective statistical data analysis as well as subjective and anecdotal feedback.
HAVE YOU USED THE INSTALLATION? Yes No
HOW OFTEN DO YOU USE THE INSTALLATION? Every day A few times a week Once a week Less than once a week
WHAT DO YOU USE THE INSTALLATION FOR? Meetings Taking Calls Personal Working Presentations Relaxing/Socialising Curiosity
WHAT IS YOUR GENERAL FEELING TOWARDS THE INSTALLATION? Positive Neutral Negative
DO YOU THINK AN INSTALLATION OF THIS TYPE COULD IMPROVE THE OFFICE SPACE? Yes No No Change
DO YOU THINK THIS TYPE OF ADDITION TO THE OFFICE WOULD INCREASE PRODUCTIVITY? Yes No No Change
WOULD AN INSTALLATION OF THIS TYPE INCREASE YOUR ABILITY TO CONCENTRATE AT WORK? Yes No No Change
WHAT DO YOU LIKE ABOUT THE INSTALLATION? WHAT DO YOU DISLIKE ABOUT THE INSTALLATION? WHAT IMPROVEMENTS WOULD YOU MAKE TO THE INSTALLATION?
Workplace Mapping 257
HAVE YOU USED THE INSTALLATION?
WHAT DO YOU USE THE INSTALLATION FOR?
Just over half of the respondents have actually used the panel installation while situated within the office. This will have an impact on the type of responses the questionnaire brings up.
In contrast to the studio environment, the office staff note that the installation is used a lot more for personal calls and work, suggesting that in the office space the privacy aspect may be more important for use than meeting space.
HOW OFTEN DO YOU USE THE INSTALLATION?
WHAT IS YOUR GENERAL FEELING TOWARDS THE INSTALLATION?
Given that a lot of the respondents have not tried out the design, it is not surprising that there are not many uses per person per week.
258 Workplace Mapping
These results are similar to the studio respondents, with a majority having positive feelings towards the design, although there are a number of mixed responses.
DO YOU THINK AN INSTALLATION OF THIS TYPE COULD IMPROVE THE OFFICE SPACE? Three quarters of the staff from Thirteen Group were in favour of feeling that the installation would improve their office space if implemented.
WOULD AN INSTALLATION OF THIS TYPE INCREASE YOUR ABILITY TO CONCENTRATE AT WORK?
Concentration and focus was a key part to the design, and there were more positive responses found here than asking the same question in the studio environment which implies that this is dependant on the type of area in which the installation is implemented.
DO YOU THINK THIS TYPE OF ADDITION TO THE OFFICE WOULD INCREASE PRODUCTIVITY?
There were mixed reviews returned on whether the installation would increase the users productivity within the office environment. This is understandable as it is dependant on the type of personality and how they feel they would benefit from different working space.
Workplace Mapping 259
WHAT DO YOU LIKE ABOUT THE INSTALLATION? “Ability to cut down on noise in open plan offices and have a more personal space in an impersonal workplace.”
“Functional”
“Portable”
“
“The idea.”
“Light and easy to set up, they may be especially useful in schools where smaller exam rooms can be set up quickly and easily whilst still providing some privacy from peers.”
Its ability to cut down on noise in open plan offices and have a more personal space in an impersonal workplace
“Modern and innovative.”
“Versatile”
”
“Portability and ability for different configurations.”
“I think that it will be very good for low-budget projects/companies which require a mobile working desk that still provides some degree of privacy.”
“Durable”
“Imaginative and I could see how it would be appropriate for a new building i.e. working from a blank canvas.”
“Privacy”
“Gives privacy whilst also having an element of open plan.”
WHAT DO YOU DISLIKE ABOUT THE INSTALLATION? “Does not co-ordinate with the other office furnishings.” “The design.”
“
“Difficult”
“Does not attract me to go and work at the station.”
It does not adequately replace the privacy of a separate room, or the practicality of having personal desks fitted with a set of drawers.
“Bulky”
” “Appearance”
“Could still be distracted.”
“Un-appealing.”
“I don’t think that it fits the aesthetic of an office, holes in the sides reduce the level of privacy offered for any staff working with confidential information. Although it is a cheaper alternative to a traditional office set-up, ”
“Unattractive”
“Cheap”
“Appearance.”
“Raw wood and a coat of paint would have looked more pleasing.”
“Prison-esque” 260 Workplace Mapping
“Too big and bulky.”
“On a practical point, the surface material on the desk is very abrasive.”
WHAT IMPROVEMENTS WOULD YOU MAKE TO THE INSTALLATION?
“Aesthetics”
“Mechanisms on the finished product should be super smooth.”
“Design”
“
“More aesthetically pleasing.”
You could improve the looks of the installation and make it a more welcoming environment for users to sit at
“Could be developed to look a little cosier.”
“Colourful”
”
“Could be built with better materials.”
“Slicker design, without losing the agility of the unit.”
“Better design, could be colourful in order to attract staff.”
“Complete”
“Change appearance to look complete rather than half finished.”
POSITIVE
There were a great deal of positive responses from the Thirteen Group staff, with many being very intrigued by the installation. A number of comments interestingly focus on how this could be used to begin breaking up office environments temporarily, due to its portability and ease of use. This is something that we were trying to bring through from our initial research into workplace design and the psychological aspects to be incorporated, so it is great to see that some of the respondents have found this successful.
NEGATIVE
The majority of negative comments towards the panel installation have been focused around the material choice and appearance of the build, which can be understood in some ways as many parts of it are still in the initial prototyping stages. This is something that can be taken into account if we were to produce a final, crisp and clean end product. Other comments contradict positives, such as being bulky and difficult to move, and that it doesn’t actually give much privacy.
IMPROVEMENTS
A number of interesting proposals and improvements to our design were made by the respondents. Design and the visual aesthetics seemed to be the most prominent features to improve on, which is something that could be revisited when offering suggestions for future developments if we were to take this prototype to the next stage. Surprisingly to us, making the design more welcoming and comfortable to the users was an important view which originally wasn’t something we necessarily seen as being a problem.
OVERALL
Overall, we had a surprisingly larger number of respondents from the Thirteen Group office staff, and the detail and range of views was very intriguing and helpful to begin understanding how our design has been received and how much it has achieved the uses which we intended it for. Similarly to the studio questionnaires, these show a level of conflict between many opposite views. However, due to the fact that only 54% of respondents actually used the installation, this will most definitely have had an impact on their views of the design and usability.
Workplace Mapping 261
WORKPLACE CONCLUSION MAPPING LIMITATIONS The installation was generally well received in the office environment and the mapping process allowed for an in-depth analysis and understanding of how the installation works in such an environment, however the mapping still had its limitations: The mapping period was only one week and therefore whilst the installation was used in this time it would have still felt quite unfamiliar to the employees and therefore there may have been a reluctance or nervousness to use it. Having the installation in place for a longer period of time may have resulted in more established and therefore more viable results The installation was placed in a social space in the office rather than one used solely for working and whilst there were no rules against working in this space the area was generally not used for this purpose. This meant that the users were less likely to work in this space due to the pre-defined culture of use in that space. The office is already well-designed and provides many alternative working spaces, meeting spaces and social spaces, therefore in many cases the needs of the employees are already met by the existing furniture in the space, making them less likely to use the new installation they are not used to. For example it was observed that groups of employees would approach the installation and explore it, but then retreat to the adjacent meeting space to hold their meeting rather than hold it in the installation. Certain methods of mapping that were planned were not possible in reality, for example it was originally hoped that the CCTV recordings could be analysed to gain an understanding of the installation use over a whole working week, however due to data protection this was not possible. This meant that the only visual recording of the installation in use was by means of photographs taken by the mapping personnel, who at the time thought they could rely on CCTV images for recording and were therefore not as thorough with the photography as they may otherwise have been.
EMPLOYEE FEEDBACK The feedback received from Thirteen Groupâ&#x20AC;&#x2122;s employees was generally more constructive than the studio feedback. The comments implied that the employee users understood the installation more than the student users as their feedback did not ask for features that were already present of complain about features that had a clear purpose. This may have been due to the presence of the user guide. The employee users motivations also differed from the student users, the employees were mostly concerned about the aesthetic of the installation, this may be due to the fact that they work in an environment that has been specifically designed to reflect the company values and branding, with constant colour schemes and quality of fittings and furnishings, anything that doesnâ&#x20AC;&#x2122;t match these current standard can feel inferior. There were no comments about the installation being to large or imposing, which may be due to the fact the installation was placed in an area which did not directly infringe on their territory.
262 Workplace Mapping
LEARNING POINTS
Placing the installation close to existing spaces that offer some of the functions of the installation, for example small group meeting, means users are more likely to choose to use the existing facility rather than the new one due to familiarity.
The installation provides a semi-private space for when users feel the need for more privacy however do not want to appear to be deliberately closing themselves off, for example many users choose to make phone calls in this space rather than at their desk or in a private meeting room..
The lack of any defined territories in this space increases use of the installation due to a universal knowledge that the space is free for anyone to use. This is a rule enforced by management that is not present in the studio environment.
The lack of any unclaimed items in the space also increases use of the installation. This is also a rule enforced by management that is not present in the studio environment.
The installation works better in a semi-controlled environment, as too much choice intimidates users.
MAPPING PROCESS
The presence of the user guide is believed to have greatly improved the education of the users meaning they were able to use the installation much more effectively. Different types of users have different motivations and therefore will give different feedback on the installation. The second revision of the design is still not fully developed and could be revised further to improve the functionality and success of the installation. The short mapping time period limited the sophistication of the post occupancy data that could be obtained. This also meant that social learning theory (see page ??) could not be implemented as employees did not have time to learn from each other about how to use the installation.
Workplace Mapping 263
17
CONCLUSIONS The conclusion sets out the key learning points from the research undertaken. The key learnings of the project are stated to set the stage in to answering the 5 key questions
asked initially and used to drive the project. The structure of the conclusion is set out as follows;
PROTOTYPE / BRIEF ANALYSIS Analysis of overlaying design brief with how the prototypes performed in comparison, allowing for comprehensive evaluation of key psychological points that give the project important lessons to be learnt and to further prototype refinements.
PROTOTYPE 3.0 Analysis of the brief and mapping feedback allows for further development and refinements to be made
SPACE MAPPING COMPARISON Analysis of the higher education and office space mapping, comparing and contrasting the lessons learnt in both instances.
264 Future Considerations
â&#x20AC;&#x2DC;TOOL KITâ&#x20AC;&#x2122; Using the methodologies and conclusions learnt a tool kit can be created in order for others to carry out similar research in their respective environments. OVERALL CONCLUSIONS
Prototype with Desks (fig 17.1) Future Considerations 265
PROTOTYPE IN COMPARISON TO BRIEF RELAXATION - CONTEMPLATION PERSONAL SPACE
TERRITORIALITY
DENSITY
PRIVACY
AFFORDANCE
STIMULATION
OPPORTUNITY FOR INTERACTION ATTENTION RESTORATION
COMFORT
INTERNAL ACOUSTICS (DB)
ACOUSTICS POLLUTION EXCLUSION
Intimate
Primary
Personal
Social
Secondary
INDIVIDUAL WORKING - SOLITUDE
Public
Intimate
Public
Primary
Personal
Social
Secondary
Public
Public
Low Density
High Density
Low Density
High Density
Private
Public
Private
Public
Low
High
Low
High
Low
High
Low
High
Low
High
Low
High
Low
High
Low
High
Low
High
Low
High
60
40
60
Low
High
Low
High
0
1000
0
1000
Blue
Red
High
Low
40
LIGHTING LEVEL (LUX) LIGHTING COLOUR
SIZE llLegend Original design brief markers Actual markers post-build
266 Future Considerations
Red
Low
White
White
Blue
High
GROUP WORK - COLLABORATION PERSONAL SPACE
Intimate
TERRITORIALITY
Primary
DENSITY
Low Density
PRIVACY
AFFORDANCE
STIMULATION
OPPORTUNITY FOR INTERACTION ATTENTION RESTORATION
COMFORT
INTERNAL ACOUSTICS (DB)
ACOUSTICS POLLUTION EXCLUSION
Personal
Social
PRESENTATION - EXHIBITION
Public
Intimate
Public
Primary
High Density
Low Density
High Density
Private
Public
Private
Public
Low
High
Low
High
Low
High
Low
High
Low
High
Low
High
Low
High
Low
High
Low
High
Low
High
40
60
40
60
Low
High
Low
High
0
1000
0
1000
Blue
Red
High
Low
Secondary
Personal
Social
Secondary
Public
Public
LIGHTING LEVEL (LUX) LIGHTING COLOUR
SIZE
Red
Low
White
White
Blue
High
Future Considerations 267
ENVIRONMENTAL CONSIDERATIONS PERSONAL SPACE Intimate
Personal
COMFORT
Social
Public
Low
Public
Low
High Density
40
Public
Low
High
0
High
Red
High
Low
TERRITORIALITY Primary
ATTENTION RESTORATION
Secondary
DENSITY Low Density
High
LIGHTING LEVEL (LUX) 1000
LIGHTING COLOUR
STIMULATION Low
60
ACOUSTIC POLLUTION EXCLUSION
AFFORDANCE Low
OPPORTUNITY FOR INTERACTION Low
High
INTERNAL ACOUSTICS (DB)
PRIVACY
Private
High
White
SIZE
The above environmental considerations factors were important in developing a design brief which would allow an analysis of psychological and physical conditions and the required settings for four behaviour settings, in order to inform a proposal for the build. By re-examining these considerations post-build, it is possible to judge areas in which the physical installation has been successful or highlight areas which may still need development in a further iteration. Territoriality, privacy, stimulation and size are all factors which have proven successful to the original intent. Although the studio and office environment foster quite different behaviours from occupants, the flexibility of the installation and its various configurations allowed for a bridging between these differences. Acoustic properties, although affected by the configuration set up, proved difficult to control and for practical reasons became less important to the design intent.
268 Future Considerations
Blue
High
Highlighted below are four important considerations that have been evaluated further;
PERSONAL SPACE Intimate
Personal
Social
Public
Personal space consideration range alters considerably within the different behaviour settings highlighted. Currently, there is a lack of fully intimate space available to the user as due to the design configuration not allowing full enclosure for relaxation, however in practice it was found that this was not necessarily needed. A design flaw highlighted was that users were unable to detach the table for meetings face to face, rather than side by side, thus unwillingly having to invade their personal space. In the proposed redesign (refer to p274), amendments will be made in order to rectify this.
PRIVACY Private
Public
The psychological impact of varying levels of privacy being available to occupants is very important to consider, as proven through research and findings, often contributing to unsuccessful design solutions in the workplace. Thus, it was essential that a main focus be placed on successfully achieving a built solution capable of adapting to these user requirements. As visible in the design brief overlay, a range of privacy settings have been achieved due to the ability for various configurations and integrated sliding panels for changing privacy levels within the space created. This sense of control is paramount to allow both single occupants and groups to achieve privacy (Altman, 1975).
AFFORDANCE Low
High
The relationship between affordance theories and the usability of the installation for a generic occupant has proven to be of importance. Although most behaviour settings are achieving a mid-high range, this is not quite reaching the desired target. Design features have perceptional influences on the user and by improving a number of these features it will be possible for users to further understand how the installation can be implemented. This also aids in creating a perception of control of the user over the installation, control theory (Refer to p.13), which further enhances the overall experience of the space.
OPPORTUNITY FOR INTERACTION Low
High
From the original design brief the parameters indicated were defined by the view that an opportunity for interaction was the number of occupants using the built element at one time, yet testing and mapping has highlighted that the opportunity for interaction should be defined as how successfully the installation is in creating an interaction with the environment. Therefore, this suggests that all of these parameters need to be raised higher in future developments. This links back to affordance theories and the comments above which indicate that affordances need to be improved to some degree in order to encourage interactions.
Future Considerations 269
SPACE MAPPING COMPARISON ARCHITECTURE STUDIO MAPPING
WORKPLACE MAPPING
The users were unfamiliar with the installation and therefore feel nervous or unsure of how to use it.
The users were more likely to users are more likely to choose to use existing facilities provided rather than the new one due to unfamiliarity with the new installation.
Users created privacy for themselves by use of headphones.
The installation provided a semi-private space for when users feel the need for more privacy however do not want to appear to be deliberately closing themselves off.
The installation was seen as a threat to the occupantâ&#x20AC;&#x2122;s territory.
The lack of any defined territories in this space increased use of the installation due to a universal knowledge that the space is free for anyone to use.
Unclaimed items in the space affected the use of the installation.
The lack of any unclaimed items in the space also increases use of the installation.
The lack of management in the studio environment contributes to reasons why the installation was not well used.
The installation works better in a semicontrolled environment, as too much choice intimidates users.
Feedback focused on flexibility and adaptability .
Feedback focussed on privacy.
Feedback focused on ease of movability.
Feedback focussed on aesthetics.
The students were not given enough instruction to use the installation effectively.
The user guide gave users adequate instruction to use the installation effectively.
FAMILIARITY
PRIVACY
TERRITORIALITY
CONTAMINATION
CONTROL
POSITIVE FEEDBACK
NEGATIVE FEEDBACK
INSTRUCTION
270 Future Considerations
HOW COULD THE MAPPING EXERCISE AND REVIEW BEEN IMPROVED
The mapping techniques deployed were not consistent for each phase of the mapping, where the mapping process changes this creates inconsistencies in the research and weakens the argument. It also makes comparison and conclusion more difficult. In future mapping it should be ensured that the mapping techniques are identical.
Examples of where mapping techniques were not consistent include: Time-lapse â&#x20AC;&#x201C; Continuous CCTV recording of the professional workplace was not available to the research team. No other means of recording was carried out. A user interview was not carried out for either the studio or office mapping periods, therefore the findings of the initial baseline mapping interview could not be compared, subjects such as personality traits and conversations had to be speculated in further analysis.
Some mapping techniques were not identically replicated in further mapping as this would have been inappropriate for the research, for example initially the static snapshots were taken for a defined number of minutes at regular intervals, however in the office environment the installation only received intermittent use and therefore regular intervals would not have been appropriate as it may have resulted in inaccurate conclusions.
The time period mapped, in this case a period of one week, was insufficient to gain a thorough analysis of the installation in place. In further mappings the installation should be in place for a number of weeks before mapping takes place. This will allow the users to become familiar with the installation and begin using it before the mapping process starts. This will allow for a more reliable conclusion.
Future Considerations 271
HOW DID THE MAPPING EXERCISE ALTER / STRENGTHEN THE RESEARCH?
The baseline mapping allowed for a more informed design process. This evidence based design is something that is not common in current architectural practice.
The mapping allowed measurement of the success of the design based against the requirements of the brief and the usersâ&#x20AC;&#x2122; perception of success.
The mapping allowed the design to be adapted to most suit the user needs post-occupancy. It allowed the research team to learn from the use of the installation and use that information to adapt and improve the installation for future users.
The three mapping sessions combined strengthened the research conclusions and gave a more reliable result.
272 Future Considerations
HOW DOES THE RESEARCH FIT INTO ARCHITECTURAL PRACTICE?
The exercise of carrying out Post Occupancy Reviews, evaluating and altering designs as a result of the reviews is not currently common in architecture.
The current RIBA Plan of Work 2013 now includes two new work stages not present in previous work stages. The research and mapping process respond to both these new stages: Stage 0 – Strategic Definition is defined as ‘Identifying client’s Business Case and Strategic Brief and other core project requirements.’ The baseline mapping process fulfils this stage as the needs of the future environment and occupants were carefully understood before the design process began. The mapping process provided a deeper understanding of the environment and occupants and surpasses the standard site analysis approach normally undertaken in current practice. Stage 7 – In Use is defined as ‘Undertake In Use services in accordance with Schedule of Services’. Whilst the Plan of Work refers to post-occupancy evaluations in this stage the normal practice is to use the conclusions of the evaluations to inform further projects, however this research applies to post-occupancy review to the current project to adapt and improve it for current users.
It is standard practice to provide manuals for technical objects within the architecture during the handover process, e.g. air conditioning manuals. However it is not common practice to provide manuals for how to use the architecture itself, as it is expected in design that users will intrinsically know how to use the space in the way the architect intended. In this research the presence of the user guide recognises that users will not always know the intended use for an architecture. However this research applies to post-occupancy review to the current project to adapt and improve it for current users.
Future Considerations 273
PROTOTYPE 3.0
Prototype 1.0 (Higher Education Testing) (fig 17.2)
Prototype 2.0 (Workplace Testing) (fig 17.3)
Design and build, an engaging practical element to the document, has allowed improvements to be made through an iterative process. Changes which have been implemented, respond to the gathered data, feedback and an analysis of the design brief. A third iteration newly proposed, further refining the design, aims to improve occupant interaction and usability in both the higher education and work place environments. Firstly, in order to solve the weight issue, and therefore the perceived difficultly in movement described in feedback, the main structural framework is changed from timber to aluminium steel frame. This not only minimises weight but creates opportunity for the thickness of each panel to be further reduced. Secondly, comments from the workplace mapping questionnaires indicated the lack of light fittings and power sockets for charging technological equipment. Hence, the new proposed design will have lighting in each panel and power sockets built into the panel, connecting to an existing power source within the environment. A further point, derived from the initial brief, also prompted by the need to improve the new design in its psychological responses. Therefore a fabric blind installed in front of the sliding panels, partially blocking out vision and thus providing a solution to attention restoration. Building upon these theories will subsequently benefit users performance. A storage area within each panel is designed to allow the table and chair to be stored while providing additional legs to transform the hook-on table into an stand alone table to encourage a better group space scenario as shown in diagrams on adjacent page.
274 Future Considerations
Z - Configuration for Personal Workspace with Built-in Table and Chair
L - Configuration for Group Discussion Space with Stand Alone Tables and Chairs
Future Considerations 275
Axonometric of the Proposed Design
276 Future Considerations
Proposed dual rope hinge on all 3 panels to maximise more configurations on the existing installation.
Proposed lighting on each panel that can be rotated downwards when the settings change from group work space to personal work space.
Proposed new slot and pull mechanism to replace the current tightening mechanism for a more simple operation and reducing the need for wider housing.
Aluminium frame (12.7 x 12.7 x 1.6mm) box section to replace the current timber structural frame to reduce the overall weight and the thickness of each panel.
With the new tightening mechanism and aluminium steel frame, the overall thickness can be reduced by 60mm.
Proposed new design with fabric blind that allows for attention restoration.
Proposed new slotting chair and hook-on desk which can be stored at the bottom section of each panel.
Desk with groove and cut out to encourage temporary personalisation for stationary and cups. With a gripping edge to increase the affordances.
Proposed handles to be cut out from the same sliding panels to remove the need for screws. New rail system is introduced for easier maintenance.
The proposed external material will be made of valchromat given its similar density to plywood and the ability for better colour options as finishes.
Brakes on the castor wheels will be highlighted with bright colours to be more noticeable.
A power socket will be included on the sides of the middle panels that would serve all settings regardless of the configurations.
Future Considerations 277
FUTURE CONFIGURATIONS AND SETTINGS
C- Configuration with T-Configuration
L - Configuration, T - Configuration and Straight Configuration
2 Installation Modules
3 Installation Modules
Personal Work space
Personal Work space
Presentation/Crit space
Presentation/Crit space Group Discussion space
Two L- Configurations
278 Future Considerations
Three T-Configurations
2 Installation Modules
2 Installation Modules
Internal room
Personal Work space
Group Discussion space
Presentation/Crit space
By using the base mapping plan as an example to explore the functionality and improvement of the installation working in modules, this configurations with 3 modules will be able to create multiple spaces to accommodate different tasks. It produces personal workspace that could even cater the occupant who is introverted. It also created an internal room suitable for group work or discussion where in this scenario could be a good tutorial space with panels around that can be use as pin-up boards. Furthermore, this configurations also provide 3.6m panels suitable for presentation. Future Considerations 279
TOOL KIT
STANDARDISATION
ENVIRONMENT PSYCHOLOGY
Literature Review
SITE RECORDINGS
Futher Readings
BASELINE MAPPING
site visit I
DESIGN
BUILD
site visit II
TEST MAPPING
site visit III
Mapping Period
Leave for a period of time in order to achieve better result / outcome
User Guide
i REVISION
R 280 Future Considerations
Presentation
Physical Condition
Static Snapshot
Personality
Personal Space
Territoriality
Timelapse
Crowding
Privacy
Questionnaire
Affordances
Interview
? Brief
Precedents
Concept
Development
Drawings
Adapt to Suit to the Scenario
Static Snapshot
Timelapse
Questionnaire
Interview
?
Brief Adjustment
R
Future Considerations 281
OVERALL CONCLUSIONS Running throughout this research document are five key questions which have been used as the driving force to study and test how the fields of architecture and environmental psychology can be brought together to improve the design process and outcomes. The conclusive research produced has been used to answer the questions originally set out at the beginning of the research document.
HOW CAN AN ENVIRONMENT BE BETTER UNDERSTOOD BEFORE DESIGN INTENT? Mapping techniques developed specifically throughout this project have enabled a deep understanding of both the physical parameters of space e.g. functionality, lighting and general arrangement, as well as the psychological considerations. Desirable physical conditions, required by occupants, need to be understood in order to improve the functional qualities of the environment, considering both present and future needs to allow for change and development. The process of gaining knowledge other fields, implemented through testing spatially by mapping shows just how dynamic these environments are, exposing their fluid nature. Furthermore, this project has exhibited that users of space have already built a set of behaviours specific to their respective environments that should not be ignored or undermined. Behaviours shift not only in the short term (mood patterns) but also in the long term (attitudes). This needs to be understood in order to move forwards, developing successful design solutions to spaces that can provide positive working environments for individuals and organisations, tailored to their individual requirements.
282 Future Considerations
HOW
CAN
AN
IMPROVED UNDERSTANDING ACCOMPLISHED?
OF
USER
NEEDS
BE
Through the research undertaken it is reasonable to conclude that a generalising of usersâ&#x20AC;&#x2122; requirements in their environments leads to undesirable circumstances, such as struggling to work effectively, resulting in lost productivity, innovation and worker engagement (Gensler, 2013). These issues have been described throughout history and are still prevalent in contemporary offices and workplace design (See Appendix Literature Review Chapter C). Evidence from literary research into both office and higher educational workplaces has shown that a generalising of occupants both physical requirements and environmental considerations, has created environments typically unsuitable to the majority. User needs within an environment are generalised by designers, making it easy to overlook the needs of the individual in preference of the collective and overlook the importance of environment psychology and worker wellbeing, in favour of a more practical, cost effective design solution. Architects are well equipped to understand the environment in terms of functionality and process, yet do not necessarily have the level of knowledge and cannot be expected to understand the full complexities of space. By learning to see space differently with the help of psychology aids understanding how design can improve built environments for end users. The industry as a whole needs to take a step towards working collaboratively with other fields, to benefit from different points of view and methodologies they have to offer. A more critical approach to the profession can be fostered through influences of other disciplines in this way, which has been explored through a unique collaboration throughout this research with Dr Stephanie Wilkie and the Thirteen Group.
Future Considerations 283
HOW CAN THE DESIGN OF SPACE BE UTILISED AS A TOOL THAT RESPONDS TO ITS ENVIRONMENT AND USERS, EVOLVING OVER TIME? Through developing an understanding of environmental psychology theories, it is noted that increased flexibility, variability, and a higher perception of control can lead to more occupants’ needs being met (see p.26). The research project took this knowledge forward through the testing of a real-world application using the installation. This was supported by readings and tested to encourage interaction through use of affordances (see p.52), engaging with users and responding to their own needs within a specific environment. Remapping of the installation successfully provided a platform from which these ideas could be further developed and incorporated into the installation in response to user feedback. The research highlighted the importance of user education. When comparing the first case study to the second we can see that the users benefited from a ‘User Guide’ which explained the design intention and user opportunities of the installation. Following this a user guide video has been created to encourage user interaction of future occupants, something which the RIBA Plan of Work is beginning to encourage through a ‘soft landing’ approach which bridges the gap between design intent and operational outcomes (RIBA Plan of Work, 2013). The idea of flexibility in space also requires a new way of creating briefs in order to foster a more engaging relationship with the client. As the design is developed, user feedback should be collected and comprehended. The process of building, remapping and adjusting the installation has given this project a wealth of information, allowing it to be developed through the use of feedback and visual analysis, studying its usage in the environment it can respond to the changing environment and user needs. Hence, through this methodology it could be recommended that the RIBA Plan of Work is taken even further to include the satisfaction of the client/s through the lifetime of the building, creating a continual dialogue between feedback and development in regards to the occupants changing psychological requirements.
284 Future Considerations
IS IT POSSIBLE TO QUANTIFY THIS INFORMATION TO APPLY LESSONS ON A WIDER APPLICATION? Three forms of information are paramount to the understanding of an environment and occupant behaviours within that space. Quantitative and qualitative data has been collected throughout the mapping and re-mapping procedures of both the studio and office space. Supporting this, is a layer of environmental psychology knowledge-based research which is required to develop a thorough understanding of the key principles and relationships between environment and user. However, this level of information cannot be quantified due to its complex and theoretical nature. Therefore, the information gathered through these techniques can only partly be quantified in order to apply the learnt lessons of the project into a wider application. ‘Hard’, quantitative data such as graphs and statistical based information can quite easily be quantified, provided care is taken. Controlled conditions should be implemented in order to reduce bias within the results, which will in turn increase the value of results by providing a truer reflection of the environment and occupants needs. On the other hand, ‘soft’ qualitative data such as questionnaires and anecdotal feedback or assumptions made are difficult to input in the same way. Greater care is necessary when analysing this sort of feedback or observational technique as it is quite possible to focus in on an element which is has not been a true reflection. Mapping and observation time frames are important to understand here, through this project only one weeks worth of data was gathered in each instance due to the nature of the project yet if applied in a wider setting, a longer mapping period would be required which would in turn allow for more data to be quantified, improving understanding of the space and behaviours within it. In part, scientific methods of gathering data have been utilised alongside more unique strategies developed specifically through this project to form a test bed for gathering relevant information. This has informed the creation of a ‘tool kit’, which will provide others with a platform to work from in order to map and understand a given space and design. Within this, certain general assumptions have been made relating to environmental psychology factors and how this commonly affects user behaviour. By generalising a number of repeatable factors at both the macro and micro scale, this enables the mapping techniques, highlighted within the ‘tool kit’, to focus on information more relevant to each specific organisation requirements.
Future Considerations 285
WHAT ARE THE PRACTICALITIES OF REAL TIME AND REAL WORLD FEEDBACK LOOPS? Numerous practicality issues have been noted throughout the course of the project which have influenced the way in which both the design and build time frame have progressed. Considering the practical nature of this experiment bringing together different disciplines there was a great deal of trial and error involved. Firstly, developing mapping techniques unique to this project and implementing this at a micro scale within the chosen sites were often difficult to undertake in the setting intended. At a micro scale, extra care had to be taken to act in a controlled manor to data collection in order to gain a more concise result. Mapping human movement, behaviours and attitudes within the studio environment and how to successfully pull conclusions from these results had its difficulties. However, by putting time into developing these mapping techniques and creating tailored questionnaires with the help of an environmental psychologist, a successful analysis was achieved, learning through improvements on each mapping iteration about limiting contaminating elements and reflecting on the focus of information needed. Secondly, communication was key in order for the project to run as smoothly as possible. Numerous companies and collaborators have been essential to the success of this research, however minor the role. Learning to communicate with manufacturers and distributors of material, working with lead times and delivery periods helped to develop a build programme to work from. However, real world impacts and constraints often set this back, including the process of ordering material through the Newcastle University accounts department. This required additional administration than originally thought necessary. Over time efficiency improved due to double checking and ensuring orders were being processed. Essential due to the real time constraints of build time scales, and hard deadlines from external factors. A number of practical elements such as time, money, maintenance and cost all factor the projectâ&#x20AC;&#x2122;s development and often dictated an order of events. Due to the nature of how this prototype was produced, a higher degree of costs inefficiencies were made due to an increased time spent learning from the trials and tribulation of the research project and the uniqueness of the design, causing a refocusing of efforts and resources due to the impact on time scales, practicalities and facilities available.
286 Future Considerations
â&#x20AC;&#x153;
All fine architectural values are human values, else not valuable. (Frank Lloyd Wright)
â&#x20AC;?
Future Considerations 287
A FINAL WORD... As a final overview, collaborating with a number of disciplines both inside and outside of the current architectural spectrum has provided us, as architecture students soon to be leaving the educational environment, with a wealth of knowledge. Beginning to understand the layers of complexities, relationships and behaviours involved within design and the impact of psychological considerations is an extremely engaging process. Although many conclusive points can be taken from our methodology, this can most definitely be used as a platform to continue developingâ&#x20AC;Ś
288 Future Considerations
Prototype! (fig 17.4) Future Considerations 289
18
BIBLIOGRAPHY
290 Bibliography
ENVIRONMENTAL PSYCHOLOGY BOOKS Altman, I., 1975. The Environment and Social Behaviour: Privacy, Personal Space, Territoriality and Crowding. Monterey, CA: Brooks/Cole. American Psychology Association, (n.d,). APA divisions: Division 6 – Behavioural Neuroscience and Comparative Psychology. Argyle, M. & Dean, J., 1965. Eye-Contact, Distance, and Affiliation. Sociometry, 28. Barker, R.G., 1968. Ecological Psychology: Concepts and Methods for Studying the Environment of Human Behaviour. Stanford, CA: Stanford University Press. Baum, A., Reiss, M. And O’Hara,J., 1974. Architectural Variants of Reaction to Spatial Invasion. Environment and Behaviour, 6, 91-100. Bell, P.A., Greene, T.C., Fisher, J.D., Baum, A., 2001. Environmental Psychology, 5th Ed. Belmont CA: Thomson Wadsworth. Bonnes, M. and Secchiaroli, G., 1995. Environmental Psychology: A Psycho-Social Introduction. London: SAGE Publications ltd. Broadbent, D. E., 1979. Human Performance and Noise. In C. M. Harris (E.d.)., Handbook of noise control, New York: McGraw-Hill. Chein, I., 1954. The Environment as a Determinant of Behaviour. Journal of Social Psychology, 39, 115-137. Eysenck, M. W., Graydon, J., 1989. Susceptibility to Distraction as a Function of Personality. Personality and Individual Differences, 10, pp.681-686. Gibson, J. J., 1979. An Ecological Approach to Visual Perception. Boston: Houghton Mifflin. Gifford, R., 2002. Environmental Psychology: Principles and Practice. 3rd Ed. Canada: Optimal Books. Ittelson, W. H., 1973. (E.d.), Environment and Cognition. New York: Seminar Press. John, O. P. and Strivastava, S. ‘The big five trait taxonomy’, in John, O. P. and Pervin, L.A., 1999. Handbook of personality: Theory and research. Kaplan, S., 1995. The restorative benefits of nature. Toward an integrative framework. Journal of Environmental Psychology, 15, 169-182. Kopec, D., 2012. Environmental Psychology for Design. 2nd Ed. Canada: Fairchild Publications. Kupritz, V. W., 1998. Privacy in the Workplace: The Impact of Building Design. Journal of Environmental Psychology, 18, 341-356. Lynch, K., 1960. The Image of the City. Cambridge, MA: MIT Press. Montano, D., & Adamopoulos, J., 1984. The Perception of Crowding in Interpersonal Situations: Affective and Behavioural Responses. Norman, D., 1988. The Design of Everyday Things. New York: Basic Books. Rotter, J.B., Chance, J.E., and Phares, E.J., 1972. Applications of a Social Learning Theory of Personality. New York: Holt, Rinehart & Winston. Sommer, R., 1973. Design Awareness. New York: Holt, Rinehart and Winston. Sommer, R., 1969. Personal space: The Behavioural Basis of Design. Englewood Cliffs, NJ: Prentice-Hall. Stokols, D., 1972. On the Distinction Between Density and Crowding: Some Implications for Further Research. Psychological Review. Viola, A.U., James, L.M., Schlangen, L.J.M., Dijk, D.J., 2008. Blue-Enriched White Light in the Workplace. Environment and Health, 34, pp. 297-306. Westin, A., 1967. Privacy and Freedom. New York: Atheneum. Wohlwill, J. F., 1966. The Physical Environment: A Problem for a Psychology of Stimulation. Journal of Social Issues, 22.
Bibliography 291
WEBSITES Horton, G., 2014. The indicator: solitude lost. Arch Daily [online]. Available at www.archdaily. com. Quirk, V., 2012. In defence of introverts. Arch Daily [online]. Available at www.archdaily.com.
DYNAMIC MAPPING BOOKS Al Sayed, K., Turner, A., Hillier, B., Iida, S., Penn, A., (2014) (4th Edition), “Space Syntax Methodology”, Bartlett School of Architecture, UCL, London. Buache, Phillippe., 1752. Essai De Géographie Physique. Mémoires de L’Académie Royale des Sciences. 399-416. Carla-Boniface, Marcellin du., 1782. Expression des nivellements; ou, Méthode nouvelle pour marquer sur les cartes terrestres et marines les hauteurs et les configurations du terrain. Paris. Godfrey, Ernest H., 1918. History and Development of Statistics in Canada. In History of Statistics, Their Development and Progress in Many Countries. Macmillan. New York. 179-198. Graunt, John., 1662. Natural and Political Observations Mentioned in a Following Index and Made Upon the Bills of Mortality. Martin, Allestry, and Dicas. London. Halley, Edmund.,1686. An Historical Account of the Trade Winds, and Monsoons, Observable in the Seas between and Near the Tropicks, with an Attempt to Assign the Physical Cause of the Said Wind. Philosophical Transactions. 16. 153-168. Oseland, Nigel., 2013. The WCO Guide to: Utilisation and Occupancy Studies. Robinson, J. M., 1968. An Introduction to Early Greek Philosophy. Houghton Mifflin. New York.
HIGHER EDUCATION BOOKS Coulson, J., Roberts, P., Taylor, I., 2015, University Planning and Architecture, The search for perfection. 2nd Ed. Oxford: Routledge. Edwards, B., 2000, University Architecture. London: Spon Press. Eggins, H., 2010, Global Perspectives on Higher Education, Access and Equity: Comparative Perspectives, Boston: Sense Publishers. Gifford, R. 2002. Environmental Psychology: Principles and Practice. 3rd Ed. Canada: Optimal Books. Lawson, J., Silver, H.,1973, A Social History of Education in England. London: Methuen & Co Ltd. Lippman, P., 2010, Can the Physical Environment Have an Impact on the Learning Environment? CELE Exchange, Centre for Effective Learning Environments. OECD Publishing. Marchand, G.C., Nardi, N.M., Reynolds, D., Pamoukov, S., 2014, The Impact of the Classroom Built Environment on Student Perceptions and Learning. Journal of Environmental Psychology. 40, pp.187-197. Perkin, H., 1972, University planning in Britain in the 1960’s, Higher Education. 1(1) pp.111-120. Sanders, M., 2013. Classroom Design and Student Engagement. Proceedings of the Human Factors and Ergonomics Society 57th Annual Meeting, pp. 496-500. Yang, Z., Becerik-Gerber, B. And Mino, L., 2013. A study on Student Perceptions of Higher Education Classrooms: Impact of Classroom Attributes on Student Satisfaction and Performance. Building and Environment, 70, pp.171-188.
292 Bibliography
WORKPLACE DESIGN BOOKS Pile, J., 1978. Open Office Planning. London: The Architectural Press. Saval, N., 2014. Cubed: A Secret History of the Workplace. Laing, A., Duffy, F., Jaunzens, D., & Willis, S., 1998. New Environments for Working. London: Building Research Establishment. Hall, E. T. 1966. The Hidden Dimension. New York: Anchor Books Dixon, C., 1991. Architectâ&#x20AC;&#x2122;s Data Sheets: Office Spaces. London: Architecture Design and Technology Press. Duffy, F., 1969. Office Landscaping: A New Approach to Office Planning. London: Anbar Publications. Taylor, F., 1975. Scientific Management. Westport, Conn: Greenwood Press. Van Meel, J., 2000. The European Office: Office Design and National Context. Rotterdam:010 Publishers Worthington, J., 1997. Reinventing the Workplace. Oxford: Architectural Press. WEBSITES Caruso St John., 2011. Origins of the Office [online] Available at http://www.carusostjohn. com/media/artscouncil/history/origins/index.html [Accessed June 2016]. Elliott, C., 2015. The Healthy Workplace - Noise [online] Available at http://www.oktra.co.uk/ blog/the-healthy-workplace-noise/ [Accessed January 2017]. Fairs. M., 2016. Google Has Has a Negative Effect on Office Design [online] Available at https://www.dezeen.com/2016/03/22/google-office-design-negative-effect-interiorsjeremy-myerson/ [Accessed January 2017]. Gensler, 2013. Workplace Survey [online]. Available at http://www.gensler.com/uploads/ documents/2013_US_Workplace_Survey_07_15_2013.pdf. Galan-Diaz, C. and Martens, D. (2015) Architectureâ&#x20AC;&#x2122;s brief love affair with psychology is overdue a revival. Available at: http://theconversation.com/architectures-brief-love-affairwith-psychology-is-overdue-a-revival-45896 (Accessed: 24 January 2017). Howarth, D. (2014) Clive Wilkinson interview about office design for Google. Available at: https://www.dezeen.com/2014/03/17/office-design-google-clive-wilkinson-interview/ (Accessed: 24 January 2017). Lovell, M. Evolution of Office Design [online] Available at http://www.morganlovell.co.uk/ articles/the-evolution-of-office-design/ [Accessed March 2016] Mairs, J., 2016. Open-Plan Offices Make Workers More Unfriendly and Less Productive [online] Available at https://www.dezeen.com/2016/09/15/open-plan-offices-co-working-lessproductive-more-unfriendly-survey-auckland-university-technology/ [Accessed March 2016] Ost, cited in Myerson, J. 2016. The Negative Impact Google Offices Have On Office Design [online]. Available at https://www.dezeen.com/2016/03/22/google-office-design-negativeeffect-interiors-jeremy-myerson/ [Accessed January 2017] Smedley, T., 2012. Workplace Design: How Office Space is Becoming Fun Again [online] Available at http://www.theguardian.com/money/2012/feb/17/workplace-design-officespace-fun [Accessed March 2016] Wainwright, O. (2013) Towering folly: Why architectural education in Britain is in need of repair. Available at: https://www.theguardian.com/artanddesign/architecture-design-blog/2013/ may/30/architectural-education-professional-courses (Accessed: 24 January 2017)
Bibliography 293
FLEXIBLE ARCHITECTURE BOOKS Calderon, C., 2009. Interactive Architecture Design. Massachusetts: Harvard University Graduate School of Design. Kronenburg, R., 2014. Architecture in Motion: The History and Development of Portable Building. Oxon: Routledge. Kronenburg, R., 2007. Flexible: Architecture that Responds to Change. London: Laurence King Publishing Ltd. Kronenburg, R., 2003. Portable Architecture. 3rd ed. Oxford: Architectural Press. Mathews, J. S., 2007. From agit-prop to free space: the architecture of Cedric Price. London, Black Dog Pub. Ltd. Price, C., 1962. Activity and change, in Peter Cook (Ed.) Archigram, 2. Price, C., 2003. Cedric Price: the square book. Chichester, West Sussex, Wiley-Academy. Price, C., & OBRIST, H. U., 2003. Re CP. Basel, Birkhauser. WEBSITES Landau, R., 1985. A Philosophy of Enabling: The Work of Cedric Price. AA Files, (8), 3-7. Retrieved from http://www.jstor.org/stable/29543432.
294 Bibliography
IMAGES CHAPTER 1 Fig. 0.1 Stop-Distance Study Author’s Own Fig. 0.2 Lego Office, Denmark https://oficesnapshots.com/2012/02/01/lego-denmark-office-version-2-0/ Fig. 0.3 Stage Three Architecture Studio Author’s Own CHAPTER 4 | ENVIRONMENTAL CONSIDERATIONS Fig. 4.1 Stop-Distance Study, Scenario 1, Phase 1 Author’s Own Fig. 4.2 Stop-Distance Study, Scenario 1, Phase 2 Author’s Own Fig. 4.3 Stop-Distance Study, Scenario 1, Phase 3 Author’s Own Fig. 4.4 Stop-Distance Study, Scenario 2, Phase 1 Author’s Own Fig. 4.5 Stop-Distance Study, Scenario 2, Phase 2 Author’s Own Fig. 4.6 Stop-Distance Study, Scenario 2, Phase 3 Author’s Own Fig. 4.7 Stop-Distance Study, Scenario 3, Phase 1 Author’s Own Fig. 4.8 Stop-Distance Study, Scenario 3, Phase 2 Author’s Own Fig. 4.9 Stop-Distance Study, Scenario 3, Phase 3 Author’s Own Fig. 4.10 Stop-Distance Study, Scenario 4, Phase 1 Author’s Own Fig. 4.11 Stop-Distance Study, Scenario 4, Phase 2 Author’s Own Fig. 4.12 Stop-Distance Study, Scenario 4, Phase 3 Author’s Own Fig. 4.13 Stop-Distance Study, Scenario 5, Phase 1 Author’s Own Fig. 4.14 Stop-Distance Study, Scenario 5, Phase 2 Author’s Own Fig. 4.15 Stop-Distance Study, Scenario 5, Phase 3 Author’s Own Fig. 4.16 Stop-Distance Study, Scenario 6, Phase 1 Author’s Own Fig. 4.17 Stop-Distance Study, Scenario 6, Phase 2 Author’s Own Fig. 4.18 Stop-Distance Study, Scenario 6, Phase 3 Author’s Own Fig. 4.19 Personalisation – Personal Items Author’s Own Fig. 4.20 Personalisation – Work Related Items Author’s Own
Bibliography 295
Fig. 4.21 Explicit Defense – Locked Computer Author’s Own Fig. 4.22 Contamination – Waste Items Author’s Own Fig. 4.23 Studio Territory Author’s Own Fig. 4.24 Lack of Personal Space – Creates Crowding Author’s Own Fig. 4.25 Creating Privacy Author’s Own CHAPTER 5 | SITE Fig. 5.1 Stage Three Studio Author’s Own CHAPTER 7 | BASELINE MAPPING Fig. 7.1 Stage Three Studio, During Term-Time Author’s Own Fig. 7.2 Time-Lapse Photography Detective Author’s Own Fig. 7.3 Stage Three Student Interview Author’s Own CHAPTER 8 | LITERATURE REVIEW Fig 8.1 Edinburgh University Medical School https://uk.pinterest.com/pin/82472236896709147/ Fig 8.2 UCL Cruciform Hub http://capital-architecture.co.uk/projects/ucl-cruciform-hub/ Fig 8.3 1960s Dorm, University of York http://blogqpot.com/showimg?v=N&img=https://www.york.ac.uk/ media/50thanniversary/history/gallery-images/Sturoom.jpg&org=https://www.york. ac.uk/50/history/1960s/&ti=1960s%20-%2050th%20Anniversary,%20University%20of%20 York&layout=1&src=Indexing%20||%20800%20x%20532%20||%20http://blogqpot.com/ images/history%20of%20york%20college%20uk Fig 8.4 Salisbury University Computer Lab http://www.ctdginc.com/wp-content/uploads/2012/08/Salisbury-University-ComputerLab1.jpg Fig 8.5 Central Saint Martins, London http://trendsylvania.net/wp-content/uploads/2014/11/article18_csm_1-1024x851.jpg Fig 8.6 Cambridge University Library http://www.rgcarter-construction.co.uk/wp-content/gallery/education-universities-cul/ cambridge-university-library-2.jpg Fig 8.7 NC State Library interior https://admissions.ncsu.edu/newsletter/wp-content/uploads/2014/09/MAH6497.jpg Fig 8.8 Albert House breakout http://www.shoreditch-officespace.co.uk/wp-content/uploads/2016/01/Albert-House-OldStreet-Lounge.jpg
296 Bibliography
Fig 8.9 Empire State Building http://cdn.mashreghnews.ir/files/fa/news/1394/3/30/1090586_631.jpg Fig 8.10 Google Docks/Montevetro Dublin https://thedesignsociety.files.wordpress.com/2013/02/google-design-1-700x467.jpeg Fig 8.11 Cubical decor http://interiorhousing.biz/wp-content/uploads/2015/12/cubical-decor-12.jpg Fig 8.12 Google Office communal areas http://www.designboom.com/wp-content/uploads/2014/03/d-dock-google-amsterdamdesignboom-04.jpg Fig 8.13 Open Plan Offices http://iranews.net/daut/as/f/o/open-plan-offices-can-be-bad-for-your-health-money-theguardian-office_design-worker-office_interior-design_interior-design-services-portfolio-stylesonline-office-best-schools-designer-san-antonio-bl.jpg Fig 8.14 Illy Container Pop Up Space http://www.flauminc.com/server15-cdn/2015/12/04/shipping-containers-made-into-cabinsportable-shipping-container-homes-775f9c4399bddd77.jpg Fig 8.15 Centraal Beheer, Apeldoorn, Netherlands http://read.html5.qq.com/image?src=forum&q=5&r=0&imgflag=7&imageUrl=http://mmbiz. qpic.cn/mmbiz_jpg/ CHAPTER 10 | DESIGN PRECEDENTS Fig. 10.1 Design Precedent Wall Authorâ&#x20AC;&#x2122;s Own Fig. 10.2 Frame System https://www.dezeen.com/2009/02/07/mobile-by-christan-hallerod-and-johannessvartholm/ Fig. 10.3 Frame System http://www.designboom.com/design/design-innovation-space-dave-keune-02-23-2015/ Fig. 10.4 Frame System https://www.dezeen.com/2014/03/14/stackle-shelving-system-by-thinkk-studio/ Fig. 10.5 Modular System https://www.dezeen.com/2014/03/14/stackle-shelving-system-by-thinkk-studio/ Fig. 10.6 Modular System http://www.trendir.com/diy-built-in-reading-nook-idea-for-your-library/ Fig. 10.7 Modular System http://soyouknowbetter.com/2014/02/03/break-out-in-treehouse-inspired-furniture/ Fig. 10.8 Modular System http://dornob.com/playful-office-interior-fit-for-childrens-toy-company/ Fig. 10.9 Folding System https://www.dotandbo.com/?utm_source=Pinterest&utm_medium=HardPin&utm_ campaign=7-14&utm_content=&db_terms=cpc&db_dest=dynamic&db_unit=d&lb=force Fig. 10.10 Folding System https://www.dotandbo.com/?utm_source=Pinterest&utm_medium=HardPin&utm_ campaign=7-14&utm_content=&db_terms=cpc&db_dest=dynamic&db_unit=d&lb=force Fig. 10.11 Folding System http://fleetheratrace.blogspot.co.uk/2015/02/the-12-best-digital-marketing-tools-of-2015. html Fig. 10.12 Slotting System h t t p : / / m a k e - s e l f . n e t / m a s t e r s k a y a / dekor/%D0%B8%D0%BD%D1%82%D0%B5%D1%80%D1%8C%D0%B5%D1%80/item/mebel-izfaneri.html
Bibliography 297
Fig. 10.13 Slotting System http://www.newzealanddesignblog.com/2013/09/quiten-down-its-time-for-ssr.html Fig. 10.14 Slotting System http://picsora.com/37314134-cnc-wood-joints.html Fig. 10.15 Slotting System http://www.andreaskowalewski.com/portfolio_page/wedge-table-for-caussa/ Fig. 10.16 Collapsible System http://mocoloco.com/ Fig. 10.17 Collapsible System https://blogof.francescomugnai.com/2010/12/25-cool-and-unusual-chair-designs/ Fig. 10.18 Collapsible System http://www.dumpaday.com/genius-ideas-2/simple-ideas-that-are-borderline-genius-32pics-3/ Fig. 10.19 Collapsible System https://www.dezeen.com/2015/03/26/nathalie-dackelid-wooden-tablecloth-tableextension-ash-wood/ Fig. 10.20 Metal Joint http://www.plyproducts.com/pages/ply90 Fig. 10.21 Metal Joint http://linkis.com/n9ti.com/RHmDX Fig. 10.22 Metal Joint https://www.disegnodaily.com/article/17-screens Fig. 10.23 Metal Joint http://designbinge.tumblr.com/post/89628940139 Fig. 10.24 Metal Joint http://miekemeijer.com/frameworks/ Fig. 10.25 Metal Joint http://www.woodesigner.net/ Fig. 10.26 Wooden Joinery http://www.trendhunter.com/slideshow/diy-furniture#1 Fig. 10.27 Wooden Joinery https://taginstant.com/pinterest/kozolec/ Fig. 8.28 Wooden Joinery http://www.popularwoodworking.com/projects/cnc-spring-joint-box Fig. 10.29 Wooden Joinery http://wonder4.co/2015 Fig. 10.30 Wooden Joinery http://www.quiet-corner.com/diy/japanese-wood-joinery-techniques/ Fig. 10.31 Wooden Joinery https://finspi.com/photo/i-decided-to-take-out-some-rough-pieces-of-wood-to-2883072 Fig. 10.32 Wooden Joinery http://www.designsoil.jp/project/souvenir-en.html Fig. 10.33 3D Printed Joint http://inhabitat.com/ecosystems-designs-flat-pack-modos-furniture-made-fromsustainably-harvested-plywood/ Fig. 10.34 3D Printed Joint http://www.designboom.com/technology/olle-gellert-3d-printed-joints-07-29-2015/ Fig. 10.35 3D Printed Joint http://www.instructables.com/id/XYZ-Connect-3D-Printed-Box-Shelves/ Fig. 10.36 3D Printed Joint http://www.instructables.com/id/Table-with-3D-Printed-Joints/
298 Bibliography
Fig. 10.37 3D Printed Joint https://www.bloglovin.com/blogs/core77-1239218/a-team-up-wed-love-to-see-ikeaminale-maeda-2728873467 Fig. 10.38 Fabric Hinge http://www.core77.com/posts/23276/barkschat-blumel-and-arnolds-63-gradfold-flat-bench-23276?utm_source=feedburner&utm_medium=feed&utm_ campaign=Feed%3a+core77%2fblog+(Core77.com) Fig. 10.39 Fabric Hinge http://www.core77.com/posts/23276/barkschat-blumel-and-arnolds-63-gradfold-flat-bench-23276?utm_source=feedburner&utm_medium=feed&utm_ campaign=Feed%3a+core77%2fblog+(Core77.com) Fig. 10.40 Fabric Hinge ÂŹÂŹ http://lumberjocks.com/projects/69681 Fig. 10.41 90 Degree Finger Point Hinge http://www.woodcraft.com/articles/613/making-wooden-hinges.aspx Fig. 10.42 90 Degree Finger Point Hinge https://s-media-cache-ak0.pinimg.com/originals/23/64/ d9/2364d914d08a07aeb0f181e1a126434f.jpg Fig. 10.43 90 Degree Finger Point Hinge http://sandal-woodsblog.com/2010/12/07/a-new-wooden-hinge-form/ Fig. 10.44 90 Degree Finger Point Hinge h t t p s : / / w w w . y o u t u b e . c o m / e m b e d / Z8WLNcvivJ8?version=3&rel=1&fs=1&autohide=2&showsearch=0&showinfo=1&iv_load_ policy=1&wmode=transparent Fig. 10.45 90 Degree Finger Point Hinge http://www.sobusobu.com/products/custom-hinge-extension-dining-table?utm_ campaign=Pinterest%20Buy%20Button&utm_medium=Social&utm_source=Pinterest&utm_ content=pinterest-buy-button-06e256412-6970-4be4-8cc3-b4cc0df6f32b Fig. 10.46 Birch Plywood http://www.hipbip.com/page/75 Fig. 10.47 Valchromat https://www.linkedin.com/pulse/sreen-wall-installation-valchromat-jose-pedro-sousa Fig. 10.48 Fabric http://www.woonio.de/ Fig. 10.49 Cork https://www.dezeen.com/2016/04/14/heart-surgery-zurich-dost-converts-1960s-restaurantinto-clinic-with-cork-cubicles-switzerland/ Fig. 10.50 Wire Mesh http://blog.bureaubetak.com/post/60646621824/lacoste-rtw-ss14-saturday-september7th-2013 Fig. 10.51 Polycarbonate http://designmag.fr/design-dinterieur/cloison-de-separation-decorative-sublimer-lespace. html Fig. 10.52 Closed Cell Foam http://www.foamsolutionsuk.co.uk/ekmps/shops/foamsolutions/images/closed-cell-foamblock-50cm-x-33cm-x-110mm-[2]-457-p.jpg Fig. 10.53 Acoustic Paneling http://www.decustik.com/arxius/categories/86.jpg Fig. 10.54 Thermacork http://blog.ecosupplycenter.com/blog/thermacork-cork-tetrashed/ Fig. 10.55 Woodwool Board http://www.apartmenttherapy.com/hexagon-wood-wool-cement-board-139726 Fig. 10.56 Icon Labelling http://www.calvin-c.com/blog/signage-of-shizuoka-city-museum-of-art/ Fig. 10.57 Icon Labelling https://www.flickr.com/photos/takashi_hirato/321260033/sizes/z/in/photostream/
Bibliography 299
Fig. 10.58 Colour Labelling http://www.librarytestkitchen.org/?paged=5 Fig. 10.59 Colour Labelling http://www.rawcolor.nl/project/?id=321&type=assignment Fig. 10.60 Rope Handle http://www.addicted2decorating.com/diy-factory-cart-style-coffee-table.html Fig. 10.61 Rope Handle http://www.the36thavenue.com/10-diy-home-projects/ Fig. 10.62 Rope Handle http://www.designsponge.com/page/4 Fig. 10.63 Leather Handle https://www.blogger.com/blogin.g?blogspotURL=http://stockholmbyme.blogspot. co.uk/2012/01/how-to-handle.html Fig. 10.64 Leather Handle http://pillow-mint.blogspot.co.uk/2011/05/who-would-raise-family-in-this-home.html Fig. 10.65 Leather Handle http://www.primitivearcher.com/smf/index.php/topic,39388.0.html Fig. 10.66 Plywood Handle http://westbridgfordjoinery.co.uk/ Fig. 10.67 Plywood Handle http://www.setyard.co.uk/setyard---furniture.html Fig. 10.68 Handhold http://damien-park.tumblr.com/post/140237964374/no133-plywood-storage-closet Fig. 10.69 Handhold http://www.homedit.com/10-easy-diy-serving-trays/ Fig. 10.70 Handhold http://thebrickhouse.tumblr.com/post/12593975858 CHAPTER 11 | CONCEPT Fig. 11.1 Concept Design Author’s Own Fig. 11.2 Frame Concept Model Author’s Own Fig. 11.3 Modular Concept Model Author’s Own Fig. 11.4 Hinged Concept Model Author’s Own Fig. 11.5 Collapsible Concept Model Author’s Own Fig. 11.6 Extendable Concept Model Author’s Own Fig. 11.7 Folding Concept Model Author’s Own CHAPTER 12 | DEVELOPMENT Fig. 12.1 Material Prototyping Author’s Own Fig. 12.2 T Model Author’s Own Fig. 12.3 Z Model Author’s Own
300 Bibliography
Fig. 12.4 – 12.15 Dual Rope Hinge Prototype Author’s Own Fig. 12.16 Bungee Rope Loop Author’s Own ¬Fig. 12.17 Foam Board Author’s Own Fig. 12.18 Wood Wool Author’s Own Fig. 12.19 Plaster Board Author’s Own Fig. 12.20 Cardboard Author’s Own CHAPTER 13 | PROTOTPE Fig. 13.1 Panel Prototype Author’s Own Fig. 13.2 – 13.33 Prototype Build Process Author’s Own Fig. 13.34 Elongated L Configuration Author’s Own Fig. 13.35 Closed Panel Author’s Own Fig. 13.36 Layered Configuration Author’s Own Fig. 13.37 User Testing Elongated L Configuration Author’s Own Fig. 13.38 User Testing C Configuration Author’s Own Fig. 13.39 User Testing Z Configuration Author’s Own Fig. 13.40 User Testing T Configuration Author’s Own CHAPTER 14 | ARCHITECTURE STUDIO MAPPING Fig. 14.1 Prototype Presentation to Stage Three Author’s Own Fig. 14.2 Prototype in Tutorial Setup Author’s Own Fig. 14.3 - 14.8 Timelapse Imagery within studio environment CHAPTER 15 | PROTOTYPE REVISIONS Fig. 15.1 Prototype Internal Screens Author’s Own Fig. 15.2 Valchromat Internal Screen Author’s Own Fig. 15.3 Valchromat Internal Screen Author’s Own Fig. 15.4 Magnetic Catch Author’s Own Fig. 15.5 Magnetic Catch Author’s Own Fig. 15.6 – 15.18 Prototype Build Analysis
Bibliography 301
Author’s Own Fig. 15.19 – 15.34 Revised Build Process Author’s Own Fig. 15.35 Workplace Setting, Z Configuration Author’s Own Fig. 15.36 Workplace Setting, Elongated L Configuration Author’s Own Fig. 15.37 Workplace Setting, C Configuration Author’s Own Fig. 15.38 Workplace Setting, Elongated L Configuration Author’s Own Fig. 15.39 User Guide Pinned to Prototype Author’s Own CHAPTER 16 | WORKPLACE MAPPING Fig. 16.1 Prototype Installed into Thirteen Group Office Author’s Own Fig. 16.2 Prototype Installed into Thirteen Group Office Author’s Own Fig. 16.3 - 16.8 Timelapse imagery of Thirteen Group Office CHAPTER 17 | CONCLUSIONS Fig. 17.1 Prototype 2.0 installed in University Exhibition Space demonstrating potential use Author’s Own Fig. 17.2 Prototype 1.0 in use within the studio environment Author’s Own Fig. 17.3 Prototype 2.0 in use within the office environment Author’s Own Fig.17.4 Celebratory group photo with prototype 2.0 Author’s Own Fig.17.5 Celebratory group photo with prototype 2.0 Author’s Own
302 Bibliography
Prototype! (fig 17.5) Bibliography 303
304 Bibliography