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FEEL YOUR DESIGN
exploring the sensorial experience of Architectural space through
immersive architecture models
Maria da Piedade Ferreira1, Andreas Kretzer2, José Pinto Duarte3,
Didier Stricker4, Benjamin Schenkenberger5, Markus Weber6,
Takumi Toyama7
1,2Fachbereich Architektur - Technische Universität Kaiserslautern 3Faculdade de
Arquitectura da Universidade de Lisboa 4,5,6,7Deutsches Forschungszentrum für
Künstliche Intelligenz GmbH (DFKI)
1,2{m.piedade.ferreira|andreas.kretzer}@architektur.uni-kl.de
3jduarte@fa.ulisboa.pt
4,5,6,7{didier.stricker|benjamin.schenkenberger|markus.weber|takumi.toyama}@dfki.de
This paper describes an experiment entitled Experiment 2- ``Feel your Design`',
which belongs to a group of experiments undertaken in the context of a PhD in
architecture. The goal of the experiment described in this paper was to evaluate
the emotional reaction of a viewer to changes in the sensory perception when
being stimulated by viewing, listening and smelling immersive architectural
models. The Experiment was taken as part of a workshop with students of
architecture. The workshop incorporated concepts of ``Sensory Design`' and
``Emotional Design`'. The task assigned to the students proposed that immersive,
atmospheric models were built according to a specific narrative and included
specific scents and sounds which were supposed to re-enforce such a narrative or
induce a certain mood. The results of the Experiment were evaluated through the
use of a ``Presence Questionnaire`' and a ``SAM chart`'. The Experiment had the
participation of 7 students who produced one model each and served in the
Experiment as subjects. Experiment 2 took place on the last day of the ``Feel your
Design`' workshop. The host institution was Fachbereich Architektur, Digitale
Werkzeuge, TU Kaiserslautern. The experiment had the technical support of the
Deutsches Forschungszentrum für Künstliche Intelligenz GmbH (DFKI).
Keywords: Architecture, Immersion, Emotion Measurement, Sensory Design
Draft - eCAADe RIS2017 |1
INTRODUCTION
This paper describes an experiment which was taken
as part of the research work developed for a PhD
thesis dedicated to the topic of the relationship be-
tween body and architecture (Ferreira, 2016). Four
experiments were done in the context of the afore-
mentioned PhD research. The goal of the experi-
ment described in this paper, called Experiment 2 -
"Feel your Design", was to evaluate the emotional re-
action of a viewer to changes in the sensory percep-
tion when being stimulated by viewing, listening and
smelling immersive architectural models. This exper-
iment took place on the last day of a student work-
shop. The workshop functioned as an elective course
for students of architecture and dealt with the phys-
ical construction of immersive architectural models
and the evaluation of subjects' response to the at-
mosphere's created by the models. The name of the
workshop comes from the assumption that an archi-
tectural space can be designed as an experience if
the architect takes in consideration sensory aspects
such as haptics, sound, and scent in addition to vi-
sion (Damásio, 1999). The idea was inspired by Pal-
lasmaa's (2005) work and his proposal that architects
should use an embodied, sensorial approach to de-
sign as a way of stimulating the body, as a holis-
tic sensory system which is not exclusively depen-
dent on vision, but also on other senses. The work-
shop also incorporated concepts of "Sensory Design"
and "Emotional Design" (Norman, 2004). The task as-
signed to the students proposed that immersive, at-
mospheric models were built according to a specific
narrative and included specific scents and sounds
which were supposed to re-enforce such a narrative
or promote a certain mood. The Experiment had the
participation of 7 students who produced one model
each and served in the Experiment as subjects. Ex-
periment 2 took place on the last day of the "Feel your
Design" workshop. The host institution was Fach-
bereich Architektur, Digitale Werkzeuge, TU Kaiser-
slautern. The experiment had the technical support
of the DFKI.
DESCRIPTION
Each participant was given a cube measuring 50 x 50
x 50 cm and was requested to choose a room type
which could be any kind of interior space such as an
attic, a bedroom, a working room, a library, a mu-
seum, or a hospital room. The students were asked
to choose a narrative that described a mood that was
to be explored through the model and design an im-
mersive experience through the combined design of
an interior space, the choice of a scent which accen-
tuated the narrative (``scentscape`'), and a specifi-
cally created sound-loop which re-enforced the de-
sired atmosphere (soundscape). The scale of the in-
terior spaces was left for each student to choose ac-
cording to her/his idea for the model, as well as the
location and dimension of the peeping holes which
were meant to condition the viewer's gaze.
Figure 1
Immersive models
with peep-in holes
The setup of the Experiment consisted of Architec-
tural models placed at seating level, installed with
peep-holes (Fig.1), scent- and soundscape in the in-
terior of a box with the same dimensions as an old
phone booth (Fig.2), with a bench for the viewer to sit
and look at the models and a black fabric curtain to
keep the booth in the dark. The tools used for the ex-
periment were one laptop with plugged headphones
which was set at a table next to the booth where the
models were installed. While inside the booth, the
viewer was asked to sit on the bench and take a look
into the peeping hole of the model, while listening to
the soundscape through the headphones connected
to the laptop outside of the booth (Fig.3). Students
were advised to install, if possible, small vents inside
2|eCAADe RIS2017 - Draft
the models so that the viewers could feel the chosen
"scentscape" more intensely. The students had to de-
fine the possible views into the model space on the
display side of the cube, to create a soundscape as a
loop in mp3-format, and to complete the experience
by adding a specific scent to the model. The selected
title had to describe the desired mood for the archi-
tectural space and provide the viewer with the key
to the understanding of the narrative. The goal of
the exercise was to explore through these immersive
models the multi-sensory experience of architectural
space (Pallasmaa, 2011) and evaluate viewer's emo-
tional reactions (Damásio, 1999) to the narrative ex-
perienced inside the booth through the analysis of
data collected and processed with emotion measure-
ment methodology. To support the design process
during the workshop, students were introduced to
artwork on the topics related with the task such as
cinema, model making, art installations, as well as ba-
sic notions of architectural archetypes and Plutchik's
(1962) vocabulary of basic emotions. Students were
also introduced to the concepts of emotion mea-
surement (Bradley et al., 1994; Kim et al. 2015), im-
mersion, presence (Witmer et al., 1998), sensory de-
sign and emotional design (Norman, 2004). Students
were encouraged to use CAD/CAM technologies to
aid in the process of manufacturing the models. The
results of the Experiment were evaluated through
the use of a "Presence Questionnaire" (Witmer et al.,
1998) and a "SAM chart" (Bradley et al., 1994). Recall
that the main goal of this experiment was to qualify
users' response to immersive architecture models, by
analysing sensory data, having in mind that our main
hypothesis was:
H1 - a user's emotional response as ``compelled
or not compelled`', ``positive or negative`', ``aroused
or not aroused`' and ``dominant or dominated`' to
an immersive architecture model can be evaluated
through objective measurements of emotion using a
Presence Questionnaire (PQ) and a SAM chart.
Figure 2
Setup with focus on
model location
Draft - eCAADe RIS2017 |3
Figure 3
Diagram of ``Feel
your Design`'
experimental setup
Two secondary hypotheses were then formulated:
H2 - architecture is an immersive experience
which can be consciously composed by the architect;
the techniques of ``emotional design`' and ``sensory
design`' are an effective strategy to compose specific
experiences of architectural spaces and develop the
sensorial awareness of students and designers;
H3 - the feeling of presence and emotional ac-
tivation can be induced through the experience of
analogical models, in this case, immersive architec-
tural models;
To verify these hypotheses, the experiment was
developed considering four stages:
1. Identify the design characteristics that are
more suitable to induce certain sensations in
the user, such as ``positive, aroused, dom-
inant, compelled`', ``negative, not aroused,
dominated, not compelled`', ``joy, sadness,
anger, boredom, ecstasy`';
2. Design an immersive model so that those
characteristics are the most important aspects
of the design;
3. Perform experiments with users interacting
with these architectural models and assess
their emotional experience through the use of
a PQ and a SAM chart;
4. Process and analyse the sensory data col-
lected to understand if significant differences
can be found in the classification and differen-
tiation between a ``compelling-positive`' ex-
perience and a ``not compelling-negative`'
one.
RESULTS
Experiment 2 - ``Feel your Design`' evaluated the
emotional experience of architectural models by
analysing changes in the sensorial perception of
the viewer, while looking at the model, listening to
specifically created sounds (soundscape) and inhal-
ing specifically chosen scents (``scentscape`'). The
results of this experiment were the answers to the
Presence Questionnaire and the SAM chart, where
recall of experience and believability of simulation
were systematised. Such data describes the sub-
ject's physiological response and emotional activa-
tion, thereby enabling one to evaluate the model's
ability to alter the subject's emotional state. The data
is organized according to Presence Questionnaire's
``Factors`' and ``Subscales`', as defined by Witmer and
Singer, as well as SAM's parameters of Valence, Ac-
tivation and Control. The final values considered in
the analysis of the PQ results were obtained by av-
eraging the ratings assigned by the subjects to each
of the questions, according to Witmer and Singer's
(1995) 1-9 point scale. The analysis of the data col-
lected through the SAM chart also followed the same
principle, as the three parameters of ``valence`', ``acti-
vation`' and ``control`' were rated by the subjects us-
ing also a 1-9 point scale. After making these calcula-
tions, we obtained values that qualify the subject's in-
dividual experience of the ``Feel your Design`' mod-
els regarding the parameters of ``presence`', ``emo-
tional response`', ``valence`', ``activation`', and ``con-
4|eCAADe RIS2017 - Draft
trol`'. From the data collected, we can also qualify the
experience of the group of subjects as a whole, by av-
eraging the results for the same parameters.
DISCUSSION AND CONCLUSIONS
Experiment 2 - ``Feel your Design`' evaluated the
emotional experience of architectural models by
analysing changes in the sensorial perception of
the viewer, while looking at the model, listening to
specifically created sounds (soundscape) and inhal-
ing specifically chosen scents (``scentscape`'). The
experimental results support the main research hy-
pothesis H1 - a user's emotional response as ``com-
pelled or not compelled`', ``positive or negative`',
``aroused or not aroused`' and ``dominant or dom-
inated`' to an immersive architecture model can be
evaluated through objective measurements of emo-
tion using Presence Questionnaire and SAM charts.
The results collected through these means show that:
Figure 4
Interior of model
``Psycho`'
• - for the immersive model ``Psycho`' (Fig.4),
the majority of subjects experienced a high
level of ``Presence`', ``Arousal`' and ``plea-
sure`';
• - for the immersive model ``Turm`', the ma-
jority of subjects experienced a high level of
``Presence`', ``Arousal`' and ``pleasure`';
• - for the immersive model ``Surfstation`'
(Fig.5) , the majority of subjects experienced
high levels of ``Presence`' and ``pleasure`' and
a low level of ``arousal`';
Figure 5
Interior of model
``Surfstation`'
• - for the immersive model ``Spiegel`' (Fig. 6),
the majority of subjects experienced high lev-
els of ``Presence`' and ``pleasure`' and a low
level of ``arousal`';
Figure 6
Interior of model
``Spiegel`'
Draft - eCAADe RIS2017 |5
Figure 7
Interior of model
``Blumenpassage`'
• - for the immersive model ``Blummenpas-
sage`' (Fig. 7) , the majority of subjects expe-
rienced high levels of ``Presence`' and ``plea-
sure`' and a low level of ``arousal`'.
All subjects felt they were able to control their emo-
tional response to the scenes in the models and
also described them as a positive experience. Most
subjects described the scenes as ``not very domi-
nating`', although the scenes ``Turm`' and ``Surfsta-
tion`' were described as ``dominating`'. Interestingly
enough, these experiments explored opposite atmo-
spheres, anxiety in the case of ``Turm`' and relax-
ation in the case of ``Surfstation`'. All subjects re-
ported to have felt compelled by all the scenes in
the experiment, with the scenes ``Psycho`', ``Turm`'
and ``Spiegel`' being rated in average as ``very stim-
ulating`' and the remaining two ``Surfstation`' and
``Blummenpassage`' as ``stimulating`'. The scenes in
the models were unanimously rated by the subjects
as ``convincing`', ``engaging`' and ``consistent`' with
real life experiences in terms of the sensual informa-
tion. Most subjects repor ted tohave been visually in-
volved by all the scenes, as well as by the correspond-
ing ``scentscapes`', soundscapes and, surprisingly, by
the haptic aspects as well, since the latter was not
directly explored in this experiment, but the former
three were. This suggests that the models induced a
very high level of immersion. All scenes were rated
by the subjects as able to trigger the imagination of
real actions and the majority of subjects reported to
have had their attention dedicated to the scene. This
permits us to conclude that Hypothesis H2 is verified -
architecture is an immersive experience which can be
intentionally composed by the architect and the sim-
ulation techniques of ``emotional design`' and ``sen-
sory design`' are an effective strategy to compose
specific experiences of architectural spaces and de-
velop the sensorial awareness of students/designers.
The majority of subjects reported that they were able
to survey inside the models, were not distracted by
the quality of their execution and could move inside
the booth and manipulate the interface objects with-
out being distracted by them. Subjects also adjusted
quickly to the experiment, could concentrate well on
the scene and the majority rated it as a good learn-
ing experience. Still, except for the case of the scene
``Psycho`', which the final average score shows that
the subjects lost track of time, this did not happen
in the remaining scenes. This suggests that the ex-
perience of the model ``Psycho`' was the most im-
mersive. Finally, it can be concluded that the illusion
of presence and arousal situations can be intention-
ally induced through immersive architectural mod-
els, although further research is necessary to under-
stand which specific design elements are responsi-
ble for this. Therefore, Hypothesis H3, which sug-
gests that the feeling of ``presence`' and emotional
activation of the body of a user can be intentionally
induced through the experience of immersive archi-
6|eCAADe RIS2017 - Draft
tectural models, also is confirmed. Experimental re-
sults of this experiment show that PQ and SAM are
effective in identifying arousal responses related to
``positive`' or ``negative`' emotions, from the neu-
tral condition, when users experience immersive ar-
chitectural models. On-going research in the fields
of IT, psychology and marketing uses an established
range of values that also were user used as reference
in this experiment. The use of electroencephalogram
(EEG) and biometric markers is an additional, interest-
ing method to be used in future experiments to ob-
serve how the emotions of a user are triggered while
experiencing immersive architectural models. Such
technology was unavailable for this experiment, but
it was used in other experiments in the context of the
aforementioned PhD research (Ferreira, 2016). The
experiment described in this paper will be repeated
and eye-tracking sensing technology will be incor-
porated to the experimental setup. We believe this
method might be useful to detect which points are of
most and least interest for the viewer of a scene and
give a more comprehensive analysis of the subjective
experience of looking at an architecture scene.
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Draft - eCAADe RIS2017 |7
