Perception of Space

7/29/2019 Perception of Space

http://slidepdf.com/reader/full/perception-of-space 1/56

Perception o Space TO CREATE A PUBLIC BUILDING WITHIN THE CITY CENTRE WHICH INVIGORATES THE SENSES



INTRODUCTION

inroducionhesis aims

“we fnd beauy no in he hing isel bu in hepatern o shadows, he ligh and he darkness, haone hing agains anoher creaes.”

Junichiro anizaki (2001:46)



abstract

the senses in relation to architecture

Te hesis aims o creae a public building wihin he ciy cenre which invigoraes he senses.

Te building is a Naional Faciliy or he Inegraion o Dea and Hearing people.

Originally I began research ino Dea sensibiliies and Iound ha Dea people have an acue spaial awarenessgained rom visual and acile sensibiliies. Tis is an

adapion o a lack o he 3 dimensional passive orienaion which is gained oherwise hrough sound.In his book eniled “Eyes o he Skin” Juhani Pallasmaaexplains he spaial dierences:

“Sight isolates, whereas sound incorporates; vision is

directional, whereas sound is omni-directional...I regard an

object, but sound approaches me; the eye reaches, but the

ear receives.”

Eyes o the Skin

Due o curren issues wihin he Dea communiy inegra-ion was he main driving acor in he choice o sie, along a primary pedesrian roue in he ciy cenre. Te brie hasa variey o services or he general public and specialisaciliies or he Dea communiy. My inenion is o creaea building which responds o he needs o he Dea communiy, educaion sysem a presen and mosimporanly provide an imporan link beween woculures. Te brie is a response o his.

I inend o provide an increased level o sensory awarenessor he general public as well as aiding Dea sensibiliies.

vision

hearing

touch

smell

tastelight

sound

texture

odour

Perception o Space



thesis aims

TO PROVIDE A PUBLIC BUILDING WITHIN

THE CITY CENTRE WHICH INVIGORATES

THE SENSES.

In order or his o happen here are a number o objecives

which mus be achieved.

HEIGHTENED SENSORY EXPERIENCE

Reason: his is o creae an engaging sensory building

How? In order o heighen a sense - heremus be an aler in he balance o hesenses eg. in order o perceive a soundmore clearly, vision mus be minimised.

Spaces mus have a disinc sensory ocus eg. he realm o sound, he realmo ouch.

Consideraion o he user - he building

mus invigorae he general publicssenses while aiding Dea sensibiliies.

1

“Anyone who has become entranced by the sound o dripping

water in the darkness o a ruin can attest to the extraordinarycapacity o the ear to carve a volume into the void o darkness.

The space traced byt the ear in the darkness becomes a cavity

sculpted directly in the interior o the mind.”



thesis aims

THE CREATION OF AN INTERNALISED WORLD -

SEPERATION FROM CONTEXT

Reason: his is o realign ocus rom he chaos o ciy cenre o a space which enhances he senses

How? 1s acion:removal rom he sree - ransiion

2nd acion:orifces (openings o he ciy)“mediaors beween wo worlds”conrolled - each mus have a purposeeg. o gain ligh, direc a view, open orainall and o omi or consume sound.

“In our time, light has turned into a mere quantitative matter

and the window itsel has lost its signifcance as a mediator

between two worlds, between enclosed and open, interiority

and exteriority, private and public, shadow and light”

Eyes o the Skin

Erosion by

the Elements

light

air

water

The orm is eroded predominately by light, which shapes the volumes,

and allows or a tremendous variety o light. Air is reerence to acoustics

and wind, and the erosion by nature with water.

2

3

L I G H T A N D

S H A D O W

S O U

N D

N O I S E

R E S O N A N C E

R E V E R B E R A T I O N

E C H O

V I B R A T I O N

T E X T

U R E

R O U G H

S M O O T H

C O L O

U R

T I M E

M O V E M E N T

P E R M A N E N C E

D E P T H

W A T

E R

F E E L

I N G

H O T

C O L D

S M E L L

FACTORS AFFECTING PERCEPTION



INFLUENCES

adol loos - raumplanspaial conainmencarving spaceower housessensory spaceariss o ligh

“In emple archiecure he main room sands a aconsiderable disance rom he garden; so dilue ishe ligh here ha no mater wha he season...hepale, whie glow scarcely varies...Te ligh rom he

pale whie paper, powerless o dispel he heavy darkness o he alcove, is insead repelled by hedarkness, creaing a world o conusion where dark and ligh are indisinguishable.”

Junichiro anizaki (2001:35)



“Poetry has the capacity o bringing us momentarily back to the oval and enveloping world. The

re-oralised word o poetry brings us back to the centre o an interior world. ‘The poet speaks o

the threshold o being’, as Gaston Bachelard notes, but it also takes place at the threshold o

language. Equally, the task o art and architecture in general is to reconstruct the experience o

an undierentiated interior world, in which we are not mere spectators, but to which we inseper-ably belong.”

Juhani Pallasmaa (2005:25)

The Sound o Silence

Hello darkness my old riend,

I’ve come o alk wih you again,Because a vision soly creeping le is seeds while I was sleeping,and the vision that was planted in my brain,

still remains...wihin he sound o silence.

In resless dreams I walked alonenarrow srees o cobbled sones, beneah a halo o a sree lampI urned my collar o he cold and damp.When my eyes were stabbed by a fash o neon light

...that split the night. And ouched he sound o silence.

And in he naked ligh I saw en housand people maybe more.People alking wihou speaking.People hearing wihou lisening.People wriing songs ha voices never sharedNo-one dared...disurb he sound, o silence.

“Fools”, said I, “you do no know,silence like a cancer grows.”Hear my words ha I migh each you.ake my arms ha I migh reach you.Bu my words like silen raindrops ell,and echo he wills o silence.

And he people bowed and prayedo he neon god hey made. And he sign ashed ou is warning in he words ha i was orming. And he sign said: “Te words o he prophes

are writen on he subway wallsand enemen halls. And whispered in he sound o silence.”

Paul Simon



Adol Loo’s work is about creating contained space which is compact and ecient spatially. The

term Raumplan which is a container concept is used to describe his work. In the book Raumplan

versus Plan Libre, Johan van der Beek (2008:52) states ways in which to defne Loos work. This

defnition consists o layers which describe the space created. These include:

Raumplan/Space Plan: the manner in which a sort o 3 dimensional or vertical space is

ordered, is compounded.

Living Plan: the way the ground plan, a sort o 2 dimensional or horizontal space is

ordered.

Material Plan: the way the various building and surace materials are employed to

provide texture and thus sensation and atmosphere.

Loos creates spaces which connect to each other, these spaces are complex and need to be

experienced to perceive the connections made ully. Thereore the connections created at frst

do not clearly explain themselves in plan. This is important to note when presenting my

proposal.

The space plan is the 3 dimensional space created. This consisted o split levels, the gradient o

the site was used as much as possible to give this multi-level eect.

“Adol Loo’s dwellings are marked by a maximum o three dimensional compactness and a

concentration o length, width and height...compactness is the rule”

Johan van der Beek (2008:53)

Within these three plan types there are other subtleties which defne Loos work:

The introduction to the main space is treated as theatrical and dramatic. Circulation

incorporates lateral movement. There is one space which is given importance (living

area/salon), this is the dominant space in the whole building, the auxillary spaces

respond to it and are located around it. The organisation o the programme is based

on privacy ie. living area is placed to the back, urthest area rom entrance. The

spaces created are centriugal, in that the urniture is organised around the edge in

order or the person to view the centre space. Also to reinorce this idea, all

entrances into spaces are assymetrical, this allows the person to survey the room.

Within the spatial plan heights are used to defne spaces, this is the ceiling to oorheight in relation to other spaces. This in combination with the material plan

reinorces the spaces as autonomous spaces within a building which has complex

spatial connections.

Adol Loos - Raumplan

conainer conep3 dimensionally ecien use o space

space planconnecions

maerial plan

reinorces he auonomousspaces hrough he use o maerials

assymerical enrances inorder o survey space

cenriugal use o space o view cenre o he room



To understand Loos work I will frstly consider the Moller House.

The principle reception rooms are the dining and music room located at the back o the house.

There is contrast o these spaces, the dining room is light and open to the outside whereas the

music room is dark and introverted. This contrast continues with surace treatment.

“Light reected into the dining room rom the adjoining terrace makes the room brighter, while

the balcony above the music room window casts a shadow which enhances its seclusion”.

The connection between these rooms consists o a square opening, however the dining room

oor is 600mm higher than the music room. The connection here is visual, this variation in

height orms part o the lateral movement.

The hall also has spatial objectives. This space gets its light rom the ront o the house. A bay

window above the street level which contains a u-shaped built in seat. From this position the

person takes visual command over the space, can look out across the music room and down intothe garden. From this position the person seated with the light to their back can perectly see

another person coming towards them, however or the person moving towards the alcove, the

seated person appears as a silhouette against the glare o the opening.

Adol Loos - Moller House

music and dining rooms seencenral

view rom music room o dining room

cenriugal use o spaceconnecionsand movemen

connecing spaces ormlaeral movemen

symmericaliy o acade

sea sigh line

connecion beweenmusic room and dining



This is the Muller house by Loos.

The introduced to the living area is via an alcove approached by a short ight o stairs, the

entrance is dramatic and theatrical. The living area/salon is the dominant space. The rooms

around it orientate towards it. The main connections here are with the dining room (which can

be seen in the image above) the mistress’s room and the library. There is no break in this space.

The spaces are ordered in heirarchy by their relationship to the living area.

As mentioned previously the living plan (2d plan) is ormed on a grid based on this living area,

the dining room relates to it in proportion. The centre point o the mistress’s room and the

dining rooms run on the midpoint o the plan.

Again these connecting spaces orm the lateral movement through the building.

As the dining room is lacking defning boundary walls (to make the connection with the living

area) it is defned in the material plan (as previously shown).

Connections include rom the mistress’s room down into the living area. The dining room to the

living area and the dining room through the living area to the outside.

Adol Loos - Muller House

laeral movemeninroducion o he living arearelaionships wih heouside

grid which makes up he ‘living plan’

view o he dining room rom he living areaconinuous spaceconnecions beween spaces



This ecient use o space can be seen in a lot o modern domestic Japanese architecture today.

Instead o an architectural language or exploration, this containment is a necessary response to

the size o available sites and regulations such as slash lines (taken rom the distance o theopposite street edge) and material restrictions.

Ecient use o space is critical! This results in imaginative solutions to maximise compact space.

An example o this is the Tread Machiya by Atelier Bow-wow, which uses multi-level space to

serve the main living area, this servant space is used to its maximum capacity regarding the limit

o use o materials due to fre regulations (a space created which is less than 1400mm is not

considered a oor level - it is not habitable, but can be used or storage, which is main concern

when creating small space).

The main living space is placed central in section which responds to the exterior environment -

the only view on the site is at a height. Upward movement in this space also incorporates

integrated seating.

Every area in this tiny house (50sqm) is considered and its design is the optimum response to the

conditions and actors aecting it.

containment - spatial eciency

slash lines

one large opening

inerior ullo ligh



The artist Eduwardo Chillida considers himsel an “architect o empty space” or architect o the

void.

His works use a variety o materials however mass and heaviness is always the ocus. This ocus is

created by the carving o space (the nothing) which is used to contrast to mass o the material.

He creates orchestrated openings rom the exterior o the material to suggest a hollow interior.

His pieces “How deep is the air” and “How proound is the air” which are carved onyx and

alabaster protray a ocus on empty space, a spatial volume through a orm which reveal and

conceal light. What is not there is as important as what is. The pieces draw attention to the

direction and depth o the tunnels carved, giving viewers a sense o being able to move through

the piece.

“orm springs spontaneously rom the needs o the space”.Edwardo Chillida

Other works are aected by rain, wind and other natural orces. It is the elements which give lie

to the sculpture. There is a clear communication o mass and space, with no in-between. Along

with tower houses...

“these are excellent examples o how the using o opposites helps to reinorce the idiosyncrasies

o the individual components”.Andrea Deplazes (2005:264)

carving space - Eduwardo Chillida

‘unorhodox archiecure 1’1978reinorced concree

‘How deep is he air XVII’ ‘How proound is he air’



In Turkey there are a three main underground cities which are Kaymabli, Derinkuyu and Ozkonak.

These are composed o voids which were created by troglodytes who carved out o the sot

volcanic rock. Each city is composed o underground tunnels or passages. However the tunnels

incline and size variates rom city to city.

The Ozkonak city which was only discovered in 1972 and could hold up to 60,000 people or a

period o 3 months! It has a total o 10 oors which reaches a depth o 40 metres. This is the most

complex or modern o the three, having a water well, winery and moving stone doors. There are

also deence systems integrated similar to Tower Houses in that there are holes above entrances

which were used to pour hot oil over enemies.

The only limits o these underground cities were the possibility o ventilating their interiors.

In the town o Goreme in Cappadocia exists a orm o dwelling, called the Fairychimneys. These

are ormations created naturally due to the nature o the rock. These projections were later

carved by the people and inhabited, the picture above shows the complexity o internal carving.

carving space - Turkish underground cities and airychimneys

airychimneys a Goreme

undergound passages



carving space - Tower Houses

With Adol Loos, Tower houses (1400 - 1600) are the most inuential architectural studies to myproposal.

Tower houses appear as internalised solid objects, this is due to their requirement or deense at

the time o construction. This concern or security is in every detail and decoration. Deense

generates its orm, height, section, thickness o walls, tiny windows, battlements and on a human

scale the orientation o the staircase (giving the right hand advantage to the person fghting

downwards) with details known only to its owners. Within this deense the orm...

“was made habitable by setting additional spaces into the thickness o the walls, so that,

although the elevation presented an image o solidity, plan and section were ully inhabited”. A Lost Tradition (37)

The main unction o its armour was to protect the living area. This protection is urther

enhanced by its position in section. In plan the living area is the served with auxillary spaces theservant in the thickness around its perimeter. Alcoves act as inbetween spaces in the thickness

which link the living area to the outside, through their articulation these spaces may be read as

autonomous compartments.

Dunguaire, Co. Galway

services concealed in hicknessinernal buressesinernal walkways

organisaion based on deenceservan served

servan served in plan

concealmen o sairwell androoms held in hickness

Mooghane Co. Clare

Clara, Co. Kilkenny posiive and negaive space



carving space - Tower Houses

There are two types o light which are admitted into the living area, these are openings with

splayed reveals which are sometimes places at optimum light admitting positions in order to

carry the light urther into the space such as in Borthwick castle.

The second type o light in the living area is that rom the alcoves. These prevent optimum

allowance o the incoming daylight. It creates a situation o contrast - which I later reer to as

contained light (the image above is a good example o this).

The spaces are organised without corridors (one room on top o another), this creates theoptimum use o space, like Loos using the space itsel or vertical movement.

Adol Loos work and Tower houses are similar in their heirarchy o spaces.

“Tower houses interiors developed rom a unctional to mazelike internal confgurations with a

rich heirarchy” and Loos, “rich variety o o spatially complex connections corresponding with

classical notions o space heirarchies”.Andrea Deplazes (2005:267)

Tower houses have spatial connections and complexity only in the main living level,

in comparison to Loos who continued this throughout.

However both have no corridors, both have dominant spaces, both have servant and

served spaces, both have many staircases (the vertical movement is not o one main

service zone) and they both have detailed internal suraces.

auonomous alcove spaceconained ligh

suraces used o carry ligh ino a space

schemaic layous(as in consrucing archiecure)enclosed spaceopeningsopenings a corners

individual chambers various room inclusionsmaximum use o wall hickness

“rue” basic planexended basic plansculped suraces

splayed reveals

ower house ruinshows a laer addiion o

concealed walkways (behindchimney) wih an increase in heighCullahill. Co. Kilkenny



sensory space - Bruder Klaus Chapel

This chapel was constructed by Peter Zumthor, its consists o a tee-pee shape orm (created with

trees elled locally) underneath with an outer ramework o vertical sliporm. The dry concrete

mortar was stamped into the cavity between the two orms (rammed earth). Finally a slow

burning fre was lit on the oor, drying out and shrinking the tree trunks, disengaging them but

at the same time blackening the walls. Along with the rough texture which remains ater the

burning process, I would imagine the space smells strongly o burned wood.

I made an investigatory model based on this process (please reer to the “investiga-

tion” section) involving a concrete cube with a rectangular shaped matchstick inter-

nal ormwork. I ound I had huge diculty in getting the wood to burn as I had to

keep the cube elevated (to allow the fre to burn-required air). I had to orce the fre

to burn the wood unlike the orm o the chapel which now I understand is generated

not purely by a doorway and a main space, but as an air inlet and cone shape to

encourage the burning o the tree-trunks. This process and its orm could not have

been any other way!!

Terunobu Fujimori is also an architect who works closely with natural materials. In the Lamune

Onsen, he uses yakisugi which are charred cedar boards. The process or burning

these boards is similar to that o Bruder Klaus, bundles o three boards are held

together to orm a triangular confguration, held vertically and a fre lit underneath. The burning takes about 3 minutes and burning must be uniorm. Burning the surace creates a

layer o carbon which makes the boards more durable and resistant to weathering. I have

witnessed these boards in the esh, which have a antastic smell.

orm o ree runks

orm is a responseo he process

remains o processa dark rough exure and smell

charred cedar -process is similarsrong wonderul smell

Shin-ken eahouse

erunobu Fujimorifrewood spli wih a chisel and atached oceiling vaul, creaes warm ligh.



sensory space - Ronchamp and La Tourette

In these examples Le Corbusier plays with light. He utilises the properties o light to increase its

perception and to draw ocus on to its beauty. In Ronchamp openings on the exterior are

minimal, the eect on the interior wouldn’t be expected rom viewing the outside. The thick wall

is flled with light on the interior, the splayed reveals or baes are used to maximise the light

inside, with the angle o the sun creating paths o direct light on the walls thickness. In the

towers light is omitted at a height and reected onto the opposite wall, this is also incorporated

with colour which creates an atmospheric quality. The light in these towers becomes an object

onto itsel, we look upward with a purpose...to see the light!

In la Tourette the light is used to highlight the tactile quality o the spaces created. Within the

thickness o the openings the light is contained, due to the position o the glass light can not

venture into the space along suraces.

ouside openings

conained lighligh used o highligh he acile qualiy

inerior eecligh owersguided ligh in baes



sensory space - other

SOUND

TIME

WATER

DARKNESS

VARIETY OF LIGHT

TACTILITY

There have been quite a number o sensory inuences throughout the year, here are images o

some o them. The darkness in the churches by Sigurd Lewerentz spurred light boxes to investi-

gate the darkness o a space, and which lead to the conclusion o a particular measure o light

(see investigation section). A quote by Louis Kahn in conjunction to reading “In Praise o Shad-

ows” contributed to the light levels in the sound space.

“Even a space intended to be dark should just have enough light rom some mysterious opening

to tell us how dark it really is”Louis Kahn

This quote works well in describing the light levels in St. Petris and St. Marks. Other inuences

include water (in particular creating a situation or light or images to be reected or the sound o

water made visible eg. salk institute). It is relationships within architecture between these

elements which creates the images shown above - they are controlled and not accidental!

chapel o s. ignaius - seven holl

sigurd lewerenzchurches o s marks and s peri

rcr archiecs

ligh modelsseven holl

hermal bahsand works beseven holl

salk insiuelouis kahn

salk insiuelouis kahn



artists o light - James Turrell

James Turrell is an artist who’s work ocuses on light. Many works ocus on the transition romday to night with a artifcal light show on the interior creating a spectacle o this point in the day.

Others which I have shown here are “Skyspaces”...these are spaces (usually cube or cyndrical)

which have a centre opening or “oculus” which openings to the sky. The articulation o the

opening is depth-less which increases the appearence o the sky as an imagine. Seats run around

the periphery o the space in order to view the sky and light.

“There is sky above and sky below, the centre oculus bringing the sky down and close to you, the

sky is in close contact to the space that you are in, its not over there.”James Turrell

The sky below which Turrell reers to is the direct light reected. It is the evening and the night

that most action takes place in the space. During the day action is in the centre oculus. Turrell

explains, “ the sublime usually have a dierent time scale and dierent unolding”

I eel architecture should create this action and this beauty in a world which is not willing to stop

to view ala Turrell!

secionshowing seaing and cenre oculus

sky down inohe spacedayime

evening angle creaesacion in space

during he day he oculus acsas he only poin o ocus in hespace - i rames he sky acing as a mediaor



artists o light - Dan Flavan and Anthony McCall

“You and I Horizontal” by Anthony McCall is a composition o white lines o a drawing which slowly

move and in the process dragging along entire walls o light, the movement is very slow but ast

enough to perceive.

These membranes o light moving create strangely shiting spaces within a space. It takes a moment

or the eyes to adjust to the darkness, rom this a new experience reveals itsel: SOLID LIGHT - a

material light, a sort o radiant, intricately olded membranes or walls which induce the visitor to move

caustiously and hesitantly.

Fog is required or the beams o light to materialise into solid light. The eect is similar to a beam

projector cutting through the darkness o the cinema, which creates an ‘intensely sensual experience’.

At the Chinati Foundation in Mara, in order to accommodate Flavans installations, all the windowsexcept two at the end o each long walls have been closed over. Two parallel corridors have been

constructed, with walls 86 eet on the outside and 44 eet on the shorter side, which lean making a 76

degree angle with the oor.

Passages through these corridors are blocked by eight back to back pairs o eight oot long uores-

cent fxtures that extend rom oor to ceiling, parallel to the walls. Gaps the width o the lamps are

let between each pair o fxtures, allowing one to see through the colour cast by the lamps on the

ronts to the dierent colour at the backs.

These light barriers are placed at the centre o the corridors so that the colour is largely contained

within the leaning walls. In a urther three installations the light positions are at the end o the

corridors which allows colour to ood into the long arms o the building as well as the inaccessible

interiors o the corridors.



artists o light - Persepolis

Persepolis is a animated flm based on the graphic novels o Marjane Satrapi. Due to the style o

the graphic the viewer is always aware o the darkness broken by the light.

“the light shines in the darkness and the darkness has not overcome it.”

John: Chapter 1



INVESTIGATION

ligh boxes 1ligh boxes 2ransparency and reecionime and movemensound boxes 1concree mixuresmaerialiy (concree)orm (baes)

“Te compuer creaes a disance beween hemaker and he objec, whereas drawing by hand as well as model-making pu he designer ino ahapic conac wih he objec or space. In our

imaginaion, he objec is simulaneously held inhe hand and inside he head, and he imaginedand projeced physical image is modelled by our bodies. We are inside and ouside he objec a hesame ime.”




investigation - light boxes 1

These three models are an investigation into creating the most eective even diused light.

Model 2 is an exact scaled replica o Louis Kahns Tribune Review building which has opening

intended or this purpose.

The other two models act as an experiment, all eatures in all models are similar. The suraces are

the same, the colour, the recesses and especially the value o area open to the light. Kahnstribune review proves to be most ecient o course. However I was surprised by the lack o

illumination rom model 3 o light into the space. Model 1 allows a lot o light into the space

however does not carry the light into the space as deep as Model 2(tribune review).

model 1

openings placed in he cenre o heacade

model 2

Kahns ribune Review building ‘’ shaped openings o minimise glare

model 3

ligh well - no direc ligh



INVESTIGATION

ligh boxes 1ligh boxes 2ransparency and reecionime and movemensound boxes 1concree mixuresmaerialiy (concree)orm (baes)

“Te compuer creaes a disance beween hemaker and he objec, whereas drawing by hand as well as model-making pu he designer ino ahapic conac wih he objec or space. In our

imaginaion, he objec is simulaneously held inhe hand and inside he head, and he imaginedand projeced physical image is modelled by our bodies. We are inside and ouside he objec a hesame ime.”




investigation - light boxes 2

These three models analyse varying types o light and the eect the size the opening has on the

interior space. The most important conclusion to be taken rom these models is that all open-

ings must be within the same measure o light (how bright it is) eg. in light box 06 I had to cover

1 opening with paper as its brightness out shone the other openings - their quality o light was

lost.

ligh box 04

ligh box 05

ligh box 06

Conclusion:

he hickness creaes projeced lighon he opposie sides o he slis. Despie each sli being difusedindividually

he hickness in he sli does no ofer difusion in he enirespace.

Conclusion:

Tis space can change dramaically overhe ligh sources posiion. Conras in suraces in evidenWhen he cube is urned around he ceiling openingilluminaes he space, while he second opening isconaminaed.

Conclusion:

I he ligh is no measured a concenraion o lighmay conaminae he space. Hence he covering overone opening.

Tree openings - varying or ienaions

Slis rom wo orienaions

Grea hickness on he sides o he slis

wo openings rom var ying locaionsOne opening conrolled by a ligh shaTe oher diused by reecion



dayimerom inside ouward looking

dayimerom ouside looking inside

nigh imerom inside looking ouward

nigh imerom ouside looking inward

investigation - transparency and reection

These are images taken considering transparency and reection o a large window in my

apartment. I ound that the clearest view existed towards the space which had the greatest

amount o light. From the dark side - there appears light space beyond, rom the light space

there appears a mirror beyond. This change naturally rom day to night. There is also aninbetween point when both are even - rom both points at this stage o the day a mix o mirror

and view beyond exist. I later ound this in researching the installations and spaces which James

Turrell creates.



investigation - time and movement

Opposite is a light study taken on 11.02.10. Images were taken every 15 minutes o the blank

northern wall in my apartment (Denis Byrne Architects - thankyou!). The duplex apartment is on

the top oor with the living space on top. There is are two south acing light openings in the

living area (double height space over the stairs) which flls the blank northern wall with light.

It is this wall which is the canvas opposite. On the particular day the photos were taken the

angle o the sun and the adjacent apartments roo level created a slither o light 5mm thick.

Showing the oppurtunity available or accuracy in the circumstance o direct sunlight! Note also

the sharpness o the light and its intensity at times...the colour change when the sun is setting.

The timeline shows the movement o the sun and the change in its angle throughout the day.

Also the intererence o clouds is clearly visible rom the images o a dappled diused light.

The light in this space changes by the day, hour and minute. Since the angle o the sun has risen

and thereore its patterns on the wall are lower down...at present in the stairwell.

At the beginning o the year I made the sign language alphabet in clay hands as I was sure it would be

helpul in my presentation along the line. I placed them on a glass shel along this wall in the mean-

time to keep them sae. My thesis evolved and the chances o these hands making it into my presen-

tation was unlikely.

Until one day (28.03.10) an unlikely moment (@ 2.15pm) o sunlight shone directly on the hands,

raming them and casting their little shadows onto the wall.



i n v e s t i g a t i o n - t i m e a n d m o v e m e n t

“ W h a t t h e n i s t i m e ? I f n o o n e a s k s m e , I k n o w ; i f I w n a t t o

e x p l a i n t o a q u e s t i o n e r , I d o n o t k n o w . . . W e m e a s u r e t i m e . B u t

p r e s e n t h a s n o t d u r a t i o n . . . I n o r d e r t h a t w e m a y c o m p a r e a

n o t m e a s u r e t h e s y l l a b l e s t h e m s e l v e s , b u

t t h e i m a g e s o f t h e

S a i n t A u g u s t i n

I s a y t i m e i s v i s i b l e i n l i g h t . . . l i g

h t i s t h e m e a s u r e

o f t i m e .



investigation - sound boxes 1

The above models are sound boxes based on the research I had done concerning acoustics and

geometrics o space (see appendix).

The models have a tap area at their base (which cannot be seen) and an opening (seen) which is

used to listen to the quality o sound created in the space based on its material qualities

(absorbing/reective) and orm (tubular/arc). There is also a play with openings to see the eect

this has - dark and quite, bright and loud or instance.

Despite not simulating actual 1:1 spacial sounds there is a clear dierence rom one model to

another in the sound that is created.

sound box 01

sound box 03 sound box 04

sound box 02

absorbing maerial, wih righ angleddifusers.

dull sound

similar o 01 bu areecive inerior

sharper sound

absorbing maerial,no difuser, bu large

openings.similar o 01

arc shaped op wih reecive maerial

sharper sound han03



investigation - concrete mixtures

mixure: 1:1mix: we

resul: kep all indenaionsrelaively shiny no crumbly

good deailsmooh o ouch

mixure: 1:1mix: slighly drier wih washing up

liquid resul: kep all indenaions

no shiny a litle crumbly

good deailrougher o ouch

mixure: 1:1mix: slighly drier wih washing up

liquid resul: kep mos indenaions

no shiny crumbly los deail (a neck)rough o ouch

mixure: 1:1mix: medium, dry - we

sring ied around bag

resul: kep indenaions o sringbu no o bag

crumbly los deail very rough o ouch

1

2

3

4

5 mixure: 1:1mix: medium

decoraive sones inside

resul: kep some indenaionsno shiny

crumbly los deailvery rough o ouchno sones can be seen



investigation - concrete mixtures

This was to test the possibilities o concrete to touch. Particu-

larly in its smoothness and its capabilities to pick up detail

mixure: 1:1mix: medium

wih mixed paper

resul: no real indenaionsno a all shiny

very crumbly los deailvery very rough o ouchcan see races o paper

mixure: 1:1mix: medium

sring beween bag andconcree wih olive oil

resul: indenaions o sring only

a litle shiny no crumbly los deailrough o ouchkep patern o sring well

mixure: 1:1mix: very we

pourable

resul: kep indenaions a base only

no shiny crumbly a op only los deail a op

mixure: 1:1mix: very we

pourable wih pigmen

resul: kep indenaionsrelaively shiny no crumbly good deail

mixure: 2:1sand : cemen

mix: medium wih pigmen

resul: kep indenaions wellslighly shiny no crumbly good deail

6

7

8

9

10



concree cube wih skewers

concree cube - burned ou machsick inerior

concree squares - surace as a sound difuser

investigation - materiality (concrete)

To test the idea o transparency with such a solid material as concrete, I cast it with a number o

skewers. Despite being 100mm thick the tiny clear paths are visible through the model. All the

paths are dierent angles, this idea could possibly be used in the fnal design to illuminate a

space (leave patterns on the opposing wall in direct light).

The burned out model came rom researching Peter Zumthors Bruder Klaus Chapel and its

potential or smell. Having made the model, in the diculty o burning out the core I realised

Zumthor’s church is perect, its orm is based on the nature o fre to burn out the interior. The

doorway providing just enough air to allow the fre to keep burning. Using this process the orm

o the church could not have been any other way!

The concrete squares are based on texture and the possibility o using the ormwork to diuse

(absorb) sound in its spaces. In reality i the texture is too detail it may not be durable.



model 1

no baesno sense o hicknessdoes no allow opimum ligh ino he space

model 2

baesclearly expresses hicknessallows ligh deeper ino he space

investigation - baes

During the design development (see the next section) I considered the use o baes in the roo

as a method o gaining the maximum amount o light into a space to area o the opening

(optimum eciency). I made these two models to test this eciency, model 2 clearly shows the

light moves deeper down into the space.

Excited by the potential by these baes I used these models to consider using this ormthroughout the building or other objectives.

Bafe: a device used to restrain or to prevent the spreading o sound or light in a particular direction.

guides ligh in elevaion privacy on acade

shade on souhacade reduces glare

direcs inended views



DESIGN EXPLANATION

circulaionorganisaion o programuser consideraionsensory organisaionconnecionsenvironmenal sraegiessrucuredrawings explained

“Adol Loos had litle aih in he drawing as anindicaor o archiecural qualiy. He has le noravel skeches, nor was he enhusiasic abouphoography as a means o conveying archiecure.

He did, however, sugges ha good archiecure can be described.”

Johan van de Beek (2008:52)



site and brie

exhibiton

interaction and conversation 250

theatre lectures

perormance

meeting rooms multi-purpose 2 x 50m 100

club space 80

inormation centre research reception 30

promote Dea culture book stacks 80

video archive 100

reading, studying and viewing 120

associations 6x 20m 120

board room 30

stor 50

bar space or conversation and interaction bar area 15

between Dea and hearing people seating indoors 60

seating outdoors 60

kitchen (shared with cae) 30

toilets (shared with cae) 60

storage (shared with cae) 30

cae seating indoors 70seating outdoors 30

resource centre support or parents and children administration 15

waiting area 30

audiological rooms x 2 30

psychological room 15

paediatric specialist x 2 30

speech and language therapist x 2 30

amily counselling room 15

parent guidance and support 15

learning centre early years language development 1 on 1 classrooms (5 x 10m) 50

sign language classes classrooms or up to 8 people (10 x 20m) 200

school inclusion training classrooms or up to 20 people (4 x 30m) 120

outreach services and support

technology training or digital classrooms

dea adult learning acility

interpreter training acility50

administration 30

subtotal 2,200m

circulation 25% o overall area 550m

total 2,750m

space purpose breakdown area in m 2

SCHEDULE OF ACCOMMODATION

A National Facility or the Integration o Dea and Hearing People



site and connections



In order or the building to work as a public building the frst hurdle was the circulation. Consid-

ering the nature o the space created ie. contained multi-level spaces, the solution took some

time.

There are 3 entrance into the building which all link the street to the heart (cube volume on the

model). One is the ormal entrance which is located at the junction o Trinity Street and St.

Andrews Lane. This is a large opening with a huge wooden door (3m x 5m). From this point

there is a reception and the lit 1 is on the let. This lit is the vertical access to the heart, inorma-

tion centre and cae.

The second entrance is along Dame Lane which is visually connected to Dame Street. It is

termed the “abrupt” entrance based on its articulation (frst step is built into the wall, the route is

quite narrow, and leads the visitor into the heart quickly in one ight o stairs.

The third entrance is along St. Andrews Lane which is connected visually to Exchequer street.

This is termed the service entrance, however it completes the routeway created rom Dame

Street to Exchequer Street. This also connects to the heart. The second lit is located in the

centre o the plan allowing vertical access to the club space, learning centre and resource centre.

Once is the heart there are our vertical movements (outside o the lits). From the skylit seated

area which acts as a stairway there are two movements, right to the inormation centre

(clockwise motion) and let to the learning centre and resource centre (anti-clockwise motion -

this also address the privacy issue o the resource centre). From the heart there is also access to

the club space and meeting room downward. At the south side o the heart there is access

through the walls thickness to the cae on the top oor.

circulation

ROUTEWAY AND SERVICE ENTRANCE

FORMAL ENTRANCE

inormation 2

cae

learning centre

resource centre

inormation 1

central space 1

3

ABRUPT ENTRANCE

2

li 1

li 2

s andrews lane

dame lane

service enrance

main enrance

abrup enrance

riniy sree

3

1

2



The organisation o the program is based on

spaces requirements o light and that available

on the site. The position in relation to peoples

entrance into a space and encouragment to use

the ull space available is used, eg. the location o the entrance to the cae is on the opposing side

on the entrance in order to encourage use o the

heart. The cae acts as a lure to use the building.

organisation o program

main entrance

club space

circulation band

meeting room 1

storage and

services area

theatre

the heart

meeting room 2

circulation

s t . a n d r e w s l a n e

inormation centre

learning centre

resource centre

alcoves to cae

cae

d a m e l a n e

1

2

3



The building is now working as a public building, with access and positioned program. The

realms o sensory ocus have yet to be defned. In order to do this the user o each area must be

considered.

This is a means to heighten their own sensory experience based on their sensibilites. For

example the resource centre is a specialist actility aimed at Dea children and their parents,

thereore the space aims to consider these sensibilities aiding the user which results with a ocus

on tactility and vibration.

In comparision the learning centre is intended or the use o the general public ie. hearing

people, here I hope to increase their own sensory awareness based on sound. The result is a

space with minimal amounts o light in which rainall enters the space, the geometry o thespace amplifes and so increases the perception o the sound.

Having established a user consideration, the sensory organisation can now be achieved.

user consideration

LEARNING CENTRE

user: hearing people

aim: increase sensory awareness

how? dark spaceincreased perception o sound

utilise rainall in circulation space

CENTRAL SPACE

user: general public

aim: increase visual awareness

how? controlled light

direct light into spacecontained light in conversation

booths - conveys dierence inlanguage

RESOURCE CENTRE

user: young Dea children and parents

aim: teach about Dea sensibilties and aid spatial awareness

how? reection at key locationstransparency where required vibration in oor (wood detail - bounce)

even diused light where required



sensory organisation

VISUAL REALM - LIGHT(heart)

SMELL(inormation centre)

REALM OF SOUND(learning centre)

TACTILITY AND VIBRATION(resource centre)

TASTE AND SMELL(cae)

The realms o sensory ocus each has a purpose to create a relationship with the user o a

particular space (learning centre and resource centre as mentioned).

In addition to the spaces already mentioned the heart o the building more importantly links all

people using the building...its ocus is the visual - light. In this space ocus is created by the use

o three dierent types o light.

1. contained light

2. washed light

3. direct light

These light types come rom the east and south through a 5meter thickness.

Direct comes rom the morning in the east acade, midday rom the southern acade and againin the evening. These direct light passages are guided by the use o baes, in act the direct

light which reaches the opposite wall is inrequent, the aim o this light is to rest on the baes

throughout the day.

Washed light is created by having an opening which can not see through to the outside, instead

it only allows light into the space through the thickness, the source not seen, this creates

autonomous spaces within the thickness which allow seating or interation.

The third is contained light. This is connection rom the heart through to the outside which

in-between accommodates circulation and alcoves. The articulation o the spaces, allows the

light to be seen but not to move into the space along any suraces.

The inormation centre is lined with a concentrated amount o leather books, which allows or

the smell to seep through areas in which it is connected.

The cae’s ocus is o course taste and smell.



connections

heart - learning centre

heart - cae

heart - resource centre

heart - theatre

heart - inormation centre

aural

visual

physical

smell

club space - Dame Lane

theatre - St. Andrews Lane

heart - east and south light

heart connection - sky

learning centre - rain

inormation centre -

Trinity Street

acoustic

time

visual

environment

IN

IN

environment IN

OUT

There are three types o connections. 1. Internal

2. External

3. Mini connections

Internal connections link sensory spaces to one another, this can be a means to increase orienta-

tion, all spaces relate to the heart in some connection, physical, visual, aural or smell. The type o

connection is not dependant on the sensory ocus o that space eg. the resource centre is

connected visually to the heart, however the ocus o the resource centre is tactility.

External connections act as mediators between the inside and outside world. For example the

theatre space’s screen is constructed in transparent stone, thereore the viewing o flms is based

on sunset, this is an idea based on James Turrells work (see transparency investigation) thereore

the audience are connected with the outside, aware o time and the movement o the sun.

Other connections are less abstract but allow the environment into the building eg. rainall in the

sound space and light in the visual realm.

The building also omits, in the club space there are a number o open baes which are intended

to omit the sound created in the space out on the Dame Lane which has a lot o night activity.

This is in order to make a connection with the city, spurring intrigue and wonder o the space

within.

The mini connections are playul ones which relate on an individual level, these include specifc

lines o views which could be missed without the increased perception o the visitor, some o

these connections can be seen in the plans.

INTERNAL CONNECTIONS

EXTERNAL CONNECTIONS



environmental strategies

thermal mass and acoustics

wind ventilation

The environmental strategies are integrated into all areas o the building.

Light is used to its optimum in all directions, the organisation as already mentioned is based on

the requirements o the space and the availability o light o the site and its orientation. There-

ore no area requires supplementary shading or instance. Task lighting or classrooms is allowed

on the northern acade.

Early in site analysis I did decibel readings o the noise levels surrounding, the thickness in the

walls relate to these fndings, the hearts location central in plan and in section to allow the

thickness (servant spaces) to absorb any residual sound on the upper levels.

The rainall is harnessed to increased perception in the sound space.

Within the lit shat there is a ventilation unnel integrated, this can be seen in the long section.

The unnel at roo level points south-westerly to grasp the prevailing winds, this resh air enters

the heart on ground level and thus naturally ventilates the internalised space.

rainall

task lighting



structure

The structure is integrated into the arrangement o the scheme.

It consists o two main axes which run north to south and east to west, the oor levels then rest

between these bands and the thick external walls. The north south band holds the circulation on

the lower oors. These bands create 4 distinct areas which allow the compartments within to beindependant o each other and thus multi-levels to exist in each.

The lit shats are also part o these internal bands.

north - south band

east - west bandexternal walls

primary structure

independant

compartments within roo openings



drawings

1. entrance points

2. theatre3. club space

4. heart (visual realm)

5. inormation centre

6. learning centre

7. sound space

8. resource centre (vibration)



drawings

INTUITIVE

ORIENTATION

LIGHT DETERMINES MOST

PUBLIC AREAS

1. main light void

2. heart light and

acoustic void

PUBLICNESS AND PRIVACY

RELATIVE TO OPENING SIZES

CONNECTIONS TO HEART

COMMUNICATE PROGRAM

1. smell to inormationcentre

2. aural connection to

learning centre

3. visual connection to

resource centre

PRIVACY RELATIVE TO

DISTANCE

1. inormation centre - public

2. learning centre - specialist

3. resource centre - specialist private

ROOFPLAN

1. Cae outdoor seating2. Primary light void

3. Heart light and acoustic void

4. Resource light void

5. Inlet to sound space



B

sectional perspectives

A

C

D

SECTIONAL PERSPECTIVES

A. HEART

cut through conversation alcovesmain light void

link to inormation centre

with reading/viewing spaces above

B. THEATRE, SOUND SPACE

cut through theatre space

showing link to outsideperceptible thickness in theatre

(walkway is carved into wall

thickness)

sound space abovecirculation between sound space

and classrooms

light link rom classrooms into

circulation

C. RESOURCE CENTRE

cut through resource centre]with visual link to heart

light link above

service entrance linking outside

to heart belowsight line cutting through thickness

D. INFORMATION CENTRE

cut through double height space

realm o smell

link back to heart through main light

voidbooks acting as diusers



1:30 heart model

visual realm - dominant space -

main connecting space - looking south

INTERNAL CONNECTIONS

“a consequence o compact living is that internal connections are

maximised and external connections are minimised.”

Adol Loos

“Architecture involves several realms o sensory experience which interact

and use into each other.”...“The present and the absent, the near and thedistant, the sensed and the imagined use together.”

Juhani Pallasmaa

EXTERNAL CONNECTIONS

“A powerul architectural experience silences all external noise; it ocuses

our attention on our very existence, and as with all art, makes us aware o

our undamental solitude.”

“An architectural space rames, halts, strengthens and ocuses our

thoughts, and prevents them rom getting lost.”

Juhani Pallasmaa

“to make visible how the world touches us” Merleau Ponty



specialisation - acoustics

source drip o water in pool

dimensions o the sound space is based

on the dimensions o note wavelengths shown

the orm o concrete detail in the heart is

based on diusion requirements

o the space given its cublic dimensions

depends on the

absorption in the space

the more times the soundhits a surace, the more

energy that is lost

reverberation is the time

it takes or a sound to decay

depends on the

strength o the source

the less oten the soundmeets absorbing suraces

the longer the decay time

an echo is most likely to

occur when concave

suraces ocus sound rays

rom an arc to a point.

Flutter echoes can occur

when a pair o parallel

suraces which are hard

and non-absorbing.

This can be rectifed by

placing one plane out a

ew degrees, I will not!

REVERBERANTSOUND

DIRECT SOUND ECHO

SOUND SPACE

ACOUSTICS

HEART ACOUSTICS

inlet

inlet

sound source

source

The sound space is the Realm o Sound, which is intended to react to the sensibilities o its users,

ie. predominantly hearing people.

Its orm is created as a response to ampliy the acoustic awareness o the space. An inlet allows

or rainall to enter into the space with a pool directly underneath which in turn becomes the

source o sound.

This pool is the primary sound source and above due to arc orm o the space allows or a utter

echo. There are 3 positions rom which to perceive this sound, all with dierent acoustic qualities

This space’s atmospheric quality is heightened again in its details, with a concrete surace fnish o

polished concret. Here the ormer demolished building which is used as aggreagte can be seen.

D887cm

C249cm

C996cm

3

primary source

frst action - water hits pool - sound is reected in the space

secondary source

second action - utter

echo created at ceilingheight due to

geometrics o the space

ie. arc in section



detailing - acoustics

acoustics requirements o heartcreated with undulating metal

ormwork

to enhance sound perception

in the sound space

aggregate

SOUND SPACEINLET

screed to give incline 50mm to 100mm

seperating layer

100mm rigid insulation

waterproo roo elt

transparent L channel



detailing

multi - storey building existing on site demolished and used as aggregate

4 times stronger

fnished again

AGGREGATE

THICKNESS RULES

FROM EXTERIOR APPEARS AS 1 SOLID MASS

MAIN SPACES READ AS 1 SPACE

THRESHOLDS (exterior and interior) ARE CARVED

POSITION OF GLASS IS ALWAYS AWAY FROM

MOST PUBLIC

THICKNESS IS ALWAYS TOWARDS MOST PUBLIC

The idea behind this resource centre

detail is again like the sound space based

on its intended user group ie young

Dea children and their parents.

The walkway above which allows access

to specialist oces is connected by its detail

to the seating below on the resource centres

main level ie the waiting area.

When this walkway is in use the vibration

can be elt by the people seated below

without a visual connection which increases

the likelihood o this tactile perceptible

awareness.

3 m x 1.5m x 40mm 7 plywood panels

50mm x 25mm battens

inner concrete structure

comb chiselled book shelving

RESOURCE

SEATING

(based on vibration)



detailing - concrete organisation

carved thresholds

comb-chiselled surace

created post-ormwork

main spaces

boardmarked

created with rough sawn wood

ormwork

secondary spaces

rammed concrete

created with dry mix, packed

in ormwork - no shadow gaps

diused orm

acoustics requirements o heart

created with undulating metal

ormwork

reective fnish

to enhance sound perception

in the sound space

polished fnish with exposed

aggregate

CONCRETE RULES

REINFORCES THE CONCEPTrough exterior

textured main spaces

thresholds carved

RESPONDS TO ACOUSTIC NEEDS OF SPACEheart - absorbing

sound space - reective

let to right:

sculpted oamglass insulation

250mm concrete outer layer

(not including superfcial layer)cavity150mm concrete inner layer

board shuttering

OUTSIDE

INSIDE

homogenous exterior

very rough textured surace

created with sculpted oamglass

insulation ormwork



detailing

WALL STRUCTURE

outer layer

250mm concrete exterior layercast with oamglass insulation

ormwork

450mm oamglass insulation

200mm concrete inner layer

with boardmarked fnish

THICKNESS

post ormwork

concrete comb-chiselled

with 80mm chisel 90

degree angle to

street

OPENING

80mm charred

wood door

GROUND STRUCTURE

concrete layer

fne sand

coarse sand

geotextile mat

FLOOR STRUCTURE

100mm concrete

fnish C120

100mm screed

seperating layerrigid insulation

dpm

concrete slab

FORMAL

ENTRANCE

ABRUPT

ENTRANCE



overall project

12 x A1 sheets



BIBLIOGRAPHY



bibliography

Juhani Pallasmaa (2005) Eyes o the Skin; Architecture and the senses : Wiley

Juhani Pallasmaa, The Thinking Hand

ISBN: 978-0-470-77929-3

Steven Holl (2006) Question o Perception - Phenomenology o Architecture

ISBN: 0-9709731-1-X

Steven Holl, Intertwining

ISBN: 1-56898-061-2

Steven Holl, Parallax

ISBN: 3-7643-6436-X

Peter Zumthor, Thinking Architecture

Birkhauser

Peter Zumthor, Therme Vals

ISBN: 978-3-85881-704-4

Merleau-Ponty, Phenemology o Perception

Junichiro Tanizaki, In Praise o Shadows

London 2001

Architecture o Terunobu Fujimori and ROJO

Venice Biennale: 10th International Architecture Exhibition 2006

Japanese Pavillion

ISBN: 978-487540071-3

P.H. Parkin and H.R. Humphreys, Acoustics Noise and Buildings

ISBN: 571 04671 1

Max Risselada (2008) Raumplan versus Plan Libre: 010 Publishers

ISBN: 978 90 6450 6659

Benedetto Gravagnuolo, Adol Loos

ISBN: 0-8478-0895-5

Villa Muller

Robert McCarter, Louis Kahn

ISBN: 978-0-7148-4971-3

Le Corbusier (2008) Towards a New Architecture: BN Publishing ISBN: 965-006-036-7

A Lost tradition

Andrea Deplazes (2005 ) Constructing Architecture: Birkhauser

ISBN- 10: 7643-7313-X

Evelyn Glennie (1990) Good Vibrations: my autobiography

Perception of Space

Documents

Transcript of Perception of Space