Sensory Design Biblio 4
Notes to Chapter 11
79, Lconard Weller and Randy Livingston, “Efect of Color of
Emotional Responses, ” Jourat of Cenent Pychalagy 115, no, 4 (1988): 438.
80, Patricin Valler and Aber Mehrabian, “Effeets of Color on Emotion,”
dominance, tending to
Avperimennal Pycboheey no. 4 (1994)1 scores 394 low for arousal and
82 Iid. 40% Variations in hue tended to have litle of no effect, however.
81 lbid, 106 Thos bismuth pink
confirm it efleediveness as sedative.
83, Sharpe. The Pycbology of Color and Design, 41.
Sharpe (“.. Hue;An Explanatory Model of Color-
“From Brightness to Hue:
85. 84. Robert 149. E. MacLaury,
Category Evolution, Current Anthropology 33, no. (April 1992): 137.
On Seeing Red-or
86. israel Abramov and James Gordon, “Color Appearance:
Annual Revicw of Pychology (1994): 466.
Jeanette A. Brandt, “Impact of Space
Yellow 87. or Marilyn Green, A. or Read, Blue, Alan 1. Sugawara, on and Preschool Children’s Cooperative Behavior,
and Color in the Physical Environment
Environment and Bebavior 31, no, 3 (May 1999): 433.
89. Michael Lancaster, Colourscape (London: Academy Editions, 1996), 23.
90. Lois Swirnoff, Dimensional Color (New York: Van Nostrand Reinhold, 1992), S.
88. Ibid., 423.
1S. A far Cry she comments, from the surfaces of early twentieth-century
neighbors to those 6I. Such ? in process would, at the least, help new buildings
architecture, which “appear mute or sterile.
already place, a courtesy that seems in short supply
92. Lancaster, Colourscape
93. Jean-Philippe Lenclos, in Lancaster, Colourscape, 72.
94. Michael Webb, House Design: Regina Pizzinini and Leon Luxemburg (Mulgrave.
Australia: 95. Kevin Images P Keim, Publishingc An Group, Architectural 1998), Life: I2. Memoirs and Memories of Charles W. Moore
(Boston: Bullfinch Press, 1996), 197.
96. Charles W. Moore, An Architectural Life, 199.
97. Friedensteich Hundertwasser, Hundertwasser Architecture: For a More Human
Architecture in Harmony with Nature (New York: Taschen, 1997), 253.
98. We heartily recommend that the reader examine the series of models, as they
are both informative and intriguing. They appear on pages 253-55 of Hundertwasser’s
99. Hundertwasser, Hundertwaser Architecture, 258. We might remember here our
comment relative to the inhabitants of Pessac about giving license to a building’s inhabi-
tants to alter that building-
11. Sensory Schematics
1. Russell W, Belk, “The Ineluctable Mysteries of Possessions,” in To Have Posses-
sions: A Handbook on Ownership and Property, ed. Floyd w. Rudmin (Corte Madera,
Calif: Select Press, 1991), 35-36,
e D ei (Pinceton: Princeton Uni-
2. Werner Muensterberger, Collecting; An Unruly Passion (Princeton:
versity Press. 1994), IO.
TR 3. Eugene Rochberg-Halton, Meaning and Modernity: Social Theory in the Pragmatic
Attirude (Chicago: University of Chicago Press, 1986), 185.
4. David Seamon, “Phenomenology and Environment-Behavior Research, in
Aduances in Environment,
York: Plenum Press, 1987), 4
5. Ibid., 6.
Bebavior, and Design, ed. Ervin H. Zube and Gary’T. Moore,
David Seamon, “The Phenomenological Contribution to Environmental Psy-
of Environmental Psychology 2 (1982): 123.
ject,” Architecture and
Behavior 5, no. 2 (1989): 153.
Sauzet, “Sensory Phenomena as a Reference for the Architectural Pro-
8. Maurice Sauzet,
“The Space of the Senses,” Techniques and Architecture, July
and Hudson, 2000), 206.
9. Anna Jackson and Chris Johnson Australian Architecture Now (London: Thames
Perspective (Cambridge: Cambridge University Press 1989), $2-55. For fuller
11. Rachel Kaplan and Stephen Kaplan, The Experience of Nature: A Psychological
of their theory, the reader might
of the Kaplans inventory of characteristics with that of Brodie Ann Bain’s model the
return to chapter Of real interest is the correlation
12. “successful Charles entry, W. Rusch, “On Understanding Awareness,
which are sense of place, legibility, and mystery.
4 no.4 (October 1970): 58.
Journal of Aesthetic. Education
13. Rusch points out that these defined levels, fairly discrete in childhood, are more
continuous in adults.
14. Kaplan and Kaplan, The Experience of Nature, 1.
15. Fora fuller explication of these ethnic and cultural factors refer to David Howes’s
defined position by L discussed T. Hall) the can be middle found of in
in the middle ot chapter chapter 3; a complete complete discussion of context codes codes (as
16. A. Richard Williams, The Urban Stage: A Reflexion of Architecture and Urban
Design (San Francisco: San Francisco Center for Architecture and Urban Studies, 198%),
17. Helen Keller, “Three Days to See, Atlantic Monthly January 1933. 36, 42.
18. Kristi Cameron, “3-D Tufte,” Metropolis, February 2001, 18.
20. 19. Marcel Accordingly, Joray We and have
omitted any photograph of the sculpture.
Jesús Rafael Soto, Soto (Neuchâtel: Suisse: Editions
21. The welded-bronze musical sculptures of Harry Bertoia immediately come to
22. Bernhard Leitner, Sound:Space (New York: New York University Pres, 1978).
23. Anyone who has attended a blues or rock concert willhave some notion of the
Anyone who nas aleiers
visceral qualities of sound.
vember 1999, 130.
24. 25. Saul Ibid. Anton, “An Egg for All Seasons, Metropolis, November
26. James Corner, “Time, Material, and Event: The Work of Michael Van Valken-
burgh, in Design with the Land: Landscape Architecture of Michael Van Valkenburgh ed.
Brooke Hodge (New York: Princeton Architectural
Press, 1994), 6
27. Jean Piaget The Mechanisms of Perception,trans.G.N. Seagrim (1961;
Basic Books, 1969), 70.
28. There are, of course, exceptions entions to to this observation, although they do not fall
within the usual definition of architectural spaces. Conditions of overload, for example,
are common in amusement parks, and deprivation is the defining quality of specialized
Notes to Chapter 11
Notes to Chapter 11
isolation facilitics. We observe that not only are these cases exceptional, but they are
characterized by user control and/or knowledge of outcomes.
29, We think it possible for the Slider to have a mnemonic function as well. The
symbols for figure/ground (m) and icon (a) might be shaded-or color coded-to indi-
cate mnemonic potency. It will likely fall to the cultural anthropologists to decide what
spatial memories can be considered cultural, and not simply personal, which is surely
necessary for wider practical use.
30. Jim Murphy, “Cornering the Loop,” Progresive Architecture, October 1983. 78.
31. David A. Greenspan, “33 Wacker Drive,” Inland Architect, 27, no. 3 (1983):
13. The author points out that there may be almost too much of a good thing, in that
the rich, detailed materials draw unflattering attention to the place where base and shaft
32. Gerald T. Cobb, in Steven Holl, The Chapel ofSt. Ignatius (New York: Princeton
Architectural Press, 1999), 9.
34. Sheri Olson, “What Is Sacred Space? Steven Hol’s Chapel of St. Ignatius Answers
with Texture, Light, and Color,” Architectural Record 185, no. 7 (July 1997): 47.
35. Gerald T. Cobb, in Holl, The Chapel of St. Ignatius, 9.
36. Olson, “”What Is Sacred Space,” 48.
37. Holl, The Chapel of St. Ignatius, 82.
38. Ibid., 92.
39. Joseph Glicksohn, ” Subjective Time Estimation in Altered Sensory Environ-
ments,” Environment and Behavior 24 (September 1992): 634.
40. D. Zakay, D. Nitzan, and J. Glocksohn, “The Infuence of Task Difficulty and
External Tempo on Subjective Time Estimation,” Perception and Psycbopbysics 34 (1983):
41. David Leiser, Eliahu Stern, and Joachim Meyer, ” Mean Velocity and Total Time
Estimation Effects of Order and Proportions,’ Journal of Environmental Psychology
42. Williams, The Urban Stage, 35.
44. The Fibonacci sequence, in which each number the sum of the previous twO,
frst remarked upon by Leonardo of Pisa (derisively called Fibonacci) in the early thir-
teenth century. This extraordinary mathematician, who was the author of the Liber Abaci
that introduced Arabic numerals to Europe, found in this sequence a mathematical anal-
ogy to the geometric method of developing the golden
mean. The Fibonacci sequence
also provides the basis for the logarithmic spiral that underlies gnomic growth patterns in
tional life-forms. institution. Thus
Pallasmaa chose a significant metaphor for the entry to an educa-
45. Dan Hoffman, “”Driveway Square,” Arkkitehti- Finnish Architectural Review nos.
5-6 (1996); translation found at http://www.uiah.fi/esittely/historia/ square.htm.
46. Peter MacKeith, Juhani Pallasmaa,” World Arcbitecture, no. 25 (1993): 42.
48. Joseph Giovannini, “Nordic Tracks: A Museum by Juhani Pallasmaa Interprets
Lapland’s Lost Vernaculat,” Architecture, October 1998, 109.
49. Ibid., HIO.
50. Peter Zumthor, Peter Zumthor Works: Buildings and Projects, 1979-1997 (Baden,
Switzerland: Lars Müller Publishers, 1998), 156.
51. Raymund Ryan, “Primal Therapy,” Architectural Review 202, no. 1206 (1997): 44