midreview_model

how do you capture an auditory experience through modeling? 

-based on a personal experience in the Church of the Intercession, Suzdal, Russia-

revised :: proposal + methodology

The limits of representation have translated into the limits of architecture. 

Vision is established as the primary sense in architecture.  But the visual limits the possibility for occupant experience.  Ideas of phenomenology and sensory design are crucial to create an architecture that engages not only the body-but also the mind.

Representation is crucial to the process of architecture as it aids in conceptualization, design development, and communication for both the designer and the observer. Therefore, if there is a problem with how we experience architecture today, it may be traced back to how we as architects "see" and communicate our process.  Layering ideas of phenomenology and sensory design into the representational process transforms drawings, models, and buildings to achieve a holistic experience.  It is this hidden, intuitive dimension of architectural experience and the body in space that has the power to create a memorable impression for the occupant.  If process and design accounts for the bodily experience of architecture, than the mental stimulation of space adds another layer to the richness of interpretation.  This exploration examines the convergence of the tangible, practical aspects of architecture with the intangible, experiential qualities that define built space.  Two seemingly different ideas: systems integration and phenomenology, will be explored simultaneously to maximize the potential of the architectural product.

Therefore the focus is not just on the final product, but rather on the varied body of representational and process work needed to enhance the architectural realm. 

proposal booklet

methodology

methodology part one....

thesis proposal progression

historical representation development timeline

complete thesis "booklet" to follow soon...

1.3.9.

1. The limits of representation have translated into the limits in architecture.


3. The visual has firmly established itself as the primary sense in the process and experience of architecture since the creation of the profession.  The image of architecture has overpowered the human element of architecture.  As a result, the holistic, phenomenological, and personal experience of built space has become a novelty.


9. Representation is crucial to the architectural process as it aids in conceptualization, development, and communication.  Therefore, if there is a problem with how architecture is experienced today, then this problem may be traced back to how we as architects “see” our own projects. 

By considering the various levels of experience in architecture, new modes of representation must be devised to capture what cannot be seen.   The traditional and simplified act of printing a pristine, glossy 4’ x 8’ board to represent a project must be challenged.  The convergence of new digital technologies with old methods of representation holds the promise of creating a new language by which the architect may conceive space.

The intent of this investigation is not to deny the use of vision in architecture, but rather to build upon its virtues by layering additional information into the design process and the ultimate architectural product.   The architectural drawing or model can never escape its physical 2D or 3D constraints.  But the consideration and inclusion of phenomenological and sensory design in the representational process promises to transform our drawings, models, and buildings by adding a hidden, intuitive dimension that conveys experience.   It is the calculated consideration of the tangible, physical components of architecture in connection with the intangible experiential quality of space that allows architecture to reach its maximum potential. 

 Therefore, this thesis proposal is not solely about a given site, program, and architectural outcome, but rather packages theory, process, and product into one component in an effort to understand how architecture can play a more active and perhaps challenging role in the experience of the occupant. 

 

experiential architecture_example

During a landscape theory class in New Zealand, we discussed the relationship between experience, phenomenology, and [landscape] architecture.  This project, the Querini-Stampalia Foundation in Venice by Carlo Scarpa, was an example of a project that intelligently calibrated the use of material, space, history, and multi-sensory design to enhance the experience of the occupant. 

Convergence of place, architecture, and experience
Image from http://theaccounts.tumblr.com/post/283713834/carlo-scarpa-and-water-brion-vega-tomb-querini

The foundation is designed to allow [and perhaps encourage] the water that characterizes Venice to flow in and out of the building.  The site, sound, movement, and touch of water is critical to the design.  References to the water are also seen in the physical design itself based on formal and material choices. 

Harmony of water + building
Image from http://www.msa.mmu.ac.uk/continuity/index.php/2007/11/30/querini-stampalia-foundation/

Material use to express movement of water
Image from http://emthesis.wordpress.com/precedents/carlo-scarpa-fondazione-querini-stampalia/