SENSORY ARCHITECTURE:

Seeking Perception Beyond the Visual

Dave Giancarli
Introduction
Sensory Architecture: Seeking Perception Beyond the Visual

David Giancarli
MArch Fall 2012
Advisers: Carol Burns and Terry Moor

Abstract

Using the qualities of haptic and auditory perception of spaces rather then just the visual, architects can
create a spatial awareness, clarity, and allows the building to be experienced by the body as a whole
creating engagement. This study has been framed by concentrating on the visually impaired, who have an
intimate connection to architectural space and the non-visual senses, as compared to the sighted. A full
spatial understanding cannot be achieved using visual cues alone, but must draw upon the understanding
of sensation and perception together. The successive method of cognitive space forming the visually
impaired undergo creates a more personal engagement with their environment because, unlike the
sighted, sensory perception is pieced together to form an image rather then being immediately
recognized. Hapticity and auditory information can offer enrichment to the experience of architecture.
Touch breaks down individual components to cognitively recast the whole through the understanding of its
physical properties. Perception of auditory information allows for the size and character of a room can be
understood based on the sound, echoes, vibration and breeze of the air. These qualities are
unfortunately usually only consciously perceived by visually impaired since they are not distracted by the
vision. The sighted subconsciously understand these cues in the perception of space but often
environments are designed for primarily visual experiences. As a frame of reference, the visually impaired
provide architectural researchers and designers with a useful perspective on the process of developing
experiential qualities in built form.

1
Acknowledgments
Table of Contents
I would like to thank my 1 Introduction
professors, and classmates and 1 Tile - Abstract
who have assisted me in forming 2 Acknowledgments
3 Table of Contents
my thesis throughout this semester.
I would also like to thank my
mother, my girlfriend Susan and
4 Main Body
my late great-uncle Tom who have 4 Definitions
5 Main Question - Relevance
always encouraged me to
6 Research Essay
explore my ambitions. 12 Visuals
14 Evaluation - Conclusion - Hypothesis

15 Methodology
15 Original Work
17 Frames
21 Site
26 Design Probe
27 Conclusion
28 Design Method
29 Objectives and Time Line
30 Evaluation Criteria

31 Conclusion
31 Discoveries - Reflections - Next Steps

32 Bibliography

2 3
Main Body
Definitions Question

Aural Perception: The ability to

understand a space’s qualities such as Low-fi Soundscape: Auditory
Spatial Cues: Points of understanding In a culture dominated by visual perception, how can
within a space that utilize any of the
size, scale, and materiality through the distinctions between spaces cannot be senses, allowing for a cognitive architects utilize the senses to create inclusive
sense of hearing defined image of a place to form environments for those of varying visual capabilities?
Active Touch: Exploration of an Multi-Sensorial: To involve several Tactility: Perceiving the texture,
environment through the movements of senses working together to create
the body, utilizing an understanding of spatial experience
pressure, and heat of an object through Relevance
tactility, density, temperature, and weight the skin
Ocularcentrism: The idea that visual
Visually Impaired: A person with low
Modern design’s focus on visual perception of space has created a
Cognitive Mapping: Navigating a space perception is the most privileged and
utilizing the senses and memory to visual below 20/200, meaning from 20 disconnect between the body and the sensory experience. This issue is
dominant of the senses causing a
develop a mental image of a space feet away objects appear at the emphasized by the contemporary lifestyle where physical engagement is
disconnection between a person and his
environment
resolution of objects 200 feet away secondary the vast amounts of information recieved through retinal
Dynamic Touch: Exploration using a imagery. Multi-sensorial design allows for an interpretation and an
tool that is not part of the body i.e. a
blind cane or feeling the weight of a door Passive Touch: When the environment engagement with an environment rather then taking it for what it appears to
through its handle engages with the occupant even while be. The visually impaired were chosen as a frame to view the design
the body is in a static position i.e. opportunities that are possible with non-ocular sensory perception and
Haptic perception: The process of sensing thermal changes within a room
understanding objects through touch,
discover ways to allow this experience to lead to an inclusive creation of
involving a combination of tactile, Sighted: People with the ability to architectural space.
density, form based, and thermal perceive space through normal levels of
qualities visual detail
Hi-fi Soundscape: Defined and
Soundmark: Like physical landmarks,
informative sound that produces clarity
and understanding of an environment soundmarks allow a person to orient
themselves within a space
Inclusive Design: Designing for those
with all physical and sensory abilities

4 5
Research Essay
Since the nineteenth century, Ocularcentrism Malnar and Frank Vodvarka have unengaging rather than an active upon the understanding of “sensation experience three different kinds of
multi-sensory design has been The origins of the hegemony or observed: experience to the occupier. Although and perception” together. People should sensory response: involuntary immediate
advocated for as a counter to dominance of ocular perception trace “One appreciates a place not by its humans inherently experience natural “build up the shape of the world rather physical response, a response
impact on the visual cortex, but by the way in
ocularcentrism in the perception of back to ancient Greek philosophers who and urban environments in a multi- than recognizing it as the source, which conditioned through prior knowledge of
which it sounds, it feels and smells. For instance,
architectural spaces. Ocularcentrism, considered the eye to be the gods’ the full understanding of wood is often achieved sensory way, architect Jasmien stares into the face.”8 Ultimately, people its source, and a remembered sensation,
or dominance of the eye, has led to the greatest gift to humanity. During the by a perception by its smell and its texture Herssens argues, “few architects become more knowledgeable about which can reconstruct a past response.11
which can be appreciated by both looks and
design of spaces that do not fully utilize Renaissance, reverence of the eye consider the haptic, olfactory, gustatory architectural spaces through individual A much deeper subconscious
feelings and by the way in which it modulates the
the other senses. Finnish architect and became an obsession for designers acoustics of space.” 5 and auditory senses while designing.”6 experience and engagement. Haptic understanding of spatial interaction
professor Juhani Pallasmaa states, concentrating on visual imagery in order If designers do not take full sensory This statement acknowledges the lack perception is the result of the information should be considered when designing
“Modernist design has housed the to form magnificent spaces based on perception into account, then the of multi-sensory considerations that are our skin receives from the surroundings spaces. Blindness or visual impairment
intellect and the eye, but it has left the perspectival representation.3 Reliance spaces being created can become taken within the architectural design environment resulting in the serves as a means to critique the visual
body and the other senses, as well as on solely visual understanding in the process, and calls for the utilization of understanding of tactile, thermal, kinetic dominance that exists in architectural
memories and dreams, homeless.”1 By creation of architectural space has been
1
Juhani Pallasmaa, The Eyes of the Skin: the other senses. and pressure properties. For instance, design and works in the direction of a
designing for haptic and auditory Architecture and the Senses, 3 ed. (New York: Herseens states that haptic exploration multi-sensorial experience.
reinforced with the invention of
Wiley, 2012), 35
perception, architects can create a computer imaging technology, flattening Perception allows individuals to focus on particular
2
Jasmien Herssens “Haptic Design Research:
spatial awareness, clarity, and the natural multi-sensory perception in Comprehension of a place points of specific information throughout
A Blind Sense of Place,” Katholieke Universiteit 6
Herssens “Haptic Design Research,” 1
engagement that allows for a building to the design process into “a passive Leuven Press (2011), 1 http://www.aia.org/aiauc-
relies not only on the sensation (the flow a space, whereas vision gives a 7
Malnar and Vodvarka, Sensory Design, 21
move past its purely functional program manipulation of space, a retinal mp/groups/aia/documents/pdf/aiab087187.pdf of data received through the sensory simplistic overall understanding just by 8
Malnar and Vodvarka, Sensory Design, 25
and towards an active experiential journey.”4 (accessed September 10, 2012) organs), but also through perception turning the head.9 According to 9
Herssens “Haptic Design Research” 2

quality. This study has been framed by

3
Pallasmaa, The Eyes of the Skin, 18-19 (the data after it has been processed Pallasmaa, an individual’s sense of
10
Pallasmaa, The Eyes of the Skin, 44
Visual perception alone cannot
4
Pallasmaa, The Eyes of the Skin, 14 11
Malnar and Vodvarka, Sensory Design, 21
concentrating on the visually impaired, develop complete spatial awareness, and interpreted).7 A full spatial reality becomes strengthened and
5
Joy Monice Malnar and Frank Vodvarka,
who have an intimate connection to clarity, and engagement. Professors of understanding cannot be achieved articulated through the constant
Sensory Design (Minneapolis: Univ Of Minnesota
architectural space and the non-visual architectural theory and art, Joy Monice Press, 2004), 24
using visual cues alone, but must draw interaction of the senses.10 Humans
senses, as compared to the sighted.2
6 7
The Visually Impaired piecing together sensory perception. fulfilled the need for code by setting with impairments from functioning in environment, creating a more direct example, a tower can be a visual
How does someone without sight Blindness never improves hearing or requirements such as stair tread size society in the same way as an engagement with the building and landmark in the same way the texture of
or with a visual impairment experience haptic ability, but increases the and design, detectable warning able-bodied person.17 If these standards occupier.19 The physical act of touch a city square can become a haptic
space? Individual who are congenitally motivation to increase spatial perception surfaces, hallway sizes, and restrictions are widely adopted, and spatial cues creates a mental map for objects in landmark.22 The Bauhaus encouraged
blind cannot perceive space through using alternate senses.15 Using aural and on protruding object height.16 Using and designs define regularity, then there space. French writer Jacques Lusseyran exploration of textural sensitivity and
descriptions of form, volume, and tactile qualities along with simplifed sensory design in conjunction with these will be a control over uncertainties which describes his haptic abilities after going educated design students by having
color, since they have no prior visual layouts and geometries can elements of code can create inclusive can disorient someone with a sensory blind: them engage with a material repetitively
experience with it. They can only reinforce spatial awareness to ease the environments for those of all visual impairment. You can go very quickly, with your eyes. You can to create a mental pallet for an
glide. Excuse me; I don’t want to scold or insult
perceive volume through sound and stress that the visually impaired endure capabilities. Disability arises when understanding of material choice.23
you, but I am obliged to say: you glide too
touch.12 About 80% of those while navigating unknown spaces. environmental barriers (social, politcal, Engaging Touch quickly. This ends up becoming a frightening Tactile sensitivity has diminished with the
considered to be legally blind have Without spatial understanding, physical, or sensory) prevent a person Haptic qualities of material can create temptation for you. Fingers don’t glide. With my availability of computer-generated
fingers I can know this table. I am obliged to feel
some useful vision.13 People with a perceptual barriers can form, which a spatial sensory construct through my way around it. That is to say, I make my
simulations of materiality in modern
12
Fondation de France/ICOM, Museums Without Ungar. “Cognative Mapping: Past Present and
moderate visual impairment but prevent recognition of essential physical qualities such as tactility, fingers explore all its parts, one after another,
17

Barriers: A New Deal for Disabled People (New until at last I know it all, completely. 20 Future.” Cognitive Mapping Without Visual Ex-
considered blind use large forms and wayfinding information and limit the density, elasticity (resistance to
York: Routledge, 1992), 87 perience, (Edited by R. Kitchin and S. Fredund-
Touch breaks down individual
color to assist in navigating themselves abilities of the visually impaired. pressure applied) and weight as well as
13
Elga Joffee, A Practical Guide to the Ada and schuh, London: Routledge, 2000) 11
components to cognitively recast the
though their environment. Without The senses can build a cognitive Visual Impairment (New York: Amer Foundation sensory qualities such as color, texture, 18
Malnar and Vodvarka, Sensory Design, 201
whole. In Image of the City, Kevin Lynch,
immediate visual recognition of space connection to allow for the full for the Blind, 1999), 11 pattern, and temperature. Hapticity
18
19
Herssens “Haptic Design Research,” 2
describes an image of a place through
the visually impaired must “build up the understanding of a space, but in order to 14
Malnar and Vodvarka, Sensory Design, 25 plays a major role in non-visual 31
Devlieger, Patrick. Blindness and the
15
Barry Blesser and Linda-Ruth Salter, Spaces elements such as landmarks, paths, Multi-Sensorial City. (Antwerp: Garant, 2006), 33
shape of the world around”14 them using assure that those with visual perception of space, and can also
Speak, Are You Listening?: Experiencing Aural nodes, edges and boundaries.21 These 21
Herssens “Haptic Design Research,” 2
their remaining senses. This impairments can successfully navigate enhance the spatial experience for the
Architecture (Cambridge: The MIT Press, 2009), Herssens “Haptic Design Research,” 3
principals can be applied to a haptic 22

successive method of cognitive space through a building, certain regulations sighted. Unlike the other senses,
35 23
Malnar and Vodvarka, Sensory
context by taking into consideration
forming creates a grounded sense of have been implemented. The Americans 16
Joffee, A Practical Guide to the Ada and Visual haptic body movement enables people
Design, 145
material characteristics and form. For
awareness in their environment through with Disabilities Act of 1990, has Impairment, 40 to modify and manipulate their

8 9
design software, which allow for information through haptics. In this has occurred. Currently, the use of nature of sound creates an auditory the bass and bubbling in the top register. I didn’t between the building and the occupant.
need to be told about the things that eyes can
materials to be placed as a skin over a respect the blind can teach the sighted standardized sound walls, ACT, and dialogue between man and space. By For the visually impaired, these senses
see.31
building quickly and to rediscover the volumes, outlines, and even introducing unnatural listening, an occupant can perceive an provide crucial information that can be
Lusseyran feels that he does not live in
interchangeably. surface treatments of a space in a more environmental sounds, like Muzak, have environment through sensitivity to understood through an active cognitive
a world of darkness, but instead one of
Touch can serve as an important direct and sensitive way.24 “blinded our ears.”27 Interaction with temporal changes in reflection, process. Since those with low vision or
light, illuminated by the objects and
teaching tool for the visually impaired as sound in space engages occupants refraction, absorption and dispersion.29 blindness are more attentive to the
people around him that are activated by
well as those who have full ocular ability. Aural Perception and develops a sense of spatial volume, This argument shows a way in which a non-visual senses, their experience can
his movements and his non-visual
Those not fully capable of ocular The blind can grasp the size and scale, and physical orientation. volume’s size and scale can be be useful in designing cognitively
senses. To sculpt a space with sound
perception should become comfortable character of a room based on the sound, Pallasmaa states that “buildings do not understood in a non-visual manner. engaging and human-centric
successfully, an architect must create
with tactile exploration at a young age. echoes, vibration and breeze of the air, react to our gaze but they do return our Unlike the static presence of a physical multi-sensorial environments. The
continuous informative auditory
Without being taught these techniques however the sighted often ignore these movements and sounds.” He continues structure, aural perception can become knowledge and experience they can
information, proper reverberation for
they can feel detached and perceptual clues.25 “Architects of the with an of example of the sound of water dynamic and adaptive through changes provide from their alternative perception
conversation, and create distinguishable
uncomfortable with the world that past knew a great deal about the effects dripping in an ancient ruin supporting in sonic behaviors and sound sources.30 of architectural space can influence a
acoustic character and zones.
surrounds them, causing social isola- of sound and worked with it in a positive his belief that “the ear has the capacity Jacques Lusseyran describes his movement to design beyond what our
tion. The way in which the sighted are way. Currently modern designers often to carve a volume into the void of new-found perception of the ocean after Conclusion eyes acknowledge. As a frame of
educated does not include this kind of know little about sound and try to reduce complete darkness.”28 This reactive going blind: Although the dominance of the eye reference, the visually impaired provide
haptic involvement since vision and the amount they have to contend with I remember well when I first arrived at the beach has helped shape modern design, the architectural researchers and designers
24
Fondation de France/ICOM, Museums Without two months after the accident. It was evening,
auditory information are able to be used. it.”26 With this, a transfer from developing incorporation of the other senses can with a useful perspective on the process
and there was nothing there but the sea and its
Barriers, 133
This process is not as personal as the hi-fi soundscapes (defined and voice. It formed a mass which was so heavy and increase the experiential value and of developing experiential qualities in
25
Fondation de France/ICOM, Museums Without
one those with a visual impairment informative sound that produces clarity limpid that I could have leaned against it like a built form.
Barriers, 87 connectivity of architectural spaces.
wall. It spoke to me in several layers all at once.
undergo. In order to wayfind and and understanding of an environment) to Malnar and Vodvarka, Sensory Design, 140 Haptic and auditory sensory perception
26
The waves were arranged in steps, and together 31
Devlieger, Patrick. Blindness and the
comprehend their environment, the lo-fi soundscapes (auditory distinctions 27
Malnar and Vodvarka, Sensory Design,143 they made one music, though what they said allow for an engaging dialogue to occur Multi-Sensorial City, 31
was different in each voice. There was rasping in
visually-impaired have to gain between spaces that cannot be defined) 28
Pallasmaa, The Eyes of the Skin, 54

10 11
 DESCRIPTORS
Visual Dark/Bright Saturated/Neutral Perspectival/Flat Intimate/Vast Solid/Void Detailed/Minimal

Visuals Aural High/Low Pitch Quiet/Loud Clear/Reverberant Vocal/Non-Vocal Natural/Artificial Attack/Decay

SENSES
Haptic Static/Mobile Rough/Smooth Light/Heavy Porous/Solid Hard/Soft Warm/Cold

Blog: Kinetic Strong/Light Free/Restricted Indirect/Direct Level/Shifting Sustained/Quick Temporal/Constant

Davegiancarli.wordpress.com
Thermal Hot/Cold Dry/Humid Natural/Artificial Environmental/Source Radiant/Conductive Constant/Responsive

This wordpress blog has allowed

Olfaction Weak/Intense Stagnate/Fresh Appealing/Putrid Natural/Industrial Spicy/Sweet Invigorating/Soothing

me to organize and develop a Haptics Aural Senses Light/Color Layout Code

time line of work that displays the Central Vertical Braille and Railings
Color and High Contrast
development of my thesis idea Navigation Inset Wall Path Choice of Materials
reflect zone to Define Space
Circulation Core at appropriate height for
blind adults and children
from the original mind map to this Tactile Wall
Scale and Layout allow for Contrasting material bright-
Central Artery Path
(Sensory Wall)
book. reverberation that explain
program
ness to define important Grouping Similar Color contrast for signs
Smoothed Corners objects Functions
Braille Signage located in
Change in ground material’s Water feature or noise admitting key areas for public
Never put light sources Inset Wall as railing
tactile properties device to locate important buildings
behind hanging signs
circulation elements
Illuminated Path
Acoustic Shadows created by
Open doors and pushed in
thresholds
Basic Forms Color Light sensitive

Lack of Detail Harder to Understand

Envirement
Simple Layout Hallway and Room
Raw Visual Elements
Aid Physically Wheelchair and Walker Active Spatial Awareness Translucent Glass to
Minimums
Confusion friendly surfaces through use of cane or Reduce Glare
When Broken
Partically Visually Impaired echolocation Use of Ramps or
the
rs
Accessible Toilet
Clearstories instead of sloped ground
ro Exploration and Analysis Rely on Rules and Standards
Fo
and Sinks
To Navigate Kinetic

Aural
Gripped surfaces for movement windows: Less glare and less instead of stairs
Unknown Hieghted other senses
Tactile distraction
Prevent head knockers
Intrusive Elements Completely Blind
Visually Impaired
Traditional Scent As a Learning tool to Inset Wall as railing
Landmarks
Local
understand environment Stair requirements prevent
Guide Dog Circulaton
Purely for Identification ID Cane
Mechanics Procession Memory Information
injury
Body
Cane
Touch
Proportion
Distance from Devices Response Orientation
Ground Blind Cane Public Transit
Main Paths/ Intersections

Angle Technological Aid

Natural Materials (connection Quiet or appropriate Colors for Soothing

Independance
From Body
Spatial Understanding
Changes in Relaxation Intimate Sized Spaces
Relationship to Protection Simple Complex
to nature) Acostic Environments for with defined thresholds
Spaces
Floor Height
Ground Negative Spatial

Postive Spatial
Elements
Open Space Reflective private space Glare reduction
Guiding Elements
Know What’s 2’ Use Reverberation and Elements
Water
Appropriate Lighting levels
Ahead Doesn’t Help with Materiality to Gain
Hanging Objects Spatial Understanding Material Defining Space Overloading Senses
Musical properties to space
Defined Path Controlled Sound
Vegetation for Low Vision reading
Original Mindmap Developed Mindmaps

12 Adapted Games to haptic play

Dave Giancarli
 Methodology
Evaluation Conclusion Hypothesis Original Work

• Gained understanding of the Although the dominance of the eye If architects design with more
alternative perception of the has helped shape modern design, the attention to the non-visual
incorporation of the other senses can
visually-impaired. senses, then they can
increase the experiential value and
connectivity of architectural spaces.
create environments that
• Learned about the specific
Haptic and auditory sensory perception stimulate full sensory
code requirements that allow allow for an engaging dialogue to occur response and engagement so
the visually-impaired to between the building and the occupant. that people of all visual
navigate spaces easier. For the visually impaired, these senses capabilities can navigate and
provide crucial information that can be experience spaces freely,
• Learned about how art can be understood through an active cognitive without barriers. This can be
process. Since those with low vision or
cognitively and socially done through learning from Experiments with glass and Ocular deprivation goggles - Frames of vision - (From Left to Right)
blindness are more attentive to the
stimulating for those with a
non-visual senses, their experience can
the haptic and aural ocular distortion Loss of detail and depth perception • Total Blindness: Maximum vision loss without
visual-impairment, particular
be useful in designing cognitively exploration strategies of the ocular disconnect - Only tiny gradients of light
between floor and light sources are noticeable
those in young developmental engaging and human-centric visually impaired.
stages. multi-sensorial environments. The • Information Disconnect: Simulation of what
knowledge and experience they can person with blurring of vision and
• Explored thinking beyond visual provide from their alternative perception complete lack of detail would exprience.
Color contrasts become emphasized
perception and understanding of architectural space can influence a
space forming through the push to design beyond what our eyes
• Ocular Damage: Distortion caused if
acknowledge. As a frame of reference,
auditory and haptic foreign object scraps retina – streaking of light
the visually impaired provide and increased sensitivity to glare.
characteristics and methods.
architectural researchers and designers
with a useful perspective on the process • Spotted Vision: Attempt to replicate glaucoma
of developing experiential qualities in Abstract Diagram Abstract Diagram like vision where large portions of the visual
built form. field are missing, forcing the engager to only
experience small frames where blockage is
less.
14 15
Frames
Frame 1: Law and Code (ADA) Frame 3: How to Create Intimate Frame 4: Education, Art Frame 1: Law and Code (ADA)
Spaces in the City and the Blind
An exploration of the code that
to assist the visually impaired in In order to create a space that Precedents of blind-school’s
safety navigating a building. This utilizes multi-sensory developed an understanding of
study led to an understanding of characteristics that allow a how a building can translate
the lack of assistance that building’s occupants to sensory experience into
currently exists to fulfill sensory engage with it, the space must architectural language and built
exploration required by those who have a function that requires form. This combined with a new
lack visual ability. intimate connection such as an understand of the importance of
educational facility, or a place of art and music in the lives of the
Frame 2: Sensory Perception of relaxation and spiritual well-being. visually impaired inspired the
the Visually Impaired A focus on materiality within this program: Center for the Haptic and
type of environments, can produce Auditory Arts.
A study of the senses that the a full sensory experiences.
visually impaired use to navigate a
space, in particular the chaotic
cityscape. By harnessing their
sharpened abilities with auditory or
haptic senses, the visually
impaired can navigate the city in
a way equivalent to those who are
sighted.

16 17
Frame 2: Sensory Perception of the Visually Impaired Frame 3: How to Create Intimate Spaces in the City

18 19
 - Junction Point for high pedestrian traffic
- Easy access from Downtown Boston
- Access to residental South Boston
- Still in the developmental stages so prime real state space is avaliable

Site Options
- Newly buit buildings will follow ADA and be accessible for shared experience
- Most popular new area for development, new destination point for the city

Frame 4: Education, Art and the Blind Desired Characteristics

• Proximity to mass transit for

easy access for the visually
impaired + attract sighted Huntington Ave
The Avenue of the Arts

- Proximity to Art Schools and 5-10 minute walk to MFA

• Preferably located in an area - Creates an artistic atmosphere

being revitalized so prime - High Visibility and density of pedestrian traffic

- Allows for higher chance of community engagement

locations will be open - Location to transit- 39 Bus and Brigham Circle Green Line T-Stop
- Connected to main street and transit routes

• Revitalized area and new

- Replacing parking lot that gets little use

- Fills in an area of prime real state value

construction means ADA is - Filling in urban void

more likely to be implemented- Close- proximity to shopping, restaurants and retail

Ease of use for blind

allowing for a shared use - Proximity to hospital Porter loss/ physical therapy Source: Google Earth
for visionSquare Fort Point Chanel Source: Google Earth
community
- Visual Impairment due to traumatic injury or aging

• Area known for educational and

artistic cultures

• Mixed-use

• High population/density

• Area where a large building

footprint won’t be out of place/
be unaccepted Union Square Source: Union Square Huntington Ave Source: Google Earth
Master Plan

20 21
Porter Square, Somerville Union Square, Somerville
Revitalization proposed for open lots Revitalization completed by 2017

• Transit -subway, bus, bike, car, Currently Future: Transit Oriented Development
commuter rail • Oldest Square in Somerville • New Greenline stop by 2016/2017 on
• Residential and some • Mixed use: Bars, Cafes, Prospect Street bridge
shopping; busy area ethnic restaurants • One-way streets turned into two-way,
• 10 minute walk to • Auto Oriented allowing for greater mixed use: retail,
Harvard Square • Industrial factories nearby residential and office
• 5-10 minute walk to Davis • Big box stores: Market Basket • Very close in proximity to Innman
Square • Nearby parks Square, and a short distance from
• On Massachusetts Ave Harvard Square and Kendall Square.
• Proximity to Lesley University Issues: Not close to the T and • Located near Somerville center where
(Art School) many vacant lots, buildings, and there’s a library, schools and somerville
• Plans to be revitalized: urban voids city hall
there’s two large lots that are • Art events and farmers market during
being filled and repairing of the summer
infrastructure
• On Somerville/ Cambridge line

22 23
Fort Point Chanel, South Boston Huntington Avenue, Boston
Revitalization completed by 2017 Avenue of the Arts

• Proximity to the ICA and • Proximity to Art Schools and • Close proximity to shopping,
numerous artist live-work • Access to residental South 5-10 minute walk to MFA restaurants and retail
spaces Boston • Creates an artistic • Ease of use for blind
• Artistic atmosphere • Still in the developmental atmosphere • Proximity to hospital for vision
• South Station just across the stages so prime real state • High Visibility and density of loss or physical therapy for
bridge + Silver Line space is avaliable pedestrian traffic those with visual impairment
• On main street (Congress • Newly buit buildings will • Allows for higher chance of due to traumatic injury or
Street) follow ADA and be accessible community engagement aging
• Proximity to harbor walk and for shared experience • Location to transit- 39 Bus and
nature • Most popular new area for Brigham Circle Green Line
• Mixed use with retail, development, new destination T-stop
resturants, and lots of office point for the city • Connected to main street and
space transit routes
• Walkable area • Replacing parking lot that gets
• Junction Point for high little use
pedestrian traffic • Fills in an area of prime real
• Easy access from Downtown state value
Boston • Filling in urban void

24 25
Design Probe Conclusion

This design probe conceptualized ways Program Site

to draw the community into the proposed The proposed center for the haptic and Porter Square was chosen as a site
center for the haptic and auditory arts. auditory arts will create an inclusive because of its active pedestrian
This building would create an inclusive environment where the visually impaired streets, nearby transit, and artistic as
environment where the visually impaired and the sighted learn about and create well as educational culture. This will
and the sighted learn about and create art through their shared senses. In this allow for the building to develop a
art through their shared senses. Porter way those lacking visual perception can connection to its surrounding
Square was chosen as a site because of inform the sighted about the community and allow for the possibility
its active pedestrian streets, nearby under-appreciated beauty that haptics of its ideas to have a cultural effect. The
transit, and artistic as well as and auditory perception can contribute goal for this space is to create a place
educational culture. A spine allows to the process of teaching and that inspires local artists and students to
people to flow through the site, creating art. The inspiration for this expand their understanding of the world
simplifying the programmatic order of program draws from the Italian and gain an alternative perception of it.
the building into one path, branching Università dell’Immagine which The large scale size of the site allows for
off the main street. The spine splits the specializes in the teaching young design a long building that utilizes the proposed
functions of the building into public and students to work with sensory perception central spine.
private areas, positioning the gallery and as a methodology.
social spaces near the front to be put on
display, and the more private spaces,
such as the library and classrooms, in
the back. The building’s primary
objective is to act as an experiential
medium, allowing its occupants to learn
how non-visual perception contributes to
spatial understanding.

26 27
Design Method Objectives and Time Line
I discovered that by designing Physical modeling was not utilized as
I started off this semester trying to
explore an extremely broad subject in
inclusive spaces for those off all visual often as it should have. It might be Develop an inclusive space
architecture: how do people experience
abilities, I could develop a multi-sensory beneficial as an explorartion method in Contact Chris Downey Experiment and learn about where people of all visual
space? I wanted to discover what allows
architecture that would shift the position the Spring semester. Only two models – blind architect from how to incorporate dynamic, capabilities can
architecture to become more then just
of the occupant from observer to were built. The first exploration utilized California – potential active and passive touch into experience a heightened
the tectonic structures that form it. What
engager. different techniques that caused panes secondary adviser architectural form and experience sensorial experience
I took an approch that mostly of glass to distort vision. This was a
occurs in the area between a buildings
involved exploring literature and successful tool in allowing the sighted to
physical form that allows people to
interviews with my friends who are gain a better understanding of the expe-
engage with it? From this exploration I
visually-impaired. Through reading rience of visual impairment. The second
moved into a study of the senses and
numerous books on the subjects about was the design probe which allowed for
ocularcentrism within the perception of
the senses, ocularcentrism in design, the a large scale idea to connect the pro-
architectural space. Moving forward I
visually impaired, and how to develop gram and the building itself to the sight.
posed the question: Is there a way to
multi-sensorial architecture, I was able to In the future physical modeling should
decrease the dominance of the eye
educate myself on the discussions be utilized since it allows for a haptic
within an architectural space and
currently and previously held with in my and visual understanding of space
create an experience that can be Develop a methodology Gain full understanding
field of study. In thesis prep, I was able The program of a center for the
explored through all of the senses? By for diagramming non-visual of ADA regulations in
to implement my knowledge into collage teaching and learning of haptic and
studying the visually-impaired I began experience in model or relation to the blind
format to demonstrate my understanding auditory arts allows for the creation of a
to realize the aesthetics of sound and drawing form
through a visual method. I have to space that is desirable to people of all
hapticity which are under-utilized in the
develop a method that allows for the ex- sensory abilities. This space will allow
design process. The alternative
planation of the more then visual design me to implement my ideas and
perspective of space that the visually
and experience that I intend to produce. challenge those with full visual ability to
impaired experience on an everyday
Doing this will allow for the thesis to explore their other senses in a way that
basis was inspirational to me. WINTER BREAK SPRING SEMSESTER FINAL GOALS
become successful. is unfamilar yet exciting.

28 29
 Conclusion
Evaluation Criteria Discoveries Reflections Next Steps

• Is the building able to be • As a frame of reference, the This semester has been quite • How can this thesis be
navigated by someone with a experience of the visually challenging and exciting since I am implemented in a way that
visual impairment? impaired provides architectural analyzing a way of exploring the field of bridges between the theoretical
researchers and designers with architecture in a multi-sensory ideas of multi-sensorial
• Does the sensory design a useful perspective on the manner. This has allowed me to gain an architecture and its real life
benefit those who are process of placemaking. This is understanding of how spaces are execution?
sighted, creating an because our unused sensory experienced rather then how they
inclusive experience for potential is exemplified when appear to be experienced in a digital • How can a building designed
those of all visual vision in not dominating the model or on paper. I have noticed that for the visually impaired engage
capabilities? understanding of a space most of the successful architectural someone who has the capability
works that I have been to, especially the of sight?
• Is the building a flowing series • Art can be cognitively and ones on my study abroad trip, utilize an
of spaces with understandable socially stimulating for those understanding of experience beyond • How can an architectural
transitions based off sensory with a visual-impairment, what is seen. Those who pay particular methodology be developed to
perception or do the transitions particularly those in young attention to the sensory perception of represent non-visual spatial
become too confusing? developmental stages making a space such as Alvar Aalto and Peter experience?
center for the haptic and Zumthor have been a great inspiration to
• How does the application of auditory arts a beneficial the development of my thought process.
haptic and auditory spatial program that can become an My goal of creating an inclusive space
understanding translate into inclusive environment for those who have visual impairments
architectural form? and those who are sighted is not to just
• Code can only assist the aid the navigation abilities within the
visually impaired to a small building but to build an experience on
degree since it does not take multiple levels allowing for the sighted to
into consideration alternative understand what they are missing by
sensory perception of space only taking space at face value.
30 31
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Without Visual Experience.” Cognitive Considered As Perceptual Systems. “Haptic Design Research: A Blind Sense this echolocation is the “tonal color” or
Mapping: Past Present and Future, Ed- Boston: Houghton Mifflin, 1966. of Place” The Place of Research, the Blesser, Barry, and Linda-Ruth Salter. reflection speed of low frequency back-
Blesser, Barry, and Linda-Ruth Salter. ited by R. Kitchin and S. Fredundschuh, Research of Place (2011): ground sounds that changes when we
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Spaces Speak, Are You Listening: 13. London: Routledge, 2000. Heller, Morton A. Touch, Representation, http://www.aia.org/aiaucmp/groups/aia/ get close to a wall (Blesser 2007, 43).
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disabled touch from the experience of Leuven, K.U, and Ann Heylighen need to re-sensualize architecture by has laid the guidelines to a dynamic and Morash, Valerie, Allison E. Connell Van Kreij, Kamiel.
the gallery, which discourages people “Haptic Design Research: A Blind being more aware of how material engaging architecture. Pensky, Andrea Urqueta Alfaro Sensory Intensification in
with visual impairments from visiting Sense of Place” The Place of Re- choice effects space. In addition we & Amanda McKerracher “A Review of Architecture. Technical University
museums. It is only on special search, the Research of Place (2011): should also include ideas of hapticity, Haptic Spatial Abilities in the Blind.” Delft, 2008.
occasions that these places are opened http://www.aia.org/aiaucmp/groups/ aural perception, smell, taste, and Malnar, Joy Monice, and Frank Spatial Cognition & Computation: An
up to touch tours. One of the authors aia/documents/pdf/aiab087187.pdf overall engagement into the design Vodvarka. Sensory Design. Interdisciplinary Journal (2012): 83-95 Van Kreij wishes to intensify the sensory
explains how when a sighted person process. Pallasmaa explains how Minneapolis: University of Minnesota experience in architecture by bringing
occupies an art gallery they are draw This paper focuses on haptic design ancient Greek philosophers originally Press, 2004. This article explores how haptic senses attention to the value it adds to different
to what appeals to us visually and turn and its integration into the field of archi- stressed visual dominance and then Malnar and Vodvarka explore the history can allow for an exploration of space not spaces. The author is an architect from
away from what doesn’t. The visually tecture. Ideas that are explored through- implemented fully into design during the and implementation of architecture and thought to be possible by the blind. The the Netherlands, and a current member
impaired cannot do this until they have out include active, dynamic and passive Renaissance. Visual dominance can also design that utilizes all senses. As with authors argue that touch is more of a of studioDAT. From the concept to
fully explored the piece and have be- touch. The writers encourage architects be attributed to our change from an oral most books in this discourse, the authors focused and analytical way of execution of drawings, designers at
come acquainted with it. This kind of toward a multi-sensorial architecture that society, to a written society, to a printed are opponents of ocularcentrism, or experiencing space, rather than sight studioDAT focus in on spatial
haptic engagement is gives those is not just limited to vision. Not only will society. The use of computer imaging dominance of the eye in the perception which is more global and contains a experience. The aim is to create an
utilizing it a personal relationship to the this improve architecture as a whole, has flattened our senses and the design and creation of art and architecture. wide field of information simultaneously. exciting architecture that is both spatially
item rather then the disconnect that but it will allow for equal experience and process has turned into a “passive visual Taking from J.J. Gibson’s idea of Although the visually impaired may lack interesting and interactive. (http://studio-
would occur with ocular observation. access for all people. By applying manipulation, a retinal journey” perceptual systems rather in the ability to be able to see detailed dat.nl/studio/). Van Kreij wishes to inform
The main goal of the book is convince Kevin Lynch’s classifications of (Pallasmaa 1996, 12). Pallasmaa independent senses, the authors spatial forms, they are still able to us on how to design for more then just
architectural designers and owners of landmark, paths, nodes, edges and believes the sense of reality is discuss how to experience a building process their environment equivalently the visual. He explains how the
museums to develop spaces that allow boundaries to haptic design we can strengthened through the interaction of with the body as a whole rather then just by using their haptic abilities. The haptic “deprivation of sensory involvement, in
for an inclusive nature and exploration of realize that landmark can become the senses, describing it as with a “wandering eye.” Malnar and method of spatial analysis works through modern life (Van Kreij, 9) flattens our
art that would benefit all users. There are simply a defining “texture on a city “polyphony” or a melodic Vodvarka claim that utilizing an egocentric (using the body) and engagement with our environment. Van
numerous precedents that are discussed square.” This idea directly correlates to accompaniment. The author’s writing is understanding of sensory perception locomotive (movement of objects around Kreij speaks of the sensory experience
as well as physically benefits to interviews I have conducted with two of passionately critical of the ability of sight. can be beneficial to the design process. the area) to help detect the full image of as an “ongoing dialogue between
experiencing art spaces through my peers who are visually impaired. Pallasmaa compares and contrasts sight For instance, the choice of textures a space. In the article they speak about human beings and the entities that
multi-sensory exploration. with the other senses throughout the within a building are thought of mostly how independence in movement should surround us” (Van Kreij, 49). He thinks of
Pallasmaa, Juhani. The Eyes of the essay. For example, he describes the for their appearance when their haptic be encouraged at an early age. this experience as something that can
Skin: Architecture and the Senses. eye as an “organ of distance and qualities such as texture, weight, thermal Learning to use haptic and aural abilities teach us to interact with our
London: Academy Group Ltd, 1996. separation” and touch as “the sense of properties, and density can create an while young will increase the chances of environment, causing it to become more
nearness, intimacy and affection” expansive pallet for the designer to work this independence. dynamic.
Pallasmaa feels that there is an (Pallasmaa 1996, 46). By addressing the with.
ocularcentrism in architectural design strengths of the other senses and how
that must be removed. He believes we to use them to shape space, Pallasmaa

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