Date post: | 04-Dec-2014 |
Category: |
Documents |
Upload: | bikerdiverman |
View: | 122 times |
Download: | 3 times |
1
UNIVERSITY OF HUDDERSFIELD
School of Art, Design and Architecture
Department of Architecture and 3D Design TMA1101
Architecture of The Soul: An exploration of Perception and Emotion in Architecture
A Dissertation submitted in partial fulfilment of the requirements for
Diploma Architecture
By Simon A Lunn
The candidate confirms that the work submitted is their own and that
appropriate credit has been given where reference has been made to
the work of others.
13th December 2011
2
‘Architecture is given life and
spirit by all the qualities that
touch the human soul: by light
and colour, sound and
temperature, by expansion
and compression of space, by
view and prospect. These
might be considered literal
qualities created by the
manipulation of materials and
space, but they can go beyond
the literal and touch our
souls.’
(Franck, 2007)
3
Abstract
Why are so many modern buildings unpleasant to spend any time in?
Architecture deeply affects how we feel; we all spend much of our
lives inside buildings; far more time than we spend looking at them.
Yet many building are soulless, uninspiring beige boxes.
For the best part of 100 years many architects seem to have only
been concerned with the visual sense. The other senses have been
ignored or banished. The result has often been soulless architecture
that doesn’t touch our souls. The buildings may look good, but
somehow just don’t feel right. Why is that?
The first chapter of this dissertation attempts to answer that question
by exploring how we perceive our surroundings through all of our
senses. It discovers how the senses of touch (our Haptic sense) and
hearing enable us to build a mental map of our word from the many
pieces of the puzzle our senses are collecting and analysing
unconsciously, all the time. This chapter answers why we feel good in
some spaces and not in others.
Chapter two explores how a number of architects have tried to
manipulate the emotions of visitors to their work and analyses the
results.
The final chapter explores the idea that it is possible to cause
emotional responses; positive and negative; by carefully considering
how we respond to our environment and controlling the sensory
stimulus the user receives from the building.
4
It transpires that an architect can indeed elicit emotional responses
by controlling the environment. However, where there is no guidance
how we should interpret the feeling a building evokes; the behaviour
people display is often at odds with what one might expect.
In the final chapter the author explains why this is, how an architect
can effectively design to create emotion and how by providing
guidance how to interpret the feelings created, an architect can
design a building that can take a user on an emotional journey as
they physically navigate the building.
Finally the author theorises that there is a process that should enable
architects to design buildings that really talk closely to our emotions
and demonstrates this theory by using the example of a marine
aquarium.
The architecture provides the stage on which the drama is played
out; it is key to education and done well can be the catalyst for
change! However the play its self must tell the story and take full
advantage of the feelings and emotions the architecture stimulates.
When the two are integrated they can educate and enthuse visitors to
go out into the world and educate others.
5
Acknowledgements May I take this opportunity to thank Jon Bush who in 2006 offered
me a place on the foundation program and again last year gave me
the opportunity to come into Diploma 1. He has always been
extremely helpful and an inspiration.
May I thank Sophia Emmanuel, who persuaded me when in my
foundation year that I hadn’t made a huge mistake and I should stick
at it? Thanks to Hillary Chadwick for my first year. Yun Gao for my
second year, which was a good year; thanks to Carl Meddings, and
Vijay Taheem, who were always firm and direct enough to keep up
the momentum.
May I thank Gerard for somehow always spotting that one key
change that always transforms my schemes for the better. Without
the help and encouragement I have enjoyed from all of my tutors I
wouldn’t have made it so far.
Writing this dissertation has been a challenge. I have to thank Karen
Dennis in the early stages. A big thank you to my Personal Tutor,
Richard Fellows who has a wealth of knowledge that he has happily
shared during our tutorials. Each time we have spoken, the
dissertation was improved as a result.
I have to give an enormous thank you to Margo Fourman, who has
been an inspiration. Her ability to help me to see the wood from the
trees and get down on paper my ideas has allowed me to get this
finished. I could not have done this with out her.
Thank you all.
6
Contents
ABSTRACT .............................................................................. 3
ACKNOWLEDGEMENTS ............................................................ 5
CONTENTS .............................................................................. 6
LIST OF ILLUSTRATIONS ........................................................ 8
INTRODUCTION .................................................................... 11
THE POWER OF ARCHITECTURE TO EDUCATE ....................................... 11
HARNESSING THAT POWER ........................................................... 11
AIM AND SCOPE OF THE RESEARCH ................................................. 12
CHAPTER ONE: ARCHITECTURE GETS UNDER OUR SKIN ....... 14
THE FIVE SENSES ..................................................................... 16
FIVE SENSORY SYSTEMS ............................................................. 20
THE VISUAL SYSTEM: DAYLIGHT .................................................... 21
Daylight and a connection to place ....................................... 26
THE VISUAL SYSTEM: COLOUR ...................................................... 30
Psychological affect of colour ............................................... 32
Physiological response to colour Stimulus .............................. 40
THE AUDITORY SYSTEM .............................................................. 43
THE BASIC ORIENTING SYSTEM ...................................................... 47
THE HAPTIC SYSTEM: TOUCH ........................................................ 48
THE HAPTIC SYSTEM: PERSONAL SPACE ........................................... 52
PROPORTION, BALANCE AND SCALE ................................................. 54
CHAPTER SUMMARY ................................................................... 55
CHAPTER TWO: CASE STUDIES ............................................. 57
THE IMPERIAL WAR MUSEUM IN MANCHESTER .................................... 58
MEMORIAL FOR THE MURDERED JEWS OF EUROPE ................................. 72
LADY DIANA MEMORIAL FOUNTAIN .................................................. 79
7
CHAPTER THREE: ARCHITECTURE WITH A PURPOSE: AN
EMOTIONAL JOURNEY, FROM VISITOR TO EDUCATOR. ......... 83
THE IMPORTANCE OF PUBLIC AQUARIA IN CONSERVATION ........................ 84
THE PROCESS OF DESIGNING FOR EMOTION ........................................ 85
An example of the process of designing for emotion in the context
of a conservation focused public aquarium ............................. 87
CONCLUSION ........................................................................ 90
REFERENCES ........................................................................ 92
BIBLIOGRAPHY .................................................................. 100
APPENDIX A: WHAT ARE WE DOING TO OUR WORLD? ....... 109
COMMERCIAL WHALING ............................................................. 111
FISHERIES ............................................................................ 114
Common Fisheries Policy ................................................... 116
Sharks; we are wiping them out for soup! ........................... 118
POLLUTION & INDUSTRIAL WASTE DUMPING .................................... 123
APPENDIX B: EXTINCTION IS NOT INEVITABLE; IT IS NOT
TOO LATE TO CHANGE OUR WAYS ...................................... 125
Medes Islands Marine Park Spain ........................................ 130
APPENDIX C: DESIGNING FOR EMOTION ............................ 132
HOW TO DESIGN TO ELICIT AN EMOTIONAL RESPONSE .......................... 132
8
List of illustrations FIG 1. ARISTOTLE’S FIVE SENSES (ROMAN, N.D) .................................... 16
FIG 2. GESTALT CLOSURE (BRADLEY, 2010) ........................................ 17
FIG 3. A CONTEMPORARY CITY: LE CORBUSIER (LE CORBUSIER, 1971) ........ 18
FIG 4. PARK HILL PART TWO (HYDE PARK) DEVELOPMENT SHEFFIELD BUILT IN
1962-66 (GLENDENNING, 1994) .......................................... 19
FIG 5. GREAT HALL:HAMPTON COURT PALACE (RAWLINSON, N.D) ............... 22
FIG 6. WAKEFIELD RING ROAD UNDERPASS (AUTHORS PHOTOGRAPH, 2011) .. 23
FIG 7. MEMORIAL DE LA DEPORTATION: PARIS (ANON, NOTRE-DAME-THE-
DEPORTATION-MEMORIAL, 2009) ........................................... 24
FIG 8. ROSE CENTRE FOR EARTH AND SPACE: NEW YORK (JODIDIO, 2005) ... 25
FIG 9. PORTHMEAR STUDIO (CLARIDGE, 2009) ..................................... 26
FIG 10. PERSISTENCE WORKS SHEFFIELD (AUTHORS PHOTOGRAPH, 2009) .... 27
FIG 11/12. SARAH VILLENEAUS’S STUDIO IN PERSISTENCE WORKS (CAROL,
2009, P. 34) .................................................................. 28
FIG 13. NEWTONS PRISM (DOUMA, 2006) .......................................... 31
FIG 14. READE STREET TOWNHOUSE, NEW YORK (OJEDA, 2006, P. 72) ...... 32
FIG 15. THE BARBICAN CONCERT HALL FOYER, LONDON (AEGIANDYAD., 2011)
.................................................................................. 33
FIG 16. MUSEUM FOR AFRICAN ART, NEW YORK (OJEDA, 2006, P. 103) ...... 34
FIG 17. SUPERMODELS EXHIBITION, HARVARD UNIVERSITY, CAMBRIDGE,
MASSACHUSETTS (OJEDA, 2006, P. 169) ................................ 35
FIG 18. VITRA FIRE STATION, WEIL AM RHEIN, GERMANY (OJEDA, 2006, P. 78)
.................................................................................. 36
FIG 19. MOOD INDIGO (BOURNE, 2009) ............................................ 37
FIG 20. NISHA BAR-LOUNGE, MEXICO CITY (ARQUITECTOS, N,D) ................ 38
FIG 21. BUZIAK PENTHOUSE, NEW YORK (OJEDA, 2006, P. 136) .............. 39
FIG 22. COLOUR SPACE EFFECTS THE PERCEPTION OF ROOM PROPORTION
(MEERWEIN, 2007, P. 67) .................................................. 41
FIG 23. ACCOUSTIC PROPERTIE OF SURFACE MATERIALS (CRUTCHFIELD, 1996-
2011) .......................................................................... 45
9
FIG 24. MATERIAL ABSORPTION OF REFLECTED SOUND (CRUTCHFIELD, 1996-
2011) .......................................................................... 46
FIG 25 / 26. LE CORBUSIER: NOTRE DAME DU HAUT; RONCHAMPS (RASMUSSEN,
1964, PP. 211,213) ........................................................ 48
FIG 27 SHARDS OF THE BROKEN GLOBE (AUTHORS PHOTOGRAPH, 2011) ....... 58
FIG 28. VIEW OF THE IWMN FROM ACROSS THE MANCHESTER SHIP CANAL
(STUDIO DANIEL LIBESKIND, 2011) ....................................... 59
FIG 29. . AIREAL VIEW OF THE IWMN (STUDIO DANIEL LIBESKIND, 2011) .... 59
FIG 30. THE AIR SHARD TOWER AND MAIN ENTRANCE (AUTHORS PHOTOGRAPH,
2011) .......................................................................... 61
FIG 31. THE MAIN ENTRANCE (AUTHORS PHOTOGRAPH, 2011) ................... 62
FIG 32. INSIDE THE AIR SHARD TOWER THAT IS THE ENTRANCE TO THE MUSEUM
(AUTHORS PHOTOGRAPH, 2011) ............................................ 63
FIG 33. ELEVATED WALKWAY (AUTHORS PHOTOGRAPH, 2011) ................... 64
FIG 34. VIEWING PLATFORM (AUTHORS PHOTOGRAPH, 2011) .................... 65
FIG 35. OPEN METAL GRILL FLOORING (AUTHORS PHOTOGRAPH, 2011) ......... 65
FIG 36. MAIN EXHIBITION SPACE (AUTHORS PHOTOGRAPH, 2011) ............... 66
FIG 37. POLISHED WALLS LEAN PRECARIOUSLY (STUDIO DANIEL LIBESKIND,
2011) .......................................................................... 67
FIG 38. POLISHED WALLS LEAN PRECARIOUSLY (AUTHORS PHOTOGRAPH, 2011) 68
FIG 39. POLISHED WALLS LEAN PRECARIOUSLY (AUTHORS PHOTOGRAPH, 2011) 69
FIG 40. MEMORIAL FOR THE MURDERED JEWS OF EUROPE (ANDERSON, 2011) 72
FIG 41. FIELD OF STELAE (DEROR, 2007) .......................................... 73
FIG 42. VISITORS WALKING BETWEEN AND OVER THE FIELD OF STELÆ, AND LYING
DOWN ON TOP OF THEM. (STEVENS, NOTHING MORE THAN FEELINGS,
2009, P. 158) ................................................................ 76
FIG 43. LADY DIANA MEMORIAL, HYDE PARK (ANON, DIANA, PRINCESS OF WALES
MEMORIAL FOUNTAIN, 2006 - 2011) ..................................... 79
FIG 44. THE CASCADING WATER SINGS (ANON, DIANA, PRINCESS OF WALES
MEMORIAL FOUNTAIN, 2006 - 2011) ..................................... 80
FIG 45. A PLACE TO ENJOY (ANON, DIANA, PRINCESS OF WALES MEMORIAL
FOUNTAIN, 2006 - 2011) ................................................... 82
10
REF 46. THE PROCESS OF DESIGNING FOR EMOTION (APPENDIX C) (AUTHORS
FLOWCHART, 2011) .......................................................... 86
FIG 47. THE EARTH (XEDOS4, 2010) .............................................. 110
FIG 48. GREENPEACE BOAT TRYING TO DISRUPT JAPANESE WHALE HUNT
(GREENPEACE, 2000) ...................................................... 111
FIG 49. SLAUGHTERED PILOT WHALES (ANON, E2NT, 1999-2011) ......... 113
FIG 50. COD IN CRISIS (ANON, 1.BP.BLOGSPOT.COM/, N,D) ................... 115
FIG 51. NET SIZES CATCH IMMATURE FISH (ANON, ENVIRONMENT, 1996-2011)
................................................................................ 116
FIG 52. DEAD FISH THAT CANNOT BE LANDED ARE THROWN BACK INTO THE SEA.
(ANON, FISHFIGHT.NET, N,D) ............................................. 117
FIG 53. SCHOOLING HAMMERHEAD SHARKS. (GALAPAGOS ISLANDS) (ANON,
SHARKDIVING.US, 2006) .................................................. 118
FIG 54. SHARK FIN SOUP (ANON, STOPSHARKFINNING.NET, N,D) .............. 118
FIG 55. FINLESS HAMMERHEAD SHARK (ANON, MADMERMAIDS.COM, N,D) .... 120
FIG 56. RIJNBORG DUMPSHIP (NORTH ATLANTIC : 1982) (ANON,
WWW.GREENPEACE.ORG, N,D) ............................................. 123
FIG 57. RUSSIAN SHIP TNT27 DUMPING NUCLEAR WASTE IN THE SEA OF JAPAN
(EAST SEA). 18 OCTOBER 1993. (ANON, GREENPEACE.ORG, N,D) . 124
FIG 58. CHEMICAL BURNS (ANON, SCIENCEBLOGS.COM, 2006-2011). ....... 124
FIG 59. HUMPBACK WHALE AND HER CALF TAKEN RARATONGA COOK ISLANDS
SEP 2001 (AUTHORS PHOTOGRAPH, 2001) ............................. 126
FIG 60. GREY SEAL: FARNE ISLANDS (ANON,
HTTP://SCUBADIVINGSTAFFORDSHIRE.CO.UK, 2009) .................. 127
FIG 61. BASKING SHARK (DIVERNET.COM, 2008) ............................... 128
FIG 62. OCEANIC WHITE TIP SHARK AND THE AUTHOR IN MOOREA (DIVE IN
PARADISE, 2001) ........................................................... 129
FIG 63. IMAGES OF MARINE PARK AND HEALTHY FISH (ANON, DIVING AT
ESTARTIT AND THE ILLES MEDES, N,D) ................................... 130
FIG 64. PROCESS FOR DESIGNING FOR EMOTION (AUTHORS FLOWCHART, 2011)
................................................................................ 132
11
Introduction
“We shape our buildings, thereafter they shape us.”
(Churchil, 1960)
The Power of Architecture to Educate
The key to compelling vested interests to change any significant
policy or practice is to change public opinion. That change starts with
education, which can lead to a ground swell of public opinion that can
and does force politicians and those vested interests to change their
policies and practices, or risk loosing votes or customers.
Architecture creates the stage on which the drama is played out; it is
key to education and done well can be the catalyst for change!
Harnessing That Power
In order to do their best work an architect must fully identify with the
functions their creation will perform; they must completely
understand how users will experience their work and the emotions it
will evoke. In order to do this the architect must intimately
understand the physiological and psychological affect every element
of their creation will have on the users.
12
Aim and Scope of The Research
Architecture affects all the senses; it creates emotional responses
that if used correctly can motivate people to take action. This
dissertation will explore the techniques an architect has at their
disposal to subtly awaken positive and negative emotions. Then it will
explore the practical application of this ability to subtly elicit a desired
emotional response.
In the context of marine conservation, that power to provoke
sometimes joyous, sometimes unsettling feelings can be the catalyst,
that awakens a determination to protect the oceans and the creatures
that live in them, and demand change from our politicians?
We perceive the world through our senses; that perception has
physiological and psychological effects, and there are techniques that
can be employed to influence those responses. These techniques
could be applicable to any building where one wishes to elicit an
emotional response; in this dissertation, a marine conservation
example will be used to illustrate how these ideas can be put into
practice.
The aim of this research is to really understand, how techniques
successfully stimulate each of the senses and ultimately to
understand how to generate the appropriate emotional responses to
the spaces an architect designs.
The first chapter explores how we perceive our world using all of our
senses and the affect different stimuli have on us, often at an
unconscious level.
13
The visitor experiencing a building designed using the techniques
discussed should “feel the building talk directly to their heart”. A good
building, should elicit an emotional response.
In theory it should be possible to assemble an emotional tool kit that
would allow a designer to take a person through an emotional
journey, as they progress physically, on their journey through the
building.
In order to develop this tool kit, the author will explore how all the
senses can be stimulated by the use of light, sound, touch and the
physical proportions and geometry of a series of architectural spaces;
taking the visitor on a physical and emotional journey that heightens
their emotional responses and drives home the message being
presented.
The second chapter uses a series of case studies to illustrate how a
number of architects have successfully or unsuccessfully used
proportion, light, sound, and texture to create the desired emotional
response in the visitors to their work.
In the third chapter, the author will use the example of a public
marine aquarium, to demonstrate the power of architecture to affect
our emotions. This chapter will show how the techniques available to
manipulate space, light, colour, texture, and sound can be used to
generate support for marine conservation in those who experience
the architecture.
The whole building should be a catalyst for change; visitors are
moved to modify their views; they in turn become the educators,
passing on the message to others.
14
Chapter One: Architecture gets under our skin
“When we move through space with a twist and a
turn of the head, mysteries gradually unfolding,
fields of overlapping perspectives are charged
with a range of light – from the steep shadows of
bright sun to the translucence of dusk. A range of
smell, sound and material – from hard stone and
steel to the free billowing of silk – returns us to
primordial experiences framing and penetrating
our everyday lives.”
(Holl, 1996, p. 11)
Architecture affects us; as we move through space we unconsciously
experience our surroundings using all of our senses; we absorb our
surroundings and this causes physiological and psychological
responses that can have a very positive, or negative effect on us.
“…The experience only touches our hearts when it
becomes an ambience we can breath; most of the
time we don’t notice our surroundings and they
can work on us without any conscious resistance
on our part.”
(Day, 1990, p. 10)
Modern humans have evolved over approximately 200,000 years, and
by about 50,000 years ago had developed many of the social
characteristics and physiological and psychological responses we
would recognize today (BBC News Channel, 2005).
15
Through that long evolution we have evolved instinctual (Non
cognitive) reactions to environmental stimuli. Many modern
instinctual responses have their roots in that evolutionary past and
have evolved to keep us safe.
This chapter explores how we consciously and unconsciously perceive
our world through our senses, and how Architects can stimulate all of
those senses to create powerful emotions as we inhabit and
experience the places they create.
16
The Five Senses
Fig 1. Aristotle’s five senses (Roman, n.d)
Aristotle listed the five senses as those of Sight, Sound, Smell, Taste,
and Touch (Bloomer, 1977, p. 33); Plato had exalted the sense of
sight above all others, describing sight as the purest medium for our
knowledge of perfect form (Bloomer, 1977, p. 32). Ever since the
enlightenment there has been a quest to find a scientific formula for
beauty.
17
In the early part of the 20th Century Psychologists experimenting in
the Berlin “Gestalt” (form) school, conducting experiments into
perception, found that people tend to simplify complex visual patterns
in to more simple and recognizable patterns, in a process they called
closure (Bloomer, 1977, p. 31). Their experiments revealed a
tendency to:
‘…Simplify patterns towards horizontal and vertical rather than
skew organizations; and toward symmetry rather than
asymmetry; and towards basic geometric groups rather than
random or less precise ones. For example, a square was shown
to be the most memorable and neutral form because of its
orientation and regularity.’
(Bloomer, 1977, pp. 31-32)
Fig 2. Gestalt Closure (Bradley, 2010)
Look at the image above; what do you see?
18
The image is actually four unconnected straight lines; yet it is likely
you see a square. Our brains fill in the missing information to make a
single recognizable pattern (Bradley, 2010). This is an example of
how the Gestalt experiments appeared to scientifically prove how
humans visually perceive, simplify, and order external objects and
favor rectilinear geometric forms, as they are more easily recognized
(Bloomer, 1977, p. 31).
This new understanding came as the pioneers of the modernist
movement were formulating their ideas of mass produced, clean
geometric architecture and allowed theories to be developed directly
from experimental evidence (Bloomer, 1977, p. 32). This new theory
of geometric, rectilinear forms, naturally more easily recognized, was
the basis of a higher form of architectural expression, free from
ornament, which seemed to prove a rational explanation of beauty,
perfect for the new machine age (Bloomer, 1977, p. 32).
Fig 3. A Contemporary City: Le Corbusier (Le Corbusier, 1971)
19
Vision had become the dominant sense in art and architecture to the
point that in much modernist and post modernist architecture, the
visual has become all-powerful at the expense of all the other senses.
The other senses seem to have been ignored; often with disastrous
consequences for the people who lived and worked in these
geometric utopian new buildings.
Fig 4. Park Hill Part Two (Hyde Park) development Sheffield Built in 1962-66
(Glendenning, 1994)
The five senses had been considered to be independent passive
receptors of stimuli from the outside world and research between
1830 and 1930 was concerned with the mechanisms of reception;
vision through the eyes; smell through the nose; taste through the
mouth and touch through the skin; touch being further broken down
into the sensations of pressure, heat, cold, pain, and kinesthesis, a
sensibility to motion (Bloomer, 1977, p. 33).
20
Five Sensory Systems
JJ Gibson, an environmental psychologist interested in the psychology
of perception, rather than the physiological workings of the reception
apparatus, considered the senses to be actively seeking out
information from our environment.
Gibson re-classified the five senses as five active perception systems,
capable of obtaining information about objects in the world, without
the intervention of an intellectual process. Gibson’s five active
systems are classified as: “The visual system”, “The auditory
system”, “The taste – smell system”, “The basic orienting system” (a
sense of where our body is in space), and “The haptic system” (a
sense of touch reconsidered to include the whole body) (Bloomer,
1977, p. 33).
“‘The basic orienting system and the haptic system, seem to
contribute more than the others to our understanding of three
dimensionality, the sine qua non of architectural space”
(Bloomer, 1977, p. 33)
Sine qua non is the Latin for an essential condition or requirement;
literally translated as: without which not. (Harper Collins, 2006)
21
The Visual System: Daylight
The architect Louis Kahn said:
“The Sun never knew how wonderful it was until it shone on the
walls of a building.”
(tanizaki, 2001, p. 1)
Human beings are creatures of the light; until comparatively recently
our lives were governed by the passage of day and night and the
passing of the seasons; waking at dawn and retreating to our shelters
as the light faded in the evening.
Light entering through the eyes travels to the visual cortex providing
visual information, which is interpreted by the brain as sight, but light
entering through the eyes also stimulates the pituitary and pineal
glands that regulate the secretion of hormones that regulate body
chemistry (Meerwein, 2007, p. 48).
The circadian system, our in-built body clock that repeats over a 24-
hour period is synchronized by daylight and governs the 24-hour
cycle of day and night. This inner clock induces many complex
psychological and biochemical reactions regulated by the hormone
melatonin. Melatonin is suppressed by light and activated by
darkness and it is the increase in the level of this hormone that
makes us sleepy when it is dark and wakes us as its level reduces in
daylight keeping us awake until the cycle is repeated (Meerwein,
2007, p. 48).
Light has a powerful effect on us; one feels joyful when one awakes
to a sunny blue sky, yet in contrast, the dull gray skies we often
22
wake up to in the UK can be depressing. In some people suffering
from SAD (Seasonal Affective Disorder), this seasonal change in the
quality of daylight can have debilitating psychological effects, ranging
from unusual tiredness, lethargy, loss of libido to depression and
paranoia (Anon, symptoms-of-SAD, n,d).
In describing the effect of moving from a smaller side lit room into
the large great hall lit from two sides; common in many European
manor houses, Rasmussen says”
‘Coming from one of the smaller rooms, with windows on one
wall only, into this huge room flooded with light gives a feeling
of relief for it is so bright and airy.’
(Rasmussen, 1964)
Fig 5. Great Hall:Hampton Court Palace (Rawlinson, n.d)
23
Sunlight has a very positive affect our psychic; conversely poor light
is degrading; for example, a dimly lit space may cause a sense of
unease. In our past, predators, which might have eaten us, stalked
us from the shadows. We have evolved excellent peripheral vision,
which works better in low light than our main narrow colour focus
vision. Perhaps to spot those moving shadows that might signal
danger. A fear of the dark as a child is perfectly natural and would
keep us safe if we avoided dark places, where danger might lurk.
Fig 6. Wakefield Ring Road Underpass (Authors photograph, 2011)
A gloomy underpass, instills a sense of unease, muggers might be
lurking to do us harm, therefore we feel on edge because adrenaline
is produced as part of the fight or flight response that prepares us to
fight the mugger or run away.
24
There may have been no wolf in the undergrowth or mugger in the
underpass, but the physiological response, of which we have no
control, does prepare us for the danger we might face and the
feelings are very real.
Fig 7. Memorial de la Deportation: Paris (Anon, notre-dame-the-deportation-
memorial, 2009)
The Memorial de la Deportation in Paris commemorates the 200,000
French citizens transported to the Nazi Concentration camps during
World War II. The architect Georges-Henri Pingusson intending to
instill a sense of foreboding and apprehension in the visitor creates a
deliberately narrow claustrophobic and dimly lit space (Chapman,
2011).
25
Fig 8. Rose Centre for Earth and Space: New York (Jodidio, 2005)
A light airy space flooded with natural light will feel uplifting and
positively lift the mood. However a visual connection to the outside
world, to nature, is also important. The Rose Centre in New York is a
great example of an open airy and uplifting space.
26
Daylight and a connection to place
Cornwall has long been popular with artists, who have over the years
established many artists’ colonies, drawn by the quality of the light.
An experiment intended to establish what made the light so good was
conducted in the artist’s colony of Porthmear in St Ives on the north
coast of Cornwall.
It was found that the air is free from the pollution found in the cities
and therefore, as would be expected the light is not degraded by
pollution. The studios are close to the sea, with views looking north
over the beach and sea beyond; that view connects the artist to the
outside environment; most of the light entering the studios is from
the bluer part of the sky in the north and the intensity of the light is
amplified by its reflection from the sand of the beach and the sea
beyond (Carol, 2009, p. 19).
Fig 9. Porthmear studio (Claridge, 2009)
28
Persistence Works in Sheffield, is an award winning artists colony
purpose built to provide a variety of studios for local artists. All the
studios have plentiful natural daylight however, Sarah, Villeneaus’s
studio, which is, also on the north side, is only lit by high-level
clearstory windows and roof lights to the north. These give excellent
daylight, but give no view of the outside world. Consequently, Sarah
built a raised platform on which she sits to allow views out of the
clearstory windows and establish a visual connection to the outside
(Carol, 2009, p. 34).
Fig 11/12. Sarah Villeneaus’s studio in Persistence Works (Carol, 2009, p. 34)
Carol concluded that:
“This is a perfect example of how important a visual connection
with the external environment can be to an artist”.
“…The reliance on roof lighting and lack of eye level windows in
some spaces at Persistence Works results in a feeling of
enclosure rather than the feeling of liberation that Porthmear
emits.”
(Carol, 2009, pp. 34, 38)
29
The artist’s colony in Porthmear has views over the beach and sea
that give a strong connection to the outside world and to its place.
The inhabitant is aware of the passage of time; from morning to
night; the passing of the seasons from winter to summer, with all the
drama the changing weather brings; this gives a strong connection to
the place. The lack of eye level windows in the Persistence Works
studio denies a visual connection to the outside.
This comparison between Porthmear and Persistence Works illustrates
the importance in architecture of not only natural daylight but also
views that connect the space to its place.
Consequently one can surmise that to feel uplifting, a space needs
good natural light and views that connect to the wider environment.
Conversely, by denying that connection an architect can create an
uncomfortable feeling of entrapment.
30
The Visual System: Colour
In the use of colour, Sophia Simoula in her 2009 Dissertation
Colouring Architecture, says that:
“…The atmosphere and quality that can be given to a space
depending on it’s colour scheme can make a room appear
festive, cheerful, cool, distant or calm. With the right choice of
colours, the space can convey messages that influence peoples
behavior or feelings, or on the other hand can be completely
speechless”
(Simoula, 2009, p. 65)
In Places of the Soul, Christopher day confirms the use of colour can
affect the quality of a space and how it affects us.
“‘There are universal aspects of colour: Red, speeds the
metabolism, blue slows it down. This is physiological fact –
everyone responds this way”.
(Day, 1990, p. 47)
Day goes on to explain how heavy strong colours have a tendency to
be too forceful for comfort. Strong colours tend to be manipulative.
They force their mood on the room. Couloured light has a different
effect from pigment. With light you can feel raised up into a mood,
but with pigment pressed down into it (Day, 1990, p. 48).
31
Fig 13. Newtons prism (Douma, 2006)
Sir Isaac Newton’s prism experiment in 1672 demonstrated that the
visible spectrum of natural light is made up of seven colours. Red,
Orange, Yellow, Green, Blue, Indigo, and Violet. (Douma, 2006)
We perceive colour based on which colours are absorbed or reflected
from the surface of a material. If all the colours are absorbed we see
black, if all the colours are reflected we see white.
32
Psychological affect of colour
In the book “The Powers Of Colour: creating healing interior spaces”
the authors Sarah O Marberry and Laurie Zagon give their
explanation of the psychological effect of colour as follows:
FIG 14. Reade Street Townhouse, New York (Ojeda, 2006, p. 72)
“Red – Its nature symbol is the earth; it is defined often by its
qualities of high energy and passion. Studies have shown that
red has the ability to excite and raise blood pressure.”
(Marberry, 1995, p. 16)
33
FIG 15. The barbican Concert Hall foyer, London (aegiandyad., 2011)
“Orange – Its nature symbol is the sunset; it is defines often
by its qualities of emotion, expression, and warmth. Orange is
noted for its ability to encourage verbal expression of
emotions.”
(Marberry, 1995, p. 16)
34
FIG 16. Museum for African Art, New York (Ojeda, 2006, p. 103)
“Yellow – Its nature symbol is the sun; it is defined often by
its qualities of optimism, clarity, and intellect. Bright yellow is
often noted for its mood-enhancing ability. Yellow must be
carefully applied in certain settings, as it may connote aging
and the yellow skin tones of jaundice.”
(Marberry, 1995, p. 16).
35
FIG 17. Supermodels Exhibition, Harvard University, Cambridge, Massachusetts
(Ojeda, 2006, p. 169)
“Green – Its nature symbol is growth – grass and trees – and
it is often defines by its qualities of nurturing, healing, and
unconditional love.”
(Marberry, 1995, p. 16).
36
FIG 18. Vitra Fire Station, Weil am Rhein, Germany (Ojeda, 2006, p. 78)
“Blue – Its nature symbols are the sky and the ocean; it is
defined often by its qualities of relaxation, serenity, and loyalty.
It is known to lower blood pressure.”
(Marberry, 1995, p. 16)
37
Fig 19. Mood Indigo (Bourne, 2009)
“Indigo – Its nature symbol is the sunset; it is defined often
by its qualities of meditation and spirituality in that it is the
exact opposite of blue and violet.”
(Marberry, 1995, p. 16)
38
Fig 20. Nisha Bar-lounge, Mexico City (Arquitectos, n,d)
“Violet – Its nature symbol is the violet flower; it is defined by
its qualities of spirituality. Violet is also a stress reducer and
can create feelings of inner calm.”
(Marberry, 1995, p. 16)
39
FIG 21. Buziak Penthouse, New York (Ojeda, 2006, p. 136)
“Grey. Positive: Psychological neutrality. Negative: Lack of
confidence, dampness, depression, and hibernation, lack of
energy. Pure grey is the only colour that has no direct
psychological properties. It is, however, quite suppressive. A
virtual absence of colour is depressing…”
(Wright, 2008 - 11).
40
Physiological response to colour Stimulus
“Seeing is not the only purpose of the calibration between light,
eye and the brain. Besides the “optical” visual pathway, there is
also the “energetic” one that directs incoming light and colour
stimuli directly to the interbrain, from where it affects the
metabolism and organ function. This explains why the pulse
increases with a red stimulus and decreases with a blue one.
Biological reactions occur on purely physiological levels. They
are independent of how people think about a colour, or a
combination of colours, or how they evaluate them
aesthetically.”
(Meerwein, 2007, p. 20)
Experimental evidence demonstrates colour has a physiological
effect. Dr Barbara B. Brown who is Chief of Experimental Physiology
at the Veterans Administration Hospital in Sepulveda, California, has
carried out experiments using the polygraph (lie detector) that
measures physiological reactions such as heart rate, respiration and
perspiration through the skin and the electroencepholatograph (EEG)
that measure brain waves to establish the physiological response to
colour stimulus. She found that:
“In general there is a high response to colours such as red and
orange, and a lower response to green and blue – quite apart
from what a person might “think” or “feel” about colour.”
(Birren, 1982, p. 20)
41
Fig 22. Colour space effects the perception of room proportion (Meerwein, 2007, p.
67)
A ceiling, which is lighter than the floor and walls, will lift the space
making it seem lighter and higher. Conversely a ceiling that is darker
than the walls and floor will seem heavy and oppressive, pressing
down on the occupants.
42
It is clear that colour does have an unconscious affect on people,
which can be used to good effect by the architect. Colour can be used
to stimulate, or calm, it can be warm or cool and the selection of
colours can also be used to manipulate the feeling of size and
proportion a space has.
• “Warm highly saturated and bright colours (orange,
ochre, sand yellow) advance to the foreground.
• Colours that are neither clearly cold nor warm (green,
violet, purple) are located in the intermediate ground.
• Cool and bright colours (light blue, lime green) as well as
dark warm colours (dark brown, dark blue) recede into
the background.”
(Meerwein, 2007, p. 68)
In designing a space that is intended to elicit an emotional response
an architect needs to understand the effect of colour. The pallet of
colours and materials must enhance the desired effect.
43
The Auditory System Sound can also have a powerful effect on our emotional state; music
can calm or excite; bring back memories or awaken powerful
emotion. Music is often used in buildings to help create the desired
atmosphere.
A live Jazz band in a bar, a pianist in a romantic restaurant or piped
music in an elevator or shopping mall are all intended to create the
right atmosphere. This atmosphere is usually added by the proprietor
of the bar or restaurant, not necessarily designed in by the architect.
In order that the performance can clearly be heard the acoustics of a
concert hall are carefully considered; materials are chosen to absorb
unwanted sound and control reverberation. However, outside the
obvious performance spaces where sound is integral to the
performance, the sonic quality of buildings does not appear to
concern many architects to the degree it should.
Vision is directional; we look and see. Hearing is three-dimensional;
sound envelopes us; we have the ability to perceive exactly where
sound comes from and how far away the source is; we know if the
sound comes from above, below, or behind etc.
Our responses to sound stimuli, as with so many of our senses are
often unconscious. Sound provides valuable information about our
surroundings.
It is well known that bats and dolphins use their highly developed
hearing to navigate and locate prey in total darkness. Human beings
have also evolved a more highly developed sense of hearing than
previously thought. It has been demonstrated that when blindfold, we
44
can sense an obstacle, by the subtle changes in the reflected sound
as we near a wall (Cox, 2009). The blind, denied the sense of sight
are renowned for having a heightened sense of hearing.
We are also adept at understanding in what type of space we find
ourselves from the aural information we hear. In his Radio 4
interview, professor Cox also explained:
“Every space has its own unique soundscape, created by a
combination of the overall design, the materials used in
construction and the way that humans use space. A bathroom
always sounds like a bathroom.”
(Cox, 2009)
The rhythmic sounds of breaking waves or water gently lapping
against the side of a boat are relaxing; rustling leaves in a gentle
breeze or the sound of a babbling brook is calming; birdsong creates
a sense of safety and security, perhaps because the presence of a
predator would silences the birds singing and warn us of danger.
Conversely a sudden noise will trigger the release of adrenalin as part
of the physiological fight or flight response that has evolved to keep
us safe. Sustained loud noise levels increase stress and are damaging
to our long-term health (Bronzaft, 2011).
Echoes caused by the reflection of sound from hard surfaces can be
fun; who hasn’t shouted when in the mountains or in between
buildings where the sound echoes and enjoyed playing with the
sound? There is something satisfying about hearing the sound of ones
own footfall or revving an engine in a tunnel, where it sounds louder!
45
However, excessive reverberation can make it difficult to hear a
conversation for example poorly designed open plan offices or railway
stations make it hard to concentrate and raise stress levels (Cox,
2009).
The amount of reflection from a surface and consequent
reverberation is dependent on the surface material. Hard materials,
glass, steel and smooth stone or concrete, reflect sound. Soft
materials, fabric, carpet, etc. absorb sound to a greater or lesser
degree and rough surfaces tend to disperse the sound. The texture of
the materials used and the material choice can make the space feel
cold and hard, or warm and soft.
Fig 23. Accoustic propertie of surface materials (Crutchfield, 1996-2011)
It is essential to create a balance between reverberation and
absorption in order to create a rich warm soundscape. Too much
reverberation will make it difficult to hold a conversation and too
much absorption of sound will make the space aurally dead.
46
Fig 24. Material absorption of reflected sound (Crutchfield, 1996-2011)
The architect can choose materials depending on whether they want
to reflect or absorb sound. The table (Fig 24.) shows the amount of
sound absorbed by a number of materials at different frequencies.
Recent research has shown that spending extended time in an aurally
poor environment can have a significant negative affect on how we
feel and behave (Cox, 2009) therefor specifying the righty pallet of
materials for each space is essential to the wellbeing of the
occupants.
Understanding the reflective properties of materials and the affect
sound has on human emotion empowers the architect to choose how
the soundscape they create will affect the emotions of the users of
their work.
47
The basic orienting system
We have an acute sense of where we are in the world; which way is
up, where is down and a sense of where each part of our body is in
space.
The mechanism of the inner ear tells us if we are moving, stationary
accelerating, slowing down, climbing, or descending and how we are
orientated in space.
Even with our eyes closed we can touch the end of our nose with a
finger. We know where all of our body is in space as if we carry with
us a body image, telling is where we are in relation to others and
external objects in our world (Bloomer, 1977).
48
The Haptic System: Touch
Hard surfaces that echo can feel cold and inhumane, but softer tactile
surface feel warmer, more comfortable.
Rasmussen describes the interplay between light and texture.
Explaining how good lighting, usually from the side brings out the
texture of the materials used; letting the viewer see the tactile nature
of the materials.
In the Chapel at Ronchamp, Le Corbusier, uses side lighting to
highlight the texture of the rough concrete (Fig 25.) and soft reflected
light shining on the curved wall of apse to create a soft other worldly
light that draws the worshipers eyes up above the alter where the
light is brightest (Fig 26.) (Rasmussen, 1964, p. 214). These effects
create an ambience where the pilgrim can concentrate on their
devotions to the Madonna bathed in sensual light.
Fig 25 / 26. Le Corbusier: Notre Dame du Haut; Ronchamps (Rasmussen, 1964, pp.
211,213)
49
Texture not only adds warmth and visual interest; it stimulates the
sense of touch. A handrail can be cold steel or warm polished wood;
it can be rough or smooth; flooring can be soft warm carpet, cold
linoleum, or hard stone. Stimulating the haptic sense of touch;
through the hand or foot; changes in texture can be used to orientate
a user, subtly guide the users journey, or give important information.
“Changes of texture often signal special events and can trigger
a slowing or quickening of ones pace. They can signal where to
wait, lean, what to grip or where to sit and texture can induce
movement, where to go, and how we move.”
(Bloomer, 1977, p. 70)
“It is possible to generate a whole choreography of movement
through the composition of textural changes alone. In fact this
has been explored in recent architecture for blind people where
important spacial clues are produced by the organization of
tactile experiences.”
(Bloomer, 1977, p. 71)
In a study of perception in people who are congenitally blind and
have no visual memory from a time before blindness that might
influence their perception of their environment, by Jasmien Herssens
and Ann Heylighen, it was found that the “Haptic” sense of touch,
which can be active, to touch, or passive, being touched, is key to
understanding their environment.
“...We actively walk into our office and passively feel the
warmth of the sun shinning on our skin. Dynamically we feel
the weight of the door through the handle. This differs from
visual sensation, which requires active visual participation; in
50
real time we can always actively choose whether we want to
see or not.”
(Herssens, 2008, p. 105)
We can direct our gaze at something, look away, or close our eyes;
we cannot turn off our haptic sense; it is active all of the time without
our realizing it. Sighted people build up a mental map of our
surroundings using visual and haptic clues, in the absence of vision in
blind people, the other senses are heightened; this map is built up
primarily using the haptic sense supplemented by information from
our senses of hearing and smell.
“We have all experienced the night quest for the lavatory. Most
of the time this movement happens in a dark environment, but
one is able to find the door handle and the light switch.”
(Herssens, 2008, p. 107)
In vision, we instantly see an image of the whole space; we then
break down and start to understand its structure. In the haptic sense,
we sequentially build up an understanding; piece by piece until we
understand the whole; as if we are putting together the pieces of a
giant puzzle. Heylighen quotes one of the interviewees as saying:
“For me good architecture exists in its imperfections”. He refers
to the traditional made architecture in which you feel the
authenticity of its production. For example, a little twist in a
wooden armrest can provide a good orientation point.’
(Herssens, 2008, p. 107)
To a blind person a wall gives structure to a space and a sense of
safety; voids give a feeling of being lost Texture and changes in
51
texture allow a blind person to build up that mental map and navigate
their world. (Herssens, 2008)
One of Heylighen’s blind interviewees when describing how they
navigate on their walk to the post office explained:
“…He opens the front door, follows the wall of the house which guides
him to the hedgerow. Following the line of the hedge, he suddenly
feels a change in the tactile pattern of the path. A grid serving the
drainage of the drive indicates the way to the postbox. To go back
inside, he just walks the same path in a reverse way.”
(Herssens, 2008, p. 107)
This shows how, deprived of sight, a blind person uses their haptic
sense, which, uses the tactile information all around us to build a
mental map of the environment and make sense of the world.
We all have this haptic sense, which is giving us valuable information
all of the time. By carefully considering the textural qualities of the
materials we use and their organization, as well as the visual image
which has tended to dominate architecture of the 20th and 21st
century, an architect can greatly enhance the experiential quality of
his architecture and make it accessible to all.
52
The Haptic System: Personal Space
“ Throughout our patterns of inhabitation, space becomes a
kind of possession. Each of us is centered in an invisible but
nonetheless significant “personal space” or three-dimensional
bubble that ensures that a certain distance will usually be
maintained between our body and the bodies of others.
In determining how much space is required for a room, it is
vital to know not only the number of people who will occupy it,
but also the kind of activity they will engage in and accordingly
what spacial relationship they will maintain with each other in
that culture – intimate, social or public.”
(Hall 1966 cited Franck, 2007., p. 51)
If our personal space is invaded, we feel very uncomfortable. In the
UK the normal greeting is a handshake, which allows by invitation a
limited, temporary intrusion into our personal space. In Europe, a
hug and a kiss on both cheeks even between men is quite normal. In
the UK this feels uncomfortable, too familiar; because our personal
space is being invaded more than our culture has taught us to
expect.
Places where people are forced into close proximity with each other,
e.g. crowded tube trains, or spaces where people are funneled
together are uncomfortable, because peoples personal space is being
invaded. In a cinema or on a bus or train, strangers will invariably
choose to leave a buffer of an empty seat between themselves and a
stranger, however, people will hapily sit next to someone they know,
but not touch them. Where people have a close emotional bond they
53
will touch. The arm around a girlfriend or a son or daughter, gives
pleasure as inviting one into that space makes a connection.
As you can see the amount of personal space and the circumstances
when one will allow it to be broken depends on culture and the
relationship between people.
By designing a space where there is not enough room to maintain
personal space an architect can inadvertently or deliberately create a
very uncomfortable, and stressful feeling in the visitor.
This invisible boundary interacts with the world and has an affect on
how we feel.
“...If an external boundary is very close to us, like a tall wall,
we perceive our body to have shrunk, while if we are orientated
to an opening in a great space by a doorway, window, vista or
park, we perceive our body as having expanded.”
(Bloomer, 1977, p. 42)
This feeling of compression or expansion can make us feel heavy,
oppressed and insignificant or uplifted, light and free.
54
Proportion, Balance and Scale
Everything should be done on a human scale. Too small and we feel
squeezed, trapped; too large and we are dwarfed by the volume, we
feel insignificant, unimportant, a number, not a person.
Disproportionately low ceilings or uneven floors, as used in the
Imperial War Museum in Manchester can subtly instill a sense of
unease, whilst light airy spaces, which are in proportion, feel
uplifting.
A low ceiling in a small space can create an intimate atmosphere, for
example a snug in an old world pub or a booth in a restaurant, or
drapery over a four-poster bed all create a comfortable private,
intimate space, where one feels safe, secure and protected from the
outside world.
However, in contrast, a space where the ceiling is too low for the
length or width will feel heavy and oppressive; is it going to collapse
and crush us? In a natural cave, the roof might cave in; roof falls in
mining are common enough occurrences to reinforce that fear.
55
Chapter Summary
“Modern architecture has had its own conscience
in reorganizing a bias towards the visual nature of
designs. Architecture of the exterior seems to
have interested the architects of the avant-garde
at the expense of architecture of the interior. As if
a house were to be conceived for the pleasure of
the eye rather than the wellbeing of the
inhabitants.”
(Grey, 1929)
In 1929 Eileen Grey discussed how the modern movement only
considered the visual depiction of architecture; she gave a prophetic
warning that all the other senses, which have a major affect on the
occupant, were being ignored.
Many 20th century architects produced work, which was visually
stunning from the outside, but failed to meet the needs of the
occupants. Many architects produce amazing shapes, they grab the
headlines, but under the veneer of glass and steel skins, the users
live or work in bland soulless, beige boxes, attractive for their
flexibility and efficiency to developers, but stifling and repressing for
the users.
In this chapter I have shown how the emotions we experience when
moving through a space will vary depending on the stimulus we
receive from the interplay between the spatial organisations, lighting,
texture, colour, sound, and the connection to or disconnect from the
outside world.
56
These responses are unconscious and the recipient does not directly
perceive the actual characteristics that promote the response,
nevertheless they are extremely powerful. The architect by his
manipulation of these elements could design in desirable
characteristics, which elicit a positive response and design out
negative characteristics to eliminate undesirable responses, or indeed
deliberately include negative characteristics in order to elicit an
uncomfortable response.
An architect can manipulate how a person experiences the spaces he
designs and can take that person through a physical and emotional
journey as they move through and experience the different spaces in
a building town or city.
By remembering that we primarily give meaning to our environment
through our visual, haptic, and aural senses, and that this sensory
experience is universal, the architect can design places that are
accessible and stimulating to all.
By carefully considering all of the stimuli the users will be
exposed to the architect can heavily influence the emotions.
This gives the architect great power with which comes great
responsibility.
57
Chapter Two: Case Studies
This chapter explores how architects have taken advantage of the
way we perceive our world through our senses and used techniques
that stimulate some or all of these senses in order to manipulate how
a visitor feels, when experiencing their work.
This will take the form of a critique of some of the techniques used in
the work of, Daniel Libeskind (Imperial War Museum North), Peter
Eisenman (Memorial for the Murdered Jews of Europe), and, the
partnership of Kathryn Gustafson and Neil Porter (Lady Diana
Memorial Fountain).
In their own way these architects have all used their architecture to
attempt to deliver a message that educates the public.
This chapter is concerned with exploring how each architect creates
spaces that unconsciously talk to us to make us ‘feel’. It considers
how architects attempt to ‘talk to’ the senses of not only sight, but
also the haptic sense (touch), basic orientation and hearing to create
emotion in their buildings.
58
The Imperial War Museum in Manchester
Fig 27 Shards of the broken globe (Authors photograph, 2011)
Daniel Liberskind describes the form of his Imperial War Museum in
Manchester thus:
“The design concept is that of a globe which has been shattered
into fragments and then reassembled. The building’s form is the
interlocking of three of these fragments, which represent earth,
air, and water. These three shards together concretize the
Twentieth century conflicts, which have never taken place on
an abstract piece of paper, but rather have been fought by men
and women by land, sky, and sea. The IWMN is a constellation
composed of three interlocking shards of space. The Earth
Shard forms the museum space, signifying the open, earthly
realm of conflict and war. The Air Shard serves as a dramatic
entry into the Museum, with its projected images,
observatories, and education spaces. The Water Shard forms
the platform for viewing the Canal, complete with a restaurant,
cafe, deck and performance space.”
(Studio Daniel Libeskind, 2011)
59
Fig 28. View of the IWMN from across the Manchester Ship Canal (Studio Daniel
Libeskind, 2011)
Fig 29. . Aireal view of the IWMN (Studio Daniel Libeskind, 2011)
60
This concept is very poetic, however the whole form of the building
(Fig 28 / 29.) can only be seen from a distance or with the benefit of
a birds eye view. The whole form is not visible or comprehensible
close up or from within the building.
What is interesting in the context of this dissertation is how the
building is designed to provoke emotion.
On arrival, one is presented with an austere dark grey wall punctured
by windows; the hard cold metallic skin of the roof arching over it
and the very mechanical sheet metal covering of the tower leaning at
four degrees from vertical that houses a viewing platform. This
frames the main entrance to the museum (Fig 30.).
The grey colour is the colour of depression, of grey skies bereft of
colour and warmth; the hard metal is cold, mechanical, and
unnatural; this is not a warm welcoming building. It has a somber
austere industrial feel, in keeping with the hard brutal story, starting
with the world’s first mechanized war (WW1) told inside the building.
“…The building purposefully unsettles you from the Air Shard
entrance onwards to prepare you for the emotional and
revealing experience ahead.”
(Smith., 2002)
62
The entrance (Fig 31.) is also offset from the vertical; it takes you
under the tower (Fig 32.), which is a very industrial looking structure
reminiscent of a scaffolding watchtower clad in cold inhuman metal
panels.
Fig 31. The main entrance (Authors photograph, 2011)
The gaps in the paneling let in the elements, you feel, exposed,
vulnerable, cold, and very insignificant. Perhaps this is metaphor for
how the young men fighting in the trenches of First World War might
have felt, knowing that the whistle signaling the order to go over the
top was not far away and that it might signal their end.
63
Fig 32. Inside the Air Shard tower that is the entrance to the museum (Authors
photograph, 2011)
To reach the viewing platform, one must take the rickety elevator
and traverse an elevated, vertigo inducing walkway that connects to
the viewing platform 29m above the ground.
64
Fig 33. Elevated walkway (Authors photograph, 2011)
The open grills of the viewing platform (Fig 34.) angle away
enhancing the sense of unsteadiness. One can see the drop to the
ground 29m below through the metal grill flooring (Fig 35.); this
heightens the feeling one could fall. Which of course one can’t?
65
Fig 34. Viewing platform (Authors photograph, 2011)
Fig 35. Open metal grill flooring (Authors photograph, 2011)
66
This feeling of unease sets the scene; it is reinforced, by the uneven,
slightly sloping floors (Fig 36.), taking one down to the far side of the
exhibition; a number of polished metal walls (Fig 37/38.), angled
away from the vertical enhance the sense of unsteadiness.
Fig 36. Main exhibition space (Authors photograph, 2011)
68
Fig 38. Polished walls lean precariously (Authors photograph, 2011)
The architect designed the floor that curves in two directions to
represent the curvature of the Earth away from the North Pole at the
entrance. (Architects Journal, 2011) This is only a slight slope, but
does instill a sense of sinking down perhaps, a suggestion of sinking
69
down into the depravity of war, before eventually making ones way
back up into the light, into peace time, and out of the building.
The way the ceiling curves down reduces the height of the space as
the visitor moves towards the bottom of the exhibition hall and has
the effect of creating a feeling of compression, of a weight pressing
down oppressing and shrinking the visitor; who is now feeling small
and powerless; as the people in wartime were powerless cogs in a
huge machine.
Fig 39. Polished walls lean precariously (Authors photograph, 2011)
These techniques create a feeling of foreboding; an appropriate
feeling for a building that houses exhibitions that show the futility of
war, the waste of life and the disruption to normal life, war brings.
70
The architect of the Imperial War Museum, Daniel Libeskind, born in
the Polish town of Lodz in 1946 the first child of two Polish Jews who
had survived the Nazi labour camps, was deeply affected by war
having lost many members of his family to the Holocaust. He said of
his design for the museum:
“When I began to work on the competition for the Imperial War
Museum North, I was deeply challenged by the notion of
creating a place that was at once intimate and civic….
…My aim was to create a building, not only intelligently
programmed for the events which were to take place in it, but
one which emotionally moved the soul of the visitor toward a
sometimes unexpected realization. Conflict is not simply a story
with a happy or unhappy ending, but an ongoing momentum
that structures one’s understanding of the future in relation to
the past.
In order to touch the passions of the visitor, and structure a
building that is boldly put together, I designed a building that is
emblematic of the earth shattered by conflict.
As the visitor moves through this splintered globe with its
fragmented curvatures, there is a feeling of vulnerability.
These programmatic activities are given three dimensional
depth, not in neutral containers, but in functional and
emblematic spaces, each of which has a density, materiality,
temperature, acoustical quality, atmosphere and gravity which
are not fully accessible to the abstraction of words, but rather
to concretely embodied experience.
71
…I hope that this building will enable the Imperial War Museum
north, to accomplish its mission of inspiring, involving and
educating its audiences.”
(Forrester, 2004, p. 75)
His use of proportion compresses and then expands the space; it has
the effect of making the visitor feel small and insignificant then
hopeful and optimistic. The hard cold materials and the palette of
greys create a sense of foreboding. The hard textures cause echoing
sound that disorientate the visitor heightening the sense of unease,
and creating the feeling of vulnerability Libeskind was striving for.
The way he has created this sense of foreboding sets the scene; it
adds to the power of the exhibits.
72
Memorial for the murdered Jews of Europe
Fig 40. Memorial for the Murdered Jews of Europe (Anderson, 2011)
Peter Eisenman’s Memorial to the Murdered Jews of Europe (MMJE)
in central Berlin doesn’t immediately give any visual clues that it is a
memorial at all; nor does it give any direction as to how a visitor is
supposed to feel or behave. Instead Eisenman creates spaces, which
through the sense of touch, sound and the sense of being in the
space, are intended to create feelings of unease, of being small,
insignificant, and powerless.
The MMJE is set out over a 2-hectare site in the former zone of the
Berlin wall close to the tourist are of Potsdamer Platz. This space is
covered with 2711 thick rectangular columns (Stelae), each 95
centimeters wide and 2.375 meters long, with heights varying from
zero to 4 meters. The Stelae are laid out in a closely spaced grid
pattern 95 centimeters apart to allow for only individual passage
73
through the grid (Eisenman, n,d). This creates a grid of narrow paths
between the rows of Stelae that intersect at 90 degrees.
Fig 41. Field of Stelae (Deror, 2007)
The ground which is paved undulates, dropping down as the visitor
moves away from the edges of the field and at the same time the
Stelae, which are small enough to sit on or lean on at the edge,
become taller as the visitor moves further into the field. As the visitor
moves towards the center of the memorial, the ground drops and at
the same time the Stelae increase in height, creating narrow
passages that increasingly tower above the visitor. This builds an
increasing sense of enclosure, and is intended to build an increasing
sense of claustrophobia and unease.
Some of the Stelae are unevenly set and appear to lean over the
visitor, further exaggerating the sense of unsteadiness, weakness,
and insignificance. The Stelae are set 95 cm apart, close enough to
74
touch with outstretched hands but the isles are set too narrow for
companions to pass two abreast, forcing them to move in single file,
unable to see past the person in front, or the ground in front of them;
This is designed to cause a feeling of having no control, being
powerless, alienated and alone. Much as the victims of the Holocaust
might have felt. (Stevens, Nothing More Than Feelings, 2009)
“People are supposed to feel this memorial’s purpose and act it
out, rather than see or think it.”
(Stevens, Nothing More Than Feelings, 2009, p. 167)
In a person interview with Peter Eisenman, he explained that:
“…In his use of minimalist technique that he was not trying to
represent the Holocaust: he believes this is impossible, because
the Holocaust is unfathomable, and representations trivialize
it.”
(Stevens, Nothing More Than Feelings, 2009, p. 166)
“Figural Holocaust memorials, such as one at Sachsenhausen
concentration camp near Berlin that depicts emaciated,
suffering and collapsing victims, communicate that the viewer
should definitely react by feeling sad. Instead, Eisenman
wanted to induce in memorial visitors physiological feelings
which would be similar to those that Holocaust victims
themselves experienced.”
“…One visitor, who had been in a concentration camp, who
came to Eisenman in tears to tell him that his Holocaust
memorial design did recreate the feelings she had.”
(Stevens, Nothing More Than Feelings, 2009, p. 167)
75
In the southeast corner of the Stelae field is the underground
Information Centre. This is accessed by two flights of stairs or a lift
and presents in a series of spaces that mirror the Stelae above
(Anon, Information Centre, 2011).
For those people who, intended to visit the information center, which
is under the field of Stelae, or come across it as they explore the site,
a powerful exhibition presents the stories of the Murdered Jews of
Europe. The message presented in the exhibition is designed to
educate and move the visitor emotionally; it is a memorial to their
suffering.
“A central function of the Information Centre is to back up the
abstract form of remembrance inspired by the Memorial with
concrete facts and information about the victims. This includes,
for example, recording as many names of murdered Jews as
possible. Personal and biographical details of individuals and
families will also be presented as examples.”
(Anon, Information Centre, 2011)
For the many who do not come across the information center, there
is nothing to guide their emotional response; they will individually
simply respond to the stimuli Eisenman creates in their own way.
This lack of guidance has resulted in many visitors displaying
behavior, which one might find at odds with the behavior one might
expect to see at a memorial of this type.
76
Fig 42. Visitors walking between and over the field of stelæ, and lying down on top
of them. (Stevens, Nothing More Than Feelings, 2009, p. 158)
Paradoxically, many visitors undoubtedly stimulated by the
architecture, seem oblivious to Eisenman’s intended emotional
responses to the memorial; in contrast to the slow, respectful
walking, and hushed tones one might expect to see at a site of
remembrance; many visitors seem to use the memorial as a
playground.
Eisenman’s use of hard concrete Stelae arranged in a regimented grid
causes the sound from visitors to reverberate from the hard surfaces
of the concrete, causing all the sounds to merge and mingle. This
confuses the origin of the sound, heightening the sense of isolation
and confusion, and the sense of being lost.
77
However this confused origin of the sounds of other players also
heightens the excitement and mystery of the games of hide and seek
that children play in the memorial.
The memorial is open on all sides and this permeability results in
many incidental visitors who have no knowledge that it is a memorial
at all. They may be tourists, business people taking a short cut to
their offices that surround the site or families taking their children out
for some fresh air, much as one would take a child to the park.
The close spacing of the Stelae does, as Eisenman intended, cause a
sensation of enclosure; the grid pattern can and does result in an
unexpected encounter with a stranger, which will cause an
uncomfortable, if temporary invasion of ones personal space.
However, that same close proximity of the Stelae allows people to
play on the top of the memorial, jumping from Stelae to Stelae; some
sunbathe in warm weather, finding the warmth of the concrete
pleasurable. The spaces below are used by children playing hide and
seek, the threat of unexpected discovery adding to the excitement of
the game. One reviewer on the site described the field of Stelae as
being perfect for paintballing!
“The memorial’s size and its many circulation aisles mean
visitors can play and observe but control their exposure to
strangers, keeping their anonymity or remaining completely
discreet. The actions of visitors to conventional, explicit
memorials are constrained by the etiquette and rituals of
remembrance. But many visitors do not comprehend the
MMJE’s purpose; what this illegible object encourages is playful
exploration of material conditions. Eisenman consciously
shunned making a representational memorial like Rodin’s
Burghers of Calais, ‘looking all weepy’, instructing the onlooker
78
how they should feel and act. Here, visitors make their own
judgments about risk and safety, possible actions, morally right
and wrong behavior.”
(Stevens, Why Berlin's Holocaust Memorial is such a popular
playground, 2008, p. 77)
Eisenman has created in Berlin a memorial that for many is not a
memorial at all. It is their playground. The regimented field of Stelae
force one to pass in single file, the hard concrete in places towers
over the visitor, making them feel small, insignificant, and
vulnerable. This is as Eisenman intended. However, for the many who
do not visit the information centre, there is no guidance how to
interpret the feelings of claustrophobia the monument creates. Often
this lack of guidance results in play.
79
Lady Diana Memorial Fountain
Fig 43. Lady Diana Memorial, Hyde Park (Anon, Diana, Princess of Wales Memorial
Fountain, 2006 - 2011)
The lady Diana memorial in Hyde Park is also an abstract form;
although unlike Eisenman’s Memorial in Berlin, it was not intended to
create the uncomfortable feelings of claustrophobia, isolation, and
alienation, or any senses of mourning and sadness that Eisenman
intended; on the contrary, the Diana Memorial fountain is intended to
bring joy to the visitors.
The Diana Memorial takes the form of a ring shaped granite fountain
that uses the gentle slope of the site to channel water in two
directions, meeting at a tranquil pool at the bottom of the site, where
the water is recycled.
80
There are bridges that allow people to pass over the water and into
the memorial as they wish. Unlike Eisenman’s closely spaced Stelae
that force people into narrow confined passages that cause strangers
to uncomfortably invade their personal space; this place is open,
people can be together of solitary if they wish.
Fig 44. The cascading water sings (Anon, Diana, Princess of Wales Memorial
Fountain, 2006 - 2011)
On its journey the water changes character as its path widens then
narrow and runs over smooth channels than cascades down a series
of rapids, which cause the water to sing, be calm, turbulent or
tranquil as it makes its way through the memorial. Perhaps this is a
metaphor for the sometimes-joyous sometimes-turbulent periods in
Diana’s life (Gustafson, n,d).
81
The ever-changing symphony of sound created by the water as it
meanders, swooshes, cascades, and splashes its way is a soothing
and joyous sound. These differing sounds encourage people to sit and
dip their toe in the water, actively enjoying the tactile pleasure of the
cooling water on their skin, or sit and enjoy the relaxing ambience of
the place.
The sides of the fountain are intentionally wide enough to sit or lay.
To passively feel the warmth of the granite warmed by the sun on
summer days.
It is not a traditional memorial, which is to be observed reverently
from a far. Visually the monument only rises slightly from its grassy
setting. It does not visually inform the visitor that it is a memorial or
how to behave. However visually, the cascading water sparkles with
the light of the sun and the calm pools reflect the sky and the trees
that surround the parkland setting. This work profoundly, stimulates
the senses of sight, hearing and the haptic sense of touch. This
memorial is to be experienced it is a place to enjoy.
The urge to paddle in the gently cascading water is so seductive that
in warm weather. When the fountain first opened, some children
slipped and were hurt, therefore there are now people employed to
make sure people only sit on the fountain and don’t paddle in it.
The fountain creates happiness, which the designers Kathryn
Gustafson and Neil Porter have explained was intended to reflect
Lady Diana’s Character (Stevens, Nothing More Than Feelings, 2009).
82
Fig 45. A place to enjoy (Anon, Diana, Princess of Wales Memorial Fountain, 2006 -
2011)
“The fountain has specific features to create different water
effects like a 'Chadar Cascade', a 'Swoosh', 'Stepped Cascade',
'Rock and Roll' and a still basin at the bottom which reflect the
various qualities of the Princess' life.”
(Gustafson, n,d)
Gustafson explained that the original concept for the memorial was to
reach out and let in. (Gustafson, n,d) This was never going to be a
memorial to solemnly mourn the princess’s untimely death. On the
contrary it was to be a celebration of her character, a place to bring
joy, as the princess dubbed the “peoples princess”, had brought joy
to many in her lifetime (Stevens, Nothing More Than Feelings, 2009).
83
Chapter Three: Architecture with a purpose:
an emotional journey, from visitor to educator.
Architecture profoundly affects the way we feel! The previous
chapters explored how we perceive our surroundings through our
senses, the physiologically and psychologically affect a building can
have on us and explored how a number of architects’ have attempted
to stimulate emotion in their work.
This chapter seeks to demonstrate that armed with a thorough
understanding of human perception and the physiologically and
psychologically affects architecture stimulates, it is possible to create
architectural spaces that stimulate all the senses and elicits specific
emotional responses. This ability to imbue a series of spaces with
specific emotional qualities would also allow the architect to take a
visitor through a powerful emotional journey as they progress
physically through the building.
Endowed with this knowledge the architect can design building that
provokes in users the emotional responses the client really needs.
The specific emotional agenda of the building being inform by the
function the building is intended to perform, the client’s requirements
and the issues the building seeks to address. This agenda would be
developed from thorough exploration of the issues and understanding
of the emotions aroused by those issues.
This process is illustrated by the example of a public marine
aquarium, whose purpose is to educate its visitors and motivate them
to champion the cause of marine conservation. A conservation
centered aquarium should be designed in such a way that the visitor
84
will emerge from their journey, with a sense of outrage at what is
being done and a sense of wonder for the amazing underwater world.
In order to bring about change, the educated are invited to become
the educators. Enthused by the experience of seeing live animals in
the aquaria, visitors lead a groundswell of public opinion that could
compel vested interests to change their damaging policies and
practices
The importance of public aquaria in conservation
The oceans cover 71% of the Earth's surface and contain 99% of the
Earth's living space. This is the largest space in our universe known
to be inhabited by living organisms, most of which we know very
little about.
The relentless exploitation of the seas by man has brought many
species to the edge of extinction and is now threatening food security
for some of the poorest people on Earth, who rely on the sea for their
survival (Greenpeace, 2011). See Appendix A
Michael J. Novacek writing about the need to engage the public in
biodiversity issues for the US National Academy of Sciences explains:
‘To engage people in biodiversity and other environmental
issues, one must provide the opportunity for enhanced
understanding that empowers individuals to make choices and
take action based on sound science and reliable
recommendations… …the responsibility for providing lifelong
exposure to science falls to museums, botanical gardens, zoos,
85
aquaria, science centers, and similar venues devoted to the
public education of science…’
‘…One important strength of such institutions as venues for
communicating science is the feeling of trust they invoke in the
public. Surveys show that natural history and science museums
have extremely high credibility ratings and show that acquired
knowledge of a subject has a heavy influence on subsequent
attitudes and behavior. ‘ (Novacek, 2008, pp. 1,2,6)
Therefore museums aquaria and the like have a major part to play in
educating the public about the major environmental problems facing
our planet and it is critical that good architectural design maximizes
the impact of that education.
Because the architect has such power to influence our emotional
response and our actions, he has a great responsibility to society to
get this right.
The process of designing for emotion
1. The architect must through research and consultation with the
client, thoroughly immerse themselves in and understand the
issue the building is concerned with.
2. This will allow the architect to understand and feel the
emotions raised by the issue.
3. Once the architect feels these emotions they can develop an
appropriate emotional agenda for the building.
86
4. From this agenda a series of spaces that communicate these
desired emotions can now be designed using the techniques
discussed in chapters 1 & 2 as shown in example (Appendix C)
5. This gives a formula to design each space depending on the
required emotional response and a series of spaces that elicit
the different emotions needed:
6. This series of spaces and the emotional response each space
provokes can provide the framework for an emotional journey
that will inform the design of the building.
Ref 46. The Process of designing for emotion (Appendix C) (Authors Flowchart,
2011)
87
An example of the process of designing for emotion in the
context of a conservation focused public aquarium
From the authors’ research into the issues surrounding marine
conservation (Appendices A&B), there are a number of key issues
that should be presented in a public marine aquarium that aroused
emotion in the researcher (the designer charged with designing the
aquarium). These emotions can be divided into broadly four groups:
Sadness – Anger – Optimism – Wonder and Awe
These distinct groups form the emotional agenda and are the
framework for a series of four space; each designed to elicit emotions
in a visitor to the aquarium that are similar to the emotions the
researcher felt during the research phase. This process will inform
the design of the aquarium and the emotional journey a visitor would
take in a visit to the building.
Space One: Sadness
E.g. Fifteen out of seventeen of the world's largest fisheries are so
heavily exploited that the reproduction can't keep up.
(See Appendix A)
Sadness or depression can be stimulated by……….e.g. a low heavy
ceiling pressing down or very height ceiling in a narrow space causing
the sensation of shrinking.
Space Two: Anger
E.g. Japan kills more than 20,000 dolphins each year, which is sold in
Japanese markets at 1000 Yen per Kilo. The lowest quality Tuna
available costs three times that amount.
(Bloomberg, 2010)(See Appendix A)
88
These emotions can be stimulated by………..e.g red is the colour that
raises the heart rate. When combined with an oppressively low ceiling
or very narrow claustrophobic space, a sensation of being trapped
will stimulate the fight of flight response which will cause the visitor
to feel uncomfortable and on edge.
Space Three: Optimism
E.g. The Basking sharks in the UK are now protected and attracting
shark-spotting trips, where previously they would have been hunted
for their meat and liver oil. (See Appendix B)
These emotions can be stimulated by……….e.g. a feeling of openness
will enhance the optimism. Yellow is the colour of the sun. It is warm
and considered to raise the mood (Marberry, 1995, p. 16). In
combination with good natural lighting and more open feel, this is a
comfortable space to be in.
Space Four: Wonder and Awe
The Earths oceans are the largest space in our universe known to be
inhabited by living organisms, most of which we know very little
about.
These emotions can be stimulated by……….e.g. a large airy space full
of natural light enjoying views that connect the interior to its place
outside are needed here. Warm textural materials, perhaps pale blue
the colour of the sky and sea that is thought to be a calming colour
(Marberry, 1995, p. 16). The main live exhibitions are in this space.
In this chapter the author has demonstrated using the example of
the Marine Aquarium how, with a thorough understanding of human
perception, and the physiological and psychological responses
architecture stimulates, it is possible to create architectural spaces
that elicit emotion.
89
This chapter has also introduced the idea that by understanding the
responses to stimulus, it is possible to develop a process whereby an
architect can design any building specifically to create the desired
emotional characteristics a client might need.
This process reverses the dominance of the visual sense in
architecture that has been prevalent for the past 100 years; as it
assumes from the outset that any building designed using this
process, will stimulate all of the senses; by using the techniques
discussed in chapters 1 & 2 to elicit appropriate emotional responses.
The process starts by researching what emotion the spaces should
elicit. It then uses that information to generate and emotional agenda
for the spaces in the building that in turn will inform the architecture.
This approach will allow the architect to guide the visitor on an
emotional journey that heightens their experience of the building as
they make their physical progress through it.
90
Conclusion
“ A fish does not drink up the pond in which it lives”.
Native American cited the Deep Hull.
This dissertation has demonstrated the power of architecture to
deeply affect people. Architects have the tools to choose what
emotion to heighten, and what to suppress; how they want people to
feel. This gives the architect immense power over those who will
experience their work; however with that power comes immense
responsibility.
In the context of a marine conservation project architecture could be
used to educate our young to have respect for the natural world; be
outraged at what has and is being done to it, and be enthused and
excited by the beauty and diversity of the creatures our world is
home to. Suitably motivated, they can collectively change the world.
With careful consideration of how the emotions of the users of
buildings will be affected by the way the architect designs them,
Architecture can be a tremendous force for good.
If architects wish to create truly stimulating buildings, they need to
carefully consider how the volumes they create and materials they
used will stimulate us haptically as well as visually. The haptic sense
unconsciously collects so much information from the tactile pieces of
the puzzle as we navigate the spaces that are essential to building
our mental map of a place. Done well, a user will navigate easily and
feel at ease. Done badly a user may well feel lost and disorientated.
91
Architects must consider, how they light the spaces in order to
suppress or lift the spirit, bring out the textures of the materials or
soften a hard edge, as they must consider the physiological and
psychological effect of the colours and the sounds, that give depth to
the experience.
When the architect considers all of this, they can create powerful
emotional responses that influence the behavior of the visitor.
Conversely failure to consider the impact of architectural space on
human emotions is a missed opportunity and can result I wholly
inappropriate emotional response.
Nevertheless, the architecture alone is not enough; as demonstrated
in Eisenman’s MMJE in berlin, without guidance telling how to
interpret the feelings induced by the architecture, unexpected
behavior may well ensue.
In the context of the aquarium, whose intention is to educate and
enthuse the visitor to take action, the designer must remember that
the building can stimulate responses that reinforce the feelings the
exhibition seeks to create. However, the content of the exhibition is
also essential in providing the moral guidance to show the visitor how
to interpret the feelings the architecture creates.
The architecture provides the stage on which the drama is played
out; it is key to education and done well can be the catalyst for
change! However the play its self must tell the story and take full
advantage of the feelings and emotions the architecture stimulates.
When the two are integrated they can educate and enthuse visitors
to go out into the world and educate others.
92
References
aegiandyad. (2011). Burnt Orange Interior by aegiandyad on
deviantART. Retrieved 12 14, 2011, from Deviantart.com:
http://aegiandyad.deviantart.com/art/Burnt-Orange-Interior-
208844380
Anderson, C. (2011, 10 31). Berlin city breaks: Germany's capital is a
city with a ghost on every corner. Retrieved 12 14, 2011, from Mail
Online: http://www.dailymail.co.uk/travel/article-2055312/Berlin-
city-breaks-Germanys-capital-city-ghost-corner.html
Anon. (1999-2011). Retrieved 10 3, 2011, from E2NT:
http://emigratetonewzealand.files.wordpress.com/2010/03/whaling.j
pg
Anon. (2006). Retrieved 10 3, 2011, from sharkdiving.us:
http://www.sharkdiving.us/images/hammerhead/05.jpg
Anon. (2006-2011). Retrieved 10 6, 2011, from scienceblogs.com:
http://scienceblogs.com/deepseanews/upload/2007/06/20189342.jpg
Anon. (2009). Retrieved 11 2011, from
http://scubadivingstaffordshire.co.uk:
http://scubadivingstaffordshire.co.uk/images/Farnes_2009_a.JPG
Anon. (2006 - 2011). Diana, Princess of Wales Memorial Fountain.
Retrieved 12 3, 2011, from Wayfaring Travel Guide:
http://www.wayfaring.info/2011/03/21/diana-princess-of-wales-
memorial-fountain/
Anon. (n,d). Diving at Estartit and The Illes Medes. Retrieved 12 14,
2011, from estartitrentals.com: http://estartitrentals.com/diving-at-
estartit-and-the-illes-medes/
Anon. (1996-2011). Environment. Retrieved 10 6, 2011, from
nationalgeographic.co.uk:
93
http://environment.nationalgeographic.co.uk/staticfiles/NGS/Shared/
StaticFiles/Environment/Images/Habitat/Over_Fishery/01-fish-dead-
689664-sw.jpg
Anon. (2011). Information Centre. Retrieved November 30, 2011,
from Stiftung Denkmal fur die ermordeten Juden Europas:
http://www.holocaust-
mahnmal.de/en/thememorial/informationcentre
Anon. (n,d). Retrieved 10 3, 2011, from stopsharkfinning.net:
http://www.stopsharkfinning.net/images/sharkfinsoup1.jpg
Anon. (n,d). Retrieved 10 3, 2011, from madmermaids.com:
http://www.madmermaids.com/shark%20fin%20soup.jpg
Anon. (n,d). Retrieved 10 6, 2011, from www.greenpeace.org:
http://www.greenpeace.org/international/ReSizes/OriginalWatermark
ed/Global/international/photos/iPad/40th%20anniversary/GP015RO.j
pg
Anon. (n,d). Retrieved 10 6, 2011, from Greenpeace.org:
http://www.greenpeace.org/international/ReSizes/OriginalWatermark
ed/Global/international/photos/oceans/2010/Greenpeace%20docume
nting%20Russian%20ship.jpg
Anon. (n,d). Retrieved 10 6, 2011, from 1.bp.blogspot.com/:
http://1.bp.blogspot.com/_nX0D7HDlaBU/TUbCsJxc1dI/AAAAAAAAB1
s/1_bIpJsqYKg/s1600/StopPic.jpg
Anon. (n,d). Retrieved 10 6, 2011, from Fishfight.net:
http://www.fishfight.net/var/images/Copy/Discard.jpg
Anon. (2009, 07 13). notre-dame-the-deportation-memorial.
Retrieved 12 8, 2011, from thejetpacker.com:
http://thejetpacker.com/notre-dame-the-deportation-memorial/
Anon. (n,d). symptoms-of-SAD. Retrieved 12 06, 2011, from SAD
Association: http://www.sada.org.uk/symptoms-of-SAD.html
94
Architects Journal. (2011). Retrieved 11 16, 2011, from
http://www.architectsjournal.co.uk:
http://www.architectsjournal.co.uk.libaccess.hud.ac.uk/home/case-
study-a-striking-sculptural-landmark-building-on-the-waterfront-at-
salford-quays-in-manchester-housing-collections-from-the-imperial-
war-museum/145937.article
Arquitectos, P. (n,d). Directory of Architecture Designs,
Contemporary Houses, and Modern Buildings. Retrieved 12 14, 2011,
from Architecture-Buildings[dot]com: http://www.architecture-
buildings.com/nisha-bar-lounge-in-mexico-city-by-pascal-
arquitectos/view-nisha-bar-violet-light-accent/
BBC News Channel. (2005, 02 16). Age of ancient humans
reassessed. Retrieved 11 09, 2011, from
http://news.bbc.co.uk/1/hi/sci/tech/4269299.stm
Birren, F. (1982). Light, Colour & Environmet: Revised Edition. Ne
York: Van Norstrand Reinhold Company Inc.
Bloomberg. (2010, 08 27). Unfazed by `The Cove,' Taiji's Fishermen
Prepare to Resume Dolphin Hunt. Retrieved 10 31, 2011, from
Bloomer, K. a. (1977). Body, Memory, and Architecture. London: Yale
University Press Ltd.
Bourne, H. W. (2009). Mood indigo: decorating inspiration in a blue
hue . Retrieved 12 14, 2011, from Design Hole Online:
http://designholeonline.com/2009/mood-indigo-decorating-
inspiration-in-a-blue-hue/
Bradley, S. (2010, 01 25). Gestalt principles: How are your designs
perceived? Retrieved 12 08, 2011, from vanseodesign:
http://www.vanseodesign.com/web-design/gestalt-principles-of-
perception/
Bronzaft, A. L. (2011). The increase in noise pollution: what are the
health effects? - The Harmful Effects of Noise. Retrieved 12 12, 2011,
95
from CBS INTERACTIVE BUSINESS NETWORK RESOURCE LIBRARY:
http://findarticles.com/p/articles/mi_m0876/is_n78/ai_20375099/
Carol, J. (2009). Quality of Light; Quality of Sapce. Huddersfield,
Yorkshire, England: University Of Huddersfield.
Chapman, C. (2011, 11 24). The Deportation Memorial - A Moving
Monument. Retrieved 12 12, 2011, from Hedge Hogg Guides:
http://hguides.com/paris/the-deportation-memorial/
Churchil, W. (1960, 09 12). Education: Schools of Tomorrow.
Retrieved 12 6, 2011, from Time Magazine:
http://www.time.com/time/magazine/article/0,9171,897555,00.html
Claridge, I. (2009, 11 16). Retrieved 12 08, 2011, from
ianclaridge.net: http://www.iainclaridge.co.uk/blog/1697
Cox, T. (2009, 3 16). Sound Architecture: The Spaces That Speak.
Retrieved 12 6, 2011, from BBC Radio 4:
http://www.bbc.co.uk/programmes/b00j3w8k
Crutchfield, B. (1996-2011). Room Acoustics. Retrieved 12 08, 2011,
from Crutchfield: http://www.crutchfield.com/S-
KPeeI2FHjL5/learn/learningcenter/home/speakers_roomacoustics.ht
ml
Day, C. (1990). Places of the Soul (3rd ed.). London: Aquarian Press.
Deror, A. Denkmal für die ermordeten Juden Europas. Denkmal für
die ermordeten Juden Europas.
Dive in Paradise (2001). [Motion Picture]. Moorea French Polynesia.
Divernet.com. (2008, 8 1). Retrieved 10 5, 2011, from Divernet.com:
http://www.divernet.com/UK_Diving/uk_diving_general/158919/big_
tracy_gets_around.html
DIVING CENTER LA SIRENA. (n,d). Retrieved 10 10, 2011, from
http://www.la-sirena.net/islas-medas-uk/1000-diving-nature-
reserve-islands-medas-costa-brava.html
96
Douma, M. (2006). Color Vision & Art from WebExhibits. Retrieved 12
8, 2011, from Institute for Dynamic Educational Advancemen:
http://www.webexhibits.org/colorart/bh.html
Eisenman, P. (n,d). Memorial to the Murdered Jews of Europe.
Retrieved November 30, 2011, from Stiftung Denkmai fur die
ermordeten Juden Europas: http://www.holocaust-
mahnmal.de/en/thememorial/fieldofstelae/architecture
Forrester, J. (2004, 11 17). Manchester Region History Review Index
of all volumes. Retrieved 11 16, 2011, from Manchester Centre for
Regional History:
http://www.mcrh.mmu.ac.uk/pubs/pdf/mrhr_17i_museums_forrester
Franck, K. a. (2007). Architecture from the Inside Out (Second
Edition ed.). Wiley-Academy.
Glendenning, M. a. (1994). Tower Block: Modern Public Housing in
England, Scotland, Wales and Northern Ireland. London: Yale
University Press.
Greenpeace. (2000, 1 8). Action Updates 25 Jan 2000. Retrieved 10
3, 2011, from archive.greenpeace.org:
http://archive.greenpeace.org/oceans/whales/action.html
Greenpeace. (2011, 06 15).
http://www.greenpeace.org.uk/tags/African-Voices. Retrieved
October 09, 2011
Grey, E. (1929). Eclectisism to Doubt: Dialogue between Eileen Grey
and Jean Badovici,. L'Architecture Vivante.
Gustafson, K. a. (n,d). Retrieved 12 3, 2011, from Gustafson Porter:
http://www.gustafson-porter.com/site.html
Harper Collins. (2006). Collins Desktop Plus English Dictionary. Colins
English Dictionary and Thesaurus . Franklin Electronic Publishers Inc.
97
Herssens, J. a. (2008). Haptics and Vision in Architecture. In G. M. Dr
Ray Lucas (Ed.), Sensory Urbanism Proceedings 2008. Edinburgh:
The Flâneur Press.
Holl, S. (1996). Intertwining New York. Princeton Architectural Press.
Jodidio, P. (2005). Architecture Now. Koln: Tascen.
Le Corbusier, 1.-1. F. (1971). The city of tomorrow and its
planning;translated from the 8th French edition of 'Urbanism' by
'Frederick Etchells. (3rd Edition ed.). (F. Etchells, Trans.) London:
The Architectural Press.
Marberry, S. a. (1995). The Power Of Colour: Creating Healthy
Interior Spaces,. New York: John Wiley & Sons, Inc.
Meerwein, G. R. (2007). Colour communication in architectural space.
Basel: Birkhauser, Verlag A.G.
Novacek, M. (2008). Engaging the public in biodiversity issues. PNAS
, 105 (1), 1,2,6.
Ojeda, O. a. (2006). Colors: architecture in detail. Gloucester,
Massachusetts, USA: Rockport Publishers Inc.
Rasmussen, S. (1964). Experiencing Architecture (Second Edition
ed.). Cambridge, Massechusetts, USA: MIT Press.
Rawlinson, K. a. (n.d). Research. Retrieved 12 8, 2011, from
stagingthehenriciancourt Bringing early modern drama to life:
http://stagingthehenriciancourt.brookes.ac.uk/research/the_great_ha
ll.html
Roman, A. (n.d). Resources. Retrieved 12 8, 2011, from The Five
Senses: http://questgarden.com/120/25/4/110228114848/t-
resources.htm
savethesea.org. (n,d).
http://savethesea.org/STS%20ocean_facts.htm. Retrieved OCTOBER
98
09/10/2011, 2011, from http://savethesea.org:
http://savethesea.org/STS%20ocean_facts.htm
Sea Shepherd Conservation Society. (n,d). Retrieved 10 9, 2011,
from http://www.seashepherd.org/uk/uk.html
Seifert, D. (2011, 10). Dive Magesine. Retrieved 10 24, 2011, from
http://www.divemagazine.co.uk/marine-life/sharks/5620-world-
without-sharks-.html
Simoula, S. (2009). Colouring Architecture. Huddersfield: University
of Huddersfield.
Smith. (2002). Imperial War Museum North Guidebook. Belmont
Press.
Stevens, Q. (2009). Nothing More Than Feelings. Architectural Theory
Review , 14 (2), 156-172.
Stevens, Q. (2008, 12). Why Berlin's Holocaust Memorial is such a
popular playground. (K. H. Tim Avermaete, Ed.) OASE 77: Into The
Open: Accomodating The Public (77), pp. 71-79.
Studio Daniel Libeskind. (2011). Retrieved 11 16, 2011, from daniel-
libeskind.com: http://daniel-libeskind.com/projects/imperial-war-
museum-north
tanizaki, j. (2001). In Praise Of Shadows. (T. J. Seidensticker, Trans.)
London: Vintage.
The Cove Movie. (2009). Retrieved 10 10, 2011, from
http://www.thecovemovie.com/
The Sharks Trust. (n,d). Retrieved 10 10, 2011, from
http://www.sharktrust.org/v.asp?level2id=6160&rootid=6160&depth
=1
Wright, A. (2008 - 11). Colour Pschycology. Retrieved 12 06, 2011,
from Colour Affects: http://www.colour-affects.co.uk/psychological-
properties-of-colours
99
WSPA. (n,d). (W. s. animals, Producer) Retrieved 10 10, 2011, from
http://www.wspa.org.uk/wspaswork/whaling/default.aspx
xedos4. Image: xedos4 / FreeDigitalPhotos.net. Planet Earth.
Freedigital photos.net.
100
Bibliography
aegiandyad. (2011). Burnt Orange Interior by aegiandyad on
deviantART. Retrieved 12 14, 2011, from Deviantart.com:
http://aegiandyad.deviantart.com/art/Burnt-Orange-Interior-
208844380
Anderson, C. (2011, 10 31). Berlin city breaks: Germany's capital is a
city with a ghost on every corner. Retrieved 12 14, 2011, from Mail
Online: http://www.dailymail.co.uk/travel/article-2055312/Berlin-
city-breaks-Germanys-capital-city-ghost-corner.html
Anon. (1999-2011). Retrieved 10 3, 2011, from E2NT:
http://emigratetonewzealand.files.wordpress.com/2010/03/whaling.j
pg
Anon. (2006). Retrieved 10 3, 2011, from sharkdiving.us:
http://www.sharkdiving.us/images/hammerhead/05.jpg
Anon. (2006-2011). Retrieved 10 6, 2011, from scienceblogs.com:
http://scienceblogs.com/deepseanews/upload/2007/06/20189342.jpg
Anon. (2009). Retrieved 11 2011, from
http://scubadivingstaffordshire.co.uk:
http://scubadivingstaffordshire.co.uk/images/Farnes_2009_a.JPG
Anon. (2006 - 2011). Diana, Princess of Wales Memorial Fountain.
Retrieved 12 3, 2011, from Wayfaring Travel Guide:
http://www.wayfaring.info/2011/03/21/diana-princess-of-wales-
memorial-fountain/
Anon. (n,d). Diving at Estartit and The Illes Medes. Retrieved 12 14,
2011, from estartitrentals.com: http://estartitrentals.com/diving-at-
estartit-and-the-illes-medes/
Anon. (1996-2011). Environment. Retrieved 10 6, 2011, from
nationalgeographic.co.uk:
101
http://environment.nationalgeographic.co.uk/staticfiles/NGS/Shared/
StaticFiles/Environment/Images/Habitat/Over_Fishery/01-fish-dead-
689664-sw.jpg
Anon. (2011). Information Centre. Retrieved November 30, 2011,
from Stiftung Denkmal fur die ermordeten Juden Europas:
http://www.holocaust-
mahnmal.de/en/thememorial/informationcentre
Anon. (n,d). Retrieved 10 3, 2011, from stopsharkfinning.net:
http://www.stopsharkfinning.net/images/sharkfinsoup1.jpg
Anon. (n,d). Retrieved 10 3, 2011, from madmermaids.com:
http://www.madmermaids.com/shark%20fin%20soup.jpg
Anon. (n,d). Retrieved 10 6, 2011, from www.greenpeace.org:
http://www.greenpeace.org/international/ReSizes/OriginalWatermark
ed/Global/international/photos/iPad/40th%20anniversary/GP015RO.j
pg
Anon. (n,d). Retrieved 10 6, 2011, from Greenpeace.org:
http://www.greenpeace.org/international/ReSizes/OriginalWatermark
ed/Global/international/photos/oceans/2010/Greenpeace%20docume
nting%20Russian%20ship.jpg
Anon. (n,d). Retrieved 10 6, 2011, from 1.bp.blogspot.com/:
http://1.bp.blogspot.com/_nX0D7HDlaBU/TUbCsJxc1dI/AAAAAAAAB1
s/1_bIpJsqYKg/s1600/StopPic.jpg
Anon. (n,d). Retrieved 10 6, 2011, from Fishfight.net:
http://www.fishfight.net/var/images/Copy/Discard.jpg
Anon. (2009, 07 13). notre-dame-the-deportation-memorial.
Retrieved 12 8, 2011, from thejetpacker.com:
http://thejetpacker.com/notre-dame-the-deportation-memorial/
Anon. (n,d). symptoms-of-SAD. Retrieved 12 06, 2011, from SAD
Association: http://www.sada.org.uk/symptoms-of-SAD.html
102
Architects Journal. (2011). Retrieved 11 16, 2011, from
http://www.architectsjournal.co.uk:
http://www.architectsjournal.co.uk.libaccess.hud.ac.uk/home/case-
study-a-striking-sculptural-landmark-building-on-the-waterfront-at-
salford-quays-in-manchester-housing-collections-from-the-imperial-
war-museum/145937.article
Arquitectos, P. (n,d). Directory of Architecture Designs,
Contemporary Houses, and Modern Buildings. Retrieved 12 14, 2011,
from Architecture-Buildings[dot]com: http://www.architecture-
buildings.com/nisha-bar-lounge-in-mexico-city-by-pascal-
arquitectos/view-nisha-bar-violet-light-accent/
Bachelard, G. (1994). The Poetics Of Space. Boston: Beacon Press.
BBC. (n.d.). Retrieved 10 9, 2011, from BBC News Earth Watch:
http://www.bbc.co.uk/blogs/thereporters/richardblack/2011/02/is_thi
s_the_beginning_of.html#comments
BBC News Channel. (2005, 02 16). Age of ancient humans
reassessed. Retrieved 11 09, 2011, from
http://news.bbc.co.uk/1/hi/sci/tech/4269299.stm
Birren, F. (1982). Light, Colour & Environmet: Revised Edition. Ne
York: Van Norstrand Reinhold Company Inc.
Bloomberg. (2010, 08 27). Unfazed by `The Cove,' Taiji's Fishermen
Prepare to Resume Dolphin Hunt. Retrieved 10 31, 2011, from
Bloomberg.com/News: http://www.smh.com.au/news/whale-
watch/in-for-the-kill-last-of-the-ancient-
whalers/2008/03/07/1204780065634.html
Bloomer, K. a. (1977). Body, Memory, and Architecture. London: Yale
University Press Ltd.
Bourne, H. W. (2009). Mood indigo: decorating inspiration in a blue
hue . Retrieved 12 14, 2011, from Design Hole Online:
103
http://designholeonline.com/2009/mood-indigo-decorating-
inspiration-in-a-blue-hue/
Bradley, S. (2010, 01 25). Gestalt principles: How are your designs
perceived? Retrieved 12 08, 2011, from vanseodesign:
http://www.vanseodesign.com/web-design/gestalt-principles-of-
perception/
Bradshaw, K. (2010). The Impact Of Architecture On Children: How
School Design Can Effect Child Development.
Bronzaft, A. L. (2011). The increase in noise pollution: what are the
health effects? - The Harmful Effects of Noise. Retrieved 12 12, 2011,
from CBS INTERACTIVE BUSINESS NETWORK RESOURCE LIBRARY:
http://findarticles.com/p/articles/mi_m0876/is_n78/ai_20375099/
Carol, J. (2009). Quality of Light; Quality of Sapce. Huddersfield,
Yorkshire, England: University Of Huddersfield.
Chapman, C. (2011, 11 24). The Deportation Memorial - A Moving
Monument. Retrieved 12 12, 2011, from Hedge Hogg Guides:
http://hguides.com/paris/the-deportation-memorial/
Churchil, W. (1960, 09 12). Education: Schools of Tomorrow.
Retrieved 12 6, 2011, from Time Magazine:
http://www.time.com/time/magazine/article/0,9171,897555,00.html
Claridge, I. (2009, 11 16). Retrieved 12 08, 2011, from
ianclaridge.net: http://www.iainclaridge.co.uk/blog/1697
Cox, T. (2009, 3 16). Sound Architecture: The Spaces That Speak.
Retrieved 12 6, 2011, from BBC Radio 4:
http://www.bbc.co.uk/programmes/b00j3w8k
Crutchfield, B. (1996-2011). Room Acoustics. Retrieved 12 08, 2011,
from Crutchfield: http://www.crutchfield.com/S-
KPeeI2FHjL5/learn/learningcenter/home/speakers_roomacoustics.ht
ml
104
Day, C. (1990). Places of the Soul (3rd ed.). London: Aquarian Press.
Deror, A. Denkmal für die ermordeten Juden Europas. Denkmal für
die ermordeten Juden Europas.
Dive in Paradise (2001). [Motion Picture]. Moorea French Polynesia.
Divernet.com. (2008, 8 1). Retrieved 10 5, 2011, from Divernet.com:
http://www.divernet.com/UK_Diving/uk_diving_general/158919/big_
tracy_gets_around.html
DIVING CENTER LA SIRENA. (n,d). Retrieved 10 10, 2011, from
http://www.la-sirena.net/islas-medas-uk/1000-diving-nature-
reserve-islands-medas-costa-brava.html
Douma, M. (2006). Color Vision & Art from WebExhibits. Retrieved 12
8, 2011, from Institute for Dynamic Educational Advancemen:
http://www.webexhibits.org/colorart/bh.html
Eisenman, P. (n,d). Memorial to the Murdered Jews of Europe.
Retrieved November 30, 2011, from Stiftung Denkmai fur die
ermordeten Juden Europas: http://www.holocaust-
mahnmal.de/en/thememorial/fieldofstelae/architecture
Forrester, J. (2004, 11 17). Manchester Region History Review Index
of all volumes. Retrieved 11 16, 2011, from Manchester Centre for
Regional History:
http://www.mcrh.mmu.ac.uk/pubs/pdf/mrhr_17i_museums_forrester
Franck, K. a. (2007). Architecture from the Inside Out (Second
Edition ed.). Wiley-Academy.
Glendenning, M. a. (1994). Tower Block: Modern Public Housing in
England, Scotland, Wales and Northern Ireland. London: Yale
University Press.
105
Greenpeace. (2000, 1 8). Action Updates 25 Jan 2000. Retrieved 10
3, 2011, from archive.greenpeace.org:
http://archive.greenpeace.org/oceans/whales/action.html
Greenpeace. (2011, 06 15).
http://www.greenpeace.org.uk/tags/African-Voices. Retrieved
October 09, 2011
Grey, E. (1929). Eclectisism to Doubt: Dialogue between Eileen Grey
and Jean Badovici,. L'Architecture Vivante.
Gustafson, K. a. (n,d). Retrieved 12 3, 2011, from Gustafson Porter:
http://www.gustafson-porter.com/site.html
Harper Collins. (2006). Collins Desktop Plus English Dictionary. Colins
English Dictionary and Thesaurus . Franklin Electronic Publishers Inc.
Herssens, J. a. (2008). Haptics and Vision in Architecture. In G. M. Dr
Ray Lucas (Ed.), Sensory Urbanism Proceedings 2008. Edinburgh:
The Flâneur Press.
Holl, S. (1996). Intertwining New York. Princeton Architectural Press.
Jodidio, P. (2005). Architecture Now. Koln: Tascen.
Le Corbusier, 1.-1. F. (1971). The city of tomorrow and its
planning;translated from the 8th French edition of 'Urbanism' by
'Frederick Etchells. (3rd Edition ed.). (F. Etchells, Trans.) London:
The Architectural Press.
Marberry, S. a. (1995). The Power Of Colour: Creating Healthy
Interior Spaces,. New York: John Wiley & Sons, Inc.
Marmot, A. (2002, 03). Architectural determinism Does design
change behaviour? The British Journal of General Practice .
Meerwein, G. R. (2007). Colour communication in architectural space.
Basel: Birkhauser, Verlag A.G.
106
Monku, A. (2010). On The Edge. Huddersfield: University Of
Huddersfield.
Norberg-Schulz, C. (1980). Meaning in Western architecture. London:
Studio Vista.
Novacek, M. (2008). Engaging the public in biodiversity issues. PNAS
, 105 (1), 1,2,6.
Ojeda, O. a. (2006). Colors: architecture in detail. Gloucester,
Massachusetts, USA: Rockport Publishers Inc.
Own, R. (2010). An Enquiry Into The Senory Aspects Of Architecture
In The Last Century. Huddersfield: University Of Huddersfield.
Pallasmaa, J. (2011). The Eyes of the skin. Chichester, West Sussex,
England: John Wiley & Sons Ltd.
Pearman, H. (2002). The Deep: The Worlds Only Submarium - An
Icon For Hull. London: Wordsearch Ltd.
Rasmussen, S. (1964). Experiencing Architecture (Second Edition
ed.). Cambridge, Massechusetts, USA: MIT Press.
Rawlinson, K. a. (n.d). Research. Retrieved 12 8, 2011, from
stagingthehenriciancourt Bringing early modern drama to life:
http://stagingthehenriciancourt.brookes.ac.uk/research/the_great_ha
ll.html
Roman, A. (n.d). Resources. Retrieved 12 8, 2011, from The Five
Senses: http://questgarden.com/120/25/4/110228114848/t-
resources.htm
savethesea.org. (n,d).
http://savethesea.org/STS%20ocean_facts.htm. Retrieved OCTOBER
09/10/2011, 2011, from http://savethesea.org:
http://savethesea.org/S
TS%20ocean_facts.htm
107
Sea Shepherd Conservation Society. (n,d). Retrieved 10 9, 2011,
from http://www.seashepherd.org/uk/uk.html
Seifert, D. (2011, 10). Dive Magesine. Retrieved 10 24, 2011, from
http://www.divemagazine.co.uk/marine-life/sharks/5620-world-
without-sharks-.html
Simoula, S. (2009). Colouring Architecture. Huddersfield: University
of Huddersfield.
Smith. (2002). Imperial War Museum North Guidebook. Belmont
Press.
Spiers, J. M. (2005). Made of light : the art of light and architecture.
Basel: Birkhäuser.
Steane, M. (2011). The architecture of light : recent approaches to
designing with natural light. London: Routledge.
Stevens, Q. (2009). Nothing More Than Feelings. Architectural Theory
Review , 14 (2), 156-172.
Stevens, Q. (2008, 12). Why Berlin's Holocaust Memorial is such a
popular playground. (K. H. Tim Avermaete, Ed.) OASE 77: Into The
Open: Accomodating The Public (77), pp. 71-79.
Studio Daniel Libeskind. (2011). Retrieved 11 16, 2011, from daniel-
libeskind.com: http://daniel-libeskind.com/projects/imperial-war-
museum-north
tanizaki, j. (2001). In Praise Of Shadows. (T. J. Seidensticker, Trans.)
London: Vintage.
The Cove Movie. (2009). Retrieved 10 10, 2011, from
http://www.thecovemovie.com/
The Sharks Trust. (n,d). Retrieved 10 10, 2011, from
http://www.sharktrust.org/v.asp?level2id=6160&rootid=6160&depth
=1
108
Turner, J. (1994). Lighting : an introduction to light, lighting and light
use. London: Batsford.
Wright, A. (2008 - 11). Colour Pschycology. Retrieved 12 06, 2011,
from Colour Affects: http://www.colour-affects.co.uk/psychological-
properties-of-colours
WSPA. (n,d). (W. s. animals, Producer) Retrieved 10 10, 2011, from
http://www.wspa.org.uk/wspaswork/whaling/default.aspx
xedos4. Image: xedos4 / FreeDigitalPhotos.net. Planet Earth.
Freedigital photos.net.
109
Appendix A: What Are We Doing to Our World?
“ A fish does not drink up the pond in which it lives”.
Native American cited the Deep Hull.
The human race has evolved over millennia and thrived in every part
of the world. We have come to dominate all the other creatures that
share our world and have often seen its bounty as inexhaustible.
Over the past 200 years in particular we have developed amazing
technology that has and continues to revolutionise how we live. The
West enjoys a level of affluence not dreamed of only a couple of
generation ago. The developing economies of Asia, China and India in
particular are catching up fast and so increasing the demand for the
Earths animal and mineral resources. However our ability to harvest
the natural biological and mineral resources of the planet on an
industrial scale has left many species we take for food in crisis,
natural resources depleted and the environment polluted.
The oceans are vast; consequently they have been seen as an
inexhaustible source of food and a convenient dumping ground for
our waste. But many species face extinction if we continue to exploit
the oceans in the same way and we simply do not know the damage
our dumping of toxic waste is doing to complex interconnected
ecosystems of our seas.
110
Fig 47. The Earth (xedos4, 2010)
The oceans cover 71% of the Earth's surface and contain 99% of the
Earth's living space. This is the largest space in our universe known
to be inhabited by living organisms, most of which we know very little
about.
The relentless exploitation of the seas has brought many species to
the edge of extinction and is now threatening food security for some
of the poorest people on Earth, who rely on the sea for their survival
(Greenpeace, 2011).
111
Commercial Whaling
Indigenous peoples including the Inuit and Polynesians’ have
historically hunted whales sustainably for their own needs. However,
industrial scale commercial whaling brought many species to the edge
of extinction.
The moratorium ending commercial whaling was only agreed in the
1982 and implemented four years later in 1986. As a result numbers
are recovering very slowly and a new industry of whale watching (Eco
Tourism) has developed in many parts of the world.
However despite commercial whaling having been banned for more
than 20 years and an international ban in the trade of endangered
species, Norway Iceland and Japan, continue to hunt whales.
Fig 48. Greenpeace boat trying to disrupt Japanese whale hunt (Greenpeace, 2000)
112
This means around 2500 whales are still killed every year in cruel and
unnecessary hunts, under the guise of research and their meat is sold
commercially for human consumption. (WSPA, n,d)
However, as a result of harassment by the Sea Shepherd ship which
made life progressively more difficult for the whaling fleet each year
by sending faster and better-equipped boats and a reduced demand
in Japan for whale meat (there is a 6000 ton mountain of unsold
meat equivalent to 1000 minke whales in storage) this years (2011)
hunt has been cut short.
The Sea Shepherd has announced on its web site that the killing of
whales in the Southern Ocean Whale Sanctuary is over for this
season and the whalers did not even take 10% of their quota. Sea
Shepherd estimates that over 900 whales have been saved this year
(Sea Shepherd Conservation Society, n,d).
The recent Hollywood documentary movie, The Cove highlighted the
plight of thousands of dolphins, which are cruelly slaughtered for
their meat in a hidden cove in Taiji Japan. What the unsuspecting
Japanese consumer doesn’t know is that dolphin meat contains very
high levels of mercury which causes sever health problems if eaten).
The mercury in the dolphins came from the fish they have eaten
which has been poisoned by mercury in chemical waste dumped in
the sea by man. (The Cove Movie, 2009)
Japan kills more than 20,000 dolphins each year, which is sold in
Japanese markets at 1000 Yen per Kilo. The lowest quality Tuna
available costs three times that amount.
(Bloomberg, 2010)
113
Since the large scale commercial hunting of large Cetaceans (The
great Whales) was banned in the early 1980’s the main Whaling
nations have simply turned their attention to the smaller Cetaceans
(Dolphins, Porpoises and Pilot Whales) as a source of cheap Whale
meat, which is sold often unmarked to their public.
Fig 49. Slaughtered Pilot Whales (Anon, E2NT, 1999-2011)
Consequently, Large numbers of Dolphin, Porpoise and Pilot Whales
are killed each year in Japan and the Norwegian Faroe Islands for
human consumption.
114
Fisheries
‘The sea provides the biggest source of wild or domestic protein in
the world. Each year some 70 to 75 million tons of fish are caught in
the ocean. Of this amount around 29 million tons is for human
consumption. The global fish production exceeds that of cattle,
sheep, poultry, or eggs.
Fifteen out of seventeen of the world's largest fisheries are so heavily
exploited that the reproduction can't keep up. With the result that
many fish populations are decreasing rapidly.
Species of fish endangered by overfishing are: tuna, salmon,
haddock, halibut, and cod.
In the 19th century, cod weighing up to 200 pounds used to be
caught. Nowadays, a 40-pound cod is considered a giant. Reason:
overfishing.’ (savethesea.org, n,d)
116
Common Fisheries Policy
Fig 51. Net sizes catch immature fish (Anon, Environment, 1996-2011)
EU quotas don’t work. A net size to catch adult mackerel will also
catch juvenile fish that have not had a chance to spawn of most other
commercially valuable species. These cannot be landed and are
dumped back into the sea dead.
Other EU countries fish local waters where UK fishermen are going
out of business, yet huge amounts of fish are caught which cant be
landed once the quota for that species is reached and are thrown
back dead into the sea.
117
Fig 52. Dead fish that cannot be landed are thrown back into the sea. (Anon,
Fishfight.net, n,d)
‘Many of Europe's fishing fleets have the capacity to fish two to three
times more than the sustainable level. This overcapacity has led to
the current dire state of European fisheries, where an estimated 88%
of European fish stocks are in a poor state.’
‘…. The EU has progressively been increasing their capacity in seas
beyond its own to meet the growing global demand for seafood and
to keep their fleets in business. Several of Europe's largest vessels
are currently operating in waters of some of the world's poorest
nations through fisheries partnership agreements or joint ventures,
undermining local food security by failing to adequately consider the
local communities need for local fish as a source of protein and
income.’ (Greenpeace, 2011)
118
Sharks; we are wiping them out for soup!
Fig 53. Schooling Hammerhead Sharks. (Galapagos Islands) (Anon, sharkdiving.us,
2006)
The sharks have been around for 200 million years and are an apex
predator perfectly adapted to their environment.
But as Asia is becoming more
affluent, the increasing
demand for shark fin soup is
threatening their extinction in
many parts of the world
including many UK species,
which are still not protected.
Fig 54. Shark Fin Soup (Anon,
stopsharkfinning.net, n,d)
119
The sharks are hunted only for their fins. The rest of the shark is
typically dumped back into the sea often still alive. Sharks mature
slowly and are being taken before they have a chance to reproduce.
There is no protection for sharks, which to many are seen as
mindless killers.
“Sharks rank amongst the most endangered species on the
planet. As apex predators sharks fulfill a key role in marine
ecosystems. However their life history strategy of slow growth,
late maturity, and few offspring renders them intrinsically
vulnerable to exploitation. Recent assessments by the IUCN
Shark Specialist Group ranked the sharks of the North East
Atlantic and Mediterranean Sea with the worst conservation
status of all assessed regions. Thirty percent of EU and fifty
percent of UK shark species are listed as threatened and some
species are reported to have declined by ninety nine
percent. Populations continue to decline under the intense
pressure of unmanaged modern fisheries practices, driven by
global consumer demand for shark-based products.”
(The Sharks Trust, n,d)
‘At least 21 species of shark occur around the coasts of Britain,
from the Small-spotted Catshark to the large streamlined Blue
Shark and plankton eating Basking Shark.’
(The Sharks Trust, n,d)
The value of Shark fins in the Asian market is now so high that even
protected marine parks are not safe and our UK sharks are being
targeted for their fins.
121
Taiwanese South American and European boats have been caught
hunting sharks in the protected Galapagos Islands marine reserve on
several occasions. On the 16th of September 2011, the Reina del
Cisne, an industrial fishing vessel from Manta, was caught by the
Ecuadorian Navy fishing 6 nautical miles inside the reserve and was
found to have 69 thresher sharks, 11 blue sharks, and one silky
shark.
“Some of these sharks were only a few months old, a truly sad
sight. Thresher sharks are valued for their long fins, which
unfortunately bring in a lot of money in the Asian market.
Thresher sharks are also known for having small litters of two
to four sharks per birth. This low reproduction rate combined
with the extensive overfishing for their fins has resulted in
thresher sharks being listed as vulnerable to extinction by the
International Union for the Conservation of Nature (IUCN).”
(Sea Shepherd Conservation Society, n,d)
Clearly, where the market puts a high enough price on an animal’s
head, there will be no shortage of people looking to make a profit
from it’s death even in protected marine reserves. Once they are all
gone, it’s on to the next species!
Once a Predator has been removed, history shows that the damage is
often unpredictable and irreversible. Unfortunately, the effect of the
removal of a predator does not become apparent until the predator
has been removed.
‘…Scientists studying the role of the wolf as apex predator in
Yellowstone National Park in the US state of Wyoming,
122
discovered that without the presence of wolves, not only had
deer and elk populations increased substantially but they had
overgrazed to such an extent that only older trees of the forest
had survived, the younger shoots and saplings completely
decimated by runaway consumption, leaving no long-term
future for the forest – only an inevitable decline towards
extinction, unless predators were reintroduced. By contrast, an
older, analogous ecosystem on an island in Scotland, where
wolves had been made extinct in the area some 200 to 500
years previously and had once been a thriving forest, is now
treeless and barren.”
(Seifert, 2011)
123
Pollution & Industrial Waste Dumping
The dumping by ships of, radioactive waste, sewage sludge, and
dredge spoils has occurred in deep-sea areas for several decades.
Fig 56. Rijnborg Dumpship (North Atlantic : 1982) (Anon, www.greenpeace.org, n,d)
The disposal of radioactive waste into the deep sea is now banned,
but occurred throughout the north-east Atlantic between 1949 and
1982, with a total of 220,000 drums of low and intermediate-level
radioactive waste dumped by European countries.
124
Fig 57. Russian ship TNT27 dumping nuclear waste in the Sea of Japan (East Sea).
18 October 1993. (Anon, Greenpeace.org, n,d)
All of this shows that we are still
treating the oceans and their
inhabitants as a resource to be
plundered and a dumping ground
for our waste.
Fig 13 Shows chemical burns
suffered by a dolphin and though
to be caused by mustard gas
shells dumped by the US
Government in the 1950’s
Fig 58. Chemical burns (Anon, scienceblogs.com, 2006-2011).
125
Appendix B: Extinction is not inevitable; it is
not too late to change our ways
For hundreds of years the whales were slaughtered; the hunters
romanticized in stories like Moby Dick; baby seals were killed in the
Arctic for their white fur; Elephants were hunted for their Ivory and
tigers were shot for sport by wealthy big game hunters, their skins
displayed as trophies.
However, as a direct result of the power of public opinion, following
their being educated, initially by determined conservationists and
journalists who shone a spotlight on what was happening far away
and out of sight, change has happened.
The court of public opinion is powerful and once the public is
educated and motivated, politicians and big business can be forced to
change their policies and practices, or risk loosing votes or profits.
Not long ago the supermarkets argued it was too expensive to stock
free range eggs and meat arguing that it would raise prices and no
one would buy it. Buy when we are given the choice, how many of us
choose to eat meat reared in the UK and to UK standards of welfare.
The author certainly does. As a result the market for ethically
produced free-range animal products is growing. This is better for us,
better for our farmers and better for the animals.
Once the public was made aware of the plight of the great whales,
public opinion demanded they were protected, and despite the best
efforts of vested interests, large-scale commercial whaling was
banned in the early 1980’s.
126
Wherever whales are near enough to shore a worldwide industry of
whale watching has developed. This brings economic benefits to
those costal communities who might otherwise have hunted the
whales.
Fig 59. Humpback Whale and Her Calf Taken Raratonga Cook Islands Sep 2001
(Authors photograph, 2001)
A return to public acceptance of the previous slaughter is almost
unimaginable. There is a common sense of disgust at those countries
that still continue to kill whales in large numbers under the guise of
“Research”.
127
Fig 60. Grey Seal: Farne Islands (Anon, http://scubadivingstaffordshire.co.uk,
2009)
In the UK, we have a large population of grey seals the largest being
in The Farne Islands, where fishermen in the past called for a cull
arguing that they ate all the fish. Many of those same fishermen, now
make their livings taking sightseers on boat trips out to see them or
act as dive charters, taking scuba divers from all over the country to
dive with the seals, a Magical experience the author has been lucky
enough to enjoy many times.
The BSAC, British Sub Aqua Club of which the author is a member
and Instructor, has over 50,000 members worldwide and there are
many other national organizations promoting the sport of scuba
diving in other countries and PADI schools in virtually every holiday
resort throughout the world, all introducing people to the underwater
world, which is growing in popularity. Divers travel all over the world
to experience the different underwater environments and all the
128
creatures that live there first hand. Diving on coral reefs and seeing
sharks is high on most divers wish lists. Therefore ultimately, those
countries that protect their underwater habitats, will gain financially
from the money the divers bring.
Fig 61. Basking Shark (Divernet.com, 2008)
The Basking sharks in the UK are now protected and attracting shark-
spotting trips, where previously they would have been hunted for
their meat and liver oil. Their cousin the whale sharks (The worlds
biggest fish at 40 feet long) is protected in the Maldives which relies
on tourism, yet in the Philippines, the same shark is still hunted for
its meat which is sold in Japan for a high price. However, there are
project they’re trying to persuade the locals that the giant fish is
more valuable alive, as tourists will come to see them than sliced up
into cubes.
129
Walkers Key in the Bahamas is famous for pioneering shark feeding
dives, something that has successfully been repeated in many parts
of the world. There is concern that this may be altering the shark’s
behavior but I think so long sharks are being studied and the feeding
is done responsibly i.e. the sharks are fed the food they would
naturally eat, it is a good thing.
Fig 62. Oceanic white tip shark and the author in Moorea (Dive in Paradise, 2001)
In order to protect the marine environment and the livelihoods of
those who rely on the sea, Marine reserves that act, as nurseries for
the surrounding waters, where no fishing is allowed need to be
established all around our coats.
These reserves would also be the perfect sites for dive centres and
aquaria where new generations could be inspired to understand and
conserve our marine environment. This brings money into the local
130
economies, offering alternatives to fishing, but also will help preserve
the fish stocks ensuring economic and food security for the future.
Medes Islands Marine Park Spain
Unlike much off the Mediterranean, which has been over fished, there
is extraordinary biodiversity surrounding this small archipelago, about
one mile from the town of Léstartit, right in the middle of the Costa
Brava. This abundance of life, make this a unique spot very popular
with Scuba divers because of the rich underwater life. This is good for
the local economy and populates the surrounding water with fish that
can be caught.
Fig 63. IMAGES OF MARINE PARK AND HEALTHY FISH (Anon, Diving at Estartit and
The Illes Medes, n,d)
131
This Natural Park is a 7-island archipelago covering 21.5ha of land
and 511 ha of pristine underwater habitat was first protected in 1983
with an Order from the Catalonian Parliament. In 1985 a resolution
established the Natural Park’s standards in 1990, Law 19/1990,
creating the legal framework to protect and conserve the flora and
fauna of the marine floor in the Medes. (DIVING CENTER LA SIRENA,
n,d)
The practice of killing baby seals in the arctic for their fur was
banned, and the wearing of fur, which used to be the height of
fashion and a display of wealth is now looked at with disgust in the
west.
It this discussion the author hopes to have shown there are
alternatives to simply continually taking from the sea, which offer
long-term conservation of the seas resources and long-term
economic benefits for those who rely on the sea.
132
Appendix C: Designing for emotion
Fig 64. Process for designing for emotion (Authors Flowchart, 2011)
How to design to elicit an emotional response Architect needs to immerse in subject to understand the message the
building will convey.
Needs to feel and understand the emotions the subject arouses.
Identify an appropriate emotional agenda from the research that will
inform the emotions the spaces should arouse.
133
Using knowledge of which techniques stimulate which emotions
design each space to communicate by bringing out the desired
emotions.
By designing a series of connected spaces each designed to
communicate the desired emotions the visitor can be taken on an
emotional journey as they physically navigate the series of spaces in
the building.
Remember that without guidance the feelings brought out by the
architecture can be misinterpreted and result in unexpected
behaviour.
Eisenman’s MMJE demonstrated that feelings of claustrophobia or
disorientation can stimulate a playful response that is opposite from
the intended response of sadness or foreboding.
The feelings the architecture creates and the message the exhibition
presented must support each other.
This gives guidance how to interpret the feelings aroused by the
architecture