No-nonsense Architecture: Form follows Feeling (Manifesto)
No-nonsense
Architecture: Form follows Feeling
Imagine Chinese walls made of hazel twig walls leading
to dead ends versus a darkened maze-like room spread with a net structure made of bamboo
filigree (Fig01). While these may portray completely different personalities, one common
interest here is that the structures are shaped to appeal to all our senses
than just the visual impact using design tools.
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Recently I happened to read an article written by Christine Outram,
"senior
inventionist" at Deutsch LA, in Medium that spoke about how
architects create inconsiderate spaces. She contrasts architecture with
Starbucks and states that through a research conducted by Starbucks, they
learned that their customers claimed to not just be looking for good coffee but
also for a place to relax and hangout. This finding brought various design
changes in their interiors leading to the success of the brand. I believe that
the problems raised by Outram are valid and much more nuanced in today’s
architecture. To begin with, I’ve noticed most of my architect friends or even
architects on Instagram click fascinating images of building at obscure angles
or images where materials meet but it is very rare that you find a human in any
of these images (Fig02). This brings us to the problem of how most architects have
succumbed to Sullivan's ‘form follows function’ attitude and don’t design spaces that
are considerate towards human perception and emotions.
‘Perception’ means becoming aware of something is through their senses (Oxford English Dictionary). It is often noticed that some buildings/spaces seem to promote a sense of well-being and comfort whereas some cause discomfort or worse. It is deduced that there may be visual relationships and tactile characteristics in human psychology that relates to how one reacts to space. This phenomenon can be well described through the evolution of cities. For instance, cities such as Mumbai and Kerala host a wide variety of architecture within close proximities created over decades (Fig03). Nevertheless, there is a drastic difference between diverse building styles and how they portray different fundamental visual characteristics, styles and typologies that aim create better spaces for its users. This manifesto is an attempt to investigate space as a neutral reality and explore properties that could be altered to create spaces that relates more to human perceptions.
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| Fig02: These compelling images are by an architecture student on Instagram @chloehojeilyThe architecture in these images are captured astonishingly well but they lack human presence. In reality, these spaces would rarely be found empty. These spaces are the ultimate precedents for today's architects resulting in unemotional spacesPhoto credit: https://www.instagram.com/chloehojeily/?hl=en |
‘Perception’ means becoming aware of something is through their senses (Oxford English Dictionary). It is often noticed that some buildings/spaces seem to promote a sense of well-being and comfort whereas some cause discomfort or worse. It is deduced that there may be visual relationships and tactile characteristics in human psychology that relates to how one reacts to space. This phenomenon can be well described through the evolution of cities. For instance, cities such as Mumbai and Kerala host a wide variety of architecture within close proximities created over decades (Fig03). Nevertheless, there is a drastic difference between diverse building styles and how they portray different fundamental visual characteristics, styles and typologies that aim create better spaces for its users. This manifesto is an attempt to investigate space as a neutral reality and explore properties that could be altered to create spaces that relates more to human perceptions.
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| Fig03: Showing few of the different building typologies and styles of architecture in Mumbai (left) and Kerala (right). Photo credit: https://www.hindustantimes.com/india-news/ https://m.madhyamam.com/en/article/2015/dec/7/something-going-fall-rain |
How
is it relevant in architecture?
Humans experience space with their body and mind as
with all their senses thereby resulting in wayfinding, direction and
orientation. We know that the focal length of our eye is 22 mm and that allows
us to perceive space in a certain way. Any shift in this creates a large
distortion of space which I first noticed while rendering on Rhino. This
software comes with an option to shift the camera’s focal length and the
results were an experiential lie (Fig04). I learned that composition and spatial effect
of the space was more important than distortion, which of course made the space
look more appealing. This finding, when implied into the design process, helps
one design spaces that are more pure, intimate and substantially powerful than
creating mere leftover spaces.
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| Fig04: Shows how change in the camera's focal length gives drastically different perceptions of an object. (Left-to-right): 5mm, 25mm,50mm focal lengths Photo credit: Aashika Shibu, 2018 |
How
can we solve the problem?
Humane-based
design principles could
provide a solution to this problem and help create spaces that relates more to human
emotions. Like Humanist architecture, they are derived from human scale,
proportion and psychology aiming to emphasis on human perceptions. These
principles do not hinder the growth of architectural styles but in fact creates
a link among different building in a city. The following six principles are often unnoticed in the built environment and
must be considered essential towards designing:
Scale
Even though scale is perceived visually, its impact is
based on our relationship with scale. In other words, it is the relative scale.
There are three main scales by which we experience space (Fig05):
- Small (Physical models): This scale helps us to best understand details of complex objects especially parametric forms. Moreover, it allows us to grasp, rotate and imagine the object in our mind for easy understanding. This also includes how objects like door handles are designed according to comfort of humans. In this case, the curvature and edge condition of the handle is in accordance with the palm size.
- Medium (Interior renders): This scale only allows us to experience part of the object at once. This is how we usually perceive the interiors of a room where the users get a closer look at its texture and materiality. Nevertheless, parametric forms tend to be less powerful as they go beyond the human proportions, making it difficult to be visualized. Similarly, this also means how doors or entrances are designed in relation to the human proportions.
- Large
(Aerial View): This
scale rules out the possibility for tactile understanding and making the simple
form and color the most important focus. Interpretation of high contrast forms
or materials are highlighted here.
Fig05: Shows how change scale affects the way we perceive the spaces/objects(Left-to-right): Small, Medium and Large scalesPhoto credit: Aashika Shibu, 2018
Variation in scale is best seen through the section of
a building. For instance, entering a narrow passage that leads to a wide and
expansive void is a compelling spatial effect versus vice versa. All scales must
be simultaneously incorporated for a space to react to the user’s perceptions.
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| Fig05: Shows how even in architecture programs we learn to incorporate different scales to enhance its understanding (Left-to-right): Physical model, Interior render and Exterior section Photo credit: Aashika Shibu, 2017 (Project done in Arc 302) |
Composition
Visual balance and hierarchy of a space is emphasized
through its symmetry. These spaces create a visual satisfaction by
implying an order, harmony and an effect of monumentality (Fig06). Whereas
asymmetrical spaces are more dynamic by its nature as they allow for more
variation and do not follow a rigid hierarchy. Symmetry is seen to be more attractive as the human body is perceived to
be symmetrical. This scenario can be achieved through repetition of window
lines or roof lines or with light variations like replacing the back door with
a window of similar proportion still maintaining the composition. Nevertheless,
it is also true that some ideals such as repetition of lines or patterns could
even cause a headache through its visual stimulus! In simple words, a visual
balance is necessary while designing spaces/facades to ensure mental comfort
for its users.
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| Fig06: Shows how repetition of objects/elements creates a visual composition that is attractive to the human mind Photo credit: Aashika Shibu (Image from pinterest.com) |
Expression
The special conditions created by objects bearing and
being borne are universal and have continued since the Stonehenge by providing
an intuitive logic. Even in the Roman arches, the concept of having an arch connected to
columns that eventually reach the ground provides visual and structure logic to
it (Fig07). The use of columns and beams frame the façade of a building and thereby
adds logic to it. They are also related to their structural properties, giving
the users an idea of its structural framework and thereby leaving them at
mental ease.
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| Fig07: Shows how columns or arches create a structural and visual logic that adheres to the human perception Photo credit: Aashika Shibu (Image from pinterest.com) |
Transparency
Transparency, emphasized using glass, creates public
and private spaces for its users. For instance, a storefront is usually designed
with maximum transparency to attract customers whereas a residential space
needs less transparency. On a street level, the opening in a wall create the
most visual impact. As design elements, transparent openings such as doors and
windows must be used to fulfill their basic functions while also engaging the
building with its users (Fig08).
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Materials
Materials define spaces that are often experienced
through our body. Materials reflect time, location and craftsmanship while
material composition and arrangement create an atmosphere perceived by the
eye (Fig09). It is noticeable that certain materials like masonry, stone or slate tend
to uplift our well-being in a space as compared to pre-fabricated concrete
materials. This is mainly due to the size, durability and proportions of the
former as compared to the latter. The texture of these materials along with its
color affects it visual properties and adds onto its aesthetics. For instance,
the use of raw textures is seen in 1 Hotel Brooklyn Bridge in Brooklyn, where linear
lights are placed around a floor-to-ceiling window thereby blurring lines
between the exterior and interior. Unprocessed materials such as unfinished
wood is used here to uplift the ambiance as it adds honesty and purity to the
space and helps calm one’s mind (Fig10).
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Color and Light
Color relates faster with human psychology due to our mind's capability of associating colors to specific emotions. For
instance, in Jade Mountain in Saint Lucia, the use of
prismatic glass tiles with textured surfaces is not only used at the bottom of
the infinity pool but is also used as a decorative element in subsequent spaces including the guest
rooms (Fig11). This creates a shimmering matrix-like effect which adds on the aura of
the space and resulting in guests asking for rooms with a specific hue. With light comes shadow
that creates a dialectic that engages with human emotions which can be
controlled by architects.
What
is my attitude towards the problem?
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| Fig11: Left: Shows how the mosaic patterns from the floor of the pool are continued as design elements throughout the hotel to create a visual harmony Right: hows how the hue in the room matches the mosaics on the floor of the pool thereby creating a unique ambience Photo credit: http://www.jademountain.com/gallery/index.html |
In conclusion, architecture is about people and people
ignore designs that ignore them (Fig12). As designers, it must be our moral duty to create
spaces bearing in mind the feelings and emotions of the users evoked while in
these spaces. These series of humane-based design ideals are outlines and not
comprehensive rules for designing. Thoughtful designers observe the built environment and add layers of
understanding based on their response to the built environment and other
site-specific factors. This in turn, enhances the humane act of creating cities
with an increased sense of comfort. In other words, our form must consider the
feelings of its users and function simultaneously. It is our duty as architects
to evaluate each site, function and programs and decide the type of spaces that
we want to create for its users; keeping in mind that these designs have the
capacity to go beyond being mere shapes.
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Reference
Fisher, B. D. (2015). Conscious Architecture: Spatial Sensation and the Mindful Body. Retrieved from https://issuu.com/bfishious/docs/appendix_c_final_website_interactiv
Outram, C. (2013). What Starbucks Gets that Architects Don't – Christine Outram – Medium. Retrieved from https://medium.com/@cityinnovation/what-starbucks-gets-that-architects-dont-a844ec3343da
Porter, N., Bramham, J., & Thomas, M. (n.d.). Mindfulness and design: Creating spaces for well being. In Creative Practices for Improving Health and Social Inclusion. pp. 199-207. Retrieved from http://eprints.nottingham.ac.uk/48644/1/mindfulness_design.pdf
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