Sensory Design Biblio 4

Sensory Design Biblio 4

Notes to Chapter 11

79, Lconard Weller and Randy Livingston, “Efect of Color of

Questionnaire on


Emotional Responses, ” Jourat of Cenent Pychalagy 115, no, 4 (1988): 438.

80, Patricin Valler and Aber Mehrabian, “Effeets of Color on Emotion,”

Journal of

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

91. Ibid.,

architecture, which “appear mute or sterile.

already place, a courtesy that seems in short supply

92. Lancaster, Colourscape

become better

of late.

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,


vol., (New

York: Plenum Press, 1987), 4

5. Ibid., 6.

Bebavior, and Design, ed. Ervin H. Zube and Gary’T. Moore,




chology.” Journal

David Seamon, “The Phenomenological Contribution to Environmental Psy-

7. Maurice

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,

0661 99.

“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


chapter 4.

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.

1984), 174.

Jesús Rafael Soto, Soto (Neuchâtel: Suisse: Editions

du Griffon,

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

New York:

27. Jean Piaget The Mechanisms of Perception,trans.G.N. Seagrim (1961;

Basic Books, 1969), 70.


they do

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.

33. Ibid.

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.

43. Ibid.

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 square.htm.

46. Peter MacKeith, Juhani Pallasmaa,” World Arcbitecture, no. 25 (1993): 42.

47. Ibid.

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


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