Senses and Spaces - University of Florence - Masters Dissertation

Abstract
Abstract
In this dissertation the sensations of spaces and the ability to perceive them is elucidated through reviews of different scientific and philosophical
researches. Case studies of interior spaces that brings up questions as how the designers reached particular qualities of space; and what are the
basic constituents of particular affective experiences; are introduced. The paper concludes by proposing possible bases for further investigating of
standardized procedures during the design process for interiors; in attempt to answer the questions of affective emotions from architectural spaces
and elements to humans. The proposals have bases on various scientific researches on human sensors and other revisions, which I reviewed, partly
conducted and elaborated. Further experiments of design with specific space configuration by certain architectural elements that aim to transmit
explicit emotions, are estimated as an interior project is supplemented to support the proposals.
Acknowledgment
The author wants to express his thankfulness to prof. Stefano Follesa for giving the opportunity to develop this piece of research and his gentle support, to prof. Francesco Armato for his continues care on the
works and to Prof. Legnante for his contribution. To international alumni of Interior Design master class, arch. Hande Atmaca, engr. Amanda Cursino Alves and arch. Siwar Brahem for being very kindly helpful in
each step of the studies and to all other gentle colleagues. To prof. Fortesa Kadriu for final proofreading and English corrections. To the association of “Rondine Citadella della Pace” that made the studies possible
by hosting and supporting; with all the staff that embraced me generously during my stay in Italy. To prof. Paolo Barboni for his support on time management and architectural advices and contribution. To each of
the international residence of students of Rondine, for fruitful insights and wonderful care. In addition, of course, to my family for invaluable personal support. This paper is partially based on many other publications
and studies; therefore, the author thanks all the co-authors for their un-direct contribution on this thesis. Without the will of the Almighty, none of the labors can be realized.
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Endrit Kadriu ▪ Senses and Spaces ▪ Master Interior Design ▪ University of Florence
Table of Contents
Abstract .......................................................................................................................................................................................................................................................................................................................................................................... 1
Acknowledgment ........................................................................................................................................................................................................................................................................................................................................................... 2
Table of Contents ........................................................................................................................................................................................................................................................................................................................................................... 3
1. Introduction ............................................................................................................................................................................................................................................................................................................................................................. 4
1.1 Background and purpose ................................................................................................................................................................................................................................................................................................................................ 4
1.2 Perception of space ......................................................................................................................................................................................................................................................................................................................................... 5
1.3 Perception of the “Soul of the Place” through Cultures................................................................................................................................................................................................................................................................................... 5
1.4 Perception of “Colors” through Cultures .......................................................................................................................................................................................................................................................................................................... 6
1.5 Architectural forms through Cultures and Philosophies ................................................................................................................................................................................................................................................................................... 7
Marxism in Architecture ........................................................................................................................................................................................................................................................................................................................................ 7
1.6 Case studies of particular qualities of space and basic constituents of specific affective experiences .............................................................................................................................................................................................................. 9
Improvement of learning: Classroom qualities of space and affective experiences on learning and enhanced performing on class .............................................................................................................................................................. 9
Traditional Systems in designing the space – Feng Shui case ............................................................................................................................................................................................................................................................................. 11
Workplace trends – Google Offices ..................................................................................................................................................................................................................................................................................................................... 12
2. Reaching the hypotheses: Understanding the Qualities of space and Affective experiences .................................................................................................................................................................................................................................. 13
2.1 Experiments and further elaborations............................................................................................................................................................................................................................................................................................................ 15
2.2 Affective experiences and human senses ....................................................................................................................................................................................................................................................................................................... 17
2.3 Affective experiences due to eye-height, field of view and perception of space ............................................................................................................................................................................................................................................ 18
2.4 Affective experiences due to proportions in architecture .............................................................................................................................................................................................................................................................................. 18
2.5 Affective experiences due to color and light in architecture .......................................................................................................................................................................................................................................................................... 19
2.6 Affective experiences due to spatial properties and shapes of architectural elements.................................................................................................................................................................................................................................. 20
2.7 Affective experiences due to materials and construction ............................................................................................................................................................................................................................................................................... 21
2.8 Affective experiences explained through environmental psychology ............................................................................................................................................................................................................................................................ 21
3. Proposing hypotheses/bases for standardizing procedures of design process by means of affective experiences and qualities of space .............................................................................................................................................................. 23
3.1 The interior design project serving as base for hypothesis application .......................................................................................................................................................................................................................................................... 24
3.2 Eye-heighted “Architectural Detail” for enhanced impression ................................................................................................................................................................................................................................................................. 26
3.3 Light and color for “manipulating” biological capacities ........................................................................................................................................................................................................................................................................... 29
3.4 Architectural configuration “tricks” for immediate emotional attachment.............................................................................................................................................................................................................................................. 32
4. Discussions, conclusion and further propositions................................................................................................................................................................................................................................................................................................... 36
5. Bibliography ........................................................................................................................................................................................................................................................................................................................................................... 37
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1. Introduction
The environment that surrounds the built architecture and us has an enormous impact on all aspects of our lives. Try to imagine yourself sitting in the bench of the gothic cathedral of Duomo in Florence; it would
feel quite different from being under the heavily decorated mosque of Isfahan full of mosaics. Alternatively, from being inside a renaissance library of George Peabody Library in Baltimore, that ultimately, it is not
the same as sitting inside a small pizza restaurant of Napoli. The qualities of such spaces brings up many questions on how to achieve such experiences, and what exactly makes the people feel the feelings we get
while experiencing such particular sensations.
Once we mediate around the idea of sensing the spaces, we understand the immense effect that each space has on us, starting from our very own rooms where we sleep and live. On the other hand, it is surprising
the fact that there is such a little explicit knowledge among the architects and designers when it comes to dissolving into smaller pieces the qualities of space with their direct and specific emotion on us. In other
words, there are not enough studies that aim to ease the process of design, by clarifying how specific emotion affection is reached to the occupants of a space, through specific architectural elements. Architects and
designers have often tried to experiment with their designs through pavilions and other constructions, evenhanded with the idea to explore the world of affection by specific elements – since there is no standardized
procedures to help integrate a direct link between specific qualities of space with their specific emotional impact.
In this chapter the background and purpose of this paper is described. An introduction to the space entities perception throughout cultures follows as well.
1.1 Background and purpose
“One of the great, but often unmentioned, causes of both happiness and misery is the quality of our environment: the kind of walls, chairs, buildings and streets we are surrounded by.” (Botton, 2006)
The humankind was always on search for the most comprehensive and utile philosophical systems, beliefs, tools and technologies, to improve life of societies. When speaking of architecture with its evolution
throughout the years and cultures, it lacks on achieving unified standardized aids for designing process with a scientific approach of emotional affect: to help the designers have a better understanding to the
affection that specific architectural elements have on human natural biology/psychology. The term “Architectural elements”, intends to conclude the shapes, colors, materials etc. of elements in a built environment.
It is worth mentioning that there are only few settings such as architecture, which enhance and stimulate all the human senses, from physical to emotional or spiritual sense. This is why it is significant to elaborate
the issue of the relation between human with all its senses, and the spaces with all its characteristics. This investigation of the relation of men and space brings questions of cultural, philosophical and racial divisions
of humanity. For example, in specific cultures, different colors associate with different feelings or symbolism, based on how their culture evolved due to the geographical, historical and other factors context. In
addition, the shapes and the lines of a built environment can indicate different and specific feelings among different cultures and different eras that a nation or geographical zone is going through. This idea strongly
relates with the “Zeitgeist concept” which is the German word for explaining the “spirit of the time”. “Zeitgeist” is important to understand that architecture has strong influence by what surrounds it, culturally
and spatially. Therefore, different nations or geographical zones experience different “Zeitgeists” or different spirits of their time, influencing them to like/dislike or have different preferences or perceptions over
art, music, philosophy, and consequently over architectural designed spaces.
For example, the Zeitgeist of modernism motivated the creation of new forms in the fields of architecture, art, and fashion during much of the 20th century. Therefore, Zeitgeist is a powerful force embedded in
the individuals of a society (Saarinen, 2006).
Once understanding the importance of designed space and its effects on humans, one can deepen further into the psychology behind the interactions of humans and perceived world. It is assumed that the
environment elicits a positive affective response when environmental features are congruent in terms of arousal (Wirtz, 2001). By having a better understanding of the general psychological/biological influences
on humans by the environment, hence developing standardized procedures during the design process (to understand the influences by the architectural elements), may lead to an advanced scientifically based
design approach. In this paper the author aims to propose bases of hypotheses (that require future investigations), for explaining and creating guidelines for architects and designers regarding the interior
architectural elements and their direct emotional affection to the occupants of the space. Such hypotheses can ease the process of the design for architects and designers, by improving the occupant’s experience
of the designs and built spaces.
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1.2 Perception of space
“…perception is a controlled hallucination, in which the brain’s hypotheses are continually reined in by sensory signals arriving from the world and the body.” (Seth, 2016)
Humans perceive and sense spaces through the brain signals, using its body sensory system with the indications from its interactions. Hitherto, not all humans perceive and sense the same feelings when interacting
with spaces. Each space has its own characteristics or entities that makes the occupants feel specific feelings while experiencing it. These feelings have found bases in different philosophical concepts throughout
the history, influencing even the mythology and beliefs of people.
Speaking of these perceptions of spaces, different cultures have evolved different “souls of the place” beliefs and different likes/dislikes for specific entities. For example, when a person enters a new space, even
without having the time to valorize or observe the architectural elements separately, unconsciously has an impression of the dominant “soul” of that space. The issue of soul of the place has a significant value on
understanding the perception and sensing the spaces and it can be a good starting point to explain the perception of space.
1.3 Perception of the “Soul of the Place” through Cultures
One of the oldest examples on philosophical approach towards the soul of the place is the roman god Genius Loci. The ancient romans used to believe that each place has its own “spiritual god” that gives the
impressions to the people walking or using that space. This “god”, was incorporated into all the elements of a space; hence, affecting our senses of perceiving the shapes, objects, colors, sounds and lights. The soul
of the place reflects differently on linguistic matters, mythological, beliefs and cultural traditions. The crucial part is that humans developed different analyses and interpretations of their perceptions of spaces
through various clarification “tools”.
Even though that “Genius Loci” gained a popular repute in the world of architecture books, there are yet many intriguing “Consult the genius of the place in all;
myths and beliefs over the “spirit of the place” in different cultures. That tells the waters or to rise, or fall;
Or helps th' ambitious hill the heav'ns to scale,
For example, in Islamic teachings there is the concept of spaces where dwelling in peace happens in a quiescent place,
Or scoops in circling theatres the vale;
due to the God`s will. The “spirit” of this place is known as “Sakainan” (‫ﺳـﻛَـﻧًـﺎ‬
َ ) and it is mentioned in different places of Calls in the country, catches opening glades,
the Holy Quran. “Sakainah” is the Spirit of Tranquility, or Peace of Reassurance – brought by God. Qur’anic association
Joins willing woods, and varies shades from
with the concord of dwellings in peace coincides with the attribution of the “Sakainah” to matrimonial concord under the
shades,
tent of Sarah: "And God gave you your houses as a quiescent place (“Sakainah”) (16:80); (The Holy Qur`an)
Now breaks, or now directs, th' intending lines;
A similar concept is found in the Hebrew Jewish books called “Shekhinah”, (Biblical Hebrew: ‫)הניכש‬, which is the term for Paints as you plant, and, as you work, designs.”
Figure 1
God's presence in the world" (Armstrong, 1992). By “Shekhinah” is meant the dwelling in peace into a
(Pope, 1731) Poem over Genius Loci Portrait of Alexander Pope
space/room/house/zone on earth, due to God’s presence.
In Far Eastern mythology we have “Zashiki-Warashi” (Japanese: 座敷童 or 座敷童子, literally "guestroom child") that it
is also a “spirit of a place”. He is believed to be a spirit of a 5 or 6-year child with bobbed hair and a red face (Takayuki,
2016). If this spirit possesses a space (usually domestic houses), then anyone would feel a “good sense” once entering the
house. It is believed that it also brings luck.
While in central and western Asia, “domovoi” or “domovoy” (Russian: домово́ й; literally, "[he] from the house") is a
protective house spirit in Slavic folklore (Dixon-Kennedy, 1998). This spirit is also felt once entering the house.
The list of “spirits” of the place continues in different beliefs and cultures, bringing new colors to the fascinating relation
of humans and their interpretation of feelings from architecture. The following point continues will elaboration over the
perception of other entities of the space through cultures. Figure 5
Abstract painting of the “Spirit of the place” by Adam Scott Miller (Harrisburg, 2010)
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1.4 Perception of “Colors” through Cultures
Colors mean different things in different cultures. Black, for example, signifies death and is worn during times of mourning in Western countries; black in Egypt, however, represents rebirth (Xerox Corporation,
2016). Hence, same as the “spirit of the place” that is interpreted differently throughout the world cultures, the colors, are also interpreted differently throughout the world. Each culture (including religions)
indicate different meanings for colors. This means that different architectural spaces can be seen or can influence differently depending on the place, time or culture. Major colors and biggest distinctions between
cultures are presented below (Cousins, 2012). The distinctions are generalized into Western Cultures; Eastern and Asiatic; Latin American; Middle Eastern; and a General “Others Culture”. In the following chapters,
color is reviewed in biological effects on humans.
RED COLOR: ORANGE COLOR: YELLOW COLOR: BLUE COLOR: GREEN COLOR:
Western Countries: Passion and excitement. Western Countries: Harvest and autumn. Western Countries: Warmth (the sun), Western Countries: Trust and authority. Western Countries: Luck, progress (go) and
Positive and negative associations (danger; Association with Halloween. Can signify royalty. summer and hospitality. Caution or signage Masculine. Calming, soothing but also sadness. Irish. It associates with nature and envy.
love; communism; Christmas ;) (tables, school buses, taxis etc.). Can signify
Eastern and Asiatic: Sacred in Indian cultures. irritation or envy if too bright. Eastern and Asiatic: Immortality and strength. Eastern and Asiatic: Nature, fertility and youth.
Eastern and Asiatic: Happiness, joy and Courage and love in Far East. Colors of Krishna (Hinduism), Feminine in China. Exorcism and infidelity; spouse betrayal (China).
celebration. Brides-luck; purity (India); life Eastern and Asiatic: Sacred and imperial. Can
(Japan); anger and danger. Latin America: Signifies sun and earth – signify commerce. Latin America: Religion (Virgin Mary’s robe), trust Latin America: Color of Death.
depending on countries earth color and climate. and serenity (Mexico), soap (Columbia), emotional
Latin America: Signifies religion when used Latin America: Death and mourning. indication generally. Middle East: Mainly it represents Islam. It means
with white. Middle East: Association with mourning and also strength, fertility, luck and wealth.
loss in most cultures of Middle East. Middle East: Happiness and prosperity. Middle East: Heaven, spirituality and immortality.
Middle East: Danger and caution, partly evil. Mourning in Egypt. Generally: Military; money and jealousy (US).
Generally: Religion; gluttony in Christianity. Generally: Safest color for a global audience.
Generally: Chinese New Year, fortune. Generally: Money (gold), quality and success.
PURPLE COLOR: PINK COLOR: BROWN COLOR: BLACK COLOR: WHITE COLOR:
Western Countries: Royalty honor and Western Countries: Femininity, sweetness Western Countries: Stable, dependable and Western Countries: Finality, death, formality Western Countries: Purity and peace.
progression. Highest military award (US). and birth of a daughter. Also childhood; fun. wholesome. Can represent earth or packaging. and mourning. Can imply power of control; force. Association with sterile and brides. Also can
imply “holiness” and funerals (in Italy).
Eastern and Asiatic: Wealth and nobility. Eastern and Asiatic: Marriage and Trust. Eastern and Asiatic: Mourning or rebirth Eastern and Asiatic: Masculinity, health and
Mourning the death of husband (Thailand). Chinese did not recognize the color until recently. (among Chinese). prosperity. Evilness (Thailand and Tibet). Eastern and Asiatic: Death. Sterility, mourning,
unhappiness and misfortune.
Latin America: Sorrow and mourning. Latin America: Buildings and architecture. Free Latin America: Discouraging (Columbia) and Latin America: Masculinity and (possibly)
and looser usage compared to other colors. not approvable (Nicaragua). mourning in some countries. Latin America: Purity and peace.
Middle East: Wealth and virtue.
Middle East: Pink does not have any distinct Middle East: Comfort and harmonious with Middle East: Contrasting but symbiotic Middle East: Purity and mourning. Funerals (in
Generally: Relation with Buda and Tibet. meaning in Middle Eastern cultures. earth. meanings – it represents rebirth and mourning. Iran) and high rank status (in Egypt).
Evil and mystery in some countries.
Generally: Somehow calming; many prison cells Generally: Neutral and inviting. Earth Generally: Universal symbol of truce.
are painted pink to help reduce stress. associations. Generally: Magic and the unknown.
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1.5 Architectural forms through Cultures and Philosophies
The architectural shapes or forms throughout the cultures demonstrates a broad and rich historical, cultural and artistic information. The relation between architecture shapes and cultures is shaped by one another,
as architecture can shape culture and can be shaped by it. Through architecture, it is possible to gauge many aspects regarding a culture, such as lifestyle, artistic sensibilities and social structure (Cameron & Arnold,
2007). Almost every nation has its own architectural characteristics, which fashioned through time. For example, when one thinks of the Chinese culture, one of the images in relation to architecture corresponds
to the traditional roof curves and wood/bamboo material designs. The same goes with different cultures, which reflected their architectural shapes due to the cultural/geographical context and the lifestyle of the
nation (Think of Greece = temples/small houses/columns; Italy = colosseum/renaissance/roman arch.; same with African countries, European nations, and all other identifiable nations with architecture/styles)
An interesting example on how architectural shapes developed is Catal Huyuk, (Çatalhöyük from Turkish çatal "fork" + höyük "mound"). This very large Neolithic and Chalcolithic proto-city settlement founded in
southern Anatolia, existed from approximately 7500 BC to 5700 BC, and flourished around 7000 BC (Langer, 1997). The cultural/life-style of the population living in this site was quite different from the other
period’s to come. Since the humans sensed the constant need for protection and were living in the plain ground (due to agriculture, farming, fishing etc.), they developed a community where people lived with no
public buildings; consisting of private domestic houses attached to one another (Kleiner & Mamiya, 2006). The families cooperated with each other for trade, marriages, and cultural life; and there were no doors
in between. Small windows in top of walls and entrances from the roofs where the only physical connection of the houses with the outside world. The flat roofs were practically the streets of the city.
Figure 6 Figure 7
The city of Çatalhöyük (rendering) Interior of rooms in Çatalhöyük (recreation)
Marxism in Architecture
Moreover, the sociology of architecture/space explains how the humans interact and design their spaces due to the cultural needs. There are various theoretical traditions including philosophies as Marxism, duality
of space, colonialism theory on space, third space notion, and rational view of space, or technology and science advancements points of views that give explanations to the issue.
The Marxist approach towards the architectural design and shapes for example, consists with the notion of the "social space" where the relations of production are reproduced (Lefebvre, The Survival of Capitalism:
Reproduction of the Relations of Production, 1973). Lefèbvre was one of the main authors to develop this socialist aspect of space-design, and he sees the societal production of space as a dialectical interaction
between three factors as following:
1- “Spatial practice,” meaning space as reproduced in everyday life.
2- “Representation of space”, meaning space as developed cognitively.
3- “Spaces of representation,” by which Lefebvre means complex symbolizations and ideational spaces.
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This method contends that there are different modes of production of space from natural space to more complex spatiality’s whose significance is socially produced. Thus, space is a social product, or a complex
social construction (based on values, and the social production of meanings) which affects spatial practices and perceptions. This argument implies the shift of the research perspective from space to processes of
its production; the embrace of the multiplicity of spaces that are socially produced and made productive in social practices; and the focus on the contradictory, conflictual, and, ultimately, political character of the
processes of production of space (Stanek, 2011). Why this is important and related to the aim of this paper is that the Marxists architecture tended to use specific architectural elements to achieve specific emotional
impact by using its literature.
"Change life! Change Society! These ideas lose completely their meaning without producing an appropriate space. A lesson to be learned from soviet constructivists from the 1920s and 30s, and of their failure, is
that new social relations demand a new space, and vice-versa." (Lefebvre, The Production of Space, 1991)
"(Social) space is a (social) product [...] the space thus produced also serves as a tool of thought and of action [...] in addition to being a means of production it is also a means of control, and hence of domination,
of power." (Lefebvre, The Production of Space, 1991)
Therefore, the socialist architectural shapes tends to give space to the use of people for a productive society. By this, the architectural shapes and design gives the people the power and the control of the society.
Figure 9 Figure 8
Druzhba Holiday Center (Yalta, Ukraine, 1984) Ministry of Highways, Georgia
To conclude the shapes through cultures and philosophies subject, we can add that in each period throughout different geographical zones, different architectural shapes were inspired to be designed; that needed
to fulfill the needs of the main cultural stream. Furthermore, each of the architectural shapes and designs influence the culture (lifestyle, philosophies, traditions etc.) and vice versa.
The same paragons can be taken with “capitalist architecture”, or modern world societies type of buildings.
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1.6 Case studies of particular qualities of space and basic constituents of specific affective experiences
Improvement of learning: Classroom qualities of space and affective experiences on learning and enhanced performing on class
The classroom designs are proven to significantly affect the learning experiences of the students due to the particular qualities of space as light, colors, organization etc. New data from ongoing Steelcase Education
studies shows that classrooms designed for active learning, where physical space supports a focus on engaging experiences for students and faculty, have a significant effect on student engagement (Steel Case
Education - White paper, 2014).
Figure 12 Figure 10 Figure 11

Standard Classroom (Left) and Proposed Steelcase Advanced Node Classroom Example Media Scape Example
Learning Environments (Right)
The specific affective experiences of classrooms aimed to be reached by this study were: collaboration, focus, active involvement, opportunity to engage, repeated exposure to material through multiple means, in-
class feedback, real-life scenarios, ability to engage ways of learning best, physical movement, stimulation, feeling comfortable to participate, creation of an enriching experience. The students who experienced
and participated in the years long study, claimed to have increased considerably all of these experiences, by scoring higher and learning more than 25% than in standard classrooms while performing better during
the class for 73% (P.S.Barrett, 2012).
The main qualities of space used in these designs that achieved these specific affective experiences on students were the well-defined zones on the classroom. The reading corner, learning/studying place, computer
and group zone is highlighted. Another crucial point on zones is the clear space of corridors to the school supplies (as board, computers, etc.) and the private spaces of students within the class (including the chair
designed together with table) without being disconnected from the class. The focus point on zones is designed to be not close the entrance or halls, to keep away the distractions. Using the colors psychology and
its effects on human feelings (as explained in 1.4 Perception of colors chapter) also has a key role. The walls and main surfaces are neutral (with white or gray) and personalized for students, without taking attention
during the class. While the warm simulative colors as yellow, green or red, are used only partly in some elements as chairs or book section – where the students will directly use them and will not serve as a constant
distraction as if it would be in the case of wall; floor; or other main surfaces. Therefore, 20-50% of walls must be clear with neutral color to balance and absorb the visual tension and to let the focus be on learning
settings of the class. Lastly, the lighting (in particular natural light) increases meaningfully the performance on class and especially during math and tests (up to 26% enhanced). The use of lamps to make a cozy
environment next to reading space can also effect positively. The use of other technological tools as screens and computers can ease the process of learning as well. (Science of Classroom Design, 2016)
Another interesting example on how the classroom can affect the learning of the students in the “utopic” village of Rondine Cittadella della Pace, which stands for Citadel of Peace. The village has a high school
incorporated, where best students from all regions of Italy complete their last class before going for university. The design helps the students be very flexible and organize different zone schemes depending on the
lessons due to its furniture design. A survey conducted by the author claims that the students have improved their learning and performance in class, when comparing to their previous classes in different Italian
schools. The study follows in the next page.
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Standard class compared to Rondine class
100
90
80
70
60
50
40
30
20
10
0
Collaboration Focus Active Opportunity to Multiple means in-class feedback real-life scenarios ways of learning physical stimulation comfortable to enriching
involvement engage best movement participate experience
Rondine Class Standard Class
Figure 16 Survey of two generations of Rondine high-school students {56st.} (Students, 2015-2016)
The survey resulted with highly noticeable account of positivism among the students towards the new class. The students claimed that they were able to collaborate, engage, stimulate and move with comfort in
the class in highly significant amounts in comparison with before. The questions on “the opportunity to engage”, “the comfort to participate” and “move into the class”, resulted in quite noticeable positive difference
in comparison with other questions. The active involvement and participation during the lessons was considerably high as well, by proving once again the importance of class-room designs of schools.
Figure 17 Figure 18
Italian Standard Classroom Rondine High School Classroom Design
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Traditional Systems in designing the space – Feng Shui case
Traditional life systems as Chinese Feng Shui or the Indian Vashtu Shastra, have a profound manner of life organizing including here for the built environment and architecture. These systems claim that the spaces
and architecture has a holistic and strong influence on the daily life of people and not only. Whole societies can be influenced for positive or negative purposes due to the built environment and every-day
architecture. The Feng Shui for example (being closely related to Chinese Taoism), rises on subjective and spiritual bases, growing and fetching into physical and effective settings in attempt to influence the
individuals and society (Puro, 2016). Since affective qualities of space can influence the person to high direct psychological effects, the traditional systems tend to manipulate and correlate with affective responses
these qualities. While scientific studies of directly measurable psychological influences (Küller, 2011) and direct effects on spatial and social behavior have been demonstrated empirically and described as behavioral
settings (Barker, 1968). Yet, there are no profound investigation of the issue as there is a primarily concentration on direct ergonomics and social structures and comparative long-term studies have not been carried
out (Frieling, Umwelt, Greif, Holling, & Nicholson, 1989). Therefore, design guidelines generally remain vague and do not go beyond lighting levels or color recommendations (Nemcsics, 1993). This is where the
traditional systems try to step in with answers and subjectively based guidelines for architects and designers on how to design the architectural spaces and interiors in particular. Feng Shui for example offers a
variety of methods to describe the specific quality to the construction date and orientation of the building or the date of birth of the inhabitants. This additional depth of information gives rise to design decisions
that produce a building fitting its environment and serving best its specific purpose (Rapp, 2006). The main criteria’s of architectural design according to Feng Shui are:
• Yin/Yang: One of the fundamental principles of life says that Qi flows (life energy) only when there is a sufficient contrast between Yin & Yang. Therefore the planning process needs to create appropriate
clarity of front & back / high & low / light & dark / loud & quiet / free & protected / open & closed etc. in order to assure vitality. A desirable balance is never the static 50-50 balance, but a dynamic balance.
• Potentials: It is fundamental to investigate the existing situation by meticulous, unbiased analysis. The comprehensive view of what the existing conditions offer allows judging how much support is already
available for the new purpose or how the environment has to be altered to best support the project.
• Simplicity: The pursuit of simple, not complex solutions can be achieved if the planning process develops along the prevailing forces of the situation and not against them. This is also an imperative of
economy and energy conservation.
• Mutual Resonance: Powerful solutions show up in the analysis, when the aspects of the “San Cai” (3 gifts of heaven, earth and human) are mutually reinforcing. For example, if we find that a powerful timely
mountain star (heaven) in a bedroom is supported by a physical mountain (earth) and the Ming Gua of the inhabitant (human) in this direction is beneficial as well.
• Affection: All ambition and efforts to achieve an optimal adaptation must be preceded by the care for affection. The aim is to create a place that encourages social interaction through its spatial configuration
and creates a positive emotional attachment of the inhabitants.
(Rapp, 2006).
North
Kitchen -East Bedroom
Furthermore, the specific guidelines that Feng Shui comprises include color selection of rooms, building orientation and geometry.
Further concepts of this system specify the guidelines for architects and designers.
House proportions is one of the central indications among the guidelines, advised to be a square or rectangle for more efficient building
and energy plan. A clean entry, free of trash bins, yard tools and other distractions. A bright, light, and clean entrance door. According North East
to Feng Shui, it is believed that the front door gives the energy to the people entering to the house. If it contains dark, heavy architectural
elements, it follows the same elements to the emotions of humans entering it. A clear distinction between work and rest areas; where North South
physical and/or psychological design elements should be strategically located to separate places of rest from places of work. A storage -West -East
place for everything – to keep the rest of the house clean and minimalistic is very encouraged; as the energy will be lighter and less
tensed. In the same time, all the unused items have to be replaced or taken away. Beds should face southeast so that the process of West South
sleeping and waking are in harmony with nature. Sharp corners and figures that contain diagonal lines and tensed visual appearance,
must be avoided as much as possible especially in the resting areas. Lastly, the center should be open and free to regroup its energy and
circulate from there. Each of the colors – besides its general meaning explained in chapter of color perception; it is strongly connected
Living South- Bathroom
with the geographical orientation as well.
West
To conclude, the Feng Shui case offers one of the most exiting scenarios of guidelines for architects over the use of shapes and colors in
order to manipulate the qualities of space and to have desired affective responses on humans. However, it is purely subjectively based
and has no scientific back up for its indications. Figure 19
Table of interior orientation according to Feng Shui
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Workplace trends – Google Offices
Essentially, encouraging people to play and exchange ideas improves innovation.
Additionally people want social environments, they go to work to learn, interact with
smart people and enjoy themselves, not just pick up the paycheck. So there are not
too many walls, everything is open plan to let the knowledge flow as quickly as
possible, everyone is mobile and can work where they like. This is what Google Offices
brought into the workplace design (Inspiring Office Deisgn, 2016).
Cases of workplace trends of design with aims on offering the workers flexibility and
cozy environments have been growing lately. The Google went a step ahead, by
designing its offices with unique features – that turned out to be highly profitable for
the company and workers. The design tends to breathe the company’s culture into the
workplace design.
Google made the office spaces open and wide – as a mean to have a free exchange of
information by connecting and collaborating. The workers have the freedom to choose
their work place and to take their time of rest on their own will. The workers structure
(due to the design) changed and they could not show up for work every day unless
needed to collaborate with other colleagues – for as long as the work continues to
function (Sargent, 2015).
Workplace 2.0 (A Canadian supported initiative) has developed a similar new concept
of workplaces. The idea stays the same, adding to the fact that the initiative tends to
bring optimization to the workplace, by reducing the spacing and by adding multiple
use of each space. Hence, reducing the cost of the offices and maintenance, by keeping
a healthy happy work staff (Understanding Workplace, 2015). Figure 20
Google Offices around the World (London Google HQ, Tel Aviv Google Office, etc.)
The idea however, attracted much criticism because the companies applying the
concept tended to reduce the staff or the working hours (and salaries) of specific jobs
in the same time while reducing and optimizing the space.
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2. Reaching the hypotheses: Understanding the Qualities of space and Affective experiences
“A central aspect of empirical research is the testing of hypotheses. That means, an assumption is provisionally taking as a matter of fact, from this construct predictions are derived, the predictions are compared
to reality, and the hypothesis is either approved, rejected, or updated. When exploring a novel direction of research, a basis for single hypotheses may be missing. Then several basic constituents have to be defined
as well as a basic framework of their interplay. From this provisional basis, empirically testable hypotheses can be derived. Obviously, such a tentative initial framework is built on unstable ground. In the case of
affective qualities, fortunately, preliminary fundamentals can be consequent from various disciplines. Therefore, already existing related concepts are reviewed first” (Franz, An empirical approach to the experience
of architectural space, 2005). In order to have a profounder understanding over the qualities of space and affective experiences out of designed spaces, we must look into several approaches; in anticipation of
reaching any kind of base for hypothesis over standardization process of design.
“Starting from architecture in general, the origin of human interest into thoughtful designed space has its bases on nature inspiration. Very often, the natural spaces were perceived even with special powers and
effects on humans. Places having this very distinctive and suggestive sacred atmosphere (an almost personal genius loci) were initially marked by physical objects, later on these corporeal marks were replaced or
complemented by a surrounding demarcation, finally the demarcation was extended and transformed into a secluded space, and the initially place-related experiential phenomenon was transferred on the building.
Hence, basic for the act of creating architecture was the deliberate division of space and the corresponding attribution of meaning (in this case sacral-profane)” (Franz, An empirical approach to the experience of
architectural space, 2005). Another understanding on how architecture is designed with particular qualities of space is due to the idea of beauty. One of the oldest books on architecture, “Beauty” (or “Venustas”)
is mentioned as an architectural aim equal to stability and utility where a design must be elegant and proportional (Pollio, 25 B.C.). Therefore, beauty and what is perceived to be as esthetically and visually
affirmative for the eye, is what coins the architect to build or design.
Philosophically speaking, the space is the basic disposition of human existence. All the experiences and behaviors are related to the spatial surroundings. Dwelling into the space has to be done as an active process,
which will allow development of positive behavior towards the world and its own existence into the world. This philosophical framework appears to be suitable for explaining individual place-related emotional
responses, in particular with relevance to the home, but does not help much to understand the influences of particular physical structures. In addition to this, the introduction of moods into philosophy that
substantially overlap with the concept of affective qualities, precede the division into objects and subject. For the individual they neither reside inside nor outside of oneself, but are a constituent of the relation to
one’s environment (Franz, An empirical approach to the experience of architectural space, 2005). The environment related aspect of moods and the concept of tempered space, emphasizes the possible mutual
influences of the introspective personal mood on the experienced atmosphere of an environment and vice versa. Furthermore, there is a high importance of the size of available space and of colors for the emotional
experience of rooms. Emotional psychology makes use of the concept of moods as well (Bollnow, 1963).
Emotional aspects when experiencing different qualities of space seem to be an important part of
humans, which has strong effects on humans. In a research concluded Gerald Franz the participants were
asked to describe physical spaces shown on pictures. Interestingly, “subjective” emotional attributes
were used the same way as more “objective” physical attributes. One could interpret this attribution as
an implicit assumption of a certain inter-subjectivity of experience. Yet one has to take into account that
the results are not necessarily actual emotional responses, but their introspective conception (Franz,
Experiment on Spatial Understanding, 2002).
When speaking of spatial perception and the relation of humans with spatial collative dimensions, the
working scheme on the right shows how this perception is machinated. Complexity, simplicity,
redundancy and randomness make the main directions of the scheme, while the opposing order and
chaos, diversity and uniformity come as consequences of the main lines. The humans perceive these
relations of spatial forms as structural going towards complexity, and more entropic going toward
randomness.
Based on the shapes of architectural design, we perceive emotions concerning how we see the collative Figure 21
Working scheme for the relations between collative dimensions.
dimensions of space.
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In the following table and chart, the relation between the architectural qualities of space or the architectural stimulus, the affective qualities and emotional responses is shown (Franz, An empirical approach to the
experience of architectural space, 2005). Each of the affective qualities or emotional response is shown among the collative (collection of elements; ex. order/complexity) properties and denotative (literal element;
ex. spaciousness) properties.
The recurring patterns between a varied architectural stimulus and an overall trend in corresponding affective responses can become quantitatively describable. If one takes it for granted that there actually are
systematic relations, the simplest conceptual relation can be illustrated graphically (see below). This heavily simplifying potential working concept describes basically a simple stimulus-response relation that leaves
however a certain openness due to the not completely defined role of the observer. An important aspect of the introduction of an observer is the implication of a relevance of the current sensory horizon.
Therefore, we can conclude that the affective responses are equal to the person’s predisposition and its cognitive context, action context on the
space, perceptual properties and context and the noise in the space (Franz, An empirical approach to the experience of architectural space, 2005).
A base of the origins for the affective responses would serve as base for the standardization of the design hypotheses. The Gerald Franz research
on experiencing the spatial space concluded a list of typical design aspects derivable from the literature (that serves as basic architectural elements
with affective qualities on humans):
• Position and rough shaping of the building with respect to its context
• Spatial form and configuration
• Spatial dimensions and proportions
• Composition of architectural elements
• Form and size of openings
• Surface qualities: material and color
• Illumination
• Detailing
• Furnishing
Speaking of positioning and rough shaping of the building with respect to its context, in the illustration below (to the left) is shown how architecture
can emotionally effect the social structures of people – by creating division with sharp edged and specific positioned architectural shapes; as a
result cutting the visual line between groups. The same concepts works with the “architecture of violence” concept, described by architect prof.
Eyal Weizman; which explains the urban warfare between Israel and Palestine and the architecture's key role in the Israeli occupation (Weizman,
2016). These architectural concepts of design in attempt to influence the people have been used by different philosophies including political (as
mentioned with the Marxist architecture in chapter 1.5) and in public buildings such as schools, police stations, prisons or governmental buildings.

Illustration of architectural shapes; social interactions and affective qualities Illustration of a most basic conceptual relation between architectural properties and affective qualities. A selection of main dimensions of architectural experience represented by pairs of
on human emotions. opposite adjectives.
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2.1 Experiments and further elaborations
In an experiment conducted by Jan M.Wiener for the exploration of behavior of people inside a labyrinth, raised hypotheses over the preferences of people choosing the paths; depending on the spatial design
forms that could be seen from the decision points (M.Wiener, 2002). A similar experiment was piloted in the village of Rondine Citadel of Peace, with “open day” touristic participants by the author (November
2016). The results were highly similar to the original experiment. The participants seemed to have preferences for larger over smaller spaces – by maintaining keen eye towards the spaces with diverse options
profile over the unstructured spaces – and strong preference for obvious continuations of spaces with no dead ends.
Figure 25 Figure 26
Example trajectory of one participant from a behavioral experiment in a maze. The Example trajectory of most participants wandering into the spaces around rondine in search of “treasure hunt”
participants had to find five objects that were hidden (M.Wiener, 2002). (preference over larger spaces by having contact with no-end spaces is notable). [GoogleEarth Picture]
In emotional psychology and psycho-pathology several physiological measures are used to test for affective responses. All classic methods measure correlates to the emotional dimension of arousal. Typical indicators
for heightened arousal are:
• Accelerated heart rate

• Lowered skin resistance
• Heightened body surface temperature
• Increased pupil diameter
However, not all the factors can be physical. A highly important individual factor includes the personal being of state of the person. Persons can experience different feelings of spaces due to demographic matters
as the profession, age, sex, etc. A further more sophisticated method is the electro-encephalographic (EEG) recording of brain activities (Franz, An empirical approach to the experience of architectural space, 2005).
Two components of the waking brain signal referred to as Alpha and Delta signal are reported to be highly responsive to environmental Stimulation. When a person is relaxed, Delta and Alpha waves are clearly
detectable, but stimulations by light changes and noise effectively attenuate them. This general brain activity seems to be triggered by a region called reticular activation system. (Küller, 2011).
Another similar experiment was conducted in Porto of Portugal, which was part of initial stage of the project entitled `Contemplative values of urban parks and gardens` that aims to prove that there are certain
characteristics of urban parks and gardens that can induce in the visitor the pattern of brain activity that is associated with contemplative or meditative states (mindfulness). (Agnieszka Anna Olszewska, 2014). All
of the listed contemplative attributes of the space were divided into these groups of attributes, when conducting the experiment:
• Physical attributes – that are connected to the spatial composition and visual values (i.e. Long distance views or geometrization of natural elements)
• Psychological attributes – how the space potentially makes us feel (i.e. ´sense of reorientation from´ , ´sense of solitude´)
• Archetypal elements existing in the setting – those based on the findings of carl C. Jung and his study on collective sub consciousness (such as path, clearing or single old tree) (Jung, 1991)
• Art & bio characteristics – that can be more of less intense such as character of peace and silence or level of biodiversity
• Landscape´s composition – six main types: canopied, enclosed, feature, focal, ephemeral and panoramic (Smardon, 1986)
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The ranking of landscape settings shows, that the common attributes for 10 settings evaluated as mostly
contemplative are those characterized by:
• Long distance view (more than 400m),

• Large empty space,
• Smooth landform,
• Natural asymmetry,
• Contrasting with an urban type of landscape,
1 - 55% 2 – 54.17% 3 – 53.33%
• Openings and closings of views were worked out,
• Stimulation to look up to the sky,
• Simplification of forms,
• Seasonally changing vegetation.
Their main archetypal element is clearing. A high character of peace and silence and biodiversity, and low degree of
abstraction and wilderness characterizes them all. They represent panoramic or focal type of landscape. On the other
hand, the least contemplative settings are usually lacking most of the physical attributes of the contemplative space;
the main present archetypal element is a path. The character of peace and silence as well as biodiversity is lower, but
degree of abstraction is higher. They usually represent an enclosed type of landscape composition. Three most 4 – 27.5% 5 – 28.33% 6 – 28.33%
contemplative settings and three least contemplative settings are presented on the right (top:most / bottom:least). Figure 29
The results of this research can contribute to better understanding of spatial perception and its influence on people, Most and least contemplative settings, with a number in the ranking and scoring based on the contemplative attributes,
where 0% - 100% / lowest and highest scores.
promoting mindfulness, as well as re-defining the term genius loci and demystification of design practice (Agnieszka
Anna Olszewska, 2014).
Another interesting method on having a better

understanding of space perception and its effects
on humans is done by generating iso-vists of spaces.
Iso-vists are the generated plans of a space by the
means of area, perimeter open/closed edges and
vertices, all in relation to the observation point of
the humans inside that space (Peponis, 1997). By
using this method and based on many conducted
experiments, there were attempts to answer the
pleasantness received from a space due to the way
that the observer conceives the environment.
On the illustration on the right, it is shown a three
dimensional conceptual dimension of space; that it Figure 27
is used for virtual space experiments consisting of Conceptual principal dimension space of the
Figure 28 realism of spatial simulations.
Generating isovists: Left: a hypothetical indoor environment; middle: the gray area is visible from the person’s observation point within the environment; sensors and completeness, interactivity and
right: the resulting isovist and its basic measures. potential, and level of detail – of a space.
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2.2 Affective experiences and human senses
Traditionally we learn that there are five human senses, the sight, the hearing, the touch, the taste, and the smell. However, many neurologist claim that there are more to add to the number (Human Senses, 2006).
In architecture however, we can conclude that we have affective experience by mainly four of the traditional human senses, excluding the taste (at least for most occupants of designed spaces). A brief introduction
with descriptions of these senses concerning architecture is given below, before continuing forward to the next chapters of affective experiences from architecture due to a variety of approaches.
Sight Smell
The human is naturally on seek of the body messages to The human is naturally convinced on decisions
make sure of the stability into the perceived world. The regarding the smell – which effects the taste of foods
eye from which the man gets the sight, is the main source and the experience of architecture. Smell of building
of the visualization of environment, without the sight, materials, maintained/non maintained spaces,
the man loses the primary visual connection with the opened/closed, can give a strong impact on how the
outside world. people get affective experiences using only the smell.
Quote for the sight: Quote for the smelling:
“The sight separates us from the world, while the rest of “The nostrils awakes a forgotten image and fall into a
the senses joins him.” (Pallasmaa, 1996) vivid dream. The nose makes the eyes to remember. ”
(Pallasmaa, 1996)
Hear Touch
The human uses the hearing in relation with The human touches to experience the world around
architecture mostly in how the voice can reflect and be as the main disposable tool of further discovering the
perceived, throughout different types of spaces. In this ambient. The touch allows us to feel the surfaces, the
way, the man gets an impression of the space entities, walls, the spaces, the interior elements and to use
and immediately an emotional response (Ex. Eco of the them, by fully experiencing the perceived world by
voice inside religious buildings as mosques or churches already perceived world; (sometimes) non-willingly
compared to offices, or home interiors). or directly, with other senses such as sight, smell or
hear.
Quote for the hearing:
Quote for the touching:
“We feel pleasure and protection when the body
discovers it’s resonance in space.” (Pallasmaa, 1996) “The door handle is the handshake of the building.”
(Pallasmaa, 1996)
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2.3 Affective experiences due to eye-height, field of view and perception of space
“The non-uniform effect of a varied eye height on distance and size estimates revealed considerable differences between
different dimension and distance estimates, showing that different tasks are not directly comparable. This outcome may
widely account for the partially differing results between studies in the literature. The most interesting fact, however,
may be the apparently different effects of the experimental parameter on egocentric distances in comparison to
egocentric inter-object distances. The experiments shown in many studies revealed significant influences of the virtual
eye point height on the dimensional appearance of simulated architectural spaces” (Franz, An empirical approach to the
experience of architectural space, 2005). The results suggest that a lowered eye height in particular affects the accuracy
of egocentric distances positively. In the figure-illustration on the right, it is noticeable that the more floor surfaces
becomes visible, vertical lines stay paralleled.
Due to the studies on human eyes and the reviews by different scientific studies, it evidences that the architectural
elements between the ranges of normal state of focus from the eye, have the most significant effect on human emotions
and affective experiences. In the horizon or the eye height, the humans can see for 2 degrees sharp details, in normal
state while in 130 degrees can perceive sufficiently the space around them (The field of view of humans, 2016). These
facts are significant to claim the areas of the potential immediate effects when experiencing a new space. Figure 30
Sketch illustrating the effect of shifting the frustum towards the ground on the virtual visual field.
2.4 Affective experiences due to proportions in architecture
Proportions in architecture are the visual effect of the relationships of the various objects and spaces that make up a structure to one another and to the whole. These relationships are often governed by multiples
of a standard unit of length known as a "module". Vitruvius, Alberti, Andrea Palladio and Le Corbusier discussed proportion in architecture among others (Curl, 2006). Speaking of interior design, Andrea Palladio
was one of the most influential of his time regarding the proportions in architecture. In the project of Palladio called “The four books of Architecture” (“I Quattro Libri dell'Architettura”) published in 1570. The Four
Books of Architecture provided systematic rules and plans for buildings, which were creative and unique. Palladio’s villa style is based on details applied to a structural system built of bricks. He offers two types of
general rules in the corpus: design rules (those based on appearance) and construction rules (those based on the logic of villa construction) (Palladio, 1570). The proportions of spaces and the detailed rules on how
to calculate them depending on the area and other factors are with details in the book.
In modern times, the issue of proportions in architecture is been empirically studied by different scientists. Many studies concluded with arguments that as closer as the architectural proportions get to the golden
ratio, the higher pleasantness people experience around those spaces and more balance it brings to the design (Golden Ratio in Architecture, 2016). However, different proportion systems have been proposed up
to date by various studies.

Section of Villa Rotonda by Andrea Palladio Golden ratio scheme Taj Mahal and its Golden Ratio
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2.5 Affective experiences due to color and light in architecture
To understand its effects, first it is important to explain the basics of light and color. The light can be described as the energy that moves in tiny particles known as photons, while photons are organized in waves
with different wavelengths. Within the visible light of the electromagnetic spectrum are still more wavelengths. Our eyes perceive each wavelength as a different color. The shorter wavelengths of visible light are
violet. Then as the wavelengths get longer and longer, the visible light changes in color to blue, green, yellow, orange, and finally the longest, which is red (Light & Color, 2016). At the level of sensory functions,
color and light cannot be seen independently. Actual visual sensations are always a coproduction of light color and intensity together with the reflectivity and hue of surfaces. Yet, perceptually, light and color are
independent phenomena, the visual system uses several cues and mechanisms to disentangle them (Adelson, 2000). This data on colors will be used later on building up the hypothesis on color affection.
Empirically backed up studies regarding the color influences on physical matter are few. However, there are three emotional dimensions perceived biologically by colors: valence (emotional charge), arousal (ignition,
activeness), and dominance (focal points of interest or attention) (Russell, 1974). Generally, warm and saturated colors are seen as more arousing, while the dominance dimension corresponds to light-dark, both
within and between color hues. These initially phenomenological observations are supported by physiological data (Küller, 2011). Regarding the studies, it is assumed that there is a tendency for natural preference
over the dominant (heavy) colors to the floorings, tiles etc. in comparison to the walls (to be less heavy).
The darker the color it is, the more dominant feeling it transmits to the people. The group of
colors from red to blue and their combinations (including black), are considered to be among
the colors that give a dominant affective experience. On the other hand, the more saturated
the color is, the more arousal feeling it transmits to the people. The group of colors from red
to green, including yellow and the combinations in between, are considered to be among colors
that give arousal affective experience.
Another interesting example on how light-waves and colors can biologically effect on humans
is in regard to the Circadian rhythms. Circadian rhythms are physical, mental and behavioral
changes that follow a roughly 24-hour cycle, responding primarily to light and darkness in an
organism's environment. They are found in most living beings, including animals, plants and
many tiny microbes (Circadian Rhythms Fact Sheet, 2016). Depending on the light and color
exposure of humans, the Circadian Rhythms are significantly effected. Furthermore,
researchers have shown in humans that light (including artificial light) and especially blue light,
influences hormone secretion, heart rate, alertness; sleep propensity, body temperature, and
gene expression (Holzman, 2010). Additionally, it is proposed that in the field of living
environment and living engineering light with a low color temperature should be used for low-
Figure 37 level lighting at night, and high-level light with a high color temperature in the morning (H.
Conceptual relations between color properties and dimensions of emotion.
Tokura, 1998).
Additionally, when light strikes any colored object, the object will absorb only the wavelengths that exactly match its own atomic structure and reflect the rest - which is what we see. In the retina, they are converted
into electrical impulses that pass to the hypothalamus, the part of the brain governing our hormones and our endocrine system. The hypothalamus (with the pituitary) governs:
• Water regulation Therefore, due to light and colors all these basic human body functions can be affected; and yet a profound study for separating each color
combined with the architectural elements to claim specific biological effect, lacks.
• Sleeping and behavioral patterns
“The key factor that Angela Wright recognized in studying color psychology was that, equally, there are no wrong colors. The combination of
• The balance of the autonomic nervous system
colors triggers the response. You could have a grey sky on a summer day, but our reaction to that grey with the beautiful colors of the summer
• Sexual and reproductive functions landscape would be different from the combination of a grey sky with a predominantly snow white scene. We do not respond to just one color,
but to colors in combination. Even the winter landscape contains many colors. In many ways, color and music work the same way (and both are
• Metabolism
underpinned by mathematics). As jazz pianist, Thelonious Monk observed: "There are no wrong notes". In practice, color psychology works on
• Appetite two levels: the first level is the fundamental psychological properties of the eleven basic colors, which are universal, regardless of which particular
shade, tone or tint of it you are using. Each of them has potentially positive or negative psychological effects and which of these effects is created
• Body temperature
depends on personality types and - crucially - the relationships within color combinations, the second level of color psychology” (How color works,
• The hypothalamus houses the body's biological clock 2016).
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2.6 Affective experiences due to spatial properties and shapes of architectural elements
Scientifically backed hypotheses regarding specific affective experiences due to spatial properties and shapes of architectural elements of humans, lacks as other studies over affective experiences per different
approaches. However, some studies suggest that spatial forms and shapes have an enormous emotional impact on humans, even more than effects from colors. However generally the spatial forms are traditionally
seen as the primary dimension of architecture (Giedion, 1941). Added to this, spaces in relation with colors can create and render people to perceive altered insight – as light oriented colors tend to make space
appear as larger while dark oriented colors bring up the opposite effect. “As for the shapes of architectural elements, there are three categories to consider starting from geometric, organic to abstract” (Hidden
meaning of shapes, 2016). While each category has its own attributes, characteristics of each can cross over from one type to another – that will be discussed further on this paper.
According to Gerald Franz on his empirical research to the experience of architectural spaces and the studies of Joedicke on his book outline of architectural space (1985), one of the main factors on affective
experience in spatial properties is the Density of a space. Whether a space is too dense or lacks on density, it brings unpleasant emotional affective experience to the people. This quality is most obvious in the
pathological extremes of claustrophobia and agoraphobia (Franz, An empirical approach to the experience of architectural space, 2005). An explanation on finding the ultimate spatial property for humans to feel
comfortable in is the combination of safety and open space according to different studies. While a space is too empty or too opened, the people naturally feel not sheltered and too exposed. While if it is too dense,
the natural emotional respond to the space is that, the environment is chaotic and dangerous, despite the fact of possible places of “shelters” (due to density). While this prospect and refuge theory was initially
explicitly related to molar environments and not to single places, it has been often transferred on the analysis of rooms (Hildebrand, 1999). While projecting the interior spatial properties, the “defensive
characteristics” of space such as an easy control of the entrance, visual privacy from outside and good visual control from inside, can be indications to more pleasant spatial interior environment for humans, though
a dominance affective experience can be expected. Furthermore, the spatial configuration has a significant (and yet not quite studied) effect on human movement and their social interaction.
As for the shapes of the architectural elements, there are different affective experiences depending on the context where they are placed and in relation with what other entities, they are situated. As mentioned
above, there are three main categorizations of shapes. First, we have geometric style of shape that is made with connecting lines and has recognizable geometry. Squares, rectangles, circles, triangles and crosses.
This type of shape often has symmetry and has a structured look and feel to it. Organic shapes are those that often represent things found in nature. These shapes are more free flowing and less symmetrical. While
organic shapes often represent things such as leaves, rocks, clouds and even elements such as an ink blot. This type of shape has an innate harmony and can add visual interest. Lastly, we have abstract shapes that
are super-simple versions of common elements or forms. Abstract shapes are often based on organic shapes but lack true definition. The most common form of an abstract shape is an icon using an outline element.
(Hidden meaning of shapes, 2016). A general meaning of shapes according to different studies combined is shown as follows:
Squares and rectangles are the default shape for most projects Circles are most frequently used to represent things of the same Triangles can have one of two quite opposite meanings. The
for a reason. This common shape creates a sense of equality and shape that we know and create a sense of completeness. shape can imply stability, power and energy when the shape
conformity. The familiar shape is seen as stable and trusting. Because a circle does not have a distinct beginning or end, they rests on a solid base. But it results in feelings of conflict, tension
The square further relates to the earth, with each of the four imply movement (such as a wheel). The shape is thought to have and nervousness when the base is upside down or appears
corners relating to the four points on a compass. On the flip a feminine association and is connected to love, energy and unstable. In many cultures, the reference to the triangle
side, because this shape is so common it can sometimes be seen power. Circles also suggest infiniteness and harmony. Circles are includes some religious undertones: Body-Mind-Spirit or
as boring or plain. Squares and rectangles can appear with or usually a closed shape. An element is contained within a circle Father-Son-Holy ghost or Past-Present-Future. Almost any use
without borders or frames. Sometimes rectangles can appear to or something is cut out of something else in a circular shape. of a triangle implies motion. The eye is drawn to the shape and
extend beyond the margins of a project because of their distinct follows it from the widest part of the shape to the pointed tip.
vertical or horizontal shapes. The shape in almost any form is related to masculine ideas
because of strength.
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Crosses besides religion, also symbolize health, hope and Spiral is a creative and free-flowing shape. As a shape that Curves are the most free flowing of all the shape options. The
balance. A cross shape can appear in the form of a “t” or “x” or appears in nature, is associated with growth, life and shape is associated with movement, pleasure and generosity.
combination of intersecting lines and spaces. Vertically oriented transformation. The spiral has religious association as well and Curves add a hint of the unexpected to something common.
crosses are thought of as strong, while horizontal options are creates a connection to cycles of life or time or seasons. The Curves can also be added to other shapes for richer meanings.
more peaceful. The shape is mostly open, but can be connected looped shape also has some connections to mysticism. A spiral Because of this, curved shapes take on many of the other
to other shapes for a more closed feel. (The female symbol is a can “move” in and direction and are often open shapes, properties of the shape they accompany with the feeling of
common example.) meaning the strokes do not intersect in a way that creates a added softness. This shape style can be open or closed and
container. Multiple spirals can oppose each other and create a stands in sharp contrast to shapes with hard edges.
sense of conflict.
2.7 Affective experiences due to materials and construction
Very often, certain materials correspond or associate us with different emotions. In the empirical research of Gerald Franz, the dark grayed steel often corresponds to a massive technical atmosphere, while glass
with modernism and cleanness, wood with hominess, and stone with durability.
The emotional responses towards different materials can be influenced as well by their color, and by the sensations taken from colors culturally or biologically (as explained in chapter 2.4). The morbidity or
roughness of a material, temperature, smell, or sound when interacting with other objects, gives more material for our emotional behavior response towards specific spaces containing specific materials. There are
many theories that explain the origin of these feelings, including evolutionary claims.
The materials can give affective experiences due to their shape configuration as well. Similar or the same materials can be morbid or sharped; can be angled or curved, and yet can give different perception and
emotions to the occupants of the space.
2.8 Affective experiences explained through environmental psychology
Environmental psychology is a direct study of the relationship between an environment and how it affects its inhabitants. Specific aspects of this field work by identifying a problem and through the identification
of said problem, discovering a solution. Therefore, it is necessary for environmental psychology to be problem oriented. One important aspect of a problem-oriented field is that by identifying problems, solutions
arise from the research acquired. The solutions can aid in making society function better as a whole and create a wealth of knowledge about the inner workings of societies (Proshansky, 1987).
The gains that architects can get from environmental psychology studies is enormous, as this field deals with the psychological perception of environment, and its effects on human behavior (impacts on social,
physical, psychological, emotional aspects).
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A list of ten questions coming from environmental psychology to architects and designers that they should bear in mind before Spatial
projecting has been concluded. These questions bring up the architect to meditate through the inner-workings of human Awareness
perception, cognition and behavior.
The more designers understand how occupants interact with their environments, the better (Young, 1998.). Concluded Touch
questions by R. Young follows as:
• How do you get your occupants attention?

• What will occupants remember most about this design?
• How will this architecture impact their real-time experiences?
• Is this architectural environment coherent?
• Can this architectural environment be explored? Smell Vision
• Will occupants enjoy the variety and complexity of this design?
• Does the design promote opportunities for occupant discovery?
• Can occupants manage and escape from stress in this environment? Taste
• Does the design promote healthy social interactions?
• Is there a sense of community fostered in this architecture?
Due to these questions, it can be concluded that the design must bring up the experiences and emotional impact of the Hearing Coordination
occupants to priority while design process. The questions as “What would occupants remember most”; “Real-time experience Figure 38
impacts”; and “coherence” of the design show that the designers must bring up key elements to each design to render Brain scheme with the main perception areas – on how we perceive the surroundings.
emotional and consequently physical (social, structural etc.) impact on the occupants.
To conclude the influences or affective experiences through different approaches can help the design process be simplified on reaching specific emotional responses – by manipulating on different qualities of
space. According to different cited studies, we said that there are three main dimensions of emotion taken from different qualities of space, the pleasure, arousal feeling and dominance. Most of the emotions are
possibly predicted from qualities of space as brightness, temperature, moisture and noise levels, movement comfort, surfaces, and ultimately colors (Russell, 1974).
Numerous theories and empirical studies deal with relations between affective responses and physical properties of the outside world, they offer various valuable hypotheses and individual findings. The current
state of knowledge, however, makes it difficult to generalize them and to transfer them on practical design decisions (Lang, 1987).
In the following chapter, the previously stated theories and studies of affective experiences by different approaches, counting as well the experiments and elaborated studies over qualities of space, are altered into
hypotheses to serve the ultimate aim of this paper, mentioned in the beginning. That is to propose possible bases for further research over the standardization of the design process, by offering practical guidelines
for architects and designers.
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3. Proposing hypotheses/bases for standardizing procedures of design process by means of affective experiences and qualities of space
This is the core chapter of this paper, where the hypotheses are explained and proposed. The first page clarifies a background and a brief description of each of the propositions, while the following pages include
a detailed version with supporting designed spaces/architectural elements. These conclusions are reached by re-valuating the previously cited studies and elaborating works regarding the affective experiences that
occupants feel while experiencing qualities of space. In order for these hypotheses to be tested and proved, a new profound research is required; however, this can be a starting point.
The following proposals are closely linked to the idea of design for the interests and the concerns of the occupants of the spaces, standing as opposite towards the standard conceptual approach of the design. A
final insight of this paper is originated based on the emotional basic model scheme by Pieter Desmet where the evaluation of architectural qualities and the occupants concerns result on the emotional outcome.
Due to such studies, the design process has been simplified into three main steps that include firstly the occupant’s basic concerns, then specific concerns, and then architectural atmospheres solutions (Paul de
Vries, 2010). Such approaches of design do comply with the needs of the occupants and result on achieving more positive affective responses, where the aim of the paper lies.
The proposed design process hypotheses for standardization, can serve as a base (of already reviewed studies) to further increase the researches and investigation for the issue of affective experiences of occupants
due to the qualities of space. These proposed methods for easing the design process are established on the basis of limited evidence of the previously elaborated studies, as mentioned previously, and by providing
designed spaces and elements for supporting the claims. Up to date, there have been many efforts for this issue of architecture by different studies. However, elucidating the emotional affection through specific
qualities of spaces needs more insights – and that is where this dissertation attempts to fill this gap.
Figure 39
The hypotheses are presented into three main categories while each contains few elements or guidelines within. A brief description follows: Illustration of the 2 degrees radius of
sight and the eye-catching detail in the
direct line with the eye-height of the
occupant of the space. The 180 degrees
The first supposition claims that for an enhanced immediate impression of a space (when an occupant enters for the first time), from the of sight has been signalized using
interrupted lines with thinner gray color
eye-height up to 2° (degrees), upwards and downwards there must be the sharp eye-catching detail in a designed space. This detail gives the – to show the area of general affection
most of influence of the rapid impressions from a new space; and gives the first unconscious emotional affection – depending on the after the initial sharp eye catching detail.
The red circle symbolizes the detail,
configuration of this detail. While within 180° (degrees) from the eye-height there must be the main architectural elements that give the
which is intended to give the immediate
emotional impacts as the designer wants (through colors, materials, shapes and other configurations). emotional impact once entering the
space.
The supposition is supported by designing an interior space (“kitchen”) where the theoretical elements are put to practice. This work is part
of the general designed interior project of the thesis. Figure 47
Illustration of an occupant of a space
sitting in a designed ambient using
saturated colors and blue lighting with
The second supposition claims that by using specific lights and saturated colors the occupants can increase the brain capacities and creative profile angles towards the seat. The
illustration shows the height of the
process of work. Usage of specific lights in the right angles and specific colors in the right shapes and materials influences the occupant of saturated elements that intend to
the space by having a strong impact in their physical prospect. Different methods within this assumption claim to provide guidelines for influence the mind of the occupants using
explanations from colors psychology.
architects and designers on operating and controlling such affective experiences by using explicitly detailed combinations of architectural Using the combination of yellow, and red
elements qualities. (which indicate arousal and awakening),
with smaller portions of blue and green
The supposition is supported by designing a conceptual furniture (“creative work desk”) where the theoretical elements are put to practice. (which indicate safety and calmness) in
the wall elements with the blue lighting
This work is part of the general designed interior project of the thesis. directly to occupant, the brain “ignition”
and enhanced capacity is assumed.
Figure 43
The third supposition claims that by using architectural configuration “tricks” (and use of particular shapes and materials) the occupants can Illustrations of a plan showing
significantly feel more emotionally attached with a space while first encountering, in comparison with other built environments. Usage of the curved corridor towards
another wall with “darker”
curves, inner/outer space connection and empathizing, enticement and material usage in detailed techniques, provides a boosted insight for material, which is intended to
architects and designers to create spaces with such affective emotional impacts. transmit heaviness and idea of
safety through the material
The supposition is supported by designing an interior space (“corridor”) and schematic plans focusing main elements of design for achieving selection and composition of the
window that empathizes the
such effect. This work is part of the general designed interior project of the thesis. outside “dangers” and the idea of
safe sheltering.
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3.1 The interior design project serving as base for hypothesis application
During the development of the thesis, the author worked with “Arte Ristrutturo” design studio, also known as “Architectural Living Solution”, based in Florence, Italy. During this period, several projects where
developed under the supervision of arch. prof. Paolo Barboni, where different design approaches where required. However, the project of a basement for a reserved client that requested full renovation and design
for a first floor apartment, served as base for hypothesis application. The proposed supposition of the thesis where applied directly in the project in different spaces and corners, even though only few have been
proposed to the client as they didn’t meet the requirements.
The project of the apartment has 66 square meters and is requested to be designed for two couples/students for renting, and is located in suburbs of the city of Siena. The apartment is divided in two main areas,
a left smaller space that will serve for kitchen and living area, and the right bigger space for two rooms with two bathrooms. The zone-configuration design of the apartment was heavily explicit directed by the
client, and the ground plan from the interior spaces follows.
Figure 51
Steps of the interior designing of the project within the limited options of design. The application of the hypothesis is shown with the colored circle marks – that are explained in the following chart below.
Applied Hypothesis on the plan

Due to specific zone requirements by the client, the design options were relatively imitated. Therefore, this case was taken as a mean to prove
the hypothesis, since offered a narrow list of applicable design options rather than starting an “ideal” project from foundation. If they can be
6 applied into ordinary design process, they can be applied in initial founded and free-optional design projects.
The first hypothesis has been applied in this project considerably more than the other two; since naturally it is more applicable and can be easily
11 be put in most of the interior designs.
3 As it can be initially interfered, the design of this project did not cause major changes to its initial phase (due to requirements and limited design
options), however several elements were used as possible foundations to prove the suppositions and to directly apply them.
Hypothesis nr.1 (Use of impresser Elements)
Each of the hypothesis is explained through the theoretical and physical/visual by being directly applied in the project. Therefore, the project is
Hypothesis nr.2 (Light and color for brain affection) presented through the hypothesis, by explaining each design element and visualizing it through models and renderings.
Hypothesis nr.3 (Spatial and shape configuration for attachment)
The following page offers other technical information’s on measurement and sections.
Figure 52
Chart explaining the circle marks on the above plans and the times they are applied.
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Figure 53
Technical drawings of the apartment. On the left, the plan base of the spaces is presented with many measured dimensions and level estimates. On the right the technical sections are presented, with its dimensions and the views (on slighter black/blue).
The plans of the space shows the difficulties for the apartment to be organized for two different clients as required. However, there are good premises by the division of the rooms itself. The two rooms on the right
of the plan (one above the other below), can be used for bedrooms and main private spaces of the clients, with their bathrooms as buffer zone in between. The left side of the plan was required and designed to be
a joint kitchen, dining area and living room. Wall modifications were few (due to limitations), however the bathroom wall was modified, the entrance wall was curved, and door wall entrances were cut and pushed.
Other structural modifications were the augmentation of entrance portal at the main entrance with the blinder to help against rain and water floods – as the levels of the apartment are lower the outside entrance.
The following page starts by explaining each of the hypothesis in details, by gradually exploring the designed interior project through the assumptions proposed.
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3.2 Eye-heighted “Architectural Detail” for enhanced impression
The first hypothesis for achieving an enhanced immediate impression of a designed architectural space using eye-heighted detail
Abundant amount of evidences claim that the architectural elements between the ranges of 2 degrees from the eye height are considered to be in the zone of sharped detailed by the natural eye state. Adding the
evidences of detail catching of the eye through unconscious general state while experiencing new spaces, the author derived to the idea that an architectural “sharp” and “eye-catching” detail within the zone of
two degrees from the normal eye-height can significantly enhance the immediate impression of a designed architectural space. This detail (if existing) in a space, plays the role of a physical demonstrated object of
the “spirit of the place”, as that it can influence a great impact of emotional affection and give positive/negative impression to the occupant. It can be put also within the 180 degrees from eye-height, though the
affection is supposed to be slower in reaching the occupants and also paler in means of emotional impact.
This architectural detail aiming to impress the occupants, placed in a designed space on the eye-height angle, can be further on called as the “impresser element” for informal interpretation of the idea. While a
definition of the hypothesis would be, “The use of impresser elements increases significantly the immediate emotional impacts on humans according to their (impressive elements) affective
characteristics”.
The average eye-height for humans is 1m and 52cm (Europeans and Americas) where female’s average general height is 1m and 62cm and 1m and 75cm for males. The eye spectrum radius of 2 degrees depending
on the space length, can reach few centimeters in vertical area as possible zone of placing the spoken architectural detail. Further, the idea of using few impresser elements in the designed spaces is also considered,
as it increases the effects of it to various occupants. The impresser element as explained to be an architectural detail can be in fact a simple decoration, or a wall element, a color through some material, a clock, a
closet, any kind of architectural interior elements. The difference is that this has to be placed on the eye-height and needs to have eye-catching strong characteristics that reflects high on the emotional impact of
people. For example a painting with strong dominative colors, or a wall decoration, a window detail, an element that contains materials and colors that effects in specific way the human minds if encountered (as
mentioned in previous chapters of affective experiences through materials, colors, shapes). Therefore to have a better understanding of the idea on how the impresser elements can affect with significant amount
of emotion the general impression of a space (besides being in the sharped zone of the eye), the psychology of color, material and objects ergonomic aspects have to be reviewed. For using the impresser elements
for a specific emotional transmission that architects or designers want to propose, the nature (purpose of use) of the element in compliance with its own features as material, light-reflection, color, shape and
spatial positioning, has to be aligned in harmonic combination to reach the desired efficient effect. An example of demonstrating the use of impresser elements are designed by the author, which used lighting
elements over the kitchen bar as impresser elements in the eye-height.
Figure 54 Figure 55
Rendering of the kitchen with the lamp as impresser elements. The picture is in full focus and allows the viewer to have a Rendering of the kitchen with the lamp as impresser elements. The yellow lines indicate the eye-height perspectives (180 degrees,
perception of the space without the indications of the supposition – which are added in the picture on the right. and out of unconscious focus the first and second lines vertically; while orange lines indicate the 2 degrees up and down from the
observers eye-height). The lamps are put in direct line of eye-height.
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The lamps serving as the main impresser elements in this space comply of unity of two convex curved opposite shapes with metallic bronzed color, where biggest shape is opened and widened downwards (where
the light bulb is placed). The lamps cover surface (due to its material and shininess) reflects on the surroundings of the space by being eye-catching detail of the whole room. While another impresser element are
considered the paintings in the wall next to kitchen cabinets though not eye-catching but rather as soft elements of impression for various eye-heights and as a background unconcise affective element.
The bronze material in most cases when used in interior designs can transmit feelings of “industrial zones” - if used un-polished and as a main surface material. However, in this case, the lamps use this bronze
colored metal by the means of breaking the coziness that the space provides (by the warm and soft colors of wood, gray walls, and other expedient decorations). This balanced atmosphere brought by lamps is
empathized even more through the reflection and shininess, and mostly through the “golden/dark orange” color. According to the psychology of colors, these nuances though warm, if saturated in certain scales
can initiate causing arousal feeling – which is the case with the lamps used in this design.
To conclude, the idea of this hypothesis with this specific design is that the lamps as impresser elements give an enhanced immediate impression of balance, slightly arousal, and warmness, to any occupant entering
the space for the first time. Without the presence of such elements, this atmosphere of the space would be significantly less empathized.
Furthermore, other impresser elements applied in this project are as following.
Figure 57 Figure 56
Rendering of the corridor to the room in the bottom-right part of the plan. Use of impresser elements as Rendering of the corridor to the room in the bottom-right part of the plan. The yellow lines indicate the zone
paintings/pictures and mirror on the wall. where the impresser elements have been used in large angles (up to 10 degrees from most points of views). The
direct eye-height is shown with lighter red line.
The idea of using these specific pictures/paintings and the mirror as a wide impresser element is to give strong message to this part of the space. The nature of the apartment (being in dark basement) and the
location in the suburbs of Siena, requires to bring emotion and safety. This corridor is the last door which brings to a space with only one small window on top of the wall, therefore, the first impresser element that
hits the visual sight of occupants will be the “guarding cat” painting. This first impression gained by entering this corridor might be strong and shocking, though, if living side by it and not having to see the painting
for the rest of the time using the room. The image will remain solely for the feeling of protection by indicating to the occupant that whoever enters will most likely experience shock and strong emotions. The mirror,
which is in the most direct contact with the room, gives the impression of reflection and selfness and serves as the balancer impresser element. While the “Nicola Tesla” picture with the electricity is the last
impresser element that occupants sees when leaving the room. Again for the same purpose as the first, the occupant will get strong safety indications and color balance compared with the surroundings.
These experimental impresser elements used, can be modified and changed for what-so-ever purpose that the architect or the designer wants the occupants to feel. The direct exposure in the lines of the eyes, and
their explicit explained meaning however, supposedly influences the desired effect to the occupants experiencing this space.
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Figure 59 Figure 58
Rendering of the living room where the Television and greenery-plant with the vase serve as impresser element. Rendering of the living room where the Television and greenery-plant with the vase serve as impresser element. The yellow line
indicates the zone of the avarage eye-height.
Figure 61 Figure 60
Rendering of the kitchen wall where animal and plant paintings are used as impresser elements. Rendering of the kitchen wall where animal and plant paintings are used as impresser elements. Yellow line indicates the
elements that are within the eye-height zone.
These renderings are continuous of the elements used as impresser elements in the design. The first rendering shows the living room with the TV and “Greenery of the Plant” with the vase, as part of impresser
elements, which tend to influence the occupants by their characteristics. The greenery brings balance and life to the neutral walls together with its shining-eye catching red vase; while the TV tends to brings colors
and emotion by attracting occupants with its features. In the other corner, next to the fridge few paintings are put also within the range of eye-height, that aim to transmit emotions of desire and tranquility by
their images, and fill the gap of emptiness and neutrality from the gray and white walls. Other impresser elements are clarified through different following renderings, pointing out other hypothesis application.
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3.3 Light and color for “manipulating” biological capacities
The second hypothesis on reaching desired effects on brain capacities through the use of lights and (saturated) colors
Light and color (being closely related and both wavelengths) affect the human body in several senses. If we refer to previous chapters on color through culture,
and affection by color properties, we can understand the power of a wavelength on life-style and emotional states of humans.
To start with, the circadian natural rhythm allows the human capacities and features to be activated and to rest the body on specific hours and times. When
exposed to sun rays for example, besides the benefits of vitamin D that help maintain multiple biological functions (and that cannot be taken through the
windows glass, but direct exposure), the light itself and particularly the blue-wavelength lights, help entrain and maintain the robust of circadian rhythms.
“Exposure to sunlight in the morning is particularly effective; it leads to earlier melatonin onset in the evening and makes it easier to fall asleep. Bright morning
light has been shown to be effective against insomnia, premenstrual syndrome and seasonal affective disorder” (Mead MN, 2008). Reproduction of blue-
wavelength light happens to trick the same effect on human’s biological systems – often by violating the natural order of the circadian rhythm, by exposing the
occupants in the blue-wave length light during the night. The brain perceives such lights as sunlight, and deceits the body that it has to boost more energy on
work and concentration, rather than rest and composure. Therefore, using blue-wave length lighting on specific workplaces or spaces where the concentration
is required is highly advised.
However, since each color is reflecting the absence of absorption of its chemical elements when hit by light, it produces and reflects a specific wavelength (color)
that our eye perceives. This perception of different wavelengths is known as the visible spectrum (the quota of the electromagnetic range that is observable to
the human). Each of these wavelengths are within the range of 400 - 700 nanometers (nm), where violet/blue starts from 400nm and red is 700nm. This is the
crucial part on understanding why each color has a specific biological (hence emotional) impact on our lives. Consequently, light therapy was discovered. The
use of different intensifications, saturations, and frequencies of light, numerous hormones as “serotonin” can be triggered to be produced in the brain, hence
modifying human behavior, feeling, and psychological capacities. Yet this field of study is not progressive in architectural interior design standings, and premises
on using such medical advances in space design are few. The author of this paper within the second proposed hypothesis claims to give bases for guidelines on
reaching desired biological effects to the humans using exposure to wavelengths in combination with furniture ergonomics (including shapes and materials) for
interior design.
Figure 62
Due to different studies on light and color and specifically on the experiments for people with personality disorders and other mental illnesses by prof. Melina Table chart of the wavelengths – and visible spectrum. Radio waves,
Lagarce, the wavelengths of Green and Blue when used in lighting resulted to be mainly passive and calm brain affects. While red turned out to agitate and microwaves, x-rays and Gamma rays (and others unknown) are not
visible to the human eye and remain as unknown “colors”.
physically warmness, yellow to energize and happiness indication, white to energize and calm (Garce, 2016).
When used in surfaces however, wavelength of each color indicates biological positive and negative features, depending on the scale of exposure. Based on studies of Angela Wright from Color-Affects of London,
the classification of influences from each wavelength follows as:
Red as physical color, by promoting positive psychological attributes as energy, stimulation, excitement etc. and negative as defiance, visual impact, strain. It biologically stimulates the pulse rate of blood, by giving
impression that time is going faster. Blue in the other hand is the intellectual color, as promotes intelligence, calmness, logic trust and communication, but also lack of emotion. It biologically stimulates clear and
lighter thoughts and aids concentration. Yellow is the emotional color, as it promotes optimism, confidence, creativity and emotional strength. It can affect feelings of fear, anxiety, and irrationality. It biologically
stimulates emotional impacts of surroundings, and is the strongest psychologically affective color. Green is the emotional balance color, as it indicates feelings of universal love, balance, rest and peace. It can affect
to make occupants more bored or stagnated. It biologically stimulates reassurance. Violet is the spiritualistic color, as it affects psychologically to meditate on vision, spiritual awareness and truth. It can indicate
feelings of suppression and inferiority. Being the shortest wavelength, it biologically affects deep contemplations or meditative states. Black is the color that affects psychologically sophisticated emotional
impressions and efficiency, however can cause heavy moods. Being a color that absorbs all wavelengths (visible because of absence of light), it biologically influences absoluteness of emotional impacts in
surroundings. Gray, orange, white, brown and other nuances and colors have also similar body affects based only on their wavelengths (Proporties of Colours, 2016). Based on such studies on light and color, the
author uses the combination of the effects to create a working space that increases the capacities of brain and concentration.
To conclude, the second hypotheses can be defined as: “The blue-wavelength light imitating sunlight in combination of interior elements using a set of main colored shapes (constant smaller and highly
saturated yellow surfaces; with larger but rarer red, blue and green surfaces), can significantly increase brain capacities of concentration, creativity, and work efficiency”. The use of working tables as
examples of applying such hypothesis by bearing in mind material and shape affection (as reviewed in chapter 2.6 and 2.7) can demonstrate the effects of such combination. A rendering of an example conducted
by the author follows in the next page.
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This conceptual composition tends to show an applied version of the guidelines from the second hypotheses shown in this paper.
This is an abstract model of a workstation desk, where the blue-wavelength lightings are placed in direct exposure to the occupant, which continually gets
wide-open towards the wavelengths of the saturated colors. The combination of the dominant Red, Blue, Yellow and lastly Green colors are intended to
influence the human brain on production of hormones to energize, focus and psychologically impulse the brain capacities. While the lights are intended to
break the circadian natural rhythms by tricking the brain for a bright sunlight instead of bulbs, hence, urging the body to function more actively. The color
surfaces stand to show the needed balance between the colors to reach the desired effects that the hypothesis claims. The blue-wavelength lights are placed
over the head of the occupant. The colored surfaces in this example are put for a literal explanation of the idea; while in an actual design these surfaces are to
be replaced with paintings, decorations, shelfs, or other objects (depending the space/purpose) for as long as the saturated colors and lights are placed in such
order and balance, to influence the occupants.
Figure 66 Further on, examples of the same supposition are applied to the interior design project.
Embryonic example of applied hypothesis into a workstation desk.
Figure 71 Figure 70
The workstation for the bedroom on bottom of the plan. The color combination follows the abstract workstation. The workstation for the bedroom on top of the plan. The color combination follows up the abstract workstation.
These two workstations tend to follow the indications from the hypothesis number two. The balance between used saturated colors and the use of blue-wave lightings is present. Further testing with real-life
workstation with such feautres remains to be tested for further affective experiences on brain enhancement for creative and active work. These two workstations tend to follow the indications from the hypothesis
number two.
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The last example of this hypothesis application is on the living room couch and the colored pillows. The vivid saturated colors tend to give energy affection to the occupants, while giving a strong contrast with the
rest of the space. The chosen colors of the pillows transmits the emotional affection explained through psychology of color section (also on chapter 3.3, color biological affection).
Figure 72 Figure 73
Rendering of the living room where the couch shows the application of hypothesis number two. The colors of the couch and Rendering of the living room where the couch shows the application of hypothesis number two. The colors of the couch and
the pillows tend to indicate specific affective response on the occupants, to influence energetic mood and vivid atmosphere. the pillows tend to indicate specific affective response on the occupants, to influence energetic mood and vivid atmosphere.
The yellow lines indicate the zone of the couch where the hypothesis is directly applied.
Generally, the conclusion is that giving spatial importance to specific saturated colors where the occupants will be “enforced” to be exposed to (such as the couch, workstation table, etc.), the affective experiences
of the colors will show immediate result on emotional response, physical and brain capacities of the occupants. However, this supposition remains to be further developed and experimented.
The following pages continue showing different sides of the project by explaining the hypothesis number three.
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3.4 Architectural configuration “tricks” for immediate emotional attachment
The third hypothesis on attaining higher emotional attachment with a space using shapes and spatial settings (in compliance with materials and colors)
For receiving, an immediate emotional attachment to a space there must be one or more strong factors that will touch strongly our inner emotional side. Basically, characteristics that a space must have in order to
have a general emotional attachment, is that it needs to be unique and special, and needs to foster a sense of authentic human attachment and belonging; in other words known as the “sense of a place” (Tuan,
1980). From this knowledge, we can intercept that in order to make an immediate emotional attachment with a place, characteristics must be unique and special, that find their ways to touch emotionally by
fostering a sense of authentic human attachment and belonging.
Different studies and architects reviewed the ideas of designing spaces based on “evolutionary needs” or “preferences”; mainly regarding the impression of sheltering. According to such means, the design must
constantly prove the idea of sheltering and safety to the occupants, hence, creating an emotional attachment with the space. This affection is believed to be accomplished since the design is touching one of the
most important senses on humans, the idea of belonging (as mentioned in first paragraph). Furthermore, other studies include different traits of a space to have strong attachment, such as the possibility of
exploration (the balance between agoraphobia and claustrophobia) and avoiding “asphyxiation” effect. Than to have mysticism through lights or shapes, expression of materials (even if minimalist design), rhythm
order and scale, possibility to control the entrance for higher safety feel, and lastly the possibility of having prospect or view on outside world, among other suggestions.
However, to put such practices in a designed space is quite difficult as there is no balance between the practices, and rarely an opportunity to do so. A combination between different practices for specific space
purpose is what author tries to put bases on through the third hypothesis. For example, to have an immediate strong emotional attachment to a residential space (where the occupants may be a family/couple),
the need of using a refuge/prospect design is necessary, in combination with controlled entrance, highlighting the outside world as the “dramatizing heaven” term indicates (Paul de Vries, 2010), order and scale.
For an administration space in the other hand, “thrill” term of design is indicated, where there is an emphasized idea of “risk” through either outside world or inner design, than design that indicates exploration
and enticement among others. Such combination of design practices would highly enrich the experiences of occupants and would possibly raise the chances of higher immediate emotional attachment.
Ever since the indications for such combination of different design practices can be very subjective and diverse depending on the project. However, the closest definition to the third hypothesis would be as follows:
“The approach of design with combined physiognomies and practices that foster the authentic human feelings of belonging, refuge, safety, prospect and order (through shapes and other
architectural elements/features) significantly increases the immediate emotional attachment with a space.
The combined physiognomies and practices in spatial and elements design are applied into practice through few rendered examples by the author below. First images are of a designed corridor with a window and
below a schematic approach for explaining the general hypothesis. Explanations and details for the figures follow in the next page.
Figure 74
Rendering of a corridor with the window. The model tends to represent feautres claimed by the third hypothesis, where the lighting in the emotions of freedom of exploration, enticement, possibility of movement, are presented by the corridor itself. While the darker wall and the
window tends to represent its heaviness and safety provided from the outside world – which in this case is dramatized and empathized throgh the window that offers seating.
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The schematic figure above shows four main design principles areas that physiognomies and applied principles must follow. These
areas tend to indicate main authentic human needs of attachment and belonging through the refuge zones and other; security
over the main entrance and tranquility inside the space; prospect in each possible visible contact with the outside world; and other
zones that include communication, relaxation, thrill, etc. This schematic of the design principles for zones can be specifically used
on residential housing.
While the figures on the previous page show renderings of a passage through a corridor. The dark lighting and bright lighting in
the end of corridor tend to indicate feelings of exploration, possibility of movement and enticement. The curved wall contains the
same stone material as the darker wall on front; however, that curve (and the lighter color) gives the impression of inviting and
shelter in contrast to the front wall. The darker wall, which gives indication of heaviness through its color and material stumbled
upon light wooden floor, presents the window – which is the connection with the outside “dangerous” world. This selection of
material for the wall where window is placed, gives the feeling of protected and security. The window itself in the other hand is
empathized and quite tranquil and simple, that offers the occupants even a seat for reading, drink, or simply outlook. This fact, the
Figure 75 highlight of the outside world, tends to raise the impression of belonging.
Scheme of principlas areas that design values should follow for achieving authentic human affection.
These simple and yet complexed combination of architectural “tricks” on elements and spatial configurations, touching the authentic needs of humans that make up a sense of a place, supposedly highly increase
the immediate emotional attachment.
The following figures and renderings comply of details and spaces from the interior general project where the third hypothesis has been applied.
Figure 80 Figure 79
Render of the living room where the window element is empathized as part of the application of hypothesis number Render of the living room where the window element is empathized as part of the application of hypothesis number
three. three.The yellow line indicates the zone of the supossition application.
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Figure 85 Figure 81
Rendering of the upper bedroom. The element of the empathized window can be noticed due to the hypothesis number two Rendering of the upper bedroom. The element of the empathized window can be noticed due to the hypothesis number
application. The mirror in the other hand, belongs to a group of impresser element itself, while it reflects the other two application. The mirror in the other hand, belongs to a group of impresser element itself, while it reflects the other
impresser element in the wall (the painting). impresser element in the wall (the painting). The yellow lines indicate and show the first hypothesis application, while the
orange line indicate and show the third hypothesis application.
Figure 89 Figure 90
Rendering of the bottom bedroom. In the left the first hypothesis has been applied where the painting serves as an Rendering of the bottom bedroom. In the left the first hypothesis has been applied where the painting serves as an
impresser element. In the right, the darker closet door serves as an element to influence sense of continuity of the dark impresser element. In the right, the darker closet door serves as an element to influence sense of continuity of the dark
color from the bed, in order to give more attachment to the occupant by sharing sheets color with closet’s color. . color from the bed, in order to give more attachment to the occupant by sharing sheets color with closet’s color. The
orange line indicates the third hypothesis application, while the yellow line the first one.
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Figure 92 Figure 96
Render of bathroom from above. The material used as a floor division and the continuation of this material only in half of Render of bathroom from above. The material used as a floor division and the continuation of this material only in half of
the wall, while the opposite wall serves as a mirror (as an impresser element as well, hypothesis one), tends to ease the the wall, while the opposite wall serves as a mirror, tends to ease the space tension by augmenting it and by making a
space tension by augmenting it and by making a follow line that goes upper with the shower. Yellow lines indicate the follow line that goes upper with the shower. Yellow lines indicate the material follow lines.
material follow lines and the mirror.
The application of the last hypothesis in the project is demonstrated through various renderings. To start with,
the window highlighting was meant to ensure the attachment through dramatizing the outside world, by offering
comfort zone in the windows.
The material with darker colors same as bed sheet and as seating in front of the bed, tends to make occupants
feel more attached to the closet and the space in general due to the sense of continuity of the materials and
colors. Ever since the occupants will sleep on the bed with the same colors as one of the closets on front, the
empathy towards to closet (hence space in general) will increase. Adding here the fact that the darker color of
the closet lays in lighter color of the floor, it brings sense of security and power of the closet.
In bathrooms in the other hand, the material of the floors and walls has a growing rhythm, as since it starts low
and grows higher only up to the height of shower cabin. This material configuration is meant to gradually make
the occupant feel attached to the bathroom spaces as it can transmit claustrophobic sensations due to its narrow
space.
Lastly, the portal in the outside of the apartment is put to make an easy access and controllable entrance,
increasing the feelings of refuge and prospect at the same time. This element is believed by the author to
strongly increase the attachment as well – in this experimental project.
The following chapter will bring a final discussion and conclusion to this paper, followed by further proposed
Figure 91 investigations in relation to the topics involved.
Photoshop insertion of the door portal with the blinder in the real image of the apartment outdoor space.
35
4. Discussions, conclusion and further propositions
Discussions:
As for discussions, in principle, the scope of this dissertation was to develop a research and give suggestions for designers and architects regarding the relation between human and spaces. Within the research the
development of a project to serve as bases for the hypothesis was aimed as well. To start with, the cultural aspect approach of the first chapters with the case studies gave an entry to the topic; by pointing out the
immense importance and impact that spaces has on humans depending on cultures. How this matter, created and shaped cultures, philosophies, and vice versa, how cultures created and shaped spaces. The hints
on cultural aspect of colors, souls of the place etc. tells on how exactly people from diverse time/zones perceived dissimilar qualities of space in a different way. Ultimately, touching the “guidelines” for architects
in cultural aspects the “Feng Shui” case offers a rich interesting scenario, where subjectively based philosophy instils the designers and architects on how to plan and design spaces. A more scientific approach
followed by offering various methods from most exciting studies done on human senses and space interactions (where the author elaborated and worked on architectural experiments as well), give more insights
on the world of senses and spaces. These insights in conclusion, helped raise bases on the main suppositions, which in fact, remain simply hypothesis with lack of evidences and with a call for continuation of further
research. The project developed to serve as bases for the suppositions, aims to show the projecting skills and capabilities needed for the masters dissertation, and at the same time to experiment with hypothesis
direct application. The project was presented through plans, renders, and other clarifications – where in the same time, the hypothesis were being applied and clarified.
Many previous architects have used this approach of dissertation and claimed different theories and hypothesis. It is for such papers that the theory of architecture and design is always on the move for discovery
and expansion. The author expresses that this paper serves no other purpose more rather than merely discussing issues of architecture and giving new questions for further investigations.
Conclusion:
As mentioned, this paper in due course concludes by introducing new questions rather than offering more answers. The hypothesis proposed give bases for more research on the issue; by claiming and naming a
“new element” in architectural design process (ex. “impresser element” which can; or cannot; have the effects that the supposition claims). Alternatively, by claiming that use of specific balance between saturated
colors and blue light can increase brain capacities of work and creative; and ultimately, using spatial configurations and shape design “hacks” on making occupants feel immediately more attached to a space;
remains however not proven and another question mark for further investigation. The hypothesis itself is simply a theory that lacks evidence; therefore, deduction of this paper is that the author provided three
new required assumptions to be tested. However, due to such claims, this paper ultimate conclusion is to push the general architectural thought more towards the human senses when designing, by continuing
elaborating and expanding such prerogatives. The project supplemented to apply the hypothesis offers the firsts momentum of these premises (application of these suppositions) that can or cannot grow into
developed design theories.
Further propositions:
Further, this dissertation proposes to continue developing and experimenting on sensations from spaces, by further on dissolving the solid pieces of emotional transmissions from spaces that are untranslated for
architects and designers in the bases of elements and specific qualities of space – with specific affective emotions. By having such studies and insights, architects can revolutionize the world of biological affection
from space elements, as there are unique natural features that unites and makes all humans feel human, and feel the spaces in equivalent means. Perhaps the architect can help the role of a psychologist, by
creating therapy rooms inside the houses with changeable lighting colors and other features; perhaps people one day will call an architect instead of a therapist. Perhaps architecture can help its occupants surpass
emotional barriers, increase their physical capacities, be more healthy, and live better. All this is achievable if the emotional transaction from the physical space is decoded and translated for architects and designers.
36
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Senses and Spaces - University of Florence - Masters Dissertation

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Abstract

1.1 Background and purpose

1.3 Perception of the “Soul of the Place” through Cultures

Figure 12 Figure 10 Figure 11

Rondine Class Standard Class

Figure 24 Figure 23 Figure 22

• Accelerated heart rate

• Long distance view (more than 400m),

Another interesting method on having a better

Quote for the sight: Quote for the smelling:

2.4 Affective experiences due to proportions in architecture

Figure 36 Figure 35 Figure 34

2.7 Affective experiences due to materials and construction

2.8 Affective experiences explained through environmental psychology

• How do you get your occupants attention?

Applied Hypothesis on the plan

Armstrong, K. (1992). Muhammad: A Biography of the Prophet. HarperOne (ISBN 0-06-250014-7).

Botton, A. d. (2006). The Architecture of Happiness. Pantheon.

Hidden meaning of shapes. (2016). Retrieved from Design Hack: https://designshack.net/articles/layouts/the-sometimes-hidden-meaning-of-shapes/

Hildebrand, G. (1999). Origins of architectural pleasure. Berkley: University of California Press.

How color works. (2016). Retrieved from Colour Affects: http://www.colour-affects.co.uk/how-it-works

Human Senses. (2006). Retrieved from Mercola Articles: http://articles.mercola.com/sites/articles/archive/2006/10/05/how-many-senses-do-you-really-have.aspx

Inspiring Office Deisgn. (2016). Retrieved from Business Interiors: http://www.businessinteriors.co.uk/inspiring-office-design-google-h/

Lefebvre, H. (1991). The Production of Space. Blackwell - ISBN 0-631-18177-6.

Nemcsics, A. (1993). Colour Dynamics: Environmental Colour Design. London.

Palladio, A. (1570). I quattro libri dell'architettura. Italy: Dominico de' Francheschi.

Pallasmaa, J. (1996). The Eyes of the Skin. New York.

Pollio, V. (25 B.C.). De Architectura libri decem.

Proporties of Colours. (2016). Retrieved from ColourAffects: http://www.colour-affects.co.uk/psychological-properties-of-colours

Proshansky, H. M. (1987). Identity and place. New York.

Rapp, M. (2006). Feng Shui Architecture. Munich: fengshuiPC.

Saarinen, E. (2006). Shaping the Future. Yale University Press.

Seth, A. K. (2016, November 02). Essays. Retrieved from AEON: https://aeon.co/essays/the-hard-problem-of-consciousness-is-a-distraction-from-the-real-one

Students, Q. A. (2015-2016). Old vs New classroom. (E. Kadriu, Interviewer)

Takayuki, T. (2016). The Geibun-Kenkyu: Journal of Arts and Letters.

The field of view of humans. (2016). Retrieved from VR-WIKI: https://vrwiki.wikispaces.com/Field+of+view?responseToken=0b7c5957e2f18132ca10d6abc332b2481

The Holy Qur`an (Vols. 48:4–26). (n.d.).

Tuan, Y.-F. (1980). Landscapes of Fear. Oxford: Basil Blackwell.

Understanding Workplace. (2015). Retrieved from ID Canada: http://www.idcanada.org/IDC/pdfs/understanding_workplace.pdf

Weizman, E. (Director). (2016). Rebel Architecture - Architecture of Violence [Motion Picture].

Wirtz, A. S. (2001). Congruency of Scent and Music as a Driver of InStore.

Young, R. (1998.). Environmental Psychology. Encyclopedia of Environmental Psychology Corp.

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