Ucin1053375336-Imp 4 Thesis

8/10/2019 Ucin1053375336-Imp 4 Thesis

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UNIVERSITY OF CINCINNATI

DATE: May 16 2003

I, Aaron Michael Bodart ,

hereby submit this as part of the requirements for the

degree of:

Master

in:

Archi tecture

It is entitled:

Eclect ic Architecture

Approved by:

David Niland

Barry Stedman

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Eclectic Architecture

A thesis submitted to the

Division of Rese a rch a nd Adva nce d S tudies ofthe University of Cincinnati

in partial fulfillment of the

req uirements for the de g ree of

Master of Architecture

in the S ch oo l of Architec ture

of the College of Design, Architecture, Art and Planning

2003

by

Aaron Michael Bodart

B.S. Arch, University of Cincinnati, 2001

Committee Chair: David NilandBarry Stedman PhD

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Thesisabstract

Architecture s ubsc ribes to ide a s of style, c ons istency a nd order to g ive it “leg itima cy a nd leg ibility”. Dra ma tic

a nd enriched spa ce is the g oa l. Adhe rence to these principles is not alwa ys the mos t a ppropria te res pons e.Any numbe r of solutions , utilizing different sha pes , s izes a nd c onfig ura tions a re pos sible. Howe ver, clea r,

co ntig uous rela tions hips mus t be d rawn b etwee n co mpone nts. By utilizing the perception o f shap e, co lor,

pa ttern and lig ht an unde rstanda ble, geo metrica lly eclectic co mpos ition of forms ca n be c rea ted.

The d es ig n a dd s to the existing S hed d a q uarium in Chica go , Illinois, creating spa tia l elements unde r, in a nd o ver

the la ke. New d isplay a nd information method ologies a re explored.

The a dd ition inco rporates a q ua tic life from La ke Victoria a nd Ea st C entral Africa . It surround s visitors with new,

imme rsive forms of displa y a nd information. The a uditorium is s pec ifica lly de signe d for interac tions with La ke

Michiga n sto rms. The full force o f Mother Nature is o n d isp la y.

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ThesisTable o f Contents

I. Table of Contents … … … … … … … … … … … … … ......1II. List of Illustrations… . .… … … … … … … … … … … … 2-4 III. Introduction … … … … … … … … … … … … … … … … 5-6

IV. Thesis … … … … … … … … … … … … … … … … … … 7-20 A. fragmented architecture

B. theories on perception

C. p sychological interpretations

D. phenomenology

V. Thesis Precedents … … … … … … … … … … … … .21-23VI. Site Evaluation … … … … … … … … … … … ..........24-26

A. history

B. desc ription

VII. Programmatic PrecedentsA. monterey bay aquarium … … … … … … … 27-28B. shedd aquarium … … … … … … … … … … .29-31C. newport aquarium … … … … … … … … … .32-34

VIII. Program… … … … … … … … … … … … … … … … .… .35A. space planning

B. sq. footage

IX. ProjectA. how spaces feel … … … … … … … … … . ...36-38B. relation to thesis .....................................39-46C. building drawings … … … … … … … … … . ..47-49

X. Annotated Bibliography … … … … … … .......… … 50-54

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List of Illustrationsthesis and design

Fig ure 0.1 Villa S a bo ya . Cultureg end era l.net. Arquitec tura . April 24, 2003. Availa ble a t www.culturageneral.net/arquitectura/arquitec/jpg/saboya.jpg.

Figure 0.2 Photograph by author

Figure 0.3 Illustration by David Heald, Frank O. Gehry, Kurt W. Forster (Germany, 1999) p. 104.

Figure 0.4 Illustration by Kurt W. Forster, Frank O. Gehry, Kurt W. Forster (Germany, 1999) p. 107.

Figure 0.5 Illustration by Peter Eisenman, Diagram Diaries (New York, 1999) p. 54.

Figure 0.6 Illustration by Heinz Muller, Le Corbusier (London, 1987) p. 64.

Figure 0.7 Ronchamp. Fondation Le Corbusier. Projects. April 24, 2003. Available at www.fondationlecorbusier.asso.fr/ronchamp.htm.

Figure 0.8 Illustration by Jussi Tiainen, Heikkinen + Komonen (New York, 2000) p. 76.

Figure 0.9 Illustration by Jussi Tiainen, Heikkinen + Komonen (New York, 2000) p. 78.

Figure 0.10 Illustration by Jussi Tiainen, Architectural Record (New York, 2003) p. 116.

Figure 0.11 Illustration by author


Figure 0.13 Psychology of Perception (Cambridge, 1979) p. 342.




Figure 0.17 Bottle_04_color. Parfums de Wakaba. Helmut Lang. April 24, 2003. www.wakaba.co.jp/product.html.

Figure 0.18 Angel Cologne. Hampshires of Dorking. Hampshires Collectables. April 24, 2003. Available at www.hampshires.co.uk/acatalog/Hampshires_Collectables_4.htm.

Figure 0.19 Perfume. Cardiff University. Memorabilia. April 24, 2003. Available at www.e-shop.cf.ac.uk/alumni/acatalog/Cardiff_University_....





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Figure 0.30 Img1. American Society of Cinematographers. Black and White in Color. April 24, 2003. Availableat www.theasc.com/protect/nov98/ pleasantville/main.htm.

Figure 0.31 Filmo_pleasantville. La presse au cinema. Film. April 24, 2003. Available at www.presse.ac-versailles.fr/Filmo/ filmo_pleasantville.htm.


Figure 0.33 Discobolos_large. Sculpture Gallery. Roman. April 30, 2003. Available at www.sculpturegallery.com/thirteen/discobolos_large.jpg.

Figure 0.34 Illustration by Katcuhisa Kida, Architectural Record (New York, 2002) p. 80.

Figure 0.35 Illustration by Benny Chan/ Fotoworks, Architectural Record (New York, 2002) p. 131.

Figure 0.36 Illustration by Roland Halbe, Architectural Record (New York, 2002) p. 103.

Figure 0.37 Illustration by Peter Aaron/Esto, Architectural Record (New York, 2002) p. 135.


Figure 0.39 Illustration by Peter Aaron/Esto, Architectural Record (New York, 2002) p. 134.

Figure 0.40 Illustration by Sharon Risedorph, Architectural Record (New York, 2002) p. 103.


Figure 0.42 Illustration by Sharon Risedorph, Architectural Record (New York, 2002) p. 106.

Figure 0.43 Illustration by Eugeni Pons, Architectural Record (New York, 2002) p. 94.


Figure 0.45 Illustration by Eugeni Pons, Architectural Record (New York, 2002) p. 96.

Figure 0.46 Illustration by Randy Wilder, Monterey Bay Aquarium (Monterey Bay, 1999).


Figure 0.48 Newport Aquarium. GBBN Architects. Portfolio. April 24, 2003. Available at www.gbbn.com/index2.htm.


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Figure 0.56 Illustration by Tomohiro Sakashita/GA Phtographers, Architectural Record (New York, 2002) p. 94.








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ThesisInt roduct ion

Mea ns a nd methodo log ies for architectura l pra ctice exist in many forms, no ne a ny less com pelling or interes ting ,

merely different. Every Architect de velops his or her own idea s on the pra ctice of des ig n an d c ontinually refines

those ide a s throughout the course o f his o r her ca reer. Architecture is not a s tag na nt pra ctice where everything

is eventually lea rned only to be reha she d a nd repac kag ed a s the sa me interpreta tion of an ag e old ques tion. As

time cha ng es , new so lutions ma nifest thems elves . No one w a y is the perfect wa y for approa ching every project.

The a da ptive a bilities of the a rchitect: his o r her understand ing of the world a nd w ha t it need s a nd d es ires

de termines his or her continued s ucce ss . The ide a tha t one d es ig n methodo log y ca n be the ruling o r g uiding

force for the profes sion died long a g o. An exchang e of eclectic ide a s a nd orde rs is po ss ible. Architecture is

very often ba se d on a rchitectural history; preced ent. In this respec t, all pa st a rchitectural work is a pplica ble

ma teria l, molda ble informa tion for the c rea tion o f an e clectic d es ign. Here, the perception o f sha pe, c olor,

pa ttern and lig ht is us ed to comp os e a se ries of ge ometrica lly eclectic forms.

An und erstand ing of perception c a n be crucia l in crea ting recog niza ble rela tions hips betwe en e clectic

g eom etries . One sha pe is perceived a s different from another beca use of prototypica l cues e mbed de d in the

sub co nsc ious . This la be ling c a rries ce rta in prototyp ica l information which g overns co g nitive perce ption. A

sq uare, c ircle a nd tria ng le ea ch ha ve d ifferent criteria which produce predictab le rea ctions , d ifferent from one

a nother. This learned c riteria de a ls w ith how we proces s information throug h a com pa riso n to our remem bered

experiences . It is d ifficult to o vercome beca use o f the psyc holog ica l ba gg ag e often attac hed to e ac h sha pe.

Howe ver, it should b e unde rstoo d tha t not every scena rio produc es the s a me effect. I believe a b etter

understa nding of the mind’s perceptive qua lities ca n help architects d es ig n more pow erful spa ces .

The percep tion o f shap e, co lor, pattern and lig ht often d efines the cha ra cter and feel of a s pa ce . A ma nipula tion

of thes e cha ra cteristics c a n prod uce predictable and c ontrolla ble rea ctions . J uxtapo sing “d ifferent” geo metric

sha pes c a n crea te tens ion a nd dra ma. For example, a sq uare and tria ng le ea ch ha ve very different implica tions

rela ted to form. The s q ua re fee ls d ull a nd s tra ig htforwa rd, while the tria ng le implies a ction, a g itation a nd c onflict.1

The interest a rise s from the a rchitect’s a bility to crea te a n und erstand a ble rela tions hip b etwee n the two

g eo metries . A co nnection ca n be es tablishe d, unifying the two see mingly dispa ra te objects. For example, two

co mpletely different sha pes ca n be related, in that one s eems to envelop the other throug h its phys ica l

orientation. Eac h form is unde rstoo d a s d ifferent, but the rela tions hip only ma kes sens e when b oth objects are

pres ent. A binary rela tions hip exists w here ea ch o bject is on ly de fina ble throug h its rela tions hip to an

1 Shape . 21 Oc tobe r 2002 < http://ww w.po mon a .ed u/Aca de mics/co urserelated /clas sprojects /Visual-

lit/sha pe/sha pe. html.>

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es tab lishe d “o ther”. Ea ch reac ts to and q ua lifies the other, no matter the differences or consistencies o f the two

ob jects . Hence, a g eo metrica lly eclectic com pos ition is pos sible as long a s strong rela tions hips ca n be

g enera ted, tying the co mpos ition tog ether. Co nsistency is irreleva nt if a s trong perceptual rela tions hip is

es tab lished to override incons istencies. By unde rsta nding the psycho log ica l perception of sha pe, co lor, pattern

and light an eclectic, geometric composition can be successfully composed.

This thes is w ill be g in by de-emphas izing the importance of cons istency a nd s tyle in the d es ign proces s. As

P ica ss o onc e sa id, “he wa s never committed to a single style just to tha t which wo uld e xpress his feeling s” .2 It

will also discuss the importance of a rchitectura l prece de nt as a pplica ble ma teria l for de sign, no ma tter the

co mbination. Next, it will lay out pertinent rules for unde rsta nding huma n perception ba se d on p syc hological

a nalysis. It will discuss various theories de a ling with ob ject reco gnition, g eom etric und erstand ing , a nd the

G es talt principles of visua l orga niza tion. Phe nomeno log y will be introd uced a s the b a sis by w hich we first be gin

to unde rstand our surroundings , throug h our experience of “hom e”. Fina lly, the inves tig a tion w ill disc uss the

interpretation of perceptua l charac teristics a s related to the e sta blishme nt of a n ec lectic, g eome tric a rchitecture.

2 Hans L.C. J a ffe, P ica ss o (New York: Harry N. Abra ms, Inc. P ublishe rs, 1964), 16.

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Thesishistory and descript ion

Architecture is fractured into different methods and styles; Modernism,

Clas sicism, and S culptura l de sign to mention a few. Eac h trend ha s

pea ked a nd plummeted in a cyc lica l fas hion over time (fig ures 0.1, 0.2,

0.3). For example, a s the tenets of Mod ernism c a me into q uestion, a

Post-Modernist theory attempted to alleviate the perceived

inco nsistenc ies . Wha t is “ho t” now will not be tomo rrow . Theo ries

bec ome fla wed , only to be repla ced b y other pos sibilities . Pica ss o, one

of the fa ther’s of cubism sa id, “ he wa s ne ver co mmitted to a single s tyle

just to tha t which wo uld expres s his feeling s” .3 In much the same wa y,

“Architecture must question and rebel against the zeitgeist, spirit of the

ag e, in order to g row”. 4 Ques tioning Architectural history a llow s for re-

interpretation, further investigation and development of the profession.

This proce ss ha s produc ed innumera ble methods for a tta cking des ig n

problems . For example, Fra nk G ehry designs throug h a s culptura l

med ia , de dicated to the ma ximum impa ct on the a udience (fig ure 0.4).5

On the other hand , P eter Eise nma n relies on a tra cing of the history, site

and context to produce architecture (figure 0.5). 6 Neither method ology

is b etter than the othe r, just d ifferent.

Exploring the proce ss of des ig n has produce d various c omb ina tions of

spa tia l size, sha pe and trea tment. Eac h is uniq ue, subs cribing to

various sc hoo ls of thought a nd interpreta tions of the huma n co ndition.

For exa mple, Le C orbusier’s interpretation p rod uced the “mo dular”, a

proportiona l ordering sys tem d erived from the dimensions o f the human

bo dy. It bec a me one g enerator for his work a nd philos ophy. 7 Every

a rchitect inherently d evelops a nd refines his o r her ow n style; a des ig n

method spe cific to that person’s interes ts a nd de sires for critica l work.

Tha t methodo log y is co nsta ntly s crutinized a nd re-investig a ted in a n

3 Hans L.C. J a ffe, P ica ss o, (New York: Harry N. Abra ms, Inc. P ublishe rs, 1964), 16.4 Peter Eisenman, Diagram Diaries, (New York: Universe Publishing, 1999), 37.5 Cristina Bechtler, Frank O. Gehry Kurt W. Forster, (Cantz Verlag, 1999), 14.6 Peter Eisenman, Diagram Diaries, (New York: Universe Publishing, 1999), 37.7 Peter Blake, The Master Builders, (New York: Alfred A. Knopf, 1960), 32.

Figure 0.4

Figure 0.5

Figures 0.1, 0.2, 0.3

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reinforcing the e xperienc e o f rea lity”.13 For exa mple, a white sq ua re will

be perceived a s e ven whiter if it is s et next to a black sq uare. The

difference bec omes more drama tic a nd s ig nifica nt when the mind is

given a basis for comparison.14 The data ca n be eas ily proces sed by

the brain’s receptors.15

From a n architec tura l sta ndpoint, the fluctua tionof lig ht throug h wa ter creates a n illusion of movement. Here, the sp a ce

feels ene rgized (fig ure 0.10). Often, an e venly lit roo m se ems tireso me

bec a use the difference in ma teria l q ualities is lost in the sa menes s o f the

illumination.16

I believe visual and stylistic difference can be alleviated through a

ma nipula tion of perce ption. Architecture a lrea dy projec ts the

de signer’s intend ed emotiona l and spiritual q ualities into s pa tia l

co nstruction. The ne xt step is crea ting co mpos itions which c ompe l the

view er tow a rd spe cific rea ctions. “Architecture is the ma ste rly, co rrec t

a nd ma g nificent play o f mass broug ht tog ether in lig ht”.17 I believe

“light” refers to the Architect’s ability to establish perceived connections

a nd rela tions hips b etwee n different materia ls, forms, a nd s ca les .

Eclecticism refers to a composition of elements pulled from a variety of

sources.18 In this insta nce , eclecticism d ea ls with a numb er of “d ifferent”

g eome tric forms, ea ch g enera ting s pec ific, predictable rea ctions . They

a re co mpos ed utilizing a n understand ing o f the ps ycho log ica lperception of shape, color, pattern and light to create visual legibility.

Before ob jects ca n be compos ed we must first understand “the proces s

of orga niza tion a ctive in perception, w hich s omeho w d oe s justice to the

orga niza tion o utside in the phys ica l world” .19 How we recog nize and

ca teg orize s timuli a ffec ts our ab ility to pe rceive. The s hea r a mount of

informa tion proce ss ed by the human brain is a ma zing. By a ll ac co unts

13 Willia m Morga n, He ikkinen a nd Komone n, (New York: The Mona ce lli Pres s, 2000), 15.14 William R. Uttal, A Behaviorist looks at Form Recognition, (Mahwah, New Jersey: Lawrence Erlbum Associates, Publishers,2002), 141.15 Edw ard C . Ca rterette, a nd Morton P . Fried ma n, Hand boo k of Perception, (New York: Aca de mic P ress, 1975), 7.16 Kunsthaus Bregenz, Peter Zumthor, (Hatje, 1999), 53.17 Peter Blake, The Master Builders, (New York: Alfred A. Knopf, 1960), 31.18 Merria m-Web ste r Online. 25 March 2003 < http://ww w.M-W.c om /cg i-bin/d ictiona ry.>19 Co lin Rowe , As I Was S aying: Recollections a nd Misce lla neous Essa ys, (Ca mbridg e: Mass ac husetts Institute o f

Tec hno log y, 1996), 122.

Figure 0.10

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it sho uld be overwhelmed by the number of ca lcula tions req uired to

ascertain meaning in a world of otherwise chaotic events and images.

The mind’s a bility to reco g nize o bjects ha s b een thoroug hly studied a nd

a numbe r of hypothes es propos ed . “Object reco g nition is the ac tivation

in memo ry of a represe ntation o f a stimulus c la ss from a n imag eprojected by a n ob ject to the retina .”20 This memo ry is ba se d on o ur

knowled g e o f the visua l world, a cce ss ed throug h a ba sic level, referring

to commo n visua l cues we a re awa re of instinctively. Eac h theory on

ob ject reco gnition ide ntifies the importance of perception a nd ge ome try

in the comp a rative proc es s tha t prod uces recog nition.

The “ Fac e Rec og nition S ys tem” filters stimuli in orde r to proc es s visua l

informa tion. A co lumn of filters, tuned to va rious s ca les a nd o rienta tions

is a pplied to the imag e. Ce rta in stimuli “a ctivate d ifferent filters to

various extents.”21 After the initia l sc a n, ea ch a ctiva ted filter is ma tched

a g a inst a se ries of stored filters to produce the be st recog nition (fig ure

0.11).

System of Reco gnit ion:

1- ima g e is s ifted with a s eries of filters2- stimuli ac tiva te filters3- ea ch a ctivated filter is ma tched a g a inst s tored filters4- recognition is produced

The next theory is G eon-bas ed . It ass umes tha t an object is repres ented

by a simple a rra ng eme nt of viewpo int-invaria nt, volumetric primitives

known as g eons . A G eon is de fined b y a se t of bina ry and trina ry va lues

perceived througho ut a n ima g e. Twe nty-four g eons ha ve been

ide ntified ; e a ch e a sily d isting uisha ble from one a nother and highly

resista nt to visua l noise a nd o ther distrac tions . Initia lly, the mind d ivide s

the ima g e into reg ions , representing ea ch with a d es ig na ted ge on. An

ob ject is then de fined b y relating g eons to one a nother. An ob ject

sho uld nee d no mo re than three g eons to be identifia ble.System of Reco gnit ion:

1- image broken into regions

20 Da ws on Home Pa g e. 3 Dec emb er 2002 < http://ww w.b cp.p syc h.ua lberta.ca /~ mike/P ea rl_S tree t/Ma rgin/OS HERS.. ./Biederma n.2.4.htm>21 Da ws on Home Pa g e. 3 Dec emb er 2002 < http://ww w.b cp.p syc h.ua lberta.ca /~ mike/P ea rl_S tree t/Ma rgin/OS HERS.. ./

Biederma n.2.4.htm>

Figure 0.11

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2- ea ch region is de fined with a g eon3- ea ch g eon is then compared a nd related to one a notherto form a n interpreta tion 22

Fina lly, Lowe’s S CERP O mod el brea ks the ima g e into pa rts,

represe nting the pieces a nd co mpa ring e a ch to a store of previouslylea rned knowledg e. Representa tion beg ins with a de co nstruction of the

ima g e into sets of geo metric compo nents. Eac h compone nt is then

pla ced into a list of cod ed features . The list is co mpa red a g a inst a s et of

simila rly cod ed pa tterns or templates b a se d o n memories of pas t

experienc e. An unrec og nized ob jec t is ide ntified throug h

co nce ptua liza tion a nd interpolation o f significa nt c riteria . This criterion is

compa red a nd evaluated a ga inst the cod ed list to produce the

appropriate interpretation.

System of Reco gnit ion:

1- give it image2- detects ed ge s3- g roups ed g es “a cc ording to properties of co -linea rity,pa rallelism a nd cod etermina tion”4- a prelimina ry match be tween fea tures a nd s tored mod els isattempted5- a prelimina ry match is use d to g uide the se a rch for newfeatures in a top-do wn fa shion 23

Once a compos itiona l object has been recog nized it can b e g rouped in

a numb er of different wa ys. It ca n be see n as a n outline of an object, aspart of a different ad jac ent object or as a ga p between o bjects. In one

insta nce the object will do mina te, a nd in ano ther, the neg a tive spa ce will

be the dominant.24 This hierarchy of group s defines the fig ure-g round

a ss oc ia tion. It is a b ina ry rela tions hip involving tw o distinct pa rts. “We

never see fig ures (or sw a tches) a lone, only dyna mic “ fig ure-g round ”

relationships”. 25 Neither could exist without the o ther or the effect wo uld

be los t a nd the interpretation skewe d. A fig ure is defined by its clos ure,

co mpa ctness , de nsity a nd internal a rticula tion. G round is the la ck of

22 Da ws on Home Pa g e. 3 Dec emb er 2002 < http://ww w.b cp.p syc h.ua lberta.ca /~ mike/P ea rl_S tree t/Ma rgin/OS HERS.. ./Biederma n.2.4.htm>23 Da ws on Home Pa g e. 3 Dec emb er 2002 < http://ww w.b cp.p syc h.ua lberta.ca /~ mike/P ea rl_S tree t/Ma rgin/OS HERS.. ./

Biederma n.2.4.htm>24 Shape . 21 Oc tob er 2002 < http://ww w. po mo na .edu /Aca de mics /co urserelate d/cla ss projec ts/Visua l-lit/sh a pe /sh a pe .html.>25 Roy R. Be hrens, Art, Des ign a nd G es talt Theo ry, MITP ress . 9 Octo be r 2002< http://mitpress 2.mit.ed u/e-journa ls/

Leona rdo/isas t/a rticles /Be hrens.html.>

Figures 0.12, 0.13, 0.14, 0.15

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these q ualities. It surround s the fig ure, c reating a com mon rela tions hip

to a ll tha t it touc hes . Therefore, the d yna mic qua lities of the fig ure

bec ome a ppa rent. A rec iproca l relations hip exists in which a n a rea of

reference is q ualified by a nd yet q ualifies the other ob jects referred to

it.26

A fig ure a nd the g round c a n be themse lves a nd their oppo sitedepending on the properties of the composition (figures 0.12, 0.13, 0.14,

0.15). S ca le has a d irect correlation to the perce ived rela tions hip. For

example, a very large “figure” ca n be understood as the “ground”.

Our ability to recognize these relationships is directly related to our

de velopme nt of a ba sic com prehension of g eome tric sha pes . It a llows

us to d iss ect a nd a na lyze the surrounding w orld a nd its s tructure (fig ure

0.16). S ha pe often provide s the defina ble fea tures ne ces sa ry for

reco g nition. Even the mos t bas ic g eome tric form carries s ubsta ntia l

perceptual bag ga ge . A sq uare sha pe is d ull, straight forward, honest,

sta ble, and les s na tura l than a circle. A circle is s een a s a co ntinuous

who le, co mforting a nd relaxing . In the sa me ma nner, a curvy ob ject is

ca lm, as sured, rela xed a nd o ptimistic. Fina lly a tria ng le is a ss ociated

with a ction, a g itation, c onflict, tension a nd a spira tion. The s ha rpnes s

reminds us of da ng er, pa in, and a ntag onism. This ge ometric

relations hip c lea rly d efines a continuum of extremes (squa re a nd

tria ng le) med ia ted b y a linking element (circle). The fig ure’s pe rceivednotions c a n be exploited . For example, a pe rfume a nd co log ne bo ttle is

sha ped in such a w ay as to target spec ific co nsumer groups through

a dvertising and produc t de sign. Co log ne is usua lly packa g ed in la rge,

sq ua re bo ttles . Ma le streng th, hon es ty a nd relia bility a re implied .

Conversely, a perfume bottle is often smooth and curvilinear, implying

female wa rmth and se curity. A tria ng ula r bottle targe ts wo men s eeking

risk, c ha lleng e a nd exciteme nt (fig ures 0.17, 0.18, 0.19).27

S imila r to ge ome tric perception, G esta lt theory is ba se d o n ac cepted

notions of fa ct a nd predictab le reac tions . The huma n brain is s ubject to

assumptions of fact and truth, things it wants to believe and finds difficult

26 Co lin Rowe , As I Was S aying: Recollections a nd Misce lla neous Essa ys, (Ca mbridg e: Mass ac husetts Institute o fTec hno log y, 1996), 125.27 Shape . 21 Oc tob er 2002 < http://ww w. po mo na .edu /Aca de mics /co urserelate d/cla ss projec ts/Visua l-lit/sh a pe /sh a pe .html.>

Figures 0.17, 0.18, 0.19

Figure 0.16

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to disreg a rd. Our subc ons cious prefers the world orga nized into so me

se mbla nce o f orde r a nd s tructure. It will a ttempt to provide orde r if non e

is prese nt. In this wa y, the mind ma kes sens e of “cha os ”. This a bility to

interpret object-related fact is the basis for the Gestalt Principles of

Visua l Orga niza tion. Eac h sug g es ts that the wo rld d oes not simply existbut is c ons tructed b y our own interpreta tions , throug h the proces s o f

perception.

- The Princ iple of Proximity- features w hich a re close tog ethera re a ss ociated (fig ure 0.20),

- The Principle o f Perceptual Org anizat ion (similari ty) - features that look similar are associated (figure 0.21).

- The Principle of Goo d Con tinuity- smooth continuity ispreferred to abrupt changes (figure 0.22).

- The Principle of Perceptual Organization- interpretationswhich produce “closed” rather than “open” figures are favored(figure 0.23).

- The Principle of Perceptual Organizat ion (smallness) - sma ller area s tend to be seen as figures a ga inst a large rbackground (figure 0.24).

- The Princ iple of Symmetry- s ymmetrica l areas tend to bese en a s fig ures a g a inst a symme trica l ba ckgrounds (fig ure 0.25)

- The Principle of Surround edness- a reas which can be s eena s s urround ed by others tend to be perceived a s fig ures (fig ure0.26).

- The Princ iple of Pragnan z- the simples t and mo st stab leinterpretations are favored 28

G es talt theory simply identifies the predictable wa y w e tend to

co mmonly orga nize spe cific perceptual information.

Next, a c ompo sition’s c ha ra cteristics c a n be s tudied to g et a b etterunderstanding of the ma keup of imag es a nd objects. Each ca n be

broken d own into c omponents which a re then compa red and

28 Daniel Ch an dler, Visua l P erce ption 6: Ge sta lt P rinciples of Visual Org a nization. J uly 1997. University of Wa les. 21 Oc tobe r

2002 < http://ww w. a be r.ac .uk/me dia /Modules/ED10510/visper06.html>

Figu re 0.23

Figu re 0.20

Figu re 0.21

Figure 0.22

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interpreted . Eac h mea ning is widely va rying a nd often depend ent on

co ntextual clues a nd c ompo sitiona l features .

A draw ing c a n be exa mined o n the bas is of dot, line a nd d irection. Eac h

feature is una ble to exist without the presenc e o f the o thers. Forexample, a line b y d efinition is a ge ometric e lement g enerated by

moving a point in a direction.29

The dot is the sma lles t, mos t ba sic form of visua l co mmunica tion. Its

pla ceme nt ca n draw a ttention, both harmonizing a nd stressful. Plac ing

it on a xis c reates a unifying element; howe ver, whe n moved off center

a ction a nd motion is d evelope d. It prod uces a co unter-weight,

disrupting the b a la nce of the w ork (fig ure 0.27).

A line provide s mo vement and a ction s ince it defines a do t’s path a cross

the visua l plane . Its orienta tion ca n crea te disruptive or ha rmonizing

effects a s well. Be ca use the mind proces se s informa tion throug h

vertica l and horizonta l means a n ob liq ue line implies movement a nd

ins tab ility. This s tres s dra ws a ttention, s ig nifying its impo rta nce a s

do mina nt information. On the other ha nd, a horizo nta l line will g round

and stabilize an image or object.

Direction cla rifies how the m ind rea ds a nd interprets a c omp os ition. It is

the prod uct of line, s ha pe, sc a le, dimension and motion. Without a

strong sens e of d irectiona lity chaos ca n result and the work ca n be come

spo radic a nd d ifficult to understand . Direction c a n have s pec ific

co nno tations. For exa mple, a left to rig ht incline is rea d a s g raph-like:

indicating inferiority in the lower left and superiority in the upper right.

Co nverse ly, a left to rig ht dec line feels unstab le a nd neg a tive bec a use o f

its as so ciation with “d ow nhill” movem ent. A curved line falls so mew here

in between: unstable, yet reass uring and sa fe b eca use o f its as sociation

to the circle. The circle is a co mplete, a ll-enc omp a ss ing o bject with no

direc tiona lity. It functions a s a visua l tra p. Anything p la ce d within the

circle will be g iven s pec ia l sign ifica nce (fig ure 0.28). A tria ng le is a lso a

29 Merria m-Web ste r Online. 25 March 2003 < http://ww w.M-W.c om /cg i-bin/d ictiona ry.>

Figure 0.25

Figure 0.24

Figure 0.26

Figure 0.27

Figure 0.28

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visua l fra me, b ut provide s d yna mic mo tion. It is us ed to create p oints of

interest throughout a composition allowing the viewer’s eye to travel

a round the wo rk without ling ering on o ne a rea for too long. 30

Texture, hue , sa tura tion a nd va lue provide co ntextual clues, related toco lor interpreta tion a nd perception, which a llow our minds to c rea te

more precise interpretations of ima g es a nd o bjects.

Texture de a ls w ith surfa ce va ria tions in phys ica l fea tures , value and hue.

Ma teria l smoo thnes s is implied whe n very few visua l interruptions exist.

A ste a dy , e ven illumina tion ca n hide irreg ula rities , g iving the illusion o f

co ntinuity. Without the pla y of sha de a nd s ha do w the mind is convinced

of the material’s smoothness.

Hue refers to a n object’s color. It can create and cha nge mo ods , or

draw a ttention to spec ific a reas . A wa rm color surrounde d by a n

otherwise co ol compo sition w ill dra w immediate a ttention b eca use of the

perce ived d ifferenc e (fig ure 0.29). When us ed p roperly, hue ca n

heighten the impact o f an o bject or ima g e b y c omplimenting its feelings

a nd e motions . The mo vie P lea sa ntville, for example, po rtrayed iss ues of

se g rega tion throug h literal co lor differenc es . The emo tiona l cha rge

ca me from the strug g le of “blac k a nd white” a nd “c olored ” citizens(fig ure 0.30). Co lor ha s spe cifica lly attac hed em otiona l ba g g a g e. A red

hue tends to evoke feelings of ang er, pass ion, pa in a nd e xtravag anc e.

Blue ca n be coo l a nd pa ss ive, implying truth and hones ty. Yellow fits in

be twee n, often fee ling w a rm a nd c hee rful like the s un. White and blac k

hues a re perceived a s p olar oppos ites. White often represents the purity

and innocence as soc iated with newly fallen s now, w hile b lac k has a

direc t link to evil a nd d ea th. A g rays ca le ima g e ca rries d ifferent

co nnotations than a co lored one. It is more a bs trac t a nd req uires the

viewe r to ide ntify spec ific ob jec ts in terms of sha pe a nd value ra ther tha n

hue.

30 Nargis Ka se nova , Misty Rus ksha n, Misha Koza reff, The O n-Line Visua l Literac y P rojec t.. 1994. P omo na Co lleg e. 21

Octo be r 2002 < http://ww w.po mon a .ed u/Aca de mics/co urserelated /clas sp rojec ts/visua l-lit/sha pe/sha pe.h tml.>

Figures 0.30

Figure 0.29

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S aturation enha nces the vibrancy a nd feeling o f a co lor. S uch an image

se ems closer to us, more emo tiona lly a ttra ctive and a g g res sive. It will

pull forwa rd and hig hlig ht itself. An unsa tura ted o r non-color (gray ,

blac k a nd w hite) will fad e or fall into the ba ckg round (fig ure 0.31). It

often feels more dep ressing, d ull a nd s erene whe n compa red to itssa tura ted co unterpa rt. S a tura ted co lor is use d to represent the future,

while unsa tura ted co lor is a ss oc ia ted with the pas t.

Va lue de termines how lig ht or da rk a c olor a ppe a rs. It is co ntrolled b y

the amo unt of white or black ad de d to a hue. Va lue, hue and sa tura tion

for the bas ic com pone nts of the color spe ctrum. Eac h impa cts the

psyc hological cha racteristics of a co lor a nd the co mpos ition in which it

is s een.31

The phys ica l a ttributes o f ima ge s a nd ob jects a re a product of sca le,

dimens ion a nd mo tion. They provide a dd itiona l la yers of rea da bility

as sociated with shape and form.

S ca le refers to a s ize rela tions hip. It can b e exploited to c rea te depth

a nd perspe ctive. For example, as a n object ap proac hes the horizon line

it diminishes in size, rec ed ing into the dista nce . This phe nom eno n is

known as “Dimension” and occurs when perspectival lines converge onthe ho rizo n a t the va nish ing po int (fig ure 0.32).

Motion crea tes a ction. Here, it refers to the rea listic portra ya l of

movement in a sta tic me dia. A number of artistic me thods a ttempt to

ca pture this dy na mic q ua lity. Blurring implies mo tion ca ug ht in a froz en

moment of time and contrapposto involves the twisting or shifting of

we ig ht to imply motion in a s tatic object (fig ure 0.33). In a dd ition, s ome

co ncepts d esc ribe o ur understa nding of motion a s it takes place over

time. “P ersistenc e of vision” des cribes a p syc hological pheno menon

where the eye briefly retains an afterimage of recorded information until

the next ima ge bec ome s visible; a llow ing the viewe r to c onnec t


Octo be r 2002 < http://ww w.po mon a .ed u/Aca de mics/co urserelated /clas sp rojec ts/visua l-lit/sha pe/sha pe.h tml.>

Figure 0.31

Figure 0.32

Figure 0.33

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se emingly d ispa ra te ima ge s into a leg ible timeline o f events. Next, the

“ph i effect” de sc ribe s ho w the mind interpolates a flip bo ok. The

subc ons cious co nnects the se ries of stills b y proces sing the information

with a n unde rstan ding of the la ws o f “rea l-wo rld” m otion. Therefore, the

brain understand s tha t the next ima g e follow s a log ica l progress ionba se d o n the principles of movement.

Finally, time, materiality and environmental factors each compel

significa nt emotiona l respons es rela ted to spa ce. Lig hting q uality can

cha nge o ver the course of a d ay. As the sun swe eps a cross the sky,

pas t the horizon, a bright and s unny room be comes d ark. Spa ce

functions differently during b oth da ylig ht and nigh ttime hours . In

ad dition, sea sona l chang es ca n alter a s pac e’s cha rac ter. A bright and

sunny summe r da y is often vibrantly colored . However, as s ummer

fade s into fa ll, the day b eco mes s horter and the nig ht g rows long. A

cold month often produces an a byss of white constancy. As the

weather deteriorates and our contact with the outside becomes less

com fortable the interior ac cumula tes s pecial sig nifica nce. It should b e a

sa nctuary ag a inst a four-month, claustropho bic existence . The

emo tiona l cha ra cter, related to ma teria lity, ca n ma ke it a co mfortable

living environment.

Ma teria l q uality can de fine a s pa ce’s mo od a nd feel. For example, a

house with floo r to c eiling g la zing ha s a different ed g e c ond ition tha n

one with sma ll windows . There is a g reater blurring of wha t is “ in” a nd

wha t is “ out”. A situation co uld a rise in which the occupa nt’s comfort

level beco mes a n issue, ba sed on his o r her ab ility to s ee a nd be seen.

Visibility co uld bec ome uncomforta ble, de pend ing on the s ituation a nd

the perso n. When the ba rrier betwe en the public a nd private rea lm is

remo ved the feeling o f privacy a nd protection ca n fa de . A ma teria l ha s

spe cific c onnota tions rela ted to its us e in cons truction a nd d es ig n.

G la ss ha s c ha racteristics of tra nslucency, transpa rency, a nd reflectivity.

Its perceived brittleness and light weight have far different connotations

than o ther materia ls with grea ter prope rties of strength a nd o pa city.

(fig ure 0.34).

Figure 0.34

Figure 0.35

Figure 0.36

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Different woo ds ca n produce a number of tactile rea ctions . Their

multitude of colors and de nsities a ffect such rea ctions . S ome wo od

spe cies a ppea r wa rm in color, se eming inviting a nd rela xing . However,

other types a re very da rk a nd ha rd. The color a nd strength can produc every different perceptions (figure 0.35).

Stone’s characteristics are related to strength, heaviness, and a cool

touch. Its so lidity a nd d ens ity ca n provide protection a nd s olitude.

How ever, its co ld feel is un inviting a nd often unc omfortab le (fig ure 0.36).

Ma teria l q uality can c lea rly de fine the cha racter of a s pa ce. In

Ba chelard’s example of the “ ba se ment-a ttic c ond ition” two s imila r

spa ces projec t different feeling s ba sed on the materia ls. The ba se ment

is a wa sh of cold, lonely, subterra nea n ima g es . The subc ons cious

ling ers o n irra tiona l thoug hts of a n evil nature, often a ss oc ia ted with the

horrific criminal a ctivity see n on television. S tories of da rk, da ng erous

cella rs are wide sprea d. On the other ha nd, the attic, though o ften da rk

a nd s ec lude d a s we ll, projec ts itself differently. Its elevated po sition in

the house a nd lig ht-colored wo od fra ming (soft a nd w a rm) contrad ict

stereotypical ideas of fear often associated with dark, secluded places.

Eac h prototype is merely a lea rned rea ction, no t cons istent with everyspa tia l a pplica tion, b ut still cons ide red fact by the subc ons cious.32

A prototype refers to an original model on which something is

patterned.33 The mod el is often ba se d on instinctive notions lea rned

throug h everyda y experience . The mind’s s pec ific, p red ictab le rea ction

to ce rtain stimuli is often formed during the ea rly s tag es of human

de velop ment. A child be g ins to explore his or her surrounding

la nds ca pe, forming d istinct impressions. Eac h notion is ba se d on and

related to his o r her very first environment: “ home” . Phe nomeno log ica l

thought stems from a n understand ing that a huma n invaria bly judg es his

32 Ga ston B a che lard, The P oe tics of Sp a ce (extract) in Neil Leac h, ed ., Rethinking Architec ture: a read er in cultural theo ry,(Lond on: Routledg e, 1997), 176.33 Merria m-Web ste r Online. 25 March 2003 < http://ww w.M-W.c om /cg i-bin/d ictiona ry.>

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or her surround ing s a g a inst a lea rned s et of rules a nd g uide lines .34 He

or she establishes a “home plac e” ba sed on a need for comfort,

protection a nd a n understand ing o f the outside wo rld. “Home” is the

first physica l environment he or she b eco mes a wa re of and the s ite of

his o r her very first and mos t impo rta nt experienc es . It informsinterpreta tions of o ther life experience s; structures a wa reness ,

es tablishes the roots o f being, a nd d efines the b ounda ries o f his or her

life condition.

The interpretation o f events a nd s pa ces is a product of lea rning a bout

the outside w orld throug h a co mpa riso n to our home. We a ss ociate

mea ning and emotions with objects b as ed on c umulative, pas t

knowledge which has created a highly probable scenario of “reality”.

Each prototype can be illusionary, holding no real basis in current truth.

After the womb , our house bec omes the mos t important spa tia l

experienc e in our life. It co ns titutes a ps ych olog ica l bunker of wa rmth,

se renity and se curity. Every event holds sp ecial significa nce. We ca n

look into the surrounding world from the convenience of our window,

wa tching public intera ction from the co nfines of our se cluded,

com fortable environme nt. This ga tewa y provide s pas sa ge to,

co mpa riso n of a nd p rotection from the o utside environment. Every

aspect of living within that structure becomes important in establishingwho we a re a nd how w e rea ct to outside s timuli. When we cha ng e

dw elling s w e retain co llected ba g g a g e, tra nsferring it to o ur new ha bita t.

Ba chelard w rites, “ we bring our la irs with us” .35 Informa tion developed

in the o rig ina l “ho me” serves a s the ba sis for our opinion of other

structures.

The principles a nd the ories outlined in this p a per provide a ba sis for

understa nding the intrica cies of human p erception. Throug h the

ma nipula tion of ea ch, perception ca n be b etter predicted a nd

aug mented s o as to create recog niza ble relationships between eclectic

34 William R. Uttal, A Behaviorist looks at Form Recognition, (Mahwah, New Jersey: Lawrence Erlbum Associates, Publishers,2002), 10.35 Ga ston B a che lard, The P oe tics of Sp a ce (extract) in Neil Leac h, ed ., Rethinking Architec ture: a read er in cultural theo ry,

(Lond on: Routledg e, 1997), 174.

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g eome tries . A comp os ition is de velope d which arra ng es g eome tric

forms, o f “different” implica tions , ba se d o n the perception o f sha pe

co lor, pa ttern a nd lig ht. Visua l rela tion a nd leg ibility is the g oa l. In this

wa y, very different cha ra cteristics ca n be c omb ined s o a s to co mpel the

subc ons cious into “fa ctual” beliefs of cohe sivenes s. For example,closely spa ced red a nd b lue lines a ppea r a s a single purple line whe n

seen from a distance. 36 The two distinctly “different” co lors a re

com bined by the mind’s e ye. As in the example, an interpreta tion ba se d

on visua l information doe s not a lwa ys involve “fac t”. The purple co lor

do es not rea lly exist. The mind s imply believes it do es , until the

proximity cha ng es a nd the interpreta tion is mod ified . Therefore, illusion

ca n be a pow erful tool for comb ining eclectic forms a nd g eome tries .

Illusion is a deceptive or misleading perception of something objectively

existing in suc h a wa y a s to ca use misinterpretation o f its a ctual nature.37

It is a n “unreality” yet to be discovered. Illusion can b e a s rea l a s

a nything else until the point a t which it is proven false . For example, a

simple mirage caused by the play of sunlight on the highway, creates an

illusion o f wa ter drifting a cros s the a sp ha lt. The m ind is foo led until its

proximity is s uch tha t the mira g e d isa ppea rs.

S ince our perception o ften d epend s o n previously experience d

pheno menon for reco g nition w e c a n be forced into be lieving untruths orillusions . If a n illusiona ry relationship is ne ver disc overed to be s o, ha s it

then bec ome rea l? Its pla usibility is b as ed on a number of

misc once ptions , but the inability to prove a ny false c rea tes a certain

validity. The c rea tion o f illusion o pe ns a wo rld o f poss ibilities . A

relations hip c a n be es tab lishe d if the mind b elieves a nd our

“e xperienc e” kno wledg e is unab le to find fa llibility. A co mpo sition o f

“different” g eometries c an b ecome understood a s co hesive. By

disso lving perceived “ difference ”; through the proce ss of des ig n,

co mpone nts ca n be a rra nge d to crea te a c ompo sition of leg ibility.

Adh erenc e to the principles of des ig n, involving the c omp a tibility of

color, shape, pattern and light can be undermined.

36 Roy R. Be hrens, Art, Des ign and Ge stalt Theory. MITP res s. 9 Oc tob er 2002 < http://mitpres s2.m it.ed u/e-journa ls/Leona rdo/isas t/a rticles /Be hrens.html.>37 Merria m-Web ste r Online. 25 March 2003 < http://ww w.M-W.c om /cg i-bin/d ictiona ry.>

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Thesisprec edents 01

South Court NY Public LibraryNY, New York

The project renova tes a n interior courtyard, enc los ing a nd transforming it to create ne w s pa ce s for the growing

libra ry. The ne w co ns truction is merely inse rted into the old. The a dd ition ma kes no e ffort to mimic the pa st,

existing de sign. Instea d, it crea tes so mething ne w. The be a uty of the project is the co ntinuity achieved by the

a rchitect in uniting old a nd ne w s tyles . Eac h floo r pla te a lig ns througho ut the e xisting a nd ne w s tructure, w hile a

clear distinction is ma intained b etwee n the old faç a de a nd the newly enclos ed c ourt. A skylig ht overhea d a nd a n

a luminum cove, lining the ed g e o f the floo r plate, illumina te the interstitia l sp a ce a nd w a lls. Also , the building ’s

orig ina l rubb le footing is us ed a s a de sign element within the new s pa ce, linking the pa st a nd prese nt. The

a rchitect intende d to prese rve the orig ina l structure’s integrity while crea ting a new , c lea n a es thetic.38 Integration

be tween “ different” eras of des ig n is s ucce ss fully ma intained a nd highlig hted.

38 Raul A. Ba rrenec he. “Da vis B rody Bo nd g ives new life to a B ea ux-Arts g rande d ame , with the Mod ern new so uth court ofthe New York Public Libra ry.” Architec tura l Rec ord, Novembe r 2002, 134-141.

Figures 0.37, 0.38, 0.39

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Howard Street HouseSan Francisc o, CA

The project s ets up a distinct ga me be tween the public a nd private realm. Wha t is und erstood a s e xterior and

interior? How is ea ch s pa ce p ortra yed with distinctly different cha racteristics , throug h one cons truction? On the

exterior, corten stee l crea tes a strong , impenetra ble ba rrier betwe en the street and res ide nts within. The

ephe meral qua lities of lig ht and glas s a re display ed on the interior.39 The dua l a ction of this faça de g enerates a

uniq ue d ia log where the p ublic is s hut off from the inner working s of the hous e, b ut the owne r is g iven a dyna mic

view out. The s teel is p unctured with holes tha t create a ca mera o bs cura e ffec t in which a n ima g e o f the o utside

is projected onto the inner glass wa ll. Now , the res ident ca n se e out without being s een. Two different effects

are achieved in the façade wall.

39 Clifford A. Pe arson. “J im J ennings us es multiple optical effects to a nima te his How ard S treet House in a g ritty S anFranc isc o neig hbo rhood .” Architec tura l Rec ord, April 2002, 102-107.

Figures 0.40, 0.41, 0.42

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Municipal MortuaryLeon, Spain

The building presents a drama tic link between ea rth and sky. It is a n underground tomb for tombs . However,

the architect wanted the spa ce to ha ve a clear connec tion with everything a bove g rade . And s o, the pool bring s

a bout a union of the ea rth and hea vens. As the sky is reflected in the wa ter it beco mes a pa rt of the building. In

this wa y, two d ifferent entities (ea rth an d s ky) a re united in clos e rela tions hip. The building a ttempts to crea te a n

otherworldly rea lm for mourning the de ad , while a t the sa me time e nlivening the spa ce to co untera ct the

perceptions o f an underg round c ons truction.40 First, the below g rade s tructure provide s a de q uate iso la tion a nd

so litude for proper res pec t. Next, a d eep pe netra tion of lig ht, from abo ve, crea tes a n energized sp a ce. It is not

hea vy or da rk like one would ima g ine a n underground sp a ce to be . The a rchitect succe ss fully pla ys a g a me

be tween wha t is expected a nd wha t actua lly occ urs. Lig ht and wa ter a re used to integrate a number of different

emo tiona l and perceptive q ualities .

40 Co hn, David. “Be tween Ea rth and S ky A mortuary under wa ter creates a n Otherworldly Realm for mourning.”

Architec tural Rec ord , J uly 2002, 92-97.

Figures 0.43, 0.44, 0.45

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Thesissite evaluation : history

The C hica g o lakefront ha s b een d ra stica lly reinvented s ine the 1800’s. It no long er res embles the a rea ma pped

by Fa ther Ja cq ues Ma rquette a nd Louis J oliet in 1673. P rior to 1830, the sho re met La ke Michiga n nea r where

Monroe S tree t interse cts Michiga n Avenue , a t the northern wa ll of the Art Institute. The s horeline ha s b ee n

buried under 5.5 squa re miles of fill, crea ting new p iers, be a ches a nd pe ninsulas suppo rting the so a ring

skyscrape rs a nd flowing park systems a bove.41 Everything ea st of Michiga n Avenue, including the 200-a cres o f

G ra nt Pa rk, is reclaimed land . The ma jority of fill wa s a cq uired by d redg ing the India na S hoa ls s a ndb a r a t the

so uthern end of La ke Michiga n a nd from rubble dispos a l a fter the G rea t Fire o f 1871. Brea kwaters we re

co mpleted in 1874 a nd 1880, directly to the ea st, to neg a te la rge s torm wa ves from d estroying the new sho reline.

Then, in the e a rly 1900s, the a rea w a s a g a in expa nded to sup port Adler Plane tarium, S oldier Field, the Field

Muse um of Natural Histo ry, McC ormick Pla ce , Meigs Field Airport, a nd the S hed d Aq ua rium.42

Co ns truction of the S hed d Aq ua rium be g a n in the 1920s with an initia l do na tion o f $2 million d olla rs by J ohn G .

S hed d. Throug h ad ditiona l contributions by a rea b usines sme n and the Chica g o Pa rk District, Shed d’s drea m

be g a n to take sha pe. The site was pa rt of Daniel Burnham’s C hica go Plan o f 1909, which ca lled for bo th cultura l

a nd recrea tiona l facilities a long the la kefront, dispersed throug hout public pa rkla nd. Its a djace nt stand ing to the

Field Muse um g a ve it both lakefront expos ure an d a log ica l, institutiona l neighb or. Along with the Adler

Planetarium (1930), the first of its kind in the Western Hemisphere, museum campus draws more than four

million visitors ea ch yea r.43

Currently, the a rea is in the midst o f a $587 million renova tion. 44 S ince the 1996 reloc a tion o f La kesho re Drive to

the west side of Museum Ca mpus the park has been upg rad ed with new land sca ping, bike a nd running paths,

a ll com pleted in 1998.45 The new pla n provide s 2,500 underg round pa rking s pa ces a cross Mctridg e Drive and

a dd s 17 new ac res of parkla nd a round the c a mpus. A 250-foot granite wa ll memo ria l to the men and wom en of

41 J ulie Dubsky J ames Hort, Brad Sleeth, S horeline P roces ses in Chicag o . 21 Novem be r 2000. Northern Illino is University. 4

De ce mb er 2002 < http://jove .g eo l.niu.edu/fac ulty/fisc her/429_info/429trips/NIF/Ch ica g o_Sho reline .html> pa g e 142 J ulie Dubsky J ames Hort, Brad Sleeth, S horeline P roces ses in Chicag o . 21 Novem be r 2000. Northern Illino is University. 4De ce mb er 2002 < http://jove .g eo l.niu.edu/fac ulty/fisc her/429_info/429trips/NIF/Ch ica g o_Sho reline .html> pa g e 343 Welcome to Museum Campus Chicago . 2002. Chicag o Pa rk District. 4 Dece mbe r 2002 < http://www.mus eumca mpus.

org/> page 144 Jill Helmer. “S oldier Field, mus eum c a mpus to rece ive $587 mil fac elift.” Co lumb ia C hronicle Online . (November 2000).3pp. 4 Dec em be r 2002 < http://ww w.c cc hronicle.co n/ba ck/2000-11-27/ca mpus 3.html> pa g e 1.45 Welcome to Museum Campus Chicago . 2002. Chica g o Pa rk District. 4 Dec emb er 2002 < http://ww w.mus eumc a mpus .

org/> page 2

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the a rmed forces will a lso b e erec ted. The plan c ulminates w ith the reno vation of So ldier Field, crea ting b etter

sight lines , mo re se a ting a nd g rea ter venue diversifica tion.46

The Aq uarium be ga n with the s election o f Graha m, Ande rson, P rob st a nd White to d es ig n the new structure.

Wa lter Chute, a ppointed director of Shed d, a cc ompa nied b y a numb er of a rchitec ts beg a n touring the foremostAmerica n and Europe a n aq uariums. They studied ma na g ement, co nstruction, d isplay a nd utilities tec hniq ues

a nd tech nolog ies . They we re intereste d in only the newe st an d mos t mo de rn fac ilities . This information would

so on b e integ ra ted into the wo rld’s la rges t indo or aq uarium. The S hed d o pene d in Decemb er of 1929 with only

the sw a mpy rotunda exhibit fully stoc ked a nd rea dy for display. Over the next two yea rs, e mpty ga lleries were

slowly transformed into a ma zing exhibit a rea s ho using so me o f the g reates t sea life in one building. It was the

first:

-inla nd a q uarium to ma intain a permane nt exhibit of bo th sa ltwater a nd fres hwa ter fishe s

- a q uarium to devote a n entire roo m to the display of home a q uariums

- aquarium to transport millions of gallons of saltwater by train

Tod a y the S hed d hous es over 6,000 fishes , reptiles, a mphibia ns, ma mma ls a nd invertebrates of 750 different

spe cies. However, only one-third of the structure c ontains exhibits; the res t houses the nece ss a ry pumps , filters,

reservoirs and 75 miles of pipe needed to maintain the functionality and livability of the aquatic environments. 47

In keeping with Da niel Burnha m’s d rea m of crea ting a “P a ris o f the P rairie” the building w a s d es ig ned in the

class ic B ea ux Arts s tyle. Forma l elements hold true to clas sic Greek temple d es ig n: Doric co lumns, e levated ona pla tform, suppo rt an e ntra nce portico with a broa d sta ircas e s ymbo lizing the importanc e o f this institutiona l

wo rk. The plan follow s a tra ditiona l G reek cross , with filled -in corners c reating a n oc tag on. Deta iling is of the

G reek s tyle with a distinctly a q uatic twist, w hile the foyer follow s a Roma n B a silica pla n.48 “Wherever consistent

with the clas sic de sign, va rious a q uatic mo tifs were w orked into the ma rble a nd tile… fishe s, turtles , she lls a nd

invertebrates, a ll mod eled from life, are s een on e very ha nd” .49 Cresting wa ves flow a cross the cornices o f the

do me b ea ring Po se ido n’s tride nt held a top three do lphins. The c eiling conta ins traditiona l rosettes, turtle a nd

sc a llop s hells, w hile visitors a re greeted a t the e ntra nce with lig hts, drap ed in oc topi, sus pend ed from b ronze

46 J ill Helmer, “S oldier Field, mus eum c a mpus to rec eive $587 mil fac elift.” Co lumb ia C hronicle Online . (November 2000).

3pp. 4 Dec em be r 2002 < http://ww w.c cc hronicle.con /ba ck/2000-11-27/ca mpus 3.html> pa g e 247 Karen Furnweg er, Shed d Aq uarium: Then a nd Now, (Chicag o: S hed d Aq uarium P ress, 1999), 1.48 Karen Furnweg er, Shed d Aq uarium: Then a nd Now, (Chicag o: S hed d Aq uarium Pres s, 1999), 2. 49 Ta ke the Gra nd Exploration o f Shed d Aq uarium. 2002. J ohn G . She dd Aq uarium. 23 Octobe r 2002< http://www .shed dnet

.o rg/a bt_histo ry_1.html>

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ropes. The rotunda is flood ed with na tura l lig ht from the ornate s kylig ht, where g la ss radiates in a n ever-

increasing pattern, mirroring the floor below.50

The Mas ter Plan of the Aq ua rium focus es on c ontinuing the sta te-of-the-a rt exhibitry expec ted o f the S hed d

fac ility. The pla n crea tes be tter ed uca tiona l a nd recrea tiona l experienc es throug h a refining of the displays . Afully interac tive an d immersive a tmos phe re is the g oa l. The two -pha se p la n will co a les ce o ver a 15-yea r pe riod .

The Oc ea na rium (1991) wa s b eg un a s the initia l immers ive exhibit, providing the ba sis for which the S hed d’s

exhibits will be re-invented . The la rge a dd ition re-crea tes a P a cific Northwe st eco sy ste m, integ rating B eluga

wha les , Pa cific white-sided d olphins, s ea otters a nd ha rbor se a ls unde r one roof.51 The co ns truction req uired the

co ordina tion o f:

- 11 miles of p iping

- 129 miles of elec trica l wire a nd ca ble

- 1,200 tons of s tructural ste el

- 3,250 truckloa ds of co ncrete

- 20,000 sq uare ya rds of glas s

- 364 tons of s a lt

S eq uential reno vations include The Ama zo n Rising e xhibit, which op ene d in 2000. It is a tota l se ns ory

experienc e, immersing visitors in the floo d c ycle of the Ama zo n Ba sin. P la nt and a nima l life is o rga nized into

log ica lly flowing ha bita ts progres sing throug h time. The e xhibit do cuments the y ea rly cyc le o f the e co sys tem,

sh ow ing the rising a nd rec ed ing of the Ama zo n River. The Indo -P a cific e xhibit, opening in 2003, will crea te a nexperiential environmen t mimicking a ree f dive. Its de sign tells a sto ry co nne cting the ree f to fish , peo ple and

plant-life. The 385,000-g a llon ta nk house s live co rals an d s ix varieties of sha rk. The und erg round c ons truction

extends out below the o rig ina l so uthern terra ce, thus preserving the historic a rchitecture o f the faç a de . Pha se II

of the plan ca lls for new e xhibits hig hlighting three a dd itiona l ecologica l systems : s outhern Florida a nd the

Ca ribb ea n; Lake Victoria and Eas t-Ce ntra l Africa ; a nd La ke Michiga n a nd the rivers a nd streams of northea stern

Illinois.52

50 Karen Furnweg er, Shed d Aq uarium: Then a nd Now, (Chicag o: S hed d Aq uarium P ress, 1999), 2.51 Karen Furnweg er, Shed d Aq uarium: Then a nd Now, (Chicag o: S hed d Aq uarium Pres s, 1999), 30. 52 Ta ke the Gra nd Exploration o f Shed d Aq uarium. 2002. J ohn G . She dd Aq uarium. 23 Octobe r 2002< http://www .shed dnet

.o rg/a bt_histo ry_1.html>

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Thesisprogram p recedents

Monterey Bay Aquarium Observations/Notes

- sma ll sitting g roups for ob se rva tion of la rge tan ks- floo r pa ttern chang es from public s pa ce to e xhibit a reas- da rkly lit spa ce s/co rridors w here exhibits exist- sign a g e lit from ta nks and s pa rse/direc t overhea d lig hts- signa g e for types of fish a nd plants in ea ch tank- tanks lit from ab ove (ope n to sun)- portions op en to a ir a nd e xterior sunlig ht- bird a rea s a re se a led a ga inst esca pe into aq uarium (revolving d oo r)- reuse of an old ca nnery (sa rdines )- exposed mecha nica l systems- ope n poo ls for touc hing ra ys /sta rfish /othe r plants a nd a nima ls

- dec ks to outside spa ces- kaya ks ca n come right up to a q uarium bay a rea

- exterior tide p oo l filled b y rising o ce a n currents a nd w a ves throug houtthe day a nd night- peo ple in ba y ca n intera ct with aq uarium and its pools

- a rea isn ’t restricted o r clos ed- industria l loo k of can nery: c onc rete/meta l/g la ss- sc ulpture- wa ter for kids to play w ith- exterior aud itorium face s o cea n and la rg e tida l poo l- do uble heig ht tan ks with sta ir se a ting- ca fé’s /bo oks tore/souve nirs

New Section

- a ncho vies - do me with fish sw imming around- blue light a nd indirect lig ht to wa sh w a lls a round tanks a nd s ig ns- undula ting c eiling of metal sla tes to hide a ir a nd mec ha nica l- ba cklit, solid b lue ta nks in wa lls

- hig hlig hts fish entirely, not e nvironmen t (no environm entpresent for jellyfish)

- two s tory, floo r to ce iling g la ss wa ll- experimenta l a reas - wa ter a nd mo de ls o f a nima ls (microsc ope s)- ma ze-like and disordered- ha rd to know w here to go next- la rge signa g e- supe r g ra phics might help- plexi-g la ss with etch ed a nimal prints for direc tion a nd information

- de signa ted kids a rea for exploration- se a life and a rt com bined- “cheesy”- kid-like

- tanks where you ca n see a bove and below water (double heightspaces)- thing s for kids to climb o n to g et a b etter view- railing - every window ha s a railing or “rocks” for kids to climb o n

- thing s low a nd o n their level

Figure 0.46

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Summary

The s pa ce feels incredibly b rig ht a nd vibrant, c ounteracting the tra ditiona l da rk and stoic na ture of a q uarium

de sign. Eac h different level a llows numerous vantag e points a nd views throug hout the structure. One tank can

be seen from three entirely different levels, including the machinery used to sustain the exhibit’s environment.

Interior and exterior group a rea s provide p la ce s for people to sit, res t, and a pprec ia te the exhibits for a time. An

exterior sculpture that rains water provides a perfect place for small children to play while their parents enjoy the

view o f adjace nt Monterey Ba y.

P eop le ha ve an a ffinity to wa ter and enjoy d irect interac tion. Co ntact with the se a is further explored through the

“pe tting a rea ” whe re children ca n touch and lea rn ab out sting rays , starfish a nd other sea crea tures . The

building’s external tide poo l is a g rea t natura l feature. A de mons tra tion e duca tes pe ople ab out the intrica te

cy cles o f tida l currents within a c ove-like setting . The en tire area is tee ming with life. Ka ya ks and sw imme rs ca n

co me rig ht up to the building, a nd the b ea ch is just do wn the sho re.

The interior ma teria l trea tments a re very clea n a nd ma chine-like. They s ug g es t a learning ins titute. The

ma teria ls a re eleg a nt, but persona l a nd inviting , with a co mfortab le a tmosphe re of discovery and pla y. Children

a re a ccommod ated through des igna ted spa ces and a thoughtful reg ard for their stature. For example, every

exhibit ha s a railing or stepp ed formation allow ing children a be tter, close r view o f the e xhibits. They a re

presented with a ctual, exact a nd e duc a tiona l da ta in a fun se tting . The d isc overy of informa tion a nd s ea life

ma kes the experience enjoya ble. Exhibits a re set up to promo te wa nde ring d isc overy so no two peo ple

experience the aquarium in the same way.

Monte rey Ba y brea ks from the mo ld of tra ditiona l, interior-oriented a q ua rium des ig n. It’s brig ht and s unny

dispo sition invites the exterior environmen t to pa rticipa te in the aq ua tic expe rienc e. The pres enc e of the ba y

a dd s to the effectivenes s of the ins titution. Ea ch expe riential exhibit a llow s a dults an d ch ildren to intera ct,

lea rning a nd d isc overing e ffectively. The co nstruction is elega nt and fun. Children are not neg a ted a nd a dults

a re not overwhelmed w ith chees y pira te dummies a nd s unken s hip mod els. An effective mix has b een

established.

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Shedd Aquarium Observations/Notes

- covered area for long lines- la rge lobby do es n’t seem built for people co ming into a rea- ce ntral rotund a is pivot po int- do med , wide wings feel very ope n

- information above- well placed for adults but kids have trouble- 4’ heig ht to the bo ttom o f ea ch ta nk- circular rotunda tank is amazing

- diver swims around and answers questions over speakers- lig ht dims d uring sh ow- vide o s creens- info on fish is located above tank

- Ama zo n Rising - first revision o f orig ina l, o ld display a reas- wa ter fa lling a nd dripping- skylig ht from a bo ve- interactive touch screens low for children and adults- g la ss pa nel built to 8’ with open netting a bove- clima te cha ng e held in area by g la ss pa neled wa ll (sw a mpier)

- wings w ith center tanks a re more crowd ed with peop le, less s pa ce- ha lls in be tween wings, circling the rotunda a re b lea k even though theyhave tanks and d isplays

- a ction o cc urs w ithin rotunda a nd w ing s- la rge s q uare tanks w ith fla t glas s fronts- new a reas a re muc h brighter/don’t ha ve to b e d a rk like tra ditiona laq uarium des ign- sm a ll a ctivity ce nter for children to lea rn ab out s ea life

Oceanarium

- skylights in roof make space bright- ca fé below- wa ter loo ks like a n extens ion of Lake Michiga n (visua l cue s)- views from below tanks (area seeme d c ra mped a s c ompa red to theupper floor)- do uble level tanks (very de ep )- expose d truss es a nd HVAC- g rid a ss emb ly is us ed to hide HVAC in lowe r level (wide g rid)- great view of site from oceanarium- 4’-7’ pane s o f glas s

- 5 pane s high plus an a dd itiona l 8’-10’ to ac co mmod a te thetrusses and HVAC

- wood won’t corrode as easily as metal with the open tanks

Existing African Fish:- Africa n Lung fish P rotopterus a nnec tens- Nile Knifefish G ymna rchus niloticus- Long S nout Disticho dus Distichod us luss os o- Ornate Bichir P loy pterus orna tipinnis- Africa n Tig erfish Hydrocynus vittatus- Orang eba ck Rainbow fish Melanota enia bo ese ma ni- Roc k Kirbens is Cichlid Ha plochnioms sp .- Ang elicus Ca tfish S ynod ontis pa lma s

Figure 0.47

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Epinions.com

Shedd Aquarium:

- co uld o nly s ee if ad ult picked child up- oceanarium is main attraction (dolphin, whale, otter, and seal exhibit)- windows into bottoms of tanks are g rea t

- coa sta l reef reg ion is ce nter of aq uarium a nd w ings house exhibits o f different coa stlines or parts of the oc ea n- river otters are cute but exhibit pales in comparison to Monterey’s aquarium- poor signage in dim light53

Summary

The class ica l de sign of the building do es no t promo te the intende d use . Eac h wing is set up as a se pa ra te

g a llery of related information. However, ea ch s ection ha s no rea l co nnective qua lity and the ha llwa y lies do rmant

a nd unuse d. The d es ig n do es not tra nslate we ll into a n a q uarium. The functioning of the ticket area is c lumsy

a nd d oes nothing to provide a ny forma l proces sional qua lity. The first experientia l spa ce (the c entra l rotundatank) es tab lishes a n a ma zing p reced ent which is ne ver outdone . The rotunda s pa ce is set up to provide na tura l

ligh t from the skylight a bove, yet d isplay the tank with minima l gla re. A crowd cons tantly hud dles a round the

spa ce, during a nd a fter show s, e nthra lled by the exhibit. A fla t-sc reen, pa nel monitor allows everyone a simila r,

view on overcrowde d d a ys. From there, the experience diminishe s a s the viewe r enters the tra ditiona l wings o f

the structure. The s pa ce is poo rly lit, making so me of the fish ha rd to disc ern. How ever, the exhibit information

a t the top of the tanks is clea rly de fined a nd w ell plac ed for a dult view ing . Unfortunately, a c hild ha s a difficult

time seeing the information.

The b uilding is in the proc es s o f a two pha se renova tion tha t will turn ea ch d a rk wing into fully immersive,

experiential exhibits. For examp le, the Ama zo n Rising e xhibit is b rig hter, an d mo re visua lly a nd e nvironmen tally

a ctive. It trans forms the old, da rk environm ent into a rec rea tion o f the na tura l wo rld, p roviding a far supe rior

experienc e than the orig ina l display a rea . The new Oc ea na rium is a nothe r imme rsive exhibition sp a ce . It

recrea tes the P a cific Northwes t reg ion o f the United S tates with g reat a ccurac y. Trees , rocks a nd lakes fill the

sp a ce to ca pa city. The interior pool se ems to extend into La ke Michiga n creating a s ucc es sful illusion. The

a uditorium spa ce is a de q uate a nd c omforta ble, providing eno ugh va ria tion for perso na l discovery, esp ecially in

the viewing areas below.

The S hed d is a co mprehe nsive ins titution, providing a wide va riety a q ua tic life and environme nts. Its loc a tion is

formidable and gives it tremendous visual opportunities. Unfortunately, its current spatial configuration leaves

53 S hedd Aq uarium. 20 Oc tob er 2000. Epinions . 5 Novem be r 2002 < http://ww w.E pinions .c om /trvl-fam ily_tra vel-zo os -a ll-S hed d_Aq uarium/Display_~ Reviews >

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so mething to be d es ired . Dea d s pa ce p la q ues the e xperience , keeping it from c rea ting a holistic exhibition o f

se a -life. Older sp a ce is da rk a nd uninviting , while the ta nks and information neg a te child inves tig a tion. Howe ver,

new e xhibit des ig ns c rea te a mo re in dep th lea rning a tmosphe re. Informa tion is prese nted in a fun and elega nt

way, inviting every patron to participate in the discovery.

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Newport Aquarium Observations/Notes

- ha rd to s ee jelly fish in d isp la y- grap hics /info a lmos t illeg ible

- interac tive d isp la ys - pus h buttons a nd rivers lig ht up- circular tan k with current s o fish h a ve to s wim to keep from b eingswept awa y- corner of square tank distorts the view- informa tion pa nels on the side o f the exhibit a re not as g oo d a s theones b elow ea ch tank.

- ea sier ass ociation w ith the tank- ea sier for children to se e

- ca rpeted w all for children to lea n a ga inst- roof is black, exposed and fire-treated- arch of water (see fish from below)- floo r is textured co ncrete with sa nd-like fee l- petting a rea for kids (fa ke rock co ve)

- integrated step for kids- small theater with pirate motif (very child oriented)- tan k 10x20 = 380,000 g a llons of wa ter- lot of kid-like clutter (murals, dummies, fake rocks, etc.)- current pumped into tanks to a g itate w a ter- elimina te hiding plac es to ma ximize view ing- long window tank will move pe ople pa st (hallwa y use pos sibly)- lots o f mura ls a nd pa intings (sea theme)- distortion increas es w ith clos enes s to tank and g la ss- tall spa ces feel better- more cha nces for thing s ha nging a bo ve- de finite, clea r pa th of travel- pla ces where yo u ca n look up into ta nk

- fra mes a round jellyfish tan ks- tunnels with glass above to connect larger rooms that you can wander- still pulls you in a certain direction

- g rid/mes h-pa nel used to hide me cha nica l abo ve- g la ss floo r wa s unlit and ha rd to s ee through to the d isplay- a llig a tors below bridg e have pos sibilities but not a lwa ys enterta ining- tanks with sitting /steppe d a rea s o you ca n see a bove a nd be low w a ter- a rea to s ee a bo ve tanks/behind the sc enes viewing

Figure 0.48

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Epinions.com

Newpo rt Aquarium:

- do n’t like being cha nneled throug h g ift sho p a nd resta ura nt

- a ren’t ab le to g o b a ck to exhibits a t end- entra nce up steps is too much for people to wa lk up if elevator is c rowde d- stroller access is important- children’s petting a rea /interac tion (a dults w/o c hildren s ee m to a void)- liked the movie thea ter- feeling like you a re in a sto rm at s ea- ha rd to s ee e xhibits w hen there are too ma ny peo ple- so me like being a ble to se e the tops of the ta nks @ end (so me do n’t)- enter aq uarium from e sc a la tor into the de pths of the se a- bathrooms upon entering important- peo ple ling er in rotunda but sprea d out a s they g et into building

- g et peo ple in and moving- so me a dults a re c once rned with clear g la ss spa ce s/floo r but kids love- clear tunnels are everyone’s favorite attraction

- info about each exhibit and fish is important (locate it in good place)- noise can be a problem with children yelling

- sound dampening possible- g entle m usic is nice a nd co mforting

- cramped s pac es g et overcrowd ed a nd tight- no real big, open s pac es

- co rrido r of exhibits- forced throug h a nd not a llow ed to re-ente r54

Summary

The d es ign a ttempts to immerse pa trons into an und erwater world o f fa ntas y (for example: the e sc a la tor down

into the building a t the very beg inning). The trea tments a re clea rly child-oriente d w ith fa ke roc ks a nd p iratesdo mina ting the sc ene. Very little rela tes to a dult pa trons . Props clutter and distra ct from the ed uca tiona l

a tmos phe re. Ch ildren a re enthra lled b y a n environment se t up sp ec ifica lly for them, but a dults ha ve very little

ca use for excitement. They ha ve been co mpletely nega ted in the des ig n proce ss a nd a re forced to ad just to a n

environm ent s pec ified for their kids .

The relations hip to the exterior is lac king , crea ting a n introverted e xperienc e with an em pha sis on und erwa ter

immersion. A low ce iling a nd crampe d q uarters a dd to a n uncomfortab le, cla ustropho bic atmosphe re. A bus y

da y produces horribly cluttered spa ces where views are obs cured and people do not have a c hance to see the

exhibits very we ll. In ad dition, mo vemen t follow s a d es ig na ted pa th of tra vel force-feed ing pe ople throug h the

spa ce. No pa tron is allowe d to ling er in a ny one a rea for long be fore the “c onveyer-belt” mo ves the next in.

54 Newp ort Aq ua rium. 20 Aug us t 2000. Epinions . 5 Novem be r 2002 < http://ww w. Epinions .c om /trvl-fam ily_trave l-zo os -a ll-Newpo rt_Aq ua rium/display _~ Reviews> .

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Every person is forced through the ca feteria a nd g ift sho p, crea ting a nig htmare for every pa rent. He or she ha s

to shuffle children through while they complain of hunger.

The mo st intriguing e xperience s a re the underwa ter tubes . Pa trons a re surrounde d b y fish a nd p la nt-life,

crea ting a uniq ue 360 deg ree view o f the environment. P eople see med to ling er in these a rea s the mos t.Unfortunately, fake rock outcroppings a nd s helters de tra cted from the e leg a nce of the tubes. The transitory

areas between tubes co uld ha ve been expande d to provide pausing a nd wa ndering points.

The Aq uarium is a totally introverted experience with se rious claustrophobic co nse q uence s. It is a crampe d

se ries of experience s functioning to move peo ple throug h a t a co nsta nt ra te. The co nsumer-ba se d s tra tegy for

moving peo ple throug h revea ls a g rea ter co mmitment to eco nomic sa tisfac tion than e duca tion. Ma teria l

trea tment neg a tes the ad ult pres ence a nd co difies the sp a ce for child fanta sy. Informa tion is poo rly pla ced a nd

de gra de s the lea rning e xperience . The a q uarium is more conc erned with surfa ce imag e than sub sta ntive

learning.

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Thesisprogram

Under water portion- Sq Ft.

level 001:

mec ha nica l spa ce 3,400 sf1- main (2,378sf)

2- anc illary (1,022sf)

tan k display 6,700 sf

men ’s la vato ry 250 sf

wo men’s la vatory 250 sf

In water portion-

level 001:

mec ha nica l spa ce 11,700 sf

level 002:

a ud itorium 3,800 s f

ca feteria 2,150 sf

tan k display (overhea d) 850 sf

informa tion wa ll 1,000 sf

Over water portion-

level 002:

lob by /information sp a ce 850 sf


level 003:


level 004:


level 005:

mec ha nica l spa ce 2,050 sf

Totals 40,100 sf

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Thesispurpo se and feel of spaces

Under water space-

Mechanical space :

(level 001) This spa ce will provide wa ter circula tion a nd filtra tion for every tank sys tem in the un de rwa tera rea. It will a lso p rovide a ll ba ck-of-hous e functions a s we ll a s s tora ge a nd ma intenanc e need s.

Tank Display:

(level 001)

Thes e a rea s focus on the d ra ma tic d isplay o f aq uatic life. The sp a ce ’s mos t important fea ture isthe floor to ceiling g la ss wa ll, looking out into Lake Michiga n, b a ck towa rd the s horeline a nd theexisting S hed d s tructure. The co nstruction of an a rtificial co ve or sa ndba r for informationa l stud ya nd e xposure to the da ily proces se s o f the Lake a re po ss ibilities . Also a long this w a ll, a numberof circular, floo r to c eiling tanks s erve a dua l purpos e a s lig ht wells a nd d isplay s ystems . Theyproject up through the s pa ce, into the la ke and out of the wa ter. They a llow lig ht to pe netra te thespa ce from a bo ve, simula ting tha t the tanks a re not merely conta ined , closed elements but opento la ke wa ter moving in a nd o ut of them. Thes e d isplays will be fla nked with se a ting a rea s tha ta llow visitors to s top a nd e njoy the fish-la de n, co lumns o f glass a nd the view into the la ke alongthe exterior wa ll. Thes e elements a ttempt to a llevia te the claus trop hob ic feel of the unde rwa terspa ce, ope ning it up to various lig hting cond itions a nd s pa tia l illusions . Other display s ystemswill focus on crea ting a n atmos phere of wand er and d isc overy. They es tab lish sm a ll, conta inedenvironments a ll of which mea nde r throug hout the s pa ce, a llow ing p a trons to slow do wn a ndreally a pprecia te the fish on d isplay.

Men ’s/Women’ s Lavatory:

(level 001) Thes e fac ilities se rvice the e ntire building , p roviding the fina l stop be fore exiting the s tructure.

In water space-

Mechanical space:

(level 001) This spa ce provide s the bulk of the b a ck-of-hous e fa cilities . It will co nta in the HVAC s ys temsand major circulation and filtration systems for the entire building, excluding the “over waterportion” . It will a lso provide storag e units a nd me cha nica l eq uipment rela ted to the c a feteriaspace above.

Auditorium:

(level 002) P res entations , lectures a nd s how s a re held in this s pa ce. Its purpos e is to displa y the violentstorms of La ke Michiga n in a sa fe environmen t. The s pa ce is pa rtia lly sub merge d b enea th thewa ves, allowing for the la pping o f water ac ross the glas s faça de even during c a lm da ys. Ina dd ition, the sky will be visible to the full heigh t of the c eiling . The pla y of lig htening a nd w a vescra sh ing a g a ins t the exterior show ca se s Mother Nature in all her fury. The inclined surfac e of

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the exterior wa ll provide s the optimum view of the sky a nd ma ximize s the effect of wa terwa shing over the audience. S a fety and s ecurity a re ca lled into q uestion.

Cafeteria:

(level 002)

The ca feteria is a d yna mic spa ce. A pa tron ca n enjoy a s na ck in the sun, provide d by the g la ssskylig hts ab ove, or experience the pla y of wa ter a nd lig ht benea th the sus pend ed , se rpentinetank. The ta nk exists a t a he ig ht where visitors ca n ea sily view the fish a s it weaves its wa ythroug h the spa ce. It increas es the ene rgy a nd moveme nt of the spa ce throug h an illusionaryda nce o f lig ht and w a ter a cross the floo r a nd w alls. This a rea is also ope n to the auditorium,a llowing views of the storms.

Tank Display:

(level 002) As a visitor rea ches the top of the entrance s teps he o r she is g reeted by a sus pend ed ta nkoverhea d. It implies tha t a fter entering the und erwa ter tunnel on sh ore, tra veling throug h thela ke water and up a g ra nd sta ir he or she is still bene a th the wa ter. Here a g roup ca n collect

themselves a nd enter the lobb y/informa tion s pa ce on their wa y to the c olumna r ta nk area .

Information Wall:

(level 002) This wa ll, w hich lines the ra mp to the a uditorium, p rovide s informa tion o n e very fish exhibitedin the co mplex. It cons ists o f va rious fish s pec ies enca se d in acrylic b loc ks which a re thensta cked tog ether a nd ba cklit. Pe rtinent informa tion rega rding e a ch fish is emb os se d on thea crylic b loc k. As the visitor des ce nds into the a uditorium, this und ula ting wa ll of informationfollows.

Over water space-

Lobby/Information space:

(level 002)

The a rea provide s informa tion reg a rding the entire aq uatic c omplex of buildings a s well a smuseum c a mpus in gene ra l. It will se ll ma teria ls d es cribing the history and ba ckground o f thea q uarium anne x and its d isplays . Here, a pa tron se eking a dd itiona l informa tion a bo ut the fish o fLake Victoria and East Central Africa can purchase literature, postcards and other trinkets.Informa tion rega rding tours, sho ws a nd sp ecial lectures is also ava ila ble. From a d es ig n as pect,this s pa ce is clad in g la ss , empha sizing its role a s the minima l joint betwe en the curve a nd c ubeelements. Its opa city tries to perpetuate the view through the s pa ce, o ut over the la ke. Atnig ht it glows with a ra diance that bring s s pec ia l attention to its po sition a s a joint.

Tank Display:

(level 002) This level allow s visitors to wa nder freely throug hout a n a rra y of co lumna r tan ks which projectthroug h the floo r pla tes to a three story heig ht. Eac h displa ys a variety of fish, a ll of whichinha bit the lower stratifica tions of their na tura l ha bita ts. Natural lig ht flow s in and filters do wn thesp a ce left void by pulling the floo r plates a wa y from the o uter shell. This s pa ce func tions to unifythe cube into one , co ntinuous e lement throug h a visua l conne ction s pa nning numerous floo rs.

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Tank Display:

(level 003) This sec ond floo r plate d isp la ys fish from the upper stra tifica tions o f Africa ’s wa ters. Ea ch ta nkis a co ntinuation o f the o ne b elow, a llowing p a trons to spira l upwa rd, a round the display itse lf.Different views of the fish a nd their ha bita ts are pos sible. Eac h tank beco mes a spa tia l

puncture that e nga ge s every s ubseq uent floor.

Tank Display:

(level 004)

This floo r ha s a two -fold purpos e. It functions a s the ba ck-of-hous e a rea w here ma rine biolog istsa nd ca retakers have ac ces s to ta nks and fish. Here, the fish are fed a nd med ica lly treated .Chemica ls a re a dd ed a nd tank clea ning o ccurs in this a rea . Se condly, the spa ce functions a s abehind-the-sc enes loo k for visitors. He or she ca n see the da ily routines a nd proce ss esrequired for the c ontinued efficiency a nd hea lth of the c rea tures .

Mechanical:

(level 005) This mec ha nica l spa ce c ircula tes a nd refres hes tank water as well a s co nditioning the spa cefor visitor a nd ha bitat com fort. Wa ter filtra tion a nd return/sup ply proce ss es a re ducted throug hthe columns that bound the pe riphery of eac h tank. Here, water is circula ted throug h aco ntinuous joint a long the entire ed g e o f the c olumn. Add itiona lly, a ir circulation is provided byHVAC e q uipment on this floo r which then d ucts a ir down to the spa ce s b elow. A supply stac koc curs a t the co rner of every floo r plate. The a ir is then d irected into duc ts which run along theed g e of the sla b. The circula tion s ystem empha sizes the spa tia l co nnection throug hout thevolume of the cube, c reating a whole.

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The a dd ition is roo ted to its loc a tion a s a “fig ure/g round” co mpo sition.

It is p rojec ted o nto the lake in pla n a nd the horizo n in elevation. The

Ge stalt principle of S urrounded ness states that a n a rea seen as being

surround ed by a nother, la rg er area will be p erceived a s a fig ure.56 In

this reg a rd, the building’s e levation is se en a s a fig ure o r foreground

elemen t projected a g a inst the horizo n line, from the city. S imila rly, the

pla n creates a n fig ure s et ag a inst the ba ckground o f La ke Michiga n.

Eac h of thes e rela tions hips es tablishe s the new building a s a foreg round

structure (figure 0.50).

The dy na mic rela tions hip do es no t end w ith its site co nd ition. Des ig n

a nd p la ceme nt of the b uilding’s d ifferent geo metric e lements creates

tension. A bina ry relations hip is es tablished betwe en the two a bo ve-

wa ter piece s. Ea ch is q ualified b y the existence of the other.57 First,

ob vious ph ysica l a nd perce ptua l differenc es a re ea sily ide ntifia ble. The

sha pes thems elves h a ve totally different implica tions . The curve fee ls

ca lm, as sured and relaxed b as ed on the idea that circles a re na tural and

co mplete. Co nverse ly, the cube feels dull, stra ig ht forwa rd a nd hone st;

de cidedly les s na tura l than a circle or curve.58 The se d istinctly d ifferent

feeling s play off one a nothe r. In ad dition, the G es talt principle of

perceptual organization states that “closed” or “completed” figures are

preferred over “open” or “incomplete” shapes.59 The curve, a n

inco mplete form, is a t odd s w ith our perceptual nature, lacking a deq uate

distinction, while the cube , a c ompleted ob ject, takes prece de nce.

(fig ure 0.51). Differenc es a re further empha sized by the forms ma teria ls

a nd propo rtions . The curve is co nstructed from ca st-in-plac e, stria ted

conc rete, s treng thening its pos ition a s the ho rizonta l do mina nt. The

cube is twenty feet taller than its curvilinear counterpart and clad in

vertica lly oriented ste el pa nels. It is the vertica l do mina nt. Eac h

56 Daniel Ch an dler, Visua l P erce ption 6: Ge sta lt P rinciples of Visual Org a nization. J uly 1997. University of Wha les. 21

Oc tob er 2002 < http://ww w. a be r.ac .uk/me dia /Modu les/ED10510/visp er06.html>57 Edw ard C . Ca rterette, a nd Morton P . Fried ma n, Hand boo k of Perception, (New York: Aca dem ic P res s, 1975), 210.58 Shape . 21 Oc tob er 2002 < http://ww w. po mo na .edu /Aca de mics /co urserelate d/cla ss projec ts/Visua l-lit/sh a pe /sh a pe .html.>59 Daniel Ch an dler, Visua l P erce ption 6: Ge sta lt P rinciples of Visual Org a nization. J uly 1997. University of Wa les. 21 Oc tobe r


Figure 0.50

Figure 0.51

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“d ifferent” element is a rrang ed to co mpete w ith the other for spa tia l

dominance.

This juxtap os ition c rea tes purpo se ful tens ion a nd e nerg y. The tria ng ula r

a rrang ement of forms a dd s to the ag itation. Tria ng les a re a ss oc ia tedwith tension, action and conflict.60 Here, the eye travels from the

entra nce o f the curve, out to the cub e, a cross to the aud itorium a t the

end o f the building a nd b a ck ag a in to the entrance . This po sitioning

links the sha pe s in a co ntextual orde r (fig ure 0.52). The c ube a nd c urve

become stronger because of their connection and mutual agitation.

Additional cues unite the forms as well.

First, the curve wra ps the c ube tra pping it. It is a de rivation of the c ircle,

visually framing and highlighting anything placed within it.61 Therefore,

as the a rc wraps a round the cube it embrac es the spa ce a nd plac es

impo rta nce o n it as a rela ted c omp os itiona l elemen t (fig ure 0.53). The

eleva tion functions simila rly. Viewe d from the S hed d, the c ube a ppea rs

to be tota lly wrappe d b y the foreground w all. Also , the ang le of the

ea stern wa ll pulls the cub e pe rcep tually closer. As the w a ll a ng les

towa rd the bas e of the cube’s s tructure its proximity chang es . The

principle of proximity states that objects which are closer together will be

associated.62

Therefore, a s the proximity of the wa ll a nd c ube c ha ng e,so d oe s their a ss ociation. The wa ll beg ins to enter the “spa ce” of the

cub e, phys ica lly linking the two (fig ure 0.54).

The two c ompo nents require one a nother to form a b a la nced

co mpos ition. In elevation the c ube is the vertica l do mina nt, but as the

curved wa ll slide s p a st, it ang les up to a height just below tha t of the

cube . The distance be tween the two extremes c reates ba la nce for the

de sign w hile a llowing the individua l elements to be rea d se pa ra tely.


Oc tob er 2002 < http://ww w.p om on a .ed u/Ac a dem ics/co urse related/cla ss projec ts/visua l-lit/sh a pe /sh a pe .html.> 61 Nargis Ka se nova , Misty Rus ksha n, Misha Koza reff, The O n-Line Visua l Literac y P rojec t.. 1994. P omo na Co lleg e. 21Oc tob er 2002 < http://ww w.p om on a .ed u/Ac a dem ics/co urse related/cla ss projec ts/visua l-lit/sh a pe /sh a pe .html.> 62 Daniel Ch an dler, Visua l P erce ption 6: Ge sta lt P rinciples of Visual Org a nization. J uly 1997. University of Wa les. 21 Oc tobe r


Figure 0.53

Figure 0.52

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- the cub e’s ma ximum height is juxta pos ed with a minima l

distance from the e nd o f the c urve.

- the ma ximum he ig ht of the curve (20’ sho rter than the c ube ) is

co mpa red to a ma ximum distance from the vertica l do mina nt.

In this way the composition is read as balanced, each horizontalextreme be ing the place of ma ximum height for the two g eome tries

(fig ure 0.55).

The curve a nd cube a lso ha ve individua l charac teristics with pe rceptual

implica tions . Eac h strengthens the individua l a nd c ompo sitiona l

q ua lities , de fining bo th interior an d e xterior perce ptions . Interior

configurations and treatments emphasize the psychological cues

established on the exterior sequence.

The entry experienc e (into the curve) involves various perce ptua l

cha ng es a nd moveme nts. First, visitors enter a land -ba se d pa vilion,

descending into an underwater tunnel which connects to the aquarium.

Then, visitors tra vel upwa rd, a long a g rand sta ircas e to the

lobb y/informa tion s pa ce a bo ve. A perceived incons istency greets the

visitor at the top of the stairs. A tank, suspe nde d o verhea d, lit by a

ceiling skylig ht system, creates a pla y of wa ter and lig ht ac ross the floo r

a nd w a lls (fig ure 0.56). The visitor has de sc end ed into a n unde rwatertube, c limbe d a g ra nd sta ir, and still feels like he o r she is b elow the

wa ter level of the la ke. However, as the perso n looks a round the spa ce,

he or she s pots a view through the lob by, out over La ke Michiga n. Now

the illusion is und erstood : the viewe r is a bove the la ke a nd the wa ter

overhead belong s to a c los ed , interior display sy stem. The pla y of water

a nd lig ht merely enlivens the s pa ce with a n ene rg etic mo vement. The

seq uence c hang es perceptually a long the pa th of travel.

Now, inside the curvilinear space an incline exists in both plan and

eleva tion. The rela tions hip to a g raph produce s a n understand ing o f

inferiority in the small portion and superiority in the large.63 Here, the


Oc tob er 2002 < http://ww w.p om on a .ed u/Ac a dem ics/co urse related/cla ss projec ts/visua l-lit/sh a pe /sh a pe .html.>

Figure 0.54

Figure 0.55

Figure 0.56

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entry beg ins a t a minimum heig ht and w idth, expand ing a long the

horizo nta l a nd vertica l into a ma ximum fea ture; the a uditorium. The

sequence suggests this space will be more interesting and compelling

(fig ure 0.57).

Here, the s pa tia l progress ion c ulmina tes a nd Lake Michiga n’s s torms

a re o n displa y. Iss ues o f safety, visibility and the movement of wa ter a re

a lso a dd res se d. The aud itorium des cend s into the lake, taking

a dva ntag e of a n underwa ter oppo rtunity. Wa ves will co ntinuously la p

up a nd o nto the inwa rd s lanting windo w faç a de . Viewe rs will loo k into

the wa ter and lig htning -filled sky simultane ous ly. This d rama tic effect

cha lleng es our perceptions of sa fety a nd c omfort. The lake feels a s if it

will break into the sp a ce creating a strong link betwee n the “o utside ”

a nd “inside ”. An interior water fea ture a t the ba se o f the windo w faca de

will bring pa lpa ble elements of the o utside into the s pa ce, pla ying on the

visitor’s pe rcep tion of s a fety a nd sec urity.

As the curvilinear space begins to grow from a minimum to a maximum,

the ta nk, sus pend ed a bove, de velops a reciproc al chang e. At the top of

the sta ir a ma ximum width and minimum de pth of wa ter is req uired to

crea te the illusion of still be ing un de r the la ke. How ever, thesereq uirements cha nge a s the tank wea ves its way into the spa ce. Now,

rela ting to its g rowing e nvironmen t, the tank beg ins to s we ll vertica lly. A

reciproca l horizonta l shrinkag e oc curs so the end co ndition be co mes

one of ma ximum height a nd minimum width.

The co mpos ition a nd d es ign o f the cub e a lso follow s a n understand ing

of perceptual phenomena .

The ma ss ing o f the spa ce g enerates a 60’x 60’ sq uare which hovers

over a g las s b a se . It is clad in hea vy, riveted, stee l pa nels. An interior

g la ss bo x is s lide o ut and d ow n from the orig ina l cube to form the ba se .

The d esign creates a large, heavy ma ss ba lanc ed ab ove a thin, light

one . The c ha rac teristics a re clearly different but the g ene rative forms

have a distinct relation.

Figure 0.57

Figure 0.58

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The spa ce’s structure, lig hting a nd HVAC a re used to s treng then the

unity of the two b oxes . The s tructural columns, w hich s uppo rt the entire

ma ss , are pulled up throug h the spa ce a nd out the top. Thes e lines

de fine c ontinuous objects tha t puncture into a nd p rotrude from the ma sssug g es ting a sing ula r ob jec t (fig ure 0.58). On the interior, display tan ks

are created by enclosing the spac e be tween columns with gla ss. The

tanks project throug h the floo r pla tes, w hich ha ve bee n pulled ba ck, up

three levels. This further emp ha sizes them a s sp a tia l punc tures tha t

define the cube as a s ingle spac e.

The c ube ’s lig hting , bo th interior a nd e xterior is e ss ential to its unity. On

the outside, light projects from both the top and bottom, illuminating the

co lumns that punc ture a nd p rojec t from the building . If not properly lit

their perce ption a s a c ontinuous leng th is lost in the nig ht. On the

interior, skylights illuminate the interstitial space left from pulling the floor

plates a wa y from the e xterior wa lls (fig ure 0.59). This s pa ce a llow s

visitors to look up and do wn througho ut the s pa ce, creating visua l

connections on a floor to floor basis (figure 0.60).

Fina lly, the HVAC s ys tem d ucts through the interstitia l sp a ce , providing

elements for visua l co nnection vertica lly. La rg e s upply d ucts a re loca tedat the four corners of the floor plates, traveling the entire length of the

spa ce. S ma ller duc ts are fed a long the floors ed g es to supply a ir

circula tion, in a top d own forma t, from the mec hanica l floo r ab ove.

The c onnec tion b etwee n the c urve a nd c ube is the mos t important joint.

It controls how ea ch piece comes together and e stablishes how ea ch is

rea d w ithin the co mpos ition. It relates to bo th, without crea ting a

perceived do mina nt. Here, it functions with the dua l purpose of being

seen a nd not, depend ing on the time of da y.

The joint (lob by/info. s pa ce ) is c la d in g la ss . Its few interior, phys ica l

features allow the s pa ce to b e la rgely tra nspa rent and tra nslucent.

During the day it is minimally existent, allowing the two geometries to

interac t without it (fig ure 0.61). How ever, a t nig ht, d ra ma tic interior

Figure 0.60

Figure 0.61

Figure 0.62

Figure 0.59

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illumination draws special emphasis to the space, highlighting the joint

(fig ure 0.62).

The unde rwa ter spa ce functions a s a com pos ite and tra nsition piece

de rived from the relation of the curve and cub e. It esta blish es the e xitseq uence a nd provides a number of notable displays which a ttempt to

a lleviate the claustrophob ic fee l of being trapped under Lake Michiga n.

The g ene sis po int for the curve b eg ins b a ck on s hore, w here visitors first

enter the tube. Here, a n arc is insc ribed o ver the site. It se pa ra tes a nd

peels a pa rt to form different spa ces : the unde rwater portion a nd the

ma in wa ll a bo ve the surfa ce o f the la ke. As the a rcs s plit an exit funnel

is created which forms a maximum spatial sequence tapering to a

minimum de pa rture point. The plan’s d ec line sug g es ts “s upe riority” in

the la rger portion, diminishing a long the pa th of tra vel out of the s pa ce .

As the wa lls b eg in to c los e in on visitors, s pa tia l perce ption b eco mes

important so pe ople do no t feel confined a nd tra pped .

The p a rtition w a lls b eg in to a lleviate this s tres s. None touc h the 15’ ta ll

ceiling, allowing the space to feel like part of a larger whole, not

co nfined to a s ma ll sec tion. Visitors ca n not see a de fined e nd to the

spa ce a s one w ould if a c orner existed . Therefore the spa ce s eems tobe larger and undefined.

Lig ht-we lls a lso help to op en up the unde rwa ter structure. They s erve a

two-fold purpos e: bring ing lig ht into the s pa ce a nd s ugg es ting to visitors

that an enc los ure exists be low the wa ter’s surfa ce from a bo ve. Inside,

they function a s ta nks, ca rving out niches within the spa ce w here peo ple

ca n sit a nd w a tch the fish. As lig ht hits the wa ter in the tanks it crea tes a

pla y of moving lig ht throug hout the spa ce. When viewe d from the

Shedd, these light-wells appear as “figures” against the larger “ground”

(curved wa ll be yon d) (fig ure 0.63). Also , the pe rimeter wa ll projec ts

a bo ve the surfa ce o f the wa ter. The light wells sug g es t a spa tia l

cond ition b elow the w a ves, w hile the pe rimeter wa ll co nveys the exac t

dimensions a nd sha pe of the element. Now , its rela tion to the abo ve-

water arc can be seen.

Figure 0.63

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The ne w Aq ua rium a dd ition is the produc t of a se ries of perce ptua l

principles which unite d ifferent g eo metric eleme nts. The thes is

des cribes how we, a s a rchitects, c a n succe ssfully co mbine g eometries

in a n ec lectic fa shion.

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plan 01

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plan 02

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section 01

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Bibliography (Annotated)thesis and prog ram

Bachelard, Gaston. The Poetics of Space (extract) in Neil Leach, ed., Rethinking Architecture: areader in cultural theory. London: Routledge, 1997.

The e xtra ct talks a bo ut the theory of pheno menolog y, se tting up a distinct rela tions hip be tween ho w w e rea ct tolife and s pa ce to our persona l experience s throug h our “ho mes ”. Prototypes a re introd uced a s lea rned ,experience knowled g e a ffecting our da ily perceptions . This information provide s a ba se of compa riso n a ndreference for current events throug h memories o f past outcome s. Its relia bility is s uspec t in som e ca se s a nd c a nbe proven fa lse in others. The “ ba sem ent-a ttic” co ndition is introd uced a s a n examp le o f prototypica linformation creating false impressions.

Barreneche, Raul A. “Davis Brody Bond gives new life to a Beaux-Arts grande dame, with theModern new south court of the New York Public Library.” Architectural Record, November 2002, 134-141.

Bechtler, Cristina. Frank O. Gehry Kurt W. Forster. Cantz Verlag, 1999.

His architecture deals with the human “mess” and how people come to understand design, not with cleaning upthe life cond ition. The co nce pt of Impres sion is key in de termining h ow the p ublic feels a bo ut and functionswithin the b uilding . The s culpture o f building impa rts “ feeling ” to the view er.

Behrens, Roy R. Art, Design and Gestalt Theory. MIT Press. 9 October 2002<http://mitpress2.mit.edu/e-journals/Leonardo/isast/articles/behrens.html.>

The a rticle disc usse s the fig ure g round rela tions hip, how co lor may be disting uishe d, a nd pa rts versus thewho le. It is propo se d tha t forms are never see n alone b ut only within com plex fig ure-g round rela tions hips .Co lors ma y rea d d ifferently when juxta pos ed a g a inst various s wa tches. The individua l ca n often be rea d a s pa rtof a whole depending on its grouped composition.

Blake, Peter. The Master Builders. New York: Alfred A Knopf, 1960.

Ea rly in his ca reer Corbusier believed in the ba la nce of total contras t: the s uperiority of the ma n-ma de ob ject tona ture. This sh ifted to a n unde rstan ding of the inherent proportiona l orde ring s ys tem found in nature. Aninves tig a tion o f the fluid c urve a nd the line follow ed .

Bregenz, Kunsthaus. Peter Zumthor. Hatje, 1999.

Visua l cues sug ge st moveme nt throug h a spa ce. The pe rception o f fluctuating lig ht or seeing the ne xt sta irbeg ins to sugg est where movement should be routed. It also s ugg ests that design might be a proces s ofco mpres sing c om plexity into simplicity. This proc es s a llow s the s implicity to g row out of the co mplexity inste a dof ho lding to the trad itiona l idiom.

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Carterette, Edward C.; and Friedman, Morton P. Handbook of Perception. New York: AcademicPress, 1975.

Discusses how information is perceived and in what formats it becomes most apparent and readable.Information orga nize d in a vertica l or horizo nta l format is sup erior to the ob liq ue. Understa nd ing the w a y inwhich we perceive allows for clearer information presentation and the possibility of illusionary experiences.

Convincing the mind of the existence of illusion is tantamount to actuality

Chandler, Daniel. Visual Perception 6: Gestalt Principles of Visual Organization. J uly 1997.University of Wales. 21 October 2002 <http://www.aber.ac.uk/media/Modules/ED10510/visper06.html>.

The a rticle talks a bo ut how w e pe rceive o ur surround ing s b a se d o n the principles of g es talt theory. It sets thebasic foundation for gestalt theory by defining observed and documented reactions to perceptual tasks anda ctivities . Clos e proximity or sp a tia l co nsistenc y of forms prod uce s a ss oc ia ted rela tions . The mind interpretsvisua l stimuli in controlla ble and understa nda ble methods . Thes e a re continuous, c ons tant and lea rnedde ductive rea ctions .

Cohn, David. “Between Earth and Sky: A Mortuary under water creates an otherworldly realmfor mourning.” Architectural Record, J uly 2002, 92-97.

Dawson Home page. 3 December 2002 <http://www.bcp.psych.ualberta.ca/~mike/Pearl_Street/Margin/OSHERS.../Biederman.2.4.htm>.

The s ource provide d information o n “Ob ject Rec og nition” . The term wa s formally d efined a nd the ba sicco ncep ts we re discuss ed . We ha ve the a bility to disce rn a n incredibly d ifficult visua l wo rld throug h the “ ba siclevel”. Next, the three current theories of object reco g nition w ere discuss ed : the fac e reco g nition s ystem, Lowe ’s

SCERPO model, and the geon-based system.

Dubsky, Julie; Hort, James; Sleeth, Brad. Shoreline Processes in Chicago. 21 November 2000.Northern Illinois University. 4 December 2002 <http://jove.geol.niu.edu/faculty/fischer/429_info/429trips/NIF/Chicago_Shoreline.html>.

The a rticle ta lks ab out the history of Chica g o a nd the mo re loca lized portions on w hich Muse um Ca mpus s tand stoda y. From its beg innings a s ma rshy s wa mp la nd to its fruition a s a ma jor metropo litan a rea , the city ofChica go has undergo ne dras tic cha nges as it has c ontinued to grow a nd cha nge. The reclama tion of portions o fLa ke Michiga n have provide d nee de d s pa ce for a c ity on the rise a nd crea ted a rea s for public leisure. Chicag o’sla kefront has bec ome the pe rfect venue for public pa rks a nd institution ed uca tion.

Eisenman, Peter. Diagram Diaries. New York: Universe Publishing, 1999.

The w ork talks a bo ut the relation o f the d ia g ram to the a nteriority of architec ture. The trans formation relates thepa rts to the w hole and the old to the new . The s tructure is therefore not without a b a sis from w hich to rela te a ndde via te. Crea ting b lob s on a com puter sc reen neg a tes a rchitecture’s a nteriority to crea te some thing w ith noba sis for rela tion. It also discus se s the idea of perceived c onnec tions a nd mo vement derived from the impositionof stills (diag rams ) in a cinema tic ope ration. The huma n eye co nsta ntly tries to formula te con nec tion.

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Furnweger, Karen. Shedd Aquarium: Then and Now. Chicago: Shedd Aquarium Press, 1999.

The b oo k overviews the de sign, history, exhibits a nd future a spira tions of the a q uarium. It wa s a visionarypropos al by J ohn G . S hedd to enlighten the Chica go population a bout aq uatic life. It was to be the most

co mprehensive s tructure of its kind. Its de sign wa s c ompleted in a Be a ux Arts style a nd ha s s ince b een mo difiedto incorporate the Oc ea na rium facilities expans ion. The institution ha s g enerated a ma ster pla n to be g inrenovation of the original structure creating dynamically immersive exhibits within a traditional space.

Helmer, J ill. “Soldier Field, museum campus to receive $587 mil facelift.” Columbia ChronicleOnline. (November 2000). 3 pp. 4 December 2002 <http://www.ccchronicle.com/back/2000-11-27/campus3.html.>

This a rticle de sc ribe s the $587 million reno vation of Muse um Ca mpus a nd S oldier Field. It discus se s futurepa rking a nd play-la nd s ites throug hout the park. It will a lso e ntail the co nstruction of an a rmed forces m emo ria la nd a n overhaul of So ldier Field, providing be tter sightlines a nd s ea ting , a nd a more co mplete venue for Sunda y

footb a ll entertainment. It’s a very a g g ress ive retro-fitting o f one o f the oldes t sta diums in the United S tate s.

J affe, Hans L.C. Picasso. New York: Harry N. Abrams, Inc., Publishers, 1964.

P ica ss o’s w ork cha lleng ed co nventiona l se nso ry perception through the repres entation of three d imens iona lspa ce by a two dimensional med ia . Fig ures a re a nalyzed a nd broken do wn to their simples t understa nda bleforms. The rela tion o f the b a sic, individua l elements g enerates a co mpos ition o f grea ter complexity.

Kasenova, Nargis; Misty, Ruskshan; Kozareff, Misha. The On-Line Visual literacy Project. 1994.Pomona college. 21 October 2002 <http://www.pomona.edu/Academics/courserelated/classprojects/visual-lit/shape/shape.html.>

We d evelop visua l a s w ell a s verba l voca bularies that a llow us to d iss ect s hap es into simpler ge ometric forms.Ce rta in sha pes c onnote varying visua l cues related to feeling s a nd ide a s a ss ociated w ith their forms. Defina blereac tions to ba sic ge ometric sha pes , color a nd co ntra st varia tion ca n be us ed to exploit the transmission ofinformation to the public.

Merriam-Webster Online. 25 March 2003 <http://www.M-W.com/cgi- bin/dictionary.>

Morgan, William. Heikkinen and Komonen. New York: The Monacelli Press, 2000.

The bo ok discuss es ide a s o f simplicity a nd c omplexity as ba la ncing com pos itiona l elements: oppo sing force sthat require the prese nce o f one a nother in order to provide a cohe rent sta tement. Visua l cha os is s eeminglyba la nced by trea tment of the comp os ition. The “simple” be co mes the “co mplex” throug h the proces s of des ig n.

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Newport Aquarium. 20 August 2000. Epinions. 5 November 2002 <http://www.Epinions.com/trvl-family_travel-zoos-all-Newport_Aquarium/display_~Reviews>.

The w ebs ite listed opinions of pa trons who’ve visited the a q uarium. A g ood de a l of the comme nts involving theprogramm ing of the building wa s ne g a tive. The tig ht spa ces a nd w a y-finding we re criticized repea tedly.Opinions we re d irectly rela ted to the number of pe ople in a ttend a nce: it see ms the structure is not c ond ucive to

la rge crowd s. However, everyone s eeme d to enjoy the experientia l underwa ter tubes.

Pearson, Clifford A. “J im J ennings uses multiple optical effects to animate his Howard StreetHouse in a gritty San Francisco neighborhood.” Architectural Record, April 2002, 102-

107.

Richter, Dagmar. XYZ: The architecture of Dagmar Richter. New York: Princeton ArchitecturalPress, 2001.

It discuss es the tra nsformative pow er of the d ia g ra m to ma p out co nfronta tions of life, prod ucing a reality ba sedoff both the old a nd ne w. The ma p/diag ra m is no t only the repres entation o f des ig n informa tion b ut a d esignpo ss ibility in itself. It ca n inform the proce ss of de sign e xplora tion a nd the trans formation of the d es criptive intothe expressive.

Rowe, Colin. As I Was Saying: Recollections and Miscellaneous Essays. Cambridge:Massachusetts Institute of Technology, 1996.

This b oo k ta lks ab out the ide a of litera l a nd phe nomena l tra nspa rency, which lea ds into a discuss ion a bo ut thepow er and symb ios is o f fig ure-g round rela tions hips. The proce ss of informa tion o rg a niza tion b y the huma nbrain is important to the understand ing o f sha pes a nd forms within a c ompo sition. How peo ple unde rstand thefield within which the fig ures o r forms o cc ur is e ss ential. Fig ure is incon ce ivab le in iso la tion.

Shape. 21 October 2002 <http://www.pomona.edu/Academics/courserelated/Classprojects/Visual-lit/shape/shape.html.>

The s ource d isc uss es our visua lly litera te skills in rec og nizing the various wa ys s ha pes a nd forms ca n berecog nized . Objects ca n be outlines , different pa rts of a djace nt objects, or neg a tive spac es be tween ob jects.Our understa nding of the ge ometric b a sis of this information provide s us with a ba sic comp rehens ion o f shap ela ng ua g e. Next, spec ific ob jec ts are de fined a long with their emo tiona l q ua lities . This information is then relatedas potential a dvertising propa ga nda .

Shedd Aquarium. 20 October 2000. Epinions. 5 November 2002 <http://www.Epinions.com/trvl-family_travel-zoos-all-Shedd_Aquarium/Display_~Reviews>.

The we bs ite’s opinions w ere ge nerally pos itive. Pe ople espe cia lly enjoye d the sc hed uled s how s in the rotundaspa ce e xhibit. Here, co ncern ab out child s ig ht lines is reso lved throug h fla t screen pa nels loca ted a round thetank. However, poor signa g e lig hting wa s a c once rn in the old wing s. The Ocea na rium drew the mos t co mmentsince it is the ne we st a dd ition. Its b i-level view ing a nd rea listic environmen tal displays drew rave review .

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Take the Grand Exploration of Shedd Aquarium. 2002. J ohn G. Shedd Aquarium. 23 October2002 <http://www.sheddnet.org/abt_history_1.html>.

The e xtens ive histo rica l ba ckg round o f the S hed d is outlined , da ting ba ck to its orig ina l co nce ption w ithin theco ntext of Dan iel Burnha m’s ma ster pla n for the city (1909). The a rchitectural des ig n is d isc uss ed in dep th,noting the cla ss ic mo tif with a d ecided ly a q uatic twist. The clas sical orders are highlig hted a nd ma ny of the

pertinent de tails d es cribed . S tatistica l informa tion reg a rding the s ize a nd c a pa city of the structure itse lf are a lsooutlined a nd the p la ns for its’ future expan sion a re also b roug ht to lig ht. The b uilding w ill co ntinue to b e a wo rldclas s fa cility with a d ecided ly co nse rva tionist outloo k to the prese rvation o f enda ng ered s pec ies a nd their relatedhabitats.

Uttal, William R. A Behaviorist looks at Form Recognition. Mahwah, New Jersey: LawrenceErlbum Associates, Publishers, 2002.

The wo rk disc uss es human form perception, the idea of part versus w hole, and the phenom ena of contrast.Co ntra st ca n be use d to hig hlig ht form or co lor throug h the proc ess of compa riso n. Ima g es a re broken intosimpler geo metric pa rts and co mpa red ag a inst a library of lea rned imag es . The more amb iguo us the

informa tion the mo re the mind tries to a pply rules of cons tanc y to the pe rcep tion. When a spe cific imag e is se enthe form will do mina te and the rules bec ome unneed ed .

Welcome to Museum Campus Chicago. 2002. Chicago Park District. 4 December 2002<http://www.museumcampus.org/>.

The wo rk talks a bo ut the va lue of Chica g o’s Muse um Ca mpus c ollec tively an d ind ividua lly. Ea ch ins titution:Adler Plan eta rium, The Field Muse um a nd The S hed d Aq ua rium is disc uss ed histo rica lly, pres ently, an d withinthe co ntext of the pa rk sys tem. The a ttra ctive exhibits a nd d isplays a re disc uss ed , while future mo difica tions a nda dd itions a re outlined .

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Ucin1053375336-Imp 4 Thesis

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