Perception of Space

TO CREATE A PUBLIC BUILDING WITHIN THE CITY CENTRE WHICH INVIGORATES THE SENSES
“we find beauty not in the thing itself but in the
pattern of shadows, the light and the darkness, that
one thing against another creates.”

Junichiro Tanizaki (2001:46)

INTRODUCTION
introduction
thesis aims
 abstract

Perception of Space

The thesis aims to create a public building within the city

centre which invigorates the senses.

The building is a National Facility for the Integration of

Deaf and Hearing people.

Originally I began research into Deaf sensibilities and I

found that Deaf people have an acute spatial awareness
gained from visual and tactile sensibilities. This is an
adaption to a lack of the 3 dimensional passive orientation
which is gained otherwise through sound.
In his book entitled “Eyes of the Skin” Juhani Pallasmaa
explains the spatial differences:

“Sight isolates, whereas sound incorporates; vision is

directional, whereas sound is omni-directional...I regard an
object, but sound approaches me; the eye reaches, but the
ear receives.”
Eyes of the Skin

Due to current issues within the Deaf community integra-

tion was the main driving factor in the choice of site, along
a primary pedestrian route in the city centre. The brief has
a variety of services for the general public and specialist
facilities for the Deaf community. My intention is to create
a building which responds to the needs of the Deaf
community, education system at present and most
importantly provide an important link between two
cultures. The brief is a response to this.

I intend to provide an increased level of sensory awareness

for the general public as well as aiding Deaf sensibilities.

the senses in relation to architecture

hearing sound

touch light

vision
taste
texture

odour
smell
thesis aims

TO PROVIDE A PUBLIC BUILDING WITHIN

THE CITY CENTRE WHICH INVIGORATES
THE SENSES.
In order for this to happen there are a number of objectives
which must be achieved.

HEIGHTENED SENSORY EXPERIENCE 1

Reason: this is to create an engaging sensory building

How? In order to heighten a sense - there

must be an alter in the balance of the
senses eg. in order to perceive a sound
more clearly, vision must be minimised.

Spaces must have a distinct sensory

focus eg. the realm of sound, the realm
of touch.

Consideration of the user - the building

must invigorate the general publics
senses while aiding Deaf sensibilities.

“Anyone who has become entranced by the sound of dripping

water in the darkness of a ruin can attest to the extraordinary
capacity of the ear to carve a volume into the void of darkness.
The space traced byt the ear in the darkness becomes a cavity
sculpted directly in the interior of the mind.”
 thesis aims

THE CREATION OF AN INTERNALISED WORLD -

2 SEPERATION FROM CONTEXT

Reason: this is to realign focus from the chaos of city

centre to a space which enhances the senses

How? 1st action:

removal from the street - transition

2nd action:
orifices (openings to the city)
“mediators between two worlds”
controlled - each must have a purpose
eg. to gain light, direct a view, open to
rainfall and to omit or consume sound.

Erosion by
the Elements

light
air
water

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

and allows for a tremendous variety of light. Air is reference to acoustics
and wind, and the erosion by nature with water.

“In our time, light has turned into a mere quantitative matter
and the window itself has lost its significance as a mediator
between two worlds, between enclosed and open, interiority
and exteriority, private and public, shadow and light”

Eyes of the Skin

3 FACTORS AFFECTING PERCEPTION

REVERBERATION
LIGHT AND SHADOW

PERMANENCE
RESONANCE

MOVEMENT
VIBRATION

SMOOTH
ROUGH

DEPTH
TEXTURE
NOISE

COLOUR

FEELING
ECHO

COLD
SOUND

TIME

WATER

SMELL
HOT
“In temple architecture the main room stands at a
considerable distance from the garden; so dilute is
the light there that no matter what the season...the
pale, white glow scarcely varies...The light from the
pale white paper, powerless to dispel the heavy
darkness of the alcove, is instead repelled by the
darkness, creating a world of confusion where dark
and light are indistinguishable.”

Junichiro Tanizaki (2001:35)

INFLUENCES
adolf loos - raumplan
spatial containment
carving space
tower houses
sensory space
artists of light
 The Sound of Silence

Hello darkness my old friend,

I’ve come to talk with you again,
Because a vision softly creeping
left its seeds while I was sleeping,
and the vision that was planted in my brain,
still remains...within the sound of silence.

In restless dreams I walked alone

narrow streets of cobbled stones,
beneath a halo of a street lamp
I turned my collar to the cold and damp.
When my eyes were stabbed by a flash of neon light
...that split the night.
And touched the sound of silence.

And in the naked light I saw

ten thousand people maybe more.
People talking without speaking.
People hearing without listening.
People writing songs that voices never shared
No-one dared
...disturb the sound, of silence.

“Fools”, said I, “you do not know,

silence like a cancer grows.”
Hear my words that I might teach you.
Take my arms that I might reach you.
But my words like silent raindrops fell,
and echo the wills of silence.

And the people bowed and prayed

to the neon god they made.
And the sign flashed out its warning
in the words that it was forming.
And the sign said: “The words of the prophets
are written on the subway walls
and tenement halls.
And whispered in the sound of silence.”

Paul Simon

“Poetry has the capacity of bringing us momentarily back to the oval and enveloping world. The
re-oralised word of poetry brings us back to the centre of an interior world. ‘The poet speaks of
the threshold of being’, as Gaston Bachelard notes, but it also takes place at the threshold of
language. Equally, the task of art and architecture in general is to reconstruct the experience of
an undifferentiated interior world, in which we are not mere spectators, but to which we inseper-
ably belong.”

Juhani Pallasmaa (2005:25)

Adolf Loos - Raumplan

material plan
reinforces the autonomous
space plan spaces through the use of
connections materials

assymetrical entrances in
order to survey space
container conept
3 dimensionally efficient use of space
centrifugal use of space to
view centre of the room

Adolf Loo’s work is about creating contained space which is compact and efficient spatially. The
term Raumplan which is a container concept is used to describe his work. In the book Raumplan
versus Plan Libre, Johan van der Beek (2008:52) states ways in which to define Loos work. This
definition consists of layers which describe the space created. These include:

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

ordered, is compounded.

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

Material Plan: the way the various building and surface materials are employed to
provide texture and thus sensation and atmosphere.

Loos creates spaces which connect to each other, these spaces are complex and need to be
experienced to perceive the connections made fully. Therefore the connections created at first
do not clearly explain themselves in plan. This is important to note when presenting my
proposal.

The space plan is the 3 dimensional space created. This consisted of split levels, the gradient of
the site was used as much as possible to give this multi-level effect.

“Adolf Loo’s dwellings are marked by a maximum of three dimensional compactness and a
concentration of length, width and height...compactness is the rule”
Johan van der Beek (2008:53)

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

The introduction to the main space is treated as theatrical and dramatic. Circulation
incorporates lateral movement. There is one space which is given importance (living
area/salon), this is the dominant space in the whole building, the auxillary spaces
respond to it and are located around it. The organisation of the programme is based
on privacy ie. living area is placed to the back, furthest area from entrance. The
spaces created are centrifugal, in that the furniture is organised around the edge in
order for the person to view the centre space. Also to reinforce this idea, all
entrances into spaces are assymetrical, this allows the person to survey the room.
Within the spatial plan heights are used to define spaces, this is the ceiling to floor
height in relation to other spaces. This in combination with the material plan
reinforces the spaces as autonomous spaces within a building which has complex
spatial connections.
 Adolf Loos - Moller House

music and dining rooms seen view from music room of dining room
central

connecting spaces form

lateral movement

symmetricality of
facade

centrifugal use of space

connections
and movement

seat sight line

connection between
music room and dining

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

The principle reception rooms are the dining and music room located at the back of the house.
There is contrast of these spaces, the dining room is light and open to the outside whereas the
music room is dark and introverted. This contrast continues with surface treatment.

“Light reflected into the dining room from the adjoining terrace makes the room brighter, while
the balcony above the music room window casts a shadow which enhances its seclusion”.

The connection between these rooms consists of a square opening, however the dining room
floor is 600mm higher than the music room. The connection here is visual, this variation in
height forms part of the lateral movement.

The hall also has spatial objectives. This space gets its light from the front of the house. A bay
window above the street level which contains a u-shaped built in seat. From this position the
person takes visual command over the space, can look out across the music room and down into
the garden. From this position the person seated with the light to their back can perfectly see
another person coming towards them, however for the person moving towards the alcove, the
seated person appears as a silhouette against the glare of the opening.
Adolf Loos - Muller House

lateral movement
introduction to the living
area
relationships with the
outside

grid which makes up the ‘living plan’

continuous space view to the dining room from the living area
connections between spaces

This is the Muller house by Loos.

The introduced to the living area is via an alcove approached by a short flight of stairs, the
entrance is dramatic and theatrical. The living area/salon is the dominant space. The rooms
around it orientate towards it. The main connections here are with the dining room (which can
be seen in the image above) the mistress’s room and the library. There is no break in this space.
The spaces are ordered in heirarchy by their relationship to the living area.

As mentioned previously the living plan (2d plan) is formed on a grid based on this living area,
the dining room relates to it in proportion. The centre point of the mistress’s room and the
dining rooms run on the midpoint of the plan.

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

As the dining room is lacking defining boundary walls (to make the connection with the living
area) it is defined in the material plan (as previously shown).

Connections include from the mistress’s room down into the living area. The dining room to the
living area and the dining room through the living area to the outside.
 containment - spatial efficiency

slash lines

one large opening

interior full
of light

This efficient use of space can be seen in a lot of modern domestic Japanese architecture today.
Instead of an architectural language or exploration, this containment is a necessary response to
the size of available sites and regulations such as slash lines (taken from the distance of the
opposite street edge) and material restrictions.

Efficient use of space is critical! This results in imaginative solutions to maximise compact space.

An example of this is the Tread Machiya by Atelier Bow-wow, which uses multi-level space to
serve the main living area, this servant space is used to its maximum capacity regarding the limit
of use of materials due to fire regulations (a space created which is less than 1400mm is not
considered a floor level - it is not habitable, but can be used for storage, which is main concern
when creating small space).

The main living space is placed central in section which responds to the exterior environment -
the only view on the site is at a height. Upward movement in this space also incorporates
integrated seating.

Every area in this tiny house (50sqm) is considered and its design is the optimum response to the
conditions and factors affecting it.
carving space - Eduwardo Chillida

‘How deep is the air XVII’ ‘How profound is the air’

‘unorthodox architecture 1’
1978
reinforced concrete

The artist Eduwardo Chillida considers himself an “architect of empty space” or architect of the
void.

His works use a variety of materials however mass and heaviness is always the focus. This focus is
created by the carving of space (the nothing) which is used to contrast to mass of the material.
He creates orchestrated openings from the exterior of the material to suggest a hollow interior.

His pieces “How deep is the air” and “How profound is the air” which are carved onyx and
alabaster protray a focus on empty space, a spatial volume through a form which reveal and
conceal light. What is not there is as important as what is. The pieces draw attention to the
direction and depth of the tunnels carved, giving viewers a sense of being able to move through
the piece.

“form springs spontaneously from the needs of the space”.

Edwardo Chillida

Other works are affected by rain, wind and other natural forces. It is the elements which give life
to the sculpture. There is a clear communication of mass and space, with no in-between. Along
with tower houses...

“these are excellent examples of how the fusing of opposites helps to reinforce the idiosyncrasies
of the individual components”.
Andrea Deplazes (2005:264)
 carving space - Turkish underground cities and fairychimneys

undergound passages

fairychimneys at Goreme

In Turkey there are a three main underground cities which are Kaymabli, Derinkuyu and Ozkonak.
These are composed of voids which were created by troglodytes who carved out of the soft
volcanic rock. Each city is composed of underground tunnels or passages. However the tunnels
incline and size variates from city to city.

The Ozkonak city which was only discovered in 1972 and could hold up to 60,000 people for a
period of 3 months! It has a total of 10 floors which reaches a depth of 40 metres. This is the most
complex or modern of the three, having a water well, winery and moving stone doors. There are
also defence systems integrated similar to Tower Houses in that there are holes above entrances
which were used to pour hot oil over enemies.

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

In the town of Goreme in Cappadocia exists a form of dwelling, called the Fairychimneys. These
are formations created naturally due to the nature of the rock. These projections were later
carved by the people and inhabited, the picture above shows the complexity of internal carving.
carving space - Tower Houses

servant served in plan

organisation based on defence

servant served

services concealed in thickness

internal butresses
internal walkways
Mooghane Co. Clare

concealment of stairwell and

rooms held in thickness

Dunguaire, Co. Galway Clara, Co. Kilkenny positive and negative space

With Adolf Loos, Tower houses (1400 - 1600) are the most infuential architectural studies to my
proposal.

Tower houses appear as internalised solid objects, this is due to their requirement for defense at
the time of construction. This concern for security is in every detail and decoration. Defense
generates its form, height, section, thickness of walls, tiny windows, battlements and on a human
scale the orientation of the staircase (giving the right hand advantage to the person fighting
downwards) with details known only to its owners. Within this defense the form...

“was made habitable by setting additional spaces into the thickness of the walls, so that,
although the elevation presented an image of solidity, plan and section were fully inhabited”.
A Lost Tradition (37)
The main function of its armour was to protect the living area. This protection is further
enhanced by its position in section. In plan the living area is the served with auxillary spaces the
servant in the thickness around its perimeter. Alcoves act as inbetween spaces in the thickness
which link the living area to the outside, through their articulation these spaces may be read as
autonomous compartments.
 carving space - Tower Houses

schematic layouts
(as in constructing architecture)
enclosed space
openings
openings at corners

individual chambers
various room inclusions
maximum use of wall thickness
surfaces used to carry light into a space
“true” basic plan autonomous alcove space
extended basic plan
sculpted surfaces
contained light

splayed reveals

tower house ruin

shows a later addition of
concealed walkways (behind
chimney) with an increase in height
Cullahill. Co. Kilkenny

There are two types of light which are admitted into the living area, these are openings with
splayed reveals which are sometimes places at optimum light admitting positions in order to
carry the light further into the space such as in Borthwick castle.

The second type of light in the living area is that from the alcoves. These prevent optimum
allowance of the incoming daylight. It creates a situation of contrast - which I later refer to as
contained light (the image above is a good example of this).

The spaces are organised without corridors (one room on top of another), this creates the
optimum use of space, like Loos using the space itself for vertical movement.

Adolf Loos work and Tower houses are similar in their heirarchy of spaces.

“Tower houses interiors developed from a functional to mazelike internal configurations with a
rich heirarchy” and Loos, “rich variety of of spatially complex connections corresponding with
classical notions of space heirarchies”.
Andrea Deplazes (2005:267)

Tower houses have spatial connections and complexity only in the main living level,
in comparison to Loos who continued this throughout.

However both have no corridors, both have dominant spaces, both have servant and
served spaces, both have many staircases (the vertical movement is not of one main
service zone) and they both have detailed internal surfaces.
sensory space - Bruder Klaus Chapel

form of tree trunks

form is a response
to the process

charred cedar -
process is similar
strong wonderful smell

remains of process
a dark rough texture and smell

Shin-ken teahouse
Terunobu Fujimori
firewood split with a chisel and attached to
ceiling vault, creates warm light.

This chapel was constructed by Peter Zumthor, its consists of a tee-pee shape form (created with
trees felled locally) underneath with an outer framework of vertical slipform. The dry concrete
mortar was stamped into the cavity between the two forms (rammed earth). Finally a slow
burning fire was lit on the floor, drying out and shrinking the tree trunks, disengaging them but
at the same time blackening the walls. Along with the rough texture which remains after the
burning process, I would imagine the space smells strongly of burned wood.

I made an investigatory model based on this process (please refer to the “investiga-
tion” section) involving a concrete cube with a rectangular shaped matchstick inter-
nal formwork. I found I had huge difficulty in getting the wood to burn as I had to
keep the cube elevated (to allow the fire to burn-required air). I had to force the fire
to burn the wood unlike the form of the chapel which now I understand is generated
not purely by a doorway and a main space, but as an air inlet and cone shape to
encourage the burning of the tree-trunks. This process and its form could not have
been any other way!!

Terunobu Fujimori is also an architect who works closely with natural materials. In the Lamune
Onsen, he uses yakisugi which are charred cedar boards. The process for burning
these boards is similar to that of Bruder Klaus, bundles of three boards are held
together to form a triangular configuration, held vertically and a fire lit underneath.
The burning takes about 3 minutes and burning must be uniform. Burning the surface creates a
layer of carbon which makes the boards more durable and resistant to weathering. I have
witnessed these boards in the flesh, which have a fantastic smell.
 sensory space - Ronchamp and La Tourette

outside openings

interior effect
light towers
guided light in baffles

light used to highlight the tactile quality contained light

In these examples Le Corbusier plays with light. He utilises the properties of light to increase its
perception and to draw focus on to its beauty. In Ronchamp openings on the exterior are
minimal, the effect on the interior wouldn’t be expected from viewing the outside. The thick wall
is filled with light on the interior, the splayed reveals or baffles are used to maximise the light
inside, with the angle of the sun creating paths of direct light on the walls thickness. In the
towers light is omitted at a height and reflected onto the opposite wall, this is also incorporated
with colour which creates an atmospheric quality. The light in these towers becomes an object
onto itself, we look upward with a purpose...to see the light!

In la Tourette the light is used to highlight the tactile quality of the spaces created. Within the
thickness of the openings the light is contained, due to the position of the glass light can not
venture into the space along surfaces.
sensory space - other

DARKNESS

chapel of st. ignatius - steven holl VARIETY OF LIGHT

rcr architects

sigurd lewerentz
churches of st marks and st petri
light models
steven holl

TIME

thermal baths
and works be
steven holl

WATER
salk institute
louis kahn

SOUND
salk institute
louis kahn

TACTILITY

There have been quite a number of sensory influences throughout the year, here are images of
some of them. The darkness in the churches by Sigurd Lewerentz spurred light boxes to investi-
gate the darkness of a space, and which lead to the conclusion of a particular measure of light
(see investigation section). A quote by Louis Kahn in conjunction to reading “In Praise of Shad-
ows” contributed to the light levels in the sound space.

“Even a space intended to be dark should just have enough light from some mysterious opening
to tell us how dark it really is”
Louis Kahn

This quote works well in describing the light levels in St. Petris and St. Marks. Other influences
include water (in particular creating a situation for light or images to be reflected or the sound of
water made visible eg. salk institute). It is relationships within architecture between these
elements which creates the images shown above - they are controlled and not accidental!
 artists of light - James Turrell

section
showing seating and centre oculus

during the day the oculus acts

sky down into evening as the only point of focus in the
the space angle creates space - it frames the sky acting
daytime action in space as a mediator

James Turrell is an artist who’s work focuses on light. Many works focus on the transition from
day to night with a artifical light show on the interior creating a spectacle of this point in the day.

Others which I have shown here are “Skyspaces”...these are spaces (usually cube or cyndrical)
which have a centre opening or “oculus” which openings to the sky. The articulation of the
opening is depth-less which increases the appearence of the sky as an imagine. Seats run around
the periphery of the space in order to view the sky and light.

“There is sky above and sky below, the centre oculus bringing the sky down and close to you, the
sky is in close contact to the space that you are in, its not over there.”
James Turrell
The sky below which Turrell refers to is the direct light reflected. It is the evening and the night
that most action takes place in the space. During the day action is in the centre oculus. Turrell
explains, “ the sublime usually have a different time scale and different unfolding”

I feel architecture should create this action and this beauty in a world which is not willing to stop
to view ala Turrell!
artists of light - Dan Flavan and Anthony McCall

At the Chinati Foundation in Marfa, in order to accommodate Flavans installations, all the windows
except two at the end of each long walls have been closed over. Two parallel corridors have been
constructed, with walls 86 feet on the outside and 44 feet on the shorter side, which lean making a 76
degree angle with the floor.

Passages through these corridors are blocked by eight back to back pairs of eight foot long fluores-
cent fixtures that extend from floor to ceiling, parallel to the walls. Gaps the width of the lamps are
left between each pair of fixtures, allowing one to see through the colour cast by the lamps on the
fronts to the different colour at the backs.

These light barriers are placed at the centre of the corridors so that the colour is largely contained
within the leaning walls. In a further three installations the light positions are at the end of the
corridors which allows colour to flood into the long arms of the building as well as the inaccessible
interiors of the corridors.

“You and I Horizontal” by Anthony McCall is a composition of white lines of a drawing which slowly
move and in the process dragging along entire walls of light, the movement is very slow but fast
enough to perceive.

These membranes of light moving create strangely shifting spaces within a space. It takes a moment
for the eyes to adjust to the darkness, from this a new experience reveals itself: SOLID LIGHT - a
material light, a sort of radiant, intricately folded membranes or walls which induce the visitor to move
caustiously and hesitantly.

Fog is required for the beams of light to materialise into solid light. The effect is similar to a beam
projector cutting through the darkness of the cinema, which creates an ‘intensely sensual experience’.
 artists of light - Persepolis

Persepolis is a animated film based on the graphic novels of Marjane Satrapi. Due to the style of
the graphic the viewer is always aware of the darkness broken by the light.

“the light shines in the darkness and the darkness has not overcome it.”
John: Chapter 1
“The computer creates a distance between the
maker and the object, whereas drawing by hand as
well as model-making put the designer into a
haptic contact with the object or space. In our
imagination, the object is simultaneously held in
the hand and inside the head, and the imagined
and projected physical image is modelled by our
bodies. We are inside and outside the object at the
same time.”

Juhani Pallasmaa (2005:13)

INVESTIGATION
light boxes 1
light boxes 2
transparency and reflection
time and movement
sound boxes 1
concrete mixtures
materiality (concrete)
form (baffles)
 investigation - light boxes 1

model 1

openings placed in the centre of the

facade

model 2

Kahns Tribune Review building

‘T’ shaped openings to minimise glare

model 3

light well - no direct light

These three models are an investigation into creating the most effective even diffused light.
Model 2 is an exact scaled replica of Louis Kahns Tribune Review building which has opening
intended for this purpose.

The other two models act as an experiment, all features in all models are similar. The surfaces are
the same, the colour, the recesses and especially the value of area open to the light. Kahns
tribune review proves to be most efficient of course. However I was surprised by the lack of
illumination from model 3 of light into the space. Model 1 allows a lot of light into the space
however does not carry the light into the space as deep as Model 2(tribune review).
“The computer creates a distance between the
maker and the object, whereas drawing by hand as
well as model-making put the designer into a
haptic contact with the object or space. In our
imagination, the object is simultaneously held in
the hand and inside the head, and the imagined
and projected physical image is modelled by our
bodies. We are inside and outside the object at the
same time.”

Juhani Pallasmaa (2005:13)

INVESTIGATION
light boxes 1
light boxes 2
transparency and reflection
time and movement
sound boxes 1
concrete mixtures
materiality (concrete)
form (baffles)
investigation - light boxes 2

Conclusion:

If the light is not measured a concentration of light

may contaminate the space. Hence the covering over
light box 04
one opening.
Three openings - varying orientations

Conclusion:

the thickness creates projected light

light box 05
Slits from two orientations
Great thickness on the sides of the slits
on the opposite sides of the slits. Despite each slit being diffused
individually
the thickness in the slit does not offer diffusion in the entire
space.

Conclusion:
light box 06
This space can change dramatically over
Two openings from varying locations the light sources position. Contrast in surfaces in evident
One opening controlled by a light shaft When the cube is turned around the ceiling opening
The other diffused by reflection illuminates the space, while the second opening is
contaminated.

These three models analyse varying types of light and the effect the size the opening has on the
interior space. The most important conclusion to be taken from these models is that all open-
ings must be within the same measure of light (how bright it is) eg. in light box 06 I had to cover
1 opening with paper as its brightness out shone the other openings - their quality of light was
lost.
 investigation - transparency and reflection

daytime
from inside outward looking

daytime
from outside looking inside

night time
from inside looking outward

night time
from outside looking inward

These are images taken considering transparency and reflection of a large window in my
apartment. I found that the clearest view existed towards the space which had the greatest
amount of light. From the dark side - there appears light space beyond, from the light space
there appears a mirror beyond. This change naturally from day to night. There is also an
inbetween point when both are even - from both points at this stage of the day a mix of mirror
and view beyond exist. I later found this in researching the installations and spaces which James
Turrell creates.
investigation - time and movement

Opposite is a light study taken on 11.02.10. Images were taken every 15 minutes of the blank
northern wall in my apartment (Denis Byrne Architects - thankyou!). The duplex apartment is on
the top floor with the living space on top. There is are two south facing light openings in the
living area (double height space over the stairs) which fills the blank northern wall with light.

It is this wall which is the canvas opposite. On the particular day the photos were taken the
angle of the sun and the adjacent apartments roof level created a slither of light 5mm thick.
Showing the oppurtunity available for accuracy in the circumstance of direct sunlight! Note also
the sharpness of the light and its intensity at times...the colour change when the sun is setting.

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

Also the interference of clouds is clearly visible from the images of a dappled diffused light.

The light in this space changes by the day, hour and minute. Since the angle of the sun has risen
and therefore its patterns on the wall are lower down...at present in the stairwell.

At the beginning of the year I made the sign language alphabet in clay hands as I was sure it would be
helpful in my presentation along the line. I placed them on a glass shelf along this wall in the mean-
time to keep them safe. My thesis evolved and the chances of these hands making it into my presen-
tation was unlikely.

Until one day (28.03.10) an unlikely moment (@ 2.15pm) of sunlight shone directly on the hands,
framing them and casting their little shadows onto the wall.
 investigation - time and movement

“What then is time? If no one asks me, I know; if I wnat to

explain to a questioner, I do not know...We measure time. But

present has not duration...In order that we may compare a

not measure the syllables themselves, but the images of the

Saint Augustin

I say time is visible in light...light is the measure

of time.
 investigation - sound boxes 1

absorbing material,
with right angled similar to 01 but a
diffusers. reflective interior
dull sound sharper sound

sound box 01 sound box 02

absorbing material, arc shaped top

no diffuser, but large with reflective material
openings. sharper sound than
similar to 01 03

sound box 03 sound box 04

The above models are sound boxes based on the research I had done concerning acoustics and
geometrics of space (see appendix).

The models have a tap area at their base (which cannot be seen) and an opening (seen) which is
used to listen to the quality of sound created in the space based on its material qualities
(absorbing/reflective) and form (tubular/arc). There is also a play with openings to see the effect
this has - dark and quite, bright and loud for instance.

Despite not simulating actual 1:1 spacial sounds there is a clear difference from one model to
another in the sound that is created.
investigation - concrete mixtures

1 mixture: 1:1
mix: wet

result: kept all indentations

relatively shiny
not crumbly
good detail
smooth to touch

2 mixture: 1:1
mix: slightly drier with washing up
liquid

result: kept all indentations

not shiny
a little crumbly
good detail
rougher to touch

3 mixture: 1:1
mix: slightly drier with washing up
liquid

result: kept most indentations

not shiny
crumbly
lost detail (at neck)
rough to touch

4 mixture: 1:1
mix: medium, dry - wet
string tied around bag

result: kept indentations of string

but not of bag
crumbly
lost detail
very rough to touch

5 mixture: 1:1
mix: medium
decorative stones inside

result: kept some indentations

not shiny
crumbly
lost detail
very rough to touch
no stones can be seen
 investigation - concrete mixtures

6
mixture: 1:1
mix: medium
with mixed paper

result: no real indentations

not at all shiny
very crumbly
lost detail
very very rough to touch
can see traces of paper

7
mixture: 1:1
mix: medium
string between bag and
concrete with olive oil

result: indentations of string only

a little shiny
not crumbly
lost detail
rough to touch
kept pattern of string well

mixture: 1:1
8
mix: very wet
pourable

result: kept indentations at base only

not shiny
crumbly at top only
lost detail at top

mixture: 1:1
9
mix: very wet
pourable with pigment

result: kept indentations

relatively shiny
not crumbly
good detail

mixture: 2:1
sand : cement
mix: medium with pigment
10
result: kept indentations well
slightly shiny
not crumbly
good detail

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

larly in its smoothness and its capabilities to pick up detail
investigation - materiality (concrete)

concrete cube with skewers

concrete cube - burned out matchstick interior

concrete squares - surface as a sound diffuser

To test the idea of transparency with such a solid material as concrete, I cast it with a number of
skewers. Despite being 100mm thick the tiny clear paths are visible through the model. All the
paths are different angles, this idea could possibly be used in the final design to illuminate a
space (leave patterns on the opposing wall in direct light).

The burned out model came from researching Peter Zumthors Bruder Klaus Chapel and its
potential for smell. Having made the model, in the difficulty of burning out the core I realised
Zumthor’s church is perfect, its form is based on the nature of fire to burn out the interior. The
doorway providing just enough air to allow the fire to keep burning. Using this process the form
of the church could not have been any other way!

The concrete squares are based on texture and the possibility of using the formwork to diffuse
(absorb) sound in its spaces. In reality if the texture is too detail it may not be durable.
 investigation - baffles

model 1

no baffles
no sense of thickness
does not allow optimum light into the space

model 2

baffles
clearly expresses thickness
allows light deeper into the space

shade on south
facade reduces glare

directs intended
guides light in elevation privacy on facade views

During the design development (see the next section) I considered the use of baffles in the roof
as a method of gaining the maximum amount of light into a space to area of the opening
(optimum efficiency). I made these two models to test this efficiency, model 2 clearly shows the
light moves deeper down into the space.

Excited by the potential by these baffles I used these models to consider using this form
throughout the building for other objectives.

Baffle: a device used to restrain or to prevent the spreading of sound or light in a particular direction.
“Adolf Loos had little faith in the drawing as an
indicator of architectural quality. He has left no
travel sketches, nor was he enthusiastic about
photography as a means of conveying architecture.
He did, however, suggest that good architecture can
be described.”

Johan van de Beek (2008:52)

DESIGN EXPLANATION
circulation
organisation of program
user consideration
sensory organisation
connections
environmental strategies
structure
drawings explained
 site and brief

SCHEDULE OF ACCOMMODATION
A National Facility for the Integration of Deaf and Hearing People

space purpose breakdown area in m 2

exhibiton
interaction and conversation 250

theatre lectures
performance

meeting rooms multi-purpose 2 x 50m 100

club space 80

information centre research reception 30

promote Deaf culture book stacks 80
video archive 100
reading, studying and viewing 120
associations 6x 20m 120
board room 30
stor 50

bar space for conversation and interaction bar area 15

between Deaf and hearing people seating indoors 60
seating outdoors 60
kitchen (shared with cafe) 30
toilets (shared with cafe) 60
storage (shared with cafe) 30

cafe seating indoors 70

seating outdoors 30

resource centre support for parents and children administration 15

waiting area 30
audiological rooms x 2 30
psychological room 15
paediatric specialist x 2 30
speech and language therapist x 2 30
family counselling room 15
parent guidance and support 15

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

sign language classes classrooms for up to 8 people (10 x 20m) 200
school inclusion training classrooms for up to 20 people (4 x 30m) 120
outreach services and support
technology training for digital classrooms
deaf adult learning facility
interpreter training facility50

administration 30

subtotal 2,200m

circulation 25% of overall area 550m

total 2,750m
site and connections
 circulation

abrupt entrance 1

2 3
ABRUPT ENTRANCE
dame lane lift 2

main entrance lift 1

service entrance

resource centre

learning centre
cafe
information 2
information 1
3
ROUTEWAY AND SERVICE ENTRANCE
central space 1
st andrews lane
FORMAL ENTRANCE
trinity street

In order for the building to work as a public building the first hurdle was the circulation. Consid-
ering the nature of the space created ie. contained multi-level spaces, the solution took some
time.

There are 3 entrance into the building which all link the street to the heart (cube volume on the
model). One is the formal entrance which is located at the junction of Trinity Street and St.
Andrews Lane. This is a large opening with a huge wooden door (3m x 5m). From this point
there is a reception and the lift 1 is on the left. This lift is the vertical access to the heart, informa-
tion centre and cafe.

The second entrance is along Dame Lane which is visually connected to Dame Street. It is
termed the “abrupt” entrance based on its articulation (first step is built into the wall, the route is
quite narrow, and leads the visitor into the heart quickly in one flight of stairs.

The third entrance is along St. Andrews Lane which is connected visually to Exchequer street.
This is termed the service entrance, however it completes the routeway created from Dame
Street to Exchequer Street. This also connects to the heart. The second lift is located in the
centre of the plan allowing vertical access to the club space, learning centre and resource centre.

Once is the heart there are four vertical movements (outside of the lifts). From the skylit seated
area which acts as a stairway there are two movements, right to the information centre
(clockwise motion) and left to the learning centre and resource centre (anti-clockwise motion -
this also address the privacy issue of the resource centre). From the heart there is also access to
the club space and meeting room downward. At the south side of the heart there is access
through the walls thickness to the cafe on the top floor.
organisation of program

club space
circulation band
theatre
meeting room 1 3

main entrance
storage and
st.
an
dre services area
ws
lan
e
resource centre

the heart

meeting room 2
alcoves to cafe
circulation

cafe
1

information centre
da
me
2 lan
e

The organisation of the program is based on

spaces requirements of light and that available
on the site. The position in relation to peoples
entrance into a space and encouragment to use
the full space available is used, eg. the location of
the entrance to the cafe is on the opposing side
on the entrance in order to encourage use of the
heart. The cafe acts as a lure to use the building.
learning centre
 user consideration

LEARNING CENTRE
user: hearing people

aim: increase sensory awareness

how? dark space

increased perception of sound
utilise rainfall in circulation space

CENTRAL SPACE
user: general public

aim: increase visual awareness

how? controlled light

direct light into space
contained light in conversation
booths - conveys difference in
language

RESOURCE CENTRE
user: young Deaf children and parents

aim: teach about Deaf sensibilties and

aid spatial awareness

how? reflection at key locations

transparency where required
vibration in floor (wood detail - bounce)
even diffused light where required

The building is now working as a public building, with access and positioned program. The
realms of sensory focus have yet to be defined. In order to do this the user of each area must be
considered.

This is a means to heighten their own sensory experience based on their sensibilites. For
example the resource centre is a specialist factility aimed at Deaf children and their parents,
therefore the space aims to consider these sensibilities aiding the user which results with a focus
on tactility and vibration.

In comparision the learning centre is intended for the use of the general public ie. hearing
people, here I hope to increase their own sensory awareness based on sound. The result is a
space with minimal amounts of light in which rainfall enters the space, the geometry of the
space amplifies and so increases the perception of the sound.

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

REALM OF SOUND
(learning centre)

TACTILITY AND VIBRATION

(resource centre)

TASTE AND SMELL

(cafe)

SMELL
(information centre)

VISUAL REALM - LIGHT

(heart)

The realms of sensory focus each has a purpose to create a relationship with the user of a
particular space (learning centre and resource centre as mentioned).

In addition to the spaces already mentioned the heart of the building more importantly links all
people using the building...its focus is the visual - light. In this space focus is created by the use
of three different types of light.

1. contained light
2. washed light
3. direct light

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

Direct comes from the morning in the east facade, midday from the southern facade and again
in the evening. These direct light passages are guided by the use of baffles, in fact the direct
light which reaches the opposite wall is infrequent, the aim of this light is to rest on the baffles
throughout the day.

Washed light is created by having an opening which can not see through to the outside, instead
it only allows light into the space through the thickness, the source not seen, this creates
autonomous spaces within the thickness which allow seating for interation.

The third is contained light. This is connection from the heart through to the outside which
in-between accommodates circulation and alcoves. The articulation of the spaces, allows the
light to be seen but not to move into the space along any surfaces.

The information centre is lined with a concentrated amount of leather books, which allows for
the smell to seep through areas in which it is connected.

The cafe’s focus is of course taste and smell.

 connections

INTERNAL CONNECTIONS heart - learning centre

aural
heart - cafe

visual heart - resource centre

physical heart - theatre

smell heart - information centre

acoustic
club space - Dame Lane OUT
theatre - St. Andrews Lane time

heart - east and south light IN

heart connection - sky IN

environment
learning centre - rain IN
environment
information centre - visual
Trinity Street

EXTERNAL CONNECTIONS

There are three types of connections. 1. Internal

2. External
3. Mini connections

Internal connections link sensory spaces to one another, this can be a means to increase orienta-
tion, all spaces relate to the heart in some connection, physical, visual, aural or smell. The type of
connection is not dependant on the sensory focus of that space eg. the resource centre is
connected visually to the heart, however the focus of the resource centre is tactility.

External connections act as mediators between the inside and outside world. For example the
theatre space’s screen is constructed in transparent stone, therefore the viewing of films is based
on sunset, this is an idea based on James Turrells work (see transparency investigation) therefore
the audience are connected with the outside, aware of time and the movement of the sun.
Other connections are less abstract but allow the environment into the building eg. rainfall in the
sound space and light in the visual realm.

The building also omits, in the club space there are a number of open baffles which are intended
to omit the sound created in the space out on the Dame Lane which has a lot of night activity.
This is in order to make a connection with the city, spurring intrigue and wonder of the space
within.

The mini connections are playful ones which relate on an individual level, these include specific
lines of views which could be missed without the increased perception of the visitor, some of
these connections can be seen in the plans.
environmental strategies

task lighting

thermal mass and acoustics

rainfall

wind ventilation

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

Light is used to its optimum in all directions, the organisation as already mentioned is based on
the requirements of the space and the availability of light of the site and its orientation. There-
fore no area requires supplementary shading for instance. Task lighting for classrooms is allowed
on the northern facade.

Early in site analysis I did decibel readings of the noise levels surrounding, the thickness in the
walls relate to these findings, the hearts location central in plan and in section to allow the
thickness (servant spaces) to absorb any residual sound on the upper levels.

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

Within the lift shaft there is a ventilation funnel integrated, this can be seen in the long section.
The funnel at roof level points south-westerly to grasp the prevailing winds, this fresh air enters
the heart on ground level and thus naturally ventilates the internalised space.
 structure

primary structure
north - south band
east - west band
external walls

independant
compartments within roof openings

The structure is integrated into the arrangement of the scheme.

It consists of two main axes which run north to south and east to west, the floor levels then rest
between these bands and the thick external walls. The north south band holds the circulation on
the lower floors. These bands create 4 distinct areas which allow the compartments within to be
independant of each other and thus multi-levels to exist in each.

The lift shafts are also part of these internal bands.

 drawings

1. entrance points
2. theatre
3. club space
4. heart (visual realm)
5. information centre
6. learning centre
7. sound space
8. resource centre (vibration)
 drawings

1. entrance points
2. theatre
3. club space
4. heart (visual realm)
5. information centre
6. learning centre
7. sound space
8. resource centre (vibration)
 drawings

INTUITIVE
ORIENTATION
PUBLICNESS AND PRIVACY
RELATIVE TO OPENING SIZES

LIGHT DETERMINES MOST

PUBLIC AREAS

1. main light void

2. heart light and
acoustic void

CONNECTIONS TO HEART
COMMUNICATE PROGRAM

1. smell to information
centre
2. aural connection to
learning centre
ROOFPLAN 3. visual connection to
resource centre
1. Cafe outdoor seating
2. Primary light void
3. Heart light and acoustic void
4. Resource light void
5. Inlet to sound space

PRIVACY RELATIVE TO
DISTANCE

1. information centre - public

2. learning centre - specialist
3. resource centre - specialist private
 sectional perspectives

SECTIONAL PERSPECTIVES

A. HEART
cut through conversation alcoves
main light void
link to information centre
with reading/viewing spaces above

B. THEATRE, SOUND SPACE

cut through theatre space
showing link to outside
perceptible thickness in theatre
(walkway is carved into wall
thickness)
sound space above
circulation between sound space
and classrooms
B
light link from classrooms into
circulation

C. RESOURCE CENTRE
cut through resource centre]
with visual link to heart
light link above
service entrance linking outside
to heart below
sight line cutting through thickness D

D. INFORMATION CENTRE
cut through double height space
realm of smell
link back to heart through main light
void
books acting as diffusers C
1:30 heart model

visual realm - dominant space -

main connecting space - looking south

INTERNAL CONNECTIONS

“a consequence of compact living is that internal connections are

maximised and external connections are minimised.”
Adolf Loos

“Architecture involves several realms of sensory experience which interact

and fuse into each other.”...“ The present and the absent, the near and the
distant, the sensed and the imagined fuse together.”
Juhani Pallasmaa

EXTERNAL CONNECTIONS

“A powerful architectural experience silences all external noise; it focuses

our attention on our very existence, and as with all art, makes us aware of
our fundamental solitude.”

“An architectural space frames, halts, strengthens and focuses our

thoughts, and prevents them from getting lost.”
Juhani Pallasmaa

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

SOUND SPACE
ACOUSTICS

The sound space is the Realm of Sound, which is intended to react to the sensibilities of its users,
ie. predominantly hearing people. inlet

Its form is created as a response to amplify the acoustic awareness of the space. An inlet allows
for rainfall to enter into the space with a pool directly underneath which in turn becomes the
source of sound.

This pool is the primary sound source and above due to arc form of the space allows for a flutter
echo. There are 3 positions from which to perceive this sound, all with different acoustic qualities

This space’s atmospheric quality is heightened again in its details, with a concrete surface finish of
polished concret. Here the former demolished building which is used as aggreagte can be seen.
sound source

inlet

REVERBERANT DIRECT SOUND ECHO

SOUND

source

C
996cm

D
887cm

C 3
249cm source drip of water in pool depends on the depends on the an echo is most likely to
absorption in the space strength of the source occur when concave
dimensions of the sound space is based surfaces focus sound rays
on the dimensions of note wavelengths shown the more times the sound the less often the sound from an arc to a point.
hits a surface, the more meets absorbing surfaces
energy that is lost the longer the decay time Flutter echoes can occur
when a pair of parallel
reverberation is the time surfaces which are hard
it takes for a sound to decay and non-absorbing.
HEART ACOUSTICS
the form of concrete detail in the heart is This can be rectified by
based on diffusion requirements primary source placing one plane out a
of the space given its cublic dimensions first action - water hits pool - sound is reflected in the space few degrees, I will not!

secondary source
second action - flutter
echo created at ceiling
height due to
geometrics of the space
ie. arc in section
 detailing - acoustics

SOUND SPACE
screed to give incline 50mm to 100mm
INLET
100mm rigid insulation
waterproof roof felt

seperating layer
transparent L channel

to enhance sound perception

in the sound space

aggregate

acoustics requirements of heart

created with undulating metal
formwork
 detailing

RESOURCE
SEATING
(based on vibration)

The idea behind this resource centre

detail is again like the sound space based
on its intended user group ie young
Deaf children and their parents.

The walkway above which allows access

to specialist offices is connected by its detail
to the seating below on the resource centres
main level ie the waiting area.

When this walkway is in use the vibration

can be felt by the people seated below
without a visual connection which increases
the likelihood of this tactile perceptible
awareness.

3 m x 1.5m x 40mm 7 plywood panels

50mm x 25mm battens
inner concrete structure
comb chiselled book shelving

THICKNESS RULES
FROM EXTERIOR APPEARS AS 1 SOLID MASS

MAIN SPACES READ AS 1 SPACE

THRESHOLDS (exterior and interior) ARE CARVED

POSITION OF GLASS IS ALWAYS AWAY FROM

MOST PUBLIC

THICKNESS IS ALWAYS TOWARDS MOST PUBLIC

AGGREGATE

4 times stronger
finished again

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

 detailing - concrete organisation

homogenous exterior
very rough textured surface
created with sculpted foamglass
insulation formwork

carved thresholds
comb-chiselled surface
created post-formwork
OUTSIDE

INSIDE left to right:

sculpted foamglass insulation

250mm concrete outer layer
(not including superficial layer)
main spaces cavity
boardmarked 150mm concrete inner layer
created with rough sawn wood board shuttering
formwork

CONCRETE RULES
REINFORCES THE CONCEPT
rough exterior
textured main spaces
thresholds carved

RESPONDS TO ACOUSTIC NEEDS OF SPACE

secondary spaces
heart - absorbing
rammed concrete sound space - reflective
created with dry mix, packed
in formwork - no shadow gaps

diffused form reflective finish

acoustics requirements of heart to enhance sound perception
created with undulating metal in the sound space
formwork polished finish with exposed
aggregate
 detailing

WALL STRUCTURE
outer layer
250mm concrete exterior layer
cast with foamglass insulation
formwork
450mm foamglass insulation
200mm concrete inner layer
with boardmarked finish

THICKNESS
post formwork
concrete comb-chiselled
with 80mm chisel 90
degree angle to
street

OPENING
80mm charred
wood door

ABRUPT
ENTRANCE

FORMAL
ENTRANCE

GROUND STRUCTURE
concrete layer
fine sand
coarse sand
geotextile mat

FLOOR STRUCTURE
100mm concrete
finish C120
100mm screed
seperating layer
rigid insulation
dpm
concrete slab
overall project
12 x A1 sheets
BIBLIOGRAPHY
 bibliography

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

Juhani Pallasmaa, The Thinking Hand

ISBN: 978-0-470-77929-3

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

ISBN: 0-9709731-1-X

Steven Holl, Intertwining

ISBN: 1-56898-061-2

Steven Holl, Parallax

ISBN: 3-7643-6436-X

Peter Zumthor, Thinking Architecture

Birkhauser

Peter Zumthor, Therme Vals

ISBN: 978-3-85881-704-4

Merleau-Ponty, Phenemology of Perception

Junichiro Tanizaki, In Praise of Shadows

London 2001

Architecture of Terunobu Fujimori and ROJO

Venice Biennale: 10th International Architecture Exhibition 2006
Japanese Pavillion
ISBN: 978-487540071-3

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

ISBN: 571 04671 1

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

ISBN: 978 90 6450 6659

Benedetto Gravagnuolo, Adolf Loos

ISBN: 0-8478-0895-5

Villa Muller

Robert McCarter, Louis Kahn

ISBN: 978-0-7148-4971-3

Le Corbusier (2008) Towards a New Architecture: BN Publishing

ISBN: 965-006-036-7

A Lost tradition

Andrea Deplazes (2005) Constructing Architecture: Birkhauser

ISBN- 10: 7643-7313-X

Evelyn Glennie (1990) Good Vibrations: my autobiography

ISBN: 0-09-174305-2

curator Wendy Jacobs, Lecture series, Centre of Advanced Visual Studies, MIT

Phillip Ryan (2006) Strategic Review

Marjane Satrapi (2008) Perspolis (Animated Film)

Paul W.S Anderson, Alien vs Predator (Film)