How do you use color to “move” your occupant? Do you go beyond merely using it as a wayfinding technique? Or do you “paint” your three-dimensional space to lead your occupant on a journey that enhances the spirit of place?

As you will find within the following slideshow, color can be used within architecture in soul-stirring and innovative ways. Color not only engages a building occupant by making real the beauty of function, but also invites them “in” to truly “touch” a space — perhaps at first with their eyes, but then with all of their senses as color becomes much more when it meets the eye.

So, how do you use color to “move” your building occupants?

Can Desire Influence What You and Your Occupant See?

This interesting experiment might just give you, as an architect, some understanding of how you and your occupants perceive “distance” — and why this aspect of spatial reasoning might vary from person to person; thus, influencing how people perceive your built work:

Here is a Sneak Peak at What the Experiment Revealed

In an interesting experiment, researchers engaged in a series of investigations to see if they could tell whether desire has a consequential effect over a person’s ability to perceive distance. In one of a series of experiments, the researchers put a coupon on the floor and asked participants to throw a beanbag that should land on top of the coupon on the floor in front of them.

Prior to throwing their beanbag, half of the participants were told that the voucher was worth $25, while the other half of the participants were told that it was worthless. Amazingly, the half of the participants that believed the coupon was worth $25 didn’t throw their beanbag far enough. Their throws always came up short.

The resulting explanation for this, as the researchers explained, is that the participants who thought the coupon was valuable actually believed that it was closer to them than it actually was. (The participants who thought the coupon was worthless estimated that it was further away.)

To see the original article, click [here].

Is Distance in the Eye of the Beholder?

As you design a building, you are constantly thinking in terms of distance. It factors into a multitude of the design decisions you make everyday. And once your design is built, your occupants must also think in terms of distance as they travel around and through your building, from feature to feature, from space to space and from experience to experience.

So, how do you incorporate distance as you design? And how do you make sure that what you envisioned when designing, translates well for your occupants once Read more

Early on in my architectural education, Paul Klee inspired me when he wrote that “movement underlies the growth and decay of all things.” I think this quote is so true on so many levels — at whatever level of architectural expertise.

I am paraphrasing here but, I can remember this quote coming alive for me as I understood that a point “grows” to become a line just as a column “grows” to become a wall. At its most basic level, this seems to be a simple notion, but there is much to learn by stopping for a moment to contemplate its possible meanings.

“A Line is a Point that Went for a Walk”

The latter is a frequently quoted Paul Klee quote. I like it because it challenges me to think of ways I can use it in my designs. For instance, what if the point is actually an orientation point defining the beginning of an occupant’s physical journey through a building. The line can then become the culmination of that occupant’s steps through the building. Hence, in its simplest form, that circulation route may begin to define a physical and experiential journey for the senses through an architectural space(s).

The gist of what I am saying is this: Every point you incorporate within the design of your building culminates in an Read more

An amazing artist is Piet Mondrian, who is known for painting Broadway Boogie Woogie. This painting is quite remarkable and one of its defining qualities is its ability to convey motion to its viewers. As if to deconstruct music, this painting makes use of color, pattern, geometry and sizing.

Consequently, Piet Mondrian has made an excellent and tangible example for us to better understand why we perceive motion when looking at his work. Much can be explained by delving into neuroscience.

Why We Perceive Motion in the Painting

In her book, Vision and Art (affiliate link), Harvard neurobiologist Margaret Livingstone explains why this painting appears to “move or jitter”. She explains that the yellow and gray squares are “close to equiluminant” and they are set against an off-white background.” (1)

You see, the luminance in color plays a special role in Read more

Name: Sensory Design by Joy Monice Malnar and Frank Vodvarka

URL: Sensory Design (affiliate link)

Purpose: to explain in-depth and clearly how humans interact and perceive architectural design

THIS BOOK IS MUCH NEEDED IN OUR DISCIPLINE

Sensory Design is a book to really make you, as an architect, more aware of how your designs impact people. Taking and in-depth look at how humans perceive space and built form, Sensory Design is really quite a remarkable publication.

Written by Joy Monice Malnar and Frank Vodvarka, every page is filled with insight that will help you to become a better designer. Their unique way of presenting diagrams, illustrations and photographs really help to make an otherwise complex topic easy to understand.

Many of you, my readers, email me looking for a good resource on the topic of human perception and architectural design. Very often, I find myself recommending this book. In fact, there are very few books that seriously delve into the topic of sensory perception and design in such a detailed fashion. It brings modern day practice together with historical trends and then it ties theories together with findings about the brain to really help designers understand why certain design decision might work and why some might not.

Again, Sensory Design is a great find as it is much needed in the architectural discipline.

WRITTEN FOR A DESIGNER — ABOUT THE HUMAN PERCEPTUAL PROCESS

As you’ve probably heard me say before, the topic which this book covers is very important for architects and other designers to understand. Plus, I like that the authors go an extra step further by explaining human perception from a designer’s stand-point.

I think it best to show you what I’m talking about. Here is an excerpt that I particularly like: Read more

We all know that computer technology has done a lot to advance not only the way the design process can work, but also to improve the constructed outcome of that design process.

That’s why I think it’s important to shed some light on what “aural renderings” can do. (1) You, as an architect, can actually listen to a designed space as built to the parameters of your three dimensional CAD model. Here is a detailed description of the process that goes into creating such an aural rendering: Read more

This article is the third article in a three part series. To read the first and second article in the series, please click on the links below:

• Previous Article: Designing Architecture for a Sense of Building Safety — Part 1
• Previous Article: Keeping Your Occupants Safe by Building Community — Part 2

THE MANY TYPES OF FEAR

There are so many places where just approaching a building can cause fear, simply because of the institution type. Take hospitals, for instance. Patients like to feel safe and that they’re getting the best treatment; however, factors like medical technologies that beep and buzz make sounds that can sometimes cause patients to feel fear during their recovery process.

That is one type of fear, but there are others. What about hotel security? For that matter, what about office buildings located in urban settings where their mere locations can pose a threat to occupants.

A building can be wonderful inside, but the way it meets its surrounding site and interacts with its surrounding neighbors can work wonders when trying to turn fear into feelings of safety for occupants.

THE IMPORTANCE OF YOUR LANDSCAPE

Actually, simple things can make a big difference. For instance, for apartment complexes you might want to pay particular attention to the height of bushes and the location of the garbage dumpster. It is found that persons “up to no-good” can hide behind or within such nooks.

Another simple thing you can do is to pay attention to how you Read more

As you design architecture, it is important to consider your occupant’s memory. You should consider not only what your occupants remember, but also how they remember.

Why?

Just after experiencing your building design, your occupant will be full of a large portion of the information they just absorbed. The memory of walking through your design will be fresh in their mind and the nuances about their experience will be easy to recall. But, what do you want them to remember about their experience? Do you have any control over what they remember as a great moment? Do you want to have a say?

HOW OCCUPANTS REMEMBER

When your occupant processes an architectural “scene”, they actually dismiss a lot that they don’t think is important…. In the video below you will watch a scholar from Princeton University further explain that the brain uses processes (like shortcuts) to help people Read more

WHEN THE HUMAN EYE BLINKS…

Did you know that the second most complex organ in your body after your brain is your eye? (1) The human eye contains many processes all working together to help you perceive visual queues in a continuous way. However, when foreign matter or heightened stimuli (like loud sounds or bright lights) occur, a blinking reflex is activated — and usually when one eye blinks the other follows.

GEOFF MANAUGH ON “BLINKSPOTS”

In a thought-provoking post entitled Architecture of the Blink, some interesting questions surface regarding how blinking might affect our perception of architectural design. In this article, Geoff Manaugh explores “blinkspots” — moments or spaces where blinking shuts down our awareness of less important details.

This got me thinking…

DO YOU WANT A “SECOND LOOK”?

When architecture is more “interactive”, with more moving and/or flashing elements, does that mean occupants will Read more

Have you heard about translucent or ductal concrete?

Here’s the latest on concrete materials…

Kinder, Stronger Concrete

It’s not just opaque anymore. Glass fibers can be added to the mix, for fortification and translucency. That’s just one of the innovations in the cement-mortar marriage. Another one is Ductal concrete, designed to be 6 to 8 times more resistant to abrasion, pollution and scratching than its conventional cousin. How do engineers do it? Ductal concrete contains metal fibers that make it ductile, or transformable. Those fibers give the tough stuff more give, making it flexible and stronger. Its manufacturer, Lafarge, says Ductal concrete (also known as ultra-high performance, fiber-reinforced concrete) can stand up to bending and breaking far better than traditional concrete because it has 5 to 10 times the compressive strength of conventional concrete, without any added weight. (1)

Although traditional concrete is used rather successfully in some designs, these advances involving concrete materials will allow for some creative design solutions. Concrete gaining light, strength and flexibility should bring about a few changes — perhaps architects will find some renewed ways for concrete to feed the senses.

(1) Silver, Laura. Hot to Trot. Popular Science. February 24, 2009.