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It’s hard to find a quiet place on earth anymore. Human-caused noise seems to be everywhere, and that’s because it is. (1) Our living environments are “soundscapes”, and “noise” quickly becomes a relative term.

Yes, your architecture greatly contributes to the “soundscape” that people experience. Sound within your building is greatly linked with functions going on within it, but what about the design of sounds that you purposefully inject and mold into your project?

WATCH OUT… SOUND CAN BECOME NOISE

For architects, it is common to be concerned with the elimination of sound, otherwise referred to as noise. Some hospitals are filled with noise that keep patients from sleeping “soundly” (pun intended) and some schools are bombarded by urban noise that interferes with learning.

For some, these are just manifestations of modern living — where there is a fine line between sound and noise depending on who and when is listening. For architects, closer attention should be given to this phenomenon.

TAKE CONTROL…DESIGN A SOUND SPECTRUM

As you design architectural complexes ranging from an urban master plan to an individual building project, you need to keep both sound and noise …[Read Full Article]…

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DESIGNING A WONDERFUL EXPERIENCE

When it’s a great experience, going to a museum can teach us, delight us and inspire us; however, a lot of effort goes into a museum exhibit design. As architects, we can learn a lot by understanding the ingredients that make such designs so successful. It’s not as simple as you might think.

A museum is constantly looking for different ways to attract visitors, but what happens once they get there? Often they suffer from three main problems — they can’t find a specific piece of information, they must leave too soon because they are bored or they stay a long time but miss key lessons from the main exhibits. (1)

Obviously, visitor accessibility and attention are paramount, but that’s not all it takes to design for a great museum experience.

WHAT MUSEUMS MUST DO

The following are 10 ingredients for successful museum exhibit design: …[Read Full Article]…

Image: Royal Ontario Museum | wvs | Flickr

Architectural psychology can be described as a branch of environmental or ecological psychology. This deals with the psychological processes of the interaction between man and his environment, as for example spatial perception, spatial thinking, orientation behaviour, or spatial experience, territorial behaviour, living requirements and satisfaction, local identity. (1)

When an occupant experiences a building, they immediately become involved in an array of overlapping processes that all contribute to their experience — architectural psychology focuses on such connections and can be applied to all building types.

A GOOD PLACE TO START

After my last post entitled Environmental Psychology: What Every Architect Should Ask Themselves, I received various questions from readers wanting to learn more. So, I began to look in the “not-so-usual” places. And then I came across this site at …[Read Full Article]…

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“Architecture arouses sentiments in man. The architecture’s task; therefore, is to make those sentiments more precise.”

– Adolf Loos

Architecture is like music, with ability to arouse specific emotions and other reactions at particular moments in time. To arouse sentiment is a delicate task, and the key is to engage occupants. Human mood, behavior and physiology will all benefit from such an awakening.

To arouse precise human sentiments, architecture must integrate features like timing, materiality, information and the designer’s intent — all in an effort to engage occupants. Not only should architecture awaken occupant emotion, but it should play a role in …[Read Full Article]…

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“Architecture is basically a container of something. I hope they will enjoy not so much the teacup, but the tea.”

– Yoshio Taniguchi

This quote highlights why sensory design is indispensable. The act of enjoying the tea is fostered by the teacup just as sensory architecture enhances occupant experience. Both the teacup and sensory design must be sensitive to human needs.

With interactive design, a sensory teacup could integrate user sensory system factors like temperature and flavor. The same sensory teacup could also adapt itself to the particular tastes of each individual drinker. The sensory teacup could even adapt itself in real-time as its tea level decreases. And yes, the tea cup could even use technology to make the tea more physiologically healthy. In the end, this tea cup still exists to …[Read Full Article]…

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Understanding principles about environmental psychology will help architects to design with greater awareness. The following are ten important questions inspired by some of the major themes that make up the study of environmental psychology.

Although some may look simple at first glance, the questions are really quite complex as you delve into the inner-workings of human perception, cognition and behavior. The more you understand about how occupants interact with their environments, the better your designs will be.

You should keep these questions in your “mental toolbox” as you design: …[Read Full Article]…

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Architectural design requires that acoustics be well thought out and coordinated. The sound spectrum must remain clear without portions distorted or missing. The paper, Acoustics and Sound Systems in Architectural Design, emphasizes how acousticians should be part of the design team early on. The author describes how it is important to avoid overlapping sound waves that project into a common space – this interference is what can distort the sound spectrum.(1)

The following are 7 additional design tips to achieve the best architectural acoustics within a space. These principles highlight some of the most informative ideas found within Acoustics and Sound Systems in Architectural Design for best aural experience.

1) Watch out for SOUND REFLECTIONS. Straight surfaces reflect sounds back into the central space making sound clarity muddy.

2) Select ACOUSTICAL TREATMENT carefully. Different materials absorb sound frequencies differently. Make sure your acoustical treatments are absorbing the right sound frequencies.

3) Diminish ECHOES when necessary. Be aware that sounds traveling within 30 milliseconds of each other are perceived without echo. Sounds traveling after the 30 millisecond threshold become echoes of the original sound.

4) Don’t let other building systems get in the way. NOISE CONTROL is important to keep in check as other building systems (like HVAC systems) operate. Keep such clashing noises to a minimum.

5) Keep objects or other OBSTRUCTIONS out of the way. Objects that obstruct a sound path can block high frequency sounds. (Low frequency sounds can bend around objects.)

6) Get good PATTERN CONTROL. Make sure sound systems for a room get good sound coverage. This will prevent feed-back and other sound distortions.

7) For out-of-the-way listening areas get DISTRIBUTED SOUND SYSTEMS. Such “delay-fill” speakers operate with an electronic delay so the sound matches and is synchronized.

In the end, it is important to make sure that the architectural acoustics match the architectural function and aesthetic value of a particular project. I remember visiting a hospital where the TV sound was obstructed by an HVAC vent. That simple sound collision can make for quite an uncomfortable hospital stay. Similarly, you should make certain that sound travels only when you want it to. Office conversations that needlessly travel to employee office spaces can be quite a distraction.

Involve your acoustician early and coordinate design efforts to avoid uncomfortable and sometimes painful aural sensations. Architectural acoustics are important beyond auditoriums, theaters and religious spaces.

(1) Kamlet, Rick. Acoustics and Sound Systems in Architectural Design. Archi-Tech. April 2005.

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All too often, architectural designs rely more heavily on just one primary sense – the visual one. The other senses are unfortunately frequently neglected. This is unfortunate since it is through the senses that architecture can have profound effect. For instance, architectural building can more truly relate to the surrounding culture through all of the senses. Addressing historic, traditional or present-day cultural patterns can make a work of architecture a success when the senses are not ignored.

The architect must act as a composer that orchestrates space into a synchronization for function and beauty through the senses – and how the human body engages space is of prime importance. As the human body moves, sees, smells, touches, hears and even tastes within a space – the architecture comes to life.

The rhythm of an architecture can be felt by occupants as a result of the architect’s composition – or arrangement of all the sensorial qualities of space. By arranging spatial sensorial features, an architect can lead occupants through the functional and aesthetic rhythms of a created place. Architectural building for all the senses can serve to move occupants – elevating their experience.

Architectural space is about layering for all of the senses. Like a musical composition, spatial features come together into a symphony for occupants to experience. Bringing a space to life means that architectural function and form is not just primarily for the visual sense. By engaging all of the senses, form and function may be more fully expressed so occupants can have deeper, more meaningful moments – feeling the bouquet of their surroundings in all of its dimensions.

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When traveling through space you use certain cues to help you navigate. Your senses help determine things like orientation, distance and direction. During navigation, many moments arise for decision-making and your brain is a key player during this process. Within a building, architectural features send signals during the navigation process. The brain uses sensorial cues to help you travel within an environment – providing you with enough information to find your way.

In the interesting article entitled Getting Lost for Better Architecture, occupants are said to navigate, interact and then form “cognitive maps” in order to understand location within space. This article describes how researchers tested human subjects by having them travel through a virtual building while recording their brain function. Ties were made between what the subject saw and their brain response to those signals.(1)

Such research is fascinating because findings reveal how humans experience space. For instance, this research uncovered that humans use the “angle of incoming sunlight” as a primary cue for navigation. Of course, within architecture this cue is often eliminated.(1)

You might wonder how occupants interact within their environment to find such navigational cues. For this, it is important to understand what goes into the mental mapping of an architectural space – forming a mental image of that space as it is experienced. Of course, a mental map is also a consequence of occupant decision-making during that experience. For this, we can also use virtual reality – to uncover how the decision-making process works within architecture in real-time.

Although the applications may seem endless, such research will definitely give architects greater understanding into how the human perceives architectural features. Findings are sure to be quite enlightening.

(1) Nelson, Bryn. Getting Lost for Better Architecture. MSNBC Dec. 15. 2008.

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Human awareness is not as perfect as you might think. We humans are easily distracted and our attention can be fleeting. So, this notion of an “extended mind” seems to make sense. The idea as described in the Discover article entitled The Brain: How Google Is Making Us Smarter explains that the human mind is really a system made up by the human brain extending into “parts of the environment”. Ultimately, the mind comes to depend on its environment for cues and information.(1)

With the computer revolution, humans are relying more and more on machines to make up a piece of their “extended mind”. As such tools permeate human environments; I can’t help but think of how the notion of an “extended mind” may influence architecture. 

Architectural design, due to its incorporation of aesthetic and function, can almost immediately be considered as part of this “extended mind”. Buildings surround their occupants and provide for many of their needs. Such needs include sensorial stimulation, community relationship building and functional processes. Architecture may also be said to help the human mind by helping it to adapt as, it too, evolves.

First, we cannot deny that computers and other tools are continuously finding their way into architectural environments. Buildings are becoming smarter and more interactive. As architects learn new ways to cater to their building’s occupants, architectural features will become more meaningful as they strive to help occupants live better lives.

With ongoing innovations, architecture will be able to tailor its interactions to occupant styles, tastes and needs in real-time. Architecture itself may become “hub-like” in that it provides a new kind of place for idea-sharing and experience enhancement. As interactive design installations gain popularity, occupants will be able to experience themselves and others in new ways. Information will take on different interactive qualities and architecture will relate more personably to its occupants.

The notion of an “extended mind” will continue to evolve as interactive architecture becomes increasingly main-stream. In addition, these advanced environments may help our minds to evolve as well. Consequently, more interaction with our environments may mean that greater resources will be readily available to us in real-time. Just as Google has placed an abundance of information at our fingertips (literally)(1), interactive architecture will have the power to improve our experiences via augmented realities. Thus, our “extended minds” may connect to architectural design in whole new ways.

(1) Zimmer, Carl. The Brain: How Google Is Making Us Smarter. Discover. January 15, 2009.