Introduction - Open Repositoryarizona.openrepository.com/.../10150/608601/1/Bonnet_C… · Web viewThe context of this topic covers the implementation of sensory and intelligible

Implementation of Sensory Elements

The Implementation of Sensory and Intelligible Elements in the Design Process

Cody Thomas Bonnet

The University of Arizona

I have adhered to the University policy regarding academic honesty in completing this assignment

Submitted to Prof. Iuliano of the Sustainable Built Environments Program

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Abstract

The context of this topic covers the implementation of sensory and

intelligible elements into the design process. These elements mainly pertain

towards the human experience, and how design professionals can interpret

these elements into functional concepts. The idea of incorporating sensory

and intelligible principles is a relatively new premise in the realm of design,

and as such there are many opportunities for the field to expand. Due to

uncertainties pertaining to this field, such as the cost of production as well

the subjective nature of the information, there are not many examples of

design professionals utilizing these concepts to their full potential. The

research methodology is primarily a qualitative analysis, examining

precedents and examples of sensory elements as well as their functional

applications in the professional world. Significant findings of this research

combat the perceived subjectivity of this field, as there are proven benefits

to incorporating these elements in the design process. These include

creating more memorable spaces, improving mood of participants, and the

ability to create safer spaces.

Keywords: Intelligible, Kevin Lynch, sensory, Christopher Alexander, human

experience, design process

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Table of ContentsIntroduction............................................................................................................................4

Statement of the Problem................................................................................................................4Purpose of the Study........................................................................................................................5Significance of the Study..................................................................................................................5Limitations of the Study...................................................................................................................5

Literature Review....................................................................................................................5

Methodology.........................................................................................................................11

Findings.................................................................................................................................13Sound............................................................................................................................................13Sight..............................................................................................................................................14Smell..............................................................................................................................................15Taste..............................................................................................................................................16Touch.............................................................................................................................................17Landscape Architecture..................................................................................................................18Architecture...................................................................................................................................22Planning.........................................................................................................................................23Firsthand Documentation...............................................................................................................24

Discussion.............................................................................................................................27Research Question 1......................................................................................................................27Research Question 2......................................................................................................................27Research Question 3......................................................................................................................27Conclusion.....................................................................................................................................27

References.............................................................................................................................28

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IntroductionThere is one timeless way of building. It is a thousand years old, and the same today as it

has ever been. The great traditional buildings of the past, the villages and tents and temples in

which man feels at home, have always been made by people who were very close to the center

of this way.

- Christopher Alexander

Christopher Alexander, an Austrian architect, is noted for pioneering the New Urbanist

design movement, where the people not associated with the design field reclaim control over

their built environments. In this way, Alexander is one of several professionals in the design

world that emphasizes the human experience. The human experience is the combination of

characteristics, key events, and situations that compose the essentials of human existence. In

terms of the design profession, the human experience encompasses all the different ways users

interact and explore their surroundings. One key area of the human experience that is

underdeveloped in the world of design is that of the implementation of sensory elements.

Sensory elements, composing of touch, sight, smell, etc. are powerful tools that can create

memorable and dynamic spaces. This essay will explore these senses, their practical

applications, and their implications on the human experience once they are assimilated and

accounted for in the professions of design.

Statement of the ProblemThe problem that seeks to be analyzed is the absence of sensory principles in the design

process. In a sense, this paper campaigns the many benefits of this line of thinking as proof of a

viable design area. Due to the freshness of this topic, examples of successful installations are

limited in the design world.

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Purpose of the StudyThe purpose of the study is to indicate areas of need in the design world where sensory and

intelligible techniques can improve upon. The listed benefits will indicate a need for the

implementation in real-life practicality.

Significance of the Study The significance of this study can lead to a wide array of design possibilities in the future. In a

real sense, this study can be used as a stepping stone for designers to use in the hopes of

developing more sensory-focused spaces.

Limitations of the Study The major limitation of the study is the very subjective nature of the topic. Though benefits are

tangible, many aspects, such as the success of the space, if the cost of installation is worth it,

are not. This leads to differences in opinion, which in turn can invalidate the study.

Literature ReviewIn Kevin Lynch’s (1960) novel, The Image of the City, an emphasis on the perceptual

form of urban environments is analyzed and theorized. The book is the culmination of a five-

year study of how observers, primarily in Boston, take in information about the city they inhabit

and interact with. Lynch ultimately formed the conclusion that people formed mental maps of

their surroundings consisting of five basic elements: Paths, Edges, Districts, Nodes, and

Landmarks (Lynch 1960). The study found that a clear and concise city, with legible examples of

the five previously stated examples, could actually alter the user’s perception of their

surroundings as well as improve overall mood, with the opposite also being proven true. This

was one of the first studies done that stressed the importance of the surrounding environment

and the human experience together.

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In Christopher Alexander’s (1975) book, The Oregon Experiment, the subject of the

importance of the human experience in design was also stressed. Architecture had become too

impersonal, lacking in an understanding of the people who would use the spaces (Alexander

1975). A new theory in design was proposed, one that proposed more involvement from the

common people. In a case study of this community planning theory in action, the University of

Oregon allowed the community of the university to create its own spaces, thus providing a

tangible example of citizen involvement in the design process.

Continuing off of The Oregon Experiment, Christopher Alexander produced A Pattern

Language (1977) with contributors Sara Ishikawa and Murray Silverstein that utilized the

information gained from their previous project in Oregon. Alexander proposed a new form of

language called a pattern language that was derived from timeless uniform entities called

patterns (Alexander, et. al 1977). These patterns would create a consistent language that

describes problems as well as identifies solutions to these problems. With this information,

even ordinary people are able to design the communities that they live in, thus providing

further emphasis on the human experience in the design process

These readings laid the groundwork for the implementation of an understanding of the

human experience in the design process. They had begun to identify how humans look at and

experience their surroundings, as well as how they could alter that perception for the better.

With this knowledge, those in the design profession learned that utilizing the human senses

could exponentially improve the surrounding environment. One sense that has increasingly

become utilized and expanded upon is the visual. An element of the visual sense that should be

more widely practiced in the design process is color. Color, according to Ab. Jalil, is a subtle

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stimulation with salient impact that can affect human lives physically, psychologically,

physiologically, and sociologically every day, and has now been widely accepted (Ab. Jalil 2011).

In other words, color can give character to a space as well as influence behavior, decision-

making, health, and more with or without our realization (2011). This proves color can be a very

powerful tool in the hands of those in the design profession. Cameron Chapman (2010) argues

that the use of color in design is very subject, and should be used with caution. For example,

colors such as red have been proven to induce physical effects on the viewer, such as a raise in

blood pressure and respiration rate (Chapman 2010). Outside of the physical effects, the

cultural impacts of color also need to be carefully considered, because again, color is subjective.

The color red has different associations outside of the western world that could be problematic

depending on its implementation. For example, in China, red is the color of prosperity and

happiness, while in South Africa, it is more commonly associated with mourning. Outside of

color, implementing the natural environment into designs can lead to several benefits. In an

analysis of 101 high schools in Michigan, Daniel Jost (2012) reported that views with greater

quantities of trees and shrubs from cafeteria as well as classroom windows are positively

associated with standardized test scores, graduation rates, percentages of students planning to

attend a four-year college, and fewer occurrences of criminal behavior (Jost 2012). The

opposite was also proven to be true, as views that consisted of a lack of trees and shrubs were

proven to coincide with lower levels of academic achievement (2012).

Moving away from the visual aspect of the human experience, auditory elements can

also be a powerful addition to an environment. In his 2004 article Considering the Authenticity

of the Garden Soundscape: Preliminary Research Based on Interviews, Pers Hedfors argues for a

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more progressive acoustic design in built environments (Hedfors 2004). Hedfors highlights the

human element by staging several interviews with visitors to the Linnaeus garden in Sweden,

asking how the soundscape of the garden could be improved. One common answer from the

visitors was a need for a tangible contrast between city sounds and garden soundscapes (2004).

The need for this contrast is obvious due to humans’ preference for a natural soundscape such

as flowing water and wind blowing through trees. In many urban settings, this natural ambiance

is interrupted with sounds from the manmade landscape, examples including technology or

construction. What designers should take into consideration is that there are many sources of

auditory interference, and there should be balance between natural sounds, human sounds,

and outside auditory interference. J. Douglas Porteous and Jane F. Mastin discuss the effects of

both wanted and unwanted sounds in an environment in Soundscape (Mastin, Porteous 1985).

They conclude that a successful ambiance is composed of wanted sounds, and is devoid of

noise. Minimal unwanted noise is key, but they also found that introducing natural auditory

elements can mitigate unwanted noise pollution (1985).

Another sense to take into account during the design process is that of smell. In Jordan

Lewis’ research (2015), she concludes that smells can trigger strong emotions and memories in

certain people. In fact, a sense of smell is more likely to be accompanied with a memory than

any other sense. Scientists have found that memories evoked by odors were linked to more

brain activity in areas associated with visual vividness (Lewis 2015). In Arshamians et. al’s (2013)

article on the anatomical process of smell and memory, they concluded that incoming smells

are first processed by the olfactory bulb, which starts inside the nose and runs along the

bottom of the brain (Arshamian et. al 2013). The olfactory bulb has direct connections to two

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brain areas that are strongly implicated in emotion and memory: the amygdala and

hippocampus. Visual, auditory, and tactile information do not pass through these brain areas,

thus explaining why smell is so successful at triggering emotions and memory (2013). This

proves that designers can utilize smell in order to invoke an emotional response from the

viewer as well as make an environment more memorable.

The final sense that this paper covers is tactile, or the sense of touch. In Christopher

Henry’s (2011) article, he concludes that the effects of a tactile environment could be

meaningful and measureable when it comes to a person’s social behavior, self-perception,

enjoyment of, and comfort in a building (Henry 2011). Studies found that individuals who were

asked to hold warm items, such as a drink, were more likely to perceive others and themselves

as friendlier, more trusting, and more generous than those who held cold items (2011). Another

study found that individuals enjoyed the taste of water more if it came in a firm bottle rather

than a flimsy one (2011). These physical sensations can be manipulated by designers in order

for tactile information to invoke both a physical and emotional response from the user. Though

these studies do not immediately address the architectural environment, they provide a great

starting point for implementation. Questions that tactile-considerate designers can ask include

if a heavy, cold, smooth door with a warm a wooden handle would have a different effect than

a rough, light, warm door with a cold steel handle, or if a door’s weight influences our

perceptions of a space as we enter it? (2011). Megan Strickfaden and Aymeric Vildieu (2014)

discuss in their article how tactile information is a natural and important way for people to

experience the world (Strickfaden, Vldieu 2014). Examples of historical tactile information are

provided, such as relief on Egyptian stone tablets and brush-stroked textures on a Mondrian

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painting (2014). The importance of tactile information is also stressed due to the need for

consideration of people who are visually impaired. In a visually dominated world, many times

materials are not made with the intent on being accessible to people with sensory impairments,

which provides another story in the world of design.

Utilizing the power of the human senses to their full capabilities has the potential of

creating very powerful spaces. It is because of this power that they indeed should be utilized in

the design process, but with caution, for misuse can be disastrous. There are setbacks to this

sensory approach, most notably the abundance of subjectivity throughout. There are not

universal truths to good or bad sensory information, and environments themselves are

subjective, with people liking and disliking various areas for a myriad of reasons. The biggest

hurdle for designers would be to look past this lack of objectivity and to make an environment

capable of utilizing the senses in a cautious and practical way. A close example of the type of

work that encompasses these techniques can be seen in those of Herbert Bayer, who utilized

graphic and digital media in order to illustrate his vision of ecological design (Anker 2007).

Conscious of the human experience, he designed projects such as the Grass Mound that

projected his image of a new kind of industrial humanism that entailed a life in harmony with

the social and natural world as a whole (2007). So, in conclusion, it is with careful consideration

of the environment and human experience that design professionals can create memorable

spaces with sensory information.

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MethodologyDue to the nature of my chosen topic, a balanced approach for research methodology would be

the most successful. Because many aspects of my topic are not numerical in nature, most of

analysis will be qualitative with examples of methods and case studies to reference throughout.

Both quantitative research and qualitative research will be utilized in order to support my topic

of environmental psychology and sensory elements being implemented into the design process.

Qualitative research investigates participant observer research and emphasizes the

importance of looking at variables in the natural setting of their origin. Interaction among these

variables is stressed, which is a major component of my topic. One overlying theme of “A

Pattern Language” is the importance of user-involvement in the design process. Rather than

outside sources, the actual users of the site can provide examples of how certain aspects make

them feel, how they would improve it, etc. (Alexander 1977). How the user interacts with the

surrounding and vice-versa are integral themes, and many examples of this can be seen in

certain case studies. For example, there is a garden in Sweden called the Linnetradgarden that

explores the user’s experience with sonic authenticity and how that can affect design (Hedfors

2004). It is concluded that natural acoustic sounds are the most pleasing, with little outside

noise interference being preferable.

Though quantitative research will not encompass the majority of my Capstone, it will be

used as an accompaniment, in particular as illustrations detailing the benefits of these design

implementations. For instance, studies show how a better ambiance in the workplace can lead

to improved productivity, which produces tangible financial growth. This success can be

measured using media such as bar graphs and infographics.

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In short, the methodology outlined will be mostly qualitative research that details the

benefits of instilling these design techniques, with quantitative research providing the tangible

evidence of the benefits.

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Findings The findings that will be presented include the history of intelligible design, an analysis on the

proven benefits of implementing sensory principles, interpretations of those principles, and an

analysis of precedents in the design profession that incorporate these principles. A common

theme throughout is an effort to combine functionality with a unique interpretation of a human

experience.

SoundHarnessing sound has the ability distort and manipulate the ambiance of a space. In this

interpretation, the Anechoic Chamber in South Bank, London, erases all outside noise in

exchange for total silence. The purpose of this is for the user to become more aware of their

sense of self in relation to the natural environment. In this room, participants are able to hear

blood rushing to their head, respiratory movements, and other bodily functions that normally

would not have been noticed.

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SightSight, initially, appears to have the most impact on the user in regards to initial impressions.

Humans by nature are visual creatures, and when used appropriately, the sense of sight can be

utilized in order to distinguish a space, improve mood, and increase safety. In this installation in

Naoshima by James Turell, the pitch-black space renders the user blind for the duration of the

visit. Once the eyes adjust, the users can fully experience the gray-scale designed space.

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SmellSmell, though often underutilized, can make a space be extremely memorable for the user. This

is mostly due to the area of the brain associated with smell is directly next to the area

responsible for memory. Due to this, designers can attribute certain smells to their projects that

conjure up individualized memories for users. In this example, at The Art of Scent exhibit in the

Museum of Art, NYC, is designed to affect the thought patterns of visitors with smells.

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TasteTaste is perhaps the most underutilized sense in design, and for good reason. The logisitics,

such as cost and sanitation lead to taste being left out of sensory design. In this installation,

chocolate silk-screen prints adorn a room where visitors can taste the exhibit. In this case, the

message is that too much of anything is detrimental.

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Touch Touch is the sense that is perhaps most associated with understanding, hence some people

being described as “hands-on” types of learners. Tactile design breaks down the separation of

object and viewer and instead creates a heightened sense of interaction. In the Hazelwood

School in Glasgow, Scotland, a school for the blind and deaf was created with a meandering

plan and textured walls to help guide students throughout the school safely. This also fosters

independence amongst users.

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Landscape ArchitectureThough good stepping stones for sensory development, many previous examples lacked the

functionalism required for projects to become used and realized. These findings provide

examples of how future designers can incorporate these elements in their projects.

In this example, landscape architects designing the Edge Park highlights the connectivity of the

city grid and the river’s ecosystem (2014). The blurring of land and water lends to extended

interactions with the waterfront and the surrounding community. In this context, sensory

design is used to improve social connectivity as well as users’ experience with their area.

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Taking a more natural approach, landscape architects in Wales created installations that can be

described as bioacoustics terrain. Regular annual wind phenomena in certain areas can be

harnessed and used to musicalize the weather. These structures essentially turn wind into

sound.

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Implementation of Sensory Elements 20


The Superkilen Park in Copenhagen Denmark incorporates the sense of sight heavily. The bright

façade greatly distinguishes the site from the surrounding area, and serves as a community

gathering spot.

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ArchitectureIn Oslo, Norway, the Oslo Opera house is designed with user interaction as a priority. Its shape

lends itself to visitors actually being able to walk throughout the project. In an interview with

the lead designers, a major inspiration for the design was to have a project that could be an

ideal place for skateboarders to interact.

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PlanningOn a city-wide scale, planning has the ability to incorporate massive projects lending

themselves to sensory principles. In this example, the city incorporates a variety of textures and

colors in their streetscapes to use as traffic-calming installations. This is a prime example of

design professionals using sensor principles in order to increase the safety and well-being of

users/pedestrians in the area.

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Firsthand DocumentationOn Saturday, April 16th, I visited the Scottsdale Museum of Contemporary Art (SMoCA) in order

to document the James Turrell piece Knight Rise, 2001. An artist noted for creating spaces that

explore the complexity and perception of light, his Knight Rise installation provided a local

opportunity to witness this distortion in design firsthand. A concrete and plaster dome located

at SMoCA, the exhibit invites viewers to experience how light can distort the perception of a

room through the use of its elliptical opening in the ceiling. During my visit, I filmed a time-lapse

of the space, capturing the movement of the sun as well as visitor interaction with site. In

addition, I provided photo documentation of the physical changes the exhibit undergoes

throughout the course of a day.

Time Lapse

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5:50 pm

5:50pm

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7:50pm

7:50pm

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DiscussionAfter the findings, research questions, conclusions, and recommendations for theory, practice,

and research will be analyzed.

Research Question 1 – Can sensory principles actually be beneficial for users?

The findings, objectively speaking, indicate a variety of ways for these elements to be beneficial

for the user. Safety, mood, memory, interaction, community involvement, etc. are all benefits

of properly instilled sensory principles

Research Question 2 – Can sensory principles actually beneficial to the designers?

The findings are clear on the benefits for users, but the benefits for the designers are more

subjective. In a fulfillment sense, implementing these principles can lead to a high sense of

satisfaction among designers. Comparatively, the cost of instillation and risk of budget issues

can lead designers into thinking the effort is not worth it.

Research Question 3 – Are there opportunities for implementation?

The findings indicate several areas where sensory principles can be instituted. Despite its

subject nature, the high possibility for great design and unknown territories allow room for

great expansion.

ConclusionThough the findings indicate clear benefits for the implementation of sensory and intelligible

principles in the design process, the subjective nature of the field indicates a future surrounded

in doubt. Ultimately, the cost of production vs. heightened user interaction is one with many

different outcomes depending on the person/organization. Despite its benefits, many doubt

sensory principles as techniques capable of combating modern problems. It is up to future

designers to prove this area of expertise is more functional than gimmick.

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ReferencesAb. Jalil, N. (2011). Environmental Colour Impact Upon Human Behavior: A Review.

Procedia - Social and Behavioral Sciences, 35, 54-62.

Alexander, C. (1975). The Oregon Experiment (pp. 1-190). Oxford University Press.

Alexander, C., Ishikawa, S., & Silverstein, M. (1977). A Pattern Language: Towns,.

Buildings, Construction (Vol. 3, pp. 1-1171). Oxford University Press

Anker, P. (2007). Graphic Language: Herbert Bayer's Environmental Design.

Environmental History, 12(2), 254-279.

Architizer.com/blog/the-architecture-of-perception/

Arshamian A, Iannilli E, Gerber JC, Willader J, Persson J, Seo H-S, Hummel T, &

Larsson M. (2013). The functional neuroanatomy of odor evoked autobiographical

memories cued by odors and words. (pp123-131). Neuropsychologia 51

Chapman, C. (2010). Color Theory for Designers, Part 1: The Meaning of Color.

Gaines Lewis, J. (2015). Smells Ring Bells: How Smell Triggers Memory and Emotion.

Brain Babble. Retrieved from psychologytoday.com

Hedfors, P. (2004). Considering the Authenticity of the Garden Soundscape:

Preliminary Research Based on Interviews. Garden History, 32(2), 281-284.

Henry, C. (2011). Tactile Architecture: Does it Matter? ArchDaily. Accessed 10 Dec

2015. <http://www.archdaily.com/186499/tactile-architecture-does-it-matter/>

Jost, D. (2012). Students May Benefit From Natural Views. Landscape Architecture

Magazine

Lynch, K. (1960). The Image of the City (pp. 1-194). The MIT Press.

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Porteous, J., & Mastin, J. (1985). Soundscape. Journal of Architectural and Planning

Research, 2(3), 169-186.

Strickfaden, M., & Vildieu, A.. (2014). On the Quest for Better Communication

through Tactile Images. Journal of Aesthetic Education, 48(2), 105–122.

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Documents

Introduction - Open Repositoryarizona.openrepository.com/.../10150/608601/1/Bonnet_C… · Web viewThe context of this topic covers the implementation of sensory and intelligible