Architecture of The Soul: An exploration of Perception and Emotion in Architecture

1

UNIVERSITY OF HUDDERSFIELD

School of Art, Design and Architecture

Department of Architecture and 3D Design TMA1101

Architecture of The Soul: An exploration of Perception and Emotion in Architecture

A Dissertation submitted in partial fulfilment of the requirements for

Diploma Architecture

By Simon A Lunn

The candidate confirms that the work submitted is their own and that

appropriate credit has been given where reference has been made to

the work of others.

13th December 2011

2

‘Architecture is given life and

spirit by all the qualities that

touch the human soul: by light

and colour, sound and

temperature, by expansion

and compression of space, by

view and prospect. These

might be considered literal

qualities created by the

manipulation of materials and

space, but they can go beyond

the literal and touch our

souls.’

(Franck, 2007)

3

Abstract

Why are so many modern buildings unpleasant to spend any time in?

Architecture deeply affects how we feel; we all spend much of our

lives inside buildings; far more time than we spend looking at them.

Yet many building are soulless, uninspiring beige boxes.

For the best part of 100 years many architects seem to have only

been concerned with the visual sense. The other senses have been

ignored or banished. The result has often been soulless architecture

that doesn’t touch our souls. The buildings may look good, but

somehow just don’t feel right. Why is that?

The first chapter of this dissertation attempts to answer that question

by exploring how we perceive our surroundings through all of our

senses. It discovers how the senses of touch (our Haptic sense) and

hearing enable us to build a mental map of our word from the many

pieces of the puzzle our senses are collecting and analysing

unconsciously, all the time. This chapter answers why we feel good in

some spaces and not in others.

Chapter two explores how a number of architects have tried to

manipulate the emotions of visitors to their work and analyses the

results.

The final chapter explores the idea that it is possible to cause

emotional responses; positive and negative; by carefully considering

how we respond to our environment and controlling the sensory

stimulus the user receives from the building.

4

It transpires that an architect can indeed elicit emotional responses

by controlling the environment. However, where there is no guidance

how we should interpret the feeling a building evokes; the behaviour

people display is often at odds with what one might expect.

In the final chapter the author explains why this is, how an architect

can effectively design to create emotion and how by providing

guidance how to interpret the feelings created, an architect can

design a building that can take a user on an emotional journey as

they physically navigate the building.

Finally the author theorises that there is a process that should enable

architects to design buildings that really talk closely to our emotions

and demonstrates this theory by using the example of a marine

aquarium.

The architecture provides the stage on which the drama is played

out; it is key to education and done well can be the catalyst for

change! However the play its self must tell the story and take full

advantage of the feelings and emotions the architecture stimulates.

When the two are integrated they can educate and enthuse visitors to

go out into the world and educate others.

5

Acknowledgements May I take this opportunity to thank Jon Bush who in 2006 offered

me a place on the foundation program and again last year gave me

the opportunity to come into Diploma 1. He has always been

extremely helpful and an inspiration.

May I thank Sophia Emmanuel, who persuaded me when in my

foundation year that I hadn’t made a huge mistake and I should stick

at it? Thanks to Hillary Chadwick for my first year. Yun Gao for my

second year, which was a good year; thanks to Carl Meddings, and

Vijay Taheem, who were always firm and direct enough to keep up

the momentum.

May I thank Gerard for somehow always spotting that one key

change that always transforms my schemes for the better. Without

the help and encouragement I have enjoyed from all of my tutors I

wouldn’t have made it so far.

Writing this dissertation has been a challenge. I have to thank Karen

Dennis in the early stages. A big thank you to my Personal Tutor,

Richard Fellows who has a wealth of knowledge that he has happily

shared during our tutorials. Each time we have spoken, the

dissertation was improved as a result.

I have to give an enormous thank you to Margo Fourman, who has

been an inspiration. Her ability to help me to see the wood from the

trees and get down on paper my ideas has allowed me to get this

finished. I could not have done this with out her.

Thank you all.

6

Contents

ABSTRACT .............................................................................. 3

ACKNOWLEDGEMENTS ............................................................ 5

CONTENTS .............................................................................. 6

LIST OF ILLUSTRATIONS ........................................................ 8

INTRODUCTION .................................................................... 11

THE POWER OF ARCHITECTURE TO EDUCATE ....................................... 11

HARNESSING THAT POWER ........................................................... 11

AIM AND SCOPE OF THE RESEARCH ................................................. 12

CHAPTER ONE: ARCHITECTURE GETS UNDER OUR SKIN ....... 14

THE FIVE SENSES ..................................................................... 16

FIVE SENSORY SYSTEMS ............................................................. 20

THE VISUAL SYSTEM: DAYLIGHT .................................................... 21

Daylight and a connection to place ....................................... 26

THE VISUAL SYSTEM: COLOUR ...................................................... 30

Psychological affect of colour ............................................... 32

Physiological response to colour Stimulus .............................. 40

THE AUDITORY SYSTEM .............................................................. 43

THE BASIC ORIENTING SYSTEM ...................................................... 47

THE HAPTIC SYSTEM: TOUCH ........................................................ 48

THE HAPTIC SYSTEM: PERSONAL SPACE ........................................... 52

PROPORTION, BALANCE AND SCALE ................................................. 54

CHAPTER SUMMARY ................................................................... 55

CHAPTER TWO: CASE STUDIES ............................................. 57

THE IMPERIAL WAR MUSEUM IN MANCHESTER .................................... 58

MEMORIAL FOR THE MURDERED JEWS OF EUROPE ................................. 72

LADY DIANA MEMORIAL FOUNTAIN .................................................. 79

7

CHAPTER THREE: ARCHITECTURE WITH A PURPOSE: AN

EMOTIONAL JOURNEY, FROM VISITOR TO EDUCATOR. ......... 83

THE IMPORTANCE OF PUBLIC AQUARIA IN CONSERVATION ........................ 84

THE PROCESS OF DESIGNING FOR EMOTION ........................................ 85

An example of the process of designing for emotion in the context

of a conservation focused public aquarium ............................. 87

CONCLUSION ........................................................................ 90

REFERENCES ........................................................................ 92

BIBLIOGRAPHY .................................................................. 100

APPENDIX A: WHAT ARE WE DOING TO OUR WORLD? ....... 109

COMMERCIAL WHALING ............................................................. 111

FISHERIES ............................................................................ 114

Common Fisheries Policy ................................................... 116

Sharks; we are wiping them out for soup! ........................... 118

POLLUTION & INDUSTRIAL WASTE DUMPING .................................... 123

APPENDIX B: EXTINCTION IS NOT INEVITABLE; IT IS NOT

TOO LATE TO CHANGE OUR WAYS ...................................... 125

Medes Islands Marine Park Spain ........................................ 130

APPENDIX C: DESIGNING FOR EMOTION ............................ 132

HOW TO DESIGN TO ELICIT AN EMOTIONAL RESPONSE .......................... 132

8

List of illustrations FIG 1. ARISTOTLE’S FIVE SENSES (ROMAN, N.D) .................................... 16

FIG 2. GESTALT CLOSURE (BRADLEY, 2010) ........................................ 17

FIG 3. A CONTEMPORARY CITY: LE CORBUSIER (LE CORBUSIER, 1971) ........ 18

FIG 4. PARK HILL PART TWO (HYDE PARK) DEVELOPMENT SHEFFIELD BUILT IN

1962-66 (GLENDENNING, 1994) .......................................... 19

FIG 5. GREAT HALL:HAMPTON COURT PALACE (RAWLINSON, N.D) ............... 22

FIG 6. WAKEFIELD RING ROAD UNDERPASS (AUTHORS PHOTOGRAPH, 2011) .. 23

FIG 7. MEMORIAL DE LA DEPORTATION: PARIS (ANON, NOTRE-DAME-THE-

DEPORTATION-MEMORIAL, 2009) ........................................... 24

FIG 8. ROSE CENTRE FOR EARTH AND SPACE: NEW YORK (JODIDIO, 2005) ... 25

FIG 9. PORTHMEAR STUDIO (CLARIDGE, 2009) ..................................... 26

FIG 10. PERSISTENCE WORKS SHEFFIELD (AUTHORS PHOTOGRAPH, 2009) .... 27

FIG 11/12. SARAH VILLENEAUS’S STUDIO IN PERSISTENCE WORKS (CAROL,

2009, P. 34) .................................................................. 28

FIG 13. NEWTONS PRISM (DOUMA, 2006) .......................................... 31

FIG 14. READE STREET TOWNHOUSE, NEW YORK (OJEDA, 2006, P. 72) ...... 32

FIG 15. THE BARBICAN CONCERT HALL FOYER, LONDON (AEGIANDYAD., 2011)

.................................................................................. 33

FIG 16. MUSEUM FOR AFRICAN ART, NEW YORK (OJEDA, 2006, P. 103) ...... 34

FIG 17. SUPERMODELS EXHIBITION, HARVARD UNIVERSITY, CAMBRIDGE,

MASSACHUSETTS (OJEDA, 2006, P. 169) ................................ 35

FIG 18. VITRA FIRE STATION, WEIL AM RHEIN, GERMANY (OJEDA, 2006, P. 78)

.................................................................................. 36

FIG 19. MOOD INDIGO (BOURNE, 2009) ............................................ 37

FIG 20. NISHA BAR-LOUNGE, MEXICO CITY (ARQUITECTOS, N,D) ................ 38

FIG 21. BUZIAK PENTHOUSE, NEW YORK (OJEDA, 2006, P. 136) .............. 39

FIG 22. COLOUR SPACE EFFECTS THE PERCEPTION OF ROOM PROPORTION

(MEERWEIN, 2007, P. 67) .................................................. 41

FIG 23. ACCOUSTIC PROPERTIE OF SURFACE MATERIALS (CRUTCHFIELD, 1996-

2011) .......................................................................... 45

9

FIG 24. MATERIAL ABSORPTION OF REFLECTED SOUND (CRUTCHFIELD, 1996-

2011) .......................................................................... 46

FIG 25 / 26. LE CORBUSIER: NOTRE DAME DU HAUT; RONCHAMPS (RASMUSSEN,

1964, PP. 211,213) ........................................................ 48

FIG 27 SHARDS OF THE BROKEN GLOBE (AUTHORS PHOTOGRAPH, 2011) ....... 58

FIG 28. VIEW OF THE IWMN FROM ACROSS THE MANCHESTER SHIP CANAL

(STUDIO DANIEL LIBESKIND, 2011) ....................................... 59

FIG 29. . AIREAL VIEW OF THE IWMN (STUDIO DANIEL LIBESKIND, 2011) .... 59

FIG 30. THE AIR SHARD TOWER AND MAIN ENTRANCE (AUTHORS PHOTOGRAPH,

2011) .......................................................................... 61

FIG 31. THE MAIN ENTRANCE (AUTHORS PHOTOGRAPH, 2011) ................... 62

FIG 32. INSIDE THE AIR SHARD TOWER THAT IS THE ENTRANCE TO THE MUSEUM

(AUTHORS PHOTOGRAPH, 2011) ............................................ 63

FIG 33. ELEVATED WALKWAY (AUTHORS PHOTOGRAPH, 2011) ................... 64

FIG 34. VIEWING PLATFORM (AUTHORS PHOTOGRAPH, 2011) .................... 65

FIG 35. OPEN METAL GRILL FLOORING (AUTHORS PHOTOGRAPH, 2011) ......... 65

FIG 36. MAIN EXHIBITION SPACE (AUTHORS PHOTOGRAPH, 2011) ............... 66

FIG 37. POLISHED WALLS LEAN PRECARIOUSLY (STUDIO DANIEL LIBESKIND,

2011) .......................................................................... 67

FIG 38. POLISHED WALLS LEAN PRECARIOUSLY (AUTHORS PHOTOGRAPH, 2011) 68

FIG 39. POLISHED WALLS LEAN PRECARIOUSLY (AUTHORS PHOTOGRAPH, 2011) 69

FIG 40. MEMORIAL FOR THE MURDERED JEWS OF EUROPE (ANDERSON, 2011) 72

FIG 41. FIELD OF STELAE (DEROR, 2007) .......................................... 73

FIG 42. VISITORS WALKING BETWEEN AND OVER THE FIELD OF STELÆ, AND LYING

DOWN ON TOP OF THEM. (STEVENS, NOTHING MORE THAN FEELINGS,

2009, P. 158) ................................................................ 76

FIG 43. LADY DIANA MEMORIAL, HYDE PARK (ANON, DIANA, PRINCESS OF WALES

MEMORIAL FOUNTAIN, 2006 - 2011) ..................................... 79

FIG 44. THE CASCADING WATER SINGS (ANON, DIANA, PRINCESS OF WALES

MEMORIAL FOUNTAIN, 2006 - 2011) ..................................... 80

FIG 45. A PLACE TO ENJOY (ANON, DIANA, PRINCESS OF WALES MEMORIAL

FOUNTAIN, 2006 - 2011) ................................................... 82

10

REF 46. THE PROCESS OF DESIGNING FOR EMOTION (APPENDIX C) (AUTHORS

FLOWCHART, 2011) .......................................................... 86

FIG 47. THE EARTH (XEDOS4, 2010) .............................................. 110

FIG 48. GREENPEACE BOAT TRYING TO DISRUPT JAPANESE WHALE HUNT

(GREENPEACE, 2000) ...................................................... 111

FIG 49. SLAUGHTERED PILOT WHALES (ANON, E2NT, 1999-2011) ......... 113

FIG 50. COD IN CRISIS (ANON, 1.BP.BLOGSPOT.COM/, N,D) ................... 115

FIG 51. NET SIZES CATCH IMMATURE FISH (ANON, ENVIRONMENT, 1996-2011)

................................................................................ 116

FIG 52. DEAD FISH THAT CANNOT BE LANDED ARE THROWN BACK INTO THE SEA.

(ANON, FISHFIGHT.NET, N,D) ............................................. 117

FIG 53. SCHOOLING HAMMERHEAD SHARKS. (GALAPAGOS ISLANDS) (ANON,

SHARKDIVING.US, 2006) .................................................. 118

FIG 54. SHARK FIN SOUP (ANON, STOPSHARKFINNING.NET, N,D) .............. 118

FIG 55. FINLESS HAMMERHEAD SHARK (ANON, MADMERMAIDS.COM, N,D) .... 120

FIG 56. RIJNBORG DUMPSHIP (NORTH ATLANTIC : 1982) (ANON,

WWW.GREENPEACE.ORG, N,D) ............................................. 123

FIG 57. RUSSIAN SHIP TNT27 DUMPING NUCLEAR WASTE IN THE SEA OF JAPAN

(EAST SEA). 18 OCTOBER 1993. (ANON, GREENPEACE.ORG, N,D) . 124

FIG 58. CHEMICAL BURNS (ANON, SCIENCEBLOGS.COM, 2006-2011). ....... 124

FIG 59. HUMPBACK WHALE AND HER CALF TAKEN RARATONGA COOK ISLANDS

SEP 2001 (AUTHORS PHOTOGRAPH, 2001) ............................. 126

FIG 60. GREY SEAL: FARNE ISLANDS (ANON,

HTTP://SCUBADIVINGSTAFFORDSHIRE.CO.UK, 2009) .................. 127

FIG 61. BASKING SHARK (DIVERNET.COM, 2008) ............................... 128

FIG 62. OCEANIC WHITE TIP SHARK AND THE AUTHOR IN MOOREA (DIVE IN

PARADISE, 2001) ........................................................... 129

FIG 63. IMAGES OF MARINE PARK AND HEALTHY FISH (ANON, DIVING AT

ESTARTIT AND THE ILLES MEDES, N,D) ................................... 130

FIG 64. PROCESS FOR DESIGNING FOR EMOTION (AUTHORS FLOWCHART, 2011)

................................................................................ 132

11

Introduction

“We shape our buildings, thereafter they shape us.”

(Churchil, 1960)

The Power of Architecture to Educate

The key to compelling vested interests to change any significant

policy or practice is to change public opinion. That change starts with

education, which can lead to a ground swell of public opinion that can

and does force politicians and those vested interests to change their

policies and practices, or risk loosing votes or customers.

Architecture creates the stage on which the drama is played out; it is

key to education and done well can be the catalyst for change!

Harnessing That Power

In order to do their best work an architect must fully identify with the

functions their creation will perform; they must completely

understand how users will experience their work and the emotions it

will evoke. In order to do this the architect must intimately

understand the physiological and psychological affect every element

of their creation will have on the users.

12

Aim and Scope of The Research

Architecture affects all the senses; it creates emotional responses

that if used correctly can motivate people to take action. This

dissertation will explore the techniques an architect has at their

disposal to subtly awaken positive and negative emotions. Then it will

explore the practical application of this ability to subtly elicit a desired

emotional response.

In the context of marine conservation, that power to provoke

sometimes joyous, sometimes unsettling feelings can be the catalyst,

that awakens a determination to protect the oceans and the creatures

that live in them, and demand change from our politicians?

We perceive the world through our senses; that perception has

physiological and psychological effects, and there are techniques that

can be employed to influence those responses. These techniques

could be applicable to any building where one wishes to elicit an

emotional response; in this dissertation, a marine conservation

example will be used to illustrate how these ideas can be put into

practice.

The aim of this research is to really understand, how techniques

successfully stimulate each of the senses and ultimately to

understand how to generate the appropriate emotional responses to

the spaces an architect designs.

The first chapter explores how we perceive our world using all of our

senses and the affect different stimuli have on us, often at an

unconscious level.

13

The visitor experiencing a building designed using the techniques

discussed should “feel the building talk directly to their heart”. A good

building, should elicit an emotional response.

In theory it should be possible to assemble an emotional tool kit that

would allow a designer to take a person through an emotional

journey, as they progress physically, on their journey through the

building.

In order to develop this tool kit, the author will explore how all the

senses can be stimulated by the use of light, sound, touch and the

physical proportions and geometry of a series of architectural spaces;

taking the visitor on a physical and emotional journey that heightens

their emotional responses and drives home the message being

presented.

The second chapter uses a series of case studies to illustrate how a

number of architects have successfully or unsuccessfully used

proportion, light, sound, and texture to create the desired emotional

response in the visitors to their work.

In the third chapter, the author will use the example of a public

marine aquarium, to demonstrate the power of architecture to affect

our emotions. This chapter will show how the techniques available to

manipulate space, light, colour, texture, and sound can be used to

generate support for marine conservation in those who experience

the architecture.

The whole building should be a catalyst for change; visitors are

moved to modify their views; they in turn become the educators,

passing on the message to others.

14

Chapter One: Architecture gets under our skin

“When we move through space with a twist and a

turn of the head, mysteries gradually unfolding,

fields of overlapping perspectives are charged

with a range of light – from the steep shadows of

bright sun to the translucence of dusk. A range of

smell, sound and material – from hard stone and

steel to the free billowing of silk – returns us to

primordial experiences framing and penetrating

our everyday lives.”

(Holl, 1996, p. 11)

Architecture affects us; as we move through space we unconsciously

experience our surroundings using all of our senses; we absorb our

surroundings and this causes physiological and psychological

responses that can have a very positive, or negative effect on us.

“…The experience only touches our hearts when it

becomes an ambience we can breath; most of the

time we don’t notice our surroundings and they

can work on us without any conscious resistance

on our part.”

(Day, 1990, p. 10)

Modern humans have evolved over approximately 200,000 years, and

by about 50,000 years ago had developed many of the social

characteristics and physiological and psychological responses we

would recognize today (BBC News Channel, 2005).

15

Through that long evolution we have evolved instinctual (Non

cognitive) reactions to environmental stimuli. Many modern

instinctual responses have their roots in that evolutionary past and

have evolved to keep us safe.

This chapter explores how we consciously and unconsciously perceive

our world through our senses, and how Architects can stimulate all of

those senses to create powerful emotions as we inhabit and

experience the places they create.

16

The Five Senses

Fig 1. Aristotle’s five senses (Roman, n.d)

Aristotle listed the five senses as those of Sight, Sound, Smell, Taste,

and Touch (Bloomer, 1977, p. 33); Plato had exalted the sense of

sight above all others, describing sight as the purest medium for our

knowledge of perfect form (Bloomer, 1977, p. 32). Ever since the

enlightenment there has been a quest to find a scientific formula for

beauty.

17

In the early part of the 20th Century Psychologists experimenting in

the Berlin “Gestalt” (form) school, conducting experiments into

perception, found that people tend to simplify complex visual patterns

in to more simple and recognizable patterns, in a process they called

closure (Bloomer, 1977, p. 31). Their experiments revealed a

tendency to:

‘…Simplify patterns towards horizontal and vertical rather than

skew organizations; and toward symmetry rather than

asymmetry; and towards basic geometric groups rather than

random or less precise ones. For example, a square was shown

to be the most memorable and neutral form because of its

orientation and regularity.’

(Bloomer, 1977, pp. 31-32)

Fig 2. Gestalt Closure (Bradley, 2010)

Look at the image above; what do you see?

18

The image is actually four unconnected straight lines; yet it is likely

you see a square. Our brains fill in the missing information to make a

single recognizable pattern (Bradley, 2010). This is an example of

how the Gestalt experiments appeared to scientifically prove how

humans visually perceive, simplify, and order external objects and

favor rectilinear geometric forms, as they are more easily recognized

(Bloomer, 1977, p. 31).

This new understanding came as the pioneers of the modernist

movement were formulating their ideas of mass produced, clean

geometric architecture and allowed theories to be developed directly

from experimental evidence (Bloomer, 1977, p. 32). This new theory

of geometric, rectilinear forms, naturally more easily recognized, was

the basis of a higher form of architectural expression, free from

ornament, which seemed to prove a rational explanation of beauty,

perfect for the new machine age (Bloomer, 1977, p. 32).

Fig 3. A Contemporary City: Le Corbusier (Le Corbusier, 1971)

19

Vision had become the dominant sense in art and architecture to the

point that in much modernist and post modernist architecture, the

visual has become all-powerful at the expense of all the other senses.

The other senses seem to have been ignored; often with disastrous

consequences for the people who lived and worked in these

geometric utopian new buildings.

Fig 4. Park Hill Part Two (Hyde Park) development Sheffield Built in 1962-66

(Glendenning, 1994)

The five senses had been considered to be independent passive

receptors of stimuli from the outside world and research between

1830 and 1930 was concerned with the mechanisms of reception;

vision through the eyes; smell through the nose; taste through the

mouth and touch through the skin; touch being further broken down

into the sensations of pressure, heat, cold, pain, and kinesthesis, a

sensibility to motion (Bloomer, 1977, p. 33).

20

Five Sensory Systems

JJ Gibson, an environmental psychologist interested in the psychology

of perception, rather than the physiological workings of the reception

apparatus, considered the senses to be actively seeking out

information from our environment.

Gibson re-classified the five senses as five active perception systems,

capable of obtaining information about objects in the world, without

the intervention of an intellectual process. Gibson’s five active

systems are classified as: “The visual system”, “The auditory

system”, “The taste – smell system”, “The basic orienting system” (a

sense of where our body is in space), and “The haptic system” (a

sense of touch reconsidered to include the whole body) (Bloomer,

1977, p. 33).

“‘The basic orienting system and the haptic system, seem to

contribute more than the others to our understanding of three

dimensionality, the sine qua non of architectural space”

(Bloomer, 1977, p. 33)

Sine qua non is the Latin for an essential condition or requirement;

literally translated as: without which not. (Harper Collins, 2006)

21

The Visual System: Daylight

The architect Louis Kahn said:

“The Sun never knew how wonderful it was until it shone on the

walls of a building.”

(tanizaki, 2001, p. 1)

Human beings are creatures of the light; until comparatively recently

our lives were governed by the passage of day and night and the

passing of the seasons; waking at dawn and retreating to our shelters

as the light faded in the evening.

Light entering through the eyes travels to the visual cortex providing

visual information, which is interpreted by the brain as sight, but light

entering through the eyes also stimulates the pituitary and pineal

glands that regulate the secretion of hormones that regulate body

chemistry (Meerwein, 2007, p. 48).

The circadian system, our in-built body clock that repeats over a 24-

hour period is synchronized by daylight and governs the 24-hour

cycle of day and night. This inner clock induces many complex

psychological and biochemical reactions regulated by the hormone

melatonin. Melatonin is suppressed by light and activated by

darkness and it is the increase in the level of this hormone that

makes us sleepy when it is dark and wakes us as its level reduces in

daylight keeping us awake until the cycle is repeated (Meerwein,

2007, p. 48).

Light has a powerful effect on us; one feels joyful when one awakes

to a sunny blue sky, yet in contrast, the dull gray skies we often

22

wake up to in the UK can be depressing. In some people suffering

from SAD (Seasonal Affective Disorder), this seasonal change in the

quality of daylight can have debilitating psychological effects, ranging

from unusual tiredness, lethargy, loss of libido to depression and

paranoia (Anon, symptoms-of-SAD, n,d).

In describing the effect of moving from a smaller side lit room into

the large great hall lit from two sides; common in many European

manor houses, Rasmussen says”

‘Coming from one of the smaller rooms, with windows on one

wall only, into this huge room flooded with light gives a feeling

of relief for it is so bright and airy.’

(Rasmussen, 1964)

Fig 5. Great Hall:Hampton Court Palace (Rawlinson, n.d)

23

Sunlight has a very positive affect our psychic; conversely poor light

is degrading; for example, a dimly lit space may cause a sense of

unease. In our past, predators, which might have eaten us, stalked

us from the shadows. We have evolved excellent peripheral vision,

which works better in low light than our main narrow colour focus

vision. Perhaps to spot those moving shadows that might signal

danger. A fear of the dark as a child is perfectly natural and would

keep us safe if we avoided dark places, where danger might lurk.

Fig 6. Wakefield Ring Road Underpass (Authors photograph, 2011)

A gloomy underpass, instills a sense of unease, muggers might be

lurking to do us harm, therefore we feel on edge because adrenaline

is produced as part of the fight or flight response that prepares us to

fight the mugger or run away.

24

There may have been no wolf in the undergrowth or mugger in the

underpass, but the physiological response, of which we have no

control, does prepare us for the danger we might face and the

feelings are very real.

Fig 7. Memorial de la Deportation: Paris (Anon, notre-dame-the-deportation-

memorial, 2009)

The Memorial de la Deportation in Paris commemorates the 200,000

French citizens transported to the Nazi Concentration camps during

World War II. The architect Georges-Henri Pingusson intending to

instill a sense of foreboding and apprehension in the visitor creates a

deliberately narrow claustrophobic and dimly lit space (Chapman,

2011).

25

Fig 8. Rose Centre for Earth and Space: New York (Jodidio, 2005)

A light airy space flooded with natural light will feel uplifting and

positively lift the mood. However a visual connection to the outside

world, to nature, is also important. The Rose Centre in New York is a

great example of an open airy and uplifting space.

26

Daylight and a connection to place

Cornwall has long been popular with artists, who have over the years

established many artists’ colonies, drawn by the quality of the light.

An experiment intended to establish what made the light so good was

conducted in the artist’s colony of Porthmear in St Ives on the north

coast of Cornwall.

It was found that the air is free from the pollution found in the cities

and therefore, as would be expected the light is not degraded by

pollution. The studios are close to the sea, with views looking north

over the beach and sea beyond; that view connects the artist to the

outside environment; most of the light entering the studios is from

the bluer part of the sky in the north and the intensity of the light is

amplified by its reflection from the sand of the beach and the sea

beyond (Carol, 2009, p. 19).

Fig 9. Porthmear studio (Claridge, 2009)

27

Fig 10. Persistence Works Sheffield (Authors photograph, 2009)

28

Persistence Works in Sheffield, is an award winning artists colony

purpose built to provide a variety of studios for local artists. All the

studios have plentiful natural daylight however, Sarah, Villeneaus’s

studio, which is, also on the north side, is only lit by high-level

clearstory windows and roof lights to the north. These give excellent

daylight, but give no view of the outside world. Consequently, Sarah

built a raised platform on which she sits to allow views out of the

clearstory windows and establish a visual connection to the outside

(Carol, 2009, p. 34).

Fig 11/12. Sarah Villeneaus’s studio in Persistence Works (Carol, 2009, p. 34)

Carol concluded that:

“This is a perfect example of how important a visual connection

with the external environment can be to an artist”.

“…The reliance on roof lighting and lack of eye level windows in

some spaces at Persistence Works results in a feeling of

enclosure rather than the feeling of liberation that Porthmear

emits.”

(Carol, 2009, pp. 34, 38)

29

The artist’s colony in Porthmear has views over the beach and sea

that give a strong connection to the outside world and to its place.

The inhabitant is aware of the passage of time; from morning to

night; the passing of the seasons from winter to summer, with all the

drama the changing weather brings; this gives a strong connection to

the place. The lack of eye level windows in the Persistence Works

studio denies a visual connection to the outside.

This comparison between Porthmear and Persistence Works illustrates

the importance in architecture of not only natural daylight but also

views that connect the space to its place.

Consequently one can surmise that to feel uplifting, a space needs

good natural light and views that connect to the wider environment.

Conversely, by denying that connection an architect can create an

uncomfortable feeling of entrapment.

30

The Visual System: Colour

In the use of colour, Sophia Simoula in her 2009 Dissertation

Colouring Architecture, says that:

“…The atmosphere and quality that can be given to a space

depending on it’s colour scheme can make a room appear

festive, cheerful, cool, distant or calm. With the right choice of

colours, the space can convey messages that influence peoples

behavior or feelings, or on the other hand can be completely

speechless”

(Simoula, 2009, p. 65)

In Places of the Soul, Christopher day confirms the use of colour can

affect the quality of a space and how it affects us.

“‘There are universal aspects of colour: Red, speeds the

metabolism, blue slows it down. This is physiological fact –

everyone responds this way”.

(Day, 1990, p. 47)

Day goes on to explain how heavy strong colours have a tendency to

be too forceful for comfort. Strong colours tend to be manipulative.

They force their mood on the room. Couloured light has a different

effect from pigment. With light you can feel raised up into a mood,

but with pigment pressed down into it (Day, 1990, p. 48).

31

Fig 13. Newtons prism (Douma, 2006)

Sir Isaac Newton’s prism experiment in 1672 demonstrated that the

visible spectrum of natural light is made up of seven colours. Red,

Orange, Yellow, Green, Blue, Indigo, and Violet. (Douma, 2006)

We perceive colour based on which colours are absorbed or reflected

from the surface of a material. If all the colours are absorbed we see

black, if all the colours are reflected we see white.

32

Psychological affect of colour

In the book “The Powers Of Colour: creating healing interior spaces”

the authors Sarah O Marberry and Laurie Zagon give their

explanation of the psychological effect of colour as follows:

FIG 14. Reade Street Townhouse, New York (Ojeda, 2006, p. 72)

“Red – Its nature symbol is the earth; it is defined often by its

qualities of high energy and passion. Studies have shown that

red has the ability to excite and raise blood pressure.”

(Marberry, 1995, p. 16)

33

FIG 15. The barbican Concert Hall foyer, London (aegiandyad., 2011)

“Orange – Its nature symbol is the sunset; it is defines often

by its qualities of emotion, expression, and warmth. Orange is

noted for its ability to encourage verbal expression of

emotions.”

(Marberry, 1995, p. 16)

34

FIG 16. Museum for African Art, New York (Ojeda, 2006, p. 103)

“Yellow – Its nature symbol is the sun; it is defined often by

its qualities of optimism, clarity, and intellect. Bright yellow is

often noted for its mood-enhancing ability. Yellow must be

carefully applied in certain settings, as it may connote aging

and the yellow skin tones of jaundice.”

(Marberry, 1995, p. 16).

35

FIG 17. Supermodels Exhibition, Harvard University, Cambridge, Massachusetts

(Ojeda, 2006, p. 169)

“Green – Its nature symbol is growth – grass and trees – and

it is often defines by its qualities of nurturing, healing, and

unconditional love.”

(Marberry, 1995, p. 16).

36

FIG 18. Vitra Fire Station, Weil am Rhein, Germany (Ojeda, 2006, p. 78)

“Blue – Its nature symbols are the sky and the ocean; it is

defined often by its qualities of relaxation, serenity, and loyalty.

It is known to lower blood pressure.”

(Marberry, 1995, p. 16)

37

Fig 19. Mood Indigo (Bourne, 2009)

“Indigo – Its nature symbol is the sunset; it is defined often

by its qualities of meditation and spirituality in that it is the

exact opposite of blue and violet.”

(Marberry, 1995, p. 16)

38

Fig 20. Nisha Bar-lounge, Mexico City (Arquitectos, n,d)

“Violet – Its nature symbol is the violet flower; it is defined by

its qualities of spirituality. Violet is also a stress reducer and

can create feelings of inner calm.”

(Marberry, 1995, p. 16)

39

FIG 21. Buziak Penthouse, New York (Ojeda, 2006, p. 136)

“Grey. Positive: Psychological neutrality. Negative: Lack of

confidence, dampness, depression, and hibernation, lack of

energy. Pure grey is the only colour that has no direct

psychological properties. It is, however, quite suppressive. A

virtual absence of colour is depressing…”

(Wright, 2008 - 11).

40

Physiological response to colour Stimulus

“Seeing is not the only purpose of the calibration between light,

eye and the brain. Besides the “optical” visual pathway, there is

also the “energetic” one that directs incoming light and colour

stimuli directly to the interbrain, from where it affects the

metabolism and organ function. This explains why the pulse

increases with a red stimulus and decreases with a blue one.

Biological reactions occur on purely physiological levels. They

are independent of how people think about a colour, or a

combination of colours, or how they evaluate them

aesthetically.”

(Meerwein, 2007, p. 20)

Experimental evidence demonstrates colour has a physiological

effect. Dr Barbara B. Brown who is Chief of Experimental Physiology

at the Veterans Administration Hospital in Sepulveda, California, has

carried out experiments using the polygraph (lie detector) that

measures physiological reactions such as heart rate, respiration and

perspiration through the skin and the electroencepholatograph (EEG)

that measure brain waves to establish the physiological response to

colour stimulus. She found that:

“In general there is a high response to colours such as red and

orange, and a lower response to green and blue – quite apart

from what a person might “think” or “feel” about colour.”

(Birren, 1982, p. 20)

41

Fig 22. Colour space effects the perception of room proportion (Meerwein, 2007, p.

67)

A ceiling, which is lighter than the floor and walls, will lift the space

making it seem lighter and higher. Conversely a ceiling that is darker

than the walls and floor will seem heavy and oppressive, pressing

down on the occupants.

42

It is clear that colour does have an unconscious affect on people,

which can be used to good effect by the architect. Colour can be used

to stimulate, or calm, it can be warm or cool and the selection of

colours can also be used to manipulate the feeling of size and

proportion a space has.

• “Warm highly saturated and bright colours (orange,

ochre, sand yellow) advance to the foreground.

• Colours that are neither clearly cold nor warm (green,

violet, purple) are located in the intermediate ground.

• Cool and bright colours (light blue, lime green) as well as

dark warm colours (dark brown, dark blue) recede into

the background.”

(Meerwein, 2007, p. 68)

In designing a space that is intended to elicit an emotional response

an architect needs to understand the effect of colour. The pallet of

colours and materials must enhance the desired effect.

43

The Auditory System Sound can also have a powerful effect on our emotional state; music

can calm or excite; bring back memories or awaken powerful

emotion. Music is often used in buildings to help create the desired

atmosphere.

A live Jazz band in a bar, a pianist in a romantic restaurant or piped

music in an elevator or shopping mall are all intended to create the

right atmosphere. This atmosphere is usually added by the proprietor

of the bar or restaurant, not necessarily designed in by the architect.

In order that the performance can clearly be heard the acoustics of a

concert hall are carefully considered; materials are chosen to absorb

unwanted sound and control reverberation. However, outside the

obvious performance spaces where sound is integral to the

performance, the sonic quality of buildings does not appear to

concern many architects to the degree it should.

Vision is directional; we look and see. Hearing is three-dimensional;

sound envelopes us; we have the ability to perceive exactly where

sound comes from and how far away the source is; we know if the

sound comes from above, below, or behind etc.

Our responses to sound stimuli, as with so many of our senses are

often unconscious. Sound provides valuable information about our

surroundings.

It is well known that bats and dolphins use their highly developed

hearing to navigate and locate prey in total darkness. Human beings

have also evolved a more highly developed sense of hearing than

previously thought. It has been demonstrated that when blindfold, we

44

can sense an obstacle, by the subtle changes in the reflected sound

as we near a wall (Cox, 2009). The blind, denied the sense of sight

are renowned for having a heightened sense of hearing.

We are also adept at understanding in what type of space we find

ourselves from the aural information we hear. In his Radio 4

interview, professor Cox also explained:

“Every space has its own unique soundscape, created by a

combination of the overall design, the materials used in

construction and the way that humans use space. A bathroom

always sounds like a bathroom.”

(Cox, 2009)

The rhythmic sounds of breaking waves or water gently lapping

against the side of a boat are relaxing; rustling leaves in a gentle

breeze or the sound of a babbling brook is calming; birdsong creates

a sense of safety and security, perhaps because the presence of a

predator would silences the birds singing and warn us of danger.

Conversely a sudden noise will trigger the release of adrenalin as part

of the physiological fight or flight response that has evolved to keep

us safe. Sustained loud noise levels increase stress and are damaging

to our long-term health (Bronzaft, 2011).

Echoes caused by the reflection of sound from hard surfaces can be

fun; who hasn’t shouted when in the mountains or in between

buildings where the sound echoes and enjoyed playing with the

sound? There is something satisfying about hearing the sound of ones

own footfall or revving an engine in a tunnel, where it sounds louder!

45

However, excessive reverberation can make it difficult to hear a

conversation for example poorly designed open plan offices or railway

stations make it hard to concentrate and raise stress levels (Cox,

2009).

The amount of reflection from a surface and consequent

reverberation is dependent on the surface material. Hard materials,

glass, steel and smooth stone or concrete, reflect sound. Soft

materials, fabric, carpet, etc. absorb sound to a greater or lesser

degree and rough surfaces tend to disperse the sound. The texture of

the materials used and the material choice can make the space feel

cold and hard, or warm and soft.

Fig 23. Accoustic propertie of surface materials (Crutchfield, 1996-2011)

It is essential to create a balance between reverberation and

absorption in order to create a rich warm soundscape. Too much

reverberation will make it difficult to hold a conversation and too

much absorption of sound will make the space aurally dead.

46

Fig 24. Material absorption of reflected sound (Crutchfield, 1996-2011)

The architect can choose materials depending on whether they want

to reflect or absorb sound. The table (Fig 24.) shows the amount of

sound absorbed by a number of materials at different frequencies.

Recent research has shown that spending extended time in an aurally

poor environment can have a significant negative affect on how we

feel and behave (Cox, 2009) therefor specifying the righty pallet of

materials for each space is essential to the wellbeing of the

occupants.

Understanding the reflective properties of materials and the affect

sound has on human emotion empowers the architect to choose how

the soundscape they create will affect the emotions of the users of

their work.

47

The basic orienting system

We have an acute sense of where we are in the world; which way is

up, where is down and a sense of where each part of our body is in

space.

The mechanism of the inner ear tells us if we are moving, stationary

accelerating, slowing down, climbing, or descending and how we are

orientated in space.

Even with our eyes closed we can touch the end of our nose with a

finger. We know where all of our body is in space as if we carry with

us a body image, telling is where we are in relation to others and

external objects in our world (Bloomer, 1977).

48

The Haptic System: Touch

Hard surfaces that echo can feel cold and inhumane, but softer tactile

surface feel warmer, more comfortable.

Rasmussen describes the interplay between light and texture.

Explaining how good lighting, usually from the side brings out the

texture of the materials used; letting the viewer see the tactile nature

of the materials.

In the Chapel at Ronchamp, Le Corbusier, uses side lighting to

highlight the texture of the rough concrete (Fig 25.) and soft reflected

light shining on the curved wall of apse to create a soft other worldly

light that draws the worshipers eyes up above the alter where the

light is brightest (Fig 26.) (Rasmussen, 1964, p. 214). These effects

create an ambience where the pilgrim can concentrate on their

devotions to the Madonna bathed in sensual light.

Fig 25 / 26. Le Corbusier: Notre Dame du Haut; Ronchamps (Rasmussen, 1964, pp.

211,213)

49

Texture not only adds warmth and visual interest; it stimulates the

sense of touch. A handrail can be cold steel or warm polished wood;

it can be rough or smooth; flooring can be soft warm carpet, cold

linoleum, or hard stone. Stimulating the haptic sense of touch;

through the hand or foot; changes in texture can be used to orientate

a user, subtly guide the users journey, or give important information.

“Changes of texture often signal special events and can trigger

a slowing or quickening of ones pace. They can signal where to

wait, lean, what to grip or where to sit and texture can induce

movement, where to go, and how we move.”

(Bloomer, 1977, p. 70)

“It is possible to generate a whole choreography of movement

through the composition of textural changes alone. In fact this

has been explored in recent architecture for blind people where

important spacial clues are produced by the organization of

tactile experiences.”

(Bloomer, 1977, p. 71)

In a study of perception in people who are congenitally blind and

have no visual memory from a time before blindness that might

influence their perception of their environment, by Jasmien Herssens

and Ann Heylighen, it was found that the “Haptic” sense of touch,

which can be active, to touch, or passive, being touched, is key to

understanding their environment.

“...We actively walk into our office and passively feel the

warmth of the sun shinning on our skin. Dynamically we feel

the weight of the door through the handle. This differs from

visual sensation, which requires active visual participation; in

50

real time we can always actively choose whether we want to

see or not.”

(Herssens, 2008, p. 105)

We can direct our gaze at something, look away, or close our eyes;

we cannot turn off our haptic sense; it is active all of the time without

our realizing it. Sighted people build up a mental map of our

surroundings using visual and haptic clues, in the absence of vision in

blind people, the other senses are heightened; this map is built up

primarily using the haptic sense supplemented by information from

our senses of hearing and smell.

“We have all experienced the night quest for the lavatory. Most

of the time this movement happens in a dark environment, but

one is able to find the door handle and the light switch.”

(Herssens, 2008, p. 107)

In vision, we instantly see an image of the whole space; we then

break down and start to understand its structure. In the haptic sense,

we sequentially build up an understanding; piece by piece until we

understand the whole; as if we are putting together the pieces of a

giant puzzle. Heylighen quotes one of the interviewees as saying:

“For me good architecture exists in its imperfections”. He refers

to the traditional made architecture in which you feel the

authenticity of its production. For example, a little twist in a

wooden armrest can provide a good orientation point.’

(Herssens, 2008, p. 107)

To a blind person a wall gives structure to a space and a sense of

safety; voids give a feeling of being lost Texture and changes in

51

texture allow a blind person to build up that mental map and navigate

their world. (Herssens, 2008)

One of Heylighen’s blind interviewees when describing how they

navigate on their walk to the post office explained:

“…He opens the front door, follows the wall of the house which guides

him to the hedgerow. Following the line of the hedge, he suddenly

feels a change in the tactile pattern of the path. A grid serving the

drainage of the drive indicates the way to the postbox. To go back

inside, he just walks the same path in a reverse way.”

(Herssens, 2008, p. 107)

This shows how, deprived of sight, a blind person uses their haptic

sense, which, uses the tactile information all around us to build a

mental map of the environment and make sense of the world.

We all have this haptic sense, which is giving us valuable information

all of the time. By carefully considering the textural qualities of the

materials we use and their organization, as well as the visual image

which has tended to dominate architecture of the 20th and 21st

century, an architect can greatly enhance the experiential quality of

his architecture and make it accessible to all.

52

The Haptic System: Personal Space

“ Throughout our patterns of inhabitation, space becomes a

kind of possession. Each of us is centered in an invisible but

nonetheless significant “personal space” or three-dimensional

bubble that ensures that a certain distance will usually be

maintained between our body and the bodies of others.

In determining how much space is required for a room, it is

vital to know not only the number of people who will occupy it,

but also the kind of activity they will engage in and accordingly

what spacial relationship they will maintain with each other in

that culture – intimate, social or public.”

(Hall 1966 cited Franck, 2007., p. 51)

If our personal space is invaded, we feel very uncomfortable. In the

UK the normal greeting is a handshake, which allows by invitation a

limited, temporary intrusion into our personal space. In Europe, a

hug and a kiss on both cheeks even between men is quite normal. In

the UK this feels uncomfortable, too familiar; because our personal

space is being invaded more than our culture has taught us to

expect.

Places where people are forced into close proximity with each other,

e.g. crowded tube trains, or spaces where people are funneled

together are uncomfortable, because peoples personal space is being

invaded. In a cinema or on a bus or train, strangers will invariably

choose to leave a buffer of an empty seat between themselves and a

stranger, however, people will hapily sit next to someone they know,

but not touch them. Where people have a close emotional bond they

53

will touch. The arm around a girlfriend or a son or daughter, gives

pleasure as inviting one into that space makes a connection.

As you can see the amount of personal space and the circumstances

when one will allow it to be broken depends on culture and the

relationship between people.

By designing a space where there is not enough room to maintain

personal space an architect can inadvertently or deliberately create a

very uncomfortable, and stressful feeling in the visitor.

This invisible boundary interacts with the world and has an affect on

how we feel.

“...If an external boundary is very close to us, like a tall wall,

we perceive our body to have shrunk, while if we are orientated

to an opening in a great space by a doorway, window, vista or

park, we perceive our body as having expanded.”

(Bloomer, 1977, p. 42)

This feeling of compression or expansion can make us feel heavy,

oppressed and insignificant or uplifted, light and free.

54

Proportion, Balance and Scale

Everything should be done on a human scale. Too small and we feel

squeezed, trapped; too large and we are dwarfed by the volume, we

feel insignificant, unimportant, a number, not a person.

Disproportionately low ceilings or uneven floors, as used in the

Imperial War Museum in Manchester can subtly instill a sense of

unease, whilst light airy spaces, which are in proportion, feel

uplifting.

A low ceiling in a small space can create an intimate atmosphere, for

example a snug in an old world pub or a booth in a restaurant, or

drapery over a four-poster bed all create a comfortable private,

intimate space, where one feels safe, secure and protected from the

outside world.

However, in contrast, a space where the ceiling is too low for the

length or width will feel heavy and oppressive; is it going to collapse

and crush us? In a natural cave, the roof might cave in; roof falls in

mining are common enough occurrences to reinforce that fear.

55

Chapter Summary

“Modern architecture has had its own conscience

in reorganizing a bias towards the visual nature of

designs. Architecture of the exterior seems to

have interested the architects of the avant-garde

at the expense of architecture of the interior. As if

a house were to be conceived for the pleasure of

the eye rather than the wellbeing of the

inhabitants.”

(Grey, 1929)

In 1929 Eileen Grey discussed how the modern movement only

considered the visual depiction of architecture; she gave a prophetic

warning that all the other senses, which have a major affect on the

occupant, were being ignored.

Many 20th century architects produced work, which was visually

stunning from the outside, but failed to meet the needs of the

occupants. Many architects produce amazing shapes, they grab the

headlines, but under the veneer of glass and steel skins, the users

live or work in bland soulless, beige boxes, attractive for their

flexibility and efficiency to developers, but stifling and repressing for

the users.

In this chapter I have shown how the emotions we experience when

moving through a space will vary depending on the stimulus we

receive from the interplay between the spatial organisations, lighting,

texture, colour, sound, and the connection to or disconnect from the

outside world.

56

These responses are unconscious and the recipient does not directly

perceive the actual characteristics that promote the response,

nevertheless they are extremely powerful. The architect by his

manipulation of these elements could design in desirable

characteristics, which elicit a positive response and design out

negative characteristics to eliminate undesirable responses, or indeed

deliberately include negative characteristics in order to elicit an

uncomfortable response.

An architect can manipulate how a person experiences the spaces he

designs and can take that person through a physical and emotional

journey as they move through and experience the different spaces in

a building town or city.

By remembering that we primarily give meaning to our environment

through our visual, haptic, and aural senses, and that this sensory

experience is universal, the architect can design places that are

accessible and stimulating to all.

By carefully considering all of the stimuli the users will be

exposed to the architect can heavily influence the emotions.

This gives the architect great power with which comes great

responsibility.

57

Chapter Two: Case Studies

This chapter explores how architects have taken advantage of the

way we perceive our world through our senses and used techniques

that stimulate some or all of these senses in order to manipulate how

a visitor feels, when experiencing their work.

This will take the form of a critique of some of the techniques used in

the work of, Daniel Libeskind (Imperial War Museum North), Peter

Eisenman (Memorial for the Murdered Jews of Europe), and, the

partnership of Kathryn Gustafson and Neil Porter (Lady Diana

Memorial Fountain).

In their own way these architects have all used their architecture to

attempt to deliver a message that educates the public.

This chapter is concerned with exploring how each architect creates

spaces that unconsciously talk to us to make us ‘feel’. It considers

how architects attempt to ‘talk to’ the senses of not only sight, but

also the haptic sense (touch), basic orientation and hearing to create

emotion in their buildings.

58

The Imperial War Museum in Manchester

Fig 27 Shards of the broken globe (Authors photograph, 2011)

Daniel Liberskind describes the form of his Imperial War Museum in

Manchester thus:

“The design concept is that of a globe which has been shattered

into fragments and then reassembled. The building’s form is the

interlocking of three of these fragments, which represent earth,

air, and water. These three shards together concretize the

Twentieth century conflicts, which have never taken place on

an abstract piece of paper, but rather have been fought by men

and women by land, sky, and sea. The IWMN is a constellation

composed of three interlocking shards of space. The Earth

Shard forms the museum space, signifying the open, earthly

realm of conflict and war. The Air Shard serves as a dramatic

entry into the Museum, with its projected images,

observatories, and education spaces. The Water Shard forms

the platform for viewing the Canal, complete with a restaurant,

cafe, deck and performance space.”

(Studio Daniel Libeskind, 2011)

59

Fig 28. View of the IWMN from across the Manchester Ship Canal (Studio Daniel

Libeskind, 2011)

Fig 29. . Aireal view of the IWMN (Studio Daniel Libeskind, 2011)

60

This concept is very poetic, however the whole form of the building

(Fig 28 / 29.) can only be seen from a distance or with the benefit of

a birds eye view. The whole form is not visible or comprehensible

close up or from within the building.

What is interesting in the context of this dissertation is how the

building is designed to provoke emotion.

On arrival, one is presented with an austere dark grey wall punctured

by windows; the hard cold metallic skin of the roof arching over it

and the very mechanical sheet metal covering of the tower leaning at

four degrees from vertical that houses a viewing platform. This

frames the main entrance to the museum (Fig 30.).

The grey colour is the colour of depression, of grey skies bereft of

colour and warmth; the hard metal is cold, mechanical, and

unnatural; this is not a warm welcoming building. It has a somber

austere industrial feel, in keeping with the hard brutal story, starting

with the world’s first mechanized war (WW1) told inside the building.

“…The building purposefully unsettles you from the Air Shard

entrance onwards to prepare you for the emotional and

revealing experience ahead.”

(Smith., 2002)

61

Fig 30. The Air Shard Tower and main entrance (Authors photograph, 2011)

62

The entrance (Fig 31.) is also offset from the vertical; it takes you

under the tower (Fig 32.), which is a very industrial looking structure

reminiscent of a scaffolding watchtower clad in cold inhuman metal

panels.

Fig 31. The main entrance (Authors photograph, 2011)

The gaps in the paneling let in the elements, you feel, exposed,

vulnerable, cold, and very insignificant. Perhaps this is metaphor for

how the young men fighting in the trenches of First World War might

have felt, knowing that the whistle signaling the order to go over the

top was not far away and that it might signal their end.

63

Fig 32. Inside the Air Shard tower that is the entrance to the museum (Authors

photograph, 2011)

To reach the viewing platform, one must take the rickety elevator

and traverse an elevated, vertigo inducing walkway that connects to

the viewing platform 29m above the ground.

64

Fig 33. Elevated walkway (Authors photograph, 2011)

The open grills of the viewing platform (Fig 34.) angle away

enhancing the sense of unsteadiness. One can see the drop to the

ground 29m below through the metal grill flooring (Fig 35.); this

heightens the feeling one could fall. Which of course one can’t?

65

Fig 34. Viewing platform (Authors photograph, 2011)

Fig 35. Open metal grill flooring (Authors photograph, 2011)

66

This feeling of unease sets the scene; it is reinforced, by the uneven,

slightly sloping floors (Fig 36.), taking one down to the far side of the

exhibition; a number of polished metal walls (Fig 37/38.), angled

away from the vertical enhance the sense of unsteadiness.

Fig 36. Main exhibition space (Authors photograph, 2011)

67

Fig 37. Polished walls lean precariously (Studio Daniel Libeskind, 2011)

68

Fig 38. Polished walls lean precariously (Authors photograph, 2011)

The architect designed the floor that curves in two directions to

represent the curvature of the Earth away from the North Pole at the

entrance. (Architects Journal, 2011) This is only a slight slope, but

does instill a sense of sinking down perhaps, a suggestion of sinking

69

down into the depravity of war, before eventually making ones way

back up into the light, into peace time, and out of the building.

The way the ceiling curves down reduces the height of the space as

the visitor moves towards the bottom of the exhibition hall and has

the effect of creating a feeling of compression, of a weight pressing

down oppressing and shrinking the visitor; who is now feeling small

and powerless; as the people in wartime were powerless cogs in a

huge machine.

Fig 39. Polished walls lean precariously (Authors photograph, 2011)

These techniques create a feeling of foreboding; an appropriate

feeling for a building that houses exhibitions that show the futility of

war, the waste of life and the disruption to normal life, war brings.

70

The architect of the Imperial War Museum, Daniel Libeskind, born in

the Polish town of Lodz in 1946 the first child of two Polish Jews who

had survived the Nazi labour camps, was deeply affected by war

having lost many members of his family to the Holocaust. He said of

his design for the museum:

“When I began to work on the competition for the Imperial War

Museum North, I was deeply challenged by the notion of

creating a place that was at once intimate and civic….

…My aim was to create a building, not only intelligently

programmed for the events which were to take place in it, but

one which emotionally moved the soul of the visitor toward a

sometimes unexpected realization. Conflict is not simply a story

with a happy or unhappy ending, but an ongoing momentum

that structures one’s understanding of the future in relation to

the past.

In order to touch the passions of the visitor, and structure a

building that is boldly put together, I designed a building that is

emblematic of the earth shattered by conflict.

As the visitor moves through this splintered globe with its

fragmented curvatures, there is a feeling of vulnerability.

These programmatic activities are given three dimensional

depth, not in neutral containers, but in functional and

emblematic spaces, each of which has a density, materiality,

temperature, acoustical quality, atmosphere and gravity which

are not fully accessible to the abstraction of words, but rather

to concretely embodied experience.

71

…I hope that this building will enable the Imperial War Museum

north, to accomplish its mission of inspiring, involving and

educating its audiences.”

(Forrester, 2004, p. 75)

His use of proportion compresses and then expands the space; it has

the effect of making the visitor feel small and insignificant then

hopeful and optimistic. The hard cold materials and the palette of

greys create a sense of foreboding. The hard textures cause echoing

sound that disorientate the visitor heightening the sense of unease,

and creating the feeling of vulnerability Libeskind was striving for.

The way he has created this sense of foreboding sets the scene; it

adds to the power of the exhibits.

72

Memorial for the murdered Jews of Europe

Fig 40. Memorial for the Murdered Jews of Europe (Anderson, 2011)

Peter Eisenman’s Memorial to the Murdered Jews of Europe (MMJE)

in central Berlin doesn’t immediately give any visual clues that it is a

memorial at all; nor does it give any direction as to how a visitor is

supposed to feel or behave. Instead Eisenman creates spaces, which

through the sense of touch, sound and the sense of being in the

space, are intended to create feelings of unease, of being small,

insignificant, and powerless.

The MMJE is set out over a 2-hectare site in the former zone of the

Berlin wall close to the tourist are of Potsdamer Platz. This space is

covered with 2711 thick rectangular columns (Stelae), each 95

centimeters wide and 2.375 meters long, with heights varying from

zero to 4 meters. The Stelae are laid out in a closely spaced grid

pattern 95 centimeters apart to allow for only individual passage

73

through the grid (Eisenman, n,d). This creates a grid of narrow paths

between the rows of Stelae that intersect at 90 degrees.

Fig 41. Field of Stelae (Deror, 2007)

The ground which is paved undulates, dropping down as the visitor

moves away from the edges of the field and at the same time the

Stelae, which are small enough to sit on or lean on at the edge,

become taller as the visitor moves further into the field. As the visitor

moves towards the center of the memorial, the ground drops and at

the same time the Stelae increase in height, creating narrow

passages that increasingly tower above the visitor. This builds an

increasing sense of enclosure, and is intended to build an increasing

sense of claustrophobia and unease.

Some of the Stelae are unevenly set and appear to lean over the

visitor, further exaggerating the sense of unsteadiness, weakness,

and insignificance. The Stelae are set 95 cm apart, close enough to

74

touch with outstretched hands but the isles are set too narrow for

companions to pass two abreast, forcing them to move in single file,

unable to see past the person in front, or the ground in front of them;

This is designed to cause a feeling of having no control, being

powerless, alienated and alone. Much as the victims of the Holocaust

might have felt. (Stevens, Nothing More Than Feelings, 2009)

“People are supposed to feel this memorial’s purpose and act it

out, rather than see or think it.”

(Stevens, Nothing More Than Feelings, 2009, p. 167)

In a person interview with Peter Eisenman, he explained that:

“…In his use of minimalist technique that he was not trying to

represent the Holocaust: he believes this is impossible, because

the Holocaust is unfathomable, and representations trivialize

it.”


“Figural Holocaust memorials, such as one at Sachsenhausen

concentration camp near Berlin that depicts emaciated,

suffering and collapsing victims, communicate that the viewer

should definitely react by feeling sad. Instead, Eisenman

wanted to induce in memorial visitors physiological feelings

which would be similar to those that Holocaust victims

themselves experienced.”

“…One visitor, who had been in a concentration camp, who

came to Eisenman in tears to tell him that his Holocaust

memorial design did recreate the feelings she had.”


75

In the southeast corner of the Stelae field is the underground

Information Centre. This is accessed by two flights of stairs or a lift

and presents in a series of spaces that mirror the Stelae above

(Anon, Information Centre, 2011).

For those people who, intended to visit the information center, which

is under the field of Stelae, or come across it as they explore the site,

a powerful exhibition presents the stories of the Murdered Jews of

Europe. The message presented in the exhibition is designed to

educate and move the visitor emotionally; it is a memorial to their

suffering.

“A central function of the Information Centre is to back up the

abstract form of remembrance inspired by the Memorial with

concrete facts and information about the victims. This includes,

for example, recording as many names of murdered Jews as

possible. Personal and biographical details of individuals and

families will also be presented as examples.”

(Anon, Information Centre, 2011)

For the many who do not come across the information center, there

is nothing to guide their emotional response; they will individually

simply respond to the stimuli Eisenman creates in their own way.

This lack of guidance has resulted in many visitors displaying

behavior, which one might find at odds with the behavior one might

expect to see at a memorial of this type.

76

Fig 42. Visitors walking between and over the field of stelæ, and lying down on top

of them. (Stevens, Nothing More Than Feelings, 2009, p. 158)

Paradoxically, many visitors undoubtedly stimulated by the

architecture, seem oblivious to Eisenman’s intended emotional

responses to the memorial; in contrast to the slow, respectful

walking, and hushed tones one might expect to see at a site of

remembrance; many visitors seem to use the memorial as a

playground.

Eisenman’s use of hard concrete Stelae arranged in a regimented grid

causes the sound from visitors to reverberate from the hard surfaces

of the concrete, causing all the sounds to merge and mingle. This

confuses the origin of the sound, heightening the sense of isolation

and confusion, and the sense of being lost.

77

However this confused origin of the sounds of other players also

heightens the excitement and mystery of the games of hide and seek

that children play in the memorial.

The memorial is open on all sides and this permeability results in

many incidental visitors who have no knowledge that it is a memorial

at all. They may be tourists, business people taking a short cut to

their offices that surround the site or families taking their children out

for some fresh air, much as one would take a child to the park.

The close spacing of the Stelae does, as Eisenman intended, cause a

sensation of enclosure; the grid pattern can and does result in an

unexpected encounter with a stranger, which will cause an

uncomfortable, if temporary invasion of ones personal space.

However, that same close proximity of the Stelae allows people to

play on the top of the memorial, jumping from Stelae to Stelae; some

sunbathe in warm weather, finding the warmth of the concrete

pleasurable. The spaces below are used by children playing hide and

seek, the threat of unexpected discovery adding to the excitement of

the game. One reviewer on the site described the field of Stelae as

being perfect for paintballing!

“The memorial’s size and its many circulation aisles mean

visitors can play and observe but control their exposure to

strangers, keeping their anonymity or remaining completely

discreet. The actions of visitors to conventional, explicit

memorials are constrained by the etiquette and rituals of

remembrance. But many visitors do not comprehend the

MMJE’s purpose; what this illegible object encourages is playful

exploration of material conditions. Eisenman consciously

shunned making a representational memorial like Rodin’s

Burghers of Calais, ‘looking all weepy’, instructing the onlooker

78

how they should feel and act. Here, visitors make their own

judgments about risk and safety, possible actions, morally right

and wrong behavior.”

(Stevens, Why Berlin's Holocaust Memorial is such a popular

playground, 2008, p. 77)

Eisenman has created in Berlin a memorial that for many is not a

memorial at all. It is their playground. The regimented field of Stelae

force one to pass in single file, the hard concrete in places towers

over the visitor, making them feel small, insignificant, and

vulnerable. This is as Eisenman intended. However, for the many who

do not visit the information centre, there is no guidance how to

interpret the feelings of claustrophobia the monument creates. Often

this lack of guidance results in play.

79

Lady Diana Memorial Fountain

Fig 43. Lady Diana Memorial, Hyde Park (Anon, Diana, Princess of Wales Memorial

Fountain, 2006 - 2011)

The lady Diana memorial in Hyde Park is also an abstract form;

although unlike Eisenman’s Memorial in Berlin, it was not intended to

create the uncomfortable feelings of claustrophobia, isolation, and

alienation, or any senses of mourning and sadness that Eisenman

intended; on the contrary, the Diana Memorial fountain is intended to

bring joy to the visitors.

The Diana Memorial takes the form of a ring shaped granite fountain

that uses the gentle slope of the site to channel water in two

directions, meeting at a tranquil pool at the bottom of the site, where

the water is recycled.

80

There are bridges that allow people to pass over the water and into

the memorial as they wish. Unlike Eisenman’s closely spaced Stelae

that force people into narrow confined passages that cause strangers

to uncomfortably invade their personal space; this place is open,

people can be together of solitary if they wish.

Fig 44. The cascading water sings (Anon, Diana, Princess of Wales Memorial

Fountain, 2006 - 2011)

On its journey the water changes character as its path widens then

narrow and runs over smooth channels than cascades down a series

of rapids, which cause the water to sing, be calm, turbulent or

tranquil as it makes its way through the memorial. Perhaps this is a

metaphor for the sometimes-joyous sometimes-turbulent periods in

Diana’s life (Gustafson, n,d).

81

The ever-changing symphony of sound created by the water as it

meanders, swooshes, cascades, and splashes its way is a soothing

and joyous sound. These differing sounds encourage people to sit and

dip their toe in the water, actively enjoying the tactile pleasure of the

cooling water on their skin, or sit and enjoy the relaxing ambience of

the place.

The sides of the fountain are intentionally wide enough to sit or lay.

To passively feel the warmth of the granite warmed by the sun on

summer days.

It is not a traditional memorial, which is to be observed reverently

from a far. Visually the monument only rises slightly from its grassy

setting. It does not visually inform the visitor that it is a memorial or

how to behave. However visually, the cascading water sparkles with

the light of the sun and the calm pools reflect the sky and the trees

that surround the parkland setting. This work profoundly, stimulates

the senses of sight, hearing and the haptic sense of touch. This

memorial is to be experienced it is a place to enjoy.

The urge to paddle in the gently cascading water is so seductive that

in warm weather. When the fountain first opened, some children

slipped and were hurt, therefore there are now people employed to

make sure people only sit on the fountain and don’t paddle in it.

The fountain creates happiness, which the designers Kathryn

Gustafson and Neil Porter have explained was intended to reflect

Lady Diana’s Character (Stevens, Nothing More Than Feelings, 2009).

82

Fig 45. A place to enjoy (Anon, Diana, Princess of Wales Memorial Fountain, 2006 -

2011)

“The fountain has specific features to create different water

effects like a 'Chadar Cascade', a 'Swoosh', 'Stepped Cascade',

'Rock and Roll' and a still basin at the bottom which reflect the

various qualities of the Princess' life.”

(Gustafson, n,d)

Gustafson explained that the original concept for the memorial was to

reach out and let in. (Gustafson, n,d) This was never going to be a

memorial to solemnly mourn the princess’s untimely death. On the

contrary it was to be a celebration of her character, a place to bring

joy, as the princess dubbed the “peoples princess”, had brought joy

to many in her lifetime (Stevens, Nothing More Than Feelings, 2009).

83

Chapter Three: Architecture with a purpose:

an emotional journey, from visitor to educator.

Architecture profoundly affects the way we feel! The previous

chapters explored how we perceive our surroundings through our

senses, the physiologically and psychologically affect a building can

have on us and explored how a number of architects’ have attempted

to stimulate emotion in their work.

This chapter seeks to demonstrate that armed with a thorough

understanding of human perception and the physiologically and

psychologically affects architecture stimulates, it is possible to create

architectural spaces that stimulate all the senses and elicits specific

emotional responses. This ability to imbue a series of spaces with

specific emotional qualities would also allow the architect to take a

visitor through a powerful emotional journey as they progress

physically through the building.

Endowed with this knowledge the architect can design building that

provokes in users the emotional responses the client really needs.

The specific emotional agenda of the building being inform by the

function the building is intended to perform, the client’s requirements

and the issues the building seeks to address. This agenda would be

developed from thorough exploration of the issues and understanding

of the emotions aroused by those issues.

This process is illustrated by the example of a public marine

aquarium, whose purpose is to educate its visitors and motivate them

to champion the cause of marine conservation. A conservation

centered aquarium should be designed in such a way that the visitor

84

will emerge from their journey, with a sense of outrage at what is

being done and a sense of wonder for the amazing underwater world.

In order to bring about change, the educated are invited to become

the educators. Enthused by the experience of seeing live animals in

the aquaria, visitors lead a groundswell of public opinion that could

compel vested interests to change their damaging policies and

practices

The importance of public aquaria in conservation

The oceans cover 71% of the Earth's surface and contain 99% of the

Earth's living space. This is the largest space in our universe known

to be inhabited by living organisms, most of which we know very

little about.

The relentless exploitation of the seas by man has brought many

species to the edge of extinction and is now threatening food security

for some of the poorest people on Earth, who rely on the sea for their

survival (Greenpeace, 2011). See Appendix A

Michael J. Novacek writing about the need to engage the public in

biodiversity issues for the US National Academy of Sciences explains:

‘To engage people in biodiversity and other environmental

issues, one must provide the opportunity for enhanced

understanding that empowers individuals to make choices and

take action based on sound science and reliable

recommendations… …the responsibility for providing lifelong

exposure to science falls to museums, botanical gardens, zoos,

85

aquaria, science centers, and similar venues devoted to the

public education of science…’

‘…One important strength of such institutions as venues for

communicating science is the feeling of trust they invoke in the

public. Surveys show that natural history and science museums

have extremely high credibility ratings and show that acquired

knowledge of a subject has a heavy influence on subsequent

attitudes and behavior. ‘ (Novacek, 2008, pp. 1,2,6)

Therefore museums aquaria and the like have a major part to play in

educating the public about the major environmental problems facing

our planet and it is critical that good architectural design maximizes

the impact of that education.

Because the architect has such power to influence our emotional

response and our actions, he has a great responsibility to society to

get this right.

The process of designing for emotion

1. The architect must through research and consultation with the

client, thoroughly immerse themselves in and understand the

issue the building is concerned with.

2. This will allow the architect to understand and feel the

emotions raised by the issue.

3. Once the architect feels these emotions they can develop an

appropriate emotional agenda for the building.

86

4. From this agenda a series of spaces that communicate these

desired emotions can now be designed using the techniques

discussed in chapters 1 & 2 as shown in example (Appendix C)

5. This gives a formula to design each space depending on the

required emotional response and a series of spaces that elicit

the different emotions needed:

6. This series of spaces and the emotional response each space

provokes can provide the framework for an emotional journey

that will inform the design of the building.

Ref 46. The Process of designing for emotion (Appendix C) (Authors Flowchart,

2011)

87

An example of the process of designing for emotion in the

context of a conservation focused public aquarium

From the authors’ research into the issues surrounding marine

conservation (Appendices A&B), there are a number of key issues

that should be presented in a public marine aquarium that aroused

emotion in the researcher (the designer charged with designing the

aquarium). These emotions can be divided into broadly four groups:

Sadness – Anger – Optimism – Wonder and Awe

These distinct groups form the emotional agenda and are the

framework for a series of four space; each designed to elicit emotions

in a visitor to the aquarium that are similar to the emotions the

researcher felt during the research phase. This process will inform

the design of the aquarium and the emotional journey a visitor would

take in a visit to the building.

Space One: Sadness

E.g. Fifteen out of seventeen of the world's largest fisheries are so

heavily exploited that the reproduction can't keep up.

(See Appendix A)

Sadness or depression can be stimulated by……….e.g. a low heavy

ceiling pressing down or very height ceiling in a narrow space causing

the sensation of shrinking.

Space Two: Anger

E.g. Japan kills more than 20,000 dolphins each year, which is sold in

Japanese markets at 1000 Yen per Kilo. The lowest quality Tuna

available costs three times that amount.

(Bloomberg, 2010)(See Appendix A)

88

These emotions can be stimulated by………..e.g red is the colour that

raises the heart rate. When combined with an oppressively low ceiling

or very narrow claustrophobic space, a sensation of being trapped

will stimulate the fight of flight response which will cause the visitor

to feel uncomfortable and on edge.

Space Three: Optimism

E.g. The Basking sharks in the UK are now protected and attracting

shark-spotting trips, where previously they would have been hunted

for their meat and liver oil. (See Appendix B)

These emotions can be stimulated by……….e.g. a feeling of openness

will enhance the optimism. Yellow is the colour of the sun. It is warm

and considered to raise the mood (Marberry, 1995, p. 16). In

combination with good natural lighting and more open feel, this is a

comfortable space to be in.

Space Four: Wonder and Awe

The Earths oceans are the largest space in our universe known to be

inhabited by living organisms, most of which we know very little

about.

These emotions can be stimulated by……….e.g. a large airy space full

of natural light enjoying views that connect the interior to its place

outside are needed here. Warm textural materials, perhaps pale blue

the colour of the sky and sea that is thought to be a calming colour

(Marberry, 1995, p. 16). The main live exhibitions are in this space.

In this chapter the author has demonstrated using the example of

the Marine Aquarium how, with a thorough understanding of human

perception, and the physiological and psychological responses

architecture stimulates, it is possible to create architectural spaces

that elicit emotion.

89

This chapter has also introduced the idea that by understanding the

responses to stimulus, it is possible to develop a process whereby an

architect can design any building specifically to create the desired

emotional characteristics a client might need.

This process reverses the dominance of the visual sense in

architecture that has been prevalent for the past 100 years; as it

assumes from the outset that any building designed using this

process, will stimulate all of the senses; by using the techniques

discussed in chapters 1 & 2 to elicit appropriate emotional responses.

The process starts by researching what emotion the spaces should

elicit. It then uses that information to generate and emotional agenda

for the spaces in the building that in turn will inform the architecture.

This approach will allow the architect to guide the visitor on an

emotional journey that heightens their experience of the building as

they make their physical progress through it.

90

Conclusion

“ A fish does not drink up the pond in which it lives”.

Native American cited the Deep Hull.

This dissertation has demonstrated the power of architecture to

deeply affect people. Architects have the tools to choose what

emotion to heighten, and what to suppress; how they want people to

feel. This gives the architect immense power over those who will

experience their work; however with that power comes immense

responsibility.

In the context of a marine conservation project architecture could be

used to educate our young to have respect for the natural world; be

outraged at what has and is being done to it, and be enthused and

excited by the beauty and diversity of the creatures our world is

home to. Suitably motivated, they can collectively change the world.

With careful consideration of how the emotions of the users of

buildings will be affected by the way the architect designs them,

Architecture can be a tremendous force for good.

If architects wish to create truly stimulating buildings, they need to

carefully consider how the volumes they create and materials they

used will stimulate us haptically as well as visually. The haptic sense

unconsciously collects so much information from the tactile pieces of

the puzzle as we navigate the spaces that are essential to building

our mental map of a place. Done well, a user will navigate easily and

feel at ease. Done badly a user may well feel lost and disorientated.

91

Architects must consider, how they light the spaces in order to

suppress or lift the spirit, bring out the textures of the materials or

soften a hard edge, as they must consider the physiological and

psychological effect of the colours and the sounds, that give depth to

the experience.

When the architect considers all of this, they can create powerful

emotional responses that influence the behavior of the visitor.

Conversely failure to consider the impact of architectural space on

human emotions is a missed opportunity and can result I wholly

inappropriate emotional response.

Nevertheless, the architecture alone is not enough; as demonstrated

in Eisenman’s MMJE in berlin, without guidance telling how to

interpret the feelings induced by the architecture, unexpected

behavior may well ensue.

In the context of the aquarium, whose intention is to educate and

enthuse the visitor to take action, the designer must remember that

the building can stimulate responses that reinforce the feelings the

exhibition seeks to create. However, the content of the exhibition is

also essential in providing the moral guidance to show the visitor how

to interpret the feelings the architecture creates.

The architecture provides the stage on which the drama is played

out; it is key to education and done well can be the catalyst for

change! However the play its self must tell the story and take full

advantage of the feelings and emotions the architecture stimulates.

When the two are integrated they can educate and enthuse visitors

to go out into the world and educate others.

92

References

aegiandyad. (2011). Burnt Orange Interior by aegiandyad on

deviantART. Retrieved 12 14, 2011, from Deviantart.com:

http://aegiandyad.deviantart.com/art/Burnt-Orange-Interior-

208844380

Anderson, C. (2011, 10 31). Berlin city breaks: Germany's capital is a

city with a ghost on every corner. Retrieved 12 14, 2011, from Mail

Online: http://www.dailymail.co.uk/travel/article-2055312/Berlin-

city-breaks-Germanys-capital-city-ghost-corner.html

Anon. (1999-2011). Retrieved 10 3, 2011, from E2NT:

http://emigratetonewzealand.files.wordpress.com/2010/03/whaling.j

pg

Anon. (2006). Retrieved 10 3, 2011, from sharkdiving.us:

http://www.sharkdiving.us/images/hammerhead/05.jpg

Anon. (2006-2011). Retrieved 10 6, 2011, from scienceblogs.com:

http://scienceblogs.com/deepseanews/upload/2007/06/20189342.jpg

Anon. (2009). Retrieved 11 2011, from

http://scubadivingstaffordshire.co.uk:

http://scubadivingstaffordshire.co.uk/images/Farnes_2009_a.JPG

Anon. (2006 - 2011). Diana, Princess of Wales Memorial Fountain.

Retrieved 12 3, 2011, from Wayfaring Travel Guide:

http://www.wayfaring.info/2011/03/21/diana-princess-of-wales-

memorial-fountain/

Anon. (n,d). Diving at Estartit and The Illes Medes. Retrieved 12 14,

2011, from estartitrentals.com: http://estartitrentals.com/diving-at-

estartit-and-the-illes-medes/

Anon. (1996-2011). Environment. Retrieved 10 6, 2011, from

nationalgeographic.co.uk:

93

http://environment.nationalgeographic.co.uk/staticfiles/NGS/Shared/

StaticFiles/Environment/Images/Habitat/Over_Fishery/01-fish-dead-

689664-sw.jpg

Anon. (2011). Information Centre. Retrieved November 30, 2011,

from Stiftung Denkmal fur die ermordeten Juden Europas:

http://www.holocaust-

mahnmal.de/en/thememorial/informationcentre

Anon. (n,d). Retrieved 10 3, 2011, from stopsharkfinning.net:

http://www.stopsharkfinning.net/images/sharkfinsoup1.jpg

Anon. (n,d). Retrieved 10 3, 2011, from madmermaids.com:

http://www.madmermaids.com/shark%20fin%20soup.jpg

Anon. (n,d). Retrieved 10 6, 2011, from www.greenpeace.org:

http://www.greenpeace.org/international/ReSizes/OriginalWatermark

ed/Global/international/photos/iPad/40th%20anniversary/GP015RO.j

pg

Anon. (n,d). Retrieved 10 6, 2011, from Greenpeace.org:


ed/Global/international/photos/oceans/2010/Greenpeace%20docume

nting%20Russian%20ship.jpg

Anon. (n,d). Retrieved 10 6, 2011, from 1.bp.blogspot.com/:

http://1.bp.blogspot.com/_nX0D7HDlaBU/TUbCsJxc1dI/AAAAAAAAB1

s/1_bIpJsqYKg/s1600/StopPic.jpg

Anon. (n,d). Retrieved 10 6, 2011, from Fishfight.net:

http://www.fishfight.net/var/images/Copy/Discard.jpg

Anon. (2009, 07 13). notre-dame-the-deportation-memorial.

Retrieved 12 8, 2011, from thejetpacker.com:

http://thejetpacker.com/notre-dame-the-deportation-memorial/

Anon. (n,d). symptoms-of-SAD. Retrieved 12 06, 2011, from SAD

Association: http://www.sada.org.uk/symptoms-of-SAD.html

94

Architects Journal. (2011). Retrieved 11 16, 2011, from

http://www.architectsjournal.co.uk:

http://www.architectsjournal.co.uk.libaccess.hud.ac.uk/home/case-

study-a-striking-sculptural-landmark-building-on-the-waterfront-at-

salford-quays-in-manchester-housing-collections-from-the-imperial-

war-museum/145937.article

Arquitectos, P. (n,d). Directory of Architecture Designs,

Contemporary Houses, and Modern Buildings. Retrieved 12 14, 2011,

from Architecture-Buildings[dot]com: http://www.architecture-

buildings.com/nisha-bar-lounge-in-mexico-city-by-pascal-

arquitectos/view-nisha-bar-violet-light-accent/

BBC News Channel. (2005, 02 16). Age of ancient humans

reassessed. Retrieved 11 09, 2011, from

http://news.bbc.co.uk/1/hi/sci/tech/4269299.stm

Birren, F. (1982). Light, Colour & Environmet: Revised Edition. Ne

York: Van Norstrand Reinhold Company Inc.

Bloomberg. (2010, 08 27). Unfazed by `The Cove,' Taiji's Fishermen

Prepare to Resume Dolphin Hunt. Retrieved 10 31, 2011, from

Bloomer, K. a. (1977). Body, Memory, and Architecture. London: Yale

University Press Ltd.

Bourne, H. W. (2009). Mood indigo: decorating inspiration in a blue

hue . Retrieved 12 14, 2011, from Design Hole Online:

http://designholeonline.com/2009/mood-indigo-decorating-

inspiration-in-a-blue-hue/

Bradley, S. (2010, 01 25). Gestalt principles: How are your designs

perceived? Retrieved 12 08, 2011, from vanseodesign:

http://www.vanseodesign.com/web-design/gestalt-principles-of-

perception/

Bronzaft, A. L. (2011). The increase in noise pollution: what are the

health effects? - The Harmful Effects of Noise. Retrieved 12 12, 2011,

95

from CBS INTERACTIVE BUSINESS NETWORK RESOURCE LIBRARY:

http://findarticles.com/p/articles/mi_m0876/is_n78/ai_20375099/

Carol, J. (2009). Quality of Light; Quality of Sapce. Huddersfield,

Yorkshire, England: University Of Huddersfield.

Chapman, C. (2011, 11 24). The Deportation Memorial - A Moving

Monument. Retrieved 12 12, 2011, from Hedge Hogg Guides:

http://hguides.com/paris/the-deportation-memorial/

Churchil, W. (1960, 09 12). Education: Schools of Tomorrow.

Retrieved 12 6, 2011, from Time Magazine:

http://www.time.com/time/magazine/article/0,9171,897555,00.html

Claridge, I. (2009, 11 16). Retrieved 12 08, 2011, from

ianclaridge.net: http://www.iainclaridge.co.uk/blog/1697

Cox, T. (2009, 3 16). Sound Architecture: The Spaces That Speak.

Retrieved 12 6, 2011, from BBC Radio 4:

http://www.bbc.co.uk/programmes/b00j3w8k

Crutchfield, B. (1996-2011). Room Acoustics. Retrieved 12 08, 2011,

from Crutchfield: http://www.crutchfield.com/S-

KPeeI2FHjL5/learn/learningcenter/home/speakers_roomacoustics.ht

ml

Day, C. (1990). Places of the Soul (3rd ed.). London: Aquarian Press.

Deror, A. Denkmal für die ermordeten Juden Europas. Denkmal für

die ermordeten Juden Europas.

Dive in Paradise (2001). [Motion Picture]. Moorea French Polynesia.

Divernet.com. (2008, 8 1). Retrieved 10 5, 2011, from Divernet.com:

http://www.divernet.com/UK_Diving/uk_diving_general/158919/big_

tracy_gets_around.html

DIVING CENTER LA SIRENA. (n,d). Retrieved 10 10, 2011, from

http://www.la-sirena.net/islas-medas-uk/1000-diving-nature-

reserve-islands-medas-costa-brava.html

96

Douma, M. (2006). Color Vision & Art from WebExhibits. Retrieved 12

8, 2011, from Institute for Dynamic Educational Advancemen:

http://www.webexhibits.org/colorart/bh.html

Eisenman, P. (n,d). Memorial to the Murdered Jews of Europe.

Retrieved November 30, 2011, from Stiftung Denkmai fur die

ermordeten Juden Europas: http://www.holocaust-

mahnmal.de/en/thememorial/fieldofstelae/architecture

Forrester, J. (2004, 11 17). Manchester Region History Review Index

of all volumes. Retrieved 11 16, 2011, from Manchester Centre for

Regional History:

http://www.mcrh.mmu.ac.uk/pubs/pdf/mrhr_17i_museums_forrester

.pdf

Franck, K. a. (2007). Architecture from the Inside Out (Second

Edition ed.). Wiley-Academy.

Glendenning, M. a. (1994). Tower Block: Modern Public Housing in

England, Scotland, Wales and Northern Ireland. London: Yale

University Press.

Greenpeace. (2000, 1 8). Action Updates 25 Jan 2000. Retrieved 10

3, 2011, from archive.greenpeace.org:

http://archive.greenpeace.org/oceans/whales/action.html

Greenpeace. (2011, 06 15).

http://www.greenpeace.org.uk/tags/African-Voices. Retrieved

October 09, 2011

Grey, E. (1929). Eclectisism to Doubt: Dialogue between Eileen Grey

and Jean Badovici,. L'Architecture Vivante.

Gustafson, K. a. (n,d). Retrieved 12 3, 2011, from Gustafson Porter:

http://www.gustafson-porter.com/site.html

Harper Collins. (2006). Collins Desktop Plus English Dictionary. Colins

English Dictionary and Thesaurus . Franklin Electronic Publishers Inc.

97

Herssens, J. a. (2008). Haptics and Vision in Architecture. In G. M. Dr

Ray Lucas (Ed.), Sensory Urbanism Proceedings 2008. Edinburgh:

The Flâneur Press.

Holl, S. (1996). Intertwining New York. Princeton Architectural Press.

Jodidio, P. (2005). Architecture Now. Koln: Tascen.

Le Corbusier, 1.-1. F. (1971). The city of tomorrow and its

planning;translated from the 8th French edition of 'Urbanism' by

'Frederick Etchells. (3rd Edition ed.). (F. Etchells, Trans.) London:

The Architectural Press.

Marberry, S. a. (1995). The Power Of Colour: Creating Healthy

Interior Spaces,. New York: John Wiley & Sons, Inc.

Meerwein, G. R. (2007). Colour communication in architectural space.

Basel: Birkhauser, Verlag A.G.

Novacek, M. (2008). Engaging the public in biodiversity issues. PNAS

, 105 (1), 1,2,6.

Ojeda, O. a. (2006). Colors: architecture in detail. Gloucester,

Massachusetts, USA: Rockport Publishers Inc.

Rasmussen, S. (1964). Experiencing Architecture (Second Edition

ed.). Cambridge, Massechusetts, USA: MIT Press.

Rawlinson, K. a. (n.d). Research. Retrieved 12 8, 2011, from

stagingthehenriciancourt Bringing early modern drama to life:

http://stagingthehenriciancourt.brookes.ac.uk/research/the_great_ha

ll.html

Roman, A. (n.d). Resources. Retrieved 12 8, 2011, from The Five

Senses: http://questgarden.com/120/25/4/110228114848/t-

resources.htm

savethesea.org. (n,d).

http://savethesea.org/STS%20ocean_facts.htm. Retrieved OCTOBER

98

09/10/2011, 2011, from http://savethesea.org:

http://savethesea.org/STS%20ocean_facts.htm

Sea Shepherd Conservation Society. (n,d). Retrieved 10 9, 2011,

from http://www.seashepherd.org/uk/uk.html

Seifert, D. (2011, 10). Dive Magesine. Retrieved 10 24, 2011, from

http://www.divemagazine.co.uk/marine-life/sharks/5620-world-

without-sharks-.html

Simoula, S. (2009). Colouring Architecture. Huddersfield: University

of Huddersfield.

Smith. (2002). Imperial War Museum North Guidebook. Belmont

Press.

Stevens, Q. (2009). Nothing More Than Feelings. Architectural Theory

Review , 14 (2), 156-172.

Stevens, Q. (2008, 12). Why Berlin's Holocaust Memorial is such a

popular playground. (K. H. Tim Avermaete, Ed.) OASE 77: Into The

Open: Accomodating The Public (77), pp. 71-79.

Studio Daniel Libeskind. (2011). Retrieved 11 16, 2011, from daniel-

libeskind.com: http://daniel-libeskind.com/projects/imperial-war-

museum-north

tanizaki, j. (2001). In Praise Of Shadows. (T. J. Seidensticker, Trans.)

London: Vintage.

The Cove Movie. (2009). Retrieved 10 10, 2011, from

http://www.thecovemovie.com/

The Sharks Trust. (n,d). Retrieved 10 10, 2011, from

http://www.sharktrust.org/v.asp?level2id=6160&rootid=6160&depth

=1

Wright, A. (2008 - 11). Colour Pschycology. Retrieved 12 06, 2011,

from Colour Affects: http://www.colour-affects.co.uk/psychological-

properties-of-colours

99

WSPA. (n,d). (W. s. animals, Producer) Retrieved 10 10, 2011, from

http://www.wspa.org.uk/wspaswork/whaling/default.aspx

xedos4. Image: xedos4 / FreeDigitalPhotos.net. Planet Earth.

Freedigital photos.net.

100

Bibliography

aegiandyad. (2011). Burnt Orange Interior by aegiandyad on

deviantART. Retrieved 12 14, 2011, from Deviantart.com:

http://aegiandyad.deviantart.com/art/Burnt-Orange-Interior-

208844380

Anderson, C. (2011, 10 31). Berlin city breaks: Germany's capital is a

city with a ghost on every corner. Retrieved 12 14, 2011, from Mail

Online: http://www.dailymail.co.uk/travel/article-2055312/Berlin-

city-breaks-Germanys-capital-city-ghost-corner.html

Anon. (1999-2011). Retrieved 10 3, 2011, from E2NT:

http://emigratetonewzealand.files.wordpress.com/2010/03/whaling.j

pg

Anon. (2006). Retrieved 10 3, 2011, from sharkdiving.us:

http://www.sharkdiving.us/images/hammerhead/05.jpg

Anon. (2006-2011). Retrieved 10 6, 2011, from scienceblogs.com:

http://scienceblogs.com/deepseanews/upload/2007/06/20189342.jpg

Anon. (2009). Retrieved 11 2011, from

http://scubadivingstaffordshire.co.uk:

http://scubadivingstaffordshire.co.uk/images/Farnes_2009_a.JPG

Anon. (2006 - 2011). Diana, Princess of Wales Memorial Fountain.

Retrieved 12 3, 2011, from Wayfaring Travel Guide:

http://www.wayfaring.info/2011/03/21/diana-princess-of-wales-

memorial-fountain/

Anon. (n,d). Diving at Estartit and The Illes Medes. Retrieved 12 14,

2011, from estartitrentals.com: http://estartitrentals.com/diving-at-

estartit-and-the-illes-medes/

Anon. (1996-2011). Environment. Retrieved 10 6, 2011, from

nationalgeographic.co.uk:

101

http://environment.nationalgeographic.co.uk/staticfiles/NGS/Shared/

StaticFiles/Environment/Images/Habitat/Over_Fishery/01-fish-dead-

689664-sw.jpg

Anon. (2011). Information Centre. Retrieved November 30, 2011,

from Stiftung Denkmal fur die ermordeten Juden Europas:

http://www.holocaust-

mahnmal.de/en/thememorial/informationcentre

Anon. (n,d). Retrieved 10 3, 2011, from stopsharkfinning.net:

http://www.stopsharkfinning.net/images/sharkfinsoup1.jpg

Anon. (n,d). Retrieved 10 3, 2011, from madmermaids.com:

http://www.madmermaids.com/shark%20fin%20soup.jpg

Anon. (n,d). Retrieved 10 6, 2011, from www.greenpeace.org:


ed/Global/international/photos/iPad/40th%20anniversary/GP015RO.j

pg

Anon. (n,d). Retrieved 10 6, 2011, from Greenpeace.org:


ed/Global/international/photos/oceans/2010/Greenpeace%20docume

nting%20Russian%20ship.jpg

Anon. (n,d). Retrieved 10 6, 2011, from 1.bp.blogspot.com/:

http://1.bp.blogspot.com/_nX0D7HDlaBU/TUbCsJxc1dI/AAAAAAAAB1

s/1_bIpJsqYKg/s1600/StopPic.jpg

Anon. (n,d). Retrieved 10 6, 2011, from Fishfight.net:

http://www.fishfight.net/var/images/Copy/Discard.jpg

Anon. (2009, 07 13). notre-dame-the-deportation-memorial.

Retrieved 12 8, 2011, from thejetpacker.com:

http://thejetpacker.com/notre-dame-the-deportation-memorial/

Anon. (n,d). symptoms-of-SAD. Retrieved 12 06, 2011, from SAD

Association: http://www.sada.org.uk/symptoms-of-SAD.html

102

Architects Journal. (2011). Retrieved 11 16, 2011, from

http://www.architectsjournal.co.uk:

http://www.architectsjournal.co.uk.libaccess.hud.ac.uk/home/case-

study-a-striking-sculptural-landmark-building-on-the-waterfront-at-

salford-quays-in-manchester-housing-collections-from-the-imperial-

war-museum/145937.article

Arquitectos, P. (n,d). Directory of Architecture Designs,

Contemporary Houses, and Modern Buildings. Retrieved 12 14, 2011,

from Architecture-Buildings[dot]com: http://www.architecture-

buildings.com/nisha-bar-lounge-in-mexico-city-by-pascal-

arquitectos/view-nisha-bar-violet-light-accent/

Bachelard, G. (1994). The Poetics Of Space. Boston: Beacon Press.

BBC. (n.d.). Retrieved 10 9, 2011, from BBC News Earth Watch:

http://www.bbc.co.uk/blogs/thereporters/richardblack/2011/02/is_thi

s_the_beginning_of.html#comments

BBC News Channel. (2005, 02 16). Age of ancient humans

reassessed. Retrieved 11 09, 2011, from

http://news.bbc.co.uk/1/hi/sci/tech/4269299.stm

Birren, F. (1982). Light, Colour & Environmet: Revised Edition. Ne

York: Van Norstrand Reinhold Company Inc.

Bloomberg. (2010, 08 27). Unfazed by `The Cove,' Taiji's Fishermen

Prepare to Resume Dolphin Hunt. Retrieved 10 31, 2011, from

Bloomberg.com/News: http://www.smh.com.au/news/whale-

watch/in-for-the-kill-last-of-the-ancient-

whalers/2008/03/07/1204780065634.html

Bloomer, K. a. (1977). Body, Memory, and Architecture. London: Yale

University Press Ltd.

Bourne, H. W. (2009). Mood indigo: decorating inspiration in a blue

hue . Retrieved 12 14, 2011, from Design Hole Online:

103

http://designholeonline.com/2009/mood-indigo-decorating-

inspiration-in-a-blue-hue/

Bradley, S. (2010, 01 25). Gestalt principles: How are your designs

perceived? Retrieved 12 08, 2011, from vanseodesign:

http://www.vanseodesign.com/web-design/gestalt-principles-of-

perception/

Bradshaw, K. (2010). The Impact Of Architecture On Children: How

School Design Can Effect Child Development.

Bronzaft, A. L. (2011). The increase in noise pollution: what are the

health effects? - The Harmful Effects of Noise. Retrieved 12 12, 2011,

from CBS INTERACTIVE BUSINESS NETWORK RESOURCE LIBRARY:

http://findarticles.com/p/articles/mi_m0876/is_n78/ai_20375099/

Carol, J. (2009). Quality of Light; Quality of Sapce. Huddersfield,

Yorkshire, England: University Of Huddersfield.

Chapman, C. (2011, 11 24). The Deportation Memorial - A Moving

Monument. Retrieved 12 12, 2011, from Hedge Hogg Guides:

http://hguides.com/paris/the-deportation-memorial/

Churchil, W. (1960, 09 12). Education: Schools of Tomorrow.

Retrieved 12 6, 2011, from Time Magazine:

http://www.time.com/time/magazine/article/0,9171,897555,00.html

Claridge, I. (2009, 11 16). Retrieved 12 08, 2011, from

ianclaridge.net: http://www.iainclaridge.co.uk/blog/1697

Cox, T. (2009, 3 16). Sound Architecture: The Spaces That Speak.

Retrieved 12 6, 2011, from BBC Radio 4:

http://www.bbc.co.uk/programmes/b00j3w8k

Crutchfield, B. (1996-2011). Room Acoustics. Retrieved 12 08, 2011,

from Crutchfield: http://www.crutchfield.com/S-

KPeeI2FHjL5/learn/learningcenter/home/speakers_roomacoustics.ht

ml

104

Day, C. (1990). Places of the Soul (3rd ed.). London: Aquarian Press.

Deror, A. Denkmal für die ermordeten Juden Europas. Denkmal für

die ermordeten Juden Europas.

Dive in Paradise (2001). [Motion Picture]. Moorea French Polynesia.

Divernet.com. (2008, 8 1). Retrieved 10 5, 2011, from Divernet.com:

http://www.divernet.com/UK_Diving/uk_diving_general/158919/big_

tracy_gets_around.html

DIVING CENTER LA SIRENA. (n,d). Retrieved 10 10, 2011, from

http://www.la-sirena.net/islas-medas-uk/1000-diving-nature-

reserve-islands-medas-costa-brava.html

Douma, M. (2006). Color Vision & Art from WebExhibits. Retrieved 12

8, 2011, from Institute for Dynamic Educational Advancemen:

http://www.webexhibits.org/colorart/bh.html

Eisenman, P. (n,d). Memorial to the Murdered Jews of Europe.

Retrieved November 30, 2011, from Stiftung Denkmai fur die

ermordeten Juden Europas: http://www.holocaust-

mahnmal.de/en/thememorial/fieldofstelae/architecture

Forrester, J. (2004, 11 17). Manchester Region History Review Index

of all volumes. Retrieved 11 16, 2011, from Manchester Centre for

Regional History:

http://www.mcrh.mmu.ac.uk/pubs/pdf/mrhr_17i_museums_forrester

.pdf

Franck, K. a. (2007). Architecture from the Inside Out (Second

Edition ed.). Wiley-Academy.

Glendenning, M. a. (1994). Tower Block: Modern Public Housing in

England, Scotland, Wales and Northern Ireland. London: Yale

University Press.

105

Greenpeace. (2000, 1 8). Action Updates 25 Jan 2000. Retrieved 10

3, 2011, from archive.greenpeace.org:

http://archive.greenpeace.org/oceans/whales/action.html

Greenpeace. (2011, 06 15).

http://www.greenpeace.org.uk/tags/African-Voices. Retrieved

October 09, 2011

Grey, E. (1929). Eclectisism to Doubt: Dialogue between Eileen Grey

and Jean Badovici,. L'Architecture Vivante.

Gustafson, K. a. (n,d). Retrieved 12 3, 2011, from Gustafson Porter:

http://www.gustafson-porter.com/site.html

Harper Collins. (2006). Collins Desktop Plus English Dictionary. Colins

English Dictionary and Thesaurus . Franklin Electronic Publishers Inc.

Herssens, J. a. (2008). Haptics and Vision in Architecture. In G. M. Dr

Ray Lucas (Ed.), Sensory Urbanism Proceedings 2008. Edinburgh:

The Flâneur Press.

Holl, S. (1996). Intertwining New York. Princeton Architectural Press.

Jodidio, P. (2005). Architecture Now. Koln: Tascen.

Le Corbusier, 1.-1. F. (1971). The city of tomorrow and its

planning;translated from the 8th French edition of 'Urbanism' by

'Frederick Etchells. (3rd Edition ed.). (F. Etchells, Trans.) London:

The Architectural Press.

Marberry, S. a. (1995). The Power Of Colour: Creating Healthy

Interior Spaces,. New York: John Wiley & Sons, Inc.

Marmot, A. (2002, 03). Architectural determinism Does design

change behaviour? The British Journal of General Practice .

Meerwein, G. R. (2007). Colour communication in architectural space.

Basel: Birkhauser, Verlag A.G.

106

Monku, A. (2010). On The Edge. Huddersfield: University Of

Huddersfield.

Norberg-Schulz, C. (1980). Meaning in Western architecture. London:

Studio Vista.

Novacek, M. (2008). Engaging the public in biodiversity issues. PNAS

, 105 (1), 1,2,6.

Ojeda, O. a. (2006). Colors: architecture in detail. Gloucester,

Massachusetts, USA: Rockport Publishers Inc.

Own, R. (2010). An Enquiry Into The Senory Aspects Of Architecture

In The Last Century. Huddersfield: University Of Huddersfield.

Pallasmaa, J. (2011). The Eyes of the skin. Chichester, West Sussex,

England: John Wiley & Sons Ltd.

Pearman, H. (2002). The Deep: The Worlds Only Submarium - An

Icon For Hull. London: Wordsearch Ltd.

Rasmussen, S. (1964). Experiencing Architecture (Second Edition

ed.). Cambridge, Massechusetts, USA: MIT Press.

Rawlinson, K. a. (n.d). Research. Retrieved 12 8, 2011, from

stagingthehenriciancourt Bringing early modern drama to life:

http://stagingthehenriciancourt.brookes.ac.uk/research/the_great_ha

ll.html

Roman, A. (n.d). Resources. Retrieved 12 8, 2011, from The Five

Senses: http://questgarden.com/120/25/4/110228114848/t-

resources.htm

savethesea.org. (n,d).

http://savethesea.org/STS%20ocean_facts.htm. Retrieved OCTOBER

09/10/2011, 2011, from http://savethesea.org:

http://savethesea.org/S

TS%20ocean_facts.htm

107

Sea Shepherd Conservation Society. (n,d). Retrieved 10 9, 2011,

from http://www.seashepherd.org/uk/uk.html

Seifert, D. (2011, 10). Dive Magesine. Retrieved 10 24, 2011, from

http://www.divemagazine.co.uk/marine-life/sharks/5620-world-

without-sharks-.html

Simoula, S. (2009). Colouring Architecture. Huddersfield: University

of Huddersfield.

Smith. (2002). Imperial War Museum North Guidebook. Belmont

Press.

Spiers, J. M. (2005). Made of light : the art of light and architecture.

Basel: Birkhäuser.

Steane, M. (2011). The architecture of light : recent approaches to

designing with natural light. London: Routledge.

Stevens, Q. (2009). Nothing More Than Feelings. Architectural Theory

Review , 14 (2), 156-172.

Stevens, Q. (2008, 12). Why Berlin's Holocaust Memorial is such a

popular playground. (K. H. Tim Avermaete, Ed.) OASE 77: Into The

Open: Accomodating The Public (77), pp. 71-79.

Studio Daniel Libeskind. (2011). Retrieved 11 16, 2011, from daniel-

libeskind.com: http://daniel-libeskind.com/projects/imperial-war-

museum-north

tanizaki, j. (2001). In Praise Of Shadows. (T. J. Seidensticker, Trans.)

London: Vintage.

The Cove Movie. (2009). Retrieved 10 10, 2011, from

http://www.thecovemovie.com/

The Sharks Trust. (n,d). Retrieved 10 10, 2011, from

http://www.sharktrust.org/v.asp?level2id=6160&rootid=6160&depth

=1

108

Turner, J. (1994). Lighting : an introduction to light, lighting and light

use. London: Batsford.

Wright, A. (2008 - 11). Colour Pschycology. Retrieved 12 06, 2011,

from Colour Affects: http://www.colour-affects.co.uk/psychological-

properties-of-colours

WSPA. (n,d). (W. s. animals, Producer) Retrieved 10 10, 2011, from

http://www.wspa.org.uk/wspaswork/whaling/default.aspx

xedos4. Image: xedos4 / FreeDigitalPhotos.net. Planet Earth.

Freedigital photos.net.

109

Appendix A: What Are We Doing to Our World?

“ A fish does not drink up the pond in which it lives”.

Native American cited the Deep Hull.

The human race has evolved over millennia and thrived in every part

of the world. We have come to dominate all the other creatures that

share our world and have often seen its bounty as inexhaustible.

Over the past 200 years in particular we have developed amazing

technology that has and continues to revolutionise how we live. The

West enjoys a level of affluence not dreamed of only a couple of

generation ago. The developing economies of Asia, China and India in

particular are catching up fast and so increasing the demand for the

Earths animal and mineral resources. However our ability to harvest

the natural biological and mineral resources of the planet on an

industrial scale has left many species we take for food in crisis,

natural resources depleted and the environment polluted.

The oceans are vast; consequently they have been seen as an

inexhaustible source of food and a convenient dumping ground for

our waste. But many species face extinction if we continue to exploit

the oceans in the same way and we simply do not know the damage

our dumping of toxic waste is doing to complex interconnected

ecosystems of our seas.

110

Fig 47. The Earth (xedos4, 2010)

The oceans cover 71% of the Earth's surface and contain 99% of the

Earth's living space. This is the largest space in our universe known

to be inhabited by living organisms, most of which we know very little

about.

The relentless exploitation of the seas has brought many species to

the edge of extinction and is now threatening food security for some

of the poorest people on Earth, who rely on the sea for their survival

(Greenpeace, 2011).

111

Commercial Whaling

Indigenous peoples including the Inuit and Polynesians’ have

historically hunted whales sustainably for their own needs. However,

industrial scale commercial whaling brought many species to the edge

of extinction.

The moratorium ending commercial whaling was only agreed in the

1982 and implemented four years later in 1986. As a result numbers

are recovering very slowly and a new industry of whale watching (Eco

Tourism) has developed in many parts of the world.

However despite commercial whaling having been banned for more

than 20 years and an international ban in the trade of endangered

species, Norway Iceland and Japan, continue to hunt whales.

Fig 48. Greenpeace boat trying to disrupt Japanese whale hunt (Greenpeace, 2000)

112

This means around 2500 whales are still killed every year in cruel and

unnecessary hunts, under the guise of research and their meat is sold

commercially for human consumption. (WSPA, n,d)

However, as a result of harassment by the Sea Shepherd ship which

made life progressively more difficult for the whaling fleet each year

by sending faster and better-equipped boats and a reduced demand

in Japan for whale meat (there is a 6000 ton mountain of unsold

meat equivalent to 1000 minke whales in storage) this years (2011)

hunt has been cut short.

The Sea Shepherd has announced on its web site that the killing of

whales in the Southern Ocean Whale Sanctuary is over for this

season and the whalers did not even take 10% of their quota. Sea

Shepherd estimates that over 900 whales have been saved this year

(Sea Shepherd Conservation Society, n,d).

The recent Hollywood documentary movie, The Cove highlighted the

plight of thousands of dolphins, which are cruelly slaughtered for

their meat in a hidden cove in Taiji Japan. What the unsuspecting

Japanese consumer doesn’t know is that dolphin meat contains very

high levels of mercury which causes sever health problems if eaten).

The mercury in the dolphins came from the fish they have eaten

which has been poisoned by mercury in chemical waste dumped in

the sea by man. (The Cove Movie, 2009)

Japan kills more than 20,000 dolphins each year, which is sold in

Japanese markets at 1000 Yen per Kilo. The lowest quality Tuna

available costs three times that amount.

(Bloomberg, 2010)

113

Since the large scale commercial hunting of large Cetaceans (The

great Whales) was banned in the early 1980’s the main Whaling

nations have simply turned their attention to the smaller Cetaceans

(Dolphins, Porpoises and Pilot Whales) as a source of cheap Whale

meat, which is sold often unmarked to their public.

Fig 49. Slaughtered Pilot Whales (Anon, E2NT, 1999-2011)

Consequently, Large numbers of Dolphin, Porpoise and Pilot Whales

are killed each year in Japan and the Norwegian Faroe Islands for

human consumption.

114

Fisheries

‘The sea provides the biggest source of wild or domestic protein in

the world. Each year some 70 to 75 million tons of fish are caught in

the ocean. Of this amount around 29 million tons is for human

consumption. The global fish production exceeds that of cattle,

sheep, poultry, or eggs.

Fifteen out of seventeen of the world's largest fisheries are so heavily

exploited that the reproduction can't keep up. With the result that

many fish populations are decreasing rapidly.

Species of fish endangered by overfishing are: tuna, salmon,

haddock, halibut, and cod.

In the 19th century, cod weighing up to 200 pounds used to be

caught. Nowadays, a 40-pound cod is considered a giant. Reason:

overfishing.’ (savethesea.org, n,d)

115

Fig 50. Cod In Crisis (Anon, 1.bp.blogspot.com/, n,d)

116

Common Fisheries Policy

Fig 51. Net sizes catch immature fish (Anon, Environment, 1996-2011)

EU quotas don’t work. A net size to catch adult mackerel will also

catch juvenile fish that have not had a chance to spawn of most other

commercially valuable species. These cannot be landed and are

dumped back into the sea dead.

Other EU countries fish local waters where UK fishermen are going

out of business, yet huge amounts of fish are caught which cant be

landed once the quota for that species is reached and are thrown

back dead into the sea.

117

Fig 52. Dead fish that cannot be landed are thrown back into the sea. (Anon,

Fishfight.net, n,d)

‘Many of Europe's fishing fleets have the capacity to fish two to three

times more than the sustainable level. This overcapacity has led to

the current dire state of European fisheries, where an estimated 88%

of European fish stocks are in a poor state.’

‘…. The EU has progressively been increasing their capacity in seas

beyond its own to meet the growing global demand for seafood and

to keep their fleets in business. Several of Europe's largest vessels

are currently operating in waters of some of the world's poorest

nations through fisheries partnership agreements or joint ventures,

undermining local food security by failing to adequately consider the

local communities need for local fish as a source of protein and

income.’ (Greenpeace, 2011)

118

Sharks; we are wiping them out for soup!

Fig 53. Schooling Hammerhead Sharks. (Galapagos Islands) (Anon, sharkdiving.us,

2006)

The sharks have been around for 200 million years and are an apex

predator perfectly adapted to their environment.

But as Asia is becoming more

affluent, the increasing

demand for shark fin soup is

threatening their extinction in

many parts of the world

including many UK species,

which are still not protected.

Fig 54. Shark Fin Soup (Anon,

stopsharkfinning.net, n,d)

119

The sharks are hunted only for their fins. The rest of the shark is

typically dumped back into the sea often still alive. Sharks mature

slowly and are being taken before they have a chance to reproduce.

There is no protection for sharks, which to many are seen as

mindless killers.

“Sharks rank amongst the most endangered species on the

planet. As apex predators sharks fulfill a key role in marine

ecosystems. However their life history strategy of slow growth,

late maturity, and few offspring renders them intrinsically

vulnerable to exploitation. Recent assessments by the IUCN

Shark Specialist Group ranked the sharks of the North East

Atlantic and Mediterranean Sea with the worst conservation

status of all assessed regions. Thirty percent of EU and fifty

percent of UK shark species are listed as threatened and some

species are reported to have declined by ninety nine

percent. Populations continue to decline under the intense

pressure of unmanaged modern fisheries practices, driven by

global consumer demand for shark-based products.”

(The Sharks Trust, n,d)

‘At least 21 species of shark occur around the coasts of Britain,

from the Small-spotted Catshark to the large streamlined Blue

Shark and plankton eating Basking Shark.’

(The Sharks Trust, n,d)

The value of Shark fins in the Asian market is now so high that even

protected marine parks are not safe and our UK sharks are being

targeted for their fins.

120

Fig 55. Finless Hammerhead Shark (Anon, madmermaids.com, n,d)

121

Taiwanese South American and European boats have been caught

hunting sharks in the protected Galapagos Islands marine reserve on

several occasions. On the 16th of September 2011, the Reina del

Cisne, an industrial fishing vessel from Manta, was caught by the

Ecuadorian Navy fishing 6 nautical miles inside the reserve and was

found to have 69 thresher sharks, 11 blue sharks, and one silky

shark.

“Some of these sharks were only a few months old, a truly sad

sight. Thresher sharks are valued for their long fins, which

unfortunately bring in a lot of money in the Asian market.

Thresher sharks are also known for having small litters of two

to four sharks per birth. This low reproduction rate combined

with the extensive overfishing for their fins has resulted in

thresher sharks being listed as vulnerable to extinction by the

International Union for the Conservation of Nature (IUCN).”

(Sea Shepherd Conservation Society, n,d)

Clearly, where the market puts a high enough price on an animal’s

head, there will be no shortage of people looking to make a profit

from it’s death even in protected marine reserves. Once they are all

gone, it’s on to the next species!

Once a Predator has been removed, history shows that the damage is

often unpredictable and irreversible. Unfortunately, the effect of the

removal of a predator does not become apparent until the predator

has been removed.

‘…Scientists studying the role of the wolf as apex predator in

Yellowstone National Park in the US state of Wyoming,

122

discovered that without the presence of wolves, not only had

deer and elk populations increased substantially but they had

overgrazed to such an extent that only older trees of the forest

had survived, the younger shoots and saplings completely

decimated by runaway consumption, leaving no long-term

future for the forest – only an inevitable decline towards

extinction, unless predators were reintroduced. By contrast, an

older, analogous ecosystem on an island in Scotland, where

wolves had been made extinct in the area some 200 to 500

years previously and had once been a thriving forest, is now

treeless and barren.”

(Seifert, 2011)

123

Pollution & Industrial Waste Dumping

The dumping by ships of, radioactive waste, sewage sludge, and

dredge spoils has occurred in deep-sea areas for several decades.

Fig 56. Rijnborg Dumpship (North Atlantic : 1982) (Anon, www.greenpeace.org, n,d)

The disposal of radioactive waste into the deep sea is now banned,

but occurred throughout the north-east Atlantic between 1949 and

1982, with a total of 220,000 drums of low and intermediate-level

radioactive waste dumped by European countries.

124

Fig 57. Russian ship TNT27 dumping nuclear waste in the Sea of Japan (East Sea).

18 October 1993. (Anon, Greenpeace.org, n,d)

All of this shows that we are still

treating the oceans and their

inhabitants as a resource to be

plundered and a dumping ground

for our waste.

Fig 13 Shows chemical burns

suffered by a dolphin and though

to be caused by mustard gas

shells dumped by the US

Government in the 1950’s

Fig 58. Chemical burns (Anon, scienceblogs.com, 2006-2011).

125

Appendix B: Extinction is not inevitable; it is

not too late to change our ways

For hundreds of years the whales were slaughtered; the hunters

romanticized in stories like Moby Dick; baby seals were killed in the

Arctic for their white fur; Elephants were hunted for their Ivory and

tigers were shot for sport by wealthy big game hunters, their skins

displayed as trophies.

However, as a direct result of the power of public opinion, following

their being educated, initially by determined conservationists and

journalists who shone a spotlight on what was happening far away

and out of sight, change has happened.

The court of public opinion is powerful and once the public is

educated and motivated, politicians and big business can be forced to

change their policies and practices, or risk loosing votes or profits.

Not long ago the supermarkets argued it was too expensive to stock

free range eggs and meat arguing that it would raise prices and no

one would buy it. Buy when we are given the choice, how many of us

choose to eat meat reared in the UK and to UK standards of welfare.

The author certainly does. As a result the market for ethically

produced free-range animal products is growing. This is better for us,

better for our farmers and better for the animals.

Once the public was made aware of the plight of the great whales,

public opinion demanded they were protected, and despite the best

efforts of vested interests, large-scale commercial whaling was

banned in the early 1980’s.

126

Wherever whales are near enough to shore a worldwide industry of

whale watching has developed. This brings economic benefits to

those costal communities who might otherwise have hunted the

whales.

Fig 59. Humpback Whale and Her Calf Taken Raratonga Cook Islands Sep 2001

(Authors photograph, 2001)

A return to public acceptance of the previous slaughter is almost

unimaginable. There is a common sense of disgust at those countries

that still continue to kill whales in large numbers under the guise of

“Research”.

127

Fig 60. Grey Seal: Farne Islands (Anon, http://scubadivingstaffordshire.co.uk,

2009)

In the UK, we have a large population of grey seals the largest being

in The Farne Islands, where fishermen in the past called for a cull

arguing that they ate all the fish. Many of those same fishermen, now

make their livings taking sightseers on boat trips out to see them or

act as dive charters, taking scuba divers from all over the country to

dive with the seals, a Magical experience the author has been lucky

enough to enjoy many times.

The BSAC, British Sub Aqua Club of which the author is a member

and Instructor, has over 50,000 members worldwide and there are

many other national organizations promoting the sport of scuba

diving in other countries and PADI schools in virtually every holiday

resort throughout the world, all introducing people to the underwater

world, which is growing in popularity. Divers travel all over the world

to experience the different underwater environments and all the

128

creatures that live there first hand. Diving on coral reefs and seeing

sharks is high on most divers wish lists. Therefore ultimately, those

countries that protect their underwater habitats, will gain financially

from the money the divers bring.

Fig 61. Basking Shark (Divernet.com, 2008)

The Basking sharks in the UK are now protected and attracting shark-

spotting trips, where previously they would have been hunted for

their meat and liver oil. Their cousin the whale sharks (The worlds

biggest fish at 40 feet long) is protected in the Maldives which relies

on tourism, yet in the Philippines, the same shark is still hunted for

its meat which is sold in Japan for a high price. However, there are

project they’re trying to persuade the locals that the giant fish is

more valuable alive, as tourists will come to see them than sliced up

into cubes.

129

Walkers Key in the Bahamas is famous for pioneering shark feeding

dives, something that has successfully been repeated in many parts

of the world. There is concern that this may be altering the shark’s

behavior but I think so long sharks are being studied and the feeding

is done responsibly i.e. the sharks are fed the food they would

naturally eat, it is a good thing.

Fig 62. Oceanic white tip shark and the author in Moorea (Dive in Paradise, 2001)

In order to protect the marine environment and the livelihoods of

those who rely on the sea, Marine reserves that act, as nurseries for

the surrounding waters, where no fishing is allowed need to be

established all around our coats.

These reserves would also be the perfect sites for dive centres and

aquaria where new generations could be inspired to understand and

conserve our marine environment. This brings money into the local

130

economies, offering alternatives to fishing, but also will help preserve

the fish stocks ensuring economic and food security for the future.

Medes Islands Marine Park Spain

Unlike much off the Mediterranean, which has been over fished, there

is extraordinary biodiversity surrounding this small archipelago, about

one mile from the town of Léstartit, right in the middle of the Costa

Brava. This abundance of life, make this a unique spot very popular

with Scuba divers because of the rich underwater life. This is good for

the local economy and populates the surrounding water with fish that

can be caught.

Fig 63. IMAGES OF MARINE PARK AND HEALTHY FISH (Anon, Diving at Estartit and

The Illes Medes, n,d)

131

This Natural Park is a 7-island archipelago covering 21.5ha of land

and 511 ha of pristine underwater habitat was first protected in 1983

with an Order from the Catalonian Parliament. In 1985 a resolution

established the Natural Park’s standards in 1990, Law 19/1990,

creating the legal framework to protect and conserve the flora and

fauna of the marine floor in the Medes. (DIVING CENTER LA SIRENA,

n,d)

The practice of killing baby seals in the arctic for their fur was

banned, and the wearing of fur, which used to be the height of

fashion and a display of wealth is now looked at with disgust in the

west.

It this discussion the author hopes to have shown there are

alternatives to simply continually taking from the sea, which offer

long-term conservation of the seas resources and long-term

economic benefits for those who rely on the sea.

132

Appendix C: Designing for emotion

Fig 64. Process for designing for emotion (Authors Flowchart, 2011)

How to design to elicit an emotional response Architect needs to immerse in subject to understand the message the

building will convey.

Needs to feel and understand the emotions the subject arouses.

Identify an appropriate emotional agenda from the research that will

inform the emotions the spaces should arouse.

133

Using knowledge of which techniques stimulate which emotions

design each space to communicate by bringing out the desired

emotions.

By designing a series of connected spaces each designed to

communicate the desired emotions the visitor can be taken on an

emotional journey as they physically navigate the series of spaces in

the building.

Remember that without guidance the feelings brought out by the

architecture can be misinterpreted and result in unexpected

behaviour.

Eisenman’s MMJE demonstrated that feelings of claustrophobia or

disorientation can stimulate a playful response that is opposite from

the intended response of sadness or foreboding.

The feelings the architecture creates and the message the exhibition

presented must support each other.

This gives guidance how to interpret the feelings aroused by the

architecture

Architecture of The Soul: An exploration of Perception and Emotion in Architecture

Documents

soulless architecture

diploma architecture

d design tma1101 architecture

foundation year

final chapter

good year thanks

chapter answers

emotions of visitors