PARADIGM SHIFT IN CREATIVE

LEARNING SPACE THROUGH SENSORY

DESIGN .

A.PAVITHRAN
116012001518
DISSERTATION 2020-21 FINAL YEAR / ‘A’
SEC
 PARADIGM SHIFT IN CREATIVE LEARNING SPACE
THROUGH SENSORY DESIGN .
INTRODUCTION
A PARADIGM SHIFT IS A GRADUAL CHANGE IN THE COLLECTIVE WAY OF
THINKING. ARCHITECTURAL PHENOMENOLOGY, EMPHASIS ON HUMAN
EXPERIENCE, INTENTION , HISTORICAL REFLECTION AND ETHICAL
CONSIDERATIONS STOOD IN SHARP CONTRAST TO POST MODERNISM. IT WAS
NEVER A MOVEMENT PROPER BECAUSE IT DID NOT HAVE AN IMMEDIATE
AESTHETIC ASSOCIATED WITH IT, THUS IS SHOULD BE UNDERSTOOD AS
MORE OF AN ORIENTATION TO THINKING AND MAKING.
AIM AND MOTIAVATION
 THE AIM OF THIS TOPIC TO STUDY THE HUMAN PERCEPTION SENSORY
ATMOSPHERICAL VALUES OF THE CREATIVE LEARNING SPACE.
SCOPE
 THE INTEGRATION OF PHENOMENOLOGY INTO OUR GENERATION OF
DESIGNING WILL ULTIMATELY ACKNOWLEDGE ARCHITECTURE’S RESPECT
TO THE HUMAN SCALE. TODAY, TECHNOLOGY ADVANCES
ARCHITECTURAL DESIGN STRATEGIES AND IT IS ENCOURAGING TO KNOW
THAT THERE ARE DESIGNERS WILLING TO INTRODUCE SENSORY
ATMOSPHERE TO GREATER THE HUMAN EXPERIENCE.
OBJECTIVE :
 INFLUENCE OF SENSORY VALUES IN ARCHITECTURE
 ELEMENTS OF CREATIVE LEARNING ATMOSPHERE
 STEVEN HOLL’S SENSORY DESIGN TECHNIQUES
METHODOLOGY :
ELEMENTS CREATIVE LEARNING SPACES

THEORY OF PHENOMENOLOGY

SENSORY DESIGN PRINCPLES

STEVEN HOLL’S PHENOMENOLOGY ARCHITECTURE

COMPARING THEORIES AND CASE

STUDIES
CONCLUSION
 CREATIVE LEARNING SPACE
 ALTHOUGH DESIGN STUDENTS TAKE A VARIETY OF COURSE, THE
DESIGN STUDIO IS THE CORE.
 AN EFFECTIVE LEARNING ENVIRONMENT MUST CONSIDER BOTH
PHYSICAL AND PSYCHOLOGICAL NEED OF THE BUILT
ENVIRONMENT.
 LEARNING IS AN INTERACTIVE PROCESS AND PRODUCT OF
STUDENT AND TEACHER ACTIVITY WITHIN A SPECIFIED LEARNING
ENVIRONMENT.
 THE KEY ELEMENTS OF CREATINVE LEARNING SPACE

 CREATIVITY
 COLLABRATION
 FLEXIBILITY
 INNOVATION
 INSPIRATION
CREATIVITY
 Creativity may be understood as the process of developing and expressing new ideas
which will probably be used for innovation.
COLLABRATION
 Collaboration is the norm and where activities, services, and spaces exist to support
communication among students, faculty, and information.
FLEXIBILITY
 The ability to respond quickly and effectively to rapid change and high uncertainty. In
the context of the workplace, the agility is achieved through the co-evolution of the
workplace and work.
INNOVATION
 Successful design and innovation are done by a community of designers that is
able to look, anticipate and understand social practice as broader as they can and
also successful innovation in design and occupation requires alignment of many
factors.

INSPIRATION
 Most design schools are vibrant places where encounters between students,
teachers and professionals can occur . Some of this vibrancy comes from the
materiality of the design school itself.
 SENSORY DESIGN
 IT ESTABLISHES SENSORY EXPERIENCES THROUGH
ARCHITECTURAL SPACE.
 IT IS THE MANIPULATION OF SPACE, MATERIAL, LIGHT AND
SHADOW TO CREATE A MEMORABLE EXPERIENCE.
 IT PROMOTES THE INTEGRATION OF SENSORY PERCEPTION AS A
FUNCTION OF A BUILT FORM.
 IT SUGGESTS THAT HUMAN PERCEPTION SHOULD INFLUENCE
DESIGN FORM AND FUNCTION.
 THE MEMORY OF THE SPACE IS DERIVED BY INTRICATE FORM OF
DETAIL , BEYOND PHYSICAL USE OF A BUILDING, TO BECOME
INTEGRATED IN MEMORY.
 PHENOMENOLOGY ESTABLISHES THE NEED FOR THE OBSERVANCE
OF SENSORY SENSITIVITY IN DESIGN. THIS PHILOSOPHY,
ALTHOUGH IT ELABORATES ON THE CONNECTION TO INTIMATE
HUMAN PERCEPTIONAND ALSO HAS A UNIQUE AFFECT ON
HEALTH AND WELLNESS.
 STEVEN HOLL
 STEVEN HOLL HAS A DISTINCT POSITION IN ARCHITECTURAL
REALM WITH THE INTELLECTUAL AND PHENOMENAL INTENSITY
OF HIS WORK.
 THE PROPERTIES OF HIS BUILDINGS, HIS USE OF MATERIALS,
TEXTURE, COLOR AND LIGHT CAN BE CONSIDERED AS THE
QUALITIES THROUGH WHICH HOLL’S ARCHITECTURE CAN BE
DISTINGUISHED.
 THE PHILOSOPHICAL BACKGROUND OF HOLL’S ARCHITECTURE IS
MAINLY BASED ON THE PHENOMENOLOGY OF MAURICE
MERLEAU-PONTY, THE FRENCH PHILOSOPHER (1908-1961).
 HOLL INTERPRETS PHENOMENOLOGY AS “A WAY OF THINKING
FOR ARCHITECTURE.”
 HOLL MENTIONS THREE MAIN “FORCES” OF ARCHITECTURE,
WHICH HE DENOTES AS THE “IDEA-FORCE”, “PHENOMENAL
PROPERTIES” AND “SITE-FORCE”
 HOLL RELATES ARCHITECTURE TO PHENOMENOLOGY FOR HIM
ARCHITECTURE HAS THE POTENTIAL TO INTENSIFY THE QUALITY
OF HUMAN LIFE BY CREATING SPACES THAT MEET HUMANS’ NOT
ONLY PHYSICAL, BUT ALSO EMOTIONAL AND SPIRITUAL
DEMANDS.
SENSORY VALUE OF THE BUILDING IS BASED
ON  VISUAL  ODOUR
 AUDITORY  TEMPERATURE
 TACTILE

NET STUDY
THE EYE FILM INSTITUTE-
AMSTERDAM
 THE EYE FILM INSTITUTE-
AMSTERDAM
APPROACH:
DELUGAN MEISSL’S APPROACH TOWARDS ARCHITECTURE IS FIRMLY
ROOTED IN THE IDEA OF ‘ARCHITECTURE IS NOTHING BUT A KIND
OF APPLIED PHYSIOLOGY.”, WHICH CAN BE CONSIDERED AS HOW A
BUILDING FUNCTIONS. IT IS CLEAR THAT THE EYE FILM INSTITUTE
IS CONSIDERED TO REPRESENT THE VISUAL LANDMARK OF THE NEW
AMSTERDAM A CONTEMPORARY ICONIC BUILDING IN
AMSTERDAM.THE BUILDING HOLDS AESTHETICS AND ABSTRACTS
QUALITIES BEYOND THE NORMAL FUNCTION WHILE ATTRACTING
TOURISTS AND VISITORS FOR ITS SOLE VISUAL ARCHITECTURE.

CONTEXT
IT IS CLEAR AND NOTICEABLE HOW ITS SHEER SIZE CREATES AN
IMPOSING PERCEPTION WHICH CAN BE IDENTIFIED ALMOST AS A
SCULPTURAL PIECE OF WORK RATHER THAN AN OBJECT WHICH IS
HIGHLIGHTED THROUGH ITS MONOLITHIC SOLID FORM THAT
CONCEALS THE BUILDING’S INNER FUNCTIONS.
 THE EYE FILM INSTITUTE-
AMSTERDAM
THESE FUNCTIONS WHICH INCLUDES CINEMAS EXHIBITION SPACES
AND AN ARENA WHICH CREATES AN UPPER AND LOWER LAYER
WHICH ARE ALL ACCESSIBLE FROM THE CAFE THAT ACTS AS THE
CENTRAL LAYER OF THE BUILDING.
 
 THE EYE FILM INSTITUTE-
VISUAL:AMSTERDAM
THE BUILDING IS REPRESENTED AS VISUAL LANDMARK FOR THE
EVER-GROWING CITY OF AMSTERDAM. EXTERNALLY &
INTERNALLY, THIS ICONIC ARCHITECTURE PRESENTS A STRIKING
IMAGE . INTERNALLY, DMAA’S APPROACH OF APPLIED PHYSIOLOGY
IN ARCHITECTURE IS CLEARLY EVIDENT, AS THE JOURNEY
THROUGH THE BUILDINGS DIFFERENT SPACES CAN BE SEEN AS “
CONTINUOUS SPATIAL CONCENTRATION WITH DIRECTED VISUAL
RELATIONS” THAT PROVIDES CERTAIN SPACES WHICH APPEARS TO
FRAME CERTAIN VIEWS. AS TOWARDS APPROACH TO THE CENTRAL
SPACE OF THE BUILDING, OF WHICH IS THE CAFÉ, A DEFINED
VISUAL SENSATION OF CONTRACTING AND EXPANDING SPACES
CAN BE PERCEIVED, WHERE THE CONSTRICTED SPACES FRAMES A
VIEW OF THE IJ RIVER AND THE EXPANDED SPACE WELCOMES THE
USER TO A VAST OPEN SPACE OF THE CAFÉ WHICH LEADS TO THE
BUILDING’S DIFFERENT FUNCTIONS.
 
AUDITORY
AS MENTIONED EARLIER, THERE ARE CONTRACTING & EXPANDING
SPACES . THESE SPACES, BASED ON EXPERIENCE AND INTERACTION
WITH THE ENVIRONMENT, CAN ALSO BE PERCEIVED THROUGH
SOUND, WHERE THE CONFINED SPACES PROVIDES STILLNESS.
WITHIN THE BUILDING THERE IS ALSO WORDS INSCRIBED ON
CERTAIN SURFACES ONE OF WHICH IS “ EVERY SOUND AND EVERY
SILENCE ARE THERE FOR A REASON…THE COMBINATION OF
IMAGE AND MUSIC IS VERY POWERFUL”.

TACTILE :
THE BUILDING’S VALUE IS DETERMINED AND FULFILLED THROUGH
ITS FUNCTION AND NOT ANY PURELY AESTHETIC CONSIDERATIONS ,
EXPERIENCING ARCHITECTURE DOES NOT NECESSARILY DEPEND
ON EXPERIENCE BUT MORE SO ON THE ENJOYMENT AND PLEASURE
THAT THE BUILDING ENGENDERS. THE STEPS LOCATED IN THE
BUILDING’S “CENTRAL” LAYER WHICH BOTH DIRECT THE USER’S
MOVEMENT WHILE AT THE SAME TIME INITIATING BEHAVIOR BY
PROVIDING AN UNCONVENTIONAL “SITTING AREA” FOR THE
BUILDING’S VISITORS.
 ODOUR:
THE BUILDING LACKS THE ABILITY TO CREATE “MEMORY”, AS
SMELL IS OFTEN ASSOCIATED WITH OUR MEMORY OF THE PLACE. 
TEMPERATURE:
WITH THE TOPIC OF TEMPERATURE, EYE FILM INSTITUTE, IS ONE OF
THE PLACES TEMPERATURE IS ALMOST SIMILAR TO THAT OF ODOR,
IN WHICH THE PLACE LACKS AN INTIMACY TOWARDS WARMTH. AS
THE BUILDING WAS LOCATED IN SUCH AN OPEN SPACE ITS LACKED
PROTECTION FROM THE WHETHER, INTERNALLY THE BUILDING
WAS INSULATED VERY WELL. HOWEVER, THE CENTRAL SPACE
LACKED PLEASURE TO KEEP WARMTH.
STADGENOOT
PAVILION
AMSTERDAM
 STADGENOOT PAVILION-AMSTERDAM
APPROACH:
HOLL BELIEVES THAT HIS APPROACH TOWARDS ARCHITECTURE
LIES ON THE INITIAL CONCEPT THAT CAPTURES THE
ARCHITECTURAL ESSENCE” OF EACH INDIVIDUAL PROJECTS. AND
AS FOR THE STADGENOOT PAVILION, HOLL PROCURED AN INITIAL
CONCEPT OF CHROMATIC SPACE, WHERE HE EXPLORED THE
PHENOMENA OF THE REFLECTIONS OF COLOR THROUGH SPACE. HE
ALSO ADAPTED A MATHEMATICAL MODEL CALLED “MENGER
SPONGE” WHICH IS A FORM OF SUBTRACTIVE ARCHITECTURE
THAT IN TURNS PRODUCED A MASSING PLANE THAT APPEARS TO
CONTEXT
HAVE ZERO VOLUME.
THE BUILDING IS LOCATED NEXT TO STREAM OF CANAL, WHICH IS
CONSIDERABLY SMALL COMPARING IJ RIVER. AS THE BUILDING WAS
APPROACHED FROM THE MAIN ROAD, IT WAS ALMOST EASY TO MISS,
AS IT IS TUCKED AWAY AND CONCEALED VIA THE EXISTING
BUILDING THAT IT EXTENDS OFF, AND ONCE YOU MANAGED TOO
FIND THE RIGHT FOOTPATH, YOU ARE INTRODUCED TO A SET OF
WATER FOUNTAIN THAT OFFERS STILLNESS AND TRANQUILITY IN A
PLACE WHERE MOVEMENT AND COMMOTION ARE ALREADY IN
ABSENCE.
 STADGENOOT PAVILION-AMSTERDAM
VISUAL:
THE STADGEGOOT PAVILION EMBEDS STEVEN HOLL’S
ARCHITECTURAL CREATIONS OF NOT BEING AN ‘ ICON OR
ABSOLUTE’, WHERE THE BUILDING DOES NOT INTEND TO REDEEM
THE CITY WITH IT’S PRESENCE. INSTEAD , IS USED AS A SENSORY
MEDIUM WITH THE AIM OF CREATING AN ATMOSPHERE CAPABLE OF
STIRRING SPATIAL EMOTIONS, AN ASPECT OF PHENOMENOLOGICAL
THEORY WHICH HOLL WAS HUGELY FASCINATED BY. HOWEVER,
WITH THIS APPROACH IN THE MIND, HOLL’S DRIVING CONCEPT FOR
THIS BUILDING IS THE IDEA OF PROSPERITY, WHICH INTERTWINES
WITH THE CONCEPTS OF CHROMATIC SPACES AND THE
MATHEMATICSLL MODELS OF A MENGER SPONGE.HOWEVER, THE
CONCEPT OF CHROMATIC SPACE, WHERE HOLL EXPLORED THE
PHENOMENA OF SPATIAL COLOUR, AS REFLECTIONS CREATED BY
THE BUILDING ARE HIGHLIGHTED AND MORE EVIDENT AT NIGHT.
NEVERTHELESS, THE CONCEPT OF CHROMATIC SPACE WAS STILL
PRESENT AND EVIDENT ON THE EXPERIENCE OF THE BUILDING AS
THE PERMEABLE POROSITY OF THE BUILDING’S SKIN ALLOWED TO
INTENSITY OF LIGHT WITHIN TO INCREASE AND DECREASE
DEPENDING ON THE TIME OF THE DAY.
AUDITORY
THIS SIGNIFICANCE OF THE AUDITORY SYSTEM IS CLEARLY
APPARENT THE BUILDING AND THE ENVIRONMENT AS THE LAYERS
OF PERFORATED MATERIALS, DOES NIT JUST FILTER LIGHT, BUT
ALSO ALLOWS THE SOUND OF THE SURROUNDINGS TO PENETRATE
THE BUILDING. THEREFORE, SOUNDS SUCH AS THE TREE MOVING,
THE STREAM OF WATER RUNNING THROUGH THE ADJACENT CANAL
CAN ALL BE DISTINGUISHED AND PERCEIVED WHICH IN TURNS
ENHANCED MY MEMORY OF THE PLACE AND THE INTERACTION
BETWEEN THE ENVIRONMENT AND CONSCIOUSNESS.
TACTILE :
PALLASMMAA BELIEVES THAT “THE VISON NEEDS THE HELP OF
TOUCH”.
AS PER THE ANALYSIS OF PAVILION, THE TACTILE EXPERIENCE OF
THE SPACE CAN BE TREMENDOUSLY PLEASING BECAUSE OF THE
MATERIALS USED THAT PROVIDES A WELCOMING PERCEPTION, THAT
IS COMPLETELY UNIQUE FROM ANY OTHER BUILDING. AS PER THE
ANALYSIS OF PAVILION, THE TACTILE EXPERIENCE OF THE SPACE
CAN BE ARGUED TO BE TREMENDOUSLY PLEASING BECAUSE OF THE
MATERIALS USED THAT PROVIDES A WELCOMING PERCEPTION, THAT
IS COMPLETELY UNIQUE FROM ANY OTHER BUILDING.
ODOUR:
THE BUILDING LACKS THE ABILITY TO CREATE “MEMORY”, AS
SMELL IS OFTEN ASSOCIATED WITH OUR MEMORY OF THE PLACE. 
TEMPERATURE:
THERE IS A DISTINCT CONTRAST IN WARMTH AND COMFORT
COMPARED TO EYE FILM INSTITUTE. THIS DISTINCTION IS EVIDENT
THROUGH THE RELATIONSHIP BETWEEN TEMPERATURE AND THE
SENSE OF TOUCH, WHERE THE USE OF VARYING MATERIALS WITH
THE PAVILION PRESENTS, NOT JUST DIFFERENTIATING TEXTURES,
BUT ALSO AN EXPERIENCE OF COLDNESS AND WARMTH AS YOU
TOUCH DIFFERENT SURFACES AND MOVE THROUGH DIFFERENT
SPACES WITHIN THE BUILDING.
THANK YOU.