Experiencing Architecture
... Zaznavanje je proces, ki vključuje vsa čutila in je sestavljen iz več faz. Rasmussen (2001) trdi, da je zaznavanje grajenega okolja in arhitekture kompleksen proces ter da je treba prostor izkusiti. Zaznavanje je sestavljeno iz faze prejemanja dražljaja, faze obdelave in organiziranja informacij ter faze kognitivnega procesa, ki vključuje interpretacijo in vrednotenje zaznanega. ...
... Ker zaznavanje vključuje ne le prejemanje dražljaja in obdelavo informacij, temveč tudi kognitivno dojemanje -interpretacijo in vrednotenje (Rasmussen, 2001) -, se raziskava posveča tudi vprašanjem o mnenju javnosti v teh treh državah. Udeležence iz Slovenije, Nizozemske in Nemčije smo prosili, naj opredelijo koristi in slabosti ozelenjevanja fasad. ...
This book is a Slovene translation of: Vertical green 2.0, The Good, the Bad and the Science
... But if one considers the white as figure and the black as ground, for instance, an empty space in the figure opening into a black space, immediately one sees something quite different. The vase disappears and instead two faces in profile appear (Rasmussen, 1987). In other words, the white becomes the convexities projecting out onto the black ground and forming nose, lip and chin. ...
... It is not ease to see both vase and faces at the first moment. (Hesselgren, 1975) demonstration of figure and background (Rasmussen, 1987) This reveals that we do not conceive the two diagrams as complementing each other. Ordinarily convex forms are seen as figure, concave as ground. ...
... David Seamon (2000) offers a valuable overview of scholarship developing the phenomenological approach to environmental and architectural questions. We rely upon the work of scholars who built the case for multi-sensory perception as key to our experience of space and place (Bachelard, 1964;Merleau-Ponty, 2013;Norberg-Schulz, 1979;Pallasmaa, 2005;Rasmussen, 1964). A full consideration of this topic would require considerably more time and space than we have here. ...
As announced in the editorial of the previous issue, the 19th issue of ArchiDOCT presents a second collection of papers that explore the theme of ‘temporality’ in architecture and the built environment from a theoretical or an applied standpoint. Once more, a variety of approaches, insights, and opportunities for research that arise from considering time in its heterogeneous dimensions and manifestations such as time, speed, rhythm, sequence or horizon have been handled. [...]
... Dalam buku Experiencing Architecture, dikatakan bahwa melihat arsitekturnya saja tidak cukup, melainkan harus dialami (Rasmussen, 1962). Arsitektur tidak hanya sebuah tampak yang dilihat dari luar, tetapi juga mewujudkan bentuk bagi manusia dan bentuk bagi kehidupan. ...
The Pasar Ikan area, as one of the starting points for the development of Jakarta in the Batavia era, is one of the biggest fish markets of its time. As years passed, Pasar Ikan degraded and changed its function into a slum settlement, resulting in a loss in its image as a historical and maritime area. This situation then becomes a trigger to restore the image of the Pasar Ikan area, by considering current conditions and the need in providing education for the community. Museums are one of many ways to educate the public about the history of Pasar Ikan. However, it was found that the number of public visits to museums is still very low, especially among the millennial generation. Hence, a new media, that is relevant to current development, is required to convey information in the museum. The methods used are Translating History into User Experience, Everydayness based on a participatory approach and narrative tactics, and 4 Space Plot Strategies. In conclusion, the user experience in the Living Museum is built through: 1. Translating History into Space Experience which results in Past, Present, and Future zoning; 2. Daily analysis that produces aspects of the five senses of the present and the past; 3. 4 Space Plot Strategies that produce Zoning, Zone Section & Events, 5 Sense Experiences (both architecturally in the form of dioramas and non-architecturally by using actors), and Spatial Configuration. Keywords: adaptive-reuse; everydayness; living museum; user experience
... Our study demonstrated that people are able to perceive spatial order; they not only understand it visually or esthetically, but broader, for example, as the harmony or spatial cohesion of the monument's social or functional features. In the wider sense, our findings are in line with Rasmussen's observations described in the book ''Experiencing Architecture'' (Rasmussen, 1964). In particular, he highlighted that people not only see architecture, but they experience it in the broad sense. ...
Spatial order refers to the perceived harmony, integrity, and completeness of the architectural heritage. Nevertheless, to the best of our knowledge, this concept has not been used yet to assess the heritage. This paper aims to demonstrate a multidimensional assessment of the architectural heritage value, in its urban environment, with the use of spatial order concept. We used field survey and statistical analysis to evaluate an example architectural heritage—Warsaw Ochota railway station in Poland—in four dimensions of spatial order such as architectural, esthetic, social, and functional. We found that the value of the heritage varies according to the spatial order dimensions and depends on the urban environment. Our findings could be useful for urban development policy, especially spatial planning. In particular, we postulate the need to focus on place-based approach to formulating policies for the protection and conservation of architectural heritage.
... In architecture, Surprise is an effect that designers aim to produce so as to make their products evoke exceptional feelings and experiences when they use forms and spaces that prompt the recipient to notice and stand in contemplation. Frank Lloyd Wright, for example, achieves Surprise in the Waterfall House by adopting a strategy to reach the house through winding paths that wind through a thicket of trees that barely penetrates the sun rays, and suddenly the white horizontal lines and planes of the house emerge within the natural context of the vertical trunks of green-leaved trees in spring yellow in autumn (Rasmussen, 1964). Surprise, also, takes an important role in the urban experience in addition to fun, mystery and irregularity (Stevens, 2006). ...
Isovist is the amount of optical field viewed from a given point of view thus it represents the environmental visual properties of space from that point. As a contribution to link the concept of 3D Isovist with the behavioral studies and the affective evaluations of the spatial experiences, as highlighted through the previous literature, the current research aims to test the suitability of 3D Isovist in the detection and prediction of the property of Surprise in architectural spaces. It intends to support the possibility of investing the 3D Isovist as a tool to detect the experience of Surprise in the previous Historical Architecture on the one hand and to evaluate it in the new designs on the other. To achieve this goal, the research adopted a method of generating a parametric environment that includes the measurement of 3D Isovist and exporting the resulting data to statistical programs which are specially prepared to summarize them automatically, then measure the sense of Surprise, and finally, discuss and analyze the results of the application and draw conclusions about the suitability of the 3D Isovist in the detection and prediction of the property of Surprise locations. The research concluded that 3D Isovist is a suitable tool for detecting and predicting locations that have a surprise in existing environments on the one hand and in evaluating new designs on the other hand for surprise, thus enabling the necessary developmental measures to enhance the surprise and modify designs accordingly.
... From architectural viewpoints, material's texture is an integral part of architectural environment perception and quality evaluation (Wang, et al., 2020). Le Corbusier's series of concrete design has demonstrated the important role of material texture in architecture (Rasmussen, 1959). Meanwhile, Ashihara, 1970;Hesselgren, 1972 has emphasized the role of material texture in architectural design, but did not mention how to perceive or evaluate the differences in texture. ...
The impact of the COVID19 pandemic has raised awareness regarding the vital role of forests as "environmental cleaners" that purifies our living environment. Public education in forest sustainability is a must whereby the Research and Education Forest would be the best medium to achieve this target. Although many researches have been conducted on forest conservation, studies on architectural design factors associated with the sensitivity of natural forest ecosystem remains enclosed. Hence, this study aims to investigate the significant correlation between the design elements of form, colour, texture and the harmonization of architectural components with natural environment in Research and Education Forest. The Pearson Correlation analysis revealed that all selected design elements correlated positively with the harmonious design factors on the architectural components. Meanwhile, the regression analysis also verified the proposed model statistically and the results proved that character of form, juxtapose of colour and feeling of texture are affecting the harmonization of architectural components. The findings conclusively determined that the design harmonization has a crucial impact on the architectural components in Malaysia's Research and Education Forest.
... Those who are in the circle of light have the sure feeling that they are together in the same room." [5] With these words, Rasmussen illustrates the didactic quality of lights and darkness i.e. they become personification of the presence and absence of form of the material and the immaterial aspect. As light has the possibility to present the concrete form and the atmosphere of the space, light and architectural elements are used as a tandem, when determining the limits of the concerned space. ...
The main goal of this research is to perceive the influence of light on the brightness of the architectural space through the different positions of the Sun and its varying intensity at different periods throughout the year. Through a historical review of architectural styles and architectural elements, the influence of daylight on the shaping of the architectural space is presented. When we talk about architecture, we talk about light, first of all daylight. It is not just physical, its enabling perception of the exterior and the interior, it also provides energetic component to architecture, duality of matter and energy thus generating aesthetic sensation among users.
... The visual aesthetic character of the urban space arises not only from its spatial qualities, but also from the architecture it contains. Rasmussen [29] highlights the visual and sensual qualities of architecture that influence people's appreciation, composing of form and mass, solids and cavities, proportion and scale, rhythm, textures and materials, light, colour, and hearing. Likewise, with its aims to identify good buildings, the Royal Fine Arts Commission in the U.K. proposes six design criteria [30]. ...
Although urban design, as opposed to urban design theories, is an ancient profession, that hasshaped towns and cities over the centuries in many different cultures and continents, the agenda of urbandesign is new and different relative to other more established theories of late-twentieth-century townplanning [1]. Whilst urban design theory as well as its practice still faces a number of challenges, in recentyears many urban designers and planners seemingly agree that there is no single traditional urban designapproach which could offer an absolute answer to successful urban design. Indeed, ‘successful urbandesign’ should not be employed as a fixed theoretical model but as the principles that underlie thosesuccesses, have value in empirical settings, and draw its intellectual roots from the past. In light of thisconcern, this paper is devoted to a discussion of the principles underlining successful urban design.Based on a review of both academic and professional works, five main substantive urban designconsiderations are proposed in this paper. These include physical function, visual perception, urbanenvironment, heritage conservation, and social demand and development. Through the discussion, thispaper shows that these substantive considerations play their important roles in urban design and helpto generate successful urban design.
... Kentte kullanıcı için bilgi sağlayan duyular; mimarlık, kentsel çalışmalar, sosyoloji vs gibi farklı bilimsel disiplinlerde yapılan çalışmalar ile duyuların bütünleşik bir bilgi toplama sistemi olduğunu ortaya çıkmıştır. Ayrıca, yapılan araştırmalarda, kullanıcı değerlendirmeleri ile mekân deneyiminde duyuların bütünleşik olarak algılandığı belirtilmiştir (Gibson, 1966;Pallasmaa, 2011;Rasmussen, 2001;Middleton, 2010). Nitelikli kentsel mekân tasarımlarında duyuların bütünleşik yapısı kullanıcının mekândan ayrışmasına sebep olabilmektedir, bu yüzden duyuların tekil olarak ta ayrıntılı olarak incelenmesi gerekmektedir (Vasilikou, 2016). ...
Kentsel tasarımın temel görevlerinden biri duyusal deneyimlerin yaşandığı kentsel mekânları dikkate alarak tasarıma yaklaşmak olmalıdır. Kentsel kamusal mekânlar, tüm kullanıcıların duyularına eşit yaklaşan herkes tarafından algılanabilir kapsayıcı mekânlardır. Kentsel mekân için duyular kentsel tasarım politikalarının üretilmesinde önemli konuların arasındadır. Kentsel mekânlarda kullanıcı deneyimleri, kullanıcının mekân hissinin oluşmasında etkilidir. Mekân hissi ise kullanıcıya özgü duyuları ile farklılaşmaktadır. Kullanıcı ile kentsel duyu deneyimlerinin arasındaki ilişkinin anlaşılabilmesi ve kentsel tasarım ve politikalarına tasarımsal katkı sağlanabilmesi için kentsel duyusal dokuların belirlenmesi önemlidir. Kentsel tasarım yaklaşımlarında kentsel duyu deneyim mekânları tasarımcılara öncül referans oluşturabilir. Kullanıcı duyularına anlamlı bir biçimde hitap eden;farklı duyularla duyumsanabilen (görülen, duyulan, tadılan, dokunulan ve koklanılan) mekânlar üretilmelidir. Araştırma, farklı duyu engeli olan (görme, işitme ve hareket) ve herhangi bir duyu engeli olmayan kullanıcıların mekân algısı ile duyusal deneyimlerinin ilişkisini kentsel kamusal mekânlar üzerinden değerlendirmektedir. Araştırma yönteminde ilk aşamada rehberli yürüyüşler tercih edilmiştir. Ancak, COVID-19 (Koronavirüs hastalığı-19) pandemi sebebiyle bu yürüyüşler gerçekleştirilememiştir.Araştırma evreni COVID-19 pandemi öncesi olarak Dünya Sağlık Örgütü tarafından pandemi ilanı-11 Mart 2020 ve Türkiye'deki resmi ilk vaka tarihi-11 Mart 2020 tarihleri öncesini ve pandemi sonrası olarak 11 Mart 2020 ile 20 Aralık 2020 tarihlerini kapsamaktadır. Pandemi döneminin belirtilen ve araştırma kesit tarihlerindeki kısıtlılık durumu kapsamında araştırma kurgulanmıştır. Literatür incelemesi ile farklı kullanıcıların duyusal deneyiminde etkili parametreler tespit edilmiştir. Görme duyu engeli olan, işitme duyu engeli olan, hareket duyu engeli olan ve herhangi bir duyu engeli olmayan odak gruplar ile anket çalışması gerçekleştirilmiştir. Yapılan çalışma ile duyusal deneyimlerin mekânsal karşılığının tespiti yapılmıştır. Araştırma verilerinin, mekânsal duyu haritasına dönüşmesi ile önerilen bir duyu rehberi için tasarım ilkelerinin belirlenmesi araştırmada belirleyici olmuştur. Araştırma bulguları; duyu farklılıklarının mekân hissini ve algısını şekillendirdiğini gösterirken, her bir kentsel mekânın duyu engeline özgün tasarımları olması gerektiğini ortaya koymaktadır. Her kentsel mekânın kullanıcı deneyimlerini yansıtan kendine özgü duyusal dokularının duyu haritalarından okunabileceğini göstermektedir. Duyusal farkındalığın oluşması ile tasarıma ölçüt alınabilen değerlerin bilincinde kentsel tasarımlar üretilebilmesi için; özellikle kamusal mekânlar kapsamında duyu haritalarının üretilmesi ileriki çalışmalar için değerli olacaktır. Her bir kamusal mekânın kendi bağlamsal verilerinin oluşturulması ve bu verilerin kullanıcı profiline hitap edecek şekilde sentezlenmesi; kapsayıcı bir duyu rehberinin oluşumunda önemli rol oynayacaktır. Kamusal mekân politika üretme araçlarından biri olabilecek duyu rehberleri, kamusal mekânların bağlamsal niteliklere özgü yaklaşımlarını teşvik edecektir.
... Acoustics have a direct and fundamental impact on our ability to understand an environment through the reverberation of sound energy within an enclosed space. The spatial response to sound energy takes part in defining how humans decode and use space in varied conditions and during different activities (Long, 2014;Rasmussen, 1964;Zumthor, 2012). As the predominant amount of sound energy arriving at the human ear has been reflected from a nearby surface, the materialgeometric understanding, composition and making of such surfaces are central in defining human acoustic sensations. ...
... From the scale of the museum building to the surrounding area and city to the interior space, the relationship between the interior space and people affects the visitor experience. A good scale can attract great attention [44]. ...
The new museum movement of the twentieth century has driven the development of the form and function of museums around the world. Museums began to be actively open to the public, and some new concepts of museums, such as eco-museums and community museums, emerged. The aim of these museums is to build a cultural bridge between people and the city and to promote the harmonious development of society, economy, and culture. The visitors, as the service targets of the museum, will directly influence the popularity of the museum among the masses by their evaluation of the museum experience; however, at present, there is a clear gap between the design of many museums and the feedback of subsequent visitors’ experiences. Only by understanding visitors’ feelings and preferences can subsequent museum design be improved; this paper will focus on demonstrating the application of the mathematical idea of the fuzzy comprehensive evaluation method to community museums; it establishes a community museum quality evaluation system based on human-centered design principles from the perspective of urban community museums and constructs a fuzzy comprehensive evaluation model of a community museum experience. Finally, the design of a community museum in Nottingham, UK, is used as an example to make a comprehensive evaluation of its quality. According to the analysis, the fuzzy comprehensive evaluation method has practical value in scientifically evaluating the quality of urban community museums through data on the visitor experience.
... Contemporary architecture serves as an encounter of diverse experiences that evolve with current neces sities and requirements. The aesthetic experience of a built work (Birkhoff 1933, Rasmussen 1962, Mitias 1999, Carlson 2000, Arnold and Ballantyne 2004, Iseminger 2003, Goldman 2006, Scruton 2013, Pal lasmaa 2018 exists in the correlation between the building design and its users, but it also establishes the core of the design considerations. Determined by the qualities of the architectural form and the meticu lous architectural promenade, it carries a description that explains the meaning and value it intends to convey. ...
... No wonder, in the history of architectural practice, the works of these two great architects whose concepts were natural light-base remain outstanding and cannot be forgotten. This is summed up by the words of Professor Rasmussen cited by [1] that "daylight was fundamental in allowing us to experience architecture, asserting that the same room can be made to give very different spatial impressions by the simple expedient of changing the size and location of its openings" [9]. ...
Using natural light in architectural spaces has been very beneficial in several ways including energy efficiency, cost control, health and wellbeing of users, and prevention of electricity dissipation and other negative effects of artificial lighting. Daylight in architecture satisfies both mental and physical human needs and reduces fossil energy consumption. This paper appraised the use of daylighting in sustainable housing development in developing countries and discussed the benefits of natural/daylight in housing designs, including the reasons for the sudden disapproval of daylighting in contemporary designs. The study employed a literature review technique, appraisal of case studies of selected daylight-driven buildings and personal observations. Findings revealed that building occupants now prefer daylight for both illumination and environmental stimulations because lack of daylight results in discomfort and stress and affects the psychological and physiological health of building occupants. The study concluded that architects in developing countries should embrace daylighting in their designs due to its numerous benefits in making them sustainable. The study recommended the inclusion of daylighting requirements in all architectural designs by planning authorities in developing countries.
... Contemporary architecture serves as an encounter of diverse experiences that evolve with current neces sities and requirements. The aesthetic experience of a built work (Birkhoff 1933, Rasmussen 1962, Mitias 1999, Carlson 2000, Arnold and Ballantyne 2004, Iseminger 2003, Goldman 2006, Scruton 2013, Pal lasmaa 2018 exists in the correlation between the building design and its users, but it also establishes the core of the design considerations. Determined by the qualities of the architectural form and the meticu lous architectural promenade, it carries a description that explains the meaning and value it intends to convey. ...
... Contemporary architecture serves as an encounter of diverse experiences that evolve with current neces sities and requirements. The aesthetic experience of a built work (Birkhoff 1933, Rasmussen 1962, Mitias 1999, Carlson 2000, Arnold and Ballantyne 2004, Iseminger 2003, Goldman 2006, Scruton 2013, Pal lasmaa 2018 exists in the correlation between the building design and its users, but it also establishes the core of the design considerations. Determined by the qualities of the architectural form and the meticu lous architectural promenade, it carries a description that explains the meaning and value it intends to convey. ...
... In 'Experiencing Architecture', Rasmussen outlines issues of architecture that should be observed-solids/cavities and their effects, colour planes, scale and proportion, rhythm, textural effects, daylight effects and sound. (Rasmussen, 1959). Relying on digital architectural animation alone for the purpose of analysis, however, may not fully address all these issues as limitations do exist in any one type of representation technique; animations are not exempted. ...
... In other words, little or no attempts are made to cover the wider, richer and perhaps most profound issues of architectural phenomenology. Many authors such as Alexander (1964), Bachellard (1979) and Rasmussen (1959) have recognized this situation. Similarly, the teaching of media, particularly computer graphics, usually remains constrained to techniques or uses prescribed by the software. ...
... Hence, in the tested items, "form", "scale", "circulation" and "spatial organization" are chosen. In addition, four tested items will be subdivided into the affected sub-factors, which are illustrated in Table 1 (Rasmussen, 1964;Alexander, 1977;Bloomer and Moore, 1977;Krier, 1988;Zevi, 1993;Ching, 1996): 3.5 EXPERIMENTAL STEPS 1. In the process of browsing the "three-dimensional virtual reality", when the subjects are in one of these four spaces, they are asked to tell or draw the form and scale of the space, and then to explain based on what sub-factors they decide the form and scale of that space. ...
... Neither should the proposal be stuck to the past. Even though history should be given its due respect, "… it is impossible to take over the beautiful architecture of a past era; it becomes false and pretentious when people can no longer live up to it… [the] building should preferably be ahead of its time when planned so that it will be in keeping with the times as long as it stands" (Rasmussen, 1959). ...
The thesis is about comprehending the complexities of the hostile India–Pakistan borderlands and proposing scenarios along these lands that would positively affect the larger political landscape and bring about a celebration of the similarities rather than the differences from across the border. It begins by exploring the topic of architecture and peace involving studies into the foundational myths of the discipline; the symbiotic relation architecture shares with conflict and understanding the agency of architecture towards reconciliation. With the rise of right-wing propaganda in India and the alleged state sponsored terrorism from Pakistan, the borderlands has only seen an increment in its confrontational built environment. The belief is that through the designed scenarios, the idea of the intangible border line and the tangible fencing can be subverted and allow for a porous transfer across the border of a once inhibited people.
... Although it was generally agreed that human beings experienced the built environment with all sensory awareness (Rasmussen 1964;Pallasmaa 2005aPallasmaa , 2005bCampbell 2007), Herssens and Heylighen (2012: p. 1) aptly pointed out that few architects resorted to the haptic senses in mind while designing. This was, perhaps, the most valuable contributions of Baan Fai Rim Ping to architectural scholarship, since its design incorporated multisensory experience of the architectural environment beyond visual recognitions in generating the phenomenon of place, as demonstrated by the upcoming discussions. ...
Standing on the west bank of the Ping river in the lower northern region of Thailand, Baan Fai Rim Ping displayed a fluid profile of multiple perspective points. Such an eccentric appearance, however, belied the senses of place and historical continuity, along with feeling of belonging provided by this waterfront residence. Apart from occupying a prime estate near a UNESCO world heritage site in Kamphaeng Phet province, apposite utilisations of materials, coupled with sensational spatial organisation and formal composition were the major contributing factors to the said characteristics. Informed by a conceptual framework of genius loci, this research presented multidimensional inquiries on the haptic design of Baan Fai Rim Ping in generating a phenomenon of place operating through the sensory receptions of its dwellers. Containing three thematic foci, the studies firstly examined the contextual background leading to the creation of the building. Second, the investigations concentrated on how the design parameters and elements of the house were developed and implemented. Third, the abovementioned modes of problematisation lent a basis to argue that a quality of placeness was not confined exclusively to traditional or vernacular structures, but could be found from the unorthodox aesthetics of Baan Fai Rim Ping as well.
... In order to discuss daylight, the term needs to be defined. However, the challenge when defining daylight is that light is not a tangible physical object like other building materials 1 3 [16]. The dimensions of a construction can be calculated and defined precisely. ...
In a Danish context, the Building Regulation is the legislation for our built environment. Therefore, the focus of this survey is to investigate how Danish legislation treats questions on daylight in relation to the build environment. Furthermore, it looks at whether the specific ways of looking at daylight influence the general understanding of light and the processing of daylight design in the built environment. When acknowledging both its multifaceted character and the impact daylight has, as well as the inherent implications regulation can have on the practices that apply to them, the question remains as to how Danish building regulations treat questions of daylight in relation to the built environment. Furthermore, what is the implication of understanding these ways of looking at daylight? This survey is a profound study of 14 Danish building regulations, from the first historical regulations in 1856 up to the latest regulation of 2018. To investigate the role of daylight and its priority in Danish building regulations, daylight is defined through three theoretical topics: vision, energy, and health . This survey focuses on daylight in relation to private housing. Reviewing the 14 Danish Building Regulations illustrates how the understanding of daylight in relation to the built environment has changed. The different requirements on daylight design varies through time and reflects the political agenda of each specific historical period. This underlines how daylight is subject to changing agendas; however, it is rarely an agenda on its own.
... Pallasmaa is indebted to Merleau-Ponty, particularly to themes such as the lived body, perception, and mobility. In this regard, Steen Eiler Rasmussen underlines the experience of architectural space, stating that "it is not enough to see architecture; you must experience it" [33]. In this sense, Zumthor uses emotion as a measuring tool for experience [28]. ...
This paper provides a phenomenological understanding of interior space to explore the emotional connection between space and experience. It focuses on the significant aspects of interior space, considering how people experience interior space and which aspects improve the quality of spatial and emotional experience. I have argued that the interior experience offers effective ways of stimulating emotional experience to create spatial perception as a way of understanding architecture. Interior experience can be developed through: (a) stimulating a lived body; (b) emphasizing materiality; and (c) generating emotional connection. This allows people to develop an awareness of the sensual aspects of the interior space and improve the quality of their emotional experiences. I have drawn upon representative case studies about spatial experience to explore how they use materiality to stimulate sensory effects and how the multi-sensory space connects with emotional experience, which is one of the fundamental aspects of this paper. I found that an integrated body and materiality are fundamental elements that are needed to enrich the spatial experience, even in an abstract dimension of the work without architectural form. Thus, this paper contributes to the understanding and knowledge of the relationship between interior space and experience with respect to improving the quality of the emotional experience in order to develop spatial experience and considering how experience intervenes in interior space to create a multi-sensory space.
... The study of empathy has been tackled in many architectural designs and research throughout history, focusing on how humans psychologically and biologically perceive structures expressed through the human body. For instance, as Steen Eiler Rasmussen explains in Experiencing Architecture, it is not sufficient to "see" architecture to authentically experience and comprehend it; instead, it is necessary to experience the space holistically, integrating the senses of visual, tactile, and auditory [35]. And because this holistic spatial experience is organised by the human body and is inextricably linked to bodily behavioural patterns, the body may be viewed as the foundation for constructing the perception of architectural space. ...
Structural art should not be marginalised as an integral part of structural design. By reviewing historical understandings of structural art, this article discusses the ambiguous and neglected perspective of structural art on architectural design and human perception dimensions, concentrating the attention of structural art on the question of human aesthetic perception. Based on significant changes in how art is perceived due to recent neuroaesthetics research, this article introduces recent findings from cognitive neuroscience regarding embodied perception principles, sheds new light on the aesthetic experiences inherent in the built environment, and clarifies and expands previously held beliefs about structural art. Finally, while emphasising the significance of structural art, this article attempts to provide a body-informed perspective on structural art that can aid in incorporating human neuroaesthetic perception principles during the conceptual phase of the structural design process, thereby redefining the effect of structures on architectural space and aesthetics, thus redefining structural art.
... Outcomes can be disappointment, satisfaction, or enjoyment. Body senses are essential to people's experiences of the physical world [9,10]. Accepting that the mind includes aspects of the physical and social world implies that the environment's design can affect the mind and its capacity for thought, emotion, and behavior [11]. ...
This paper depicts lighting home office conditions within different countries and continents, emphasizing the user's satisfaction with the visual environment. The scope of this article is to investigate the drivers of participants' satisfaction with the lighting conditions at the home office. The study was developed by a team of international experts working together on Subtask A: User perspective and requirements, Task 61 IEA (International Energy Agency): Solutions for daylighting and electric lighting. An online survey was launched in December 2020 and closed on March 2021. The survey was implemented in the native languages of six participant countries (Brazil, Colombia, Denmark, Italy, Poland, and Japan) using Google Forms, and its dissemination was via various social media platforms. Measures of association between variables and predictive tests were run to explore which investigated aspects drove participants' satisfaction with the lighting conditions at the home office. We found some differences in satisfaction due to participants' sex, occupation, and participants' continent of residence. Females were more satisfied with daylight than males. Associations between the perception of seven light descriptors and satisfaction showed differences between East Asians and the rest of the participants, which might be related to the high dependence of the formers on electric lighting even when daylight is available. Design features as southern facades, the distance from the working area to the window, type of internal sun shading were related to daylighting satisfaction. Moreover, satisfaction with the general light level and the electric light was higher for those participants who did not need to switch on the ceiling, floor, or desk lamp when daylight was available. We found that an external view composed of 3 layers and the sky's visibility afforded a higher satisfaction with the window view. Having an independent room for the home office appeared to be related to a higher willingness to continue in the home office. Likewise, higher satisfaction with the overall visual environment and window view appeared to increase the willingness to continue working from home. Bridging the gap amid cultural differences and daylighting and lighting satisfaction is needed, particularly, relational studies between design features –as a response of cultural, climatic, and local practices- and occupants' preferences and acceptability. Thus, our understanding of occupants' responses will be more comprehensive. Engaging further research and measures to improve the visual environment and overall indoor environmental quality in dwellings is now a necessary step.
... Adapun alat periksa yang digunakan untuk menilai adalah instrumen arsitektural, yaitu; proportion, rhytm in architecture, surface character, colour in architecture (S.E. Rasmussen 1962) Beberapa batasan dalam pengamatan terhadap objek, adalah; pengamatan hanya dilakukan secara visual, fokus amatan terhadap façade objek, pengamatan dilakukan pada siang hari, dan tidak merubah setting objek. Tratag Pagelaran memiliki plafon yang datar, terbuat dari seng bercat hijau dengan pola garisgaris. ...
Keraton Yogyakarta, secara visual merupakan sekumpulan artefak yang merupakan akulturasi budaya Jawa dan Eropa. Pertemuan antara ke dua budaya dalam rancangan pada Keraton Yogyakarta memunculkan ekspresi unik. Penelitian ini bertujuan untuk mengidentifikasi pola akulturasi yang ada pada rancangan arsitektur Keraton Yogyakarta dan menafsirkan ekspresi yang terkandung di dalamnya. Metode yang digunakan adalah deskriptif kualitatif. Teknik observasi dilakukan dengan cara pengamatan visual, pembuatan dokumentasi, wawancara dengan nara sumber, mengkaji literatur terkait. Hasil dari penelitian ini adalah pada Tratag Pagelaran, Tratag Sitihinggil, dan Bangsal Ponconiti, elemen-elemen berlanggam Eropa hadir memperelok bangunan gedung berlanggam arsitektur Jawa, yang berkonsep naungan, secara keseluruhan memiliki ekspresi ‘ringan’. Sedangkan pada Gedong Purwaretna dan Gedong Jene, sosok bangunan gedung berlanggam Kolonial Belanda sangat dominan, dengan ekspresi ‘berat’ yang dipercantik dengan ornamentasi berlanggam tradisional Jawa.
... They do not simply encounter a piece of architecture; instead, there is a performative engagement with it and production of experience via personal perception" (Marlor, 2021, p. 197). The experiential aspect also reflects the strong relationship between the people and their context (Rasmussen, 2000). "A great architecture that belongs to the soil within which it is sited, and which belongs to its people too. ...
The article aims to provide a multisensory reading within the multiple scales of spaces in the traditional settlement of agraharam. This multisensory reading generates layers of interiority that exist across temples, streets, and houses. Agraharam is the traditional house of the Brahmin (priest) community found in temple towns of South India. This house responds to religious beliefs, tradition, and local climatic conditions and displays a balance of sensory experiences which enrich the overall living experience. In this article, interiority is referred to as the characteristic of being ‘inward,’ where memories and practices of a specific community are associated with the spaces. It explores one's experiences of the various scales (the town, the street, and the house) of spaces through copious physical and sensory experiences, using Pallasmaa’s description of the phenomenological approach to identify the multisensory experience of the human body in space.
... Intuitively, architects have been aware of visual complexity and its influence on architectural perception. Through elaborations of concepts such as order and disorder, regularity and irregularity, rhythm, symmetry, and scale and proportion, the (interior) architectural culture has always dealt with the principles inherent to visual complexity (Arnheim, 1977;Rasmussen, 1959;von Meiss, 2011. Perceptual psychologist Arnheim (1977 argued, for instance, that (O)rder is possible at every level of complexity: in statues as simple as those on Easter Island or as intricate as those by Bernini, in a farmhouse and in a Borromini church. ...
Growing insights from neuroscience—here, understood as an umbrella term for a number of empirical disciplines that study the relation brain, nervous system, genes, and behaviour—and its inquiries into how human behaviour and well-being is affected by interiors can enrich and inform the design of interiors and its properties innovatively. Interior design education can play a key role in linking the insights stemming from research and turn the question of human, experiential responsiveness into an elementary perspective of the design process.
In this paper, we explain a pedagogical method developed for one of our graduate studios that addresses this issue and create a framework for a neuroscience-informed focus. Additionally, we illustrate the outcomes of student work created in this studio through two projects, each having a unique focus relating to interiors and the question of human behaviour and well-being, i.e., visual complexity and affordances. With the establishment of this master studio, we aim to provide students with an awareness and insights into how the many fields of study within neuroscience can facilitate, support, confirm, or adjust design knowledge.
... Elaborating on memorial phenomena (Wallis 1967;Norberg-Schulz 1971, its place in cityscape (Rasmussen 1962;Cullen 1971;Wejchert 1974), social importance (Whyte 1980;Proshansky, Fabian, and Kaminoff 1983;Gehl 2011;Gehl Institute 2016), Dwyer and Alderman (2008) metaphors 'text -arena -performance', and legal regulations have contributed to establishment of the memorial assessment criteria. ...
The memorial attractiveness assessment presented in this paper is
based on the multi-perspective approach. The Warsaw city centre
Poland is a good field for such research as it is the area with the
highest memorial saturation. There are 40 memorials on the Royal
Route, the most representative part of the city centre. The study
presents a number of guidelines and recommendations in a coherent
and complex way regarding prospective location changes and
suggestions for enhancing the attractiveness of newly established
memorials.
Scientifically based concepts and general theories of the object of knowledge are necessary starting-points for research, education, and practical application in a field of knowledge. In the field of architecture such concepts and theories are lacking. Architecture deals with questions of buildings and man's use and experience of buildings. The hypothesis of the thesis is that with man's use and experience buildings emerges the system man-building. This system is the object of architectural knowledge. The starting-points of the thesis are ontological theories (especially systems theory), architectural theories, and empirical observations. The thesis includes an account of basic concepts in ontology and systems theory. These are applied to describe certain properties of man, social systems, artifacts, so-cio-technical systems, and society. In the light of this, basic concepts and general theories of buildings and the system man-building are developed.
Sound plays a critical role in the sensory experience of churches. Yet, it has received scant attention from the point of view of visitors in a context where churches are deserted. We report on the analysis of verbalizations of sonic experiences in a church in Montréal. Results show that sound acquires “a life of its own,” abstracted from the sound sources, unlike other everyday listening situations where sounds are experienced as pointers to object or agents who produce sound. The linguistic analysis emphasizes the frequent use of action verbs to describe the “behavior” of sound in space and time and the effects sound has on visitors. In the particular settings of the data collection, where participants became very aware of their own sounds, their attention was displaced to the qualities of the sounds themselves through a more contemplative listening. Church acoustics can also reinforce the impression that sounds are detached from their sources. Sound phenomena acquire a form of agency to directly affect participants’ perceptions, reflections and mood, placing them in a world of its own where time passes more slowly and space functions differently. We discuss the implications of our findings to inform potential future uses of church spaces.
This visual essay reflects on a two-year project titled Going Places Growing Places (TASC (2013). Place + Children = Learning. The Architecture School for Children. https://www.tascmanchester.com) devised and facilitated by artists Dan Wheatley and Catherine Clements.
The main theme is “materiality”, as an umbrella concept that
embraces all the fragments of the whole materialization
process starting from architectural imagination,
conceptualization, and design to the act of construction.
In this respect, discussing materiality under three
main themes as “architectural design”, “research” and
“technology” is aimed. Within this scope, the potential
discussions could be around but not limited to architectural
practice, architectural design education, heritage, and
conservation, vernacularity, urban context, theory, R&D in
architectural materiality, tectonics, computation, media and
immersive visualization, materiality as a process, methods
of computational design and materiality. The collected
papers addressed a wide range of disciplinary fields that are
somewhat related to architecture, from robotics to theory
and criticism, from professional practice to educational
practices, from urban scale to the product/material scale.
This article seeks to explore the parallels between the spatial turn embraced by contemporary literary theory and the so-called textual turn in architecture. More specifically, links between the contemporary developments of architectural theory and practice and literary criticism are established. In order to highlight the nature and origin of the connection between these two contemporary tendencies, this paper draws on a number of authoritative texts of both literary criticism as well as architectural theory, predominantly within the Anglo-American context. Architecture is presented from the viewpoint of the 20th and 21st centuries, which accentuates its liberation from a purely formal understanding by emphasizing the human involvement in its interpretation. The conception and structuring of physical spaces are therefore regarded as conditioned by processes similar to those involved in the construction of meaning in language and literature. Thus, while literary studies benefits from the extension of its field of study through the inclusion (and contemporary primacy) of the spatial point of view, architectural criticism invites active participation in the construction of its meaning, in other words, its reading. The processes of the mutual influencing and enrichment of both the textual turn in architecture and the spatial turn in literary studies is exemplified by means of contemporary architectural works that embody the synergic relationship of the two traditionally separate fields – (literary) text and architecture.
This study focuses on the usability of machine learning techniques as a decision support tool at the early stage of design. Can machine learning techniques provide new sources of inspiration to the designer by creating synthetic designs by establishing connections between the designs, alternatives or predecessor examples determined by the designer in the early stages of the design? Based on this question, the study focuses on making synthetic productions on a predetermined architectural element and interpreting the produced synthetic outputs by using an artificial intelligence algorithm. For the study, StyleGAN was chosen as the artificial intelligence model and the facade was chosen as the architectural element. The selected machine learning model was trained at two different levels using two different data sets consisting of facade images. Facades were produced with the trained model with four different methods and the produced facades were evaluated. The four methods are to produce random synthetic facade images, to produce synthetic facade images by interpolation of randomly generated synthetic facade images, to produce synthetic facade images by using two real facade visual inputs in the dataset, and to produce synthetic facade visuals with two real facade images that are not in the dataset. In addition, the potentials that may arise with the development of this model or its use for different purposes are discussed.
يمثل الكتاب رؤية مختلفة لدراسة التصميم والتكوين في العمارة من منظور المؤلف حيث يبدأ الكتاب بدراسة مفهوم بعض مصطلحات العمارة والتصميم لمشاهير العمارة وتحليلا لمراحل عملية التصميم، كما يتناول دراسة لمجموعة من المؤثرات والمحددات والجمال والفلسفة والابداع والتي تتعلق بعملية التصميم ثم ينتقل الكتاب إلى دراسة أهم عناصر التصميم والتي يعتمد عليها المصمم في تكوين جمل تصميمية معمارية يتواصل بها مع أطراف عملية التصميم والعمارة، وبعدها ينتقل الكتاب إلى دراسة وتحليل لأهم مبادئ التصميم المعماري من وحدة وايقاع والتي تنظم وتحكم عملية التصميم المعماري وصولا إلى أسلوب المعماري كأساليب تشكيل وتكوين معالجة منه يتميز بها عن غيره لعملية التصميم المعماري حيث أساليب التشكيل والتكوين المتنوعة من تجميع وإضافة وحذف وتركيب وتداخل وإحتواء وغيرها، مدعوما بالعديد من الرسومات والصور المتنوعة لمباني غالبيتها مشهورة بيئتنا العربية وذلك بأسلوب بسيط وسهل حتى يصل إلى مستوى طالب العمارة والمتخصصين والأكادمين من المعماريين.
THE PROBLEM:
Why visual evaluation for architecture?
Many reasons have been found to identify the searching problem as:
The studies from which we can evaluate the building and classify its quality from form to visual shape in a systemic method are very rarely whether international or local level.
The studies, search and reference that feed these kinds of studies are very scarce in Arabic library and Arabic universities.
What is important is finding the positive condition between the elevation form and the constructions of building according to the rule of design without ignore the side of civilization and environment.
All these reasons cause some problems like following
Need of this kind of studies by which we can show our satisfaction in the visual form of architecture.
Need of library and workers in an architectural field to these kinds of studies to support visual architecture that goes with Egyptian style.
Making a lot of projects and buildings in different field during the last 30 years, which represent the method and thinking of architect in that time and which help to observe the modern Egyptian architecture and specify its form and elevation by (visual evaluation in Cairo modern architecture).
ASSUMPTION
Improving of science and art are like thermometer by which countries can measure and reach some points to know if their science and art are progressing and it gives them an idea to use the positive elements in their future projects and this is the best method to make good success in our life field like (science, art,……….).
As evaluation is essential to improve the science and art the same thing happen evaluate the architecture because it is the thing, which form our worldview, which is important to human civilization and environment. The visual evaluation in architecture is based on (elevation) because nation deal with architecture from its out view, which can be observed, by eyes and other parts of sense.
Since this is the matter it is essential to put the value and elevation of modern visual evaluation in Cairo and from which we can differ between (the best elements and use them in our future project) and get rid of bad ones.
In The Biosemiotic Fundamentals of Aesthetics: Beauty is the Perfect Semiotic Fitting Kull makes a foray into the concept of Beauty. His target article is a welcome contribution not only for providing a biosemiotic notion of beauty but also as a trigger for further enquiry into the matter. Additionally, Kull delivers a new concept: Semiotic Fitting, shining new light on the Umwelt theory. My commentary embraces the challenge Kull presents (that beauty is a semiotic problem). Offering an alternate view on beauty, as a matter, and product, of cognition, I suggest reflecting on the philosophy of Alexander von Baumgarten, who coined the term “aesthetics”, offers rich insight that could extend and enrich the definition of beauty Kull presents.
The main point of this paper is the investigation of the textual aspects applied by Peter Eisenman to criticise the current way of conceiving architecture, of which we highlight the use of fiction, configuring his architectural texts. And his researches’ turning point, from his experimental formalists houses (1967-1980) to what we call here “narrativity”, is on his series of projects called the Cities of Artificial Excavation (1978-1988), object of this study.
Firstly, we contextualize the transition of Eisenman's approach, which was previously the search for the creation of an etiology of architecture (Hays 2010), based on syntactic processes of linguistics, but which then turns to the incredulity of his previous research and to treat the processes that shape architecture as fictitious, relating to issues associated to poetics and literature. In a second step, the text is dedicated to the analysis of the fictionalization processes of the past, the manner and resources used by Eisenman to question what was produced from the Renaissance to the Modern Movement and how fiction was also used to propose alternatives to that system. And, finally, we deal with the textual aspects applied to projects for the cities of Venice (1978) and Verona (1985).
This choice is due to the fact that the project for the former city was the moment of the architect’s opening experience using this new conceptual approach, which incorporates the site to the project’s conception, including its past and the fictionalization that he makes of it, a kind of rehearsal for its “textualization.” And this operation will only be effectively applied on our second case, through the appropriation of the textual matrix strongly present in the city that was stage of Luigi da Porto’s novel and William Shakespeare’s adaptation, Romeo and Juliet, and that also gives homonymous title to Eisenman’s project.
As a base text, we rely on one of the architect's most impactful works from the 1980s, “The End of the Classical: The End of the Beginning, the End of the End”, in which the main formulations are already consolidated Eisenman's about his Artificial Excavation Cities, consisting of eleven projects (Bédard 1994) that, for the first time, relate to the urban context in which they are inserted from fictions created about their past. And also in the catalog of the exhibition held by the Canadian Center for Architecture whose theme was Eisenman's artificial excavation projects.
In addition to these texts, we consult other written works by the architect and also by scholars and critics of the referred projects, with emphasis on the architectural historian K. Michael Hays. Texts by philosophers and literatures were used to support some arguments and connections generated throughout this work, mainly Michel Foucault, Jean Baudrillard and Walter Benjamin. We also have studies by Ferdinand de Saussure for some linguistic clarifications.
Thus, we intend to create connections that enhance the narrative load of Eisenman's projects, using fiction not only as a criticism of architecture as representation, but as a way to free it from this condition.
RESUMEN: Se discuten las técnicas editoriales de un conjunto heterogéneo de ediciones experimentales de arquitectura del siglo XX, hoy consideradas trabajos seminales. Siguiendo la metodología de los estudios culturales, las leeremos en polémica con las técnicas de diseño que cristalizan con el impulso de la economía cultural en la sociedad de masas. Veremos cómo en ellas el uso del montaje imaginativo confronta la fragmentación y los efectos de enmarcado comúnmente adoptados en la pre-sentación de la arquitectura como tecnología edilicia. Considerar estas relaciones nos permitirá identificar las claves que definirían un posible género crítico a investigar, el ensayo editorial. Si la fragmentación y el enmarcado pueden ser vinculados a diferentes mecanismos de externalización de lo crítico, la conectividad y los desvíos incentivados por el montaje imaginativo-también una técnica cognitiva y persuasiva-aproximan el ensayo editorial a las operaciones de rescate de lo olvidado y de lo excluido propias de la crítica cultural. PALABRAS CLAVE: edición de arquitectura, experimentación, estética, cultura crítica, técnicas THE EDITORIAL ESSAY IN ARCHITECTURE: FRAMING EFFECTS, IMAGINATIVE MONTAGE AND EDITORIAL CRITICISM ABSTRACT: We discuss the editorial techniques of a heterogeneous set of 20th century experimental books of architecture, today considered seminal works. Following the methodology of cultural studies, we will read them in controversy with the design techniques that crystallize with the impulse of the cultural economy in mass society. We will see how in them the use of imaginative montage confronts the fragmentation and framing effects commonly adopted in the presentation of architecture as building technology. Considering these relationships will allow us to identify the keys that would define a possible critical genre to be investigated, the editorial essay. If fragmentation and framing can be linked to different mechanisms of externalization of the critical, the connectivity and deviations encouraged by imaginative montage-a cognitive and persuasive technique, as well-bring the editorial essay closer to the rescue operations of the forgotten and the excluded characteristic of cultural criticism.
The Danish Johansen Skovsted Arkitekter is new generation architectural firm in Nordic countries. Their works show the rationality and sensibility of architectural structures through the perspective of structural polysemy. This paper takes the firm’s most representative case, the Tipperne Tower as an insight into their innovative structural thinking based on body and perception. Based on the vision of structural polysemy, this paper also sorted out two key aspects from their design: the principle of embodied perception and the corresponding structural design approach.
This paper seeks to discuss
how commonplace architecture, as a cultural artefact, is constituted through the
stories of everyday domesticity practices.
Following the recent planning debate there has been a tendency to re¬evaluate the tradition of European town planning. In this context a historical study of the Scandinavian planning experience between 1900¬1930 is not only timely but can also reveal a number of ideologies surrounding the "city versus suburb" debate of our century. The first part of the study touches on two areas which contributed to the emergence of Sittesque Scandinavian planning, namely (a) the economic, political and cultural history of Scandinavia in the 19th century, and (b) European town planning models around the late 19th century. Section (a) focuses on the passage from an agrarian to an industrial economy in Scandinavia and outlines the new political role played by industrial capital and the attendant reevaluation of traditional ideas. It also discusses the importance played by "nationals' sentiment in the formulation of the cultural attitudes of each of the Scandinavian countries. Section (b) presents the gridiron and German scientific planning models, contrasting them with Sitte's theory of artistic city building. Particular attention is paid to identifying the primary categories of physical design of Sitte's model, as well as, the economic and ideological presuppositions on which it was founded and became operative in Scandinavia. The second part of the thesis comprises the central body of the rcomrch. It deals with documentation of planning activity between 1900 and 1930 in the major Scandinavian urban centres. This entails data collection on realised projects, competition entries, planning and building legislation urban housing policies, etc. The discussion that follows reveals the ideological and politico-economic reasons which allowed the Sittesque model to flotrish in Scandinavia between 1900-1930.
ResearchGate has not been able to resolve any references for this publication.